Glimpses of Britain. Учебное пособие. Алексей Минченков

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      All in all, the change that occurred in the interior of the English churches and the form of worship within a period of just about 20 years (from the moment when the Church of England was created in 1533 till the end of the reign of Edward VI) was enormous and dramatic, and must have appeared all the more so for the people of the times. At the beginning of Henry VIII’s reign the experience of going to church was as it had been for centuries. The congregation gathered in the nave to hear the Latin mass. The walls and windows of the church were bright with paintings and stained glass depicting the gospel stories and the lives of the saints. There were carved images of the Virgin and saints before which candles were lit. The nave was divided from the chancel by a screen beyond which the laity didn’t pass, and above which was suspended a life-size image of Christ on the cross. Beyond lay the chancel, sacred area, with a stone altar. Sometimes near the altar there would be relics of saints, bones or fragments of clothing. The altar was adorned with rich hangings. The altar was the focus of the entire church, for on it was re-enacted in the mass each day the sacrifice of Christ on the cross. The priest wore embroidered vestments, incense was burned, and at solemn moments bells were rung. Above the altar a small piece of consecrated bread, the host, was exhibited within a suspended container called a pyx, covered by a veil.

      Half a century later that experience was to be very different. Although the stained glass might still remain, the interior was virtually stripped bare, every painted or sculpted image either painted over, taken away or defaced, the walls whitewashed and adorned only with biblical texts. Over the screen there was the Royal Arms instead of the cross. Within the chancel the stone altar and pyx had gone. Instead there was a wooden table, used only sometimes when Holy Communion, which had come to replace the mass, took place. The priest was no longer attired with vestments, but a surplice. On most Sunday the service would have been one of morning prayer, said in English, and in which the congregation took part. The main focus was no longer the chancel, but the pulpit from which the sermon was delivered. A Christianity which had appealed to the eye had been replaced by one whose prime organ was the ear and whose aim was to hear and receive the word of God.

      In England the appearance of the new style in domestic architecture occurred within the orbit of the court. The tone was set by the monarch, first and foremost by Henry VIII. A great transformation occurred in the 1530s and 1540s, carried through on the vast wealth confiscated from the Church. In 1509 Henry VIII had inherited 13 palaces and houses; when he died in 1547 he left 56 residences densely concentrated in the south-east. The most important of these residences were Hampton Court, Whitehall, Nonsuch, Richmond Palace and Greenwich Palace. Ј62,000 (about Ј18 million in today’s money) was spent on Hampton Court, Ј43,000 on Whitehall and Ј23,000 on Nonsuch. These palaces were to provide the setting for the monarchy until the Civil War; most of them have not survived: Whitehall, for example, burnt to the ground in 1698, while Nonsuch was demolished in the late 17th century. Hampton Court is undoubtedly the finest example of a well-preserved Tudor palace. It was originally built for Wolsey and later transformed for Henry VIII. [30; 31]

      Hampton Court has all the typical features of what is sometimes called a Tudor courtyard house. The courtyard house is a domestication and regularization of the free-shaped medieval castle. It was at first H-shaped, but in the second half of the 16th century gradually became E-shaped. With its low four-centered archway, pepperpot corner turrets, bay or oriel windows [33], the courtyard house was to become the model not only for Hampton Court, but also for St. James’s Palace, Eton, many colleges of Oxford and Cambridge and numerous manor houses. The rise of new trading and sheep-farming families to wealth resulted in the building of many manor houses. In these the fortified character of earlier times gave way to increased domesticity and privacy. The owners themselves were essentially the designers. Though the Great Hall still remained the focus of the building, its importance now decreased with the introduction of other rooms fitted with oak paneling. Domestic exteriors exhibited mullioned windows, four-centered arches, pinnacled gables, bay or oriel windows, and numerous chimneys of decorative form. The royal palaces would have pinnacles on which sat the inevitable royal beasts. The finest examples of Tudor manor houses are Sutton Place, Surrey and Compton Wynyates, Warwick.