as a portion of
Stapledon's altar destroyed by an Order in Council, 1550 (see below, p.
69).

#The Bishop's Throne# was Stapledon's work, erected in 1316. It is
notable for not having a single nail in it, being entirely fixed
together with wooden pegs. This "magnificent sheaf of carved oak," as it
has been called, rises to the height of fifty-seven feet. The carving
shows foliage and finials of great beauty, and beneath the canopies are
angel figures bearing the insignia of the Bishop's office. On one side
the chalice and Host of blessing; on the other, the bell, book, and
candle that conveyed the Bishop's curse.

At the date of the 1870 restorations the throne was in a very defective
state. It had been covered with brown paint, and the lower panels were
not a little damaged. There are traces of ancient colouring still, but
only the paintings at the base have been renovated, which commemorate
the quartette of famous bishops, Warelwast, Quivil, Stapledon, and
Grandisson, and were, no doubt, somewhat later than the throne itself.
Originally the niches of the tabernacle work were filled with figures,
but these have disappeared.

[Illustration: THE CHOIR, LOOKING EAST.
The Photochrom. Co. Photo.]

[Illustration: SEDILIA IN THE CHOIR.
The Photochrom. Co. Photo.]

#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 Con