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and dusted for the visit of the Emperor of Germany and the 
Royal wedding, contrasted strongly in the brightness of their 
appearance with the dusty-looking surcoat, helmet and sword 
hanging beneath them. The brass plates on which are inscribed 
the names and titles of the knights gleamed out from the back of 
the dusky stalls; two, one on each side, remained still to be 
occupied with the insignia of the last-made knights. On the N. 
side is the Closet for the Royal household high up on the wall of 
the choir ; and beneath, in the N. aisle, is the black marble slab 
covering the tomb of “ King Edward IV and his Queen, Elizabeth 
Widville.” The Braye Chapel, forming the S. transept, contains 
the white marble tomb of the Prince Imperial erected by the 
Queen ; at the W. end of the N. aisle is the elaborate monumental 
sculptured story of the Princess Charlotte’s death; and on a 
pillar adjoining the brass tablet to the memory of Prince Alamayn, 
son of the King of Abyssinia. Standing at the W. doorway a 
good view was obtained of the Horseshoe Cloisters, built by 
Edward [V in the form of a fetter-lock, the Curfew Tower in the 
background, and the fine flight of steps leading up to the W. 
entrance of the Chapel. There remained now to be seen the gem 
of all. Leaving by the N. door, and passing the houses of the 
Minor Canons and through the Cloisters, the passage at the E. 
end of the Chapel was entered. Leaving the dripping umbrellas 
here and passing through a temporary spring door, the far famed 
Albert Memorial Chapel, built over the Royal tomb house, burst 
upon the view in all its rich magnificence. The costliest productions 
of the sculptor’s and decorator’s arts are here lavished to keep ever 
green the memory of the dearest and the best. Immediately on 
entering comes the white marble effigy of the Duke of Albany, 
the work of Boehm ; to the E. of this the cenotaph of Albert the 
Good, by Baron Trequite, in the whitest of Carara marble ; round 
the walls are the same master’s exquisite panel representations of 
Biblical stories, the figures and accessories incised in marble and 
filled in with various coloured cements (Tarsia-work) most chaste 
