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case of it is of unrivalled beauty, and was designed by Mr. Emlyn. It is in the general style of the Chapel, unites with the canopies of the stalls, and is covered with a reticulated carving, whose effect is very striking to the eye, and gives a most appropriate finish to that end of the Chapel.

On the right-hand of the west or principal entrance into the Choir is the Sovereign's stall, which is entirely new, and is also completed after a design of Mr. Emlyn. In the centre are the arms of the Sovereign, encircled with laurel and crowned with the royal diadem; the whole surrounded with fleurs-de-lis, and the star of the order, with G. R. properly disposed. The curtains and cushions are of blue velvet, fringed with gold. The Sovereign's banner is of rich velvet; it is much larger than those of the knights companions, and his mantling is of gold brocade.

The Prince's stall is on the left-hand entrance, and is not distinguished from those of the other knights companions; the whole illustrious society being, according to the statutes of the institution, companions and colleagues of equal honour and power.

The stalls of the knights companions of the most noble order of the Garter are on each side of the choir, with the mantle, crest, helmet, and sword of each knight, placed over the stall on a canopy of ancient carving, curiously wrought above the canopy: the banners or arms of each knight, properly blazoned on silk; and on the backs of the stalls are the titles of the knights, with their arms engraved on plates of copper. These ensigns of honour are removed according to the succession of the knights in the order; and at the installation of his successor, the banner, helmet, sword, &c. of the deceased knight are with great solemnity offered up at the altar; but the plate of his titles remains in his stall, as a perpetual memorial to his honour.

The carved work of the choir deserves particular attention. The canopies over the stalls will well reward the most

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minute examination. On the pedestals of these stalls is carved the history of our Saviour's life, from his nativity to his ascension. On the front of the stalls at the west end of the choir is also sculptured the history of St. George; and on a girth on the outside of the upper seat is cut in old Saxon characters the twentieth Psalm in Latin, supposed to be designed as a prayer or petition for the royal founder, Edward the Third, and the future sovereigns of the order of the Garter.

Every part, indeed, of the choir abounds with sculpture, in a great variety of imagery. Some of the figures of the patriarchs, kings, &c. had been greatly defaced, and others in a great measure destroyed; but the face of the whole is restored with a minute attention to its former state, and many parts are added which represent certain distinguished occurrences of the present reign.

The altar was formerly decorated with costly hangings of crimson velvet and gold, which, together with other rich furniture appropriated to the use of the altar, and three thousand five hundred and eighty ounces of wrought plate of the most curious workmanship, were in the year one thousand six hundred and twelve seized under the guise of parliamentary authority by Captain Fogg, who appears to have been employed in plundering this royal foundation. Charles the Second, however, after his restoration, contributed most liberally with the knights companions of the Garter to replace the loss with every fitting ornament and sacred vessels for celebrating the rites of the altar; which were most curiously wrought and gilt, and dedicated to the honour of God, and the service of the sovereign and knights companions of the most noble order of the Garter.

The same prince also ornamented the altar with twentytwo pannels of tissue and purple damask: it was likewise decorated with two pieces of arras, or tapestry, one representing Christ and his disciples at supper, given by Doctor Bryan, Bishop of Winchester: the subject of the other

was Christ and the two disciples at Emmaus, from an original of Titian, and presented by Lady Mordaunt. But in the year one thousand seven hundred and seven, on removing the wainscot in Urswick Chapel, a painting was discovered of large dimensions representing the Last Supper. It had probably been secreted at the time of the republican plunder, and being considered as a performance of great merit by Sir James Thornhill, Verrio, and other eminent masters, it was repaired and placed immdiately over the communion table, where it remained till the general repair of the chapel, when it was removed to grace the altar of the parish church. Its place is supplied by a picture on the same subject by Mr. West. This is perhaps one of his best pictures; though it is not to be conceived on what principle, either as to taste, judgment, and historical fact, the traitor Judas should be made such a predominant figure in the composition. The wainscot ornaments, which were suggested by the King, are after a design of Mr. Thomas Sandby, and executed under the inspection of Mr. Emlyn. They represent the arms of Edward the Third, Edward the Black Prince, and those of the original knights, which are displayed in circular compartments. To these are added pelicans, wheat, grapes, sacramental vessels, and other symbolic forms, admirably executed and tastefully disposed, forming a very rare display of this kind of sculpture. The whole of the repairs and alterations of the altar were made at the sole expense of his Majesty.

