Windsor Castle - William Harrison Ainsworth (e ink manga reader txt) 📗

right on the entrance to the choir, and the prince's on the left. The queen's closet is on the north side above the altar. Beneath it is the beautiful and elaborately- wrought framework of iron, representing a pair of gates between two Gothic towers, designed as a screen to the tomb of Edward the Fourth, and which, though popularly attributed to Quentin Matsys, has with more justice been assigned to Master John Tressilian.

One great blemish to the chapel exists in the window over the altar, the mullions and tracery of which have been removed to make way for dull colourless copies in painted glass of West's designs. Instead of

-" blushing with the blood of kings, And twilight saints, and dim emblazonings"

steeping the altar in rich suffusion, chequering the walls and pavement with variegated hues, and filling the whole sacred spot with a warm and congenial glow, these panes produce a cold, cheerless, and most disagreeable effect.

The removal of this objectionable feature, and the restoration of framework and compartments in the style of the original, and enriched with ancient mellow-toned and many-hued glass in keeping with the place, are absolutely indispensable to the completeness and unity of character of the chapel. Two clerestory windows at the east end of the choir, adjoining the larger window, have been recently filled with stained glass in much better taste.

The objections above made may be urged with equal force against the east and west windows of the south aisle of the body of the fane, and the west window of the north aisle. The glorious west window, composed of eighty compartments, embellished with figures of kings, patriarchs, and bishops, together with the insignia of the Garter and the arms of the prelates--the wreck gathered from all the other windows-- and streaming with the radiance of the setting sun upon the broad nave and graceful pillars of the aisles--this superb window, an admirable specimen of the architecture of the age in which it was designed, had well-nigh shared the fate of the others, and was only preserved from desecration by the circumstance of the death of the glass-painter. The mullions of this window being found much decayed, were carefully and consistently restored during the last year by Mr. Blore, and the ancient stained glass replaced.

Not only does Saint George's Chapel form a house of prayer and a temple of chivalry, but it is also the burial-place of kings. At the east end of the north aisle of the choir is a plain flag, bearing the words--

King Edward IIII. And his Queen Elizabeth Widville

The coat of mail and surcoat, decorated with rubies and precious stones, together with other rich trophies once ornamenting this tomb, were carried off by the Parliamentary plunderers. Edward's queen, Elizabeth Woodville, it was thought, slept beside him; but when the royal tomb was opened in 1789, and the two coffins within it examined, the smaller one was found empty. The queen's body was subsequently discovered in a stone coffin by the workmen employed in excavating the vault for George the Third. Edward's coffin was seven feet long, and contained a perfect skeleton. On the opposite aisle, near the choir door, as already mentioned, rests the ill-fated Henry the Sixth, beneath an arch sumptuously embellished by Henry the Eighth, on the key-stone of which may still be seen his arms, supported by two antelopes connected by a golden chain. Henry's body was removed from Chertsey, where it was first interred, and reburied in 1484, with much solemnity, in this spot. Such was the opinion entertained of his sanctity that miracles were supposed to be wrought upon his tomb, and Henry the Seventh applied to have him canonised, but the demands of the Pope were too exorbitant. The proximity of Henry and Edward in death suggested the following lines to Pope--

"Here, o'er the martyr-king the marble weeps,
And fast beside him once-fear'd Edward sleeps;
The grave unites, where e'en the grave finds rest,
And mingled here the oppressor and the opprest."

In the royal vault in the choir repose Henry the Eighth and his third queen Jane Seymour, together with the martyred Charles the First.

Space only permits the hasty enumeration of the different chapels and chantries adorning this splendid fane. These are Lincoln Chapel, near which Richard Beauchamp, Bishop of Salisbury, is buried; Oxenbridge Chapel; Aldworth Chapel; Bray Chapel, where rests the body of Sir Reginald de Bray, the architect of the pile; Beaufort Chapel, containing sumptuous monuments of the noble family of that name; Rutland Chapel; Hastings Chapel; and Urswick Chapel, in which is now placed the cenotaph of the Princess Charlotte, sculptured by Matthew Wyatt.

In a vault near the sovereign's stall lie the remains of the Duke of Gloucester, who died in 1805, and of his duchess, who died two years after him. And near the entrance of the south door is a slab of grey marble, beneath which lies one who in his day filled the highest offices of the realm, and was the brother of a king and the husband of a queen. It is inscribed with the great name of Charles Brandon.

At the east end of the north aisle is the chapter-house, in which is a portrait and the sword of state of Edward the Third.

Adjoining the chapel on the east stands the royal tombhouse. Commenced by Henry the Seventh as a mausoleum, but abandoned for the chapel in Westminster Abbey, this structure was granted by Henry the Eighth to Wolsey, who, intending it as a place of burial for himself, erected within it a sumptuous monument of black and white marble, with eight large brazen columns placed around it, and four others in the form of candlesticks.

