Архитектурные шедевры Великобритании. Рябцева Е.В. - 20 стр.

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– a tomb – могила
– a vaulting – свод
– an ambulatory – крытая внутренняя галерея монастыря
– a badge – символ
– a falcon – сокол
– fetter-lock – путы, ножные кандалы
– an aisle – боковой неф храма, придел
– a pendant – орнаментная отделка в виде подвески, висячий орнамент
– a banner – знамя, флаг, стяг
– a misericord – кинжал, которым добивали поверженного врага
– an effigy – изображение, картина, портрет
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 is approached up a flight of stairs from the ambulatory and at its entrance is a finely wrought
pair of bronze gates. These were probably the work of Thomas Ducheman, who also made the screen around
Henry VII's own tomb displaying the royal Tudor badges – among them the white rose of York and red rose of
Lancaster, Beaufort portcullis, lions of England, fleurs-de-lis and a falcon within a fetter-lock, the badge of
Edward IV, Henry VII's father-in-law.
The chapel has an apse and side aisles which are fan-vaulted, and the central section is roofed with ex-
traordinarily 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 re-
main, 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, stands 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 exe-
cuted 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 lay here. Elizabeth I and Mary I share an elaborate tomb in the north aisle (the Queen
Elizabeth Chapel), erected by James VI (who was himself buried beside Henry VII's tomb). The Latin inscrip-
tion on the tomb – on which only Elizabeth I's effigy rests – reads: 'Consorts both in throne and grave, here rest
we two sisters, Elizabeth and Mary, in the hope of one Resurrection.' Railings have recently been replaced
around this tomb.
In the south aisle lies Mary Queen of Scots, mother of James VI, 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 VII'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.
Answer the following questions.
1. Who designed the Henry VII Chapel?
2. How is the screen around the tomb of Henry VII decorated?
3. How does the Henry VII Chapel look like?
4. What is there beneath the window of the chapel?

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