The Works of William Harrison Ainsworth

by William Harrison Ainsworth

  “Behold an order yet of newer date, Doubling their number, equal in their state; Our England’s ornament, the crown’s defence, In battle brave, protectors of their prince: Unchanged by fortune, to their sovereign true, For which their manly legs are bound with blue. These of the Garter call’d, of faith unstain’d, In fighting fields the laurel have obtain’d, And well repaid the laurels which they gained.”

  In 1357 John, King of France, defeated at the battle of Poitiers by Edward the Black Prince, was brought captive to Windsor; and on the festival of Saint George in the following year; 1358, Edward outshone all his former splendid doings by a tournament which he gave in honour of his royal prisoner. Proclamation having been made as before, and letters of safe conduct issued, the nobles and knighthood of Almayne, Gascoigne, Scotland, and other countries, flocked to attend it, The Queen of Scotland, Edward’s sister, was present at the jousts; and it is said that John, commenting upon the splendour of the spectacle, shrewdly observed “that he never saw or knew such royal shows and feastings without some after-reckoning.” The same monarch replied to his kingly captor, who sought to rouse him from dejection, on another occasion— “Quomodo cantabimus canticum in terra aliena!”

  That his works might not be retarded for want of hands, Edward in the twenty-fourth year of his reign appointed John de Sponlee master of the stonehewers, with a power not only “to take and keep, as well within the liberties as without, as many masons and other artificers as were necessary, and to convey them to Windsor, but to arrest and imprison such as should disobey or refuse; with a command to all sheriffs, mayors, bailiffs, etc., to assist him.” These powers were fully acted upon at a later period, when some of the workmen, having left their employment, were thrown into Newgate; while the place of others, who had been carried off by a pestilence then raging in the castle, was supplied by impressment.

  In 1356 WILLIAM OF WYKEHAM was constituted superintendent of the works, with the same powers as John de Sponlee, and his appointment marks an important era in the annals of the castle. Originally secretary to Edward the Third, this remarkable man became Bishop of Winchester and prelate of the Garter. When he solicited the bishopric, it is said that Edward told him he was neither a priest nor a scholar; to which he replied that he would soon be the one, and in regard to the other, he would make more scholars than all the bishops of England ever did. He made good his word by founding the collegiate school at Winchester, and erecting New College at Oxford. When the Winchester Tower was finished, he caused the words, HOC FECIT WYKEHAM, to be carved upon it; and the king, offended at his presumption, Wykeham turned away his displeasure by declaring that the inscription meant that the castle had made him, and not that he had made the castle. It is a curious coincidence that this tower, after a lapse of four centuries and a half, should become the residence of an architect possessing the genius of Wykeham, and who, like him, had rebuilt the kingly edifice — SIR JEFFRY WYATVILLE.

  William of Wykeham retired from office, loaded with honours, in 1362, and was succeeded by William de Mulso. He was interred in the cathedral at Winchester. His arms were argent, two chevrons, sable, between three roses, gules, with the motto— “Manners maketh man.”

  In 1359 Holinshed relates that the king “set workmen in hand to take down much old buildings belonging to the castle, and caused divers other fine and sumptuous works to be set up in and about the same castle, so that almost all the masons and carpenters that were of any account in the land were sent for and employed about the same works.” The old buildings here referred to were probably the remains of the palace and keep of Henry the First in the middle ward.

  As the original chapel dedicated to Saint George was demolished by Edward the Fourth, its position and form cannot be clearly determined, But a conjecture has been hazarded that it occupied the same ground as the choir of the present chapel, and extended farther eastward.

  “Upon the question of its style,” says Mr. Poynter, from whose valuable account of the castle much information has been derived, “there is the evidence of two fragments discovered near this site, a corbel and a piscina, ornamented with foliage strongly characteristic of the Decorated English Gothic, and indicating, by the remains of colour on their surfaces, that they belonged to an edifice adorned in the polychromatic style, so elaborately developed in the chapel already built by Edward the Third at Westminster.”

