The parish church of St Mary Magdalene, though far the finest church in Taunton, was originally only a subordinate chapel-of-ease to the monastery.  It is a spacious building, noteworthy for its imposing tower and quadruple aisles.  Its probable designer was Sir R. Bray, Henry VII.’s architect, and the king is supposed to have contributed to its erection.  The present tower is claimed to be a conscientious reproduction of the original fabric, removed in 1858 as dangerous.  It is a lofty and ornate structure of four storeys, decorated with a triple tier of double windows, and divided at the stages by bands of quatrefoils.  A crown of elaborate tabernacle work—­a perfect medley of battlements and pinnacles—­forms the cresting.  The general design, though highly artificial, is well balanced.  Note (1) the stoups on either side of the W. doorway; (2) the carvings (part of the original fabric) in the spandrels above.  The S. porch—­a very successful and noteworthy feature of the church—­is dated 1508, The rest of the building must be nearly contemporaneous.  The interior is rich, but somewhat devoid of interest.  Note (1) the four aisles—­an unusual arrangement, occurring also at Manchester Cathedral and St Michael’s, Coventry; (2) the E.E. piers to N. aisle; (3) the fine oak roof of nave; (4) canopied figure (modern) of St Mary Magdalene on one of the nave piers; (5) monument of Robert Gray, with a laudatory and rhyming epitaph in N. wall; (6) figures of apostles between clerestory lights (cp.  Bruton). St James’s Church has a good tower with turret and spirelet—­likewise rebuilt.  The interior is well proportioned and gains an air of great spaciousness from an unusually lofty chancel.  The most noteworthy feature of the church is its splendid font, richly adorned with figures of apostles and ecclesiastics.  The pulpit is dated 1633.  Hard by, and in close proximity to the county cricket ground, is the Priory Barn, the only remnant of Taunton’s once considerable and wealthy priory:  note the windows—­perhaps insertions from other fragments of the monastic buildings. The Castle, after centuries of complete neglect, underwent a well-intentioned but unfortunate restoration by Sir B. Hammet, but is now in the appropriate possession of the Somerset Archaeological Society, who have transformed it into a museum.  The buildings, as they now stand, include (1) an outer gateway—­the Castle Bow—­now incorporated with Clarke’s Hotel (note the portcullis groove); (2) a rectangular block consisting of Edwardian additions to an original Norm. keep and a great hall (fee for entrance, 2d.).  Note (1) the arms of Bishop Langton, of Winchester, and Henry VII. over central gateway; (2) the drum tower (now the committee-room and library) at S.W. corner; (3) the immense thickness of the walls of the keep with its Norm. buttresses, and the lighter superstructure, with its Dec. windows, above; (4) the Great Hall, the scene of the Bloody Assize—­a remarkably spacious chamber built by Bishop Horne, 1577.  The shelves of the museum are stocked with a large collection of antiquities add natural-history specimens:  the case containing the relics from Sedgemoor is of special interest.  The exhibition as a whole would gain in point by being confined to objects connected with the county.