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brought from beyond the seas, by his son Edward, on purpose to adorn this his father's sepulchre." "The ambries and lockiers (i. e. the recesses) at the side," says the same author (Keepe), were anciently used to lay up the vestments and rich copes belonging to the altar of St. Edward." The Mosaic work of gold and coloured glass has been mischievously picked out of the cement wherever it could be reached easily. It is obvious, from the style of ornament, that the lower part of the Confessor's shrine was the prototype of Henry's monument. In the preface to a volume presented to the Roxburghe Club, by Mr. Beriah Botfield ("Manners, and Household Expenses, of the Thirteenth and Fifteenth Centuries"), Mr. Hudson Turner has revived some indisputable evidence tending to prove that the brass effigies of Henry the Third and Queen Eleanor were executed by the same artist, one Magister Willielmus Torel, said to be an English version of Torelli. Both the conception and the style of execution—especially about the heads and hands-must convince every one of the fact. Flaxman, too, speaks of these statues, as by one and the same artist; and says, "they partake of the character and grace particularly cultivated in the school of Pisano." The tomb of Henry the Third was probably the work of an Italian, it may be of Torell himself; but the monument of Queen Eleanor-the details of which are characteristic of those of Valence (No. 283) and Crouchback (No. 243), erected at the same time-was not his work, but most likely that of an English artist. The canopies over both tombs were painted by Walter of Durham. "Queen Eleanor," said Fabian, who wrote in Henry the Seventh's time, "hathe ii wexe tapers brennynge upon her tombe, both daye and nyght, whyche so hath contynued syne the day of her buryinge to this present daye." The sub basement of her monument in the ambulatory was also once painted. In Dart's time, "there yet appeared sepulchre, at the feet of which were two

monks; at the head, a knight, armed; and a woman with a child in her arms." The most decorated work in the Abbey, next to Henry the Seventh's Chapel, is the Chantry of Henry the Fifth, which occupies the whole east end of the Confessor's Chapel, with its canopies and niches filled with statues of kings, bishops, abbots, and saints. It is a fine instance of the happy union of architecture and sculpture. A whole morning may be well spent in examination of its details. The general outline of the front is that of the letter "H." In each turret which is octagonal, is a staircase leading into the chantry. Priests no longer say masses there three times a day; neither do wax lights "of eight pounds each” burn at high mass and vespers; now-a-days, it is filled with dusty models of Sir Christopher Wren's churches, which appear from below with no good effect; and its only relics of the Hero of Agincourt are a helmet, shield, and saddle, traditionally assigned as his. It is pretty certain that the chantry was erected in the early part of the reign of his successor. Within the memory of many persons, ornamented iron gates have been removed, which inclosed the archway between the two turrets: they were the work of Roger Johnson, smith, of London, 1431, as we learn from the patent rolls. There is reason to think they are still in the possession of the Dean and Chapter, and if such is the case, let us hope they may be restored. We have already observed that the odium of the theft of Henry the Fifth's head does not belong to Oliver Cromwell (page 3). The trunk of the oaken effigy, once "covered with fine embroidered and gilded plates of brass," remains on the tomb. The view from this spot, through the deep shadowed arch, is extremely grand and solemn. Next to this chantry

"Faire Philippe, William Henault's child

And youngest daughter deere,

Of roseat hue and beauty bright,

In tombe lies hilled here."

None have suffered more from wanton mischief than this tomb: the thirty statues, anciently standing within niches about the tomb, have all disappeared. The marble effigies of the Queen is far less graceful than that of Queen Eleanor. Of Edward the Third's tomb, which has the richest and most perfect canopy in the Abbey, we have already spoken (page 80). Edward's figure is stiff and awkwardly placed, and much inferior to Queen Eleanor's. On the little tomb of Edward the Fourth's daughter, rest the sword and shield "carried before Edward the Third in France." The next monument belongs to Richard the Second and his first Queen, Anne of Bohemia, whose statues are recumbent upon it. Nicholas Broker and Godfry Prest, citizens and coppersmiths of London, were the artists of the two figures. The agreement for their execution was made in Richard's own lifetime. The tomb cost two hundred and fifty pounds, and the statues, with various images which once surrounded it, four hundred pounds. Richard was first buried at Langley, in Hertfordshire, but Henry the Fifth removed his body to this tomb, where his queen had been previously interred. Remnants of oil painting, displaying very considerable art, may be seen under the canopy.

OR an account of the sculptures on the frieze of the Confessor's screen, the reader is referred to the Appendix (page 103). This screen is thought to have been much mutilated by the soldiers of the Commonwealth, "who," says smoked tobacco all round

about it." It is surprising that Mr. Hawkins, who described it minutely, should have ascribed its erection to

Henry the Third. No such canopies and niches were sculptured in the thirteenth century; they belong rather to the fifteenth, as Mr. Brayley has suggested, with his usual correctness.

the one made by order of Edward the First, to hold the famous Scone stone,

"Kyng Edward with the lang shankes fro Scotland hit fette,

Buyde the shrine of Seynt Edward at Westminstre het hitte sette."

The other is supposed to have been made by order of William and Mary. The Scots often attempted to regain this stone-on which "the Kings, which ruled over the Scotish men, received the crowne," until the time of Robert the First. Conferences were held, and mandates issued for its restoration, but whether or not they were executed, our antiquaries have not yet resolved. With the ruined

ends our survey of the Abbey. Hither the body of the Confessor was carried, on the shoulders of Henry the Third and his brother Richard, King of the Romans, in 1269. An Irishman and an Englishman were miraculously dispossessed of devils on the occasion. The Confessor died in 1065-6, and was buried before the high altar, where the Conqueror erected a handsome tomb over his body. When Edward was promoted to the calendar of saints, in 1163, Thomas à Becket translated him into a new and precious feretry or shrine, where the body remained until again removed, by Henry the Third, `to the present spot. Each anniversary, during three centuries, was solemnised with the greatest splendour, and witnessed a vast accumulation of jewels, and images of gold and silver, offered by the pious of all degrees. Not only on this day, but at Christmas, Easter, and Whitsuntide, the shrine was the scene of prayer and pomp. Strict observers of the anniversary obtained indulgences of nineteen years, and one hundred and three days, and a seventh part of their sins was wiped away.

OOSE and contradictory have been the statements of the building of the shrine, until Mr. Turner gave an account of it. We take the liberty of inserting part of it here. "The shrine of the Confessor was erected at the expense of Henry. It was begun early in his reign, and not completed until just before his death. In 1269, he solemnly translated the body of the royal saint from its old resting place into the golden shrine, 'quod ei paraverat.' This statement of the continuator of Matthew Paris is susceptible of the most absolute proof. In 1236, the twentieth year of his reign, we find Henry ordering his treasurer to see that an image 'ad similitudinem cujusdam reginæ' was made, after the fashion of one pre