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THE GALLERY, THE CHINA MUSEUM
The central vaulted undercroft, originally created by James Wyatt and extended in the same style by Jeffry Wyatville to serve as the principal entrance hall to the State Apartments, was cut off when the Grand Staircase was reoriented in the reign of Queen Victoria. It has recently been redesigned and now houses a changing exhibition of works of art from the Royal Collection, which include Old Master drawings from the world-famous Print Room in the Royal Library.
The carved Ionic capitals of the columns survive from Hugh May's alterations for Charles II. In cases round the walls are displayed magnificent china services from leading English and European porcelain manufacturers: Serves, Meiden, Copenhagen, Naples, Rockingham and Worchester. These are still used for royal banquets and other important occasions.
There are some famous paintings in Windsor Castle: Van Dyke's «Triple Portrait of Charles I» painted to send to Bernie in Italy to enable him to sculpture a bust of the King; Colonel John St.Leger, a friend of the Prince Regent, by Gainsborough; Vermeer's portrait of a lady at the virginals; The five eldest children of Charles I by Van Dyke; John Singleton Copley, the American artist, painted the three youngest daughters of George III and Queen Charlotte: Princesses Mary, Sophia and Amelia, none of whom left legitimate descendants and The Campo SS. Giovanniie Paolo Canaletto etc.
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ST GEORGE'S CHAPEL
St George's Chapel is the spiritual home of the Prodder of the Garter, Britain's senior Order of Chivalry, founded by King Edward III in 1348. St George is the patron saint of the Order.
The architecture of the Chapel ranks among the finest examples of Perpendicular Gothic, the late medieval style of English architecture. Unlike most of the other great churches ,St George's Chapel has its principal or «show» front on the south , facing the Henry VIII gate and running almost the length of the Lower Ward.
As Sovereign of the Order of the Garter, The Queen attends a service in the Chapel in June each year, together with the Knights and Ladies of the Order. Today thirteen Military Knights of Windsor represent the Knights of the Garter in ST George's Chapel at regular services. Ten sovereigns are buried in the Chapel, as are buried in the Chapel, as are other members of the royal family, many represented by magnificent tombs.
The Albert Memorial Chapel
The richly decorated interior is a Victorian masterpiece, created by Sir George Gilbert Scott for Queen Victoria in 1863-73 to commemorate her husband Albert.
The vaulted ceiling is decorated in gold mosaic by Antonio Salviati. The figures in the false west window represent sovereigns, clerics and others associated with St George's Chapel. The inlaid marble panels around the lower walls depict scenes from Scripture.
This was the site of one of the Castle's earliest chapels, built in 1240 by King Henry III and adapted by King Edward III in the 1350s as the first chapel of the College of St George and the Order of the Garter. When the existing St George's Chapel was built in 11475-15528, this small chapel fell into disuse. Subsequent plans to turn it into a royal mausoleum came to nothing.
In 1863 Queen Victoria ordered its complete restoration and redecoration as a temporary resting place for Prince Albert.
The Chapel is now dominated by Alfred Gilbert's tomb of the Duke of Clarence and Avandale who died in 1892.
The Great Park
The Great Park of Windsor, covering about 4,800 acres, has evolved out of the Saxon and medieval hunting forest. It is connected to the Castle by an avenue of nearly 3 miles, known as the Long Walk, planted by King Charles II in 1685 and replanted in 1945. The Valley Gardens are open all year round
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WESTMINSTER ABBEY
Westminster Abbey is one of the most famous, historic and widely visited churches not only in Britain but in the whole Christian world. There are other reasons for its fame apart from its beauty and its vital role as a centre of the Christian faith in one of the world's most important capital cities. These include the facts that since 1066 every sovereign apart from Edward Y and Edward YIII has been crowned here and that for many centuries it was also the burial place of kings, queens and princes.
The royal connections began even earlier than the present Abbey, for it was Edward the Confessor, sometimes called the last of the English kings( 1042-66) and canonised in 1163, who established an earlier church on this site. His great Norman Abbey was built close to his palace on Thorney Island. It was completed in 1065 and stood surrounded by the many ancillary buildings needed by the community of Benedictine monks who passed their lives of prayer here. Edward's death near the time of his Abbey's consecration made it natural for his burial place to be by the High Altar.
