bot, and a monk: at the top on each side of the head are
angels with censers, and other symbolical figures.

The monument or shrine which was formerly placed over the tomb of
Bishop Hotham, has been in part restored, and now occupies the third
arch on the north side. This, with the tomb now on the south side of
the altar under it, originally stood in the first arch of his own
work, near his place of sepultre; it is in the Decorated style, and
was richly coloured and gilded. Part of it was cut away in order to
make room for the stalls when the choir occupied the six eastern
arches, but this has been rebuilt. This is now thought to have been
part of the sub-structure of the shrine of St. Etheldreda, as adapted
by Alan de Walsingham.

The second arch from the west, is occupied by the tomb of Bishop
Kilkenny (1254-1256,) who died at Sugho, in Spain, while on an embassy
to the Spanish Court; his body was buried there, his heart being only
interred here. The tomb is of Purbeck marble, and is a fine example of
the Early English style. The bishop is represented as in the act of
benediction, with a pastoral staff, and in full pontificals; his head
is shown as resting on a cushion, and is surmounted by a trefoil arch
with a crocketed gable, and a censer-bearing angel on each side.

In the next, or more western arch, is the beautiful monument of Bishop
Redman (1501-1505). It is a fine specimen of the Perpendicular Style,
and is richly ornamented with niches and canopies, and a variety of
shields with arms, and emblems of the passion; the effigy of the
bishop is recumbent on a high tomb under a rich canopy, with a space
left at the foot for a chantry priest. Passing through this space we
enter the

+North Aisle of the Choir,+

and first proceeding towards the western end of it, we notice the new
back screens which have been erected to mask the stall work in two of
the bays, and against which have been placed the monuments of Bishop
Fleetwood (1714-1723), and of his son Dr. Charles Fleetwood (1737);
the third bay is occupied by the new and elegant staircase to the
organ; it is of open work, richly carved, with foliated mouldings and
ornaments.

Opposite to this, in the north wall, is a beautiful door-arch,
formerly the means of communication with the Lady Chapel; it has
statues in large niches on each side, many smaller niches, crockets,
and finials, and over the keystone a sitting figure; the mouldings and
ornaments were or