proceedings were resumed. But then came
the worst scene of all, for it has been recorded that the coffin containing
the ponderous body of the king had not been made with sufficient strength,
and as it was being lowered into the grave, the boards gave way, and so
gruesome was the result that the church was soon emptied. It thus came
about that once more in the last phase of all William was deserted except
by a few monks.

The monument which was raised over the Conqueror's grave, was, however, of
a most gorgeous character. It was literally encrusted with precious gems,
and it is known that enormous quantities of gold from the accumulated
stores of wealth which William had made were used by Otto the goldsmith
(sometimes known as Aurifaber) who was entrusted with the production of
this most princely tomb. Such a striking object as this could scarcely pass
through many centuries in safety, and we find that in the Huguenot wars of
the seventeenth century it was largely destroyed and the stone coffin was
broken open, the bones being scattered. We only know what became of a
thigh-bone which was somehow rescued by a monk belonging to the abbey. He
kept it for some time, and in 1642 it was replaced in a new, but much less
gorgeous tomb. About one hundred years later, it was moved to another part
of the church, but in the Revolution this third tomb was broken into, and
the last relic of the Conqueror was lost. Then after some years, the Prefet
of Calvados placed upon the site of the desecrated tomb the slab of black
marble that still marks the spot. The inscription reads "Hic sepultus est,
Invictissimus Guielmus Conquestor, Normanniae Dux et Angliae Rex, Hujusce
domus Conditor Qui obit anno MLXXXVII."

When Lanfranc had been sent to the Pope by William with a view to making
some arrangement by which the King could retain his wife Matilda and at the
same time the good offices of the Church, his side of the bargain consisted
in undertaking to build two great abbeys at Caen, one for men and one for
women. The first we have already been examining, the other is at the
eastern side of the town on the hill beyond the castle. It is a more
completely Norman building than St Etienne, but its simple, semi-circular
arches and round-headed windows contrast strangely with the huge pontifical
canopy of draped velvet that is suspended above the altar, and very
effectually blocks the view of the Norman apse beyond. The smallness of the
windows thr