Florence, on his way to Rome, August 25th, 1282. His heart was sent to
Ashridge in Buckinghamshire, part of the body was buried near Orvieto; and
the bones were brought to Hereford and deposited in the Lady Chapel.

The pedestal is in shape a long parallelogram, narrower at the lower end.
It is of Purbeck marble, and consists of two stages, the lower having a
series of cinquefoiled niches and fourteen figures of Templars in chain
armour in different attitudes, for Bishop Cantilupe was Provincial Grand
Master of the Knights Templars in England.

All the figures are seated with various monsters under their feet. The
filling of the spandrels between these niches and that of the spandrels
between the arches of the upper stage is especially noteworthy. It belongs
to the first Decorated period, and while the arrangement is still somewhat
stiff or formal, the forms are evidently directly copied from nature.

The slab inside the open arcade, which forms the upper stage, still bears
the matrix of the brass of an episcopal figure having traces of the arms
of the See (_i.e._, the arms of Cantilupe).

By the dedication of the north transept especially to Bishop Cantilupe was
avoided the secondary part which his shrine must have played if it had
been placed in the usual post of honour at the back of the high altar. The
shrine of St. Ethelbert was probably already there, and wisely enough a
distinguished position was specially created by rebuilding the north
transept for the purpose. There is a similar state of affairs at Oxford
Cathedral with the shrine of St. Frideswide, and in the south transept of
Chichester Cathedral with that of St. Richard de la Wych.

We note also a brass to Dean Frowcester, 1529; and another to Richard
Delamare and his wife Isabella (1435).

Near the Cantilupe shrine is a bust of Bishop Field (died 1636), and on
the floor is an effigy of John D'Acquablanca, a Dean of Hereford (died
1320), and nephew of Bishop D'Acquablanca, whose beautiful monument is
close to it, between the north choir-aisle and the eastern aisle of the
transept. Beholding the exquisite grace of this tomb we are reminded of
the more elaborate and equally beautiful chantry of the same period (1262)
in the south choir transept of Salisbury to Bishop Giles de Bridport.

Over the effigy, which is a most interesting example of minute
ecclesiastical costume, delicate shafts of Purbeck marble support a gabled
canopy, each gable of which is s