A legend of the building of the spire tells how the architect, completing it by fixing the weathercock, called for wine to drink a health to the King, and, drinking, fell to the ground and was dashed to pieces. The only sound he uttered, says the legend, was “O! O!” and that exclamation was the sole inscription carved upon his tomb, erected upon the spot where he fell. Many have been those pilgrims drawn to Shottesbrooke by this picturesque story, seeking that tomb. Tombstones of any kind are few in Shottesbrooke churchyard, and the only one that can possibly mark the architect’s grave is a coped stone on which an expectant and confiding person may indeed faintly trace “O, O”; but as the stone is probably not so old as the fourteenth century, and as it is extremely likely that an expectant person will, if in any way possible, find that which he expects, it would not be well to declare for the genuineness of it. But it is at any rate a very old and cracked and moss-grown stone. Of a bygone Vansittart, who filled this family living for forty-four years, we read some highly eulogistic things upon a monument near by. Born 1779, he died 1847, “the faithful pastor of an attached flock. Meek, mild, benevolent. In domestic life tender, kind, considerate. In all relations revered, respected, beloved.” One is tempted to repeat the unfortunate architect’s exclamation, “O! O!” The church, serving no village, and standing in a park close by the noble country seat of the Vansittarts, is for all practical purposes a manorial chapel. That it has long been used as such is very evident from the many tablets to Vansittarts which line its walls. The remains of the founder’s tomb are seen in the north transept, in a long stretch of delicate arcading along the north wall, beautifully wrought in chalk. [Illustration: EAST WINDOW, SHOTTESBROOKE.] A singular effigy to William Throckmorton, Doctor of Laws, “warden of this church,” who died in 1535, is on the north side of the chancel. It is of diminutive size, and is what archæologists call an “interrupted effigy,” showing only head and breast and feet, the middle being occupied by a brass with Latin inscription. There are several brasses in the church: the finest of them, a fourteenth-century example in the chancel, very deeply and beautifully cut, representing two men; one with forked beard, a long gown and a sword; the other an ecclesiastic. They stand side by side, and are reputed to represent the founder and his brother, but the inscription has been torn away, together with most of the canopy.