upper part of the stalls, half supported themselves during certain parts of their long offices, not to be obliged always to stand or kneel. It is so contrived, that if the body became supine by sleep, it naturally fell down, and the person who rested upon it was thrown forward on the middle of the choir. Between the Knights' stalls, under a broad pavement, is the royal vault, where their Majesties King George II. and Queen Caroline are buried; the Prince and Princess of Wales, two Dukes of Cumberland, the Duke of York, Prince Frederick William, the Princesses Amelia, Caroline, Elizabeth, Louisa, Anne, and two infants of their late Majesties, the Princes Alfred and Octavius. The two last-named princes were removed, in January 1820, to the new royal vault at Windsor. What is chiefly to be admired here, as well for antiquity as fine workmanship, is the magnificent tomb of Henry VII. and Elizabeth his Queen, the last of the house of York who wore the English crown. This tomb stands in the body of the chapel, enclosed in a curious chantry of cast brass, most admirably designed and executed, and ornamented with statues, of which those only of St. George, St. James, St. Bartholomew, and St. Edward, are now remaining. Within it are the effigies of the royal pair, in their robes of state, lying close to one another, on a tomb of black marble, the head whereof is supported by a red dragon, the ensign of Cadwallader, the last King of the Britons, from whom King Henry VII. was fond of tracing his descent, and the foot by an angel. There are likewise other devices, alluding to his family and alliances; such as portcullises, signifying his relation to the Beauforts by his mother's side; roses twisted and crowned, in memory of the union of the two royal houses of Lancaster and York; and at each end a crown in a bush, referring to the crown crown of Richard III. found in a hawthorn, near Bosworth Field, where that famous battle was fought for a diadem, which turning in favour of Henry, his impatience was so great to be crowned, that he caused the ceremony to be performed on the spot, with that very crown his competitor had lost. There are six compartments, three on the North, and as many on the South side of its base. The first compartment, on the South side, contains the figures of the Virgin Mary with our Lord in her arms, and that of the Archangel St. Michael. The figures in the scales, though now mutilated, were meant for personal representations of moral good and evil; the Saint is weighing them in his balance; the good preponderates; but the Devil, who is represented by the figure under his feet, is reaching, with one of his clawed feet, at the scale which contains the figure of Evil, in order, by the addition of his own force, to render that the heaviest. The first figure in the second compartment is, doubtless, intended for St, John the Baptist, he having a book in his left hand with an Agnus Dei impressed upon it. The other is the figure of St. John the Evangelist, and the figure of the Eagle. - The first figure in the third compartment is intended for St. George; the other figure in the same compartment, from the pig's head visible near him, the frequent symbol by which he is denoted, intended for St. Anthony of Vienna. The first figure in the fourth compartment North side, is meant for Mary Magdalen, supposing her to hold the box of ointment. The other figure represents St. Barbara, who was the daughter of a Pagan, and dwelt with her father in a certain tower. To this tower adjoined a garden, in which the father determined to build a bath, with the necessary accommodation of rooms, and therein to make windows windows to the number of two only.-Being to undertake a journey, he left his instructions with the artificers, which his daughter presumed to vary, by directing them, instead of two, to make three. Upon her father's return, he inquired into the reason of this deviation from his orders: and being told, that in allusion to the three persons of the Holy Trinity, his daughter had directed it, he found that she was become a convert to Christianity and being exasperated thereat, stimulated the Emperor to a persecution of the Christians, in which she became a martyr to the faith. : The first figure in the fifth compartment is intended for St. Christopher, bearing our Saviour upon his shoulder. The other figure in this compartment is thought to be St. Anne. In the sixth and last compartment, the first figure is intended for King Edward the Confessor. The other figure is a Benedictine Monk. At the head of this chantry lie the remains of Edward VI. grandson of Henry VII. who died in the 16th year of his age, and 7th of his reign.There was formerly a stately monument erected to his memory by Queen Mary, his sister and successor; but having some curious sculpture, representing the passion and resurrection of our Saviour, with two angels on the top kneeling, the whole was demolished during the grand rebellion, by the Puritan party, as a relique of Romish superstition. The workmanship, Camden says, was elegantly finished. On one side of the tomb of Henry VII. in a small chapel, is a monument of cast brass, wherein are effigies of Lewis Stuart, Duke of Richmond, and Frances his wife. They are represented as lying on a marble table, under a canopy of brass, curiously wrought, and supported by the figures of Faith, Hope, Charity, and Prudence. On the top is a fine figure of Fame taking her flight, and rest ing only on her toe. This illustrious nobleman was son to Esme Stuart, Duke of Lenox, and grandson of James, nephew of King James I. to whom he was first Gentleman of the Bedchamber. and Privy Counsellor, a Knight of the Garter, and Ambassador to France in behalf of Scotland. He died February the 16th, 1623. His lady was daughter of Thomas Lord Howard, of Bindon, son of the Duke of Norfolk, by Elizabeth, daughter of the Duke of Buckingham. She died Oct. 8, 1639. You will likewise see here a pyramid of black and white marble supporting a small urn, in which is contained the heart of Esme Stuart, son of the Duke of Richmond and Lenox, by Lady Mary daughter of the Duke of Buckingham. He died in France August 15, 1661, aged 11 years, and was succeeded in all his titles by Charles Earl of Litchfield, his cousin-german, who died December the 12th, 1672, and is here interred. Of this noble family others were buried without monuments. On a small tablet, near the floor, is the following inscription: The most Illustrious and Serene Prince, ANTHONY PHILIP Duke of MONTPENSIER, Descended from the Kings of France, Second Son of the Duke of Orleans, from his earliest youth bred to arms, and even in chains unsubdued; of an erect mind in adversity, and in prosperity not elated; a constant Patron of the liberal Arts, polite, pleasant, and courteous to all, nor ever wanting in the Duties of Brother, Neighbour, Friend, or the Love of his Country. After experiencing the vicissitudes of Fortune, he was received with great hospitality by the English nation, and at length rests in this Asylum for Kings. Born Born July 3, 1775. Died May 18, 1807, aged 31. Louis Philip Duke of Orleans erects this Monument in Memory of the best of Brothers. The image in the centre, over the Duke de Montpensier's tablet, represents St. Roch, who was famous for curing the Plague; at last was taken ill and faint under a tree, and a dog brought him a loaf of bread. The next is an elegant monument, erected to the memory of John Sheffield, Duke of Buckingham, where, on an altar of the finest-grained marble, lies, in a half-raised posture, his Grace's effigy, in a Roman habit, with his Duchess Catherine, natural daughter of the Duke of York, afterwards King James II. sitting at his feet weeping. On each side are enrichments of military trophies, and over all an admirable figure of Time holding several bustos in relievo, being the portraits of their Graces' children. In the reign of King Charles II. as the inscription sets forth, he was General of the Dutch troop of horse, Governor of Kingston Castle upon Hull, and First Gentleman of the Bedchamber; in that of King James II. Lord Chamberlain; and in that of Queen Anne, Lord Privy Seal, and President of the Council.He was, in his youth, an excellent poet, and, in his more advanced years, a fine writer. His love of poetry is conspicuous, by the esteem and regard he had for the two great masters of it, who flourished in his own time, Dryden and Pope, to the first of whom he extended his friendship, even after death, by erecting a monument to his memory. To the latter he did honour, by writing a poem in his praise. Over his Grace's effigy are inscribed, in Latin sentences, to the following import: I liv'd |
