to satisfy inquisitive
desecrators some few years ago, and it was conclusively proved that
someone had been buried inside.

On the wall is the inscription: _Osricus Rex (primus fundator) hui_
(_Monasterii_ 681). From Leland, to whom is due the part of the
inscription in brackets, we learn that "Osric, Founder of Gloucester
Abbey, first laye in St. Petronell's Chappell, thence removed with our
Lady Chappell, and thence removed of late dayes, and layd under a fayre
tombe of stone on the north syde of the high aulter. At the foote of the
tombe is thus written in a wall"--_ut supra_.

This "fayre tombe" was erected in "late dayes" _i.e._ in the time of
Abbot Parker, whose arms are in the spandrels of the canopy, dated (1514
to 1539), and Leland must have seen the tomb in all the freshness of its
beauty.

The Norman piers, which are cut away to receive the tomb, are decorated
as to their capitals with the device of Richard II. _i.e._ the white
hart chained and gorged, with a ducal coronet. Formerly these devices
were painted on the stone, but in 1737 they were blazoned on thin metal
by the Heraldic College, and put in position. From the occurrence of the
device in this place it was formerly held that the body of Edward II.
was drawn by stages from Berkeley Castle to the abbey.

The other coats-of-arms are those of the abbey (they are blazoned as
they should be now--azure, a sword in pale, hilted, pommelled, and
crowned, or, surmounted by two keys in saltire of the last), and of
Osric as King of Northumbria. Osric is represented as crowned and
sceptred (clad in tunic, laced mantle, and a fur hood or collar) bearing
the model of a church in his left hand.

The next tomb westwards is, as Leland says, that of "King Edward of
Caernarvon (who) lyeth under a fayre tombe, in an arch at the head of
King Osric tombe."

The #Tomb of Edward II.# was erected by Edward III., and though it
awakens our recollection of a feeble-minded king, and his barbarously
brutal murder, it also compels our admiration at the beauty of the work.
It has been restored, renovated or re-edified, but in spite of that,
appeals to us from the wealth of very highly ornate tabernacle work, the
richness, and at the same time the lightness and elegance of the whole.
The details too are well worth careful examination. It may be, judging
from the expression of the face, that there has been some attempt at
portraiture, but repair and restoration have practicall