He knew the Wolsey Chapel in which the tomb was to be placed to be of Gothic design and, consequently, determined upon a sarcophagus, surrounded by an open-work grille, such as Peter Vischer might have chosen. As it is to be seen to-day, the recumbent figure of the Prince lies upon the bier. Two angels kneel, the one at the head, the other at the feet. With beautiful fancy, Gilbert has carved the first holding a crown above the dead man’s head—the crown of immortality, which prince, peer and peasant can earn. The angel at the base of the sarcophagus places a broken wreath on the feet—in memory of a death upon the eve of marriage. The figure of the “Saint George” is one of a series of Patron Saints introduced into the grille. St. Nicholas, St. Edward the Confessor, St. Barbara, and St. George are included, the selection depending upon some legendary connection with the Royal House of Britain. The “Saint George” was exhibited in the form of a statuette at the Royal Academy. The poetical design and fine craftsmanship aroused general enthusiasm. What could be more charming, for example, than the grace with which Gilbert has played with his pretty fancy of basing the armour of the Saint upon forms suggested by the sea-shells? Yet there is nothing oppressive in the sculptor’s use of this idea. It is never permitted to interfere with the main lines of the figure. The insistence upon the shell-like forms has, rather, a fugal charm, the fancy being treated now in one part of the design, now in another, a slightly varying form here, answering a similar one there, until all have been interwoven into one beautiful complexity.