“And, lastly, carved about the tomb, is the long inscription, selected by himself before his death, in Norman French, and still the language of the court, written, as he begged, clearly and plainly, that all might read it. Its purport is to contrast his former splendour and vigour and beauty with the wasted body which is now all that is left.”--(A. P. S.) The Black Prince’s effigy of brass was once entirely gilt. Round the tomb are escutcheons of arms, and on the canopy there is a representation of the Holy Trinity with emblems of the Evangelists at the corners. At the foot of the Black Prince’s Tomb is the monument of =Archbishop Courtenay= (1381-1396), the great opponent of the Wycliffites; and directly opposite is the =Tomb of Henry IV.= and his Queen, =Joan of Navarre=, whose effigies lie under a most elaborate and beautiful canopy. “In spite of some damage they remain the most interesting representations, not only of the costume of the time, but also, we cannot doubt, of the actual features of the persons. When the tomb was opened some time ago the features of the king were seen for a moment and corresponded closely with the representation on the tomb. The figures at the foot of the Queen, known in heraldry as genets, and to the ordinary person perhaps as weasels, appear also in the canopy combined with eagles and the motto ‘Soverayne and Atemperance.’ The defaced painting on wood at the foot of the tomb represented the Martyrdom of St. Thomas.”--(F. and R.) Adjoining this tomb is the =Chapel of Henry IV.’s Chantry=, built, as directed in the will of King Henry, who died in 1413, “a chauntrie perpetual with twey prestis for to sing and pray for my soul.” It contains the first example in Canterbury of the “fan-vaulting,” so splendidly represented in the =Dean’s Chapel=. The windows here and in the Corona should be studied. “They are of the Thirteenth Century, and among the finest of this date in Europe, excelling in many respects those of Bourges, Troyes and Chartres; ‘for excellence of drawing, harmony of colouring and purity of design they are justly considered unequalled. The skill with which the minute figures are represented, cannot even at this day be surpassed’ (Stanley). Remark especially the great value given to the brilliant colours by the profusion of white and neutral tints. The scrolls and borders surrounding the medallions are also of beauty.