The best view of the interior of the church is to be obtained from this standpoint. The high pitch of the excellently restored roof, the grace and lightness of the chancel pillars as contrasted with the massiveness of those in the nave, the imposing appearance of the handsome organ case--all these striking features will leave one of the most lingering impressions of the building as a whole, apart from its interest in detail, with those who pause here as before a remarkable picture. On the easternmost pillar of the chancel there will be noticed the memorial to John Kettlewell, the celebrated Non-juror, who died in 1695, and, by his own desire, was buried “in the same grave where Archbishop Laud was before interred.” His funeral rites were solemnised by Bishop Ken, who read the Burial Office, and the whole Evening Service, at Allhallows Barking on the occasion. Ken, deprived of his see, thus, for the last time, exercised his ministry within the Church of England. _South Aisle._--Beneath the window at the east end of this aisle the Colleton monument, “from the chisel of Scheemakers,” almost rivals its neighbour in the North Aisle by its heavy dulness, but the altar-tomb against the south wall is an early monument worthy of careful examination. Like the Croke altar-tomb already described, it dates back to the fifteenth century and is the more ancient of the two. A gilt brass plate at the back of the tomb is graven with a representation of the Resurrection. It is not now possible to ascertain to whose memory the tomb was erected: possibly it commemorates the founder of a chantry chapel attached to this chancel aisle. The beautifully carved font-cover, executed in whitened wood--not plaster, as many suppose--is the work, and some think the masterpiece, of Grinling Gibbons, whose incomparable works of art, the carving of fruit and flowers and decorative scroll-work, in wood, are to be seen in other parts of this church, in other City churches, and in many a manor-house and ancient hall throughout England. This font-cover will repay the most careful study. Gibbons’ signature, so to speak, may be found in the “split pea-pod” near the feet of one of the figures.