On the north side of the sanctuary three ancient tombs harmonise perfectly with their architectural surroundings. The most westerly is that of Aveline of Lancaster, who died about 1273, a wealthy heiress, daughter of the Earl of Albemarle, who was married in the Abbey in 1269 to Edmund Crouchback, Earl of Lancaster, younger son of Henry III. A single cusped arch with a high gable in the spandrel of which is a trefoiled panel forms the canopy. Two dogs are at the feet of the effigy draped in flowing mantle. The tomb is Early Decorated. Next comes the tomb of Aymer de Valence, Earl of Pembroke (died 1323). The Earl, in full armour, rests his feet on a lion couchant. Beyond is the tomb of Edmund Crouchback (died 1296). The effigy of the Earl in chain armour lies under a triple canopy, richly ornamented. The aisles are crowded with tombs and monuments. The aisles of the choir are filled with tombs and monuments.
Behind the altar is situated the Confessor’s Chapel containing the famous Shrine of Edward the Confessor.
“When we enter St. Edward’s Chapel, or the Chapel of the Kings (Capella Regum), we find ourselves in what may fairly be described as the most important part of the Abbey, alike from the ecclesiastical and historical points of view. The chapel is distinguished from the rest of the church by its superior height above the ground. In the centre is the Confessor’s shrine, around which are the tombs of five Kings and six Queens of England. The entrance is by some wooden steps through a small space between one of the columns and Edward I.’s tomb. The chapel is separated from the sanctuary by a Fifteenth Century screen, which, though much mutilated, is still beautiful. The sculptures deal with the life and visions of the Confessor.”—(C. H.)
The Confessor’s Shrine, though mutilated, is the most important monument in the Abbey. The present tomb was finished in 1269 at the instance of King Henry, and was the work of one Peter, a Roman citizen. At the Dissolution of the Monasteries the body of the King was removed and the golden ornaments of the tomb disappeared; but in Queen Mary’s time Abbot Feckenham had the body re-interred, the shrine repaired and the wooden superstructure erected. James II. had the old coffin enclosed in another case. This remains still within the shrine.
On the north side of the shrine is the Tomb of Henry III., of two stages, in the upper one of which the body rests. An effigy in gilt bronze rests on the top. Next is the tomb of Edward I. On the other side (east) lies Eleanor of Castile (died 1290) in a tomb of Purbeck marble, the sides of which are embellished with trefoiled heads, a fine example of Gothic, probably designed by Torel. Immediately behind the Confessor’s Shrine comes the Chantry of Henry V. (where an altar once stood). It is a splendid piece of ornate Perpendicular work, with elaborate sculptured figures representing St. George, St. Denys and the story of the hero’s life—his fights, coronation and court. The effigy is mutilated. Above the tomb hang the monarch’s shield, saddle and helmet, which were carried in his funeral procession.
The next tomb is that of Queen Philippa of Hainault, Queen of Edward III., who died in 1369. Next comes Edward III. (died 1377) and next that of Richard II. and his first wife, Anne of Bohemia. Next, Siebert’s Tomb, consisting of an arched recess in the wall and supposed to contain the body of the legendary founder of the Abbey. It dates from 1308. Next comes the tomb of Anne of Cleves.
In this chapel stand the Coronation Chairs. The one on the left was made in the reign of Edward I. to enclose the stone of Scone, supposed to be the stone on which Jacob slept at Beth-el. The chair was once painted and jewelled. The other chair was made for the coronation of William and Mary. Between these hang the sword and shield of state of Edward III., used at his and all other coronations.
The little Chapel of St. Benedict is closed to the public. Under an arch is an altar tomb of four children of Henry III. and four of Edward I.
Then comes St. Edmund’s Chapel, filled with tombs; then St. Nicholas’s Chapel, separated from the ambulatory by an embattled stone screen (Perpendicular), probably erected in the reign of Henry IV. On the other side of the steps leading to Henry VII.’s Chapel is St. Paul’s Chapel, corresponding with St. Nicholas’s Chapel. Next we find the Chapel of St. John Baptist with the Chapel of St. Erasmus forming the entrance. The doorway, dating from the reign of Richard II., is beautiful, a low arch, supported by clustered pillars. Next to this comes Islip’s Chapel, screened off and vaulted by Abbot Islip (died 1532), to hold his own tomb. The abbot’s rebus, an eye with a slip of a tree grasped in a hand, or a man slipping from the branch of a tree, occurs frequently inside and outside the chapel. In the upper part of Islip’s chapel are preserved the remarkable collection of wax-works.
“The wax-works of Westminster Abbey have not been seen by many people, but are deservedly famous. At first, it was customary when a king or any other great personage was to be buried, to place on the coffin his effigy formed of boiled leather. When the art of modelling in cuir bouilli was lost, wax was employed for making the image, and wax, notwithstanding its proverbial pliancy, is a very enduring substance. From the north aisle of the apse we ascend a narrow staircase, passing by the way some of the most beautiful sculpture in the Abbey fronting the chapel of Abbot Islip. At a turn in the stair which leads to a kind of upper gallery we are suddenly confronted with the lifelike figure of King Charles II., whose face, as rendered familiar by numerous and contemporary engravings, with its black eyes and swarthy complexion, looks out from behind the glass of a cupboard only a few inches from the spot we have reached. The royal figure is dressed in crimson velvet, now sadly browned, and adorned