the church. The vaulting of the choir is thirteenth-century work,
quadripartite, the ribs decorated with dog-tooth ornament and square
leaves, and has fine bosses at the intersections of the diagonal ribs.
The choir of Durham is especially interesting to the student of
architecture, showing as it does the Early Norman work of Carileph,
combined with the Early English and Early Decorated work of the newer
eastern portion.

On the south side of the choir stands the monument of Bishop Hatfield,
who directed the see of Durham from 1345 until 1381. This monument is
beneath the Episcopal Throne, which was erected by Bishop Hatfield
himself. It consists of an altar tomb surmounted by a recumbent effigy
of the bishop, in richly-worked robes, beneath a canopy, richly groined,
with foliated bosses at the intersections of the ribs. On the walls at
the east and west ends may still be seen the remains of fresco painting,
representing in each case two angels. Beneath the staircase leading up
to the throne is a very fine decorated arcade, containing several
shields bearing the bishop's and other arms. The whole structure was
originally richly coloured and gilded, and remains of this work can
still be made out. It is a noble specimen of the work of its date.

Immediately opposite the tomb of Bishop Hatfield, on the north side of
the choir, the visitor will notice the recently-erected memorial to the
late Bishop Lightfoot. This is an altar tomb of black and coloured
marble. The sides are ornamented with panels of Perpendicular tracery
containing shields. Round the upper mouldings runs a Latin inscription
in brass. The whole is surmounted by a recumbent figure of the bishop in
white marble, his hands on his breast, and his feet resting against
three books. Originally designed by Sir Edgar Boehm, R.A., at his death
the monument was completed by Alfred Gilbert, R.A.

The beautiful altar screen is usually known as the #Neville Screen,#
and was erected about the year 1380, mainly from moneys supplied by
John, Lord Neville of Raby. It spans the whole of the choir, and is
continued along the sides of the sacrarium, forming sedilia of four
seats on either side. It is pierced by two doors, which lead to the
shrine of S. Cuthbert, immediately behind the screen. Though very light
and graceful in appearance, the screen, as it is at present, can give
the beholder little idea of what its appearance must have been when
each of its canopied niches co