diff options
Diffstat (limited to '38274-h/38274-h.htm')
| -rw-r--r-- | 38274-h/38274-h.htm | 8467 |
1 files changed, 8467 insertions, 0 deletions
diff --git a/38274-h/38274-h.htm b/38274-h/38274-h.htm new file mode 100644 index 0000000..0d73b8f --- /dev/null +++ b/38274-h/38274-h.htm @@ -0,0 +1,8467 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> +<html xmlns="http://www.w3.org/1999/xhtml" lang="en" xml:lang="en"> +<head> +<meta http-equiv="Content-Type" content="text/html; charset=utf-8" /> +<title>Ecclesiastical Curiosities, William Andrews, ed—A Project Gutenberg eBook</title> +<link rel="coverpage" href="images/cover.jpg" /> + +<style type="text/css"> +/*<![CDATA[ XML blockout */ + /* links */ + @media print { + a:link {color: black; background-color: inherit; + text-decoration: none;} + a:visited {color: black; background-color: inherit; + text-decoration: none;} + } + + @media screen { + a:link {color: blue; background-color: inherit; + text-decoration: none;} + a:visited {color: blue; background-color: inherit; + text-decoration: none;} + a:hover {color: red; background-color: inherit;} + a:focus {outline: #ffee66 solid 2px; color: inherit; background-color: #ffee66;} + } + + @media screen, print { + p {text-align: justify; + line-height: 1.35; } + div.backmatter p, div.tnote p {line-height: 1.15; } + .kindle {display: none; visibility: hidden; } + } + + div.chunk {margin-left: auto; + margin-right: auto; + margin-top: 0; + max-width: 32em; + font-size: medium; } + div.chunk p {margin-top: 0; } + div.chunk p.right {text-align: right; + padding-top: 1.5em; } + div.chunk p.prefdate {text-indent: 0; + padding-top: 2em; } + div.backmatter p.byline {text-indent: 0; + text-align: center; + line-height: 1.4; } + + div.titlepagetop {margin: 6em auto 1em auto; + max-width: 24em; + border-left: 8px double black; + padding: 1em 0; } + div.titlepagebot {margin: 0 auto 6em auto; + max-width: 24em; } + + div.backmatter {margin-left: auto; + margin-right: auto; + margin-top: 6em; + page-break-before: always; + max-width: 40em; + font-size: small; } + + div.index {margin-left: auto; + margin-right: auto; + margin-top: 0; + max-width: 24em; + font-size: small; } + + div.illo {margin: 4em auto; + padding: 1em 0; + font-size: x-small; + text-align: center; + page-break-inside: avoid !important; } + div.illofltlt {margin: 0 auto 0 0; + padding: 1.5em 1.5em 1.5em 0; + font-size: x-small; + text-align: center; + float: left; + width: auto; } + div.illofltrt {margin: 0 0 0 auto; + padding: 1.5em 0 1.5em 1.5em; + font-size: x-small; + text-align: center; + float: right; + width: auto; } + div.illo img, div.illofltlt img, div.illofltrt img {padding-bottom: 10px; } + + + .postnomial { /* lowercase small caps */ + font-variant: small-caps; + text-transform: lowercase; } + p.author {font-variant: small-caps; + font-size: 85%; + text-align: center; + padding-bottom: 2em; } + + ul {list-style-type: none; } + .index ul {margin-left: 0; + padding-left: 3em; + text-indent: -3em; } + + h1 {font-weight: bold; + font-size: 190%; + text-align: center; + page-break-before: always; + margin: 4em auto 0.5em auto; + line-height: 1.8; + font-family: Old English Text MT, serif; } + div.titlepagetop h1 {text-align: left; + text-decoration: underline; + margin-top: 0.5em;} + div.titlepagetop p {line-height: 1.8; + font-family: Old English Text MT, serif;} + div.titlepagetop p span {text-decoration: underline;} + h2 {font-weight: normal; + font-size: 140%; + text-align: center; + page-break-before: always; + margin: 4em auto 4em auto; + font-family: serif; } + h2.chap {font-weight: bold; + margin: 4em auto 0.5em auto; + font-family: Old English Text MT, serif; } + h2.chapanon {font-weight: bold; + margin: 4em auto 1.5em auto; + font-family: Old English Text MT, serif; } + h2.chapi {font-weight: bold; + page-break-before: avoid; /* first chapter doesn't start a new page */ + margin: 4em auto 0.5em auto; + font-family: Old English Text MT, serif; } + h2.catalog {font-weight: bold; + margin: 2em auto 0.5em auto; } + h2.catalogleft {font-weight: bold; + text-align: left; + margin: 2em auto 0.5em auto; } + h2#bookbegin {page-break-after: always; } + + hr {background-color: black; color: inherit; padding: 0; + margin-left: auto; margin-right: auto; + clear: left; } + + span.pageno {display: none; visibility: hidden; /* over-ridden for screen devices */ + font-size: x-small; + font-family: serif; + font-variant: normal; + font-style: normal; + font-weight: normal; + line-height: 1.2; + letter-spacing: 0; + text-indent: 0; text-align: left; + margin: 0; padding: .05em 0.5em !important; } + + /* for transcriber's note at the end */ + div.tnote {border: dashed 1px; + padding: .5em; + margin-top: 3em; margin-bottom: 3em; + page-break-after: always; + page-break-after: always; } + div.tnote p {text-indent: 0; + margin-top: .5em; } + div.tnote h2 {text-indent: 0; + text-align: left; + font-size: 110%; + font-style: normal; + font-weight: bold; + margin: 1em auto; } + + /* footnotes */ + sup {font-size: small; + vertical-align: top;} + div.footnote {margin-right: 15%; + margin-bottom: 1em; + padding-top: 0.25em; + padding-bottom: 0.25em; + padding-right: 0.75em; } + div.footnote p {text-indent: -1.5em; + margin: 0 0 0 1.5em; + font-size: small; + text-align: justify; } + hr.footnote {width: 5em; + margin: 1em auto 0.2em 0; + text-align: left; } + + div.poem {text-align: left; + margin: 0 auto 1.25em auto; + font-size: 85%; + padding-left: 4em; } + .poem .stanza {margin: 1.25em auto 0 auto; + page-break-inside: avoid !important; } + .stanza div {line-height: 1.3em; + margin-top: 0; + padding-left: 3em; + text-indent: -3em; } + .stanza div.i2 {text-indent: -2em; } + .stanza div.i10 {text-indent: 2em; } + .poem div.right {text-align: right; } + + table.toc {width: 100%; + border-collapse: collapse; + font-size: 85%; } + table.toc td {padding-bottom: 0.5em; } + table.toc th {padding-bottom: 0; + font-weight: normal; + font-size: 70%; + text-align: right; } + table.toc td.caption { vertical-align: top; + text-align: left; } + table.toc td.no {vertical-align: bottom; + text-align: right; + width: 3em; } + table.toc p {text-indent: -3em!important; + padding-left: 3em; + text-align: justify; + margin-top: 0!important; + margin-bottom: 0!important; } + + .ns, .screenonly {display: none; visibility: hidden; } + .smcap {font-variant: small-caps; } + em, cite {font-style: italic; } + .nw {white-space: nowrap; } + + .fivestar {word-spacing: 0.75em; + font-weight: bold; + padding-top: 0.25em; + padding-bottom: 0.25em; + font-size: 120%; } + + p.noindent {text-indent: 0!important; } + p.newchap:first-letter {font-size: 300%; + line-height: 85%; + float: left; + margin-right: 0; } + p.newchap {text-indent: 0 ! important;} + span.dropcap {text-transform: uppercase; } + p.publ {margin: 3em auto; + font-size: 85%; + text-align: center; + text-indent: 0!important; + line-height: 1.7; } + p.display {margin-bottom: 0.75em; + font-size: 85%; + text-align: center; + text-indent: 0!important; } + + + /* device-specific differences */ + @media print { + span.pageno {border: 0 !important; } + .chunk p {margin-bottom: 0.25em; + text-indent: 2em; } + body {margin-right: 5%; + margin-left: 5%; } + div.illo {margin-left: -5%; + margin-right: -5%; } + } + + @media screen { + span.pageno {border-top: thin solid silver; + border-bottom: thin solid silver; + display: inline!important; + visibility: visible!important; + position: absolute; left: 1%; } + p {margin-bottom: 0.75em; + text-indent: 0; } + body {margin-left: 10%; + margin-right: 10%;} + .screenonly {display: inline!important; + visibility: visible!important; } + div.footnote {background-color: #eeeeee; + color: #000000; } + div.illo {margin-left: -10%; + margin-right: -10%; } + img#frontis {width: 404px; height: 665px; } + img#fancya {width: 154px; height: 145px; } + img#publisherdevice {width: 174px; height: 195px; } + img#rule {width: 256px; height: 28px; } + img#fancyt {width: 73px; height: 101px; } + img#hat {width: 76px; height: 44px; } + img#img1 {width: 226px; height: 282px; } + img#img5 {width: 358px; height: 537px; } + img#img13 {width: 355px; height: 486px; } + img#img17 {width: 242px; height: 299px; } + img#img19 {width: 330px; height: 358px; } + img#img20 {width: 335px; height: 418px; } + img#img21 {width: 357px; height: 389px; } + img#img24a {width: 449px; height: 603px; } + img#img56a {width: 504px; height: 692px; } + img#img59 {width: 642px; height: 441px; } + img#img63 {width: 654px; height: 430px; } + img#img104a {width: 402px; height: 786px; } + img#img143 {width: 254px; height: 331px; } + img#img148 {width: 480px; height: 406px; } + img#img155 {width: 382px; height: 536px; } + img#img165 {width: 550px; height: 235px; } + img#img167a {width: 463px; height: 267px; } + img#img167b {width: 420px; height: 278px; } + img#img169 {width: 490px; height: 303px; } + img#img171 {width: 534px; height: 308px; } + img#img175 {width: 518px; height: 324px; } + img#img187 {width: 490px; height: 407px; } + img#img194 {width: 449px; height: 457px; } + img#img195 {width: 419px; height: 422px; } + img#img197 {width: 615px; height: 435px; } + img#img199 {width: 481px; height: 477px; } + img#img235 {width: 432px; height: 561px; } + img#img246 {width: 194px; height: 179px; } + } + + /* overrides for epub */ + @media handheld{ + body {margin-left: 0; + margin-right: 0;} + span.pageno {border: 0 !important; } + .chunk p {margin-bottom: 0.25em; + text-indent: 1.5em; } + .kindle {display: inline; visibility: visible; } + } + + /* XML end ]]>*/ +</style> +</head> +<body> + + +<pre> + +The Project Gutenberg EBook of Ecclesiastical Curiosities, by Various + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Ecclesiastical Curiosities + +Author: Various + +Editor: William Andrews + +Release Date: December 11, 2011 [EBook #38274] + +Language: English + +Character set encoding: UTF-8 + +*** START OF THIS PROJECT GUTENBERG EBOOK ECCLESIASTICAL CURIOSITIES *** + + + + +Produced by David Wilson + + + + + +</pre> + + + +<h2 title="" id="bookbegin"><a name="halftitle" id="halftitle"></a><span class="pageno"><span + class="ns">[</span>half title<span class="ns">]<br + /></span></span>ECCLESIASTICAL CURIOSITIES.</h2> + + +<div class="illo"> +<a name="frontispiece" id="frontispiece"></a><span class="pageno"><span + class="ns">[</span>frontispiece<span class="ns">]<br + /></span></span><img + src="images/frontis.jpg" alt="" title="Frontispiece" id="frontis" /><br + /><small><i>From a Photo by A. H. Pitcher, Gloucester.</i><br + />PORCH, GLOUCESTER CATHEDRAL.</small> +</div> + +<div class="titlepagetop"> +<h1 title="Ecclesiastical Curiosities"><a name="title" id="title"></a><span class="pageno"><span + class="ns">[</span>title<span class="ns">]<br + /></span></span><big> Ecclesiastical .<br + /> Curiosities . . .</big></h1> + +<p> <small>Edited by</small><br + /><span> William Andrews . . .</span></p> + +</div> +<div class="titlepagebot"> + +<div class="illo"> +<img src="images/fancya.jpg" alt="illuminated capital A" + id="fancya" /> +</div> + +<p class="publ"><small>LONDON:<br + />WILLIAM ANDREWS & CO., 5, FARRINGDON AVENUE, E.C.<br + />1899.</small></p> + + +<div class="illo"> +<img src="images/publisherdevice.jpg" alt="William Andrews & Co +The Hull Press" title="Publisher's device" id="publisherdevice" /> +</div> + +</div> + +<div class="chunk"> + +<h2 class="chapanon" title="Preface"><a name="pi" id="pi"></a><span class="pageno"><span + class="ns">[p </span>i<span class="ns">]<br + /></span></span>Preface.</h2> + +<p class="newchap"><span class="dropcap">This</span> volume is on similar lines to some of +my previously published works, and I +trust it will be equally well received by the +public and the press.</p> + +<p class="right"><span class="smcap"> William Andrews.</span> </p> + + +<p class="prefdate"><small><span class="smcap">The Hull Press</span>,<br + /> <i>December 1st, 1898.</i></small></p> + + + +<h2 class="chapanon" title="Contents"><a name="piii" id="piii"></a><span class="pageno"><span + class="ns">[p </span>iii<span class="ns">]<br + /></span></span>Contents.</h2> + +<table class="toc" summary="Table of Contents"> +<tr><th> </th><th> PAGE</th></tr> +<tr><td class="caption"><p><a class="smcap" href="#p1">The Church Door.</a> + By the Rev. Geo. S. Tyack, <span class="postnomial">B.A.</span></p></td> + <td class="no"> <a href="#p1">1</a></td></tr> + +<tr><td class="caption"><p><a class="smcap" href="#p30">Sacrificial Foundations.</a> + By England Howlett</p></td> + <td class="no"> <a href="#p30">30</a></td></tr> + +<tr><td class="caption"><p><a class="smcap" href="#p46">The Building of the English Cathedrals.</a> + By the Rev. Geo. S. Tyack, <span class="postnomial">B.A.</span></p></td> + <td class="no"> <a href="#p46">46</a></td></tr> + +<tr><td class="caption"><p><a class="smcap" href="#p76">Ye Chappell of Oure Ladye.</a> + By the Rev. J. H. Stamp</p></td> + <td class="no"> <a href="#p76">76</a></td></tr> + +<tr><td class="caption"><p><a class="smcap" href="#p101">Some Famous Spires.</a> + By John T. Page</p></td> + <td class="no"> <a href="#p101">101</a></td></tr> + +<tr><td class="caption"><p><a class="smcap" href="#p113">The Five of Spades and the Church of Ashton-under-Lyne.</a> + By John Eglington Bailey, <span class="postnomial">F.S.A.</span></p></td> + <td class="no"> <a href="#p113">113</a></td></tr> + +<tr><td class="caption"><p><a class="smcap" href="#p119">Bells and their Messages.</a> + By Edward Bradbury</p></td> + <td class="no"> <a href="#p119">119</a></td></tr> + +<tr><td class="caption"><p><a class="smcap" href="#p133">Stories about Bells.</a> + By J. Potter Briscoe, <span class="postnomial">F.R.H.S.</span></p></td> + <td class="no"> <a href="#p133">133</a></td></tr> + +<tr><td class="caption"><p><a class="smcap" href="#p145">Concerning Font-Lore.</a> + By the Rev. P. Oakley Hill</p></td> + <td class="no"> <a href="#p145">145</a></td></tr> + +<tr><td class="caption"><p><a class="smcap" href="#p153">Watching-Chambers in Churches.</a> + By the Rev. Geo. S. Tyack, <span class="postnomial">B.A.</span></p></td> + <td class="no"> <a href="#p153">153</a></td></tr> + +<tr><td class="caption"><p><a class="smcap" href="#p161">Church Chests.</a> + By the Rev. Geo. S. Tyack, <span class="postnomial">B.A.</span></p></td> + <td class="no"> <a href="#p161">161</a></td></tr> + +<tr><td class="caption"><p><a class="smcap" href="#p183">An Antiquarian Problem: The Leper Window.</a> + By William White, <span class="postnomial">F.S.A.</span></p></td> + <td class="no"> <a href="#p183">183</a></td></tr> + +<tr><td class="caption"><p><a class="smcap" href="#p186">Mazes.</a> + By the Rev. Geo. S. Tyack, <span class="postnomial">B.A.</span></p></td> + <td class="no"> <a href="#p186">186</a></td></tr> + +<tr><td class="caption"><p><a class="smcap" href="#p206">Churchyard Superstitions.</a> + By the Rev. Theodore Johnson</p></td> + <td class="no"> <a href="#p206">206</a></td></tr> + +<tr><td class="caption"><p><a class="smcap" href="#p216">Curious Announcements in the Church.</a> + By the Rev. R. Wilkins Rees</p></td> + <td class="no"> <a href="#p216">216</a></td></tr> + +<tr><td class="caption"><p><a class="smcap" href="#p230">Big Bones Preserved in Churches.</a> + By the Rev. R. Wilkins Rees</p></td> + <td class="no"> <a href="#p230">230</a></td></tr> + +<tr><td class="caption"><p><a class="smcap" href="#p244">Samuel Pepys at Church.</a></p></td> + <td class="no"> <a href="#p244">244</a></td></tr> +</table> +</div> + + + +<div class="chunk"> +<h1 title=""><a name="p1" id="p1"></a><span class="pageno"><span + class="ns">[p </span>1<span class="ns">]<br + /></span></span>Ecclesiastical Curiosities.<br + /><img src="images/rule.jpg" alt="" id="rule" /></h1> + + + + +<h2 class="chapi" title="The Church Door">The Church Door.</h2> + +<p class="author">By the Rev. Geo. S. Tyack, <span class="postnomial">B.A.</span></p> + + +<div class="illofltlt"> +<img src="images/p1.jpg" alt="" id="img1" /><br + /><small>DOOR AT CROWLE CHURCH.</small> +</div> + +<p class="noindent"><img src="images/fancyt.jpg" alt="" id="fancyt" + style="float: left; margin-left: -50px; padding-right: 10px;" + /><img src="images/hat.jpg" alt="That" id="hat" + style="float: left; margin-left: -10px;" /> first impressions have no +small influence in moulding +the opinions of most +people can scarcely be +denied; and therefore in +our estimate of the architectural +value of a church +the door is an element +of some importance. A +shabby and undignified +entrance raises no expectations +of a lofty and solemn +interior; and that interior +must be emphatically fine, if we are not to read +into it some of the meanness of its portal. On +the other hand, though the church be but plain +<a name="p2" id="p2"></a><span class="pageno"><span + class="ns">[p </span>2<span class="ns">] + </span></span>and simple—so that it lack not a measure of the +dignity which may well accompany simplicity—our +thoughts will be raised and fitted to find in +it something worthy of its high purpose, if we +have been prepared by passing through a noble +porch, and beneath a doorway that speaks itself +the entrance to no ordinary dwelling.</p> + +<p>In primitive times the approach to a church +must have been full of dignity, the worshippers +being warned, by successive gates and doors, of +the sacredness of the building which they were +about to enter. Eusebius gives us a full account +of a splendid church built at Tyre by Paulinus, +from which we may gather the plan on which +such buildings were erected in the primitive +ages, when the means were forthcoming, and no +opposition from the heathen world prevented.</p> + +<p>The whole church at Tyre and its precincts +were enclosed within a wall, at the front of which +was a stately porch, known as the “great porch,” +or the “first entrance.” Passing through this +the worshipper entered the courtyard, or <i>atrium</i>, +round which ran a covered portico, or cloister, +and in the centre of which was a fountain, or +cistern, of water. Opposite the “great porch” +was the door into the church itself; at Tyre +<a name="p3" id="p3"></a><span class="pageno"><span + class="ns">[p </span>3<span class="ns">] + </span></span>there were (as in many of our cathedrals) three +such doors, a large one in the centre, flanked by +smaller ones at some distance along the wall. +These opened into a vestibule, or ante-temple, +from which admittance was gained into the nave +of the church by yet another door or gate.</p> + +<p>Each of the spaces formed by these several +barriers had its special use. Within the <i>atrium</i> +all the worshippers washed their hands as a +preparation, both literal and emblematic, for +assisting in the sacred mysteries; here, too, +penitents under censure for the most flagrant +sins remained during the divine offices, and +besought the prayers of their brethren as they +passed on to those holier courts, from which for +a time they were themselves excluded. Within +this open courtyard, also, as in a modern churchyard, +burials were sometimes permitted. The +portico beyond the second entrance was the +place for the “hearers,” that is for those who +were not yet sufficiently instructed in the faith +to be allowed to be present except at the reading +of the Scriptures and the sermons (these were +catechumens in their noviciate and the heathens +and Jews), and also for those Christians who +were degraded temporarily to the same position +<a name="p4" id="p4"></a><span class="pageno"><span + class="ns">[p </span>4<span class="ns">] + </span></span>as a penance for some sin. Beyond this portico, +the nave was still further divided for the separation +of different orders of penitents; so that the +faithful in possession of all their privileges had +quite a number of doors or gates through which +to pass before reaching that place, immediately +outside the apse, or chancel, which it was their +right to occupy.</p> + +<p>In order that the several classes of persons +attending church might be kept strictly within +those portions of the building which were +assigned to them, a special order of door-keepers +existed in the Church. The keys of the church +were solemnly delivered to these <i>ostiarii</i>, and +they were accounted to form the lowest in rank +of the minor orders. The simple words of the +commission, uttered by the bishop to the +<i>ostiarius</i>, were, “Behave thyself as one that +must give an account to God of the things that +are kept under these keys.” Such was the formula +prescribed by the fourth Council of Carthage +(398 <span class="postnomial">A.D.</span>), and found in the Roman ritual of the +eighth century. This order of clergy was almost +confined to the west, however; we find traces of +its existence at one time at Constantinople, but +for the most part the deacons guarded the men’s +<a name="p7" id="p7"></a><span class="pageno"><span + class="ns">[p </span>7<span class="ns">] + </span></span>entrance, and sub-deacons or deaconesses the +women’s, in the east.</p> + +<div class="illo"> +<a name="p5" id="p5"></a><span class="pageno"><span + class="ns">[p </span>5<span class="ns">]<br + /></span></span> + <img src="images/p5.jpg" alt="" id="img5" /><br + /><small>WEST DOOR, HOLY TRINITY, COLCHESTER.</small> +</div> + +<p>In the earliest English churches the entrance +was of a very simple nature; for the artistic skill +of the people was small, and their ideals were +unambitious. The buildings consisted of a nave +without clerestory, and a chancel; the door +being placed in the centre of the western wall. +A curious example of such a door meets us at +Holy Trinity, Colchester, although in this case +it gives admittance not into the nave directly, +but through the ancient tower. This tower, the +oldest part of the church, has been constructed +of the fragments of buildings older still; the +Roman bricks of the ruined city of Camulodunum +having been used to form it. In the western side +is a narrow doorway, contained by two square +shafts with very simple capitals, and having a +triangular head with an equally simple moulding +by way of drip-stone. The date is supposed to +be between 800 and 1000 <span class="postnomial">A.D.