The tapestry hanging below the north window, which is beautiful work, although of Flemish design, was probably made in England either in the last years of the fifteenth or commencement of the sixteenth century. One thing is clear from the lines of the divisions corresponding with the mullions in the window above, namely, that it was originally made for the purpose to which it is applied. There are three compartments, each of them divided into an upper and lower tier, and the subject of the tapestry is popularly supposed to represent incidents of the visit paid by Henry VI. and his Queen Margaret to Coventry on September 21, 1451, on which occasion they were the guests of the Prior of the Benedictines. Not only is this tapestry of great antiquarian interest, but it is also valuable as representing some of the famous people of Henry VI.’s reign and the costumes of that and of other days. Especially to be noted are the subjects occupying the centre compartment, which relate to the connection of the building with the Trinity Guild, and that also of the Guild of St. Mary which was incorporated with it. One strange anachronism in connection with the pictures in the first tier of the first compartment is the representation of Duke Humphrey and Cardinal Beaufort as being present at the time of the visit of King Henry. Both of these predeceased the occasion by several years, and probably the explanation of their presence is the fact that the work was undertaken and completed a considerable time after the visit of the King. In the upper row of the middle compartment is a figure of Justice enthroned, surrounding which are angels holding in their hands the instruments of the Passion. It is supposed that this incongruity was due to the insertion of the figure of Justice in Puritan times, and authorities differ in their views as to whether the evidently offending and deleted figure was that of the Trinity or Christ. Mr. Scharf, who has made a close study of this particular work, is of the opinion that the remains of the handsome throne and part of a beautiful embroidered mantle which are depicted, may have belonged to a seated figure of Christ clad in flowing robes, often the subject of paintings at that particular period. His argument, which is as follows, indeed seems to be a weighty one. He writes, “had it been a representation of the Trinity with the first Person holding a crucifix, I do not think we should have had the angels with the instruments of the Passion, but rather the four emblems of the Evangelists, as on the canopy of the tomb of the Black Prince at Canterbury, and in various MS. illuminations.” Whatever may be the true explanation of this inserted and incongruous figure, one cannot feel other than satisfaction that the mutilation of the tapestry, permitted by Puritan fanaticism, did not proceed to greater lengths.