Of the chapel, which the founder of the bridge is said to have erected, no account survives; and although it was believed at the time of the destruction of the bridge that his remains were discovered, no satisfactory evidence of their identity was forthcoming. The first chapel must have perished in one of the early misfortunes which befel the fabric, as no trace of any detail which could be referred to the thirteenth century was discovered when the pier on which the chapel stood was removed. The drawings made by Vertue before the last remains were cleared away show a structure which may be assigned to a date but little later than the Chapel Royal of St. Stephen at Westminster, to which, in many particulars, it must have borne a considerable resemblance. It consisted of two storeys, both apparently vaulted, measuring some sixty by twenty feet, with an apsidal termination. The undercroft was nearly twenty feet high, and our illustration (fig. 1) of a restoration of it, prepared from Vertue's drawings and dimensions, will give some idea of its beauty. The upper chapel seems to have been similar, but much more lofty, and had an arcade running round the walls under the windows. The buttresses of the exterior were crowned with crocketted pinnacles, and the effect of the whole, standing high above the surging waters of the river, must have been as striking as it was beautiful. The chapel was built on the centre pier of the bridge, on the east side, and the chapels were entered from the roadway, the lower one by a newel staircase, on which was found the holy-water stoup when the bridge was destroyed in the last century. At the Reformation the church was converted into a warehouse, but, thanks to the solidity of its construction, it remained almost intact till it was swept away with the houses in 1756. Of the other buildings on the bridge there is little to say, for, although they made up a picturesque composition, they were of a most flimsy character, and wanting at the last in any architectural merit. Our illustration (fig. 2), taken from an oil painting by Scott, belonging to the Fishmongers' Company, gives the principal group on the Surrey side, and in the sixth plate of Hogarth's _Marriage a la Mode_ we get a view through the open window of another part in the last stage of dilapidation. There was, however, one exception to the commonplace among them, in a timber house, made in Holland, which was known as "Nonsuch House." It was erected, it was said, without nails, and placed athwart the roadway, hanging at the ends far over the river, with towers and spires at the angles, and over the great gate the arms of Queen Elizabeth. The top of the main front was surmounted, at a later date, with a pair of sundials, which bore the, for once, appropriate motto--"Time and Tide wait for no man."