A magnificent range of stalls crowned with elaborate tabernacle work of the sixteenth century adorns the choir, and under each of the sixty-eight seats are carved misereres, making a larger collection than any other in the country. The subjects range from a horrible representation of the devil with a second face in the middle of his body to humorous pictures of a cat playing a fiddle, and a scold on her way to the ducking-stool in a wheel-barrow, gripping with one hand the ear of the man who is wheeling her. Bears, foxes, lions, deer, and birds are the most favourite subjects, while the most unique is perhaps the elephant at one end of the front row of stalls on the south side. It is shown with a howdah on its back, a most curious trunk, an ear resembling a bat’s wing, and a monkey behind, in the act of dealing a tremendous blow with a stick. This cannot compare with the remarkably fine elephant, with a tall howdah filled with armed men, carved as a finial in front of the Bishop’s throne in Ripon Cathedral. In the north-east corner of the choir, built across the opening to the lesser transept on that side, is the tomb of Lady Eleanor FitzAllen, wife of Henry, first Lord Percy of Alnwick. It is considered to be, without a rival, the most beautiful tomb in this country. The canopy is composed of sumptuously carved stone, and while it is literally encrusted with ornament, it is designed in such a masterly fashion that the general effect, whether seen at a distance or close at hand, is always magnificent. The broad lines of the canopy consist of a steep gable with an ogee arch within, cusped so as to form a base at its apex for an elaborate piece of statuary. This is repeated on both sides of the monument. On the side towards the altar, the large bearded figure represents the Deity, with angels standing on each side of the throne, holding across His knees a sheet. From this rises a small undraped figure representing Lady Eleanor, whose uplifted hands are held in one of those of her Maker, who is shown in the act of benediction with two fingers on her head. On the north side, the corresponding position is occupied by a figure of our Lord, with the right hand in the act of blessing, and the left pointed to the wound in His side. By climbing the winding stone staircase to the top of the screen a close scrutiny can be made of the astonishingly fine details of the carving on that side.