Henry VII Chapel

[1] The structure of the chapel is a three-aisled nave composed of four bays, leading to an apse, which contains the altar, and behind that the tombs of Henry VII and his wife Elizabeth of York as well as of James I.

The chapel is built in a very late Perpendicular Gothic style, the magnificence of which caused John Leland to call it the orbis miraculum (the wonder of the world).

In the 13th century, a movement toward devotion to the Virgin Mary inspired the building of chapels in her honour across Europe.

[6] Second, Henry VII wished to dedicate a more elaborate chapel to the Virgin to replace the older, simpler structure; and third, he wanted a royal mausoleum for him, his family, and his heirs[4] at an important religious site that would enhance his legitimacy as king and his legacy.

[7] According to one nobleman, Lord Bacon, “He lieth at Westminster in one of the stateliest and daintiest monuments of Europe…So that he dwelleth more richly dead in the monument of his tomb than he did alive at Richmond or in any of his palaces.” [8] In the eighteenth century, one observer commented that “[t]his chapel, it has been said, was designed as a sepulchre in which none but such as were of the royal-blood should ever be interred; accordingly the will of the founder has been so far observed, that all that have hitherto been admitted are of the highest quality, and can trace their descent from some or other of our ancient kings.” [9] In the intervening years, some people not of aristocratic descent, including Oliver Cromwell, were buried there, but during the Restoration of the monarchy many of those people were disinterred.

[13] The curved ribs, extending from the same point on the wall, are spaced equidistant from each other, forming conoid shapes.

[15] The chapel's architect is unknown, but it is believed that Robert Janyns the Younger was responsible for the design of much of the structure.

[1][19] The latter is the west window which depicts royal coats of arms, and was designed by John Lawson and made by Goddard & Gibbs.

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.

[22] 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.” [23] 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.

They date from different times; while some are original others were added later to accommodate the increasing number of Knights of the Order of the Bath.

[25] The altar was begun in 1517, but Torrigiano left the country before it was completed; Benedetto da Rovezzano finished its construction in 1526.

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.” [18] 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.