</span> A church perhaps +yet older is that of S. Lawrence at Bradford-on-Avon, +which has a good claim to be the veritable +structure reared by S. Aldhelm in the first years +of the eighth century. Here there is a northern +porch of unusual size in proportion to the rest of +<a name="p8" id="p8"></a><span class="pageno"><span + class="ns">[p </span>8<span class="ns">] + </span></span>the building; the entrance to which is by means +of an arched doorway, tall and narrow. The +narrowness of some of these ancient doorways is +remarkable. At Sowerford-Keynes is one, now +built up, which, though nearly nine feet high, is +but 1 foot 9 inches wide at the springing of the +arch, widening towards the base to 2 feet 5½ +inches. The jambs are of “short and long” +work, and the abacus has a very simple zig-zag +moulding. The arch itself is not built up, but +carved out of one stone, which is cut square on +the upper side and scooped into a parabolic +curve on the lower. A double row of cable +moulding decorates it. This, which has been +called “one of the most characteristic specimens +of Saxon architecture in England,” was the +northern entrance to the church. Another +instance of a western door of simple design is +supplied by Crowle, or Croule, in north Lincolnshire. +Here we meet with a rectangular doorway, +the top of which is formed of one long stone, on +which is some antique carving and a fragment of +a runic inscription.<sup><a href="#fn1" name="fnm1" id="fnm1" + title="go to footnote 1">1</a></sup> Above this is a tympanum +filled with diamond-shaped stones of small size.</p> + +<p><a name="p9" id="p9"></a><span class="pageno"><span + class="ns">[p </span>9<span class="ns">]<br + /></span></span>With the rise of the so-called Norman style of +architecture the doors of our churches took a +handsomer form; and as the churches themselves +were now formed on a larger and nobler plan, +more than one entrance was often required. The +usual door for the people was now commonly +placed at the south side, except in churches +connected (as were so many of our cathedrals) +with monastic foundations. In this latter case +the south side was generally occupied by the +cloisters and other conventual buildings, and the +people’s door was therefore placed upon the +north side. At this period, too, the church-porch +begins its development; for, although porches +in a strict sense were at any rate not usual, the +door-way deeply sunk in the massive wall and +protected by three, four, or even more concentric +arches, suggests the more fully developed shelter +of the porch. Of doors of this kind any of our +older abbey-churches will supply adequate, and +often splendid, examples. The great north door +of Durham Cathedral, and the smaller, but not +less beautiful doors into the cloisters there, are +fine instances. The west and north doors of the +little cathedral of Llandaff supply examples in +another class of building; and even small and +<a name="p10" id="p10"></a><span class="pageno"><span + class="ns">[p </span>10<span class="ns">] + </span></span>obscure parish churches are sometimes dignified +with the possession of an entrance full of the +massive solemnity of this Norman work. The +village church of Heysham, on Morecambe Bay, +has a south door well worthy of mention in +this connection; and the Lincolnshire church +already cited, Crowle, has an interesting doorway +of this kind.</p> + +<p>As art progressed in Christendom, and exhibited +its growing force especially in the +churches, the entrances thereto shared in the +increasing splendour of the whole. The mouldings +of the arches and the pillars, the elaboration +of capitals and bases, all showed the evidence of +devotion guided by taste and skill. And often +something more than mere decoration was +attempted; the opportunity was seized to add +instruction, and figures of saints and angels, or +complete scenes from scriptural or ecclesiastical +story, filled the expanse of the tympanum or +the niches of the columns. About the twelfth +century, also, it became customary to divide the +main entrance into two by means of a pillar, or +a group of pillars; the two-leaved door being +thus made symbolical of the two natures of +Christ, of Whom, as Durandus tells us, it is itself +<a name="p11" id="p11"></a><span class="pageno"><span + class="ns">[p </span>11<span class="ns">] + </span></span>the emblem, “according to that saying in the +Gospel, ‘I am the Door!’”</p> + +<p>The Continent presents some splendid examples +of these decorated porticoes. The +cathedral of Strasburg, preserved as by a series +of miracles in spite of every danger that can +assail a building, fire, lightning, earthquake, +and cannonade, has a very grand west entrance; +its tall doors set within a number of receding +arches, and the sharply-pointed gable which +crowns them flanked and crested with tapering +pinnacles. The French artists of the thirteenth +and fourteenth centuries were unrivalled in the +beauty and wealth of statuary with which they +adorned their churches, and not least their doors. +“The glory and the beauty” of the great porch +at Amiens has been set forth fully by Ruskin, +who has woven into one wonderful whole the +meaning of the statues, which, like “a cloud of +witnesses,” throng the western front. But +Amiens is not alone; S. Denis, Paris, Sens, +Angouléme, Poictiers,<!-- TN: sic --> Autun, Chartres, Laon, +Rheims, Vezelay, Auxerre, and other cathedrals +are all magnificent in this respect. The principal +entrance to Seville cathedral is flanked by +columns upholding niches filled with figures of +<a name="p12" id="p12"></a><span class="pageno"><span + class="ns">[p </span>12<span class="ns">] + </span></span>saints and angels, while the tympanum contains +a carving of the entrance of the Saviour into +Jerusalem on the first Palm Sunday. In the +island of Majorca, the south door-way of the +cathedral of Palma is exceptionally beautiful. +The statue of the Blessed Virgin crowns the +centre column, and above is the Last Supper. +A record of the architect of this splendid piece +of work is preserved in an old account book of +the cathedral: “On January 29th, 1394, Master +Pedro Morey, sculptor, master artificer of the +south door, which was begun by him, passed +from this life. Anima ejus requiescat in pace. +Amen.” The entrance in the west front is also +a fine one, and is inscribed, “Non est factum +tale opus in universis regnis.”</p> + +<div class="illo"> +<img src="images/p13.jpg" alt="" id="img13" /><br + /><small>WEST DOOR, HIGHAM FERRERS CHURCH.</small> +</div> + +<p>Although in England we cannot match the +gorgeousness of detail exhibited by the flamboyant +architecture of some of the examples above +noticed, yet we too have instances of which +we may well be proud. The western front of +Peterborough cathedral, over the partial renovation +of which there has recently been so much +controversy between architects and antiquaries, +has been pronounced to be “the grandest portico +in Europe;” but this has reference to the whole +<a name="p13" id="p13"></a><span class="pageno"><span + class="ns">[p </span>13<span class="ns">] + </span></span>façade rather than to the door-way in itself. If +our subject allowed of our taking so wide a view, +the splendid west fronts of Exeter, York, and +others of our minsters, would demand a place of +honour in the list. Gloucester cathedral has a +dignified porch over the south door, in which are +the figures of a number of saints. The west door +<a name="p14" id="p14"></a><span class="pageno"><span + class="ns">[p </span>14<span class="ns">] + </span></span>of Rochester is also interesting; its decorated +Norman arches are richly carved, and enclose a +tympanum covered with characteristic sculpture. +Of a different type is the graceful west door +at Ely, whose pointed arches are upheld by +delicately cut shafts, the tympanum over the +twin doorways being pierced by a double trefoil +within a vesica. The parish church of Higham +Ferrers has double western doors, separated by +a bold shaft, above which is a niche (now unoccupied) +for a statue. The tympanum, anciently +divided by this figure, has five medallions on +each side filled with sculptured scenes from the +New Testament, round which runs a scroll of +conventional foliage. The neighbouring churches +of Rushden and Raunds have also good double-leaved +doors. To take one instance from the +Northern Kingdom, S. Giles’s, Edinburgh, has +a dignified west entrance. Many of the better +examples of our modern churches have admirable +porticoes, of which one example must suffice. +All Saints’ Church, Cheltenham, has double +doors within receding arches; the tympanum +has the figure of Our Lord enthroned in glory +surrounded by the saints, and the central shaft +and the side pillars contain other statues.</p> + +<p><a name="p15" id="p15"></a><span class="pageno"><span + class="ns">[p </span>15<span class="ns">]<br + /></span></span>There is occasionally found in a cathedral, or +other large church, a porch of unusual depth, +known as a Galilee. Here, during Lent, those +assembled who were bidden to do public penance; +the coming of Maundy Thursday being the signal +for their admission once more into the church +itself. Ely has a western Galilee entered by an +arch, divided by a central pillar, and filled in the +upper part with tracery. Lincoln has a Galilee, +deep and dignified in plan, with a vaulted roof. +Another English cathedral so provided is that +of Chichester; and among parish churches the +Galilee is found at Boxley, Llantwit, Chertsey, +and S. Woolos.</p> + +<p>Of door-ways which, independently of considerations +of date, size, or form, are noteworthy +for their sculpture, there are many that ought to +be mentioned. At Lincoln, for instance, we +have a south door carved with a Doom, or Last +Judgment, wherein we see the effigy of the +Divine Judge surrounded by the dead rising +from their opening graves. The north door at +Ely, the whole of the surrounding stone-work of +which is elaborately carved, is surmounted by +the figure of the Lord enthroned within a vesica, +while adoring angels kneel before Him. At +<a name="p16" id="p16"></a><span class="pageno"><span + class="ns">[p </span>16<span class="ns">] + </span></span>Rougham, in Norfolk, the west door is surmounted +by a crucifix, round which runs the +emblematic vine. Founhope church, Hereford, +has in the tympanum of the arch the Madonna +and the Holy Child, a grotesque with birds and +beasts surrounding the figures. At Elkstone, +Gloucestershire, the south door-way, a specimen +(like the one at Founhope) of Norman work, has +some interesting sculptures. In the centre of +the tympanum is Christ enthroned, with the +apocalyptic symbols of the evangelists around +Him; beyond these on the right hand of Christ +is the Agnus Dei with the flag, an emblem of the +Resurrection, while on the left is a wide open +pair of jaws, known as a Hell-mouth: above all +the Father’s Hand is seen in the attitude of +benediction. Elstow church has sculptured +figures above the north door; not within the +containing arch, but within a separate arched +space divided from the door-way by a string-course. +Haltham church, in Lincolnshire, has +some exceedingly curious designs on the +tympanum of the south door; they are mostly +cruciform figures within circles, and are arranged +with strange irregularity. The north door of +Lutterworth church has over it a fresco painting.</p> + +<div class="illofltrt"> +<img src="images/p17.jpg" alt="" id="img17" /><br + /><small>NORTH DOOR, ELSTOW CHURCH.</small> +</div> + +<p><a name="p17" id="p17"></a><span class="pageno"><span + class="ns">[p </span>17<span class="ns">]<br + /></span></span>Several of the churches in Brussels have +door-ways which, though otherwise not remarkable, +are noteworthy from the beauty of the +carving of the central post dividing the two +leaves of the door. The church of Notre Dame +de Bon-Secours has the effigy of its patron saint +crowned and robed, +bearing the Infant +Saviour; below are +the emblems of pilgrimage, +wallets, +gourds, and cockle-shells. +The church +of La Madeleine +has a crucifix with +a weeping Magdalene +at its foot. +The old church of +S. Catharine has +its patroness on the door-post, and the Chapelle +Sainte-Anne similarly has S. Anne holding the +Blessed Virgin by the hand. Foliage or scrolls +in each case fill up the rest of the column, +which is of wood, and in some instances has +been painted.</p> + +<p>So far, the doorways have occupied our +<a name="p18" id="p18"></a><span class="pageno"><span + class="ns">[p </span>18<span class="ns">] + </span></span>attention; something must, however, be said of +the doors themselves. The usual form of the old +church door is familiar enough to all of us; the +massive time-stained oak, the heavy iron nails +that stud it, and the long broad hinges that reach +almost across its full breadth. There is dignity +in the very simplicity of all this; but not seldom +far more ornate examples may be found.</p> + +<p>The most elementary form of decoration consists +in merely panelling the door, as is the case +in numberless instances; occasionally the panels +themselves are carved, as on the “Thoresby +Door,” at Lynn, or the door of S. Mary’s, Bath; +or tracery, as in a window, is introduced, as at +Alford, Lincolnshire. These are but a few of the +many instances which might be cited. Another +striking form of decoration is produced by +hammering out the long hinges into a design +covering, more or less, the surface of the door. +The west door at Higham Ferrers, already +noticed, has on each of its leaves three hinges, +which are formed into wide spreading scrolls. +Sempringham Abbey has very fine beaten ironwork +spread over almost the entire face of the +door. A more curious example is afforded by +Dartmouth church; where a conventional tree +<a name="p19" id="p19"></a><span class="pageno"><span + class="ns">[p </span>19<span class="ns">] + </span></span>with spreading branches covers the door, and +across this the hinges are laid in the form of two +heraldic lions. The date is added in the middle +of the work, 1631.</p> + +<div class="illo"> +<img src="images/p19.jpg" alt="" id="img19" /><br + /><small>DOOR AT LYNN CHURCH.</small> +</div> + +<p>In the decoration of the church door the +mediæval blacksmith proves himself in a thousand +instances, at home and abroad, to have been an +artist. Free from the hurry of the present age, +he could work according to that canon of +Chaucer’s,</p> + +<div class="poem" style="width: 22em;"> +<div class="stanza"> +<div class="i10"><span class="kindle"> </span> “There is no workman</div> +<div> That can both worken well and hastilie,</div> +<div> This must be done at leisure, perfectlie.”</div> +</div> +</div> + +<p class="noindent"><a name="p20" id="p20"></a><span class="pageno"><span + class="ns">[p </span>20<span class="ns">]<br + /></span></span>With him it was not the hand only that wrought, +nor even the hand and head; but the soul within +him gave life to both. Of the contrast +between old ways and new, few examples are +more striking than the hinges of the door at +S. Mary Key, Ipswich; where we have a simple +but graceful scroll of ancient date, and a clumsy +iron bar of to-day, lying side by side. For a +beautiful design in beaten iron the doors of +Worksop Priory may claim to have not many rivals.</p> + +<div class="illo"> +<img src="images/p20.jpg" alt="" id="img20" /><br + /><small>SOUTH PORCH, SEMPRINGHAM ABBEY.</small> +</div> + +<p><a name="p21" id="p21"></a><span class="pageno"><span + class="ns">[p </span>21<span class="ns">]<br + /></span></span>The most splendid doors in the world are +probably the bronze doors of the Baptistery at +Florence. Other bronze doors there are on the +Continent, and all of them fine; Aix-la-Chapelle, +Mayence, Augsburg, Hildesheim, Novgorod, all +have doors of this kind; at Verona, too, in the +church of San Zeno, are ancient examples, +whereon are set forth in panels a number of +subjects from Holy Scripture and from the life +of the patron saint. All, however, fall into +<a name="p22" id="p22"></a><span class="pageno"><span + class="ns">[p </span>22<span class="ns">] + </span></span>insignificance beside the “Gates of Paradise,” +as the Florentines proudly call their doors.</p> + +<div class="illo"> +<img src="images/p21.jpg" alt="" id="img21" /><br + /><small>DOOR AT DARTMOUTH CHURCH.</small> +</div> + +<p>In 1400 the Gild of Cloth Merchants of +Florence decided to make a thank-offering for +the cessation of the plague; and the form which +it took was a pair of bronze doors for the +baptistery of the church of S. Giovanni, to +correspond with some already there. These +earlier ones are the work of Pisana and his son +Nino, from designs by Giotto; the creation of +the new ones was thrown open to competition. +Many competitors appeared, of whom six were +asked to submit specimens of designs for the +panels; and, finally, when the choice lay between +two only, the elder, Brunellesco, himself advised +that the commission should be entrusted to +Ghiberti, a youth then barely twenty years of +age. The doors when completed contained +twenty scenes from the Saviour’s life, together +with figures of the four Latin Doctors and the +four Evangelists, set in a frame of exquisite +foliage. This splendid work was surpassed by a +second pair of doors subsequently made for the +same place. In this there are ten panels setting +forth scenes from the Old Testament history; +and the frame is adorned with niches and +<a name="p23" id="p23"></a><span class="pageno"><span + class="ns">[p </span>23<span class="ns">] + </span></span>medallions in which are placed some fifty +allegorical figures and portrait heads. It was of +these last doors, which were only completed in +Ghiberti’s mature age, that no less a judge than +Michael Angelo said, “They might stand as the +gates of Paradise itself.”</p> + +<p>Aix-en-Provence claims that her doors are as +peerless as examples of the wood-carver’s art, as +are the Florentine ones as types of the metal-worker’s. +They have been preserved, it is said, +from the sixth century, and are still wonderfully +fresh and delicate. There are on each door six +upper panels filled with figures of the twelve +Sybils; and below one large panel, occupied, in +one case, by effigies of the prophets Isaiah and +Jeremiah, and in the other by Ezekiel and +Daniel. The carving is only occasionally exhibited, +two masking doors having been cleverly +contrived to protect and cover the real ones.</p> + +<p>Many of the doors of our cathedrals and great +abbey churches have knockers, often of very +striking designs. These as a rule indicate that +the places in question claimed the right of +sanctuary; and the knocker was to summon an +attendant, or watcher, to admit the fugitive from +justice at night, or at other times when the +<a name="p24" id="p24"></a><span class="pageno"><span + class="ns">[p </span>24<span class="ns">] + </span></span>entrance was closed. A curious head holding +a ring within its teeth forms the knocker at +Durham cathedral; a lion’s head was not an +uncommon form for this to take, as at Adel, +York (All Saints), and Norwich (S. Gregory’s); +a singularly ferocious lion’s head knocker may +be seen at Mayence.</p> + +<div class="illo"> +<a name="p24a" id="p24a"></a><span class="pageno"><span + class="ns">[p </span>24a<span class="ns">]<br + /></span></span> + <img src="images/p24a.jpg" alt="" id="img24a" /><br + /><small><i>From a Photo by Albert E. Coe, Norwich.</i><br + />ERPINGHAM<!-- TN: original reads "ERINGHAM" --> GATE, NORWICH.</small> +</div> + +<p>The deep porch which we so frequently see +over the principal door of the church was formerly +something more than an ornament, or even a +protection; it was a recognized portion of the +sacred building, and had its appointed place in +the services of the Church. Baptism was +frequently administered in the church porch, to +symbolize that by that Sacrament the infant +entered into Holy Church. There are still relics +of the existence of fonts in some of our porches, +as at East Dereham, Norfolk. When baptism +was thus administered in the south porch, it was +also customary, so it is alleged, to throw wide +open the north door; that the devil, formally +renounced in that rite, might by that way flee +“to his own place.” The font now usually +stands just within the door. In the pre-reformation +usage of the Church the thanksgiving of a +woman after child-birth was also made in, or +<a name="p25" id="p25"></a><span class="pageno"><span + class="ns">[p </span>25<span class="ns">] + </span></span>before, the church porch; and concluded with +the priest’s saying, “Enter into the temple of +God, that thou mayest have eternal life, and live +for ever and ever.” The first prayer-book of +Edward VI. ordered the woman to kneel “nigh +unto the quire door:” the next revision altered +the words “to nigh unto the place where the +table standeth;” and from Elizabeth’s days the +rubric has simply said indefinitely “a convenient +place.”</p> + +<p>The rubric at the commencement of the Order +of the Solemnization of Holy Matrimony according +to the Sarum use began also in this way: +“Let the man and woman be placed before the +door of the church, or in the face of the church, +before the presence of God, the Priest, and the +People”; at the end of the actual marriage, and +before the benedictory prayers which follow<!-- TN: original reads "foilow" --> it, +the rubric says, “Here let them go into the +church to the step of the altar.” Chaucer +alludes to this usage when in his “Canterbury +Tales” he says of the wife of <span class="nw">Bath—</span></p> + +<div class="poem" style="width:22em;"> +<div class="stanza"> +<div> “She was a worthy woman all her live,</div> +<div> Husbands at the church dore had she five.”</div> +</div> +</div> + +<p class="noindent">Edward I. was united to Margaret at the door of +<a name="p26" id="p26"></a><span class="pageno"><span + class="ns">[p </span>26<span class="ns">] + </span></span>Canterbury Cathedral on September 9th, 1299, +and other mediæval notices of the custom occur.