on saint. Here lies the effigy of the bishop in a carved and richly
gilded tomb.

The Chapel of St. Mary Magdalene, originally built by Bronescombe, was
altered by Quivil. It has a Perpendicular screen and some
fifteenth-century glass in the east window. Close by, on the north side
of the north choir aisle, is Sir John Speke's Chantry, or St. George's
Chapel, of Perpendicular work and containing the effigy of the knight.
When the Cathedral was divided into two parts, in Puritan days, a
doorway was made where the altar now stands, leading into "East
Peter's". On the north side of the choir aisle is St. Andrew's Chapel,
corresponding with that of St. James on the south. By the north wall is
the large sixteenth-century monument of Sir Gawain Carew, his wife, and
his nephew, Sir Peter Carew (1571). The effigy of the last-named is
cross-legged, and so late an example of this disposition of the lower
limbs supports the now generally accepted archaeological fact that the
cross-legged attitude had no particular reference to the romantic wars
of the Crusades.

Other interesting monuments in this aisle are the cross-legged effigy of
Sir Richard de Stapledon, half-brother to the bishop, and that of Bishop
Stapledon. The latter, although in the choir, is seen to better
advantage from below. A story runs to the effect that while Sir Richard
was riding one day in London with his brother, a cripple laid hold of
his horse by one of the fore legs, throwing both horse and rider to the
ground, and causing the knight's death, hence the name "Cripplegate".
Bishop Stapledon was Treasurer to Edward II, and held London against
Queen Isabella. The bishop was taken prisoner, and condemned to death at
a mock trial. He was beheaded at Cheapside, and his body cast on a
rubbish heap, whence it was eventually taken to Exeter and accorded an
honourable burial.

No examples of miserere carvings are known in English churches before
the thirteenth century, and the set at Exeter are probably the earliest
we have, the character of their foliage denoting the Early English
period. They are thought to have been the gift of Bishop Bruere
(1224-44). The complete set numbers forty-nine, and among the subjects
represented are a merman and a mermaid, an elephant, and a knight
slaying a leopard.

The choir stalls, carved to illustrate the _Benedicite_, the pulpit, and
the reredos are all modern, having been erected from designs by Sir
Gilbert Scott. The lofty