  The royal lodgings, Saint George’s Hall, the buildings on the east and north sides of the upper ward, the Round Tower, the canons’ houses in the lower ward, and the whole circumference of the castle, exclusive of the towers erected in Henry the Third’s reign, were now built. Among the earlier works in Edward’s reign is the Dean’s Cloister. The square of the upper ward, added by this monarch, occupied a space of four hundred and twenty feet, and encroached somewhat upon the middle ward. Externally the walls presented a grim, regular appearance, broken only by the buttresses, and offering no other apertures than the narrow loopholes and gateways. Some traces of the architecture of the period may still be discerned in the archway and machecoulis of the principal gateway adjoining the Round Tower; the basement chamber of the Devil Tower, or Edward the Third’s Tower; and in the range of groined and four-centred vaulting, extending along the north side of the upper quadrangle, from the kitchen gateway to King John’s Tower.

  In 1359 Queen Philippa, consort of Edward the Third, breathed her last in Windsor Castle.

  Richard the Second, grandson of Edward the Third, frequently kept his court at Windsor. Here, in 1382, it was determined by council that war should be declared against France; and here, sixteen years later, on a scaffold erected within the castle, the famous appeal for high treason was made by Henry of Lancaster, Duke of Hereford, against Thomas Mowbray, Duke of Norfolk, the latter of whom defied his accuser to mortal combat. The duel was stopped by the king, and the adversaries banished; but the Duke of Lancaster afterwards returned to depose his banisher. About the same time, the citizens of London having refused Richard a large loan, he summoned the lord mayor, sheriffs, aldermen, and twenty-four of the principal citizens, to his presence, and after rating them soundly, ordered them all into custody, imprisoning the lord mayor in the castle.

  In this reign Geoffrey Chaucer, “the father of English poetry,” was appointed clerk to the works of Saint George’s Chapel, at a salary of two shillings per day (a sum equal to 657 pounds per annum of modern money), with the same arbitrary power as had been granted to previous surveyors to impress carpenters and masons. Chaucer did not retain his appointment more than twenty months, and was succeeded by John Gedney.

  It was at Windsor that Henry the Fourth, scarcely assured of the crown he had seized, received intelligence of a conspiracy against his life from the traitorous Aumerle, who purchased his own safety at the expense of his confederates. The timely warning enabled the king to baffle the design. It was in Windsor also that the children of Mortimer, Earl of March, the rightful successor to the throne, were detained as hostages for their father. Liberated by the Countess-dowager of Gloucester, who contrived to open their prison door with false keys, the youthful captives escaped to the marshes of Wales, where, however, they were overtaken by the emissaries of Henry, and brought back to their former place of confinement.

  A few years later another illustrious prisoner was brought to Windsor — namely, Prince James, the son of King Robert the Third, and afterwards James the First of Scotland. This prince remained a captive for upwards of eighteen years; not being released till 1424, in the second of Henry the Sixth, by the Duke of Bedford, then regent. James’s captivity, and his love for Jane of Beaufort, daughter of the Duke of Somerset, and granddaughter to John of Gaunt, to whom he was united, have breathed a charm over the Round Tower, where he was confined; and his memory, like that of the chivalrous and poetical Surrey, whom he resembled in character and accomplishments, will be ever associated with it.

  In the “King’s Quair,” the royal poet has left an exquisite picture of a garden nook, contri
ved within the dry moat of the dungeon.

  “Now was there made, fast by the tower’s wall, A garden faire, and in the corners set An arbour green with wandis long and small Railed about, and so with leaves beset Was all the place, and hawthorn hedges knet, That lyf was none, walking there forbye, That might within scarce any wight espy. So thick the branches and the leave’s green Beshaded all the alleys that there were. And midst of every harbour might be seen The sharpe, green, sweet juniper, Growing so fair with branches here and there, That as it seemed to a lyf without The boughs did spread the arbour all about.”

  And he thus describes the first appearance of the lovely Jane, and the effect produced upon him by her charms:

  “And therewith cast I down mine eye again, Where as I saw walking under the tower, Full secretly, new comyn her to plain, The fairest and the freshest younge flower That e’er I saw, methought, before that hour; For which sudden abate, anon did start The blood of all my body to my heart.”

  Henry the Fifth occasionally kept his court at Windsor, and in 1416 entertained with great magnificence the Emperor Sigismund, who brought with him an invaluable relic — the heart of Saint George — which he bestowed upon the chapter. The emperor was at the same time invested with the Order.

  In 1421 the unfortunate Henry the Sixth was born within the castle, and in 1484 he was interred within it.

  CHAPTER III.

