After many meetings and multiple architects, canons and advisors making drawings on the possible new layout for the choir and presbytery, it was agreed in September 1857 to accept the recommendations of George Gilbert Scott. His design had a choir and presbytery stretching 6 bays from the crossing to a 13th-century style reredos. The reredos was now placed where the medieval altar once stood. There would be 3 bays of stalls for clergy and choir with the pulpit on the north side (later abandoned) and the bishop’s chair on the south side. Canopies above the stalls were initially considered, but never followed up. Exits to the side aisles would be from the 4th bay (counting from the crossing). The eastern, sanctuary bay would have canopied sedilia on the south side and arcading on the north side. Very little interruption to services occurred in the reordering of the choir and presbytery[1] and by the time of the opening in 1861, the floor of the presbytery was still incomplete and the foundations to the reredos was simply marked out, but worship continued.
Layout of choir and presbytery
Reredos[2]
The reredos
was designed by Scott and cost £2000 with all materials deliberately taken from
locations in the diocese. Statues were made of alabaster from Fauld near
Tutbury and brown looking columns behind the altar table made of rare
red-marble (Duke’s Red) from the Chatsworth estate and agreed by the Duchess of
Devonshire. The centre was a bas-relief of the Ascension, with, a figure of
"The Lamb" underneath. On each side two compartments contained the
emblems of the four evangelists. Around the middle arch, stones were embedded
from Derbyshire mines and included red jasper, blue john and malachite green.
Reredos
1900, still to have the statues of C. E. Kempe added.
Reredos
today.
Designed by Charles Ashbee in 1906. At the top is a
small figure of Chad and around him are angels.
Sedilia
(a group of three seats)
This is the remnant of the original 15th-century high
altar screen later added in 1788 to the choir screen and then recovered by
Scott in pieces. Scott had it remade with plaster and Bath stone. The
much-repaired south sedilia was completed in 1869-70. Whilst the north sedilia was not completed
until 1914.
Sedilia north side (left) and south side (right).
Woodwork
All the wood carving was done in
the studio of William Evans at Ellastone in East Staffordshire. He is said to
have been the model for Seth in George Elliot’s "Adam Bede," and was
a cousin of the authoress. There is much natural foliage in the carving, with
figures of apostles, kings, and bishops, and panels representing scenes from
Old Testament history. The Bishop's Throne is by the same carpenter.
Pavement
The tiled pavement between the stalls was made by Minton of Stoke after the pattern of old tiles found in the cathedral and left over from the Civil War. The pavement in the presbytery was made of incised stone with marble borders. There are four large medallions, which show scenes in the history of the diocese with Chad surrounded by kings and bishops who had some connection with the see. The scheme was arranged by Scott, but the medallions designed by the Rev. J. Pitman, headmaster of Rugeley Grammar School.
Three roundels in the presbytery floor. From the left, Chad being consecrated bishop of Northumbria at York, Chad being given a horse by Archbishop Theodore and asked to go to Lichfield and Chad being buried in his grave in the nave area.
The pavement within the rails was given by Minton and designed by Clayton and Bell. The 7 subjects from the Old Testament were inspired by tiles from Chertsey Abbey, Surrey, and now in the V & A museum.
