Part 18 (2/2)

The choir, a fine specimen of Early English with decorations added in the fourteenth century, is where the coronation of English sovereigns takes place, and contains the tombs of Sebert, King of the East Angles, Anne of Cleves, and Edmund Crouchback, Earl of Leicester. Henry VII.'s chapel displays the architect's skill to perfection, with the wonderful fretted work of the roof and the graceful fan-tracery. It contains the glorious tomb of Henry VII., the work of the great sculptor Pietro Torrigiano. It is composed chiefly of black marble with figures and pilasters of gilt copper. The figures once wore crowns, but some sacrilegious hands have stolen them. In the chapel of Edward the Confessor are the shrine of Edward the Confessor in Purbeck marble, the altar-tomb of Edward I., the coronation chairs of the English sovereigns, besides the stone of Scone, the old coronation seat of the Scottish kings. The beautiful chapels of St. Benedict, St. Edmund, St.

Nicholas, St. Paul, St. Erasmus, and St. John the Baptist chiefly contain the monuments of ecclesiastics and n.o.bility.

The entrance generally used is the North Porch, known as Solomon's Porch. It was erected in the reign of Richard II., but entirely changed its character in the hands of Wren, who appears not to have appreciated the beauties of Gothic architecture. The same architect is said to have built the two western towers, though they are sometimes ascribed to his pupil Hawksmoor. Wren's work upon the north porch was again altered by Sir G. G. Scott, who introduced the present triple portico. On pa.s.sing under it we come to the north transept, generally known as the Statesmen's Aisle. Here in the same grave lie the Earl of Chatham and his famous son, William Pitt. Close to them are either the graves or monuments of Fox, Castlereagh, Grattan, Palmerston, Peel, the three Cannings, and Disraeli. Right in the centre of the aisle is a slab marking the resting-place of W. E. Gladstone and his wife (1898 and 1900), over whom unconsciously the people tread, gradually wearing out the simple words of memorial. The south transept is the Poets' Corner, containing the memorials from Chaucer to Ruskin. In the nave lie David Livingstone (1873), a great missionary and traveller, whose remains were reverently brought from Central Africa; Robert Stephenson (1859), the famous engineer; Sir Charles Barry (1860), architect of the Houses of Parliament; Sir G. G. Scott (1873); George Edmund Street (1881), architect of the Law Courts; Colin Campbell; Lord Clyde (1863), who recaptured Lucknow. We have mentioned these names, not for the sake of invidiousness, but have chosen them at random.

Leading from the cloisters up a flight of stone steps is the Chapter House. The original structure was built by King Edward in the eleventh century, and it is noticeable in that it departed from the usual Benedictine form. In 1250 it was rebuilt by Henry III., and is an octagonal structure, second only to that at Lincoln in size. Here the monks were accustomed once a week to hold their chapters. In ornamental stalls opposite the entrance the Abbot and his four chief officers were enthroned, whilst the monks ranged themselves along the stone benches which go around the walls. Criminals were tried, and if found guilty were tied up to the central pillar of Purbeck marble (thirty-five feet high) and were flogged publicly. The monks, however, were not left in undisturbed possession of the Chapter House, for on the separation of the Houses of Lords and Commons in the reign of Edward I., the House of Commons held sittings here and continued to do so till 1547. The last parliament held here was on the day that Henry VIII. died, when it sat to discuss the Act of Attainder pa.s.sed upon the Duke of Norfolk. At the dissolution of the monastery the Chapter House pa.s.sed to the Crown, and seven years afterwards the House of Commons removed to St. Stephen's Chapel in the Palace of Westminster.

From that time the Chapter House was used as a Record Office till the removal of the records in 1865 to the Rolls House.

There are now two or three gla.s.s cases filled with interesting ancient deeds and illuminated parchments relating to the history of the Abbey.

Adjoining the Abbey is the great public school of Westminster, or St.

Peter's College as it was called when founded by Queen Elizabeth in 1560 for the education of forty boys, denominated the Queen's scholars, and prepared for the university. Since then the numbers have greatly increased, and to have been educated there is something to boast of, for it is so much sought after that preference is given to the sons of old Westminster boys. We might go on for ever, so vast is the subject-matter, but before closing we would draw attention to St.

Margaret's Church, which stands in front of Solomon's Porch. It was founded by the Confessor, and is the especial church of the House of Commons. Curiously enough, it gives scale to the whole Abbey. The Houses of Parliament are across the road to the east of the Abbey and on the bank of the river Thames. In the Tudor style Sir Charles Barry, R.A., built the New Palace of Westminster, containing the two Houses of Parliament (1840-1859). It is a stupendous work and a marvellous ma.s.s of rich architecture. Some authority states that the clock tower is much after the style of the belfry at Bruges. This statement, we would point out, is hardly correct. The two no more resemble each other than do black and white.

How is it possible to describe in a few cold words the wonderful beauties that lie hidden in the architecture of the Abbey, the best artistic expressions of its several architects? Impressions created depend upon the temperament of the individual who gazes upon them. All acknowledge the great beauty, but each from his own standpoint, according to his tastes and inclinations, which are moulded by his pursuits in life, or more rarely endowed by that inherent sense of all that is n.o.ble and refined he is enabled to sink his own individuality for a moment, and to enjoy the brain-product of a fellow-being. To the dull intellect the Abbey appeals as a mystery; to the commercial man it represents so much outlay of capital, and a proud possession of the empire's city; to the poet and artist the memorials must recall the wonderful lines of Longfellow:

”Lives of great men all remind us We can make our lives sublime”;

to the architect a marvellous insight into the great possibilities offered by architecture; to the musician the ambition to create a great composition that will be worthy to echo throughout the lofty and beautiful aisles, whose music is so unconsciously based upon those laws of harmony which should exist in architecture, sculpture, painting, and literature.

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