Only 200 years later, the Norman east end of the Abbey was demolished and rebuilt on the orders of Henry III, who had a great devotion to Edward the Confessor and wanted to honour him. The central focus of the new Abbey was a magnificent shrine to house St Edward's body ; the remains of this shrine, dismantled at the Reformation but later reerected in rather a clumsy and piecemeal way, can still be seen behind the High Altar today.
The new Abbey remained incomplete until 1376, when the rebuilding of the Nave began; it was not finished until 150 years later, but the master masons carried on a similar thirteenth-century Gothic, French-influenced design, as that of Henry Ill's initial work, over that period, giving the whole a beautiful harmony of style.
In the early sixteenth century the Lady Chapel was rebuilt as the magnificent Henry YII Chapel; with its superb fan-vaulting it is one of Westminster's great treasures.
In the mid-eighteenth century the last malor additions - the two western towers designed by Hawksmoor - were made to the main fabric of the Abbey.
THE NAVE was begun by Abbot Litlington who financed the work with money left by Cardinal Simon Langham, his predecessor, for the use of the monastery. The master mason in charge of the work was almost certainly the great Henry Yevele. His design depended on the extra strength given to the structure by massive flying buttresses. These enabled the roof to be raised to a height of 102 feet. The stonework of the vaulting has been cleaned and the bosses gilded in recent years.
At the west end of the Nave is a magnificent window filled with stained glass of 1735, probably designed by Sir James Thornhill (1676-1734).(He also painted
the interior of the dome in St Paul's Cathedral} The design shows Abraham, Isaac and Jacob, with fourteen prophets, and underneath are the arms of King Sebert, Elizabeth I, George II, Dean Wilcocks and the Collegiate Church of St Peter in Westminster.
Also at the west end of the Nave is the grave of the Unknown Warrior. The idea for such a memorial is said to have come from a British chaplain who noticed, in a back garden at Armeentieeres, a grave with the simple inscription: «An unknown British soldier». In 1920 the body of another unknown soldier was brought back from the battlefields to be reburied in the Abbey on 11 November. George Y and Queen Mary and many other members of the royal family attended the service, 100 holders of the Victoria Cross lining the Nave as a Guard of Honour. On a nearby pillar hangs the Congressional Medal, the highest award which can be conferred by the United States.
From the Nave roof hang chandeliers, both giving light and in daylight reflecting it from their hundreds of pedant crystals. They were a gift to mark the 900th anniversary of the Abbey and are of Waterford glass.
At the east end of the Nave is the screen separating it from the Choir. Designed by the then Surveyor, Edward Blore, in 1834, it is the fourth screen to be placed here; the wrought-iron gates, however, remain from a previous screen. Within recent years the screen has been painted and glided.
THE CHOIR was originally the part of the Abbey in which the monks worshipped, but there is now no trace of the pre- Reformation fittings, for in the late eighteenth century Kneene, the then Surveyor, removed the thirteenth-century stalls and designed a smaller Choir. This was in turn destroyed in the mid-nineteenth century by Edward Blore, who created the present Choir in Victoria Gothic style and removed the partitions which until then had blocked off the transepts
It is here that the choir of about twenty-two boys and twelve Lay Vicars sings the daily services. The boys are educated at the Choir School attached to the Abbey ;mention of such a school is made in the fifteenth century and it may be even older in origin. For some centuries it was linked with Westminster School, but became independent in the mid-nineteenth century.
The Organ was originally built by Shrider in 1730. Successive rebuildings in 1849,1884,1909„and 1937 and extensive work in 1983 have resulted in the present instrument.
THE SANCTUARY is the heart of the Abbey, where the High Altar stands The altar and the reredos behind it, with a mosaic of the Last Supper, were designed by Sir Gilbert Scott in 1867. Standing on the altar are two candlesticks, bought with money bequeathed by a serving-maid, Sarah Hughes, in the seventeenth century. In front of the altar, but protected by carpeting, is another of the Abbey's treasures - a now-very-worn pavement dating from the thirteenth century. The method of its decoration is known as Cosmati work, after the Italian
family who developed the technique of inlaying intricate designs made up of small pieces of coloured marble into a plain marble ground.
