There may, of course, be additions to a church which are so splendid in themselves that the church itself sinks into insignificance beside them: such, for example, as Maximilian’s tomb with its attendant statues in the church at Innsbruck. Had there been anything of that kind here, few people would have cared what happened to the church itself. But the additions here have only been the ordinary things in marble, brass, mosaic, painting, coloured glass; and they have made this rugged moorland church look quite suburban. There are two great monuments in Bovey church, one to Nicholas Eveleigh, who died in 1620, and the other to Elizæus Hele, who died in 1635. Elizæus was better known as Pious-Uses Hele, having given his estates away for pious uses--amongst other things, Blue Maids’ Hospital at Exeter had £50 a-year from Bovey mill. He married Eveleigh’s widow; and she erected these monuments to her two husbands, though both of them were buried elsewhere. There is a recumbent figure of each husband, and in Hele’s case there are also kneeling figures of the wife and a former wife and a young son who had died. Over the recumbent figure there is a rounded arch with columns, architrave, etc., as if it were a gateway; and in the earlier monument the style is pure Italian of a hundred years before, whereas the later monument is what is called Jacobean, with the Italian style debased by Flemish and German methods. The change is curious: after the Italian of 1620, one would expect the Palladian of Inigo Jones in 1635 rather than this belated Jacobean. They stand on the north and south sides of the chancel, almost touching the east end; and on the east wall between them there was mahogany panelling with columns and festoons carved in the style of Grinling Gibbons. The panelling just suited the monuments and enhanced their merits; but there came a time when it was the ambition of the clergy to make their chancels look like show-rooms in church-furnishers’ shops; and then the panelling was taken down and thrown into a barn. The present Vicar has brought it back, and put it at the west end of the church; and I hope that it will some day go back to the east end, and oust the rubbish that is there. He has also brought back the royal-arms that were thrown out at the same time, and has put them in the arch below the tower. These royal-arms are a grand piece of wood-carving, set up at the Restoration together with the arms of archbishop Laud and bishop Hall of Exeter, with suitable inscriptions about “that wicked and bloody Parliment.” They stood on the screen, with the royal shield just where the rood had been, and the Lion and the Unicorn in the places of the Blessed Virgin and Saint John.