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At the east end of the Nave is the screen separating it from the
Choir. Designed by the then Surveyor, Edward Blore, in 1834, it is the fourth screen to be placed here; the wrought-iron gates, however, remain from a previous screen. Within recent years the screen has been painted and glided.

THE CHOIR was originally the part of the Abbey in which the monks worshipped, but there is now no trace of the pre- Reformation fittings, for in the late eighteenth century Kneene, the then Surveyor, removed the thirteenth-century stalls and designed a smaller Choir. This was in turn destroyed in the mid-nineteenth century by Edward Blore, who created the present Choir in Victoria Gothic style and removed the partitions which until then had blocked off the transepts

It is here that the choir of about twenty-two boys and twelve Lay
Vicars sings the daily services. The boys are educated at the Choir School attached to the Abbey ;mention of such a school is made in the fifteenth century and it may be even older in origin. For some centuries it was linked with Westminster School, but became independent in the mid- nineteenth century.

The Organ was originally built by Shrider in 1730. Successive rebuildings in 1849,1884,1909,,and 1937 and extensive work in 1983 have resulted in the present instrument.

THE SANCTUARY is the heart of the Abbey, where the High Altar stands
The altar and the reredos behind it, with a mosaic of the Last Supper, were designed by Sir Gilbert Scott in 1867. Standing on the altar are two candlesticks, bought with money bequeathed by a serving-maid, Sarah
Hughes, in the seventeenth century. In front of the altar, but protected by carpeting, is another of the Abbey’s treasures - a now-very-worn pavement dating from the thirteenth century. The method of its decoration is known as Cosmati work, after the Italian family who developed the technique of inlaying intricate designs made up of small pieces of coloured marble into a plain marble ground.

THE NORTH TRANSEPT, to the left of the Sanctuary, has a beautiful rose window designed by Sir James Thornhill, showing eleven Apostles. The
Transept once led to Solomon’s Porch and now leads to the nineteenth- century North Front.

THE HENRY YII CHAPEL, beyond the apse, was begun in 1503 as a burial place for Henry YI, on the orders of Henry YII, but it was Henry.YII himself who was finally buried here, in an elaborate tomb. The master mason, who designed the chapel was probably Robert Vertue his brother
William constructed the vault at St George’s Chapel, Windsor, in 1505 and this experience may have helped in the creation of the magnificent vaulting erected here a few years later.

The chapel has an apse and side aisles which are fan-vaulted, and the central section is roofed with extraordinarily intricate and finely- detailed circular vaulting ,embellished with more Tudor badges and with carved pendants, which is literally breath-taking in the perfection of its beauty and artistry.

Beneath the windows, once filled with glass painted by Bernard Flower of which only fragments now remain, are ninety-four of the original 107 statues of saints, placed in richly embellished niches. Beneath these, in turn, hang the banners of the living Knights Grand Cross of the Order of the Bath, whose chapel this is. When the Order was founded in 1725, extra stalls and seats were added to those originally provided. To the stalls are attached plates recording the names and arms of past Knights of the
Order, while under the seats can be seen finely carved misericords.

The altar, a copy of the sixteenth-century altar incorporates two of the original pillars and under its canopy hangs a fifteenth-century
Madonna and Child by Vivarini.

In the centre of the apse, behind the altar, stand the tomb of Henry
YII and Elizabeth of York, protected by a bronze screen. The tomb was the work of Torrigiani and the effigies of the king and queen are finely executed in gilt bronze.

In later years many more royal burials took place in the chapel. Mary
I, her half-sister Elizabeth I and half-brother Edward YI all lie here The
Latin inscription on thetomb - on which only Elizabeth Ist effigy rests - reads: «Consorts both in throne and grave, here rest we two sisters,
Elizabeth and Mary, in the hope of one Resurrection».

In the south asle lies Mary Queen of Scots, mother of James Yi and I, who brought her body from Peterborough and gave her a tomb even more magnificent than that which he had erected for his cousin Elizabeth.I.

In the same aisle lies Henry YII’s mother, Margaret Beaufort, Countess of Richmond. Her effigy, a bronze by Torrigiani, shows her in old age.
She was known for her charitable works and for her intellect - she founded
Christ’s and St John’s Colleges at Cambridge - and these activities are recorded in the inscription composed by Erasmus. Also in this aisle is the tomb of Margaret, Countess of Lennox.

