Between the north choir aisle and the eastern aisle of the transept is the tomb of Peter Aquablanca, the most ancient of the episcopal monuments in the church. The effigy is an example of a bishop in full vestments; the canopy is supported by slender shafts; the carving throughout is delicate. The south transept is thought by some authorities to be the oldest part of the cathedral, and it exhibits some Norman work, notably the eastern wall with its arcades. Until its removal in the 1960s there was a wrought iron choir-screen, painted and gilt. Designed by Scott, it was executed by Messrs. Skidmore, of Coventry, from whose works also came the earlier metal screen at Lichfield. After being kept in storage for many years, the screen was completely restored in the late 1990s and re-erected at the Victoria and Albert Museum in London. The choir, consisting of three Norman bays of three stages, is full of objects of beauty and interest. The reredos, designed by the younger Cottingham, consists of five canopied compartments, with elaborate sculpture representing our Lord's Passion. Behind it is a pier from which spring two pointed arches; the spandrel thus formed is covered with rich modern sculpture, representing Christ in his majesty, with angels and the four Evangelists; below is a figure of King Ethelbert. Against the most easterly point on the south side of the choir is to be seen a small effigy of this king, which was dug up at the entrance to the Lady Chapel about the year 1700. The Bishop's throne and the stalls, of 14th century work and restored, and the modern book desks and figures of angels on the upper stalls, deserve attention. There is also a very curious ancient episcopal chair. As of 2 January 2020:   On the south side of the choir is the organ case also designed by Scott. It houses an instrument built in 1892 by Henry Willis, generally considered to be one of the finest examples of his work in the country.