In a niche of the east wall of the choir, behind an arcade of three pointed arches with cinquefoil heads, is a Purbeck marble effigy (39) of a bishop supposed by many to represent Richard Poore. It has been ascribed to Bishop Bingham because its bearded face fails to agree with that depicted on the seal of Bishop Poore, and also because an entry in an old book of records says that he was buried on the north side of the altar. This monument was removed by Wyatt to the north-east transept, to what is supposed to have been its original position. The effigy, whoever it represents, is a fine one, the pastoral crozier of particularly graceful design; above it is an angel supporting the circle of the sun and the crescent of the moon.
The slab which is believed to commemorate St. Osmund (40) is now restored, and placed where his shrine stood formerly, between the south choir aisle and Lady Chapel.
At the east end of the south aisle is the gorgeous monument (41) to Edward, Earl of Hertford, son of the Protector Somerset, uncle of Edward VI., and of his wife Catherine, sister to Lady Jane Grey. The effigies are both in a praying attitude, the Earl in armour. It is elaborately ornamented and splendid in gold and colours, restored by order of the late Duke of Northumberland. It is more ornate than modern taste desires, but still to call it "stately, though tasteless," as does one chronicler, is somewhat harsher criticism than is justified. It is seen in the illustration of the choir aisle given here.
In the south wall is an altar tomb (42), now assigned to William Wilton, Chancellor of Sarum (1506-23). On its cornice are shields bearing the device of Henry VIII. and Catherine of Arragon, a rose and a pomegranate; the arms of Bishop Audley, and those of Abingdon Abbey; also the rebus W.I.L. and a Tun.
The monument (43) to Bishop Moberly, designed by Mr. Arthur Blomfield, is an excellent example of the modern revival. The monument (44) to Bishop Hamilton is also interesting as almost the last design prepared by Sir George Gilbert Scott, and one well worthy of its author.
Next to the Hungerford iron chantry (45) is the monument (46) ordinarily assigned to Bishop William of York, but, like many of the bishops' tombs in this cathedral, without any certain clue to its identity. It consists of a pointed, crocketed arch, terminating in an elaborate finial; with a flat slab below, originally inlaid with a brass.
SOUTH CHOIR AISLE, SHOWING THE HUNGERFORD CHAPEL.
From a Photograph by S.B. Bolas and Co.[ToList]
In the south choir transept is the very beautiful chantry (47) to Bishop Giles de Bridport. On either side the gabled roof is carried by two open elaborately moulded arches with quatrefoil heads, inclosing two trefoil arches supported by clustered detached shafts. Each arch has a triangular hood moulding, crocketed with carved finials. The spandrils are ornamented with very interesting carvings. These have been interpreted to mean: on the south side, the birth of the bishop, his confirmation, his education, and possibly his first preferment; on the north, the bishop doing homage for his see, a procession with a cross-bearer (generally accepted as a memorial of the consecration of the building by this bishop); his death; and finally his soul borne up to heaven by an angel with outspread wings.