Harold’s church was splendidly adorned, in a manner that suggests, as the late Bishop Stubbs observes, that the founder had been influenced by Eastern art. Brazen plates, gilt, were spread over the walls, the capitals and bases of the massive pillars were curiously carved and wreathed with the gilded metal; the altar was enriched with elaborate ornaments, the furniture, reliquaries, and vestments were provided on a liberal scale. Numerous relics, in addition to the miraculous crucifix, formed part of the endowment. The consecration of the church probably took place on May 3, 1060, the Feast of the Invention of the Holy Cross, which became one of the fair days under the charter of Matilda. Kinsinge, Archbishop of York, performed the ceremony of consecration, assisted by most of the English bishops. King Edward and his queen Edith, sister of Harold, and the flower of the nobility, were present. It was here that, scarce six years later, Harold, on his return from Stamford Bridge, had news of the Norman invasion. He stayed for the night at his mansion in the park at Nazeing, still called Harold’s Park, and on the morrow offered up prayers for his success in the Abbey. It is recorded that the figure of the Saviour on the wondrous crucifix bowed the head as if to express sorrow for his inevitable fate. He set out for Senlac accompanied by two of the canons, who, if the omen were fulfilled, were bidden to bring back with them the body of the founder. Harold’s war-cry was “Holy Rood.” The canons, true to their trust, recovered the king’s body, by the aid of Harold’s old love, Editha the “Swan-necked,” and brought it to Waltham with all possible honours. Here the remains were interred, being translated from time to time as alterations and additions to the church necessitated (it was not finally completed until 1125), finding a final resting place near the great altar, about 140 feet from the present east end of the church. Here a most beautiful and imposing tomb was erected, but all that remains of this is a curious piece of carved ironstone representing the face of a warrior, which, after many vicissitudes, including its use as a fountain ornament, was returned to the possession of the church a few years ago, and now reposes on the tomb of Robert Smith in the chancel.