marked that all the arches in
this part of the building are of a single order of mouldings, instead of
two orders as in the pier-arches and triforium of the choir."

So much for the architectural details of the Trinity Chapel. To the
ordinary visitor its interest lies rather in the fact that it contained
Becket's shrine, and that we here see the curious old windows portraying
the sainted Archbishop's miracles, and what is, perhaps, most important of
all to many, #the tomb of Edward the Black Prince#. This monument is the
first feature that we notice as we enter by the south-west gate of the
chapel; it stands between the two first pillars, and by the side of the
site of the shrine. By the Prince's will he had left directions that he
should be buried in the crypt, where he had already founded a chantry,
at the time of his marriage with the "Fair Maid of Kent" in 1363. But for
some unknown reason, probably in order that the dead hero's bones might be
placed in the most sacred spot possible--he was laid to rest by the side
of the martyr, then in the zenith of his sanctity. One of the most
romantic figures in English history is that of Edward the Black Prince,
who "fought the French" as no Briton, except perhaps Nelson, has fought
them since; he was sixteen years old when he commanded the English army
in person at the battle of Cressy, and was wounded in the thickest of that
most sanguinary fray: ten years later, facing an army of 60,000 men with
a mere 8,000 behind him, he inflicted a still more severe defeat on the
French at Poitiers, and captured their king, whom he took with him to
Canterbury on his triumphant return to London. In all our list of national
heroes there is not one who upheld the prowess of the English arms more
gallantly than this mighty warrior who was cut off while still in the
flower of his years, leaving England to the miseries of sedition and civil
war. His tomb is one of the most impressive of such monuments. The gilding
and bright colours have almost entirely disappeared, but the striking
effect of the effigy is probably only enhanced by the solemn sombreness of
its present appearance. It is a figure clad in full armour, spurred and
helmeted, as the Prince had ordained by his will. The head rests on the
helmet and the hands are joined in the attitude of prayer. The face, which
is undoubtedly a portrait, is stern and masterful. "There you can see
his fine face with the Plantagenet features, the flat ch