It was a custom of the time for devout persons to desire that the heart should be removed after death, and taken to some peculiarly holy place. Queen Eleanor had taken special interest in the community of the Black Friars, and especially in the Church which they had just built in London. By her own special request her heart was to be taken to this church, and Edward took special pains that a tomb should be erected worthy of containing this relic. There is little knowledge of the design for this monument. A certain John le Convers seems to have been a clerk dealing with the payments, while Adam, a well-known goldsmith of the time, and much in the confidence of the King and Queen, was asked to make an angel to support the casket containing the heart. In addition to this figure, which was of metal and gilt as were Torel’s great effigies, statues ornamented the tomb. These were no doubt of the same design as those erected in other places. They were the work of Alexander the “Imaginator” and Dyminge de Legeri, and very probably of the same character as those at Lincoln. Alexander also constructed certain iron work around this monument. William de Suffolk made three small images in metal for the Blackfriars tomb. One of the most interesting features of the monument were the paintings by Walter of Durham. This artist received the large sum of £46 13s. 4d., according to the Queen’s accounts, for his work at Blackfriars. Part of the stonework, consisting of a _crista_, perhaps an ornamented stone canopy, was built by William de Hoo. All traces of the tomb disappeared at the time of the dissolution of the monasteries. The responsibility for the final act of destruction seems to rest on the shoulders of the same Sir Thomas Cawarden into whose clutches there also fell the Church and possessions of St. Mary Roncevall. WESTMINSTER. On the tomb at Westminster a special amount of care was devoted by the artists and workmen employed by Edward. The design was that of a large chest formed by slabs of Purbeck marble, in which was placed the body, and the top of the chest was arranged to support the bronze-gilt effigy of the Queen. The tomb itself seems to have been designed by Richard Crundale, and the work was completed by himself and his brother Roger. Under their supervision the stone chest was ornamented with the characteristic decorated carving of the period, and with the shields bearing the arms which are so prominent on all the Eleanor memorials. Walter of Durham was employed to decorate the tomb with paintings, while Thomas de Leighton, a skilful worker in metal, made the iron grille protecting the effigy. The perishable part of the stonework is unfortunately fast disappearing, and faint shadows only of the paintings may be observed. [Illustration: FIG. 20. The public or “Great” Seal of Queen Eleanor. Size 3-5/8 in. x 2-3/8 in. From the impression in the British Museum. ]