</p> + +<p>The first prayer-book of Edward VI. introduced +an alteration which has been maintained ever +since; the new rubric reading that “The persons +to be married shall come into the body of the +Church,” just as it does in our modern prayer-books. +In France the custom survived as late +as the seventeenth century, at least in some +instances, for the marriage of Charles I., who +was represented by a proxy, and Henrietta Maria +was performed at the door of Notre Dame in +Paris. In Herrick’s “Hesperides” is a little +poem entitled “The Entertainment, or, <em>A Porch-verse</em> +at the marriage of Mr. Henry Northly and +the most witty Mrs. Lettice Yard.” It <span class="nw">commences:—</span></p> + +<div class="poem" style="width:24em;"> +<div class="stanza"> +<div> “Welcome! but yet no entrance till we blesse</div> +<div> First you, then you, then both for white success.”</div> +</div> +</div> + +<p class="noindent">This was published in the midst of the great +Civil War, and seems to show that the custom +of marriage at the church porch was still +sufficiently known, even if only by tradition, to +make allusions to it “understanded of the +people.”</p> + +<p>Burials sometimes took place in the church +<a name="p27" id="p27"></a><span class="pageno"><span + class="ns">[p </span>27<span class="ns">] + </span></span>porch, in those days when interment within the +building was much sought after.</p> + +<p>Ecclesiastical Courts were frequently held +in church porches, as at the south door of +Canterbury Cathedral; schools were occasionally +established in them; and here the dower of the +bride was formally presented to the bridegroom. +This last-named use of the porch is illustrated +by a deed of the time of Edward I., by which +Robert Fitz Roger, a gentleman of Northamptonshire, +bound himself to marry his son within a +given time to Hawisia, daughter of Robert de +Tybetot, and “to endow her at the church door” +with property equal to a hundred pounds per +annum. We still have evidence of the fact that +the church door was of old considered the most +prominent and public place in the parish in the +continued use of it as the official place for posting +legal notices of general interest, such as lists of +voters, summonses for public meetings, and so +forth.</p> + +<p>There are often in connection with ancient +ecclesiastical foundations doors and gateways +which are of great interest, though they can +scarcely be called church doors. Of this class +are the entrances to the chapter houses of +<a name="p28" id="p28"></a><span class="pageno"><span + class="ns">[p </span>28<span class="ns">] + </span></span>cathedrals, many of which are very fine. At +York, for example, the chapter-house, which +proudly asserts in an inscription near the entrance +that, “as the rose is among the flowers, so is it +among buildings,” has a doorway not unworthy +of the beautiful interior.</p> + +<p>The gateway which gave admittance to the +sacred enclosure of the abbey—the garth or close +round which were ranged the monastic buildings—is +in many cases an imposing and elaborate +piece of architecture. Bristol has an interesting +Norman gateway, and that at Durham is massive +and impressive, as are all the conventual remains +there. Norwich is specially rich in this respect. +The Erpingham Gate was the gift of Sir Thomas +Erpingham, who died in 1420, and whom the +King, in Shakespere’s play of “King Henry V.” +(Act iv. sc. I), calls a “good old knight;” +S. Ethelbert’s Gate was built at the cost of Bishop +Alnwick, who ruled the see from 1426 to 1436.</p> + +<p>But to speak of these things is to wander from +our present subject, and even that is too wide to +be dealt with fully in a paper such as this. The +legends and traditions of the church porch might +occupy many a page, while we gossiped over the +mystic rites of S. John’s Eve or of All Hallow +<a name="p29" id="p29"></a><span class="pageno"><span + class="ns">[p </span>29<span class="ns">] + </span></span>E’en; or while we told how Ralph, Bishop of +Chichester, barred his cathedral door with thorns +in his anger against the King and his friends; or +how the skins of marauding Danes have in more +than one instance been nailed as leather coverings +to the doors of English churches. Enough, +however, has probably been said to show the +wealth of interest which may often be found to +hang about the old church porch, in which +the village church may often be as rich as the +great cathedral or the stately abbey.</p> + +<hr class="footnote" /> +<div class="footnote"><p><a href="#fnm1" + title="return to text" name="fn1" id="fn1">1</a>. See a full account of this stone in “Bygone Lincolnshire,”—Vol. I, +William Andrews & Co.</p> +</div> + +</div> + + + +<div class="chunk"> +<h2 class="chap" title="Sacrificial Foundations"><a name="p30" id="p30"></a><span class="pageno"><span + class="ns">[p </span>30<span class="ns">]<br + /></span></span>Sacrificial Foundations.</h2> + +<p class="author">By England Howlett.</p> + + +<p class="newchap"><span class="dropcap">In</span> early ages a sacrifice of some sort or other +was offered on the foundation of nearly +every building. In heathen times a sacrifice +was offered to the god under whose protection +the building was placed; in Christian times, +while many old pagan customs lingered on, the +sacrifice was continued, but was given another +meaning. The foundation of a castle, a church, +or a house was frequently laid in blood; indeed +it was said, and commonly believed, that no +edifice would stand firmly for long unless the +foundation was laid in blood. It was a practice +frequently to place some animal under the corner +stone—a dog, a wolf, a goat, sometimes even the +body of a malefactor who had been executed.</p> + +<p>Heinrich Heine <span class="nw">says:—</span>“In the middle ages +the opinion prevailed that when any building was +to be erected something living must be killed, +in the blood of which the foundation had to be +laid, by which process the building would be +<a name="p31" id="p31"></a><span class="pageno"><span + class="ns">[p </span>31<span class="ns">] + </span></span>secured from falling; and in ballads and traditions +the remembrance is still preserved how +children and animals were slaughtered for the +purpose of strengthening large buildings with +their blood.”</p> + +<div class="poem" style="width:22em;"> +<div class="stanza"> +<div> “ . . . I repent:</div> +<div> There is no sure foundation set on blood,</div> +<div> No certain life achiev’d by other’s death.”</div> +</div> +<div class="right"> King John, Act iv., Sc. 2. <br + /> <span class="smcap">Shakespeare</span>.</div> +</div> + +<p>To many of our churches tradition associates +some animal and it generally goes by the name +of the Kirk-grim. These Kirk-grims are of +course the ghostly apparitions of the beasts that +were buried under the foundation-stones of the +churches, and they are supposed to haunt the +churchyards and church lanes. A spectre dog +which went by the name of “Bargest” was said +to haunt the churchyard at Northorpe, in +Lincolnshire, up to the first half of the present +century. The black dog that haunts Peel Castle, +and the bloodhound of Launceston Castle, are +the spectres of the animals buried under their +walls. The apparitions of children in certain +old mansions are the faded recollections of the +sacrifices offered when these houses were first +<a name="p32" id="p32"></a><span class="pageno"><span + class="ns">[p </span>32<span class="ns">] + </span></span>erected, not perhaps the present buildings, but +the original halls or castles prior to the conquest, +and into the foundations of which children were +often built. The Cauld Lad of Hilton Castle in +the valley of the Wear is well known. He is +said to wail at night:</p> + +<div class="poem" style="width:14em;"> +<div class="stanza"> +<div> “Wae’s me, wae’s me,</div> +<div> The acorn’s not yet</div> +<div> Fallen from the tree</div> +<div> That’s to grow the wood,</div> +<div> That’s to make the cradle,</div> +<div> That’s to rock the bairn,</div> +<div> That’s to grow to a man,</div> +<div> That’s to lay me.”</div> +</div> +</div> + +<p>Afzelius, in his collection of Swedish folk tales, +says: “Heathen superstition did not fail to +show itself in the construction of Christian +churches. In laying the foundations the people +retained something of their former religion, and +sacrificed to their old deities, whom they could +not forget, some animal, which they buried alive, +either under the foundation, or within the wall. +A tradition has also been preserved that under +the altar of the first Christian churches a lamb +was usually buried, which imparted security +and duration to the edifice. This was an +emblem of the true church lamb—the Saviour, +<a name="p33" id="p33"></a><span class="pageno"><span + class="ns">[p </span>33<span class="ns">] + </span></span>who is the corner stone of His church. When +anyone enters a church at a time when there is +no service, he may chance to see a little lamb +spring across the choir and vanish. This is the +church-lamb. When it appears to a person in +the churchyard, particularly to the grave-digger, +it is said to forbode the death of a child that +shall be next laid in the earth.”</p> + +<p>The traditions of Copenhagen are, that when +the ramparts were being raised the earth always +sank, so that it was impossible to get it to stand +firm. They therefore took a little innocent girl, +placed her on a chair by a table, and gave her +playthings and sweetmeats. While she thus sat +enjoying herself, twelve masons built an arch +over her, which when completed they covered +over with earth, to the sound of music with +drums and trumpets. By this process they are, +it is said, rendered immovable.<sup><a href="#fn2" name="fnm2" id="fnm2" + title="go to footnote 2">2</a></sup></p> + +<p>It is an old saying that there is a skeleton in +every house, a saying which at one time was +practically a fact. Every house in deed and in +truth had its skeleton, and moreover every house +was designed not only to have its skeleton, but +its ghost also. The idea of providing every +<a name="p34" id="p34"></a><span class="pageno"><span + class="ns">[p </span>34<span class="ns">] + </span></span>building with its ghost as a spiritual guard was +not of course the primary idea; it developed later +out of the original pagan belief of a sacrifice +associated with the beginning of every work of +importance. Partly with the notion of offering +a propitiatory sacrifice to mother earth, and +partly also with the idea of securing for ever a +portion of soil by some sacrificial act, the old +pagan laid the foundation of his house in blood.</p> + +<p>The art of building in early ages was not well +understood, and the true principles of architecture +and construction were but little appreciated. +If the walls of a building showed any signs of +settlement the reason was supposed to be that +the earth had not been sufficiently propitiated, +and that as a consequence she refused to carry +the burden imposed upon her.</p> + +<p>It is said that when Romulus was about to +found the city of Rome he dug a deep pit and +cast into it the “first fruits of everything that is +reckoned good by use, or necessary by nature,” +and before the pit was closed up by a great +stone, Faustulus and Quinctilius were killed and +laid under it. The legend of Romulus slaying +his twin brother Remus because he jumped the +walls of the city to show how poor they were, +<a name="p35" id="p35"></a><span class="pageno"><span + class="ns">[p </span>35<span class="ns">] + </span></span>probably arises out of a confusion of the two +legends and has become associated with the +idea of a sacrificial foundation. To the present +day there is a general Italian belief that whenever +any great misfortune is going to overtake +the city of Rome the giant shadow of Remus +may be seen walking over the highest buildings +in the city, even to the dome of St. Peter’s.</p> + +<p>Sacrifice was not by any means confined to +the foundations of buildings only. A man +starting on a journey or on any new and +important work would first offer a sacrifice. A +ship was never launched without a sacrifice, and +the christening of a vessel in these days with a +bottle of wine is undoubtedly a relic of the time +when the neck of a human being was broken +and the prow of the vessel suffused with blood +as a sacrificial offering.</p> + +<p>In our own time the burial of a bottle with +coins under a foundation stone is the faded +memory of the immuring of a human victim. +So hard does custom and superstition die that +even in the prosaic nineteenth century days we +cannot claim to be altogether free from the +bonds and fetters with which our ancestors were +bound.</p> + +<p><a name="p36" id="p36"></a><span class="pageno"><span + class="ns">[p </span>36<span class="ns">]<br + /></span></span>Grimm, in his German Mythology, tells us: +“It was often considered necessary to build +living animals, even human beings, into the +foundations on which any edifice was reared, as +an oblation to the earth to induce her to bear +the superincumbent weight it was proposed to +lay upon her. By this horrible practice it was +supposed that the stability of the structure was +assured as well as other advantages gained.” +Of course the animal is merely the more modern +substitute for the human being, just in the same +manner as at the present day the bottle and +coins are the substitute for the living animal. In +Germany, after the burial of a living being under +a foundation was given up, it became customary +to place an empty coffin under the foundations +of a house, and this custom lingered on in +remote country districts until comparatively +recent times.</p> + +<p>With the spread of Christianity the belief in +human sacrifice died out. In 1885, Holsworthy +Parish Church was restored; during the work of +restoration it was necessary to take down the +south-west angle of the wall, and in this wall +was found, embedded in the mortar and stone, a +skeleton. The wall of this part of the church +<a name="p37" id="p37"></a><span class="pageno"><span + class="ns">[p </span>37<span class="ns">] + </span></span>had settled, and from the account given by the +masons it would seem there was no trace of a +tomb, but on the contrary every indication that +the victim had actually been buried alive—a +mass of mortar covered the mouth, and the +stones around the body seemed to have been +hastily built. Some few years ago the Bridge +Gate of the Bremen city walls was taken down, +and the skeleton of a child was found embedded +in the foundations.<sup><a href="#fn3" name="fnm3" id="fnm3" + title="go to footnote 3">3</a></sup></p> + +<p>The practice of our masons of putting the +blood of oxen into mortar was no doubt in the +first instance associated with the idea of a +sacrifice; however this may be, the blood had no +doubt a real effect in hardening the mortar, just +the same as treacle, which has been known to be +used in our days. The use of cement when any +extra strength is needed has put aside the use of +either blood or treacle in the mixing of mortar.</p> + +<p>It is a curious instance of the wide spread of +the belief in blood as a cement for ancient +buildings that Alá-ud-din Khilji, the King of +Delhi, <span class="postnomial">A.D.</span> 1296–1315, when enlarging and +strengthening the walls of old Delhi, is reported +to have mingled in the mortar the bones and +<a name="p38" id="p38"></a><span class="pageno"><span + class="ns">[p </span>38<span class="ns">] + </span></span>blood of thousands of goat-bearded Moghuls, +whom he slaughtered for the purpose. A modern +instance is furnished by advices which were +brought from Accra, dated December 8th, 1881, +that the King of Ashantee had murdered 200 +girls, for the purpose of using their blood to mix +with the mortar employed in the building of a +new palace.</p> + +<p>A foundation sacrifice is suggested by the +following curious discovery, reported in the <cite>Yorkshire +Herald</cite> of May 31st, 1895: “It was recently +ascertained that the tower of Darrington Church, +about four miles from Pontefract, had suffered +some damage during the winter gales. The +foundations were carefully examined, when it +was found that under the west side of the tower, +only about a foot from the surface, the body of a +man had been placed in a sort of bed in the solid +rock, and the west wall was actually resting upon +his skull. The gentle vibration of the tower had +opened the skull and caused in it a crack of +about two-and-a-half inches long. The grave +must have been prepared and the wall placed +with deliberate intention upon the head of the person +buried, and this was done with such care that +all remained as placed for at least 600 years.”</p> + +<p><a name="p39" id="p39"></a><span class="pageno"><span + class="ns">[p </span>39<span class="ns">]<br + /></span></span>The majority of the clergy in the early part of +the Middle Ages doubtless would be very strongly +imbued with all the superstitions of the people. +The mediæval priest, half believing in many of +the old pagan customs, would allow them to +continue, and it is both curious and interesting +to notice how heathenism has for so long a period +lingered on, mixed up with Christian ideas.</p> + +<p>It is said that St. Odhran expressed his willingness +to be the first to be buried in Iona, and, +indeed, offered himself to be buried alive for +sacrifice. Local tradition long afterwards added +the still more ghastly circumstance that once, +when the tomb was opened, he was found still +alive, and uttered such fearful words that the +grave had to be closed immediately.</p> + +<p>Even at the present day there is a prejudice +more or less deeply rooted against a first burial +in a new churchyard or cemetery. This prejudice +is doubtless due to the fact that in early ages the +first to be buried was a victim. Later on in the +middle ages the idea seems to have been that the +first to be buried became the perquisite of the +devil, who thus seems in the minds of the people +to have taken the place of the pagan deity. Not +in England alone, but all over Northern Europe, +<a name="p40" id="p40"></a><span class="pageno"><span + class="ns">[p </span>40<span class="ns">] + </span></span>there is a strong prejudice against being the first +to enter a new building, or to cross a newly-built +bridge. At the least it is considered unlucky, +and the more superstitious believe it will entail +death. All this is the outcome of the once +general sacrificial foundation, and the lingering +shadow of a ghastly practice.</p> + +<p>Grimm, in his “Teutonic Mythology,” tells us +that when the new bridge at Halle, finished in +1843, was building, the common people got an +idea that a child was wanted to wall up in the +foundations. In the outer wall of Reichenfels +Castle a child was actually built in alive; a +projecting stone marks the spot, and it is believed +that if this stone were pulled out the wall would +at once fall down.</p> + +<p>Bones, both human and of animals, have been +found under hearthstones of houses. When we +consider that the hearth is the centre, as it were, +and most sacred spot of a house, and that the +chimney above it is the highest portion built, and +the most difficult to complete, it seems easy to +understand why the victim was buried under the +hearthstone or jamb of the chimney.</p> + +<p>There is an interesting custom prevailing in +Roumania to the present day which is clearly a +<a name="p41" id="p41"></a><span class="pageno"><span + class="ns">[p </span>41<span class="ns">] + </span></span>remnant of the old idea of a sacrificial foundation. +When masons are engaged building a house they +try to catch the shadow of a stranger passing by +and wall it in, and throw in stones and mortar +whilst his shadow rests on the walls. If no one +passes by to throw a shadow the masons go in +search of a woman or child who does not belong +to the place, and, unperceived by the person, +apply a reed to the shadow and this reed is then +immured. In Holland frequently there has been +found in foundations curious looking objects +something like ninepins, but which in reality +are simply rude imitations of babies in their +swaddling bands—the image representing the +child being the modern substitute for an actual +sacrifice. Carved figures of Christ crucified have +been found in the foundations of churches. +Some few years ago, when the north wall of +Chulmleigh Church in North Devon was taken +down there was found a carved figure of Christ +crucified to a vine.<sup><a href="#fn4" name="fnm4" id="fnm4" + title="go to footnote 4">4</a></sup></p> + +<p>A story is told that the walls of Scutari contain +the body of a victim. In this case it is a woman +who is said to have been built in, but an opening +was left through which her infant might be +<a name="p42" id="p42"></a><span class="pageno"><span + class="ns">[p </span>42<span class="ns">] + </span></span>passed in to be suckled by her as long as any life +remained in the poor creature, and after her +death the hole was closed.</p> + +<p>The legend of Cologne Cathedral is well +known. The architect sold himself to the devil +for the plan, and gave up his life when the +building was in progress; that is to say, the man +voluntarily gave up his life to be buried under +the tower to ensure the stability of the enormous +superstructure, which he believed could not be +held up in any other way.</p> + +<p>It is well known that the extinguished torch is +the symbol of departed life, and to the present +day the superstitious mind always connects the +soul with flame. It was at one time a common +practice to bury a candle in a coffin, the +explanation being that the dead man needed it +to give him light on his way to Heaven. It is +extremely doubtful, however, whether this was +the original idea, for most probably the candle +in the first instance really represented an extinguished +life, and was thus a substitute for a +human sacrifice which, in the pagan times, +accompanied every burial. The candle, in fact, +took the place of a life, human or animal, and +in many instances candles have been found +<a name="p43" id="p43"></a><span class="pageno"><span + class="ns">[p </span>43<span class="ns">] + </span></span>immured in the walls and foundations of churches +and houses.