Архитектурные шедевры Великобритании. Рябцева Е.В. - 18 стр.

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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 new apse, transepts and
Choir (as far west as the present Choir screen) were consecrated in 1269. 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 re-erected 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 fin-
ished until 150 years later, but the master masons carried on a similar thirteenth-century Gothic, French-
influenced design, as that of Henry III'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 VII Chapel; with its
superb fan-vaulting it is one of Westminster's great treasures.
In the mid-eighteenth century the last major additions – the two western towers designed by Hawksmoor –
were made to the main fabric of the Abbey.
Answer the following questions.
1. What are the reasons for Westminster Abbey fame?
2. Who established an earlier church on the site of the present Westminster Abbey?
3. Why was the Norman east end of the Abbey rebuilt?
4. In what style was the new Abbey built?
5. What is one of the main treasures of Westminster Abbey?
6. What additions were made by Hawsmoon?
THE NAVE
Words and Expressions
– a boss – рельефное украшение, покрывающее пересечение балок
– a dome – купол, свод
– a prophet – пророк
– the arms – герб
– a warrior – воин, солдат
The Nave was begun by Abbot Litlington (1362 – 1386) who financed the work with money left by Cardi-
nal 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 101 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 glass
painter who carried out the work, Joshua Price, was paid the equivalent of £44 80p. The design shows Abra-
ham, Isaac and Jacob, with fourteen prophets, and underneath are the arms of King Sebert, Elizabeth I, George
II (in the centre), Dean Wilcocks (the Dean at the time) and the Col-legiate Church of St Peter in Westminster
(as Westminster Abbey became by command of Elizabeth I in 1560, following the Reformation).
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 Armentieres, a grave with the sim-
ple 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 V 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
pendant 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

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