Another noteworthy monument is that on the north wall to =Lionel Lockyer=, inventor and patentee of the miraculous pills, "Radiis Solis Extractae," to be taken early in the morning against fogs, contagious airs, and all diseases known and unknown, to improve personal beauty, and make old age delightful. The glowing epitaph of twelve lines is at once a eulogy on the man, and a bold advertisement of the medicine. Lockyer died on 26th April, 1672. An air of sanctimonious benevolence will be noticed on the face of the recumbent doctor--probably a faithful portrait--not unlike the expression given to the quack doctor in one of Hogarth's famous pictures. The face of the cherub above wears a look of intense agony, which frivolous people are wont to attribute to the panacea. Higher up on the same wall there is a Hatchment, with the armorial bearings of the person to whom it refers, and the motto _Resurgam_. The conspicuous place and large characters look as if specially chosen with reference to the fabric, to which the word may well be applied. On the east wall hangs an escutcheon of the arms of Queen Anne, with the motto _Semper eadem_. The arms seem to have been painted over some previous heraldic achievement, which includes the figures of "Justice" and "Mercy," or two similar characters, standing on a platform in the middle of a Rotunda. There is a peculiarity also in the omission of the year, which is usually given with the Royal Arms hung up in churches. The escutcheon is said to have been brought from the neighbouring Sessions Court, and set up in the first instance in the choir, to commemorate the visit of Queen Anne, when she came to hear Dr. Sacheverell. Appearances seem to show that it was repainted, and the Queen's initials inserted, to suit the occasion. The =South Transept=.--The solid panels, noticed outside as diminishing the effect of the great south window, are accounted for in the interior, where the mouldings of two lofty arches occupy the wall, their apices reaching to the window sill. These the restorer has wisely left intact, and the window, seen from within, appears in admirable proportion, and well suited to its place. It is of five lights, and occupies the entire breadth of the transept. The style is described by the architect, Sir Arthur Blomfield, as "Transitional between Flowing Decorated and Perpendicular." Presented by Sir Frederick Wigan, Bart., in memory of his daughter, the glazing of this fine window was entrusted to Mr. C.E. Kempe. He has taken as his subject the "Tree of Jesse," as a connecting link between the scripture subjects represented elsewhere, and the modern historical windows, whether commemorating distinguished clergy or laity of the Catholic Church.