</p> + +<p>Eggs have often been found built into foundations. +The egg had, of course life in it—but +undeveloped life, so that by its use the old belief +in the efficacy of a living sacrifice was fully +maintained without any shock to the feelings of +people in days when they were beginning to +revolt against the practices of the early ages.</p> + +<p>Sir Walter Scott speaks of the tradition that +the foundation stones of Pictish raths were +bathed in human blood. In the ballad of the +“Cout of Keeldar” it is said:</p> + +<div class="poem" style="width:20em;"> +<div class="stanza"> +<div> “And here beside the mountain flood</div> +<div class="i2"><span class="kindle"> </span> A massy castle frowned;</div> +<div> Since first the Pictish race, in blood,</div> +<div class="i2"><span class="kindle"> </span> The haunted pile did found.”</div> +</div> +</div> + +<p>From Thorpe’s “Northern Mythology” we +learn that in Denmark, in former days, before +any human being was buried in a churchyard, a +living horse was first interred. This horse is +supposed to re-appear, and is known by the +name of the “Hel-horse.” It has only three +legs, and if anyone meets it it forebodes death. +Hence is derived the saying when anyone has +survived a dangerous illness: “He gave death a +<a name="p44" id="p44"></a><span class="pageno"><span + class="ns">[p </span>44<span class="ns">] + </span></span>peck of oats” (as an offering or bribe). Hel is +identical with death, and in times of pestilence +is supposed to ride about on a three-legged horse +and strangle people.</p> + +<p>The belief still lingers in Germany that good +weather may be secured by building a live cock +into a wall, and it is thought that cattle may be +prevented from straying by burying a living blind +dog under the threshold of a stable. Amongst +the French peasantry a new farmhouse is not +entered upon until a cock has been killed and its +blood sprinkled in the rooms.<sup><a href="#fn5" name="fnm5" id="fnm5" + title="go to footnote 5">5</a></sup></p> + +<p>It is probable that sacrificial foundations had +their origin in the idea of a propitiary offering to +the Goddess Earth. However this may be, it +is certain that for centuries, through times of +heathenism, and well into even advanced Christianity, +the people so thoroughly associated the +foundation of buildings with a sacrifice that in +some form or other it has lingered on to the +present century. Now in our own day the +laying the foundation of any important building +is always attended with a ceremony—the form +remains, the sacrifice is no longer offered. For +ecclesiastical buildings, or those having some +<a name="p45" id="p45"></a><span class="pageno"><span + class="ns">[p </span>45<span class="ns">] + </span></span>charitable object, a religious ceremony is provided, +while for those purely secular the event +is marked by rejoicings. We cannot bring ourselves +to pass over without notice the foundation +laying of our great buildings, and who shall +venture to say that superstition is altogether +dead, and that we are free from the lingering +remains of what was once the pagan belief?</p> + +<hr class="footnote" /> +<div class="footnote"> +<p><a href="#fnm2" + title="return to text" name="fn2" id="fn2">2</a>. “Thorpe’s Northern Mythology,” vol. II., p. 244.</p> + +<p><a href="#fnm3" + title="return to text" name="fn3" id="fn3">3</a>. “Strange Survivals,” Baring Gould.</p> + +<p><a href="#fnm4" + title="return to text" name="fn4" id="fn4">4</a>. “Strange Survivals,” Baring Gould.</p> + +<p><a href="#fnm5" + title="return to text" name="fn5" id="fn5">5</a>. “Strange Survivals,” Baring Gould.</p> +</div> + +</div> + + +<div class="chunk"> +<h2 class="chap" title="The Building of the English Cathedrals"><a name="p46" id="p46"></a><span class="pageno"><span + class="ns">[p </span>46<span class="ns">]<br + /></span></span>The Building of the English Cathedrals.</h2> + +<p class="author">By the Rev. Geo. S. Tyack, <span class="postnomial">B.A.</span></p> + + +<p class="newchap"><span class="dropcap">Of</span> all the sins of the nineteenth century, +the one which most militates against its +attainment of excellence in art is its impatience. +A work has been no sooner decided on, than +there is a clamour for its completion. Our +cathedrals were for the most part reared in +far other times, and are therefore admirable. +Growing with the stately, deliberate increase +of the ponderous oak, they speak of days when +art was original, sincere, patient, and therefore +capable of great deeds; original, not in extravagance +or eccentricity, but in the realization of +the natural development of style, advancing +from grace to grace, from the perfection of +solidity to the perfection of adornment, by an +unforced growth; sincere, in its confidence of its +own capacity for fulfilling its appointed end, in +its grasp of the possibilities in its materials, in its +choice of the true, rather than the easy, method +of working; and patient, finally, in its contentment +to do in each age a little solidly and well, +<a name="p47" id="p47"></a><span class="pageno"><span + class="ns">[p </span>47<span class="ns">] + </span></span>rather than a great deal indifferently, in its aim +at artistic perfection in preference to material +completeness. Thus it is that none of our +cathedrals are the work of one age, save those of +Salisbury and London, and even they have +details which they owe to succeeding times.</p> + +<p>The above words are not intended to imply +that our mediæval builders made no mistakes. +The brief review of some of their work will show +us proof to the contrary; but the mistakes were +rare exceptions. If, for instance, a captious +critic turns to Peterborough, and points us to +the defective foundations, which have recently +required the rebuilding of the central tower, and +the supposed necessity of reconstructing the west +front, all that the case will prove is that our +great monastic architects’ work was not always +absolutely eternal. “So there was jerry-building +in those days too!” someone exclaims, with a +note of triumph at the dragging down of the +great ideals of the past to the level of the +paltriness of the present. If such be the case, we +reply, there were indeed giants in those days, +the very “jerry building” of which rides out +the storms of well-nigh seven centuries before +revealing any fatal weaknesses.</p> + +<p><a name="p48" id="p48"></a><span class="pageno"><span + class="ns">[p </span>48<span class="ns">]<br + /></span></span>In considering these splendid buildings, of +which the present century has happily proved +itself no unappreciative heir, it will be of interest +to devote a few lines to the means which were +employed to raise funds for their construction. +Several illustrations of the methods employed in +the case of cathedrals and other churches have +come down to us. The story of the foundation +of the new buildings at Crowland Abbey in 1112, +exhibits an outburst of popular enthusiasm which +irresistibly recalls the free gifts of the Hebrew +people for the building of the first temple. “The +prayers having been said and the antiphons +sung,” says Peter Blesensis, vice-chancellor +under Henry II., “the abbot himself laid the +first corner-stone on the east side. After him +every man according to his degree laid his stone; +some laid money, others writings by which they +offered their lands, advowsons of livings, tenths +of sheep and other church tithes; certain +measures of wheat, a certain number of workmen +or masons, etc. On the other side, the +common people, as officious with emulation +and great devotion, offered, some money, some +one day’s work every month till it should be +finished, some to build whole pillars, others +<a name="p49" id="p49"></a><span class="pageno"><span + class="ns">[p </span>49<span class="ns">] + </span></span>pedestals, and others certain parts of the walls.”</p> + +<p>Indulgences, remitting so many days’ penance, +were sometimes issued to encourage the gifts of +the faithful. Thus in the time of Henry VIII. a +church brief was issued soliciting help towards +the repair of Kirby Belers Church, in Leicestershire, +part of which runs as <span class="nw">follows:—</span>“Also +certayne patriarkes, prymates, &c., unto the +nombre of sixtie-five, everie one of theym +syngularly, unto all theym that put their helpyng +handes unto the sayd churche, have granted +xl dayes of pardon; which nombre extendeth +unto vij yeres and cc dayes, <i>totiens quotiens</i>.” +Sometimes, by way of penance itself, a fine was +imposed, which was devoted to a local building +fund. Gilbert, bishop of Chichester, in certain +constitutions promulgated in 1289 rules that +every priest in the diocese who shall be convicted +of certain scandalous sins shall “forfeit +forty shillings, to be applied to the structure of +Chichester Cathedral.” In modern money this +fine would amount to something like £40. +Walter, Bishop of Worcester, also ordained in +1240 that beneficed priests who dressed unclerically +should be fined to the extent of a tenth +of their annual revenue for the benefit of the +<a name="p50" id="p50"></a><span class="pageno"><span + class="ns">[p </span>50<span class="ns">] + </span></span>building of his cathedral. A yet earlier order +concerning laity as well as clergy was issued by +the Witan at Engsham, in Oxfordshire, in the +year 1009, which decides that “if any pecuniary +compensation shall arise out of a mulct for sins +committed against God, this ought to be applied, +according to the discretion of the bishop,” to one +of several pious purposes, of which two are “the +repair of churches, and the purchase of books, +bells, and ecclesiastical vestments.”</p> + +<p>Another way of raising money was to exact a +contribution from church dignitaries, as a kind +of “entrance fee,” on their accepting preferment. +William Heyworth, bishop of Coventry, (a see +now owning Chester as its mother city), decreed +in 1428 that “every canon on commencing his +first residence should pay a hundred marks +towards the structure of the cathedral, the +purchase of ornaments,” and other similar +expenses.</p> + +<p>In 1247, Bishop Ralph Neville, of Chichester, +having died indebted to some of the canons of +the cathedral, left by will a sufficient sum to +discharge his obligations. But these ecclesiastical +creditors decided that it should be devoted +to “the completion of a certain stone tower, +<a name="p51" id="p51"></a><span class="pageno"><span + class="ns">[p </span>51<span class="ns">] + </span></span>which had remained for a long time unfinished.” +The same canons bitterly complained because +the Pope had ordained that all vacant prebends +throughout the country should remain unoccupied +for a year, in order that their revenues +might be devoted to the erection of the minster +at Canterbury; whereas they not unnaturally +felt that the needs of their own cathedral had +the first claim upon them.</p> + +<p>Those churches which contained the shrines +of popular saints drew, for the repair or enlargement +of the fabric, no small revenue from the +offerings of pilgrims. The eastern part of +Rochester Cathedral was paid for by the moneys +deposited at the tomb of S. William of Perth; +and the large sums given by visitors to the +shrine of S. Thomas of Canterbury materially +assisted in keeping the building in repair.</p> + +<p>Unquestionably the sums needed for rearing +these massive piles were in most cases given, +either in money or in kind, by the faithful; +sometimes the princely offerings of a few wealthy +men, sometimes the countless small gifts of the +multitude, have become transmuted into tapering +spire, or ponderous tower, “long-drawn aisle +and fretted vault.” The poor, in some instances, +<a name="p52" id="p52"></a><span class="pageno"><span + class="ns">[p </span>52<span class="ns">] + </span></span>as we have seen, voluntarily gave their labour; +in others the hands of the monks themselves +raised and cut the sculptured stones.</p> + +<p>In most cases the cathedrals which we now +possess are not the first that have occupied their +sites. Some humble building, often reared by +one of the pioneers of the faith, was in the +majority of instances the shrine that first consecrated +the spot to the service of God.</p> + +<p>It was in 401, during the visit of Germanus +and Lupus, bishops of Auxerre and of Troyes, +to aid in exterminating the Pelagian heresy, that +the earliest shrine of S. Alban, a simple wooden +oratory, was erected at Verulam; S. Deiniol built +a little stave-kirk, or timber church, at Bangor +about 550; and Kentigern, some ten years +later, raised the first religious establishment at +Llanelwy, or S. Asaph; while where now the +ruined Cathedral of Man rears its weather-beaten +gables and sightless windows at Peel, tradition +says S. Patrick consecrated S. Germain first +bishop of the Southern Isles in 447.</p> + +<p>Many causes, however, combined to sweep +away not only all traces of these earliest +churches, but also in many instances more than +one more solidly constructed successor. The +<a name="p53" id="p53"></a><span class="pageno"><span + class="ns">[p </span>53<span class="ns">] + </span></span>growth of architectural taste and skill made men +impatient of the rudeness of their forefathers’ +simple fanes; in a surprising number of instances +the lightning-flash or the raging fire destroyed +the buildings wholly or in part. The cathedrals +of the north felt more than once the shock of +the Border wars; and civil strife, or religious +fanaticism, wrought mischief in many others. +Thus it has come to pass that the centuries have +seen four cathedrals in succession at Hereford, +at Gloucester, and at Bangor; and three at a +multitude of places, Canterbury, London, Winchester, +Peterborough, Lichfield, Oxford, and +half-a-dozen more.</p> + +<p>The incursions of the Danes were answerable +for the destruction of several of the earlier +foundations. Canterbury had a cathedral, the +most ancient part of which had been erected, +according to tradition, by Lucius, the first +Christian King of the Britons, and afterwards +restored by S. Augustine. To this, about the +year 740, Cuthbert, the archbishop, added a +chapel for the interment of the occupants of the +see; and Odo, in the tenth century, enlarged and +re-roofed it. But in the days of saintly Alphege, +in 1005, the Danish invaders fell upon the city, +<a name="p54" id="p54"></a><span class="pageno"><span + class="ns">[p </span>54<span class="ns">] + </span></span>making of the church a ruin, and of its bishop a +martyr. A similar fate befell the metropolitan +church of the north. On the site where Paulinus +baptized King Edwin and his two sons into the +Christian faith a little wooden oratory was +raised, over which ere long Edwin commenced +to build a stone church, which S. Oswald, his +successor, completed. This, after having been +beautified by S. Wilfred, was burnt about 741, +but re-built shortly afterwards by Archbishop +Egbert. It was this latter building which fell +before the Danes.</p> + +<p>At Ely the religious house founded by +S. Etheldreda, which was the precursor of the +modern cathedral, was burnt by the same +marauders about 870. Rochester suffered in the +same way; and no trace of the church built, so +says the Venerable Bede, by King Ethelbert +himself now remains. Peterborough has been +particularly unfortunate in this respect. The +first building here was begun by Peada, King of +Mercia, in the seventh century. In the year 870 +the Danes, on one of their forays, burnt church +and monastery to the ground, and massacred the +abbot and all his monks. In 971 King Edgar +raised the place once more from its desolation, +<a name="p55" id="p55"></a><span class="pageno"><span + class="ns">[p </span>55<span class="ns">] + </span></span>but again it was seriously damaged, though not +absolutely destroyed, by the sea-kings shortly +before the Norman Conquest. Oxford was +partially burnt in 1002 owing to the same people, +but in a different way. A number of Danes took +refuge in the tower of S. Frideswide to escape +the senseless and brutal massacre organised on +S. Brice’s day in that year, and the English fired +the structure rather than suffer their prey to +escape them.</p> + +<p>It will be convenient here, although it may +take us in some cases away from those primitive +foundations which so far we have considered, to +glance at the other instances in which war has +left its mark upon our cathedrals. Hereford, +lying near the Welsh border, felt the storm and +stress of warfare in 1056. Originally founded at +some unknown date in very early English times, +the church at Hereford was rebuilt about 830 by +a noble Mercian, named Milfrid, and was +repaired, if not actually renewed, by Athelstan +the bishop, who came to the see in 1012. Ten +years before the Norman Conquest, however, +Griffith, prince of Wales, at the head of a +combined host of Welsh and Irish, crossed the +marches and plundered and burnt the church +<a name="p56" id="p56"></a><span class="pageno"><span + class="ns">[p </span>56<span class="ns">] + </span></span>and city. In the reign of Hardicanute (1039–1041) +the citizens of Worcester, having risen +against the payment of the ship-tax, were severely +punished, a military force being sent to +occupy their city. So thoroughly did it carry +out the work of inflicting discipline on the +malcontents, that the church, amongst other +buildings, was left in ruins. The original church +at Gloucester was built in 681, as part of a +conventual establishment; this was destroyed, +and, after an interval, rebuilt by Beornulph, +King of Mercia, sometime previous to 825. +This church was looted by the Danes, but +restored by S. Edward the Confessor. In the +year after the Conquest, Gloucester was occupied +by the Normans, whose entrance was not, however, +accepted quite peaceably by the citizens; +and in the tumult the Cathedral was seriously +injured by the one or the other party. Exeter +provides us with another case. Here was a +cathedral in early English days, which lasted +until the time of Bishop William Warelwast, +who began the erection of a new one in 1112. +During the stormy reign of Stephen, the city was +held for Matilda and had to stand a siege by +the King, to the great damage of the still +<a name="p57" id="p57"></a><span class="pageno"><span + class="ns">[p </span>57<span class="ns">] + </span></span>unfinished church. To quote one further +illustration only: Bangor, whose wooden church +was replaced by a stone one somewhere about +1102, suffered grievously in the wars waged +between Henry III. of England, and David, +Prince of Wales, an episode in which was the +destruction of the Cathedral.</p> + +<div class="illo"> +<a name="p56a" id="p56a"></a><span class="pageno"><span + class="ns">[p </span>56a<span class="ns">]<br + /></span></span> + <img src="images/p56a.jpg" alt="" id="img56a" /><br + /><small><i>From a photo by Albert F. Coe, Norwich</i><br + />NORWICH CATHEDRAL.</small> +</div> + +<p>The conquest of England by William, Duke +of Normandy, had a vast influence on the +ecclesiastical buildings of the country. On the +continent art had advanced at a pace unknown +in this island, and the plain and massive +churches scattered over the land must have +seemed very rude structures in the eyes of the +prelates who came in the victor’s train. +S. Edward the Confessor, with his Norman predilections, +had no doubt accustomed his courtiers +to some aspects of foreign art, and through his +influence the so-called Norman architecture +preceded the Normans in the country; but +such instances of it as were to be seen must +have been few, and probably confined to the +southern counties.</p> + +<p>Scarcely had the Conqueror’s throne been +secured before his countrymen, placed in the +abbeys and sees of England, began to rebuild, on +<a name="p58" id="p58"></a><span class="pageno"><span + class="ns">[p </span>58<span class="ns">] + </span></span>new and grander plans, the churches under their +charge.</p> + +<p>Lanfranc, who ascended the throne of S. Augustine +in 1070, set himself to the work of +rebuilding Canterbury Cathedral, not contenting +himself with any enlargement or embellishment +of the older fane, but making a clean sweep of +that, and beginning from the foundations. S. +Anselm, and the prior of the monastery, +Ernulph, took up the work and enlarged upon +Lanfranc’s design, pulling down and re-building +the choir. Early in the next century, namely in +1130, the new Cathedral, completed under the +supervision of Conrad, successor to Ernulph, +was solemnly dedicated with great pomp in the +presence of the Kings of England and of Scotland.</p> + +<div class="illo"> +<a name="p59" id="p59"></a><span class="pageno"><span + class="ns">[p </span>59<span class="ns">]<br + /></span></span> + <img src="images/p59.jpg" alt="" id="img59" /><br + /><small>RIPON CATHEDRAL.