“(4) On the eastern range of transept piers. These would seem also to come within Jocelin’s period, with the exception of the third pier of the south transept. “(5) On the western range of transept piers, with which must be classed those later caps already referred to in the nave under group 2. Their date is settled by the fact that they abound in unmistakable representations of the toothache. Now Saint William Bytton died in 1274, and his tomb became immediately famous for cures of this malady. In 1286, the chapter decided to repair the old work, no doubt because the offerings at his tomb had brought money to the church.”--(P. D.) In studying these fascinating grotesques, however, we have neglected to examine the two chantries in the nave--=Bishop Bubwith’s= and =Dean Sugar’s=. They are opposite one another and are alike in general characteristics. The screen work and cornices of Bubwith’s composed of light and elaborate tracery are very much admired. Light doorways permit entrance. The altar here was dedicated to St. Saviour. Bishop Bubwith (who built the north-west tower) died in 1424. His arms, containing holly-leaves, are beautifully carved. Sugar’s Chantry, about sixty years later in date, is even more elaborate. Like Bubwith’s, it is hexagonal and the canopy over the altar is vaulted with delicate fan-tracery. Critics now consider it the finer of the two. Adjoining Sugar’s Chantry the stone =Pulpit=, built in the reign of Henry VIII., calls for attention. In front are the arms of Bishop Knight, who built it and who is buried near it (he died in 1547). Beside it, is a brass lectern presented in 1660; upon this rests a Bible of the same date. In the =South transept=, we find the =Font=, interesting because it is the one relic of Bishop Robert’s Norman church. It may have stood in the earlier Saxon cathedral. The cover is Jacobean. In the south end of the south transept is the =Tomb of Bishop de Marchia= (died 1302). The effigy of the bishop, lying in a recess under a canopy bristling with crockets and finials and brilliant with scarlet and crimson, green and gold, is very striking. Some of the angels surrounding the figure are charming. It is interesting to compare this with the =Tomb of Lady Lisle=, also adorned with crockets and brightly coloured. Perpendicular stone screens divide the transepts from their small chapels. The chapels of the south transept are =St. Martin’s= (now the canon’s vestry) and that of =St. Calixtus=, enclosed on the side of the choir-aisle by some beautiful ironwork from Beckington’s tomb. On the south side of St. Calixtus’s chapel we must pause to examine =Dean Husse’s tomb=, of alabaster, and noted for its carved panels even in this cathedral of splendid carvings.