are those of the bishop, and
they occur again, borne by an angel carved in relief, on the right end,
impaling there the coat of the see on the sinister side.

We pass now to the railed-off transept aisle, known as St. John the
Baptist's Chapel, or as the Warner Chapel from the three seventeenth
century monuments that it contains. These are all in the "Palladian"
style in vogue at that time, and constructed chiefly of touch (black
marble) and white marble. They are in memory of Bishop John Warner (d.
1666), of his nephew Archdeacon John Lee Warner (d. 1679), and of the
latter's eldest son, Lee Warner, Esq. (d. 1698). The bishop's monument
is signed by the sculptor, Jos. Marshall, of London.

In the same chapel, in a recess beside Bishop Warner's monument, is an
old and weather-worn statue traditionally said to represent the great
architect-bishop Gundulf. This was brought hither by Mr. Pearson, when
he rebuilt the north-west tower, in the lower arcade of which it had
been carefully replaced in the changes of about 1770. The mitre is
almost lost, the face has suffered greatly, and the hands, feet and
parts of the crosier are quite gone. The chasuble hangs in curious,
close, U-like folds and the crosier staff passes diagonally across the
body. From an etching published in the "Journal of the British
Archaeological Association," in 1853, when the sculpture was, of course,
less worn than now, there seems to be under the chasuble a dalmatic, and
then under the dalmatic an alb over which the ends of the stole appear.

Under the arch between the aisle and the choir, is the most remarkable
of all the monuments in the church, the tomb of Bishop John de Sheppey.
Its very existence had long been forgotten, when Mr. Cottingham, in
1825, removed the chalk and masonry, with which it had for many years
been covered and concealed. Whether this covering was to save it from
the Roundhead soldiery or from earlier iconoclastic reformers is not
known. Alluding to the bishop, Bishop Weever wrote, in 1631, "his
portraiture is in the wall over his place of buriall." We have here an
evident reference to this effigy, and I think that Weever probably used
"in" in its most literal sense, implying that "the portraiture" was
already walled up in this time, though it has been taken to express
merely the position within an arch of the choir wall. If the effigy had
been long hidden the mere tradition of its existence might have died out
during the tr