Under the great north window hangs a piece of tapestry, dating, so say experts, from the beginning of the sixteenth century. It is of Flemish design, and was woven, possibly in England, with the intention of filling the place it now occupies. Faded in colour, often blurred in outline, the tapestry still remains a glorious memorial to the love of beauty and artistic workmanship and corporate pride of the great guild. It is divided into six compartments, and represents a king, queen, and their Court adoring the Virgin, the Trinity, and divers saints in glory; being undoubtedly designed to commemorate the admission of a king and queen into the ranks of the Trinity guild--an event which did actually occur in 1500 in the case of Henry VII. and Elizabeth of York. Among the company of saints the place of honour is given to those who were the chosen patrons of the guild. Unfortunately the tapestry has not come down to us in the condition in which it left the makers' hands. The figure of Justice holding the scales is obviously out of harmony with the whole design. There is no doubt that the personification of the Trinity, God the Father on the throne holding Christ extended upon the Cross, with the Dove, once occupied this space. The Hebrew letters of the word Jehovah found above the cross still remain, but the reformers, who could not endure the representation of this mystery, cut out the rest.[744] Round the present incongruous figure of Justice kneel angels bearing the instruments of the Passion, the nails, the sponge of hyssop, the crown of thorns, the scourge, pillar and spear. The Assumption of the Virgin in the lower central compartment reminded the guildsmen of their earliest patroness, whose festival was one of their chief days of assembly. The Virgin's feet rest on the crescent moon, which is supported by an angel. The apostles kneel round in attitudes of adoration. On either side of the lower tier a king kneels in prayer, on the right a queen, traditionally identified with Henry VI. and Margaret of Anjou; this attribution has not gone unchallenged; and it is at least possible that the contemporary king and queen, Henry VII. and Elizabeth of York, may be intended; the heraldic roses in the border are, however, Lancastrian and not Tudor. The King kneels at a table whereon lie a crown and missal; he wears a jewelled cap. None of his followers can be identified save the kneeling cardinal, who probably is intended for Beaufort, Bishop of Winchester (or Cardinal Morton), and the standing figure behind the King, who may be the "good Duke Humphrey" (or Henry, Prince of Wales). The Queen kneels opposite. None of her ladies can be identified. The Queen has a head-dress embroidered with pear-pearls, upon which is a crown of fleur-de-lys, her dress is yellow, and the sleeves lined with ermine. Of the three ladies who kneel behind her the third is obviously a child.[745]