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This free content was digitised by double rekeying. All rights reserved. Tomb of King Sebert—St. Benedict's Chapel—St. Edmund's Chapel—St. Paul—A Punning Epitaph—St. John, St. Andrew, and St. The chapels at the east end of the Abbey Church are nine in number. Commencing on the south side by "Poets' Corner," and following the curve round to the north transept, we find them dedicated to the following saints:—St.

Benedict, St. Edmund, St. Nicholas, St. Mary Henry VII. Paul, St. Edward, St. John the Baptist commonly known as Islip's Chapel , St. John the Evangelist, St. Michael; but the three last named are now thrown into one. The tomb of Sebert, king of the East Saxons, who died in , and of Ethelgoda, his queen, is on the left of the gate of entrance to the chapels.

The lower part of the tomb is covered by a plain arch forming a recess, and in the upper part seems to have been at one time richly adorned with paintings, of which there are slight traces left. Over the tomb, under a glass case, is preserved an elaborate work measuring about eleven feet in length by three feet in height , which is supposed to have originally formed part of an altar decoration, and probably is of the fourteenth century.

Above this were paintings, long since defaced, done by order of the king, who was strongly imbued with a love of the arts.

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Among these is a direction for painting two cherubims " cum vultu hilari et jocoso. The Chapel of St. Benedict is separated from the south transept and the ambulatory, or chancel aisle, simply by a screen of monuments and their railings. At the east end, where stood the altar of St. Benedict, is the tomb of Frances, Countess of Hertford, whose effigy, as Malcolm states, "lies precisely where the candlesticks and host formerly stood. He died in The monument is of the altar form, with the sides adorned with quatrefoils and shields of arms, and on it lies an effigy of the archbishop, robed and mitred; it was formerly surmounted with a wooden canopy.

In this chapel lie also several of the deans of Westminster.

Between the Chapel of St. Benedict and that of St. Edmund is a monument to the children of Henry III. Although it is now sadly defaced, this monument appears to have been a very elaborate one, richly adorned with mosaic work. In the state records, there is the king's order for the erection of a monument in this place, "and for allowing Master Simon de Wells five marks and a half to defray his expenses, in bringing from the city a certain brass image, to set upon the tomb of his daughter Catherine; and for paying Simon de Gloucester, the king's goldsmith, seventy marks, for a silver image for the like purpose.

Edmund forms an hexagonal projection upon the passage leading from Palace Yard to "Poets' Corner. Edmund was Archbishop of Canterbury, and the anniversary held at his altar was on the 16th of November. An ancient wooden screen separates this chapel from the aisle. Here are several interesting tombs and monuments. On the east side of the doorway is the alabaster monument of John of Eltham, second son of Edward II. The head of the statue is encircled in a coronet of large and small leaves, remarkable for being the earliest specimen of the kind.

The details of plate-armour, surcoat, gorget, coroneted helmet, with other accessories, give great antiquarian interest to this work.

It was formerly surmounted by a canopy, of which, however, no traces are now visible. Close by is a slab of stained marble, that is perhaps less remarkable for its elegance than for the inscription it bears, which is as follows:—"In this chapel lies interred all that was mortal of the most illustrious and most benevolent John Paul Howard, Earl of Stafford, who, in , married Elizabeth, daughter of A.

Ewens, of the county of Somerset, Esq. His heart was as truly great and noble as his high descent; faithful to his God; a lover of his country; a relation to relations; a detester of detraction; a friend to mankind. Naturally generous and compassionate, his liberality and his charity to the poor were without bounds. Being snatched away suddenly by death, which he had long meditated and expected with constancy, he went to a better life the 1st of April, , having lived sixtyone years, nine months, and six days.

The figure is of wood, and was originally covered with copper-gilt, as was the chest on which it lies. The earl was treacherously slain at Bayonne, in France, in , and his body was brought to England for interment in this chapel. Among the remaining monuments in St.

Next in order is the Chapel of St. Nicholas, in the centre of which is an altar-tomb surmounted with the effigies of Sir George Villiers, who died in , and of his lady, Mary Beaumont, created in Countess of Buckingham. Their son was advanced by James I. Under this tomb were deposited, long after her decease, the remains of Katharine Valois, queen of Henry V. That her remains were not allowed to rest undisturbed, before their final consignment to the tomb in this chapel, may be gathered from the following entry in Pepys' diary, where, under date of March 23, —8, we read:—"To Westminster Abbey, and there did see all the tombs very finely, having one with us alone;.

