here were formerly
three painted figures, representing Charity, Mercy, and Pity, each
bearing a scroll with an invocation, in Norman-French, for the soul of
the departed. After undergoing repainting more than once, with
modifications, the figures were scarcely recognisable in 1832, when
the monument was repaired, but the figures were unfortunately
obliterated. The inscription along the ledge of the tomb, which had
also been destroyed, is now replaced: "Hic jacet I. Gower, Arm. Angl:
poeta celeberrimus ac hoc sacro benefac. insignis. Vixit temporibus
Edw. III, Ric. II, et Henri IV." The short window above Gower's tomb
is not without suggestion in its vacancy. The last bay of the aisle
was occupied by the Prior's doorway, the existing fragments of which
are preserved _in situ_ on the exterior.

The window above it is most appropriately dedicated to Gower's
contemporary, Chaucer. It was presented by General A.W. Pigott in
memory of his sister, and was unveiled by the present Poet Laureate on
25th October, 1900, the fifth centenary of Chaucer's death. The artist
has succeeded in compressing a rather large subject into the single
lancet. The middle compartment depicts the pilgrims setting out from
the old "Tabard" inn, above which (in the upper division) rise the
tower of St. Saviour's and the spire of Canterbury, the starting-point
and the goal of the pilgrimage. The compartment beneath contains a
full-length figure of Thomas Becket, a study in ecclesiastical
vestments, his right hand raised in blessing, the left holding the
archiepiscopal cross. The whole is crowned with a medallion portrait
of the author of "The Canterbury Tales."

If the visitor will now turn to the right and take up a position
outside the chancel railings, he will probably be at the best point
for seeing the =East Window=, unless a strong light happens to be
behind it to bring out the details at a distance.

[Illustration: JOHN GOWER'S MONUMENT.
_From an engraving in the Crowle-Pennant Collection, British
Museum, 1801._]

It is placed in an elegant quintuplet arcading, the outer arches of
which are blind, leaving the central arches for the three lancets
composing the window. It contains the Crucifixion in the central
light, with the attendant figures of St. John and the Blessed Virgin
at the sides, the whole thus forming a pictorial substitute for the
rood-screen that formerly stood before the choir. The design of this
window is also by M