utting it off from the north aisle, it is of
the same date as the Lady Chapel. The north window is Bronscombe's work,
and the still finer east window, containing a good deal of the early
fifteenth-century glass, is Quivil's. The chapel originally contained an
altar to St John the Evangelist and a figure of the Magdalene, for in
Bishop Lacy's register are the words, "extra vestibulum coram ymagine
Sanctae Marie Magdalene." On the floor of the chapel is a brass to Canon
Langton, dated 1413. He was a cousin of Bishop Stafford. He is
represented kneeling, clothed in a most rich cope and alb, on which is
designed the Stafford knot. His hands are met in prayer. The epitaph
only gives the date of his death, and refers to his relationship with
the above-named bishop.

In this chapel also is a magnificent monument to Sir Gawain Carew and
his wife, and their nephew, Sir Peter. It is in two parts: on the upper
lie the figures of Sir Gawain and his dame, on the lower that of the
more famous nephew, with his legs crossed, an unusual position for a
figure on so late a tomb. Sir Peter and his uncle took an active part in
quashing the rebellion that disturbed the western counties in the reign
of Edward VI. The former died at Waterford, in Ireland, 1575. Sir Peter
Carew sat on the King's Commission of 1552, which summoned the Dean and
Chapter to the bishop's palace, "then and there to answer all demands
and questions concerning the jewells plate and other ornaments of your
cathedrall churche."

In 1857 the monument was admirably restored by the members of the Carew
family, the whole being gilded and coloured.

TOMBS IN THE CHOIR AND CHOIR AISLES.

The first tomb to notice on the north side of the choir is that of the
murdered bishop, Stapledon. The canopy was judiciously restored at the
beginning of the century. From beneath it one observes a great image of
Christ, the pierced hands raised to bless. The wounded feet stand upon a
sphere, possibly to represent His dominion over the world, and an
insignificant earthly king, in scarlet robes, seems to take refuge in
the shadow of the Saviour. Beneath the canopy lies the figure of the
bishop, grasping the crozier in his left hand and a book in his right.
The keys upon his sleeve represent the arms of the see. Above the
monument the arms of the bishop figure on the choir screen, and over the
tombs of Lacy and Marshall the same plan has been observed. This screen
was erected about the cl