t King John of
France was imprisoned in this chamber during his stay at Canterbury, but
this is most unlikely, seeing that he was treated by the Black Prince more
as a sovereign than as a captive.

[Illustration: SOME MOSAICS FROM THE FLOOR OF TRINITY CHAPEL.]

#Trinity Chapel.#--Passing further east, we ascend the flight of steps,
deeply worn by innumerable pilgrims, and enter the precincts of the
Trinity Chapel. All this part of the cathedral, from the choir-screen
to the corona, was rebuilt from the ground, specially with a view to its
receiving the shrine of St. Thomas. It is still, however, called by the
name of the Trinity Chapel, which previously occupied this site, and was
burnt down by the fire which destroyed Conrad's choir. In this chapel
Thomas a Becket celebrated his first mass after his installation as
archbishop, and his remains were laid for some time in the crypt below
it. This portion of the building was all carried out under the direction
of English William. Gervase relates that when William of Sens, after his
accident, "perceiving that he derived no benefit from the physicians,
returned to his home in France," his successor, English William "laid the
foundation for the enlargement of the church at the eastern part, because
a chapel of St. Thomas was to be built there; for this was the place
assigned to him; namely the Chapel of the Holy Trinity, where he
celebrated his first mass--where he was wont to prostrate himself with
tears and prayers, under whose crypt for so many years he was buried,
where God for his merits had performed so many miracles, where poor and
rich, kings and princes, had worshipped him, and whence the sound of his
praises had gone out into all lands." As to the extent to which the second
William was guided by the plans of his predecessor we have no means of
judging accurately. Certainly the general outline of this part of the
building must have been arranged by William of Sens, for the contraction
of the choir, in order to preserve the width of the ancient Trinity Chapel
had been carried out up to the clerestory before his retirement. Willis
deals with the subject at some length: "Whether," he says, "we are to
attribute to the French artist the lofty elevation of the pavement of
the new chapel, by which also so handsome a crypt is obtained below, must
remain doubtful. The bases of his columns, as well as those of the shafts
against the wall are hidden and smothered by the platfor