The arrangement of the presbytery, as we have already noted when referring to the plates here reproduced from Britton, has undergone many changes; in the beginning of the century the level of the floor of the choir was continued until between the third and fourth bay from the tower in the presbytery, where it rose by five steps to the level of the sanctuary floor. Harrod speaks of two steps up at the third pier past the tower, and three at the fourth or point of the junction of the apse. In Dean Goulburn's time, the sanctuary space was enlarged by being brought forward one bay. The present floor, designed by Sir A.W. Blomfield in glass mosaic and porphyry, was executed by Powell Brothers. Then also was added the somewhat elaborate communicants' rail, executed in bronze and spars. In enlarging the sanctuary, Dean Goulburn moved the three steps from the fourth pier past the tower to the third, and at the same time the two steps at the third pier were moved forward to the first past the tower. And now again, during the recent works of reparation, the presbytery floor has been brought forward at one level to the tower arch, where it descends to the level of the choir floor by five steps: screens which filled the first bays on either side were removed, and similar flights of steps now descend from the presbytery and the north and south aisles. The cumbrous stalls were also removed, and in part refixed in the nave. The stained glass which fills the clerestory windows of the apse dates from 1846, and was made by Yarrington. The window in the triforium just above the altar contains modern stained-glass, dedicated to the memory of Canon Thurlow. #Monuments in the Presbytery.#--The monument of Herbert, the first bishop of Norwich, and the founder of the cathedral, was raised in the centre of presbytery, before the high altar. It was so much injured during the time of the Rebellion that a new one was erected in 1682; this again was levelled, and a slab placed in the floor at the same place now remains. In the second bay eastward from the tower (south side), marked 10 on plan--Bishop Goldwell's (1472-99) chantry, and the altar tomb, remarkable for the effigy in full pontificals (see illustration). Bloxam remarks that it is "the only instance of the monumental effigy of a bishop, prior to the Reformation, in which the _cappa pluvialis_, or processional cope, is represented as the outward vestment instead of the casula or chesible." The tomb is placed to the south of the recess; in the space east was an altar. In the third bay eastward was Bishop Wakering's (1416-25) tomb, the only part of which now remaining is visible from the south aisle, and consists of a series of panels with plain shields and figures two by two, with the several instruments of the Passion. There were formerly steps down into the south aisle from this bay. In the same place is a monument to Bishop Overall (d. 1619).