The Tower of London: A Historical Romance, Illustrated

William Ainsworth

William Harrison Ainsworth

The Tower of London: A Historical Romance, Illustrated

PREFACE

It has been, for years, the cherished wish of the writer of the following pages, to make the Tower of London – the proudest monument of antiquity, considered with reference to its historical associations, which this country or any other possesses, – the groundwork of a Romance; and it was no slight satisfaction to him, that circumstances, at length, enabled him to carry into effect his favourite project, in conjunction with the inimitable Artist, whose designs accompany the work.

Desirous of exhibiting the Tower in its triple light of a palace, a prison, and a fortress, the Author has shaped his story with reference to that end; and he has also endeavoured to contrive such a series of incidents as should naturally introduce every relic of the old pile, – its towers, chapels, halls, chambers, gateways, arches, and drawbridges – so that no part of it should remain un-illustrated.

How far this design has been accomplished – what interest has been given to particular buildings – and what mouldering walls have been informed with life – is now to be determined: – unless, indeed, it may be considered determined by the numbers who have visited the different buildings, as they have been successively depicted by pen and pencil, during the periodical appearance of the work.

One important object the Author would fain hope his labours may achieve. This is the introduction of the public to some parts of the fortress at present closed to them. There seems no reason why admission should not be given, under certain restrictions, to that unequalled specimen of Norman architecture, Saint John’s Chapel in the White Tower, – to the arched galleries above it, – to the noble council-chamber, teeming with historical recollections, – to the vaulted passages – and to the winding staircases within the turrets – so perfect, and so interesting to the antiquary. Nor is there stronger reason why the prison-chamber in the Beauchamp Tower, now used as a mess-room, the walls of which, like a mystic scroll, are covered with inscriptions – each a tragic story in itself, and furnishing matter for abundant reflection – should not likewise be thrown open. Most of the old fortifications upon the inner ballium-wall being converted into private dwellings, – though in many cases the chambers are extremely curious, and rich in inscriptions, – are, of course, inaccessible. But this does not apply to the first-mentioned places. They are the property of the nation, and should be open to national inspection.

It is piteous to see what havoc has already been made by alterations and repairs. The palace is gone – so are many of the towers – and unless the progress of destruction is arrested, the demolition of others will follow. Let us attempt to preserve what remains.

Opposite the matchless White Tower – William of Orange by the side of William the Conqueror, – is that frightful architectural abomination, the Grand Store-House.

It may not be possible to remove this ugly and incongruous structure. It is not possible to take away others that offend the eye at every turn. It is not possible to restore the Tower to its pristine grandeur. But it is possible to prevent further mutilation and desecration. It is possible to clear the reverend and massive columns of Saint John’s Chapel, which look like giants of departed days, from the thick coat of white-wash in which they are crusted, – to sweep away the presses with which its floors are cumbered, and to find some other equally secure, but less interesting – less sacred, in every sense, depository for the Chancery rolls. It is possible to render the same service to the magnificent council-chamber, and the passages leading to it, – it is possible to clear the walls of the Beauchamp Tower, – and it is, also, possible and desirable, that the public should be ad