</small> +</div> + +<p>Meanwhile, Thomas of Bayeux, who became +Archbishop of York in the same year as that in +which Lanfranc obtained his English see, was +busy rebuilding his Minster at York. William +of Carilef commenced the magnificent pile, +forming one of the finest Norman churches in +existence, which crowns the Wear at Durham, +in 1093; and Ralph Flambard took up the work +three years later, completing it in 1128. London +<a name="p61" id="p61"></a><span class="pageno"><span + class="ns">[p </span>61<span class="ns">] + </span></span>was deprived of its Cathedral by fire probably +about 1088, and the work of restoration was at +once undertaken by Maurice, its Norman bishop. +In 1079 Bishop Walkelyn began the erection of +a cathedral church at Winchester, in the place +of the old Saxon building which had first been +founded on the conversion of King Cynegils, +about 635. In all parts of the land, east and +west, north and south, the builders were at work, +rearing massive temples to the glory and honour +of God. The chink of chisel and the blow of +hammer rang everywhere in the ears of the +eleventh century in England. Bishop Herbert +Losinga laid the first stone of Norwich Cathedral +in 1096, at which time Remigius of Fescamp +had been some twenty years at work on that of +Lincoln, and had passed away, leaving the completion +to others. The new Norman Cathedral +of Hereford was begun by Robert Losinga, who +reigned as bishop from 1079 to 1096. Abbot +Simeon began to build the Minster at Ely about +1092; Worcester was commenced by Wulfstan +in 1084; five years later the foundation of +Gloucester was laid; and in 1091 S. Osmund +consecrated the church of S. Nicholas at Newcastle. +Other cathedrals which were built, or +<a name="p62" id="p62"></a><span class="pageno"><span + class="ns">[p </span>62<span class="ns">] + </span></span>rebuilt, at about the same date include those of +Carlisle, S. Albans, Rochester, Chester, Lichfield +and Oxford.</p> + +<p>Surely never was an age so enthusiastic in +building! All these cathedrals, many still +remaining largely as their Norman builders left +them, most retaining many relics of their work, +were commenced within the space of two reigns +of by no means great duration, lasting only from +1066 to 1100.</p> + +<p>The energy of the time was not, however, +exhausted by the fervour of this outburst. The +twelfth century took up and vigorously prosecuted +the tasks handed on to it by the eleventh.</p> + +<div class="illo"> +<a name="p63" id="p63"></a><span class="pageno"><span + class="ns">[p </span>63<span class="ns">]<br + /></span></span> + <img src="images/p63.jpg" alt="" id="img63" /><br + /><small>SOUTHWELL MINSTER.</small> +</div> + +<p>Among cathedrals which were entirely, or +almost entirely, rebuilt during this century +we have Chichester, Rochester, Peterborough, +Lincoln, Oxford, Bristol, Southwell, S. David’s, +Llandaff, and Ripon. In the first of these a +great part of the work was done twice over +within this period. Ralph de Luffa was bishop +of the see when the cathedral was consecrated +in 1108; two fires, however, did such serious +damage to this building, the first in 1114, and +the second in 1186, that it had practically to be +re-constructed, and was re-dedicated in the year +<a name="p65" id="p65"></a><span class="pageno"><span + class="ns">[p </span>65<span class="ns">] + </span></span>1199. The Cathedral at Rochester was largely +re-built by John of Canterbury between 1125 +and 1137, and like Chichester suffered twice +during the century from the ravages of fire. +Indeed, so frequently do we find mention of +conflagrations in the cathedrals in the early +mediæval days, that it is quite obvious that +William I. was fully justified in taking such +precautions against this enemy as the use of the +curfew involved. In more than one instance the +cathedral went up in flames as part only of a fire +which destroyed a large portion of the town.</p> + +<p>The undertaking of new work at Peterborough +was the result of a similar cause. In the year +1116 fire destroyed almost the whole church and +monastery, but in two years’ time the re-erection +had commenced, and was continued throughout +the remainder of the century. The choir was +ready for the resumption of the Divine offices in +1143, but the builders did not reach the end of +their labours until 1237. Re-construction was +necessitated at Lincoln by the occurrence of an +earthquake in 1185, following once more upon a +fire which took place in 1141. The stone +vaulting and the western towers were undertaken +by Alexander, bishop from 1123 to 1147; and in +<a name="p66" id="p66"></a><span class="pageno"><span + class="ns">[p </span>66<span class="ns">] + </span></span>1192 S. Hugh of Avalon, who held the see from +1186 to 1203, began a thorough re-building of +the pile. This work marks an epoch in the +progress of architecture in England, as in the +choir of S. Hugh we meet with the earliest +examples of the use of the lancet form of arch +to which we can assign a known date. About +the middle of this century a new church, not yet +advanced to the dignity of a cathedral, was +commenced at Oxford, and by the year 1180 it +was sufficiently advanced to allow of the translation +of the relics of S. Frideswide to their +new shrine. In 1142 was founded the Abbey of +Bristol, and its church was consecrated on +Easter Day, 1148, although the completion of +the buildings occupied the attention of the +abbots for many years after. Southwell Minster +was also building during the first half of the +twelfth century; Peter de Leia, who became +Bishop of S. David’s in 1176, commenced the +erection of his cathedral four years later, following +the example of Arban, who entered upon the +neighbouring see of Llandaff in 1107, and reared +a mother church for his diocese. Finally, Ripon +also saw the masons busily at work almost +through the century. First Thurstan, +<a name="p67" id="p67"></a><span class="pageno"><span + class="ns">[p </span>67<span class="ns">] + </span></span>Archbishop of York in 1114, began the enlargement +of the Abbey Church, and after him Archbishop +Roger (1154–1181) entirely rebuilt it.</p> + +<p>But the record of the churches re-built during +this century by no means exhausts the tale of +work performed during that time. At Winchester, +for example, in 1107 the central tower fell, +necessitating the building of a new one. Lucy, +bishop here from 1189 to 1205, erected a new +Lady Chapel and made other alterations. At +Hereford, too, operations were going forward +almost throughout the century, the bishops +Reynelm (1107–1115) and Betun (1131–1148) +being especially energetic in pressing them on; +and the closing years of this period saw the +rearing of the eastern transepts. At this time +also the beautiful Galilee Chapel was added to +Durham Cathedral; Ely was consecrated in +1106, and towards the end of the century +received its central tower and other additions; +and S. Albans, moreover, had a façade built on +its western front by John de Cella.</p> + +<p>The chronicle of the damages by fire during +the twelfth century is not complete without +mentioning that S. Paul’s, London, which was +re-building during a large portion of that time, +<a name="p68" id="p68"></a><span class="pageno"><span + class="ns">[p </span>68<span class="ns">] + </span></span>was injured by it in 1136; and the same foe +destroyed the roof of Worcester Cathedral in the +early days of the century.</p> + +<p>The period which our rapid survey has so far +covered embraces broadly the eras of the Norman +and of the so-called Early English architecture. +In the thirteenth century the Decorated Style +came into being, and with its rise arose also the +desire for greater richness of ornament even in +those churches which had already, to all appearances, +been completed. On all hands, therefore, +in this new century, we find the pulling down +of portions of the stern Norman work and the +substitution of lighter and more graceful designs.</p> + +<p>The great work of the thirteenth century, +however, was begun before the birth of the more +florid style, and shows little trace of the dawning +of its influence. Salisbury Cathedral was begun +in 1220, the work commencing, as was usual, at +the eastern end and advancing westward. The +whole was proceeded with continuously, and +since its completion no alteration of any importance +has been made in it. Other cathedrals in +England exhibit in almost every case a conglomerate +of several orders of architecture, +blended generally with great skill, but necessarily +<a name="p69" id="p69"></a><span class="pageno"><span + class="ns">[p </span>69<span class="ns">] + </span></span>lacking to some extent in unity of design in consequence. +In Salisbury we have one complete +and splendid example of English architecture of +the best period, carried out from beginning to +end with unbroken unity of purpose.</p> + +<p>Other churches which then were, or were +subsequently to become, cathedrals, dating in +their present form from the thirteenth century, +are those of Lichfield, Wells, Manchester, +Bangor, and S. Asaph.</p> + +<p>A Norman church had been reared at Lichfield +of which very few relics have survived to +the present day, a new building having been +begun about the year 1200, and the work of +construction carried on for the major part of the +century, the west front being reached about +1275. Bishop Joceline was the chief founder of +the existing Cathedral at Wells, most of the +previous work having been taken down in his +time, and the new church solemnly dedicated by +him in 1239. The Church at Manchester was +probably built about 1220, but the present +building is of a later date. The Cathedral at +S. Asaph suffered from the great mediæval +enemy of such foundations, fire, twice during +this period. On the first occasion, in 1247, the +<a name="p70" id="p70"></a><span class="pageno"><span + class="ns">[p </span>70<span class="ns">] + </span></span>troops of Henry III. of England must be held +responsible for the destruction wrought; on the +second, in 1282, the outbreak was probably +accidental. Repairs, if not actual rebuilding, +took place in consequence of these injuries +towards the end of the century. Bangor +Cathedral was probably also rebuilt about 1291.</p> + +<p>Fire played its old part throughout the +century in providing work for the ecclesiastical +masons, in other instances besides that referred +to in the Welsh diocese. The choir at Carlisle +was rebuilt probably about 1250 and the following +years, but had scarcely been fully completed +before it fell in a fire which destroyed a large +portion of the city. In 1216, S. Nicholas, +Newcastle, was almost destroyed by the same +fatal agency. Worcester Cathedral was again +burnt in 1202, and was rebuilt between then and +1218 sufficiently to be re-dedicated; although +the retro-choir, the choir, the Lady Chapel, and +some details were added at a later time in the +same century.</p> + +<p>Imperfections in the work of the preceding age +were answerable for a certain amount of loss and +consequent re-construction (not seldom actually +a gain) in this. At Lincoln, for instance, the +<a name="p71" id="p71"></a><span class="pageno"><span + class="ns">[p </span>71<span class="ns">] + </span></span>central tower fell in 1237, and was replaced by +the present one, which has been described as +one of the finest in Europe. The east end of +Ripon had to be rebuilt owing to the structure +giving way in 1280; and in consequence again +of the fall of the tower, repairs had to be undertaken +at S. David’s in 1220.</p> + +<p>The popular regard for Hugh, the sainted +bishop of Lincoln, led to the building of one of +the most beautiful sections of that Minster, +namely the Angel-choir, erected as a worthy +chapel for the shrine of S. Hugh, between 1255 +and 1280. At Hereford, the Lady Chapel was +built about the middle of this century; and at +Ely, the presbytery and retro-choir at about the +same date; at Bristol, the elder Lady Chapel +probably a little earlier; at Southwell, the choir +between 1230 and 1250; and the choir also at +S. Albans, in 1256.</p> + +<p>Several of our cathedral towers, moreover, +besides that at Lincoln, date from the thirteenth +century. York, S. Paul’s, Chichester and +Gloucester, all had the towers erected during +this period.</p> + +<p>Passing on to the fourteenth century, we meet +with the same wide-spread activity, but it is +<a name="p72" id="p72"></a><span class="pageno"><span + class="ns">[p </span>72<span class="ns">] + </span></span>expended now rather in additions and embellishments +to existing buildings than in actual +re-constructions. At Ripon, the Cathedral was +partially burnt by the Scots in 1319, and later in +the century the tower was struck by lightning. +At S. Alban’s, part of the nave fell in 1323, as +did the tower at Ely in 1322. In each of these +cases repairs were of course rendered needful. +More important works were the rebuilding of the +nave and transepts at Canterbury at the end of +the century (1378–1410), the erection of the +Zouche Chapel at York about 1350, the addition +of both the central and the western towers to +Wells, the spires to Peterborough, and the +towers also to Hereford.</p> + +<p>The fifteenth century is specially marked by +the growing popularity of chantries and side +chapels. We find them erected at this time at +Hereford and elsewhere; but little building on +a large scale is done. In several cases the +vaulting of the roofs dates from this period, and +a good deal of internal carving in wood or stone +was also done. Among the latter we may note +the high altar screen at S. Alban’s, and the +stalls at Carlisle and Ripon. Of the former +work, reference may be made to the vaulting +<a name="p73" id="p73"></a><span class="pageno"><span + class="ns">[p </span>73<span class="ns">] + </span></span>of part of the choir and transepts at Norwich.</p> + +<p>The sixteenth century is not a pleasant one to +contemplate in connection with our ancient +cathedrals. Ignorance and fanaticism were then +beginning to show themselves in their treatment +of the miracles of art bequeathed to the ages, +and soon became more obvious than culture or +reverence. This century saw the nave of Bristol +taken down, the spires removed from the towers +of Ripon, and other precautions against a threatened +collapse; but steps were not taken to repair +the losses thus caused. And in view of the nameless +horrors perpetrated within the hallowed walls +of churches and cathedrals, first by the extreme +reformers, and in the next century by the Puritans, +in the name of religion, it is only wonderful that +so much that is beautiful still survives.</p> + +<p>The one constructive work of the seventeenth +century was, of course, the building of the +Cathedral of London, S. Paul’s, in the place of +that “Old S. Paul’s” which perished in the fire +of 1666. This building shares with Salisbury +the credit of complete unity, but is unique +among English Cathedrals in being classical in +style. However much more admirable the +Gothic style may be admitted to be for +<a name="p74" id="p74"></a><span class="pageno"><span + class="ns">[p </span>74<span class="ns">] + </span></span>ecclesiastical purposes, probably all will admit that the +grandeur of St. Paul’s grows upon one the more +familiar one becomes with it; and certainly no +tower, or collection of towers, could possibly +dominate a vast city like London in the way +that Wren’s splendid dome does.</p> + +<p>The eighteenth century witnessed, among +other things, the removal of most of the spires +which down to that time had crowned the towers +of many of the cathedrals. Such was the case +with Hereford and Wakefield; the same thing +was attempted at Lincoln in 1727, but popular +tumult saved the spires; only, however, until +1807, when they were removed.</p> + +<p>Of one work of construction the eighteenth +century was also guilty; the year 1704 gave birth +to that abortion among English cathedrals known +as S. Peter’s, Liverpool; with which, for nearly +twenty years, the population of one of the +wealthiest cities in the empire has been +content! Something in the way of restoration +was attempted in this century, but it was for the +most part done ignorantly, and no small part of +the restoration of the nineteenth century has +consisted in undoing so far as possible the work +of the eighteenth.</p> + +<p><a name="p75" id="p75"></a><span class="pageno"><span + class="ns">[p </span>75<span class="ns">]<br + /></span></span>The present century has seen the commencement, +on noble lines, of the Cathedral of Truro; +and the beautifying of not a few of our old +minsters, which had been stript almost bare by +the destroyers of past times. Happily, the +guardians of these treasures of art and devotion +have for the most part been conscious of the +greatness of their trust, and the fabrics have +been dealt with reverently and with judgment. +Amongst others, Bristol, Chichester, St. Albans, +and Peterborough have required more or less +extensive measures of re-building.</p> +</div> + + + +<div class="chunk"> +<h2 class="chap" title="Ye Chappell of Oure Ladye"><a name="p76" id="p76"></a><span class="pageno"><span + class="ns">[p </span>76<span class="ns">]<br + /></span></span>Ye Chappell of Oure Ladye.</h2> + +<p class="author">By the Rev. J. H. Stamp.</p> + + +<p class="newchap"><span class="dropcap">The</span> sacred buildings designated by this +title were dedicated to the service of God, +in mediæval times, in honour of the Mother of +our Lord. The veneration of S. Mary, the +Blessed Virgin, had been growing up in the +Church from the fifth century, when the reality +of the incarnation of the Son of God was first +called into question by men who professed and +called themselves Christians. The defence of +the true doctrine brought clearly into view the +high dignity which God had conferred on the +humble maiden of Nazareth, and so reverence +for her memory, as the most blessed among +women, grew into veneration for her person as +the Mother of God. The faithful of the Middle +Ages were, therefore, not content with simply +retaining her name at the head of the list of +saints, but raised the human mother to a position +which was almost, if not quite, equal to that of +her Divine Son. They conferred on her the +title of “Our Lady,” and hailed her as “The +<a name="p77" id="p77"></a><span class="pageno"><span + class="ns">[p </span>77<span class="ns">] + </span></span>Queen of Heaven,” just as they were accustomed +to address the Saviour as “Our Lord” and +worship Him as “The King of Heaven.” This +title still survives in the terms which are so +familiar to us, namely, “Lady Day” and “Lady +Chapel.”</p> + +<p>We see evidences of this growth of the +<i>cultus</i> of the Blessed Virgin in the erection +and elaborate ornamentation of Lady Chapels +throughout Christendom. It does not seem +probable, however, that our pious forefathers in +the ancient Church of England intended to +encourage Mariolatry, by the introduction of +these buildings into this country; for it is a +singular and significant fact that in Spain, where +this heretical and superstitious practice chiefly +prevailed, Lady Chapels are very rare, because +the church itself has been made to serve the +purpose. English Churchmen, in their desire to +honour the Mother of Christ, were careful to +avoid this evil example. The erection of smaller +buildings, and the setting apart, for the purpose, +of one of the side aisles rather than the sanctuary +itself, tend to show that they did not assign to +the Blessed Virgin that <em>divine</em> honour which was +due only to her Son and Lord. The usual +<a name="p78" id="p78"></a><span class="pageno"><span + class="ns">[p </span>78<span class="ns">] + </span></span>position of the Lady Chapel, beyond the choir, +has, indeed, been considered as a proof that the +honour paid to “Our Lady” exceeded that +which was rendered unto our Lord, since the +altar dedicated to her was set up beyond the +High Altar in the most sacred portion of the +church, and, in that position, might be said to +overshadow it. But the usual situation of the +Lady Chapel, at the east end of the choir or +presbytery, proves nothing of the kind. One +celebrated writer on the subject disclaims the +idea in the following words, “Poole principally +objects to the position of the Lady Chapel at the +east end, ‘above,’ as he expresses it ‘the High +Altar.’ Now we believe the Lady Chapel to have +occupied the place merely on grounds of convenience, +and not from any design—which is +shocking to imagine—of exalting the Blessed +Virgin to any participation in the honours of the +Deity.”<sup><a href="#fn6" name="fnm6" id="fnm6" + title="go to footnote 6">6</a></sup></p> + +<p>It is true that the Lady Chapel was generally +erected at the extreme east end, or one of the +aisles near the choir was used for the purpose, +because it was considered the most sacred part +of the church next to the sanctuary. It was +<a name="p79" id="p79"></a><span class="pageno"><span + class="ns">[p </span>79<span class="ns">] + </span></span>erected at the east end of the Abbey Churches of +Westminster and S. Albans; in the Cathedral +Churches of Winchester, Salisbury, Chichester, +Exeter, Gloucester, Worcester, Wells, Hereford, +Chester and Manchester; at Christ Church, +Hants, where there is a chantry above, called +S. Michael’s Loft, which once served as the +Chapter House of the Priory, but in modern +times has been converted into a schoolroom; +and also at the parish church of S. Mary +Redcliffe, Bristol, where it is situated over a +thoroughfare, after the example of several +churches in Exeter. But the ecclesiastics and +architects of the Middle Ages did not consider +themselves bound, by a hard and fast rule, to set +up the Lady Chapel at the east end. If an +available site could be found beyond the Choir +the Chapel was erected in that position, otherwise, +the north aisle of the Church, or a +convenient site near the Choir, was utilised for +the purpose. The building has been erected on +the north or south side of the Choir or Nave, and +even at the west end when deemed expedient. It +was erected on the <em>north</em> side at the Cathedrals +of Canterbury, Oxford, Bristol, and Peterborough; +at the Abbeys of Glastonbury, Bury St. +<a name="p80" id="p80"></a><span class="pageno"><span + class="ns">[p </span>80<span class="ns">] + </span></span>Edmunds, Walsingham, Thetford, Wymondham, +Belvoir, Llanthony, Hulme, and Croyland, +where there was a second Lady Chapel with a +lofty screen, in the south transept.