took place only a few months--in the spring of 1270--after the choir and transepts had been opened for service. But the north aisle of the choir was certainly completed before this marriage took place, for upon the wall are the arms of Simon de Montfort, Earl of Leicester and King of the Barons, in close juxtaposition with the fleurs-de-lis of France. In 1263 a grand temporary reconciliation was patched up between Henry III. and the proud Earl, which was ratified at Boulogne in the presence of the French King, St. Louis the peacemaker. These shields must therefore have been carved here at about that time--in any case before Simon's fall; he was killed in 1265 at the battle of Evesham. The arms of Aveline's rich and powerful father, William de Fortibus, are in this same aisle. The heiress herself died young, leaving no children, and her husband inherited her vast wealth, with which he endowed the powerful house of Lancaster. Edmund took {60} a foreign bride after Aveline's death, and resided much with her in Provins, whence he brought the red roses which became the Lancastrian badge. His eldest son, Thomas, the second Earl of Lancaster, met his death on the scaffold through the machinations of Aymer de Valence--a tragic sequel to the friendship between their fathers, Edmund Crouchback and his uncle William de Valence, who were brothers at arms, and had often fought side by side in the Holy Land. A defaced painting on the ambulatory side of Edmund's tomb once showed the figures of ten Crusaders; amongst them may have been portraits of the uncle and his nephew; they died (1296) within a week of one another, on an ill-fated expedition to Gascony, which ended in defeat and disaster to the English force. All these three monuments--Aymer's is between those of the Earl and Countess of Lancaster--repay a close study, but we can only glance at them now. Notice the noble and dignified recumbent effigy on Aveline's tomb, which is dressed in the simple costume of a grand dame of the thirteenth century; it was formerly painted and gilt; some traces of the red and white paint, also the green vine leaves, still remain beneath the canopy. At the feet two dogs are snapping at {61} one another in play. The two warriors are depicted in life and in death: above each is an armed equestrian figure with visor up, while below lie their quiet images in the sleep of death. The royal prince has a finer monument with a triple canopy, otherwise there is little difference between the two. The picture of Richard II. in his brilliant youth hangs opposite his relatives. The King, whose destiny seemed so fair, but whose tragic fate must move our pity, is here represented in the coronation robes holding the orb and sceptre, and seated in St. Edward's chair upon the ancient stone of Scone, which his ancestor, Edward I., wrested from the Scots. Behind the portrait a piece of tapestry, which used to be in the great schoolroom, recalls the fact that the whole