The interior of the church, which has weathered so greatly in the few years of its existence that it resembles an ancient building, is rich in monuments, but at one time possessed many more. The oldest is a lozenge-shaped Flemish brass dated 1529 to one Margaret Svanders, with a curious head-and-shoulders representation of the lady herself; but the oddest of all the memorials here is that to John, Viscount Mordaunt, including a statue of that nobleman, rather larger than life-size, in white marble. It has now been banished to the tower, from the prominent position it formerly occupied in the south aisle, and is not a little startling, seen suddenly and unexpectedly in a half light. The weird-looking figure is like that of a lunatic policeman standing on a dining-room table in his socks, and pretending to direct the traffic, with a sheet wound partly round his nakedness, and something like a rolling-pin in his hand. It stands on a raised slab of polished black marble, with a black background throwing it into further relief. This extraordinary effigy was sculptured by Bird, author of the original statue of Queen Anne in front of St. Paul’s Cathedral, of which an exact replica by Richard Belt now occupies the same spot. The mad-policeman idea is due, of course, to the sculptor having chosen to represent that distinguished nobleman as a Roman, with a truncheon, which he is seen to be wielding with a mock-heroic gesture. The truncheon typifies the official position he held as Constable of Windsor Castle. Lord Mordaunt was a younger son of the first Earl of Peterborough. Born in 1627, he was active among the younger Royalists, and figured at last in the restoration of Charles the Second, who created him Viscount Aviland, a title which seems to have been somewhat thrust into the background. He died of a fever in 1675, and appears to have led an active and an honourable life, which ought to have excused him from this posthumous grotesquery. The whole monument is indeed a prominent example of the fantastic taste of its period, and is set about with marble pedestals bearing epitaph and family genealogy, and sculptured gauntlets and coronets.