Broad square pilasters, with semi-detached shafts at their angles, fill the spaces between the piers. They terminate at the spring of the triforium arches in double triangular headings, with crocheted sides, and finials of leafage. These headings are Early English, of the same date as the clerestory and vaulting; and between each pair rises a group of so-called vaulting-shafts, with capitals of leafage, terminating at the base of the clerestory; and connected (under the actual base of the clerestory) by a band of open flowers. The _clerestory_ consists of one lofty pointed arch in each bay, divided by a central shaft; on either side is a smaller trefoiled arch. The windows, of two lights, with a quatrefoil in the heading, are placed at the back of the wall-passage, and form in effect a double plane with the large inner arches. They are filled on each side with indifferent stained glass. The choir _vaulting_ is plain quadripartite, with bosses of leafage at the intersections. X. Before 1841, the east end of the choir was covered with an oaken screen, erected by Bishop Bisse in 1717; and above it was a Decorated window filled with a copy in stained glass of WEST’S picture of the Last Supper. The removal of the screen disclosed the great Norman arch of five orders, within which the reredos is now placed. Above this arch is a small blind arcade; and instead of the Decorated window, [Illustration: THE ALTAR-SCREEN. PLATE II. ] three lancets have been inserted at the back of the clerestory passage. Of these, the central window has been filled with stained glass by HARDMAN; too minute perhaps in design for the height at which it is placed, but very good. The subjects in this window are the Saviour in Majesty, the Resurrection, the Crucifixion. The subjects in the north and south lancets will comprise the principal events of our Lord’s Passion. The _reredos_ [Plate II.] below was designed by Mr. Cottingham, jun., as a memorial for JOSEPH BAILEY, Esq., M.P. for the county of Hereford, who died in 1850. It is in oolite (Bath stone) and marble; and although too high for its position, is a fine work. Between the five canopied compartments rise small shafts, supporting angels, who carry the instruments of the Passion. The pierced leafage at the back of the canopies is very beautiful. The subjects in the panels are--the Agony in the Garden, Bearing the Cross, the Crucifixion, with floating angels above the Cross, the Resurrection, and the three Maries at the Sepulchre.