The shrine, and within it the Confessor's coffin, still stands in the centre of this royal chapel of St. Edward--a battered wreck, yet bearing traces of its former beauty--and round it is a circle of royal tombs, drawn as by a magnet to the proximity of the royal saint. Henry III., the second founder, is here himself. At his head is his warlike son Edward I., the Hammer of the Scots, with his faithful wife, Eleanor of Castile, at his feet. On the other side are the tombs of another Plantagenet, Edward III., the "mighty victor, mighty lord," and his good Queen, the Flemish Philippa. In a line with them is their handsome, unfortunate grandson Richard II., whose picture hangs beside the altar. Here also is the Coronation Chair, which encloses the Stone of Scone, and upon this "Seat of Majesty," ever since the time of Edward I., who reft the ancient stone from the Scots, all our Sovereigns have been seated at the moment of their coronation. On the west of the royal chapel a screen depicts the legends of the Confessor's life; on the east is the mutilated tomb of Henry V., the victor of Agincourt; above it the Chantry Chapel, where, after centuries of neglect, rest the remains of his wife, the French Catherine, ancestress of the great Tudor line.
While the different dynasties succeeded one another, the building of the monastery and church went on slowly but surely under different Abbots, the monastic funds helped by gifts of money from the Kings and Queens and from the pilgrims who visited the shrine. Edward I., for instance, continued his father's work from the crossing of the transepts to one bay west of the present organ-screen, while after him Richard II. and Henry V. were the principal benefactors to the fabric. The west end was not reached till early in the sixteenth century, in the reign of Henry VII., when Abbot Islip superintended the completion of the west front and placed in the niches statues of those Kings who had been benefactors. The towers were not built till 1740, after the designs of Sir Christopher Wren, who died before they were finished. The great northern entrance has been called "Solomon's Porch" since the reign of Richard II., who erected a beautiful wooden porch outside the north door. This was destroyed in the thirteenth century, and the end of the north transept was changed into the classical style under Dean Atterbury, to whom, it is fair to add, we owe the fine glass of the rose-window. Within recent years the north front has again been restored on the lines of the original thirteenth-century architecture, and the present sculpture on the porch is from the designs of Sir Gilbert Scott; the work was carried out by Mr. John Pearson, who was the Abbey architect at that time.