The Abbey, with these few exceptions, was demolished and rebuilt on a
magnificent scale by Henry III. between 1220 and 1269. The material
employed was first a green stone and afterwards Caen stone. The portions
that remain to us from that rebuilding are the Confessor's chapel, the
side aisles and their chapels, and the choir and transepts, all
beautiful examples of the Geometrical Pointed period of architecture.
Henry's work was continued by his son Edward I., who added the eastern
portion of the nave after the same style; it was afterwards carried on
by successive abbots till the erection of the great west window by Abbot
Estney in 1498. The College Hall, the Abbot's House, Jerusalem Chamber,
and part of the cloisters had also in the meantime been added by Abbot
Littlington in 1380. Amongst various improvements Henry VII. built the
west end of the nave, his own chapel, the deanery, and portions of the
cloisters in the Perpendicular style.
The choir, a fine specimen of Early English with decorations added in
the fourteenth century, is where the coronation of English sovereigns
takes place, and contains the tombs of Sebert, King of the East Angles,
Anne of Cleves, and Edmund Crouchback, Earl of Leicester. Henry VII.'s
chapel displays the architect's skill to perfection, with the wonderful
fretted work of the roof and the graceful fan-tracery. It contains the
glorious tomb of Henry VII., the work of the great sculptor Pietro
Torrigiano. It is composed chiefly of black marble with figures and
pilasters of gilt copper. The figures once wore crowns, but some
sacrilegious hands have stolen them. In the chapel of Edward the
Confessor are the shrine of Edward the Confessor in Purbeck marble, the
altar-tomb of Edward I., the coronation chairs of the English
sovereigns, besides the stone of Scone, the old coronation seat of the
Scottish kings. The beautiful chapels of St. Benedict, St. Edmund, St.
Nicholas, St. Paul, St. Erasmus, and St. John the Baptist chiefly
contain the monuments of ecclesiastics and nobility.
The entrance generally used is the North Porch, known as Solomon's
Porch. It was erected in the reign of Richard II., but entirely changed
its character in the hands of Wren, who appears not to have appreciated
the beauties of Gothic architecture. The same architect is said to have
built the two western towers, though they are sometimes ascribed to his
pupil Hawksmoor. Wren's work upon the north porch was again altered by
Sir G. G. Scott, who introduced the present triple portico. On passing
under it we come to the north transept, generally known as the
Statesmen's Aisle. Here in the same grave lie the Earl of Chatham and
his famous son, William Pitt. Close to them are either the graves or
monuments of Fox, Castlereagh, Grattan, Palmerston, Peel, the three
Cannings, and Disraeli. Right in the centre of the aisle is a slab
marking the resting-place of W. E. Gladstone and his wife (1898 and
1900), over whom unconsciously the people tread, gradually wearing out
the simple words of memorial. The south transept is the Poets' Corner,
containing the memorials from Chaucer to Ruskin. In the nave lie David
Livingstone (1873), a great missionary and traveller, whose remains were
reverently brought from Central Africa; Robert Stephenson (1859), the
famous engineer; Sir Charles Barry (1860), architect of the Houses of
Parliament; Sir G. G. Scott (1873); George Edmund Street (1881),
architect of the Law Courts; Colin Campbell; Lord Clyde (1863), who
recaptured Lucknow. We have mentioned these names, not for the sake of
invidiousness, but have chosen them at random.
Leading from the cloisters up a flight of stone steps is the Chapter
House. The original structure was built by King Edward in the eleventh
century, and it is noticeable in that it departed from the usual
Benedictine form. In 1250 it was rebuilt by Henry III., and is an
octagonal structure, second only to that at Lincoln in size. Here the
monks were accustomed once a week to hold their chapters. In ornamental
stalls opposite the entrance the Abbot and his four chief officers were
enthroned, whilst the monks ranged themselves along the stone benches
which go around the walls. Criminals were tried, and if found guilty
were tied up to the central pillar of Purbeck marble (thirty-five feet
high) and were flogged publicly. The monks, however, were not left in
undisturbed possession of the Chapter House, for on the separation of
the Houses of Lords and Commons in the reign of Edward I., the House of
Commons held sittings here and continued to do so till 1547. The last
parliament held here was on the day that Henry VIII. died, when it sat
to discuss the Act of Attainder passed upon the Duke of Norfolk. At the
dissolution of the monastery the Chapter House passed to the Crown, and
seven years afterwards the House of Commons removed to St. Stephen's
Chapel in the Palace of Westminster.
From that time the Chapter House was used as a Record Office till the
removal of the records in 1865 to the Rolls House.
There are now two or three glass cases filled with interesting ancient
deeds and illuminated parchments relating to the history of the Abbey.
Adjoining the Abbey is the great public school of Westminster, or St.
Peter's College as it was called when founded by Queen Elizabeth in 1560
for the education of forty boys, denominated the Queen's scholars, and
prepared for the university. Since then the numbers have greatly
increased, and to have been educated there is something to boast of, for
it is so much sought after that preference is given to the sons of old
Westminster boys. We might go on for ever, so vast is the
subject-matter, but before closing we would draw attention to St.
Margaret's Church, which stands in front of Solomon's Porch. It was
founded by the Confessor, and is the especial church of the House of
Commons. Curiously enough, it gives scale to the whole Abbey. The Houses
of Parliament are across the road to the east of the Abbey and on the
bank of the river Thames. In the Tudor style Sir Charles Barry, R.A.,
built the New Palace of Westminster, containing the two Houses of
Parliament (1840-1859). It is a stupendous work and a marvellous mass of
rich architecture. Some authority states that the clock tower is much
after the style of the belfry at Bruges. This statement, we would point
out, is hardly correct. The two no more resemble each other than do
black and white.
How is it possible to describe in a few cold words the wonderful
beauties that lie hidden in the architecture of the Abbey, the best
artistic expressions of its several architects? Impressions created
depend upon the temperament of the individual who gazes upon them. All
acknowledge the great beauty, but each from his own standpoint,
according to his tastes and inclinations, which are moulded by his
pursuits in life, or more rarely endowed by that inherent sense of all
that is noble and refined he is enabled to sink his own individuality
for a moment, and to enjoy the brain-product of a fellow-being. To the
dull intellect the Abbey appeals as a mystery; to the commercial man it
represents so much outlay of capital, and a proud possession of the
empire's city; to the poet and artist the memorials must recall the
wonderful lines of Longfellow:
"Lives of great men all remind us
We can make our lives sublime";
to the architect a marvellous insight into the great possibilities
offered by architecture; to the musician the ambition to create a great
composition that will be worthy to echo throughout the lofty and
beautiful aisles, whose music is so unconsciously based upon those laws
of harmony which should exist in architecture, sculpture, painting, and
literature.