It was here that, scarce six years later, Harold, on his return from Stamford Bridge, had news of the Norman invasion. He stayed for the night at his mansion in the park at Nazeing, still called Harold’s Park, and on the morrow offered up prayers for his success in the Abbey. It is recorded that the figure of the Saviour on the wondrous crucifix bowed the head as if to express sorrow for his inevitable fate. He set out for Senlac accompanied by two of the canons, who, if the omen were fulfilled, were bidden to bring back with them the body of the founder. Harold’s war-cry was “Holy Rood.” The canons, true to their trust, recovered the king’s body, by the aid of Harold’s old love, Editha the “Swan-necked,” and brought it to Waltham with all possible honours. Here the remains were interred, being translated from time to time as alterations and additions to the church necessitated (it was not finally completed until 1125), finding a final resting place near the great altar, about 140 feet from the present east end of the church. Here a most beautiful and imposing tomb was erected, but all that remains of this is a curious piece of carved ironstone representing the face of a warrior, which, after many vicissitudes, including its use as a fountain ornament, was returned to the possession of the church a few years ago, and now reposes on the tomb of Robert Smith in the chancel.
To the antiquary, the student, and the lover of all that is beautiful in architecture, the ancient minster offers a boundless store of interest. In the course of his scholarly observations upon the architecture and history of the abbey church the late Professor Freeman says: “Barbarous mutilations and hardly less barbarous additions have entirely destroyed its character, as seen from without, and even within, both mediæval alterations of the strangest kind and the accumulated enormities of more recent days have gone far to ruin the general effect of the original building. Still a large portion of the original interior remains untouched; an interior deserving attentive study as one of the noblest specimens of Northern Romanesque, and invested with a yet higher interest if we may regard it as called into being by the taste and bounty of the last of our native kings.”