On the tomb at Westminster a special amount of care was devoted by the
artists and workmen employed by Edward. The design was that of a large
chest formed by slabs of Purbeck marble, in which was placed the body,
and the top of the chest was arranged to support the bronze-gilt effigy
of the Queen.
The tomb itself seems to have been designed by Richard Crundale, and the
work was completed by himself and his brother Roger. Under their
supervision the stone chest was ornamented with the characteristic
decorated carving of the period, and with the shields bearing the arms
which are so prominent on all the Eleanor memorials. Walter of Durham
was employed to decorate the tomb with paintings, while Thomas de
Leighton, a skilful worker in metal, made the iron grille protecting the
effigy. The perishable part of the stonework is unfortunately fast
disappearing, and faint shadows only of the paintings may be observed.
[Illustration:
FIG. 20.
The public or “Great” Seal of Queen Eleanor.
Size 3-5/8 in. x 2-3/8 in.
From the impression in the British Museum.
]
Legend:—
_Obverse_, ALIANORA DEI GRACIA REGINA ANGLI(E)
_Reverse_, (ALI)ANORA DEI GRA DNA HYBERNIE DUCISSA ACQUI(T)ANNIE
The chief glory, however, of the tomb still remains, namely, the great
bronze effigy of the Queen, the work of William Torel, goldsmith and
citizen of London. Torel designed and cast not only the effigy at
Westminster, but the replica which reposed on the tomb at Lincoln.
Records remain of enormous quantities of wax and of metal supplied to
Torel for this purpose. The effigies appear to have been cast in one
mould, and the work must have been difficult to execute. After their
completion the bronze castings were gilt, and special reference is made
to the purchase of gold florins for this purpose. These coins appear to
have come from abroad, and were obtained from the merchants of “Luka”
and others. The figure shown is of so noble a design that the wish
arises that it might be regarded as a portrait of the Queen. The
evidence, however, seems to be complete that the effigy represents
Torel’s ideal of a queen’s statue; nevertheless it remains to this day
perhaps the most remarkable example of a statue in metal dating from the
early “decorated” period of English art (fig. 12). Special financial
provision was made for the purpose of the religious services at Queen
Eleanor’s tomb, including gifts of land and money to the Abbey, the
proper employment of which was subsequently the source of much
discussion in the chapter.[56]
Footnote 56:
History of Westminster Abbey, by John Flete: edited by J. Armitage
Robinson, D.D., Cambridge, 1909.
The anniversary service in memory of the Queen took place on November
29, the eve of St. Andrew’s Day, and was continued up to the time of the
dissolution of the Benedictine community.
To obtain an idea of the appearance of this monument, it must be
recollected that not only was the tomb itself formed of finely decorated
stonework, but was surrounded with elaborate paintings, while the great
gilt effigy of the Queen was studded with the jewellery and enamels
which Edward gathered from the East and abroad. These he lavished with
the utmost profusion in decorating this, perhaps the principal, monument
to his wife.[57]
Footnote 57:
This tomb, and its ancient glory have been so well described that it
is not necessary to enter into greater detail in this place. The
reader is advised to go and study so much of it as remains. In
addition to the references given it will be of interest to read the
accounts given by Mrs. Murray Smith, “Westminster Abbey, its Story and
Associations, 1906,” and Dean Stanley’s “Historical Memorials of
Westminster Abbey,” 1869.
During the history of the next three hundred years, references are made
to the magnificence of the tomb and of the religious celebrations in
memory of the Queen. A distinguished foreign visitor to the Church in
the fourteenth century describes how “the radiant lights like the glory
of the starry sky exhilarated the souls of the beholders with
joyousness.”
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