The chapel is said to have been dedicated by John Browne (or Newton), who was Abbot from 1510-1514, to his patron saint, St. John the Baptist, the initials being the same. On the step in this chapel is a slab with a mutilated cross incised in it and remains of an inscription upon a scroll. It is now almost illegible and crumbling fast away, but it was "Kyrie eleison anime Fratris Johis Lyon." This Johannis Lyon was the monk who made the reredos in this chapel. There are traces of two reredoses here, both of which show traces of colour. Older stonework has been used to make the newer reredos, and has been merely reversed. The tiles here are of interest, and there are also some outside, both at the east and at the west end of the chapel screen, well worthy of attention. They are chiefly odd tiles, similar to those in the choir, with the name of Farley, others with oak leaves, others with fleur-de-lys, others with lions rampant. At the west end of the chapel outside is a highly lacquered brass of the usual type, in memory of Judge Sumner, 1885. Just before turning into the south transept a stone on the floor will be seen, close to the angle of the wall made by the transept and the south aisle, with the inscription: "Here lyeth under this marbell ston Robart Leigh, organist and Maister of the Choristers of this Cathedral Church. He dyed the 6th of January 1589"(?). No record of him survives. On the south wall are two doorways. One, which is blocked up, is in the south-east corner, and is surmounted by a double-bodied monster, resembling an ape. The other doorway is usually pointed out to visitors as the "Pilgrim's door." Whether this door was that in general use for pilgrims or not is an open question. It was for a long time blocked up and has only a makeshift door in it at the present time. Carter, writing in 1807, says: "The arch of the opening, in its head, has four turns concentred by a flower. Above the head is an ogee architrave rising from small columns, which columns bend forward on each hand, forming open arms or fences on each side of the steps to the doorway. On these arms recline statues (angels) acting as guardians to the doorway. Their attitudes are well conceived and pleasingly varied." The sculpture is extremely graceful and pleasing, the expression of the faces particularly charming. The drapery, too, is arranged in a masterly manner. The door was thought by some to have been used to admit pilgrims to the shrine of Edward II., but others, arguing from the angels upon it, have taken it to be the door by which penitents could retire after making their confession. Perhaps the most reasonable explanation is that it was a door communicating with a vestry or checker for the sacrist, but there are no traces underground outside the south wall of any stone foundation for such building.