The Sedilia.—It is natural after an examination of the throne in wood to turn to Stapledon's equally splendid achievement in stone. The sedilia were most carefully restored under Sir Gilbert Scott. There are three arches, each ten feet high, of openwork, above which is a rich display of tabernacle work. The niches once contained statues, for the sockets are visible. The carving, extraordinarily skilful and intricate, consists of leaves and animals' heads. Like much of the carving in the cathedral that is attributed to this date, it was the work of De Montacute, a French artist. The seats are divided by metal shafts, the terminal divisions being supported by lions. It has been contended that these lions are of considerably earlier date than the rest of the work; but there is no evidence to go upon except a fancied resemblance to Early English work. There seems no reason why Stapledon should not have chosen lions as a fitting decoration, and carved them in a style more or less traditional. Three small heads are carved on the back of the sedilia, the centre one being that of Leofric, and on either side the heads of Edward the Confessor and his wife Eadgytha. It will be remembered that they were present, with their whole court, at the installation of Leofric. The central seat is known as Leofric's stone, on which he is traditionally said to have sat, and there is an entry in the year 1418 recording that twenty pence was paid "for writing on the stone of my Lord Leofric."
On the triforium arcading, just over the sedilia, the heads of Leofric, Edward, and Eadgytha are repeated.
The decoration of the choir vault is by Messrs. Clayton and Bell. The attempt to give life to the roofing by gilding the bosses and painting the ribs red and blue and gold, while the ground colour is a dull white, is not without merit.
Pulpit in Choir of Devon marbles and alabaster, erected in 1871. The beautifully carved panels represent our Lord blessing the children; the Sermon on the Mount; St. Peter preaching on the day of Pentecost; St. Paul at Athens; and St. Paul before Festus.
The East Window.—Henry de Blakeborn, a canon of the cathedral, enlarged "this Gable window in the Perpendicular style." Although it was damaged a good deal in Cromwell's time, much of the old glass remains. The shields on the upper part of the window are modern, but those at the bottom are those of the first bishops and benefactors. The three centre figures in the lowest row were added in Brantyngham's day.