The most stately monument in this chapel, and indeed one of the most magnificent in the Abbey, is that erected by Lord Burleigh to the memory of Mildred, his wife, and their eldest daughter Ann, Countess of Oxford. It rises to the height of twenty-four feet, and is constructed of various coloured marbles, after a design of the Corinthian order.

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The Latin inscriptions, which are very long, were written by Lord Burleigh himself, and set forth the varied accomplishments and the virtues of the two ladies who are represented in effigy in the lower part of the monument. The figure of Lord Burleigh, in his robes, and in a kneeling attitude, appears in the upper part of the monument. Leaving the Chapel of St. The portico is beneath the oratory or chantry of Henry V. An ascent of twelve steps leads to the gates opening to the nave or body of the chapel; on the right and left are doors opening into the side aisles.

The gates are of brass, most curiously wrought, forming a kind of framework, the panels of which are filled with the portcullis and crown, fleur-de-lis, the falcon and fetterlock, the thistle and crown, the united roses of York and Lancaster entwined in a crown, the initials R. The chapel itself forms the eastern extremity of the whole fabric, and is the most florid example of the perpendicular style of Gothic architecture that exists in this country; besides this, it is, in respect to its preservation, the most perfect example. We read that in the year Henry VII. Leland calls this chapel "the miracle of the world;" and though his praise may well be pronounced extravagant, it is generally considered that the architectural splendour of this edifice is of the highest order.

It has in England only one rival in the richness of its decoration, namely, King's College Chapel, at Cambridge. The roofs of both are among the glories of the later Gothic style. The cost of Henry VII. The royal miser spared no expense in this piece of vanity and self-glorification. The nave has five clustered columns on each side, the lower parts of which can be seen only in the side aisles, as they are hidden in the nave by the stalls of the Knights of the Bath, who were formerly installed here.

The columns support four noble arches on each side, and the springing for the pendants of the roof; similar arches also divide the nave from the five small chapels at the east end. Immediately under the arches, and extending entirely round the chapel, is a range of demi-angels, projecting from the wall, in high relief.

They support shields emblazoned with the devices of Henry VII. Over these angels are rows of octangular pedestals and niches containing statues of saints, martyrs, and other venerable personages. In the upper window at the east end Henry VII. Between the stone ceiling and the roof there is a spacious chamber lighted by Gothic openings through the walls.

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In front and below the stalls are seats for the esquires. The seats are so arranged as to form, when turned up, what are known as misereres. On these the monks and canons of former times, with the assistance of their elbows on the upper part of the stalls, half supported themselves during certain parts of their long services, and especially at the Miserere Psalm, so as not to be obliged always to stand or kneel.

They are so contrived, that if the body became supine by sleep, they naturally fell down, and the unfortunate monk who rested upon it was thrown forward on to the pavement in front. The seats are fixed to the wall by hinges; when they are down nothing is to be seen, but upon turning them up we find those grotesque representations which were characteristics of the times in which they were carved. Many of them display an irresistible whimsicality of thought, often ludicrously and vulgarly expressed. In the centre, between the knights' stalls, is the royal vault, wherein George II.

An amusing story with reference to the royal vault is told by Mr. Returning to the tavern, their conversation turned upon apparitions and a future state, when one among them, who was an infidel in such matters, took upon himself to rally the others, who seemed rather inclined to a contrary opinion. To end the contest, they proposed to him a wager of twenty guineas that he had not courage enough to go alone at midnight into the vault of Henry VII.

This he at once accepted; the money was forthwith deposited in the hands of the landlord of the house, and the party set out, after having engaged one of the vergers to attend the adventurous gentleman to the gate of the chapel, there to shut him in and to await his return. It had been arranged that the gentleman should stick the blade of his penknife in the earth of the vault, and leave it there, so that it might be found the next morning. It was agreed that his friends should remain for him at the door.

Every step he took had its echo; and the lamp which the verger had left burning before the door of the chapel, by its faint glimmer, added to the solemnity of the scene. His inward tremor increased, yet, determined not to be overpowered by it, he descended, and having reached the last stair, stooped forward and stuck his penknife into the earth; but as he was rising to turn back and leave the vault, he felt something, as he thought, suddenly catch hold of him and pluck him forward. He lost in an instant everything that could support him, and fell into a swoon, with his head in the vault, and part of his body on the stairs.

