It may here be observed, and to some will no doubt be interesting, that as the date of King Sebert is the _earliest_ known respecting the Abbey, George II. was also the _last_ King buried in Westminster, including in all thirteen English Sovereigns whose remains repose within these venerable walls (and fourteen Queens, that is, once reigning sovereigns, or the consorts of kings) embracing a period of more than twelve hundred years. The Kings buried in the Abbey--Sebert, Edward the Confessor, Henry III., Edward I., Edward III., Richard II., Henry V., Edward V., Henry VII., Edward VI., James I., Charles II., William III., George II., all of which can of course be ascertained by a careful perusal of this guide book. Over the tomb of Sebert, enclosed under glass, is an elaborate work (measuring about eleven feet in length, and three feet in height), which appears to have originally formed part of an altar decoration of the fourteenth century; the ground-work is oak; over the joinings, and on the surface of some mouldings, strips of parchment were glued. On this framework, covered with a gesso ground, various ornamental compartments and architectural enrichments are completed in relief. The work is divided into two similar portions; in the centre is a figure which appears to be intended for Christ, holding the globe, and in the act of blessing; an angel with a palm branch is on each side. The single figure on the left is St. Peter; the figure that should correspond on the right, and all the scripture subjects on that side, are gone. In the compartments to the left, portions of three subjects remain; one represents the Adoration of the Kings; another, apparently the Raising of Lazarus; the subject of the third is doubtful, though some figures remain; the fourth is destroyed. The small compartments in the architectural enrichments are filled with variously-coloured pieces of glass inlaid on tinfoil, and have still a brilliant effect. The compartments not occupied by figures were adorned with a deep blue glass resembling lapis lazuli, with gold lines of foliage executed on it. The smaller spaces and mouldings were enriched with cameos and gems; some of which still remain. This interesting work of art lay neglected in a Chapel near the North Transept, till Mr. Blore, with the permission of the Dean and Chapter, had it placed for security in the case in which it is now seen. It is supposed to have originally formed part of the decoration of the high altar. Its date may be fixed at the close of the thirteenth or beginning of the fourteenth century.