In the north-eastern angle is an octangular turret, in which a small doorway opens to a staircase leading to a chamber which was no doubt once a chantry. It is lighted by a curious triangular window, with a trefoil on the intrado of each arch, the mouldings of which are deeply recessed. Below this is another chantry chapel, now used as a VESTRY, having at the east end an early Norman light, and on the north a mullioned window of the fifteenth century. Under a low pointed arch beneath this window is a monumental tomb composed of alabaster, but sunk into the floor for economy of space: it bears the figures of a warrior and his lady in the act of devotion, supposed to represent Nicholas Stafford and his wife Katherine. The former was bailiff of the town in 1458, and died in 1471. SOUTH TRANSEPT. The window of this transept contains the figures of our Saviour, St. James the son of Alpheus, and St. Thaddeus; in the dexter compartments are those of St. Matthew the Evangelist, St. Paul, and St. Mark; and in the sinister those of St. John the Evangelist, St. Peter, and St. Luke. Underneath this window is “GULIELMUS GORSUCH ROWLAND A.M. HUJUS ECCLESLÆ JUDEX OFFICIALIS ET MINISTER HANC FENESTRAM FACIENDAM CURAVIT ANNO 1829.” The windows of this and the north transept were executed by Mr. D. Evans, of Shrewsbury, and may be considered as some of the finest specimens of the art in the kingdom, both as regards brilliancy and harmony of colours, beauty of design, and exquisite workmanship, whilst the “dim religious light” which they shed around, imparts an impressiveness of character that at once bespeaks the sacred purpose of the place as the House of Prayer. Below the south window of this transept is a bold composition of monumental architecture, designed by Mr. J. Carline, consisting of three acute-angled crocketed canopies, crowned with a finial. The labels of the arches are enriched with foliage, and the interior sweep fashioned in the ogee manner. From the lateral piers, and between each division of the arches, springs an elegant crocketed pinnacle panelled and finished by an open flower. It is much to be wished that the correct taste displayed in these and other beautiful specimens of the decorated style of monumental architecture, recently erected in this church, was more generally manifested in the adaptation of monuments to the character of the buildings in which they are to be placed, instead of the unsightly tablets so commonly introduced, and which frequently contribute anything but ornament to our ancient churches. From the south transept a fine Norman arch opens to the TRINITY CHAPEL, which also has a communication with the chancel by an arch in the pointed style.