THE NORTH TRANSEPT, to the left of the Sanctuary, has a beautiful rose window designed by Sir James Thornhill, showing eleven Apostles. The Transept once led to Solomon's Porch and now leads to the nineteenth-century North Front.
THE HENRY VII CHAPEL, beyond the apse, was begun in 1503 as a burial place for Henry VI, on the orders of Henry VII, but it was Henry.VII himself who was finally buried here, in an elaborate tomb. The master mason, who designed the chapel was probably Robert Vertue his brother William constructed the vault at St George's Chapel, Windsor, in 1505 and this experience may have helped in the creation of the magnificent vaulting erected here a few years later.
The chapel has an apse and side aisles which are fan-vaulted, and the central section is roofed with extraordinarily intricate and finely-detailed circular vaulting, embellished with more Tudor badges and with carved pendants, which is literally breath-taking in the perfection of its beauty and artistry.
Beneath the windows, once filled with glass painted by Bernard Flower of which only fragments now remain, are ninety-four of the original 107 statues of saints, placed in richly embellished niches. Beneath these, in turn, hang the banners of the living Knights Grand Cross of the Order of the Bath, whose chapel this is. When the Order was founded in 1725, extra stalls and seats were added to those originally provided. To the stalls are attached plates recording the names and arms of past Knights of the Order, while under the seats can be seen finely carved misericords.
The altar, a copy of the sixteenth-century altar incorporates two of the original pillars and under its canopy hangs a fifteenth-century Madonna and Child by Vivarini.
In the centre of the apse, behind the altar, stand the tomb of Henry VII and Elizabeth of York, protected by a bronze screen. The tomb was the work of Torrigiani and the effigies of the king and queen are finely executed in gilt bronze.
In later years many more royal burials took place in the chapel. Mary I, her half-sister Elizabeth I and half-brother Edward VI all lie here The Latin inscription on thetomb - on which only Elizabeth 1st effigy rests - reads: «Consorts both in throne and grave, here rest we two sisters, Elizabeth and Mary, in the hope of one Resurrection».
In the south aisle lies Mary Queen of Scots, mother of James VI and I, who brought her body from Peterborough and gave her a tomb even more magnificent than that which he had erected for his cousin Elizabeth I.
In the same aisle lies Henry YII's mother, Margaret Beaufort, Countess of Richmond. Her effigy, a bronze by Torrigiani, shows her in old age. She was known for her charitable works and for her intellect - she founded Christ's and St John's Colleges at Cambridge - and these activities are recorded in the inscription composed by Erasmus. Also in this aisle is the tomb of Margaret, Countess of Lennox.
THE CHAPEL OF ST EDWARD THE CONFESSOR, containing his shrine, lies east of the Sanctuary at the heart of the Abbey. It is closed off from the west by a stone screen, probably of fifteenth-century date, carved with scenes from the life of Edward the Confessor; it is approached from the east via a bridge from the Henry YII Chapel.
The shrine seen today within the chapel is only a ghost of its former self. It originally had three parts: a stone base decorated with Cosmati work, a gold feretory containing the saint's coffin, a canopy above which could be raised to reveal the feretory or lowered to protect it. Votive offerings of gold and jewels were given to enrich the feretory over the centuries. To this shrine came many pilgrims, and the sick were frequently left beside it overnight in the hope of a cure. All this ceased at the Reformation The shrine was dismantled and stored by the monks; the gold feretory was taken away from them, but they were allowed to rebury the saint elsewhere in the Abbey.
It was during the reign of Mary I that a partial restoration of the shrine took place. The stone base was re-assembled, the coffin was placed, in the absence of a feretory, in the top part of the stone base and the canopy positioned on top. The Chapel has a Cosmati floor, similar to that before the High Altar, and a blank space in the design shows where the shrine once stood; it also indicates that the shrine was originally raised up on a platform, making the canopy visible beyond the western screen. The canopy of the shrine has recently been restored, and hopefully one day the rest of the shrine will also be restored.