  Comprising the Fourth Epoch in the History of the Castle —

  And showing how Saint George’s Chapel was rebuilt by King Edward the Fourth.

  Finding the foundation and walls of Saint George’s Chapel much dilapidated and decayed, Edward the Fourth resolved to pull down the pile, and build a larger and statelier structure in its place. With this view, he constituted Richard Beauchamp, Bishop of Salisbury, surveyor of the works, from whose designs arose the present beautiful edifice. To enable the bishop to accomplish the work, power was given him to remove all obstructions, and to enlarge the space by the demolition of the three buildings then commonly called Clure’s Tower, Berner’s Tower, and the Almoner’s Tower.

  The zeal and assiduity with which Beauchamp prosecuted his task is adverted to in the patent of his appointment to the office of chancellor of the Garter, the preamble whereof recites, “that out of mere love towards the Order, he had given himself the leisure daily to attend the advancement and progress of this goodly fabric.”

  The chapel, however, was not completed in one reign, or by one architect. Sir Reginald Bray, prime minister of Henry the Seventh, succeeded Bishop Beauchamp as surveyor of the works, and it was by him that the matchless roof of the choir and other parts of the fabric were built. Indeed, the frequent appearance of Bray’s arms, sometimes single, sometimes impaling his alliances, in many parts of the ceiling and windows, has led to the supposition that he himself contributed largely to the expense of the work. The groined ceiling of the chapel was not commenced till the twenty-seventh year of the reign of Henry the Seventh, when the pinnacles of the roof were decorated with vanes, supported by gilt figures of lions, antelopes, greyhounds, and dragons, the want of which is still a detriment to the external beauty of the structure.

  “The main vaulting of St. George’s Chapel,” says Mr. Poynter, “is perhaps, without exception, the most beautiful specimen of the Gothic stone roof in existence; but it has been very improperly classed with those of the same architectural period in the chapels of King’s College, Cambridge, and Henry the Seventh, at Westminster. The roofing of the aisle and the centre compartment of the body of the building are indeed in that style, but the vault of the nave and choir differ essentially from fan vaulting, both in drawing and construction. It is, in fact, a waggon-headed vault, broken by Welsh groins — that is to say, groins which cut into the main arch below the apex. It is not singular in the principle of its design, but it is unique in its proportions, in which the exact mean seems to be attained between the poverty and monotony of a waggon-headed ceiling and the ungraceful effect of a mere groined roof with a depressed roof or large span — to which may be added, that with a richness of effect scarcely, if at all, inferior to fan tracery, it is free from those abrupt junctions of the lines and other defects of drawing inevitable when the length and breadth of the compartments of fan vaulting differ very much, of which King’s College Chapel exhibits some notable instances.”

  Supported by these exquisite ribs and groins, the ceiling is decorated with heraldic insignia, displaying the arms of Edward the Confessor, Edward the Third, Edward the Black Prince, Henry the Sixth, Edward the Fourth, Henry the Seventh, and Henry the Eighth; with the arms of England and France quartered, the holy cross, the shield or cross of Saint George, the rose, portcullis, lion rampant, unicorn, fleur-de-lis, dragon, and prince’s feathers, together with the arms of a multitude of noble families. In the nave are emblazoned the arms of Henry the Eighth, and of several knights-companions, among which are those of Charles the Fifth, Francis the First, and Ferdinand, Infant of Spain. The extreme lightness and graceful proportions of the pillars lining the aisles contribute greatly to the effect of this part of the structure.

  Beautiful, however, as is the body of the chapel, it is not comparable to the choir. Here, and on either side, are ranged the stalls of the knights, formerly twenty-six in number, but now increased to thirty-two, elaborately carved in black oak, and covered by canopies of the richest tabernacle-work, supported by slender pillars. On the pedestals is represented the history of the Saviour, and on the front of the stalls at the west end of the choir is carved the legend of Saint George; while on the outside of the upper seat is cut, in old Saxon characters, the twentieth Psalm in Latin. On the canopies of the stalls are placed the mantle, helmet, coat, and sword of the knights-companions; and above them are hung their emblazoned banners. On the back of each stall are fixed small enamelled plates, graven with the titles of the knights who have occupied it. The ancient stall of the sovereign was removed in 1788, and a new seat erected.

  The altar was formerly adorned with costly hangings of crimson velvet and gold, but 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 radian
ce 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 —