Have you ever thought about what fiction is? Probably, such a question may seem surprising: and so everything is clear. Every person throughout his life has to repeatedly create the works he needs for specific purposes - statements, autobiographies, dictations - using not gypsum or clay, not musical notes, not paints, but just a word. At the same time, almost every person will be very surprised if he is told that he thereby created a work of fiction, which is very different from visual art, music and sculpture making. However, everyone understands that a student's essay or dictation is fundamentally different from novels, short stories, news that are created by professional writers. In the works of professionals there is the most important difference - excogitation. But, oddly enough, in a school literature course, you don’t realize the full power of fiction. So using our website in your free time discover fiction for yourself. Windsor Castle by William Harrison Ainsworth (digital book reader txt) 📖
- Author: William Harrison Ainsworth
Book online «Windsor Castle by William Harrison Ainsworth (digital book reader txt) 📖». Author William Harrison Ainsworth
A few years later another illustrious prisoner was brought to Windsor—namely, Prince James, the son of King Robert the Third, and afterwards James the First of Scotland. This prince remained a captive for upwards of eighteen years; not being released till 1424, in the second of Henry the Sixth, by the Duke of Bedford, then regent. James's captivity, and his love for Jane of Beaufort, daughter of the Duke of Somerset, and granddaughter to John of Gaunt, to whom he was united, have breathed a charm over the Round Tower, where he was confined; and his memory, like that of the chivalrous and poetical Surrey, whom he resembled in character and accomplishments, will be ever associated with it.
In the “King's Quair,” the royal poet has left an exquisite picture of a garden nook, contrived within the dry moat of the dungeon.
“Now was there made, fast by the tower's wall, A garden faire, and in the corners set An arbour green with wandis long and small Railed about, and so with leaves beset Was all the place, and hawthorn hedges knet, That lyf was none, walking there forbye, That might within scarce any wight espy. So thick the branches and the leave's green Beshaded all the alleys that there were. And midst of every harbour might be seen The sharpe, green, sweet juniper, Growing so fair with branches here and there, That as it seemed to a lyf without The boughs did spread the arbour all about.”
And he thus describes the first appearance of the lovely Jane, and the effect produced upon him by her charms:
“And therewith cast I down mine eye again, Where as I saw walking under the tower, Full secretly, new comyn her to plain, The fairest and the freshest younge flower That e'er I saw, methought, before that hour; For which sudden abate, anon did start The blood of all my body to my heart.”
Henry the Fifth occasionally kept his court at Windsor, and in 1416 entertained with great magnificence the Emperor Sigismund, who brought with him an invaluable relic—the heart of Saint George—which he bestowed upon the chapter. The emperor was at the same time invested with the Order.
In 1421 the unfortunate Henry the Sixth was born within the castle, and in 1484 he was interred within it.
III. Comprising the Fourth Epoch in the History of the Castle— And showing how Saint George's Chapel was rebuilt by King Edward the Fourth.
Finding the foundation and walls of Saint George's Chapel much dilapidated and decayed, Edward the Fourth resolved to pull down the pile, and build a larger and statelier structure in its place. With this view, he constituted Richard Beauchamp, Bishop of Salisbury, surveyor of the works, from whose designs arose the present beautiful edifice. To enable the bishop to accomplish the work, power was given him to remove all obstructions, and to enlarge the space by the demolition of the three buildings then commonly called Clure's Tower, Berner's Tower, and the Almoner's Tower.
The zeal and assiduity with which Beauchamp prosecuted his task is adverted to in the patent of his appointment to the office of chancellor of the Garter, the preamble whereof recites, “that out of mere love towards the Order, he had given himself the leisure daily to attend the advancement and progress of this goodly fabric.”
The chapel, however, was not completed in one reign, or by one architect. Sir Reginald Bray, prime minister of Henry the Seventh, succeeded Bishop Beauchamp as surveyor of the works, and it was by him that the matchless roof of the choir and other parts of the fabric were built. Indeed, the frequent appearance of Bray's arms, sometimes single, sometimes impaling his alliances, in many parts of the ceiling and windows, has led to the supposition that he himself contributed largely to the expense of the work. The groined ceiling of the chapel was not commenced till the twenty-seventh year of the reign of Henry the Seventh, when the pinnacles of the roof were decorated with vanes, supported by gilt figures of lions, antelopes, greyhounds, and dragons, the want of which is still a detriment to the external beauty of the structure.
“The main vaulting of St. George's Chapel,” says Mr. Poynter, “is perhaps, without exception, the most beautiful specimen of the Gothic stone roof in existence; but it has been very improperly classed with those of the same architectural period in the chapels of King's College, Cambridge, and Henry the Seventh, at Westminster. The roofing of the aisle and the centre compartment of the body of the building are indeed in that style, but the vault of the nave and choir differ essentially from fan vaulting, both in drawing and construction. It is, in fact, a waggon-headed vault, broken by Welsh groins—that is to say, groins which cut into the main arch below the apex. It is not singular in the principle of its design, but it is unique in its proportions, in which the exact mean seems to be attained between the poverty and monotony of a waggon-headed ceiling and the ungraceful effect of a mere groined roof with a depressed roof or large span—to which may be added, that with a richness of effect scarcely, if at all, inferior to fan tracery, it is free from those abrupt junctions of the lines and other defects of drawing inevitable when the length and breadth of the compartments of fan vaulting differ very much, of which King's College Chapel exhibits some notable instances.”
Supported by these exquisite ribs and groins, the ceiling is decorated with heraldic insignia, displaying the arms of Edward the Confessor, Edward the Third, Edward the Black Prince, Henry the Sixth, Edward the Fourth, Henry the Seventh, and Henry the Eighth; with the arms of England and France quartered, the holy cross, the shield or cross of Saint George, the rose, portcullis, lion rampant, unicorn, fleur-de-lis, dragon, and prince's feathers, together with the arms of a multitude of noble families. In the nave are emblazoned the arms of Henry the Eighth, and of several knights-companions, among which are those of Charles the Fifth, Francis the First, and Ferdinand, Infant of Spain. The extreme lightness and graceful proportions of the pillars lining the aisles contribute greatly to the effect of this part of the structure.
Beautiful, however, as is the body of the chapel, it is not comparable to the choir. Here, and on either side, are ranged the stalls of the knights, formerly twenty-six in number, but now increased to thirty-two, elaborately carved in black oak, and covered by canopies of the richest tabernacle-work, supported by slender pillars. On the pedestals is represented the history of the Saviour, and on the front of the stalls at the west end of the choir is carved the legend of Saint George; while on the outside of the upper seat is cut, in old Saxon characters, the twentieth Psalm in Latin. On the canopies of the stalls are placed the mantle, helmet, coat, and sword of the knights-companions; and above them are hung their emblazoned banners. On the back of each stall are fixed small enamelled plates, graven with the titles of the knights who have occupied it. The ancient stall of the sovereign was removed in 1788, and a new seat erected.
The altar was formerly adorned with costly hangings of crimson velvet and gold, but these, together with the consecrated vessels of great value, were seized by order of
Comments (0)