The first traces that meet the eye are on the bosses of the roof of the south porch--whereon are shields charged with the arms of Ferrers, Cheney, Latimer, &c.; and a glance within the church shews us a pleasing array of bench-ends, of well designed tracery and uniform design, except the two easternmost, which are ornamented with shields of arms, referable to their presumed donor. On one is the achievement of Willoughby de Broke, similar to the escutcheon on the tomb at Callington, on the other the _bend and horse-shoes_ of Ferrers, here made _four_ in number, and saltierwise across them, are _five rudders_,--that descended to and was adopted by Willoughby. Both porch and bench-ends are of late fifteenth century work. We pass into the north transept, and there on the north side of the position of the antient altar once therein, and standing at right angles from the wall, is a large high-tomb of Purbeck marble. The massive cover stone is plain, but around its edge is a deeply sunk indent in which was originally the inscription either on brass or painted within it. Below in panels are shields with classic wreaths around them, boldly sculptured,--there are no charges on the escutcheons, and they appear to have been originally covered with brasses, on which the charges were emblazoned. The era may be referred to the first half of the sixteenth century, and with great probability it may be considered to be the tomb of Robert, the second Lord Willoughby de Broke, who died in 1522. [Illustration: TOMB OF THE SECOND LORD WILLOUGHBY DE BROKE, BEER-FERRERS.] Before we leave the sacred edifice, a chastened thought creeps over us, as we take a last look at the fine old glass in the east window. Just seventy years a-past, a gifted student in the pursuit we also at humbler distance love, made pilgrimage here, and was engaged in making a drawing of its interesting painted story, when death suddenly stayed the work of the artist, snapping the very pencil in his fingers, and instantly translated him, from picturing the earthly image of the Founder of these courts below, into his immortal presence in the great temple above, and the company of all those who "have died in His faith and fear." Gratefully we note, appreciative minds have placed a small brass in the pavement, where, on the 28 May, 1821, Charles Alfred Stothard met with his sad, and to mortal sight, untimely end. His cunning fingers are mouldering in the dust below, and moss and decay are stealthily obliterating his record outside, but the fidelity and truth of his works remain bright and undimmed, forming his best and most enduring monument,--for "It is the gods that die, not God; It is the arts that perish, not Art; And beauties may disappear, but Beauty herself Is immortal." [Illustration: BENCH-ENDS, BEER-FERRERS CHURCH, DEVON.]