robe are managed with a consummate simplicity and
skill. In Leland's "Itinerary" the bishop's epitaph is preserved:

"Hic jacet Edmundus de Stafforde intumulatus,
Quondam profundus legum doctor reputatus,
Verbis facundus, Comitum de stirpe creatus,
Felix et mundus Pater hujus Pontificatus."

#Tomb of Sir John and Lady Doddridge.#--Sir John Doddridge came of an
old Devonshire family, for in 1285 one Walter Doddridge and his wife
surrendered to the Dean and Chapter of Exeter a right of entrance into
the close from their house in High Street. Fuller says of him that it
were "hard to say, whether he was better artist, divine, Cure, or Common
Lawyer, though he fixed on the last for his publick Profession." He was
second justice of the King's Bench, and gained great renown as a judge
of stern integrity. Sir John was three times married, the lady whose
effigy is here represented being his third wife, Dorothy, daughter of
Sir Amias Bampfylde. She died in 1615. Sir John, who became a judge of
the King's Bench, lived till 1628. He won the nickname of the "sleepy
judge," for he always closed his eyes in court, the better to keep his
attention fixed on the case. The monument is very elaborate, and if not
beautiful is well worth attention on account of its technical qualities
and the probable accuracy of its representation. The dress of Lady
Dorothy Doddridge exhibits a good example of costume; the skirt
embroidered with pansies and carnations; the ruff and cuffs showing old
Devonshire "bone lace." It was no doubt copied from one of the lady's
actual gowns.

On the south side of the Lady Chapel are two most interesting monuments
of early bishops. That towards the east has been assigned to Bartholomew
Iscanus (1161-84), but in all probability it represents one of his far
earlier predecessors. The sculpture is almost archaic in style, the
mitre low, the face bearded, and the type extraordinarily Byzantine. The
left hand holds the pastoral staff, the point of which impales a winged
dragon, with a sphinx-like head, at his feet. In the angles of the
archway at the tomb are the figures of two angels with censers.

The other tomb is that of Simon de Apulia (d. 1223). It presents a great
contrast to that just described. The great advance made in the art of
sculpture is noticeable in the more human character of the face, which
is clean shaven, and the more skilful management of the hands. The
artist, too, seems to have courted d