DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.22421#0485
unartistic, which is the more characteristic of the degeneracy of
art, from the circumstance of its having been erected by that
monarch several years before his deposition, so that it may be
concluded that the London coppersmiths, Nicholas Broker and
Godfrey Press, were the only artists he could command.
As regards the artistic value of the statue of Henry V. (died
1422), it is not possible to form an opinion, the head, which was of
solid silver, and the silver plates which covered the figure, having
fallen a prey to the shameless rapacity of the period of the dissolu-
tion of the convents. The architectural portion of the monument is,
however, of great beauty. Fortunately a row of sculptures, belong-
ing to the archway of the king's oratory, has been preserved, in
which Flaxman discerned great beauty, simplicity, and truth in
the quiet figures, spirit and fine momentary action in those which
are animated—as, for instance, the monarch in armour on horse-
back—and purity and largeness of style in the cast of the drapery.
The screen on the west side, separating the chapel of Edward
the Confessor from the choir, contains events from the life of
that monarch, in fourteen pieces of sculpture, attributed to the
time of Henry VI. (died 1461). As far as the injured condition
of these very small figures permits an opinion, I should say that
they are far inferior in style and invention to those of the time
of Henry V. The Gothic forms of the screens are also very over-
laden. The remains of the mosaic work in the floor bear witness
to the time of Henry III.
The ambulatory round the chapel affords very complete and
picturesque views of the architectural effect of these monuments.
A further insight into the sculpture of the two first Edwards is
obtained by the monument of Edmund Crouchback, Earl of Lan-
caster (died 1296), that of his wife Aveline, and that of Aymer
de Valence, Earl of Pembroke (died 1323), on the right side of
the altar in the choir, which, though far inferior in completeness
to that of Queen Eleanor, yet, for invention, excellence of plastic
style, and tasteful richness of architectural accessories, give a very
favourable idea of the art of their period.
The celebrated Lady Chapel, generally called Henry VII. s
Chapel, which is entered through the oratory of King Henry V.,
is not only the richest specimen of architecture in England, but
also the richest example of florid Gothic generally speaking.
art, from the circumstance of its having been erected by that
monarch several years before his deposition, so that it may be
concluded that the London coppersmiths, Nicholas Broker and
Godfrey Press, were the only artists he could command.
As regards the artistic value of the statue of Henry V. (died
1422), it is not possible to form an opinion, the head, which was of
solid silver, and the silver plates which covered the figure, having
fallen a prey to the shameless rapacity of the period of the dissolu-
tion of the convents. The architectural portion of the monument is,
however, of great beauty. Fortunately a row of sculptures, belong-
ing to the archway of the king's oratory, has been preserved, in
which Flaxman discerned great beauty, simplicity, and truth in
the quiet figures, spirit and fine momentary action in those which
are animated—as, for instance, the monarch in armour on horse-
back—and purity and largeness of style in the cast of the drapery.
The screen on the west side, separating the chapel of Edward
the Confessor from the choir, contains events from the life of
that monarch, in fourteen pieces of sculpture, attributed to the
time of Henry VI. (died 1461). As far as the injured condition
of these very small figures permits an opinion, I should say that
they are far inferior in style and invention to those of the time
of Henry V. The Gothic forms of the screens are also very over-
laden. The remains of the mosaic work in the floor bear witness
to the time of Henry III.
The ambulatory round the chapel affords very complete and
picturesque views of the architectural effect of these monuments.
A further insight into the sculpture of the two first Edwards is
obtained by the monument of Edmund Crouchback, Earl of Lan-
caster (died 1296), that of his wife Aveline, and that of Aymer
de Valence, Earl of Pembroke (died 1323), on the right side of
the altar in the choir, which, though far inferior in completeness
to that of Queen Eleanor, yet, for invention, excellence of plastic
style, and tasteful richness of architectural accessories, give a very
favourable idea of the art of their period.
The celebrated Lady Chapel, generally called Henry VII. s
Chapel, which is entered through the oratory of King Henry V.,
is not only the richest specimen of architecture in England, but
also the richest example of florid Gothic generally speaking.