<sup><a href="#fn7" name="fnm7" id="fnm7" + title="go to footnote 7">7</a></sup> It is on the +<em>south</em> side at Kilkenny and at Elgin Cathedral. +It stands in a similar position over the Chapter +House at Ripon Minster. Sometimes it was +placed above the chancel, as in Compton +Church, Surrey; Compton Martin, Somerset; +and Darenth, Kent; or over the porch, as at +Fordham, Cambs. At Ely Cathedral it is +connected with the extremity of the north +transept. At Wimborne Minster it stands in +the south transept, whilst at Rochester Cathedral +and at Waltham Abbey, Essex, it was erected at +the west of the south transept. At Durham +Cathedral an attempt was made to build a Lady +Chapel at the east end, but owing, it is said, to +the supernatural intervention of S. Cuthbert, +whose relics were deposited in the Choir, the +building was erected instead at the west end, +where it stands under the name of the Galilee +Chapel. The original Lady Chapel at Canterbury +also stood in this unusual position, until the +days of Archbishop Lanfranc, 1070–1089, when +<a name="p81" id="p81"></a><span class="pageno"><span + class="ns">[p </span>81<span class="ns">] + </span></span>it was removed and the present building set up +at the east end. The <em>aisles</em> were also frequently +used as “ye Chappell of oure Ladye,” as at +Haddenham, Cambs.</p> + +<p>The practice of dedicating Chapels to the +Blessed Virgin was introduced into this +country during the twelfth century, shortly +after the monastic orders had gained the +supremacy over the parochial clergy. These +buildings were generally founded not only to +satisfy the spirit of the age, which demanded +the veneration of the Mother of our Lord, but +also to afford the necessary accommodation at +the east end for the increased number of clergy. +The founders, moreover, hoped to secure an +augmentation of the revenues, by the offerings +of the faithful at the shrines of the new Chapels, +as appears to have been the case at Walsingham, +Norfolk; All Hallows, Barking; and S. Stephen’s, +Westminster. The building, in many +instances, became the depository of the relics of +a saint. The Galilee Chapel at Durham, dedicated +to S. Mary the Virgin in 1175, contains +the bones of the Venerable Bede, the earliest +historian of the Church of England, who died at +Jarrow-on-Tyne, on the eve of Ascension Day, +<a name="p82" id="p82"></a><span class="pageno"><span + class="ns">[p </span>82<span class="ns">] + </span></span><span class="postnomial">A.D.</span> 735. These relics were translated, in 1370, +from the tomb of S. Cuthbert, and placed in the +Chapel, in a magnificent shrine of gold and +silver. The Lady Chapel at Oxford contains +the shrine of S. Frideswide, the daughter +of the founder of the convent, and its first +prioress, whose relics were translated from the +north choir aisle in 1289. This Chapel is now +called the Dormitory, as the remains of several +deans and canons have been laid to rest within +its walls.</p> + +<p>The Lady Chapel has frequently served as +the mausoleum of saints, princes, noblemen, and +dignitaries of the Church. The stately and +magnificent edifice at Westminster, known as +Henry the Seventh’s Chapel, was built for this +purpose in 1502, by the first Tudor monarch, on +the site of the original Lady Chapel, erected by +Henry III. in 1220. The royal founder, his +wife, and other royal personages now await the +resurrection in the tomb set up in this famous +building. The Lady Chapel at S. Mary’s, +Warwick, which is said to be the chief ornament +of that church, was also built as a tomb-house in +1443, by Richard Beauchamp, Earl of Warwick. +Their desire to rest in the chapel, dedicated to +<a name="p83" id="p83"></a><span class="pageno"><span + class="ns">[p </span>83<span class="ns">] + </span></span>the blessed Virgin, was closely associated with +the idea which chiefly moved our forefathers to +erect these buildings. They had been taught to +believe in the invocation of saints, and were +anxious to secure, for themselves and their dear +ones, the mediation and intercession of the +Mother of our Lord, whose influence with her +Divine Son, they supposed, was all prevailing. +So they founded these chapels in her honour, +and solicited her good offices on their behalf by +frequent services and prostrations before her +image, which occupied the place of honour above +“oure Ladye’s Altar” crowned as the Queen of +Heaven, and profusely adorned with splendid +jewels and exquisite embroidery. They believed, +moreover, that as she could succour the living, +so she would prevail with her Son on behalf of +the dead. These sacred buildings were, accordingly, +used also as chantries, where masses were +offered daily, and the intervention of “oure Ladye +S. Mary” was solicited to secure the release of +the souls of the faithful departed from the flames +of purgatory, through which, it was supposed, +they must pass, to be purified from all the +defilements of their earthly course, and “made +meet for the inheritance of the saints in light.” +<a name="p84" id="p84"></a><span class="pageno"><span + class="ns">[p </span>84<span class="ns">] + </span></span>In frescoes on the walls, and in paintings on the +windows, the Virgin was represented, interceding +for the souls of the faithful as they came forth to +judgment.</p> + +<p>After the dissolution of monasteries by Henry VIII., +and the suppression of chantries by +Edward VI., many of these buildings shared the +fate of the conventual churches to which they +were attached. In some places the Lady Chapel +was left to decay, and disappeared in the course +of a few years, like that at Norwich, which fell +into a ruinous condition as early as 1569. In other +localities it was allowed to stand until the +turbulent days of the Commonwealth, as at +Peterborough, where it was taken down to +supply materials for the reparation of the +Cathedral, which had been greatly injured +by Cromwell’s soldiers. In several places it +was appropriated to other uses, and even +divested of its sacred character. The elegant +chapel at Ely, erected 1321–49, and said to +have been one of the most perfect buildings of +that age, was assigned at the Reformation to +the parishioners of Holy Trinity to serve as their +Parish Church, and is now called Trinity Church. +The splendid specimen at S. Albans was +<a name="p85" id="p85"></a><span class="pageno"><span + class="ns">[p </span>85<span class="ns">] + </span></span>separated from the presbytery by a public +thoroughfare, which was made through the antechapel, +and a charter of Edward VI. transferred +the sacred building to the authorities of the +ancient Grammar School, and it was used as a +schoolroom until the restoration in 1870. At +S. Mary Redcliffe, Bristol, the Lady Chapel has +also been used for scholastic purposes, and at +Waltham Abbey it has accommodated not only +parochial schools but public meetings and petty +sessions.</p> + +<p>Among existing Lady Chapels, King Henry +the Seventh’s Chapel occupies the first place for +magnificence. The first Tudor monarch, in his +anxiety to make his peace with God before his +death, and to commemorate the union of the +houses of York and Lancaster, determined to +found a chapel in honour of the blessed Virgin, +“in whom,” he declares in his will, “hath ever +been my most singulier trust and confidence, +... and by whom I have hitherto in al +myne adversities ever had my special comforte +and relief.” He also made due provision for +the celebration of masses and the distribution of +alms “perpetually, for ever, while the world shall +endure” for the welfare of his soul. The laying +<a name="p86" id="p86"></a><span class="pageno"><span + class="ns">[p </span>86<span class="ns">] + </span></span>of the foundation stone is recorded by the ancient +chronicler as follows: “On the 24th daie of +January 150⅔ a quarter of an houre afore three +of the clocke at after noone of the same daie, +the first stone of our Ladie Chapell, within +the monasterie of Westminster, was laid by +the hands of John Islip, Abbot of the same +monasterie ... and diverse others.”<sup><a href="#fn8" name="fnm8" id="fnm8" + title="go to footnote 8">8</a></sup> +After its completion it was so universally +admired, that Leland the antiquary describes it +as “<i>orbis miraculum</i>”—the wonder of the world. +About fifty years after its dedication the services, +for which it was specially designed by its royal +founder, were brought to an end by the Act +of Parliament which suppressed the chantries +throughout the kingdom, and then followed three +centuries of gross neglect which reduced it to +“an almost shapeless mass of ruins,” as it was +described in 1803. Four years later, in 1807, +Dean Vincent obtained a parliamentary grant +for the restoration of the building, and the +necessary repairs were completed in 1822. The +Chapel still retains much of its ancient splendour, +and the elegant and elaborate ceiling is a marvel +of architectural skill. It has been used since the +<a name="p87" id="p87"></a><span class="pageno"><span + class="ns">[p </span>87<span class="ns">] + </span></span>year 1725 for the installation of the Knights of +the Bath, and their banners are suspended over +the old carved <i>misereres</i> or <i>misericordes</i> of the +monks.</p> + +<p>“Ye Chappell of oure Ladye” at S. Alban’s is +also a most elegant specimen of the buildings, +dedicated to the blessed Virgin. The foundations +appear to have been laid by John de +Hertford, abbot from 1235 to 1260. But at the +election of Hugh de Eversdone, in 1308, the +walls had only reached the level of the underside +of the window sills, a height of ten feet above +the ground. During his rule he laboured so +assiduously to complete the work, that in a short +time he finished it. The building, at its dedication, +was so rich in detail that it is described by +ancient writers as “a magnificent sight.” The +work of Abbot Hugh included the exquisite +carvings in stone, which represent about seventy +different specimens of forms in nature. During +its use as a Grammar School, from 1553 to 1870, +the interior suffered much injury from the hands +of the schoolboys, and was allowed to fall into +a state of ruin and decay. Shortly after the +removal of the School in 1870, a restoration was +undertaken by the ladies of Hertfordshire, but +<a name="p88" id="p88"></a><span class="pageno"><span + class="ns">[p </span>88<span class="ns">] + </span></span>their good intentions were not carried into +effect, through lack of the necessary funds. Lord +Grimthorp then generously came to the rescue, +and through his munificence the Chapel has +been thoroughly and judiciously restored. It +now stands once more in all its glory, as a +perfect gem of architecture and one of the most +elegant Lady Chapels in Christendom.</p> + +<p>“Ye Chappell of oure Ladye” at Waltham +Abbey is said to be one of the richest specimens +of mediæval architecture in Essex. The building +has been greatly defaced since the suppression +of chantries, but still bears traces of its original +glory. “The Lady Chapel,” says the late +Professor Freeman, “must have been a most +beautiful specimen of its style, but few ancient +structures have been more sedulously disfigured.” +It was erected before <span class="postnomial">A.D.</span> 1292, as, during that +year, Roger Levenoth, an inhabitant, endowed +the chantry, with a house and 100 acres of land +in Roydon. The Chapel was in a flourishing +condition in the reign of Edward III., as we find +from the return made in obedience to the royal +order, which was issued to the master of the +ceremonies of every guild and chantry in the +King’s dominions. In the Court language of +<a name="p89" id="p89"></a><span class="pageno"><span + class="ns">[p </span>89<span class="ns">] + </span></span>that period, which was Norman French, Roger +Harrof and John de Poley, the chantry priests, +are described as “meisters de la petit compaignie +ordeigne al honor de Dieu et ure Donne seyncte +Marie en la Ville de Waltham seynte croice.” +The architect selected, as the site of the building, +the space formed by the easternmost bay of the +south aisle of the nave and the western side of +the south transept. This peculiar position +indicates that it was not the work of the monks, +but that of the parishioners, who were allowed +the use of the nave as their parish church from +the days of King Harold II., the founder. A +well-known antiquarian writes: “It seems to +have been built by the parishioners, and not by +the abbot and convent, and its position is due to +its occupying the only available spot, and where +only two walls wanted building. A similar case +occurs at Rochester. Where the Abbey built +the Lady Chapel it was usually east of the +transept—at the east end if there was room, at +the north side if otherwise.”<sup><a href="#fn9" name="fnm9" id="fnm9" + title="go to footnote 9">9</a></sup> The parishioners +could not erect their Lady Chapel at the east +end, because the choir or presbytery had been +used as the monastic church from the days of +<a name="p90" id="p90"></a><span class="pageno"><span + class="ns">[p </span>90<span class="ns">] + </span></span>Henry II., who, to atone for the massacre of +Thomas à Becket, Archbishop of Canterbury, +changed the secular foundation of Harold, +and introduced an abbot and monks of the +Augustinian order. Another Lady Chapel had +probably been erected at the east end for the use +of the monks, in accordance with the custom of +the age, but this shared the destruction which +befell the whole of the eastern portion of the +church after the dissolution of the monastery in +1540. The preservation of the parish Lady +Chapel is therefore due to its position at the +west of the presbytery. In a transcript by Peter +le Neve, Norroy King at Arms, 1698, it is stated +that a chapel was dedicated at Waltham in the +year 1188, by William de Vere, Bishop of +Hereford, “in honore Dei [et gloriosæ Virginis +Mariae] et B. Martyris atque pontificis Thomae +nomine.”<sup><a href="#fn10" name="fnm10" id="fnm10" + title="go to footnote 10">10</a></sup> This has led to the conjecture that +reference is made to the existing building,<sup><a href="#fn11" name="fnm11" id="fnm11" + title="go to footnote 11">11</a></sup> or +to that which formerly stood at the east end.<sup><a href="#fn12" name="fnm12" id="fnm12" + title="go to footnote 12">12</a></sup> +But the original Waltham manuscript shows +that it does not refer to a Lady Chapel at all, +but to the Chapel of S. Thomas of Canterbury.<sup><a href="#fn13" name="fnm13" id="fnm13" + title="go to footnote 13">13</a></sup></p> + +<p><a name="p91" id="p91"></a><span class="pageno"><span + class="ns">[p </span>91<span class="ns">]<br + /></span></span>The masonry of the exterior of the two walls +erected when the Chapel was founded, consists +of alternating bands of stone, squared bricks, +and flint, so that it produces a “poly-chromatic +effect.”<sup><a href="#fn14" name="fnm14" id="fnm14" + title="go to footnote 14">14</a></sup> There are three large buttresses of +considerable projection, with pedimented sets-off +and slopes, one being situated at the south-west +angle, and the other two on the south of the +building. Two smaller buttresses also occupy a +place on the south. Niches, with pedestals +for images, are still standing in the primary +buttresses.</p> + +<p>The interior of the Chapel measures 41 feet +7 inches in length, 23 feet in breadth, and 23 feet +in height. It is approached by a steep ascent of +nine long narrow stone steps, which are situated +near the south-west buttress. The ancient +doorway is beautifully decorated with ball flowers. +The floor stands at an elevation of nearly five +feet above the floor of the chancel, an arrangement +which appears to be peculiar to Waltham. +It was apparently built at this high level to add +to the loftiness of the crypt below, which was a +capacious chamber of much importance in olden +times, and consists of two wide bays of quadripartite +<a name="p92" id="p92"></a><span class="pageno"><span + class="ns">[p </span>92<span class="ns">] + </span></span>vaulting. There is no way of access from +the interior of the Church, but “the chapel is +connected with the south aisle by a single arch +of poor and ordinary architecture, a sad contrast +to the glorious Romanesque work of the nave.”<sup><a href="#fn15" name="fnm15" id="fnm15" + title="go to footnote 15">15</a></sup> +At the west end there is a large and beautiful +six-light, square-headed window, with a rich and +peculiar arrangement of a double plane of tracery, +the inner plane consisting of three arches. This +window, and the four elegant windows of three +lights on the south side, are supposed to have +been filled with stained glass, like that of the +Chapter House at York Minster, and other +buildings of the same period. At the extreme +south-east of the building the remains of the +ancient sedilia and piscina may still be seen. +The walls were adorned with distemper paintings, +chocolate coloured vine-leaves on a yellow +ground running round the spandrels and +windows. This decoration probably included a +series of paintings, representing scenes in the life +of the Mother of our Lord, and concluding with +her assumption and coronation as the Queen of +Heaven. There was also a representation of the +Last Judgment in which “Our Lady” occupied +<a name="p93" id="p93"></a><span class="pageno"><span + class="ns">[p </span>93<span class="ns">] + </span></span>the place of honour near her Divine Son and +Lord, interceding for the faithful as they +appeared before their Judge. On the removal of +the plaster from the east wall during the restoration +in 1875, the remains of a fresco of “the +Doom” were discovered, and here are depicted +the Judge of all mankind in the scarlet robes of +majesty, the Virgin as intercessor, S. Michael +the Archangel, presiding over the balances in +which souls are weighed, the Apostles as assessors, +bishops and abbots with the keys of S. Peter, +admitting the faithful into the Holy Catholic +Church, human forms emerging from the grave, +the path of life, the chains of everlasting darkness, +demons clothed in flames, and the jaws of +hell. The space under this fresco was probably +occupied by beautiful statuary, the image of +the blessed Virgin standing in the centre, +immediately above the altar of “Our Ladye.” +At the dissolution of the monastery “a table of +imagery of the xii. apostles,” belonging to this +Chapel, was valued at ten shillings. A few +fragments of statuary, supposed to have formed +part of this decoration, were discovered during the +restoration of the Abbey Church in 1860, and +have been inserted in the south-east wall of the +<a name="p94" id="p94"></a><span class="pageno"><span + class="ns">[p </span>94<span class="ns">] + </span></span>chancel. These relics of the splendid past +include the mutilated stone figures of four +saints, probably the evangelists, beautifully +carved, and a representation of the crucifixion +in black marble, but the ornament of precious +metal, with which it was adorned, has long +since disappeared.</p> + +<p>The altars, desks, and tables in the Lady +Chapel were covered with plates of silver, as in +the crypt beneath, which was also, in those days, +a splendid chantry, served by its own priest, +who was called “the Charnel Priest.” The +sacramental vessels and plate, which were of +great value, were sold after the suppression. +Dr. Thomas Fuller, Incumbent of Waltham +Abbey in 1648, gives the following extracts from +the churchwarden’s accounts: “1549. <i>Imprimis.</i>—Sold +the silver plate which was on the desk in +the charnel, weighing five ounces, for twenty-five +shillings. Guess,” adds the historian, “the +gallantry of our church by this (presuming all +the rest in proportionable equipage) when the +desk whereon the priest read was inlaid with +plate of silver.” “1551. <i>Item.</i>—Received for +two hundred seventy-one ounces of plate, sold at +several times for the best advantage, sixty-seven +<a name="p95" id="p95"></a><span class="pageno"><span + class="ns">[p </span>95<span class="ns">] + </span></span>pound fourteen shillings and ninepence.”<sup><a href="#fn16" name="fnm16" id="fnm16" + title="go to footnote 16">16</a></sup> The +inventory of goods made by order of Henry VIII. +also mentions “iiii. tables [of oure Ladye] +plated with sylver and gylte, every one of them +with ii. folding leves.” The Chapel was furnished +besides with “a lytell payre of organes,” valued +at xxs., at the dissolution of the monastery, when +Thomas Tallis, the father of English church +music, was organist of the Abbey Church, and +presided at the “greate large payre of organes” +in the Choir. He was assisted by John Boston, +of Waltham, who probably performed on the +smaller instrument in the Lady Chapel. Both +names are mentioned in the pension list, Tallis +receiving xxs. for wages and xxs. reward, and +Boston iiis. for wages and iiis. reward.</p> + +<p>A large number of wax tapers and candles +was consumed annually at the various services +held in the Lady Chapel and Crypt. In the +return made by Sir Roger Harrop and Sir +John de Poley, masters of the two chantries in +the reign of Edward III., it is stated that every +man and woman in this guild paid a yearly +subscription of sixpence towards the expenses, +and at the feasts of “oure Ladye” all +<a name="p96" id="p96"></a><span class="pageno"><span + class="ns">[p </span>96<span class="ns">] + </span></span>“Christiens” of the company gave five burning +tapers (<i>tapres ardant</i>); in honour of our Lord +four large torches; and on other special occasions +fifteen tapers. Lights were also kept burning +during the solemn requiem and funeral services, +when prayers were offered that perpetual light +might shine upon the souls of the departed. It +is most likely that this impressive ceremonial +had been observed in both chantries, when the +body of Queen Eleanor rested for the night in +the Abbey Church on its way to Westminster, +and again when the remains of her royal consort, +Edward I., were deposited for three months +before the tomb of Harold. The wax in stock +for these memorial services at the suppression +was sold by the churchwardens as follows: +“<i>Item.