Westminster Abbey - The Location for Prince William and Kate Middleton"s Royal Wedding
Westminster Abbey has been chosen by the royal couple for their british royal wedding venue for its historic links with the royal family over generations. Many historic royal figures have had their lives intertwined with Westminster Abbey. It is also where Queen Elizabeth II had her corination and where she married HRH Prince Philip the Duke of Edinburgh. this article will look at the history of the abbey. Westminster Abbey lies at the heart of English history and can trace its roots back to St Edward the Confessor, King of England from 1042 to 1066.
The abbey is built of Reigate stone, except for the east part - Henry VII's chapel - which is of Huddleston stone. It needs to be remembered, however, that what the visitor sees today is an outer skin that is the result of countless restorations. Restoration has been almost continuous under a succession of eminent architects. The appearance of two prominent parts of the exterior has been greatly altered since the Middle Ages. The familiar west towers are largely the work of the 18th century Baroque architect Nicholas Hawksmoor.
The towers are notable for being so respectful of the design of the mediaeval nave. Secondly, the north transept front was substantially rebuilt by J. L. Pearson in the late 19th century, partly to his own designs. He was determined to be independent, an attitude shared by many eminent architects. (A 20th-century surveyor, Sir Walter Tapper, worked in alliance with an equally determined dean, William Foxley Norris, so that people spoke of decisions being taken by 'the Dean and Tapper'.)
The foundation stone of King Henry III's church was laid in 1245. By the time of the king's death in 1272, the east end had been completed, but only a part of the nave. The king's architect was Henry of Reyns, who referred to Reims Cathedral as a model. The interior of Westminster Abbey is markedly tall, on the French model; on the other hand, some of the details of its construction (such as the use of a ridge-rib in the east part) are English.
It was not until the 14th century that the west part of the nave was built. Henry Yevele was the architect and remarkably he chose to follow the style of the earlier work, except in the west front, which he made Perpendicular. The interior therefore appears to date from one building campaign. The plan is cruciform, with aisled transepts, and a polygonal east end that allowed for five chapels to lead out of the ambulatory. The shrine was intended to be the focus, but the other determinant of the plan was the need to provide a large central space for coronations.
A screen was put up behind the high altar in 1440-1 by John Thirsk. He was also responsible for King Henry V's chantry chapel in 1437. It is possible that the former was needed to screen off activity in the latter. The back of the new screen was carved with scenes from the life of St Edward, as a mark of honour for his shrine. Nevertheless, the shrine ceased to be visible from the west. The final major structural change was the building of King Henry VII's chapel at the east end, in place of the Lady chapel, in 1503-12. Robert Janyns is most plausibly credited with the chapel's design, which is a four bay aisled work, with five radiating east chapels (as in Henry III's east end). The most striking feature is the exterior, in which secular elements stand out. The bay window and the turreted (and panelled) polygonal buttress are the chief features, but packed in a notably complicated pattern that leaves a continuously wavy outline. Since 1725, Henry VII's chapel has been the chapel of the Order of the Bath, whose banners add to its colour considerably.
The abbey is built of Reigate stone, except for the east part - Henry VII's chapel - which is of Huddleston stone. It needs to be remembered, however, that what the visitor sees today is an outer skin that is the result of countless restorations. Restoration has been almost continuous under a succession of eminent architects. The appearance of two prominent parts of the exterior has been greatly altered since the Middle Ages. The familiar west towers are largely the work of the 18th century Baroque architect Nicholas Hawksmoor.
The towers are notable for being so respectful of the design of the mediaeval nave. Secondly, the north transept front was substantially rebuilt by J. L. Pearson in the late 19th century, partly to his own designs. He was determined to be independent, an attitude shared by many eminent architects. (A 20th-century surveyor, Sir Walter Tapper, worked in alliance with an equally determined dean, William Foxley Norris, so that people spoke of decisions being taken by 'the Dean and Tapper'.)
The foundation stone of King Henry III's church was laid in 1245. By the time of the king's death in 1272, the east end had been completed, but only a part of the nave. The king's architect was Henry of Reyns, who referred to Reims Cathedral as a model. The interior of Westminster Abbey is markedly tall, on the French model; on the other hand, some of the details of its construction (such as the use of a ridge-rib in the east part) are English.
It was not until the 14th century that the west part of the nave was built. Henry Yevele was the architect and remarkably he chose to follow the style of the earlier work, except in the west front, which he made Perpendicular. The interior therefore appears to date from one building campaign. The plan is cruciform, with aisled transepts, and a polygonal east end that allowed for five chapels to lead out of the ambulatory. The shrine was intended to be the focus, but the other determinant of the plan was the need to provide a large central space for coronations.
A screen was put up behind the high altar in 1440-1 by John Thirsk. He was also responsible for King Henry V's chantry chapel in 1437. It is possible that the former was needed to screen off activity in the latter. The back of the new screen was carved with scenes from the life of St Edward, as a mark of honour for his shrine. Nevertheless, the shrine ceased to be visible from the west. The final major structural change was the building of King Henry VII's chapel at the east end, in place of the Lady chapel, in 1503-12. Robert Janyns is most plausibly credited with the chapel's design, which is a four bay aisled work, with five radiating east chapels (as in Henry III's east end). The most striking feature is the exterior, in which secular elements stand out. The bay window and the turreted (and panelled) polygonal buttress are the chief features, but packed in a notably complicated pattern that leaves a continuously wavy outline. Since 1725, Henry VII's chapel has been the chapel of the Order of the Bath, whose banners add to its colour considerably.