to be maad under the grownd-sille there my lady Schardelowe was wont to sitte, the stoolys removyd, and the body put in as neer undyr my grave as may be with oute hurt of the seid grave." The monument appears to have been already erected by Baret in his life-time. It was placed between the piers of the last arch of the nave, being a table tomb surmounted by the figure of a corpse in a winding-sheet, whose feet, agreeably to invariable custom, pointed to the east. This monument is still existing; but was removed, at some unknown period, to the opposite window recess; and its very curious inscriptions were consequently placed out of sight. During the repairs of 1844 the effigy was turned round in order to admit of these inscriptions being read, and the feet are now consequently placed towards the west. The windingsheet is laid open to exhibit the havoc which disease and death have made upon the body; and upon the head is inscribed, "Ecce nuc in pulvere dormio." Under the head and along the side of the body is a long scroll thus inscribed in red letters with blue initials:-" D'ne secundu actū meū noli me judicare. Nihil dignū ī conspectu tuo feci. Ideo deprecor magestate tua ut tu deus deleas fiquitate meam. Iohn Baret." On the end of the stone are these verses, in blue letters with red initials Ho that wil sadly beholde me with his ie Wrappid in a schete* as a ful rewli recche, The front of the tomb is divided into seven panels, the first and last of which contain the monogram of the deceased, a blue j crossing a red b; the second and sixth a shield of arms, from which the brass plates have now been removed; and in the three central ones John Baret himself is represented, standing attired in his ordinary costume, wearing the livery collar of the house of Lancaster, and holding a scroll of his motto, Grace me governe. He was very proud of that livery collar, and it either implied that he had been in some capacity employed in the royal service, or that he had been created an esquire by its imposition. In the wall to the east of his tomb is a piscina, under a rich canopy, and its back is painted with the monogram jb encircled with the same collar. The same device is repeated in the roof-paintings of the chapel. The east end of the tomb has three panels; in the centre of which is the holy Lamb, elegantly designed, within a scroll disposed as a quatrefoil, which bears these words, alternately blue and red: Deus propitius esto michi peccatori. John Baret was not satisfied without redecorating the roof of the chapel in which his body was to be deposited, and it remains a very interesting example of that species of church decoration. It is divided into six panels, each of which is diapered with stars of lead gilt, and the monogram jb and collar of esses, as shown in the opposite engraving. The motto Grace me governe, in large characters, is disposed diagonally from north-west to south-east, the initial being of gold. At the intersections of the ribs are bosses with the arms of Baret, Argent, a bend sable between three buckles gules; and at each corner of the foliated border within the panel was a tinsel star nailed to the wood-work. On the eastern face of the north-western principal of the roof is the text, In d'no gaudebit aĩa mea; and on the western face of the north-eastern principal: Laudens d'n'm gloriose. On the front of the north-western principal; Que sursum sunt querite. Over the arch separating the nave aisle from the choir aisle, Orate pro anima Johanis Baret. Over the south window, Alleluia. Soli Deo Honor et Gloria; and over the nave arch, Nos cum prole pia benedicat Virgo Maria. Amen. The spandrils of the arch are powdered with collars of esses inclosing the monogram jb. The arms of Baret, as shown in the an * This word has been misread "selure," and Mr. Tymms seems to have supposed that it referred to that part of the shroud around the head. We lately saw the inscription, and the word is clearly "schete." The word "Ego" in Mr. Tymms's book is also to be corrected to Ecce.-Rev. Mr. Tymms states that when Henry the Sixth visited the abbat of Bury in 1433, and passed some months between the palaces of Bury and Elmswell, John Baret was one of the gentlemen assigned to attend the king. It is not improbable that he was made an esquire by imposition of a silver collar on this occasion. He is known to have been previously a gentleman of the household of the lord abbat of Bury. nexed cut, are from a panel which formerly belonged to the parclose or screen of his chantry chapel. We must now return to the will in order to describe some other curious portions of this mausoleum which are no longer in existence. Baret desired that there should be written on the fore-part of iron about his gravestone these verses,-which are of not unfrequent occurrence in other places : Sis testis Xpe tumulus non hic manet iste and, in some convenient place near, the day and year of our Lord of his departing from this world, and the pardon which he had purchased, were also to be commemorated therewith. He further directed that the bull and the bishops' seals which he had got should be placed in a locker made of board, so that the seals might not be broken, made uniform with another locker that already stood near containing the leaden weights of the chimes,-in order that the same might be read and well known, "to exorte the pepill rathere to prey for me." He further bequeathed "ten marks that the reardos and table of Saint Mary's altar should be painted with the story of Magnificat," and "in the inner part of the lowkys withinne there be wretyn the balladys I made therfore, and the pardon wretyn there also, with other things which I graunte to seynt Marye preest, his chargees and his rewardys expressed as folwith aftyr in writing, that hereaftyr it may be knowne for an evydence in the seid tabyll there." It would seem from this that, besides his other good deeds, Baret was a maker of "balladys," but perhaps it will be difficult to decide whether the verses we have already copied were made by himself or by deputy. In the chancel of this church are two other ancient monuments, which are of considerable interest, inasmuch as they exhibit effigies of a date subsequent to the year 1500, at which period Mr. Gough limited his " Sepulchral Monuments,' and because they are works of considerable art, at a time when excellence in sculpture was becoming rare. One of these is the monument of Sir William Carew, who died in the year 1521, and Margaret his wife who died in 1525. Its general appearance is shown in the accompanying woodcut. The effigies, which would probably have embellished Mr. Tymms's book had he not been disappointed by the Cottinghams, we may hereafter receive from the hands of the Suffolk Archæological Society. The knight is represented in a full suit of plate-armour with his surcoat or tabard over it. His head rests on one of the ponderous tilting helmets of his time, and his feet upon a lion. The lady is habited in a flowing kirtle and a mantle, and her headdress resembles that seen in the portraits of Queen Katharine of Arragon. Her heads rests on a pillow, and at her feet are two dogs at play, a talbot and a greyhound, each wearing a collar. This Sir William Carew was the fifth son of Sir Nicholas Carew, by Jane daughter of Sir Hugh Courtenay of Boconnoc, and afterwards wife of Robert de Vere, brother to John Earl of Oxford. He was made a |