The painted windows form a very beautiful and striking decoration to this structure, as well as add to the solemnity of its character. The first of these, as to the order of time when it was brought into its present state, is the large window at the west end of the body of the church. It is composed of eighty copartments, each six feet high, by one foot five inches wide: the whole beautifully ornamented with fine stained glass, consisting of a variety of figures, as patriarchs, bishops, and other canonical, as well as regal characters; among which are St. Peter, St. Alexander,

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King Solomon, Edward the Confessor, Edward the Fourth, and Henry the Eighth. The lesser decorations consist of the various insignia of the Garter and several episcopal armorial bearings.

This window was restored to the beautiful state in which it now appears in 1774, at the expense of the Dean and Chapter, and under the direction of Doctor Lockman, one of the Canons, who collected all the remains of the ancient painted glass that were dispersed through different parts of the building. It is intended, however, to render the beauty of this chapel still more complete by repairing this window in the style and manner of those already formed by Messrs. Jarvis and Forest. For this purpose Mr. West made a cartoon of the Crucifixion, which Mr. Forest engaged to paint on glass. The window when completed will contain one thousand square feet.

The next of these windows in point of magnitude is that over the altar. The subject is the Resurrection, executed by Mr. Jarvis, after a design of Mr. West. It is divided into three copartments. In the centre is our Saviour ascending from the sepulchre preceded by an angel, above whom in the clouds is an host of cherubim and seraphim, and among them is a portrait of the Prince Octavius. In the front are Roman soldiers, whose countenances and attitudes are suited to the awful circumstances of the scene. In the copartment to the right are represented Mary Magdalen, and Mary the mother of James, approaching the sepulchre with spices &c.; and in that to the left are Peter and John, who are represented as running in great haste to the sepulchre, according to the apestolic narrative of the extraordinary transaction.

Two windows, one on the north and the other on the south side of the altar, contain the arms of the Sovereign and knights companions of the order of the Garter, who subscribed towards painting the east window.

The east window in the south aisle is executed in half tints by Mr. Forest, after a design by Mr. West. It repre

sents the Angels appearing to the Shepherds, to announce the nativity of our Saviour. The style of painting in this window is different from the rest; but is very sensibly adapted to the light in which it is placed.

The west window in the south aisle is the work of the same artists, and represents the Nativity. The Virgin Mary is seated with the infant Jesus sleeping in her lap; and Joseph, with the most devout attention, is holding a lamp to give light to her in the performance of her maternal office. The accessory parts of the picture are true to the scriptural description.

The west window in the north aisle is indebted also to Mr. Forest and Mr. West for whatever merit it may possess. The subject is the Wise Men's Offering. The picture is not crouded with figures; and in the representation of an event which has been so often represented novelty cannot be expected.

It is but seldom that the whole of these windows can be seen to advantage at any one time in the day, except when the sun is obscured by light clouds. When this is not the case, the most favourable light for viewing the east windows is from nine to eleven; and for those at the west end from three to six.

The different repositories of the illustrious dead in this chapel were originally founded as chauntries, and endowed with lands and other revenues for the maintenance of chaplains and priests, to sing masses there for the repose of their several founders and their kindred; the observance of which naturally ceased when the Reformation introduced a purer system of religious worship, that prohibited the ceremonials of popish superstition.

In the first of these hallowed receptacles, which is at the upper end of the choir, are deposited the remains of Henry the Eighth, and his Queen Jane Seymour, King Charles the First, and a daughter of Queen Anne.

At the east end of the north aisle are deposited the remains of Edward the Fourth, over which there is a beau

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