</i>—Sold so much wax as amounts to twenty +six shillings.” Dr. Fuller remarks on this transaction, +“So thrifty the wardens that they +bought not candles and tapers ready made, but +bought the wax at the best hand and paid poor +people for the making of them. Now they sold +their magazine of wax as useless. Under the +Reformation more light and fewer candles.”<sup><a href="#fn17" name="fnm17" id="fnm17" + title="go to footnote 17">17</a></sup></p> + +<p>In the days of the chantry, lands, tenements, +<a name="p97" id="p97"></a><span class="pageno"><span + class="ns">[p </span>97<span class="ns">] + </span></span>and other gifts were presented and bequeathed +that “obits” or prayers for the dead might be +offered before the altar and image of “oure +Ladye.” Dr. Fuller gives the following account +of “obits” at Waltham: “The charge of an obit +was two shillings and two pence; and, if any be +curious to have the particulars thereof, it was +thus expended: to the parish priest, three pence; +to our Lady’s priest, three pence; to the charnel +priest, threepence; to the two clerks, four pence; +to the children (these I conceive choristers) three +pence; to the sexton, two pence; to the bellman, +two pence; for two tapers, two pence; for +oblation, two pence. O, the reasonable rates at +Waltham! Two shillings and two pence for an +obit, the price whereof in S. Paul’s, in London, +was forty shillings! For, forsooth, the higher +the church, the holier the service, the dearer the +price, though he had given too much that had +given but thanks for such vanities. To defray +the expenses of these obits, the parties prayed +for, or their executors, left lands, houses, or +stock to the churchwardens.”<sup><a href="#fn18" name="fnm18" id="fnm18" + title="go to footnote 18">18</a></sup> These obits were +abolished when the chantries were suppressed in +the first year of the reign of King Edward VI. +<a name="p98" id="p98"></a><span class="pageno"><span + class="ns">[p </span>98<span class="ns">] + </span></span>“Now,” says Dr. Fuller, “was the brotherhood +in the church dissolved, consisting as formerly of +three priests, three choristers, and two sextons; +and the rich plate belonging to them was sold for +the good of the parish. Superstition by degrees +being banished out of the church, we hear no +more of prayers and masses for the dead. Every +obit now had its own obit, and fully expired; the +lands formerly given thereunto being employed +to more charitable uses.”<sup><a href="#fn19" name="fnm19" id="fnm19" + title="go to footnote 19">19</a></sup></p> + +<p>Since the suppression both chantries have been +stripped of almost all their glory. The beautiful +statuary in the Lady Chapel has disappeared, +the decorated walls were covered with plaster, +the west window blocked up, three of the elegant +south windows were partly bricked up, and the +fourth was converted into a door-way. The +building was entirely separated from the Church +by a wall of lath and plaster, and the west front +obscured by the erection of an unsightly porch, +which also concealed from view the grand south +Norman entrance to the Abbey Church. The +exterior walls were covered with cement, in +imitation of classic rustic work. The Chapel +has been used during the last three centuries +<a name="p99" id="p99"></a><span class="pageno"><span + class="ns">[p </span>99<span class="ns">] + </span></span>for various purposes, some of which were +degrading in the extreme to its sacred character. +It has been used as a vestry, parochial +schoolroom and lending library, also for +public meetings and petty sessions, and, in its +darkest days, as a store-room. The crypt has +also passed through many changes, and has been +stripped of its original splendour. It retained +much of its beauty for a century after the +suppression, as Dr. Fuller writes during his +<span class="nw">incumbency:—</span>“To the south side of the Church +is joined a chapel, formerly our Lady’s, now a +school-house, and under it an arched charnel-house, +the fairest that I ever saw.”<sup><a href="#fn20" name="fnm20" id="fnm20" + title="go to footnote 20">20</a></sup> This +beautiful chantry, which is partly underground, +has been used since as a sepulchre for the dead, +a prison cell for the living,<sup><a href="#fn21" name="fnm21" id="fnm21" + title="go to footnote 21">21</a></sup> a receptacle for +human bones, a coal cellar and heating chamber.</p> + +<p>The Lady Chapel resumed its sacred character +in 1876, after it had been carefully restored by +Sir T. Fowell Buxton, Bart., K.C.M.G.<sup><a href="#fn22" name="fnm22" id="fnm22" + title="go to footnote 22">22</a></sup> whose +seat, Warlies Park, is situated in the parish. +The modern porch was removed from the west +end, the large arch in the south wall of the +<a name="p100" id="p100"></a><span class="pageno"><span + class="ns">[p </span>100<span class="ns">] + </span></span>Church re-opened, and the five elegant windows +were made good. A splendidly carved memorial +screen has since been erected under the arch by +the parishioners, and some beautifully carved +altar rails set up at the east end. The arms of +the Abbey and Parish of Waltham Holy Cross +are represented on the screen, namely, two +angels exalting the Cross. The appearance of +the interior is, however, still mean and bare, +when compared with its former magnificence, +although so much has been done to rescue from +a state of degradation and neglect, this interesting +relic of mediæval times, “ye Chappell of +oure Ladye.”</p> + +<hr class="footnote" /> +<div class="footnote"> +<p><a href="#fnm6" + title="return to text" name="fn6" id="fn6">6</a>. Durandus Symbol. lxxxviii.</p> + +<p><a href="#fnm7" + title="return to text" name="fn7" id="fn7">7</a>. “Gough’s History of Croyland. 1783.”</p> + +<p><a href="#fnm8" + title="return to text" name="fn8" id="fn8">8</a>. Holinshed.</p> + +<p><a href="#fnm9" + title="return to text" name="fn9" id="fn9">9</a>. W. H. St. John Hope, <span class="postnomial">F.S.A.</span></p> + +<p><a href="#fnm10" + title="return to text" name="fn10" id="fn10">10</a>. Harl. MS. 6974, fol. 106.</p> + +<p><a href="#fnm11" + title="return to text" name="fn11" id="fn11">11</a>. Gentleman’s Magazine, April, 1860, and May, 1864.</p> + +<p><a href="#fnm12" + title="return to text" name="fn12" id="fn12">12</a>. The Builder, April 2, 1898.</p> + +<p><a href="#fnm13" + title="return to text" name="fn13" id="fn13">13</a>. Harl. MS. 391, fol. 100.</p> + +<p><a href="#fnm14" + title="return to text" name="fn14" id="fn14">14</a>. Professor Freeman.</p> + +<p><a href="#fnm15" + title="return to text" name="fn15" id="fn15">15</a>. Professor Freeman.</p> + +<p><a href="#fnm16" + title="return to text" name="fn16" id="fn16">16</a>. History of Waltham Abbey, cap. 5.</p> + +<p><a href="#fnm17" + title="return to text" name="fn17" id="fn17">17</a>. History of Waltham Abbey, cap. v.</p> + +<p><a href="#fnm18" + title="return to text" name="fn18" id="fn18">18</a>. Cap. iv.</p> + +<p><a href="#fnm19" + title="return to text" name="fn19" id="fn19">19</a>. Cap. v.</p> + +<p><a href="#fnm20" + title="return to text" name="fn20" id="fn20">20</a>. History of Waltham Abbey, cap. I., 9.</p> + +<p><a href="#fnm21" + title="return to text" name="fn21" id="fn21">21</a>. The Quakers were incarcerated here during the reign of Charles II.</p> + +<p><a href="#fnm22" + title="return to text" name="fn22" id="fn22">22</a>. Now Governor General of South Australia.</p> +</div> + +</div> + + +<div class="chunk"> +<h2 class="chap" title="Some Famous Spires"><a name="p101" id="p101"></a><span class="pageno"><span + class="ns">[p </span>101<span class="ns">]<br + /></span></span> +Some Famous Spires.</h2> + +<p class="author">By John T. Page.</p> + + +<p class="newchap"><span class="dropcap">It</span> is practically impossible to point to the +exact date when spires first assumed a place +in the category of ecclesiastical architecture. +They belong to the Gothic style, and like the +pointed arch were evolved rather than created. +The low pointed roof of the tower gradually gave +place to a more tapering finish, but the transition +was by no means progressive, and cannot be +clearly traced. Some of the earliest attempts at +spire-building were uncouth and ungraceful, and +even in these days the addition of a spire to a +modern church does not necessarily add to its +beauty. This is nearly always the case where +an undue regard is paid to ornamentation, either +at the base, or on the surface of the spire itself. +Undoubtedly the most beautiful spires are those +which at once spring clear from the summit of +the tower and gradually rise needle-like towards +the blue vault of heaven.</p> + +<p>By far the greater number of our principal +<a name="p102" id="p102"></a><span class="pageno"><span + class="ns">[p </span>102<span class="ns">] + </span></span>spires date from the fourteenth century—a time +when spire-building appears to have reached the +zenith of its glory. Splendour and loftiness +combine to render the examples of this period +distinguished above those of any other.</p> + +<p>Northamptonshire has been well termed the +county of “Squires and Spires,” and it is +probably within its borders that the largest +number of really beautiful spires may be found. +A journey from Northampton to Peterborough +along the Nene Valley is never to be forgotten +for the continually recurring spires which greet +the eye of the traveller at almost every point. +Rushden, Higham Ferrers, Irchester, Raunds, +Stanwick, Oundle, Finedon, Aldwinckle S. Peter’s, +Barnwell S. Andrew, and many others +all combine to render the term “Valley of +Spires” peculiarly appropriate to this district.</p> + +<p>These spires of course cover a wide area. +The two finest groups of spires are those of +Coventry and Lichfield. When the cathedral +at Coventry, with its three spires, was in existence +in immediate proximity to the churches of +S. Michael’s and Holy Trinity, the group formed +“a picture not to be surpassed in England,” and +even now, with Christ Church added, the +<a name="p103" id="p103"></a><span class="pageno"><span + class="ns">[p </span>103<span class="ns">] + </span></span>“Ladies of the Vale,” of Lichfield, suffer +somewhat in comparison.</p> + +<p>In point of height the cathedral spires of +Salisbury and Norwich hold their own, while for +beauty of outline Louth must be mentioned, and +for elaborateness of detail the spire of Grantham.</p> + +<p>It now remains to give a cursory glance at +some of our most famous spires, and to endeavour +to enumerate some of their chief characteristics.</p> + +<p>The spire of Salisbury Cathedral rises from +the centre of the main transept to a height of +410 feet. This is, without doubt, the tallest of +our English spires.<sup><a href="#fn23" name="fnm23" id="fnm23" + title="go to footnote 23">23</a></sup> It is octagonal in shape, +and springs from four pinnacles. The surface is +enriched with three bands of quatre-foiled work, +and the angles are decorated throughout with +ball-flower ornament. From a storm in 1703 it +received some damage, and was, under the +direction of Sir Christopher Wren, braced with +ironwork. It does not appear to have moved +since then, but from experiments made in 1740 +it was found to be out of the perpendicular 24½ +inches to the south, and 16¼ inches to the west. +<a name="p104" id="p104"></a><span class="pageno"><span + class="ns">[p </span>104<span class="ns">] + </span></span>On the 21st of June, 1741, it was struck by lightning +and set on fire, but did not receive any great +damage, and in 1827, by means of an ingenious +wicker-work contrivance suspended from the top, +extensive repairs were carried out. The name +of the architect who conceived this lofty tower is +unknown, but the date of its erection was +probably at the beginning of the fourteenth +century.</p> + +<p>The spire of Norwich Cathedral rises to a +height of 315 feet, and on a clear day can be +seen for a distance of twenty miles. It was +probably built by Bishop Percy in the latter half +of the fourteenth century. About one hundred +years after, it was struck by lightning, but the +damage was speedily repaired. In 1629 the +upper part was blown down, and was re-built +in 1633.</p> + +<div class="illo"> +<a name="p104a" id="p104a"></a><span class="pageno"><span + class="ns">[p </span>104a<span class="ns">]<br + /></span></span> + <img src="images/p104a.jpg" alt="" id="img104a" /><br + /><small>LOUTH CHURCH SPIRE.</small> +</div> + +<p>The three spires of Coventry are those of +S. Michael’s, Holy Trinity, and Christ Church. +Of these, S. Michael’s is the chief, being 303 feet +high. Amongst parish churches, it is therefore +the tallest. The base consists of a lantern +flanked by four pinnacles, to which it is connected +by flying buttresses. Its erection was commenced +in the year 1373, and completed in 1394. At +<a name="p105" id="p105"></a><span class="pageno"><span + class="ns">[p </span>105<span class="ns">] + </span></span>the restoration of the church, which took place +in 1885, the tower was found to have been +erected on the edge of an old quarry, and it cost +no less a sum than £17,000 to add a new foundation. +During the most critical period of the +work the structure visibly moved, and the apex +of the spire now leans 3ft. 5in. out of the +perpendicular towards the north-west.</p> + +<p>Holy Trinity spire is 237 feet high, and much +less ornate than S. Michael’s. During a violent +tempest of “wind, thunder, and earthquake,” +which occurred<!-- TN: original reads "occured" --> on the 24th of January, 1665, it was +overthrown, and much injury was done to the +church in consequence. The re-building was +finished in 1668. It has been completely restored +in recent years.</p> + +<p>The spire of Christ Church is some little +distance away from the other two. It is +octagonal in shape, and rises from an embattled +tower to a height of 230 feet. It was restored in +1888.</p> + +<p>Lichfield Cathedral contains three spires +within its precincts. The grouping is, therefore, +more uniform than that of Coventry, although +the general effect is not thereby accentuated. +The central spire rises to a height of 258 feet, +<a name="p106" id="p106"></a><span class="pageno"><span + class="ns">[p </span>106<span class="ns">] + </span></span>and the two which grace the west front are each +183 feet high. In the time of the great civil war, +when Lichfield was besieged, the central spire +was demolished. After the Restoration, it was +re-built by good old Dr. Hackett.</p> + +<p>The spire of Chichester Cathedral, built in the +fourteenth century over a rotten sub-structure, +was destroyed by its own weight in 1861. It +was 271 feet high, and has now been re-built in +its original style on a slightly higher tower. The +story of its fall has often been told. On the +night of Wednesday, the 20th of February, 1861, +a heavy gale occurred. The next day, about +twenty minutes past one o’clock, the spire was +observed to suddenly lean towards the south-west, +and then to right itself again. Soon after, +it disappeared into the body of the cathedral, +sliding down like the folding of a telescope. +Only the coping-stone and the weather-vane fell +outside, the rest of the masonry formed a huge +cairn in the centre of the edifice, which was +practically cut into four portions by the wreck. +The present spire was completed in 1867.</p> + +<p>In Lincolnshire there are two remarkable +spires at Louth and Grantham. The one at +Louth rises to a height of 294 feet. At the +<a name="p107" id="p107"></a><span class="pageno"><span + class="ns">[p </span>107<span class="ns">] + </span></span>corners of the tower are four tall turret pinnacles +to which the spire is connected by flying +buttresses. In 1843 it was struck by lightning; +steps were at once taken for its restoration, +which was completed three years later.</p> + +<p>Grantham spire is octagonal in shape, and 285 +feet in height. It is very light and graceful in +appearance, and is richly ornamented with +sculpture. It suffered from lightning in 1797, +and again in 1882. Since the latter date sixteen +feet of the masonry has been removed from the +summit and re-built.</p> + +<p>The church of S. Mary Redcliffe, Bristol, has +been aptly termed by the poet Chatterton, +“the pride of Bristowe and the Western land.” +The spire rises to a height of 300 feet, and has +lately been restored at a cost of upwards of +£50,000. In 1445, during a storm, the greater +part of the original spire fell through the roof of +the church, and for about four centuries it +remained in a truncated state, although the +damage done to the interior was speedily +repaired.</p> + +<p>The spire of S. Mary’s, Shrewsbury, is 220 +feet high, and rises from an embattled tower, +the four corners of which contain crocketed +<a name="p108" id="p108"></a><span class="pageno"><span + class="ns">[p </span>108<span class="ns">] + </span></span>pinnacles. During a gale on the night of Sunday, +the 11th of February, 1894, about 50 feet of +the masonry of the spire crashed through the +church roof and did enormous damage. This +has, however, since been repaired. A memorial +stone on the west wall of the tower tells how +one Thomas Cadman, was killed on the 2nd of +February, 1739, when attempting to descend +from the spire by a rope.</p> + +<p>For elaborateness of detail, the spire of S. +Mary the Virgin, Oxford, surpasses all others +in this country. Its apex is some 90 feet from +the ground, and around the base of the spire +clusters a mass of richly decorated pinnacles, +small spirelets, and canopies containing statues. +The effect is picturesque in the extreme, and +lends to the town of Oxford a unique charm. Its +conception dates from the fourteenth century, +but it has been much restored and added to +since.</p> + +<p>Of the Northamptonshire spires, Oundle is the +loftiest, being 210 feet high. It bears date 1634, +but this evidently refers to a re-building. It was +partly taken down again and rebuilt in 1874. It +is hexagonal in shape, and the angles are +crocketed. Raunds church is surmounted by an +<a name="p109" id="p109"></a><span class="pageno"><span + class="ns">[p </span>109<span class="ns">] + </span></span>octagonal broach spire 186 feet high. It was +struck by lightning on the 31st of July, 1826, and +about 30 feet of the masonry was shattered. +This was at once rebuilt at a cost of £1,737 15s. +3d. The octagonal spire of Higham Ferrers is +170 feet high, and was rebuilt after destruction +by a storm of wind in 1632. Rushden spire is +an octagon 192 feet high, and richly crocketed. +At its base flying buttresses connect it with +pinnacles at the corners of the tower. The spire +at Finedon rises from an embattled tower to a +height of 133 feet; that of Stanwick is 156 feet +high, and that of Irchester 152 feet.</p> + +<p>Space forbids more than a passing allusion to +the fine spires of Newcastle Cathedral, S. Mary +de Castro, Leicester, Ross, Herefordshire, and +Olney, Bucks. The latter rises to a height of +185 feet. At its summit is a weathercock which, +when taken down for regilding in 1884, was +found to contain the following <span class="nw">triplet—</span></p> + +<div class="poem" style="width:14em;"> +<div class="stanza"> +<div> I never crow,</div> +<div> But stand to show</div> +<div> Where winds do blow.</div> +</div> +</div> + +<p>Several of the spires which have been +mentioned are perceptibly out of the perpendicular, +but in this respect the “tall twisted spire +<a name="p110" id="p110"></a><span class="pageno"><span + class="ns">[p </span>110<span class="ns">] + </span></span>of Chesterfield has no rival either in shape or +pose.” It is no less than 230 feet high, and the +wonder to many is that it has for so long maintained +its equilibrium. Various conjectures have +been made to account for the grotesque twist +which the spire assumes; but none of these +seems so likely as that which accounts for it by +the combined action of age, wind, and sun. +There are those who aver that it never was +straight, and never will be, and one such person +even goes so far as to attempt this statement in +rhyme as <span class="nw">follows:—</span></p> + +<div class="poem" style="width:18em;"> +<div class="stanza"> +<div> “Whichever way you turn your eye</div> +<div> It always seems to be awry,</div> +<div> Pray can you tell the reason why?</div> +<div> The only reason known of weight</div> +<div> Is that the thing was never straight,</div> +<div> Nor know the people where to go</div> +<div> To find the man to make it so.”</div> +</div> +</div> + +<p>However this may be, it is satisfactory to note +that a movement has recently been set on foot to +collect subscriptions towards its much needed +repair.</p> + +<p>When speaking of Salisbury Cathedral spire, +allusion was made to the repairs being carried +out from a wicker-work contrivance suspended +from the top. This was not the first time that +<a name="p111" id="p111"></a><span class="pageno"><span + class="ns">[p </span>111<span class="ns">] + </span></span>wicker-work had been used for such a purpose, +for in 1787 the spire at S. Mary’s, Islington, +was entirely encased in a cage composed of +willow, hazel, and other sticks, while undergoing +repair. An ingenious basket-maker of S. Albans, +named Birch, carried out the work, and constructed +a spiral staircase inside the cage. His +contract was to do the work for £20 paid down, +and to be allowed to charge sixpence a head to +any sightseers who liked to mount to the top. +It is said that in this way he gained some two or +three pounds a day above his contract.</p> + +<p>People and steeple rhymes are by no means +uncommon; perhaps the most spiteful is that +relating to an Essex <span class="nw">village:—</span></p> + +<div class="poem" style="width:16em;"> +<div class="stanza"> +<div> “Ugley church, Ugley steeple,</div> +<div> Ugley parson, Ugley people.”</div> +</div> +</div> + +<p>The Yorkshire village of Raskelfe is usually +called Rascall, and an old rhyme <span class="nw">says:—</span></p> + +<div class="poem" style="width:18em;"> +<div class="stanza"> +<div> “A wooden church, a wooden steeple,</div> +<div> Rascally church, rascally people.”