At the time of the cardinal's disgrace, when the building reverted to the crown, the monument was far advanced towards completion--the vast sum of 4280 ducats having been paid to Benedetto, a Florentine sculptor, for work, and nearly four hundred pounds for gilding part of it. This tomb was stripped of its ornaments and destroyed by the Parliamentary rebels in 1646; but the black marble sarcophagus forming part of it, and intended as a receptacle for Wolsey's own remains, escaped destruction, and now covers the grave of Nelson in a crypt of Saint Paul's Cathedral.

Henry the Eighth was not interred in this mausoleum, but in Saint George's Chapel, as has just been mentioned, and as he himself directed, "midway between the state and the high altar." Full instructions were left by him for the erection of a monument which, if it had been completed, would have been truly magnificent. The pavement was to be of oriental stones, with two great steps upon it of the same material. The two pillars of the church between which the tomb was to be set were to be covered with bas-reliefs, representing the chief events of the Old Testament, angels with gilt garlands, fourteen images of the prophets, the apostles, the evangelists, and the four doctors of the Church, and at the foot of every image a little child with a basket full of red and white roses enamelled and gilt. Between these pillars, on a basement of white marble, the epitaphs of the king and queen were to be written in letters of gold.

On the same basement were to be two tombs of black touchstone supporting the images of the king and queen, not as dead, but sleeping, "to show," so runs the order, "that famous princes leaving behind them great fame do never die." On the right hand, at either corner of the tomb, was to be an angel holding the king's arms, with a great candlestick, and at the opposite corners two other angels hearing the queen's arms and candlesticks. Between the two black tombs was to rise a high basement, like a sepulchre, surmounted by a statue of the king on horseback, in armour--both figures to be "of the whole stature of a goodly man and a large horse." Over this statue was to be a canopy, like a triumphal arch, of white marble, garnished with oriental stones of divers colours, with the history of Saint John the Baptist wrought in gilt brass upon it, with a crowning group of the Father holding the soul of the king in his right hand and the soul of the queen in his left, and blessing them. The height of the monument was to be twenty-eight feet.

The number of statues was to be one hundred and thirty-four, with forty- four bas-reliefs. It would be matter of infinite regret that this great design was never executed, if its destruction by the Parliamentary plunderers would not in that case have been also matter of certainty.

Charles the First intended to fit up this structure as a royal mausoleum, but was diverted from the plan by the outbreak of the civil war. It was afterwards used as a chapel by James the Second, and mass was publicly performed in it. The ceiling was painted by Verrio, and the walls highly ornamented; but the decorations were greatly injured by the fury of an anti-Catholic mob, who assailed the building, and destroyed its windows, on the occasion of a banquet given to the Pope's nuncio by the king.

In this state it continued till the commencement of the present century, when the exterior was repaired by George the Third, and a vault, seventy feet in length, twenty-eight in width, and fourteen in depth, constructed within it, for the reception of the royal family. Catacombs, formed of massive octangular pillars, and supporting ranges of shelves, line the walls on either side.

At the eastern extremity there are five niches, and in the middle twelve low tombs. A subterranean passage leads from the vault beneath the choir of Saint George's altar to the sepulchre. Within it are deposited the bodies of George the Third and Queen Charlotte, the Princesses Amelia and Charlotte, the Dukes of Kent and York, and the last two sovereigns, George the Fourth and William the Fourth.

But to return to the reign of Edward the Fourth, from which the desire to bring down the history of Saint George's Chapel to the present time has led to the foregoing digression. About the same time that the chapel was built, habitations for the dean and canons were erected on the north-east of the fane, while another range of dwellings for the minor canons was built at its west end, disposed in the form of a fetterlock, one of the badges of Edward the Fourth, and since called the Horse- shoe Cloisters. The ambulatory of these cloisters once displayed a fine specimen of the timber architecture of Henry the Seventh's time, when they were repaired, but little of their original character can now be discerned.

In 1482 Edward, desirous of advancing his popularity with the citizens of London, invited the lord mayor and aldermen to Windsor, where he feasted them royally, and treated them to the pleasures of the chase, sending them back to their spouses loaded with game.

In 1484 Richard the Third kept the feast of Saint George at Windsor, and the building of the chapel was continued during his reign.

The picturesque portion of the castle on the north side of the upper ward, near the Norman Gateway, and which is one of the noblest Gothic features of the proud pile, was built by Henry the Seventh, whose name it still bears. The side of this building looking towards the terrace was originally decorated with two rich windows, but one of them has disappeared, and the