The eastern window of the chancel,[21] as its legend records, is the pious and dutiful oblation of Rudolph, Baron Clinton, and Georgiana Elizabeth his wife. The central figure embodies the legend of St. Morwenna, who stands in the attitude of the teacher of the Princess Edith, daughter of Ethelwolf the Founder King; on the one side is shown St. Peter, and on the other St. Paul. The upper spandrels are filled with a Syrian lamb, a pelican with her brood, and the three first letters of the Saviour’s name. The window[22] itself is the recent offering of two noble minds; and while on this theme we may be pardoned for the natural boast that the patrons of this chancel have called by the name of Morwenna one of the fair and graceful daughters of their house. “Nomen, omen,” was the Roman saying,--“Nomen, numen,” be our proverb now! But before we proceed to descend the three steps of the chancel floor, so obviously typical of Faith, Hope, and Charity, let us look westward through the tower-arch; and as we look we discover that the builders, either by chance or design, have turned aside or set out of proportional place the western window of the tower. Is this really so, or does the wall of the chancel swerve? The deviation was intended, nor without an error could we render the crooked straight. And the reason is said to be this: when our Redeemer died, at the utterance of the word τετέλεσται, “It is done!” His head declined towards His right shoulder, and in that attitude He chose to die. Now it was to commemorate this drooping of the Saviour’s head, to record in stone this eloquent gesture of our Lord, that the “wise in heart,” who traced this church in the actual outline of a cross, departed from the precise rules of architect and carpenter. The southern aisle, dedicated to St. John the Baptist, with its granite and dunstone pillars, is of the later Decorated order, and is remarkable for its singular variety of material in stone. Granite pillars are surmounted by arches of dunstone; and, _vice versa_, dunstone arches by pillared granite. This is again a striking example of doctrine proclaimed in structure, and is symbolic of the fact that the Spiritual Church gathered into one body every hue and kind of belief; whereas “Jew and Greek, Barbarian and Scythian, bond and free,” were to be all one in Christ Jesus: so the material building personified, in its various and visible embrace, one Church to grasp, and a single roof to bend over all. This, the last addition to the ancient sanctuary of St. Morwenna, bears on the capital of a pillar the date A.D. 1475,[23] and thus the total structure stands a graphic monument of the growth and stature of a scene of ancient worship, which had been embodied and completed before the invention of printing and other modern arts had worked their revolution upon Western Europe.