Henry VII Chapel - Other Architectural Features

Other Architectural Features

The chapel’s architect is unknown, but it is believed that Robert Janyns, Jr. was responsible for the design of much of the structure. The structure of the chapel is a three-aisled nave composed of four bays. The aisles are divided by rows of mahogany stalls into the North, South, and Central aisles. All contain numerous monuments and floor stones dedicated to various nobles. Above the stalls, at the triforium level, are many sculptures. Interspersed between the sculptures are the heraldic banners of the knights of the Order of Bath. Above this is the clerestory, with three rows of smaller windows. The window tracery articulates four larger windows, one in each bay, each composed of these three rows of smaller lancet windows. As much of the original glass was destroyed during the Restoration, the East Window, over the center apsidal chapel, as well as the Donor Windows, in the chapels themselves, are new additions, installed in 2000 and 1995, respectively.

The apse of the chapel contains the altar, and behind that, the tombs of Henry VII and his wife as well as of James I. There are five apsidal chapels. These chapels originally contained altars—they were screened off and intended for private prayer for members of the royal family—but their dedication is no longer known.

Upon entering the chapel, one passes through a set of bronze gates, which are elaborately crafted and “illustrate the…intense determination of Henry VII to put to the forefront every possible indication of his claims to the crown of England.” The gates are decorated with numerous royal crests that serve to legitimize his rule. Once inside, the mahogany stalls stand out to the viewer as they contrast with the light colored stone of the walls and ceiling. The stalls also contribute the verticality of the interior. They date from different times; while some are original others were added later to accommodate the increasing number of knights in the Order of Bath. The stalls were designated for all living knights in the Most Honourable Order of Bath. When a knight was installed, he received a stall that was subsequently adorned with his crest, coat of arms, and heraldic banner, the last of which remained in the chapel even after the knight’s death. These banners all remain to decorate the chapel. During the nineteenth century, there were too many knights to accommodate in the chapel and no more were installed until the twentieth century. Currently, only the most senior knights are assigned stalls in the chapel.

The altar and Henry VII’s tomb were crafted by the same Italian artist, Pietro Torrigiano. The Henry VII’ tomb was created first, beginning in 1512. The tomb was sculpted by a Florentine Renaissance artist, thus, the style is atypical of English art. The putti on the corners are particularly uncharacteristic. The altar was begun in 1517, but Torrigiano left the country before it was completed; Benedetto da Rovezzano finished its construction in 1526. Originally made of terracotta, white marble, and gilt bronze, it was destroyed during the Restoration. The current altar is based on images of the original. Two surviving pillars and two newly constructed ones support the reconstructed altar. Also significant are the aforementioned sculptures that adorn the triforium. The statues are of saints and the Apostles. According to Lindley, that “Henry VII’s will declares his trust in...‘Aungels, Archaungels, Patriarchs, Prophets, Apostels, Evangelists, Martirs, Confessours and Virgyns’” is critical to understanding his motivation in building the chapel: “Henry’s belief in the efficacy of ‘mediacions and prayers’ in his progress through purgatory is crucial to his purpose.” That is to say, he built the chapel and adorned it with numerous sculptures of important religious figures in part to ensure his acceptance into Heaven.