It was fitting that Henry IV. should be buried here, for he had taken a considerable amount of interest in the rebuilding of the nave, and had been liberal in his financial aid. The effigies of Henry and his second wife, Joan of Navarre, are believed to be faithful representations. Of the tomb of Edward the Black Prince, if space permitted, much could be said, for it is a magnificent piece of work apart from the historical interest that attaches to the soldier Prince, whose two great victories at Crécy and Poitiers have thrilled every English schoolboy during all the subsequent centuries. The strong iron railing has prevented any damage to the bronze or latten effigy, and except for the tarnishing and general deterioration of gilding and paint, one looks on the monument as it was erected in the days of chivalry. All the details of this tomb had been arranged by the Black Prince himself, and it was he who chose the Norman-French inscription all can plainly read to-day. Above the tomb is suspended a flat canopy of wood with an embattled moulding, and on the underside a much decayed painting of the Trinity, if one may call it such when the Dove is not represented. On the beam from which the canopy is suspended are hung the shield, helmet, velvet coat, brass gauntlets, and empty sword sheath which are the survivals of two complete suits, one for peace, and one for war, which were carried at the funeral as the Prince had ordered in his will. The eastern extension of the chapel is called Becket's Crown, a name tradition associates with the preservation in this chapel of a portion of St. Thomas's skull. One window contains old glass, and in the centre of the floor is placed the chair of Purbeck marble in which the Archbishops are enthroned. As it is no longer considered as old as the days of Augustine the title St. Augustine's Chair must be regarded as a figure of speech.