The royal standard on the keep was furled, and an immense hatchment of black velvet, emblazoned with the king’s arms, worked in gold, was placed on the outer side of the gate of the lower ward, the battlements of which were thickly hung with banners. Numberless spectators thronged the barriers throughout their entire extent, and the windows of all the habitations in Thames Street were densely occupied. Slowly did the long train make its way to the Castle gate, and it was with great difficulty that the seven powerful horses could drag the ponderous funeral car up the steep ascent. At last, however, the feat was accomplished; the car entered the broad court of the lower ward, and was brought in safety to the western door of the chapel of Saint George.
Meanwhile; all the attendants upon the ceremonial, porters, servants of the royal household, harbingers and pursuivants, with a multitude of others, including the two hundred and fifty poor men in mourning habits, had entered the church, and stationed themselves in the nave—a wide passage being left from the western door to the choir, to be traversed by the bearers of the coffin. The more important personages, however, remained in the area of the Horseshoe Cloisters, awaiting a summons to enter the church.
Fairer ecclesiastical fabric does not exist than the collegiate chapel of Saint George at Windsor; and at the period in question the goodly structure was seen at its best. No desecrating hands had then marred its beauty. Externally, it was very striking—the numerous crocketed pinnacles being adorned with glittering vanes supported by gilt lions, antelopes, greyhounds, and dragons. The interior corresponded with the outward show, and luckily the best part has undergone little mutilation. Nothing more exquisite can be imagined than the richly decorated stone ceiling, supported by ribs and groins of incomparable beauty—than the light and graceful pillars of the nave—than the numerous chapels and chantries—or than the matchless choir. Within the nave are emblazoned the arms of Henry VIII. and those of his renowned contemporaries and survivors, Charles V. and Francis I., both of whom were companions of the Order of the Garter. At the period of which we treat, all the windows were filled with deep-stained glass, glowing with the mingled and gorgeous dyes of the ruby, the topaz, and the emerald, and casting a “dim religious light” on the architectural marvels of the fane. Commenced in the previous century by Edward IV., continued and further embellished by Henry VII., who contributed the unequalled roof of the choir, the finishing stroke to the noble pile was given by Henry VIII., traces of whom may be found in the heraldic insignia decorating the splendid ceiling of the body of the church, and in other parts of the structure.
In preparation for the ceremony about to take place within its walls, portions of the body of the church were hung with black, the central pavement of the nave being spread with black cloth, and the pillars of the aisles decorated with banners and escutcheons. The floor of the choir was likewise carpeted with black, and the pedestals of the elaborately carved stalls of the knights companions of the Garter, clothed with sable velvet. The emblazoned banners of the knights still occupied their accustomed position on the canopies of the stalls, but the late sovereign’s splendid banner was removed, his stall put into mourning, and a hatchment set in the midst of it. The high altar was hung with cloth of gold, and gorgeously ornamented with candlesticks, crosses, chalices, censers, ships, and images of gold and silver. Contiguous to it on the right was another and lesser altar, covered with black velvet, but destitute of ornament.
In the midst of the choir, surrounded by double barriers, stood a catafalque, larger and far more sumptuous than either of those used at the palace of Westminster or in the conventual church of Sion. Double-storied, thirty-five feet high, having eight panes and thirteen principals, curiously wrought, painted and gilded, this stately catafalque was garnished with a rich majesty and a double-valanced dome, around which were inscribed the king’s name and title in beaten gold upon silk. Fringed with black silk and gold, the whole frame was covered with tapers—a consumption of four thousand pounds’ weight of wax having been calculated upon,—and was garnished with pensils, scutcheons of arms and marriages, hatchments of silk and gold; while bannerols of descents depended from it in goodly wise. At the foot of the catafalque was a third altar covered with black velvet, and decorated with rich plate and jewels.