e sons has disappeared.

A little further south, in the aisle, formerly stood the tomb of A.
Gorges, son of Sir A. Gorges, who was possessor of the chapel for many
years. This blocked up the aisle and was taken to pieces. The black slab
which was on the top is set in the floor, and the brasses containing an
epitaph in doggerel rhyme, attributing all the merits in the universe to
the deceased, hang on the wall on the north side. The date of the chapel,
1528, is on the capital of one of the pillars supporting the arch which
divides the chapel from the nave. The capitals are beautifully executed,
though the design is grotesque. In one of them the rough end of stone is
left unfinished, as if the builder had been called hastily away and had
never been able to complete his task. The chapel was recently bought by
the church on the death of its owner, and is now inalienably possessed by
the parish.

Just below the south aisle is the Dacre tomb, the richest and most
striking in the church. It contains two life-size effigies of Lord and
Lady Dacre lying under a canopy which is supported by two pillars with
gilded capitals; above is a semicircular arch. The whole interior of the
arch and the background is most richly carved and gilded. Above the arch
are the Dacre coat-of-arms and two shields, while two smaller pillars,
wedge-shaped like Cleopatra's Needles, rise at each corner. At the feet
of the figures lie two dogs, and the effigy of a small child lies on a
marble slab below the level of its parents. By Lady Dacre's will certain
presentations to some almshouses in Westminster are left to the parish on
condition of the tombs being kept in good repair. The tomb was
redecorated and restored in 1868.

The south and west walls are covered with monuments, and careless feet
tread on inscribed stones in the aisle. On the northern wall below the
north aisle is a monument which immediately attracts attention from its
great size and striking design. It is that of Lady Jane Cheyne, daughter
of William, Duke of Newcastle. It is an effigy of Lady Jane in white
marble, larger than life-size; she lies in a half-raised position. Below
is a black marble tomb with lighter marble pillars. Overhead is a canopy
supported by two Corinthian columns. The inscription, which states it was
with her money her husband bought the Manor of Chelsea, is on a black
marble slab at the back. The monument is by Bernini.

All these tombs, with their wealth of car