And within the chapel can be seen the Coronation Chair and the tombs of five kings and four queens. At the eastern end is the tomb and Chantey Chapel of Henry Y, embellished with carvings including scenes of Henry Y's coronation. The effigy of the king once had a silver head and silver regalia, and was covered in silver regalia, and was covered in silver gilt, but this precious metal was stolen in 1546.
Eleanor of Castle, first wife of Edward I, lies beside the Chapel. Her body was carried to Westminster from Lincoln, a memorial cross being erected at each place where the funeral procession rested.
Beside her lies Henry III, responsible for the rebuilding of the Abbey, in a tomb of Purbeck marble. Next to his tomb is that of Edward I. Richard II and Anne of Bohemia, Edward III and Philippa of Hainnault, and Catherine de Valois, Henry Y's Queen, also lie in this chapel.
THE SOUTH TRANSEPT is lit by a large rose window, with glass dating from 1902. Beneath it, in the angles above the right and left arches, are two of the finest carvings in the Abbey, depicting sensing angels. In addition to the many monuments there are two fine late thirteen-century wall-paintings, uncovered in 1936, to be seen by the door leading into St Faith's Chapel. They depict Christ showing his wounds to Doubting Thomas, and St Christopher. Beside the south wall rises the dormer staircase, once used by the monks going from their dormitory to the Choir for their night offices.
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POET'S CORNER
One of the most well-known parts of Westminster Abbey, Poet's Corner can be found in the south Transept. It was not originally designated as the burial place of writers, playwrights and poets; the first poet to be buried here, Geoffrey Chaucer, was laid to rest in Westminster Abbey because he had been Clerk of Works to the Palace of Westminster, not because he had written the Canterbury Tales. However, the inscription over his grave, placed there by William Caxton -the famous printer whose press was just beyond the transept wall - mentioned that he was a poet.
Over 150 years later, during the flowering of English literature in the sixteenth century, a more magnificent tomb was erected to Chaucer by Nicholas Brigham and in 1599 Edmund Spencer was laid to rest nearby. These two tombs began a tradition which developed over succeeding centuries.
Burial or commemoration in the abbey did not always occur at or soon after the time of death - many of those whose monuments now stand here had to wait a number of years for recognition; Byron, for example, whose lifestyle caused a scandal although his poetry was much admired, died in 1824 but was finally given a memorial only in 1969. Even Shakespeare, buried at Stratford-upon-Avon in 1616, had to wait until 1740 before a monument, designed by William Kent, appeared in Poet's Corner. Other poets and writers, well-known in their own day, have now vanished into obscurity, with only their monuments to show that they were once famous.
Conversely, many whose writings are still appreciated today have never been memorialised in Poet's Corner, although the reason may not always be clear. Therefore a resting place or memorial in Poet's Corner should perhaps not be seen as a final statement of a writer or poet's literary worth, but more as a reflection of their public standing at the time of death - or as an indication of the fickleness of Fate.
Some of the most famous to lie here, in addition to those detailed on the next two pages include Ben Jonson, John Dryden, Alfred, Lord Tennyson, Robert Browning and John Masefield, among the poets, and William Camden, Dr Samuel Johnson, Charles Dickens, William Makepeace Thackeray, Richard Brinsley Sheridan, Rudyard Kipling and Thomas Hardy among the writers.
Charles Dickens's grave attracts particular interest. As a writer who drew attention to the hardships born by the socially deprived and who advocated the abolition of the slave trade, he won enduring fame and gratitude and today, more than 110 years later, a wreath is still laid on his tomb on the anniversary of his death each year.
Those who have memorials here, although they are buried elsewhere, include among the poets John Milton, William Wordworth, Thomas Gray, John Keats, Percy Bysshe Shelley, Robert Burns, William Blake, T.S. Eliot and among the writers Samuel Butler, Jane Austen, Oliver Goldsmith, Sir Walter Scott, John Ruskin, Charlotte, Emily and Anne Bronte and Henry James.
By no means all those buried in the South Transept are poets or writers, however. Several of Westminster's former Deans, Archdeacons, Prebendaries and Canons lie here, as do John Keble, the historian Lord Macaulay, actors David Garrick, Sir Henry Irving and Mrs Hannah Pritchard, and, among many others, Thomas Parr, who was said to be 152 years of age when he died in 1635, having seen ten sovereigns on the throne during his long life.
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