Among the original Ecclesiastical foundations in Arundel, was the Alien Priory, or Cell of <g>St. Nicholas</g>, already mentioned. Roger Montgomery, who had restored the Benedictine Abbey of Seez, in Normandy, granted to the [Sidenote: 1102 { 1380. { ] monks of that establishment, liberty to erect a priory within the town of Arundel, and the building having been completed, five monks from the parent abbey arrived and took possession accordingly. In the early part of the same century, the priory was vacated; and the rectorial residence adjoining the church, of which William de Albini was patron, was converted into a residence for the prior and four monks. Thus occupied, it continued during two centuries to be known as the Convent or Priory of St. Nicholas. But <g>Richard</g>, Earl of Arundel, having resolved to connect it with the chapel of his college then about to be established, obtained from King Richard the Second a grant for that purpose, and on the site of the ancient priory arose the College of the <g>Holy Trinity</g>, a quadrangular structure, inclosing a square yard, or court, partly occupied by cloisters, and partly devoted to other purposes of [Illustration] a monastic establishment. On the north side was the Collegiate Chapel, forming an apparent chancel to the parochial church; on the east were the refectory and various domestic offices connected with it; and the remaining sides on the south and west, were occupied by the members of the fraternity. Within the court was the Master’s house, attached to the south-east angle of the chapel, with which it communicated by a small stone balcony on the first story, and a flight of steps, which still remain, behind the high altar. As the collegiate church was intended to be the family <g>sepulchre</g> of the founder, every preparation was made to insure its monumental splendour; and the tomb of his son, Earl <g>Thomas</g>, was the first of a magnificent series. No stranger can enter this chapel without being strongly impressed with the classic beauty and elaborate sculpture of its family monuments. But during the siege already noticed, these sacred walls were given up as barracks for Waller’s soldiers; and many of the sepulchral antiquities, with which the place was so richly adorned, were wantonly mutilated.[40] Six monuments, however, still remain to fix the attention, and excite the admiration, of all who are lovers of the arts, or given to the study of Gothic remains. In the centre is that of Earl Thomas, son of the founder, and his Countess <g>Beatrix</g>, daughter of John, King of Portugal. It is a large sculptured altar-tomb of alabaster, formerly painted and gilt, and adorned with effigies of the earl and countess, in their robes of state. A rich canopy rises behind the head; and at the feet of the earl is a horse, the Fitzalan cognizance. At the feet of the countess, two lap-dogs hold in their mouths the extremity of her mantle. Arranged in niches around