Архитектурные шедевры Великобритании. Рябцева Е.В. - 9 стр.

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Commons’ chamber
68 ft × 46 ft (20.7 m × 14 m)
Lords’ chamber
80 ft × 45 ft (24.4 × 13.7 m)
St Stephen’s Hall
95 ft × 30 ft (29 m × 9.1 m)
Westminster Hall
240 ft × 68 ft (73 m × 20.7 m)
Height of Clock Tower 316 ft (96 m)
Height of Victoria Tower 323 ft (98 m)
The great clock
Hands: minute (copper) 14 ft (4.3 m)
hour (gunmetal) 9 ft (2.7 m)
Glass panes in each face 312
Pendulum 14 ft 5 in (4.4 m)
Weight of Big Ben 13 tons 10 cwt. 99 lb. (13.75
tones)
Sir Charles Barry
Born in Bridge Street, Westminster, the son of a stationer, Sir Charles Barry (1795 – 1860) was already a
leading architect when he won a competition of 1876 to design the New Palace. The heavy demands of the
work at Westminster, probably exacerbated by his perfectionist approach, caused him to complain that he had
been obliged to give up more than two thirds of a lucrative practice. He was knighted in 1852, shortly after the
new Lords’ and Commons’ chambers had come into permanent use. Other important work by him the Travel-
ers’ Club and the Reform Club in London built in the classical style and Halifax Town Hall in the gothic style.
A.W.N. Pugin
The son of a French émigré architect and artist, Augustus Welby Northmore Pugin (1812 – 1852) began
designing furniture and silver at the age of fifteen, but he was still virtually unknown when he helped Barry
with the drawings for the competition design. By 1844, when he returned to assist at Westminster, he was a
well-known architect and theorist of gothic style. Converted to Roman Catholicism in 1835, he worked hard at
designing churches and houses in addition to his labours on the New Palace. This overwork probably contrib-
uted to his apparent mental illness and premature death.
THE ROYAL PROCESSIONAL ROUTE
Words and Expressions
– a suite – ряд
– pageantry – блеск, шик
– a tread – ступень
– a porch – галерея
– to robe – облачаться в мантию
– ornate – богато украшенный
Inside the palace the level of decoration varies depending on the ceremonial importance of each area. Thus
the grandest interiors were created in the Lords' chamber and the suite of rooms which form the royal proces-
sional route for the State Opening. For this purpose the architect preferred halls to staircases.
The pageantry of the State Opening begins as the royal carriage comes through the arch at the base of the
Victoria Tower. At the State Opening The Queen processes through the Royal Gallery wearing the Imperial
State Crown, escorted by the great officers of state. Here the Queen enters the palace and climbs the Royal
Staircase with its unbroken ascent of wide low treads. The procession then reaches the landing called the Nor-
man Porch, so named because there had been plans to install statues of Norman sovereigns here. It is dominated
by an atmospheric portrait of Queen Victoria. Portraits and busts of peers who were prime ministers now occupy
the pedestals in the Norman Porch which were intended for statues of Norman sovereigns.
The Queen's Robing Room, the next room in the Queen's progress, is in the centre of the south front of the
palace. This elaborately decorated room contains a series of frescos based on the story of King Arthur. The artist,
William Dyce, worked on them between 1848 and 1864, painting only in the summer because of problems of
getting the wet plaster to dry. The Arthurian legend is also used for the carved bas-reliefs which are set into the

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