But though the remodelling was complete, even to the vaulted roof above, the choir was all naked and bare; and the next bishop set himself, not to carry the work into the nave, but to complete the equipment of the choir. In one respect Bitton’s choir was weak in design: it had a triforium in the choir bays (the four to the west) but not in the bays of the sanctuary. Bitton’s eastern clerestory windows were splayed down till they rested on the summits of the new pier-arches; to the same line were continued downward the shafts in the jambs of his windows. This diversity of treatment of the two halves of the choir must have had a most discordant effect; and Stapledon corrected it very cleverly by adding a triforium to the east in such a way that though the eastern arcading is not so deep as the western, yet in perspective the difference is hardly noticed. Probably the next thing was to glaze the remainder of the sixty choir windows, only eighteen of which were filled with stained glass at Stapledon’s accession. It seems likely that nearly all the stained glass for the choir and the transepts came from abroad—from Rouen. For the nave, later on, the place of the laity, English glass, cheaper and not so good, was thought sufficient. The glass was inserted by Walter le Verrouer (he has descendants still living in Exeter), at the moderate price of 6_s._ for a fortnight’s work, of himself and “two boys,” for one pair of clerestory windows. Hitherto the clergy had sat in the transept and the western bays of the nave; now, as in many other cathedrals, the stalls were moved into the western bays of the choir. (The present canopies of these stalls are modern.) Next came the Bishop’s throne (A.D. 1316), intended for his Lordship with a chaplain on either side; “a magnificent sheaf of carved oak, put together without a single nail, and rising to a height of 57 feet. The lightness of its ascending stages almost rivals the famous ‘sheaf of fountains’ of the Nuremberg tabernacle. The cost of this vast and exquisitely carved canopy (about twelve guineas) is surprisingly small, even for those days. The carved work consists chiefly of foliage, with finials of great beauty, surmounting tabernacled niches, with a sadly untenanted look, however, for lack of their statuettes. The pinnacle corners are enriched with heads of oxen, sheep, dogs, pigs, and monkeys.” Next came what is perhaps the most exquisite work in stone in England, as the throne is unparalleled in woodwork—the sedilia; the seats of the priest to the east, and to the west of him, those of the Gospeller and Epistoler. These sedilia have been preferred even to the shrine of Beverley and the Lady chapel of Ely. “The canopy of the seat nearest the altar,” says Mr. Garland, “deserves particular attention. It is adorned with a wreath of vine leaves on each side, which meet at the point and there form a finial; and never did Greek sculptor, of the best age, trace a more exact