THE CHAPEL OF ST EDWARD THE CONFESSOR, containing his shrine, lies east of the Sanctuary at the heart of the Abbey. It is closed off from the west by a stone screen, probably of fifteenth-century date, carved with scenes from the life of Edward the Confessor; it is approached from the east via a bridge from the Henry YII Chapel.

The shrine seen today within the chapel is only a ghost of its former self. It originally had three parts: a stone base decorated with Cosmati work, a gold feretory containing the saint’s coffin, a canopy above which could be raised to reveal the feretory or lowered to protect it. Votive offerings of gold and jewels were given to enrich the feretory over the centuries. To this shrine came many pilgrims, and the sick were frequently left beside it overnight in the hope of a cure. All this ceased at the
Reformation The shrine was dismantled and stored by the monks; the gold feretory was taken away from them, but they were allowed to rebury the saint elsewhere in the Abbey.

It was during the reign of Mary I that a partial restoration of the shrine took place. The stone base was re-assembled, the coffin was placed, in the absence of a feretory, in the top part of the stone base and the canopy positioned on top. The Chapel has a Cosmati floor, similar to that before the High Altar, and a blank space in the design shows where the shrine once stood; it also indicates that the shrine was originally raised up on a platform, making the canopy visible beyond the western screen. The canopy of the shrine has recently been restored, and hopefully one day the rest of the shrine will also be restored.

And within the chapel can be seen the Coronation Chair and the tombs of five kings and four queens. At the eastern end is the tomb and Chantey
Chapel of Henry Y, embellished with carvings including scenes of
Henry Y’s coronation. The effigy of the king once had a silver head and silver regalia, and was covered in silver regalia, and was covered in silver gilt, but this precious metal was stolen in 1546.

Eleanor of Castle, first wife of Edward I, lies beside the
Chapel. Her body was carried to Westminster from Lincoln, a memorial cross being erected at each place where the funeral procession rested.

Beside her lies Henry III, responsible for the rebuilding of the
Abbey, in a tomb of Purbeck marble. Next to his tomb is that of Edward I.
Richard II and Anne of Bohemia, Edward III and Philippa of Hainnault, and
Catherine de Valois, Henry Y’s Queen, also lie in this chapel.

THE SOUTH TRANSEPT is lit by a large rose window, with glass dating from 1902. Beneath it, in the angles above the right and left arches, are two of the finest carvings in the Abbey, depicting sensing angels. In addition to the many monuments there are two fine late thirteen-century wall-paintings, uncovered in 1936, to be seen by the door leading into St
Faith’s Chapel. They depict Christ showing his wounds to Doubting Thomas, and St Christopher. Beside the south wall rises the dormer staircase, once used by the monks going from their dormitory to the Choir for their night offices.

POET’S CORNER

One of the most well-known parts of Westminster Abbey, Poet’s
Corner can be found in the south Transept. It was not originally designated as the burial place of writers, playwrights and poets; the first poet to be buried here, Geoffrey Chaucer, was laid to rest in Westminster Abbey because he had been Clerk of Works to the Palace of Westminster, not because he had written the Canterbury Tales. However, the inscription over his grave, placed there by William Caxton - the famous printer whose press was just beyond the transept wall - mentioned that he was a poet.

Over 150 years later, during the flowering of English literature in the sixteenth century, a more magnificent tomb was erected to Chaucer by Nicholas Brigham and in 1599 Edmund Spencer was laid to rest nearby. These two tombs began a tradition which developed over succeeding centuries.

Burial or commemoration in the abbey did not always occur at or soon after the time of death - many of those whose monuments now stand here had to wait a number of years for recognition; Byron, for example, whose lifestyle caused a scandal although his poetry was much admired, died in
1824 but was finally given a memorial only in 1969. Even Shakespeare, buried at Stratford-upon-Avon in 1616, had to wait until 1740 before a monument, designed by William Kent, appeared in Poet’s Corner. Other poets and writers, well-known in their own day, have now vanished into obscurity, with only their monuments to show that they were once famous.

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