The next monument on this side is an emaciated figure, or _Memento Mori_, a gruesome style popular in the fifteenth century. It may have been intended for a cenotaph of Bishop Bothe, the legend, nearly erased, at the top, being the same as that on his brass in the church of East Horsley, Surrey, where he is buried. [Illustration: MONUMENT OF BISHOP MARSHALL (FROM BRITTON'S 'EXETER,' 1826).] The monument to Anthony Harvey of Colomb John is of no great interest, being poorly designed. Its date is 1564. Harvey was steward of the abbeys of Hartland, Buckland, and Newenham at the time when the religious houses were suppressed. He is said to have amassed very considerable wealth; for, in addition to the profits derived from the spoliation of the above monasteries, he received from Henry VIII considerable lands belonging to the abbey of Tewkesbury, which he sold, probably most advantageously, to a clothier of Crediton. Harvey was connected with the Carews through the marriage of his daughter, and heiress, with George Carew, Dean of Exeter, the notorious pluralist. Their son, Harvey's grandson, was created Earl of Totnes, but died without issue. At the west end of the south aisle is the monument of Bishop Gary (1621-26) and a mural tablet commemorating Robert Hall, eldest son of Bishop Hall, and treasurer of the cathedral. To him Exeter owes a perpetual debt of gratitude, for, when the city surrendered to Fairfax in 1646, he took down the Bishop's Throne and concealed it (buried it according to local tradition), and after the Restoration was able to re-erect in its proper place the most magnificent Bishop's throne in England. Neither the effigy of Bishop Cotton (1621) nor the angel resting on the sarcophagus of Bishop Weston--a typical Georgian monument--are of much intrinsic merit. Flaxman's statue to General Simcox, the hero of the Queen's Rangers in the American War, is the only other notable monumental achievement in the south choir aisle.