His friends waited patiently till one o'clock, when, not making his appearance, they resolved to enter the Abbey with the verger, in search of him. On reaching the stairs of the vault and looking down, they saw the condition he was in. All attempts to restore him were in vain, till they got out of the Abbey, when the fresh air recovered him. He was afterwards taken to a tavern, when he related the circumstances as above described, adding that "he had neither seen nor heard anything, but that his reason might easily account for; but should have returned with the same sentiments he went with, had not this unseen hand convinced him of the injustice of his unbelief.

In the attitude of stooping to stick this into the ground it happened, as you see, to pass through the coat; and on your attempting to rise, the terror you were in magnified this little obstruction into an imaginary impossibility of withdrawing yourself. Near the slab marking the entrance to the royal vault, Edward VI. The site is now covered by a communion-table, on which is a Latin inscription to the following effect:—"In place of the ancient altar, destroyed in the Civil Wars, to the honour of God and in pious memory of Edward VI.

The altar here alluded to was composed of a single piece of basaltic stone, known as touchstone. To this altar Henry in his will bequeathed "One grete piece of the holie crosse, which by the high provision of our Lord God was conveied, bought, and delivered to us from the isle of Cyo in Grece, set in gold and garnished with perles and precious stones; and also the preciouse relique of one of the legges of St.

George, set in silver, parcel gilte, which came into the hands of our broder and cousyn Lewys of France, the time that he wan and recovered the citie of Millein, and given and sent to us by our cousyn the Cardinal of Amboise. The first occasion on which the new communiontable was used was in , when the Dean administered the holy sacrament to the revisers of the New Testament, preparatory to commencing their labours. The committee appointed by Convocation for the revision of the authorised version of the Scriptures had invited other scholars and divines to join them, many of whom accepted the invitation.

There were bishops, deans, doctors of the universities, clergymen of parishes in England and Scotland, members of the Free Church of Scotland, and of the chief denominations in England. This was not the only religious ceremony that has taken place here, apart from the installation of the Knights of the Bath, since the time of the Reformation, for in Henry VII.

At the back of the table is the principal object of interest in this chapel, as well for antiquity as for fine workmanship—namely, the magnificent tomb of Henry VII. The monument is enclosed within a curious brass screen, or "chantry," ornamented with statues; the royal pair, in their robes of state, lie on an elaborate tomb of black marble, at the corners of which are cherubs in a kneeling or sitting position.

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The statues, of bronze gilt, as well as the general accessories, were designed by the famous Italian sculptor, Torregiano, the contemporary and rival of Michael Angelo. Lord Bacon calls this monument "one of the stateliest and daintiest tombs in England.

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Extending from the north to the south aisles, and forming the semi-circular termination of the fabric, are five deep recesses or "chapels. The duke and his duchess, dressed in the costume of the time, are represented recumbent, side by side, on a table tomb, over a sarcophagus. The monument, which fills almost the entire recess, is carried at the back up to the top of the vaulting. It will be remembered by every reader of history that the duke fell a victim to national resentment, in , having perished at Portsmouth by the hand of the assassin Felton.

In the next recess is the monument of John Sheffield, another Duke of Buckingham, where, on an altar of the finest-grained marble, lies, in a half-raised posture, his grace's effigy, in a Roman habit, with his duchess, Catherine, natural daughter of the Duke of York, afterwards King James II. In the reign of Charles II. He was in his youth an excellent poet, and in his more advanced years a fine writer. His love of poetry is conspicuous, by the esteem and regard he had for the two great masters of it, who flourished in his own time, Dryden and Pope, to the first of whom he extended his friendship, even after death, by erecting a monument to his memory.

To the latter he did honour, by writing a poem in his praise. Ignorance and error are incident to human nature. I trust in an almighty and all-good God. His grace died in the seventy-fourth year of his age, February 24th, He was the patron of Dryden, and his monument here bears the wellknown line, "Dubius, sed non improbus, vixi. The duke he stands an infidel confest, 'He's our "dear brother,"' quoth the lordly priest; The duke, though knave, still 'brother dear,' he cries, And who can say the reverend prelate lies?

The ceremony of the duke's state funeral was pompous enough; but it is not a little strange to find Dr. Atterbury writing on the subject to Pope in terms which imply that he thought it a sham and unreality. The remains of James I. The central recess is empty, but the one next to it, on the south side, contains the tomb of Anthony Philip, Duke de Montpensier, who died in He was second son of the Duke of Orleans, and brother of Louis Philippe, afterwards king of the French.

The marble effigy of the duke, by Sir Richard Westmacott, lies extended on a low altartomb; he is represented with ducal coronet and robes, and the expression is altogether one of dignity and repose.