William, at the height of his success, gave orders for the whole army to fall on their knees, and return God thanks for so signal a victory; after which he caused his tent to be pitched on the field of battle, and spent the residue of the night among the slain. Not less perhaps in gratitude for the past, than in the hope that such a work would procure him heavenly favour for the future, he solemnly vowed that he would erect a splendid abbey on the scene of this his first victory; and when this vow was accomplished, the altar of the abbey church stood on the spot where the standard of Harold had been planted. The holy house thus founded was called Battle Abbey. On the morrow, he ordered his own dead to be buried, and gave the English peasants leave to do the same office for the others; but William refused to give up Harold's body to his mother, Gytha. An ancient manuscript in the Cottonian library, apparently written at Waltham Abbey about a hundred years after the battle, relates that two monks were deputed by William to search for the body of the king. Unable to distinguish it among the nameless dead by which it was surrounded, they sent for Harold's mistress, Edith, called "The Swan-necked," whose eye of affection was not to be deceived. It was buried under a heap of stones, whence William afterwards permitted it to be removed to Waltham. There is a story related by Giraldus Cambrensis, that Harold, after receiving his wound, escaped from the field, and lived several years an anchorite in a cell near St. John's Church, in Chester. This account is, however, in the highest degree improbable, and there is no reason to doubt that the last of the Saxon kings died a soldier's death on the field of Hastings. CHAPTER XI. ENGLISH AND NORMAN ARCHITECTURE AND CUSTOMS. Saxon Architecture; Theories about it--Documentary Evidence--Ancient Churches--Characters of the Saxon Style--Illustrations from an Anglo-Saxon Calendar--Old Manuscripts--English Scholarship--Music and the Minstrels--Musical Instruments--Games and Sports--Costume--The Table--Household Furniture--Material Condition of the People--Norman Costumes--Condition of Learning and the Arts--Refinement of the Normans--The Bayeux Tapestry. Few subjects in mediæval art have led to so much controversy as that of English architecture; one party of writers claiming for it a place as a distinct and separate style, and another totally denying its very existence. It was usual for writers on architecture before Rickman's time to denominate all buildings in which the semicircular arch or the zigzag moulding prevailed as "Saxon," no matter how highly finished or how richly carved they might be; and, consequently, all our fine Norman churches are in their works described as Saxon.