Windsor Castle [79]
these, together with the consecrated vessels of great value, were seized by order of Parliament in 1642 amid the general plunder of the foundation. The service of the altar was replaced by Charles the Second.
The sovereign's stall is immediately on the 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
The sovereign's stall is immediately on the 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