Richard II. and his consort, Anne, daughter of Wincelaus, king of Bohemia. They repose side by side in the next intercolumniation westward. The king's face is well wrought; but his cushion is stolen. The robing is decorated with peascod shells, open, and the peas out, emblematical of his former sovereignty.

Underneath the wooden canopy are the remains of some exquisitely fine paintings. This canopy is divided into compartments: those over the heads and feet contain representations of angels supporting the monarch's arms and those of his queen; but they are nearly obliterated by age and damps: the shields are all that remain visible. The compartment from the heads of effigies has a tolerably perfect representation of the Almighty, habited as a venerable old man in a close garment; his hand in the act of blessing; but this is hardly discernible. In the next division is Jesus Christ, seated by the Virgin mother, in the same attitude. With her hands across her breast, and leaning towards the Saviour, in the most graceful and expressive manner, is the Virgin. This part of the painting seems to have suffered the least from the ravages of time: the countenances, when examined minutely, are still very beautiful; but to see them to advantage, it is necessary to climb upon the dusty tomb beneath, and view them in an inclined position, with the face opposite the south aisle.

It is not known to what master we are indebted for these exquisite productions; but, even in their present neglected and rapidly declining state, they clearly shew the hand of an artist enthusiastically alive to his subject. Though the outline remains, the colours are disappearing: it is not, however, yet too late to preserve and perhaps restore them: if they are neglected much longer, it is probable this work will be the last, of any magnitude, to preserve the remembrance of them. Mr. Malcolm thinks it highly probable that they were executed by the same artist who drew the paintings some years ago brought to light on the walls of chapel.

The ground work, round the figures, was once richly gilt; but it is now a dingy yellow, in some places nearly black. It is of fine plaister, and has been embossed with multitudes of small quatrefoils, and other ornaments; some parts still retain traces of its former beauty and richness.

The following rhyming inscription in raised letters runs round the ledge of the brass table beginning at the foot of the north side.

Within the letter is a feather with a scroll, his father's badge.

On the south and east sides this for his queen:--

[] Sandford, 203; Gough, I, 163, Tab. lxi. lxii.