destroyed for the
better accommodation of the wainscoting to the stalls; moreover, the
differences in the nature of the stone were rendered null by a hideous
yellow wash with which they had been lavishly besprinkled. During the
restoration the corbels and roof-bosses were cleaned and carefully
repaired. These, though of the same character as those in the nave, are
both richer and more varied in design and more skilfully carved.

#The Choir Stalls.#--The stalls are entirely modern, and the work of Sir
Gilbert Scott. Originally, no doubt, they were similar in style to the
bishop's throne, one of the most admirable of Stapledon's additions to
the cathedral. They were probably surmounted with canopies, with an open
arcade of stone behind them. The modern designer has so constructed his
stalls as to bear out this idea, since as far as possible they are meant
to replace the earlier ones. The misericords of Bishop Bruere have been
placed beneath the seats. These misericords have not their equal in
England. They are richly carved, representing foliage, wild beasts, an
elephant, men fighting, others playing musical instruments, and
legendary monsters. The introduction of an elephant proves that these
misericords were not completed until after Bruere's death in 1244; the
elephant having been first brought into England in 1255. There is also a
representation of a knight in a swan-boat, showing that the legend of
Lohengrin was known in England.

#The Reredos.#--This, too, is modern work, and most successfully has
Earp carried out the designs of Sir Gilbert Scott. It is of alabaster,
inlaid with agate, carnelian, and jasper. In the centre of the three
compartments into which it is divided is the Ascension, the other two
groups representing the Descent of the Holy Ghost and the
Transfiguration. As the work has met with considerable opposition, it is
well to remember Archdeacon Freeman's words, he having the best of all
rights to speak. "With its delicate canopies of alabaster, and
sculptures wrought in bold relief, its inlay of choice marbles, its
redundance of costly stones, and its attendant angel figures, it
enshrines a multitude of ideas well harmonizing with its place and
purpose." The ancient altar of Stapledon's has long since disappeared.
This was mostly of silver, the mensa only being of marble. In the
monument of Leofric, erected by Hoker, the historian, was found a large
slab of marble marked with crosses. This possibly w