The reredos is in Bath stone and marble, and was designed by Mr. Cottingham, junior, as a memorial to Mr. Joseph Bailey, 1850, who represented the county for several years in Parliament. The sculptor was Boulton, and the subject is our Lord’s Passion, in five deep panels occupying canopied compartments divided by small shafts supporting angels, who carry the instruments of the Passion. The subjects in the separate panels are:—1. The Agony in the Garden; 2. Christ Bearing the Cross; 3. The Crucifixion; 4. The Resurrection; and 5. The Three Women at the Sepulchre. [Illustration: EAST END OF THE CHOIR IN 1841.] EAST END OF THE CHOIR IN 1841. Above the reredos a broad spandrel left by two pointed arches springing from a central pier fills the upper part of the Norman arch. The pier itself is old, but the upper part is a restoration of Mr. Cottingham’s. The spandrel is covered with modern sculpture, as may be seen in the illustration. The subject is the Saviour in Majesty, the four evangelists holding scrolls; and below a figure of King Ethelbert. An older representation of King Ethelbert is the small effigy on a bracket against the easternmost pier south of the choir, close to the head of the tomb of Bishop Mayo, who had desired in his will to be buried by the image of King Ethelbert. It was dug up about the year 1700 at the entrance to the Lady Chapel, where it had doubtless been buried in a mutilated condition when the edict went forth for the destruction of shrines and images. [Illustration: EARLY ENGLISH WINDOW MOULDING.] EARLY ENGLISH WINDOW MOULDING. Originally there were other representations of St. Ethelbert: on the tombs of Bishops Cantilupe and Mayo, Dean Frowcester, Archdeacon Rudhale, Præcentor Porter; in colour on the walls of the chapter-house and the tomb of Joanna de Kilpec; in ancient glass, recently restored, in a window in the south aisle of the choir; and in a stone-carving over the door of the Bishop’s Cloister, and the effigy formerly on the west front. Opposite the throne a slab of marble, from designs by Scott, marks the spot, as far as it is known, where Ethelbert was buried. *The Choir-stalls* are largely ancient, belonging to the Decorated period. They have good canopy work, and are otherwise excellent in detail. Some of the _misereres_ are quaint, among them being found several examples of the curiously secular subjects chosen for this purpose by the wood-carvers of the period.