three lancets have been inserted at the back of the clerestory passage. Of these, the central window has been filled with stained glass by Hardman; too minute perhaps in design for the height at which it is placed, but very good. The subjects in this window are the Saviour in Majesty, the Resurrection, the Crucifixion. The subjects in the north and south lancets will comprise the principal events of our Lord’s Passion.
The reredos [Plate II.] below was designed by Mr. Cottingham, jun., as a memorial for Joseph Bailey, Esq., M.P. for the county of Hereford, who died in 1850. It is in oolite (Bath stone) and marble; and although too high for its position, is a fine work. Between the five canopied compartments rise small shafts, supporting angels, who carry the instruments of the Passion. The pierced leafage at the back of the canopies is very beautiful. The subjects in the panels are—the Agony in the Garden, Bearing the Cross, the Crucifixion, with floating angels above the Cross, the Resurrection, and the three Maries at the Sepulchre.
At the back of the reredos rises a pier from which spring two pointed arches, leaving a broad tympanum or spandrel, closing the upper part of the Norman arch. This is a restoration of Mr. Cottingham’s. The pier itself is ancient. The spandrel is covered with modern sculpture, having, above, the Saviour in Majesty, with the Evangelists holding scrolls; and below, a figure of Ethelbert, King of East Anglia, who was murdered by Offa, King of Mercia, and is said to have been interred in the first Saxon church on this spot. (See Pt. II.) Miracles were reported as having occurred at his tomb, and the second church here was dedicated to St. Ethelbert.
The very good brass of Bishop Trilleck (died 1360) is placed on the chancel floor. The graceful arrangement of the vestments—which do not include the tunic—and the architectural design of the canopy deserve special notice. The greater part of the inscription has been lost[35].
Against the easternmost pier on the south side of the choir is a small figure on a bracket, which possibly represents St. Ethelbert. It was found about the year 1700, buried at the entrance of the Lady-chapel, (where it is said to have been concealed during the siege of 1645,) and was replaced in what is believed to have been its original position. The figure wears a coronet terminating in leaves. The strings of the long mantle are crossed on the breast. Whatever the hands once held has been destroyed. The figure is certainly not earlier than the first half of the fourteenth century.
On the north side of the choir, in the easternmost bay, is the effigy of Bishop Stanbery, (died 1474,) whose chantry opens from the aisle opposite; (§ XIV.) The Bishop wears the alb, stole, and chasuble, the flowing ornament on which should be noticed. It should here be mentioned that Wyatt, following the same destructive course as at Salisbury, removed many monuments in the cathedral from their original positions; thereby rendering even their identification a matter of some difficulty.
In the next bay is the effigy of a bishop, fully vested, holding the model of a tower. This is assigned to Bishop Giles de Bruce, (died 1215); and Godwin (De Præsulibus) conjectured that the model indicated this bishop as having been the builder of the central tower—a conjecture which has been assumed as a certainty by every succeeding writer. But whatever architectural work Bishop Giles may have done, the tower, as was pointed out by Professor Willis, is nearly a century later. His effigy is one of ten which were erected during the Perpendicular period as memorials of earlier bishops, and which are now scattered in different parts of the cathedral. (In the same manner, many effigies of earlier bishops were sculptured at Wells (see that Cathedral) in the first half of the thirteenth century, and are all of Early English character.)
In the same bay is the monument of Bishop Bennett, (died 1617). He wears the rochet, and a close black cap, and rests his feet on a lion; an unusual instance of the retention of an earlier form. The Bishop was buried on this spot.
The stalls of the choir range up to this bay. They are Decorated, and very good. The small heads and ornaments of the shafts which support the projecting canopies should especially be noticed. The misereres are interesting, but of no special excellence. Two on the south side represent a cook throwing a platter at an intruder, and a pair of wrestlers with ropes about their necks. The whole of this ancient work has been carefully cleaned, and restored where necessary, under the direction of Mr. Scott. The new carving, which is very fine, and well worthy of its companionship with fourteenth-century wood-work, is entirely by Messrs. Ruddle and Thompson of Peterborough. Some of the new misereres, and the elaborately carved ends or heads, sixteen in number, deserve careful attention. The panel-work in front of the stalls is an exact reproduction of that before the episcopal throne.