Carter gives some curious historical explanations of some very quaint and little-known sculptures in a frieze high up in the Chapel of Edward the Confessor in Westminster. One of them represents the Trial of Queen Emma, and is quite a spirited scene. The little accusing hands raised against the central figure of the queen, are unique in effect in a carving of this character. Queen Emma was accused of so many misdemeanours, poor lady! She had agreed to marry the enemy of her kingdom, King Canute: she gave no aid to her sons, Edward the Confessor and Alfred, when in exile; and she was also behaving in a very unsuitable manner with Alwin, Bishop of Winchester: she seems to have been versatile in crime, and it is no wonder that she was invited to withdraw from her high estate. The burial of Henry V. is interestingly described in an old manuscript of nearly contemporary origin: "His body was embalmed and cired and laid on a royal carriage, and an image like to him was laid upon the corpse, open: and with divers banners, and horses, covered with the arms of England and France, St. Edward and St. Edmund... and brought with great solemnity to Westminster, and worshipfully buried; and after was laid on his tomb a royal image like to himself, of silver and gilt, which was made at the cost of Queen Katherine... he ordained in his life the place of his sepulchre, where he is now buried, and every daye III. masses perpetually to be sungen in a fair chapel over his sepulchre." This exquisite arrangement of a little raised chantry, and the noble tomb itself, was the work of Master Mapilton, who came from Durham in 1416. Mr. W. R. Lethaby calls attention to the practical and expedient way in which mediaeval carvers of effigies utilized their long blocks of stone: "Notice," he says, "how... the angels at the head and the beast at the foot were put in just to square out the block, and how all the points of high relief come to one plane so that a drawing board might be firmly placed on the statue." Only such cutting away as was actually necessary was encouraged; the figure was usually represented as putting the earthly powers beneath his feet, while angels ministered at his head. St. Louis ordered a crown of thorns to be placed on his head when he was dying, and the crown of France placed at his feet. The little niches around the tombs, in which usually stood figures of saints, were called "hovels." It is amusing to learn this to-day, with our long established association of the word with poverty and squalor. Henry VII. left directions for the design of his tomb. Among other stipulations, it was to be adorned with "ymages" of his patron saints "of copper and gilte." Henry then "calls and cries" to his guardian saints and directs that the tomb shall have "a grate, in manner of a closure, of coper and gilte," which was added by English craftsmen. Inside this grille in the early days was an altar, containing a unique relic,--a leg of St. George.