</div> +</div> +</div> + +<p>Mr. William Andrews, in his “Antiquities +and Curiosities of the Church” (London, 1897), +gives many examples of “People and Steeple +Rhymes.”</p> + +<p>There is a never-ending romance connected +<a name="p112" id="p112"></a><span class="pageno"><span + class="ns">[p </span>112<span class="ns">] + </span></span>with the subject of spires. Every one possesses +some story or legend. Spirits are supposed to +inhabit their gloomy recesses, and are even +credited with their construction. There is +certainly an uncanny feeling connected with the +interior of a spire, even on a sunny summer’s day, +and given sufficient stress of howling winds and +gloomy darkness, one can almost imagine a +situation conducive to the acutest kind of devilry. +So much for the interior of spires. What sensations +may be produced by climbing the exterior +is given to few to experience. The vast majority +of mankind must perforce content themselves +with a position on <i>terra firma</i>, whence they may +with pleasure and safety combined behold</p> + +<div class="poem" style="width:18em;"> +<div class="stanza"> +<div class="i2"><span class="kindle"> </span> “<span class="nw">——the</span> spires that glow so bright</div> +<div> In front of yonder setting sun.”</div> +</div> +</div> + +<hr class="footnote" /> +<div class="footnote"> +<p><a href="#fnm23" + title="return to text" name="fn23" id="fn23">23</a>. The spire of Old Saint Paul’s, which dated from the thirteenth +century, rose to a height of 520 feet. It was destroyed by lightning +on the 4th of June, 1561. The spire of Lincoln Cathedral measured +524 feet, and was destroyed in 1548. These are the two highest +spires which have ever been erected in England.</p> +</div> +</div> + + + +<div class="chunk"> +<h2 class="chap" title="The Five of Spades and the Church of Ashton-under-Lyne"><a name="p113" id="p113"></a><span class="pageno"><span + class="ns">[p </span>113<span class="ns">]<br + /></span></span>The Five of Spades and the Church of Ashton-under-Lyne.</h2> + +<p class="author">By John Eglington Bailey, <span class="postnomial">F.S.A.</span></p> + + +<p class="newchap"><span class="dropcap">On</span> the old tower of the church of Ashton-under-Lyne +there was formerly an old +inscription, which incidently testifies to the +popularity of cards in England at a period when +the notices of that fascinating means of diversion +are both few and of doubtful import. Cards +were given to Europe by the Saracens at the end +of the fourteenth century, and the knowledge of +their use extended itself from France to Greece. +The French clergy were so engrossed by the +pastime that the Synod of Langres, 1404, forbad +it as unclerical. At Bologna, in 1420, +S. Bernardin of Sienna preached with such effect +against the gambling which was indulged in, that +his hearers made on the spot a large bonfire with +packs of cards taken out of their pockets. Under +the word <span title="Chartia">Χαρτια</span> Du Cange quotes extracts from +two Greek writers, which show that cards were +popular in Greece before 1498. Chaucer, who +died in 1400, and who indirectly depicted much +<a name="p114" id="p114"></a><span class="pageno"><span + class="ns">[p </span>114<span class="ns">] + </span></span>of the every-day life of his countrymen, does not +once mention cards. But they begin to be +noticed about the time of Edward IV. and +Henry VI. The former king prohibited the importation +of “cards for playing,” in order to +protect the English manufacture of them. An +old ale-wife or brewer, in one of the Chester +plays or mysteries, is introduced in a scene in +Hell, when one of the devils thus addresses +<span class="nw">her:—</span></p> + +<div class="poem" style="width: 22em;"> +<div class="stanza"> +<div> Welcome, deare darlinge, to endless bale,</div> +<div> Usinge cardes, dice, and cuppes smale</div> +<div> With many false other, to sell thy ale</div> +<div class="i2"><span class="kindle"> </span> Now thou shalte have a feaste.</div> +</div> +</div> + +<p>A more interesting notice of cards occurs in +the <cite>Paston Letters</cite>, where Margery Paston, writing +on “Crestemes Evyn” of the year 1484, tells +her husband that she had sent their eldest son +to Lady Morley (the widow of William Lovel, +Lord Morley), “to hav knolage wat sports wer +husyd [used] in her hows in Kyrstemesse next +folloyng aftyr the decysse of my lord, her +husbond [who died 26th July, 1476]; and sche +sayd that ther wer non dysgysyngs [guisings], +ner harpyng, ner lutyng, ner syngyn, ner non +lowde dysports; but pleyng at the tabyllys, and +<a name="p115" id="p115"></a><span class="pageno"><span + class="ns">[p </span>115<span class="ns">] + </span></span>schesse, and cards: sweche dysports sche gaue +her folkys leve to play and non odyr.” The lady +adds that the youth did his errand right well, +and that she sent the like message by a younger +son to Lady Stapleton, whose lord had died in +1466. “Sche seyd according to my Lady +Morlees seyng in that, and as sche hadde seyn +husyd in places of worschip [<i>i.e.</i>, of distinction: +good families] ther as [= where] sche hath +beyn.” This letter opens up an interesting view +of the amusements which at the time were +introduced into the houses of the nobility and +gentry during Christmas-tide. At that festival +cards from the first formed one of the chief +amusements. Henry VII., who was a great +card player, forbad cards to be used except +during the Christmas holidays. Their ancient +association with Christmas is seen in the kindness +of Sir Roger de Coverley, who was in the +habit of sending round to each of his cottagers +“a string of hogs’-puddings and a pack of cards,” +that good old squire being doubtless of the +opinion of Dr. Johnson, who, with a deeper +human insight than S. Bernardin and Henry VII., +could see the usefulness of such a pastime: “It +generates kindness and consolidates society.”</p> + +<p><a name="p116" id="p116"></a><span class="pageno"><span + class="ns">[p </span>116<span class="ns">]<br + /></span></span>The inscription I have alluded to takes us +back to the reign of an earlier English king than +those named—Henry V., who reigned 1413–1422. +In his time, it seems, viz., in 1413, the steeple of +Ashton Church was a-building; when a certain +butcher, Alexander Hyll, playing at noddy with +a companion, doubtless in the neighbourhood of +the church, swore that if the dealer turned up +<em>the five of spades</em> he would build a foot of the +steeple. The very card was turned up! Hyll, +like a good Catholic, performed his promise, and +had his name carved, a butcher’s cleaver being +put before <cite>Alexander</cite>, and the five of spades +before <cite>Hyll</cite>. A new tower was erected in 1516, +when the church was enlarged; but the stone +containing the curious inscription was somewhere +retained, for it was visible in the time of Robert +Dodsworth, the industrious Yorkshire antiquary, +and the projector and co-worker with Dugdale of +the <cite>Monasticon</cite>. Dodsworth, being at Ashton on +the 2nd of April, 1639, copied the inscription, +stating that it was on the church steeple. He +wrote down the tradition, adding that its truth +was attested by Henry Fairfax<!-- TN: original reads "Ffairfax" -->, then rector +there, second son of Thomas Fairfax, Baron de +Cameron (Dodsworth’s MSS. in Bibl. Bodl., +<a name="p117" id="p117"></a><span class="pageno"><span + class="ns">[p </span>117<span class="ns">] + </span></span>vol. 155, fol. 116). The eldest son of Lord +Fairfax was Ferdinando, the celebrated general +of the Commonwealth, and the generous patron +of Dodsworth. Henry, the younger son, at +whose rectory-house Dodsworth was entertained +on the occasion of his Lancashire visit, is +described by Oley (in his preface to George +Herbert’s <cite>Country Parson</cite>) as “a regular and +sober fellow of Trinity College in Cambridge, and +afterwards rector of Bolton Percy in Yorkshire.” +He held, besides, the rectory of Ashton from, at +least, 1623 till 1645, when he was forcibly +ejected; and that of Newton Kyme. He was a +correspondent of Daniel King, author of <cite>The +Vale Royal</cite>, for he had antiquarian tastes like his +brother. He died at Bolton Percy 6th April, +1665. The tower of Ashton Church, as Rector +Fairfax knew it, was taken down and re-built in +1818, by which time all recollection of that +ancient piece of cartomancy in connection with +the steeple had passed out of mind. Let it +be hoped that while the tradition was lively, +pleasanter things were said of Hyll, when the +five of spades was thrown upon the card tables +of Ashton, than assailed the name of Dalrymple +when the nine of diamonds—the curse of +<a name="p118" id="p118"></a><span class="pageno"><span + class="ns">[p </span>118<span class="ns">] + </span></span>Scotland—came under the view of Tory Scotchmen. +We may bestow on Hyll the card-player’s +<span class="nw">epitaph:—</span></p> + +<div class="poem" style="width: 24em;"> +<div class="stanza"> +<div> His card is cut—long days he shuffled through</div> +<div> The game of life—he dealt as others do:</div> +<div> Though he by honours tells not its amount,</div> +<div> When the last trump is played his tricks will count.</div> +</div> +</div> + +<p>“Noddy” is, of course, the very attractive +game of “cribbage.” A great aunt of mine still +living at Ashbourne, with whom I used to play +when a boy, always called it by that name. It +is one of the Court games, <i>temp.</i> James I., +noticed by Sir John <span class="nw">Harrington:—</span></p> + +<div class="poem" style="width: 22em;"> +<div class="stanza"> +<div> Now noddy followed next, as well it might,</div> +<div> Although it should have gone before of right;</div> +<div> At which I say, I name not anybody,</div> +<div> One never had the knave yet laid for noddy.</div> +</div> +</div> + +<p class="noindent">The same is also alluded to in a satirical poem, +1594, entitled, <span class="nw"><cite>Batt upon Batt</cite>:—</span></p> + +<div class="poem" style="width: 22em;"> +<div class="stanza"> +<div> Shew me a man can turn up Noddy still,</div> +<div> And deal himself three fives, too, when he will;</div> +<div> Conclude with one and thirty, and a pair,</div> +<div> Never fail ten in Hock, and yet play fair;</div> +<div> If Batt be not that night, I lose my aim.</div> +</div> +</div> + +</div> + + + +<div class="chunk"> +<h2 class="chap" title="Bells and their Messages"><a name="p119" id="p119"></a><span class="pageno"><span + class="ns">[p </span>119<span class="ns">]<br + /></span></span>Bells and their Messages.</h2> + +<p class="author">By Edward Bradbury.</p> + + +<p class="newchap"><span class="dropcap">Do</span> not imagine that this is an essay on +campanology, on change-ringing, grandsires, +and triple bob-majors. Do not fancy that +it will deal with carillons, the couvre-feu, or +curfew bell, with the solemn Passing bell, the +bell of the public crier, the jingling sleigh bell, +the distant sheep bell, the noisy railway bell, the +electric call bell, the frantic fire bell, the mellow, +merry marriage peal, the sobbing muffled peal, +the devout Angelus, or the silvery convent +chimes that ring for prime and tierce, sext, +nones, vespers, and compline. Do not conclude +that it will describe bell-founding; and deal with +the process of casting, with technical references +to cope, and crook, and moulding, drawing the +crucible, or tuning.</p> + +<p>It is of bells and their associations and +inscriptions that we would write, the bells that +are linked with our lives, and record the history +of towns, communities, and nations; announcing +feasts and fasts and funerals, interpreting with +<a name="p120" id="p120"></a><span class="pageno"><span + class="ns">[p </span>120<span class="ns">] + </span></span>metal tongue rejoicings and sorrowings, jubilees +and reverses; pæans for victories by sea and +land; knells for the death of kings and the +leaders of men. As we write, the bells of our +collegiate church are announcing with joyous +clang the arrival of Her Majesty’s Judge of +Assize. Before many days have passed another +bell in the same town will tell with solemn toll +of the short shrift given by him to a pinioned +culprit, the only mourner in his own funeral +procession.</p> + +<p>Bells are sentient things. They are alike full +of humour and pathos, of laughter and tears, of +mirth and sadness, of gaiety and grief. One +may pardon Toby Veck, in Charles Dickens’<!-- TN: original reads "Dicken's" --> +goblin story, for investing the bells in the church +near his station with a strange and solemn +character, and peopling the tower with dwarf +phantoms, spirits, elfin creatures of the bells, of +all aspects, shapes, characters, and occupations. +“They were so mysterious, often heard and +never seen, so high up, so far off, so full of such +a deep, strong melody, that he regarded them +with a species of awe; and sometimes, when he +looked up at the dark, arched windows in the +tower, he half expected to be beckoned to by +<a name="p121" id="p121"></a><span class="pageno"><span + class="ns">[p </span>121<span class="ns">] + </span></span>something which was not a bell, and yet was +what he had heard so often sounding in the +chimes.” The bells! The word carries sound +and suggestion with it. It fills the air with +waves of cadence. “Those Evening Bells” +of Thomas Moore’s song swing out undying +echoes from Ashbourne Church steeple; Alfred +Tennyson’s bells “ring out the false, ring in +the true” across the old year’s snow, and his +Christmas bells answer each other from hill to +hill. There are the tragic bells that Sir Henry +Irving hears as the haunted Mathias; “Les +Cloches de Corneville” that agitate the morbid +mind of the miser Gaspard; and the wild bells +that Edgar Allen Poe has set ringing in Runic +rhyme.</p> + +<p>“Bell,” says the old German song, “thou +soundest merrily when the bridal party to the +church doth hie; thou soundest solemnly when, +on Sabbath morn, the fields deserted lie; thou +soundest merrily at evening, when bed-time +draweth nigh; thou soundest mournfully, telling +of the bitter parting that hath gone by! Say, +how canst thou mourn or rejoice, that art but +metal dull? And yet all our sorrowings and all +our rejoicings thou art made to express!” In +<a name="p122" id="p122"></a><span class="pageno"><span + class="ns">[p </span>122<span class="ns">] + </span></span>the words of the motto affixed to many old bells, +they “rejoice with the joyful, and grieve with +the sorrowful”; or, in the original Latin,</p> + +<div class="poem" style="width:14em;"> +<div class="stanza"> +<div> Gaudemus gaudentibus,</div> +<div> Dolemus dolentibus.</div> +</div> +</div> + +<p class="noindent">An old monkish couplet makes the bell thus +describe its <span class="nw">uses—</span></p> + +<div class="poem" style="width:26em;"> +<div class="stanza"> +<div> Laudo Deum verum, plebem voco, congrego clerum:</div> +<div> Defuncto ploro, pestum fugo, festa decoro.</div> +</div> +</div> + +<p class="noindent">“I praise the true God, call the people, convene +the clergy; I mourn for the dead, drive away +pestilence, and grace festivals.” Who that +possesses—to quote from Cowper—a soul “in +sympathy with sweet sounds,” can listen unmoved +to</p> + +<div class="poem" style="width:20em;"> +<div class="stanza"> +<div> <span class="nw">——the</span> music of the village bells</div> +<div> Falling at intervals upon the ear,</div> +<div> In cadence sweet—now dying all away,</div> +<div> Now pealing loud again, and louder still,</div> +<div> Clear and sonorous, as the gale comes on.</div> +</div> +</div> + +<p>The same poet makes Alexander Selkirk +lament on his solitary <span class="nw">isle—</span></p> + +<div class="poem" style="width:20em;"> +<div class="stanza"> +<div> The sound of the church going bell</div> +<div class="i2"><span class="kindle"> </span> These valleys and rocks never heard,</div> +<div> Ne’er sigh’d at the sound of a knell,</div> +<div class="i2"><span class="kindle"> </span> Or smiled when a Sabbath appeared.</div> +</div> +</div> + +<p>Longfellow has several tender references to +<a name="p123" id="p123"></a><span class="pageno"><span + class="ns">[p </span>123<span class="ns">] + </span></span>church bells. He sets the Bells of Lynn to ring +a requiem of the dying day. He mounts the +lofty tower of “the belfry old and brown” in the +market place of <span class="nw">Bruges—</span></p> + +<div class="poem" style="width:32em;"> +<div class="stanza"> +<div> Not a sound rose from the city at that early morning hour,</div> +<div> But I heard a heart of iron beating in the ancient tower.</div> +<br class="kindle" /></div> +<div class="stanza"> +<div> From their nests beneath the rafters sang the swallows wild and high;</div> +<div> And the world, beneath me sleeping, seemed more distant than the sky.</div> +<br class="kindle" /></div> +<div class="stanza"> +<div> Then most musical and solemn, bringing back the olden times,</div> +<div> With their strange unearthly changes rang the melancholy chimes.</div> +<br class="kindle" /></div> +<div class="stanza"> +<div> Like the psalms from some old cloister, when the nuns sing in the + choir;</div> +<div> And the great bell tolled among them, like the chanting of a friar.</div> +<br class="kindle" /></div> +<div class="stanza"> +<div> Visions of the days departed, shadowy phantoms filled my brain;</div> +<div> They who live in history only seemed to walk the earth again.</div> +</div> +</div> + +<p>Who does not remember Father Prout’s lyric +on “The Bells of Shandon”? We venture to +quote the four delicious verses <i class="nw">in extenso—</i></p> + +<div class="poem" style="width:26em;"> +<div class="stanza"> +<div> With deep affection and recollection</div> +<div> I often think of the Shandon bells,</div> +<div> Whose sounds so wild would, in days of childhood,</div> +<div> Fling round my cradle their magic <span class="nw">spells—</span></div> +<div><a name="p124" id="p124"></a><span class="pageno"><span + class="ns">[p </span>124<span class="ns">] + </span></span> On this I ponder where’er I wander,</div> +<div> And thus grow fonder, sweet Cork, of thee;</div> +<div class="i2"><span class="kindle"> </span> With thy bells of Shandon,</div> +<div class="i2"><span class="kindle"> </span> That sound so grand on</div> +<div> The pleasant waters of the River Lee.</div> +<br class="kindle" /></div> +<div class="stanza"> +<div> I have heard bells chiming, full many a chime in</div> +<div> Tolling sublime in cathedral shrine;</div> +<div> While at a glib rate brass tongues would vibrate,</div> +<div> But all their music spoke naught to thine;</div> +<div> For memory dwelling on each proud swelling</div> +<div> Of thy belfry knelling its bold notes free,</div> +<div class="i2"><span class="kindle"> </span> Made the bells of Shandon</div> +<div class="i2"><span class="kindle"> </span> Sound far more grand on</div> +<div> The pleasant waters of the River Lee.</div> +<br class="kindle" /></div> +<div class="stanza"> +<div> I have heard bells tolling “old Adrian’s mole” in</div> +<div> Their thunder rolling from the Vatican,</div> +<div> With cymbals glorious, swinging uproarious</div> +<div> In the gorgeous turrets of Notre Dame;</div> +<div> But thy sounds were sweeter than the dome of Peter</div> +<div> Flings o’er the Tiber, pealing solemnly.</div> +<div class="i2"><span class="kindle"> </span> Oh! the bells of Shandon</div> +<div class="i2"><span class="kindle"> </span> Sound far more grand on</div> +<div> The pleasant waters of the River Lee.</div> +<br class="kindle" /></div> +<div class="stanza"> +<div> There’s a bell in Moscow, while on tower and kiosko,</div> +<div> In St. Sophia the Turkman gets,</div> +<div> And loud in air, calls men to prayer,</div> +<div> From the tapering summits of tall minarets,</div> +<div> Such empty phantom I freely grant them,</div> +<div> But there’s an anthem more dear to <span class="nw">me—</span></div> +<div class="i2"><span class="kindle"> </span> It’s the bells of Shandon</div> +<div class="i2"><span class="kindle"> </span> That sound so grand on</div> +<div> The pleasant waters of the River Lee.</div> +</div> +</div> + +<p><a name="p125" id="p125"></a><span class="pageno"><span + class="ns">[p </span>125<span class="ns">]<br + /></span></span>“The curfew tolls the knell of parting day,” +in Gray’s “Elegy,” the best known, and, in its<!-- TN: original reads "it's" --> +own line, the best poem in the English language. +More dramatic is Southey’s story of the warning +bell that the Abbot of Aberbrothock placed on +the Inchcape Rock. James Russell Lowell +has a beautiful thought in his little poem +<span class="nw">“Masaccio”—</span></p> + +<div class="poem" style="width:22em;"> +<div class="stanza"> +<div> Out clanged the Ave Mary bells,</div> +<div class="i2"><span class="kindle"> </span> And to my heart this message came;</div> +<div> Each clamorous throat among them tells</div> +<div class="i2"><span class="kindle"> </span> What strong-souled martyrs died in flame,</div> +<div> To make it possible that thou</div> +<div> Should’st here with brother sinners bow.</div> + +<div class="fivestar">· · · · ·</div> + +<div> Henceforth, when rings the health to those</div> +<div class="i2"><span class="kindle"> </span> Who live in story and in song,</div> +<div> O, nameless dead, who now repose</div> +<div class="i2"><span class="kindle"> </span> Safe in Oblivion’s chambers strong,</div> +<div> One cup of recognition true</div> +<div class="i2"><span class="kindle"> </span> Shall silently be drained to you!</div> +</div> +</div> + +<p>In the belfry of Tideswell and of Hathersage, +in the Peak of Derbyshire, are a set of rhymed +bell-ringing laws. Those at Hathersage we give +below; the Tideswell ones are almost word for +word similar.</p> + +<div class="poem" style="width:24em;"> +<div class="stanza"> +<div> You gentlemen that here wish to ring,</div> +<div> See that these laws you keep in everything;</div> +<div><a name="p126" id="p126"></a><span class="pageno"><span + class="ns">[p </span>126<span class="ns">] + </span></span> Or else be sure you must without delay</div> +<div> The penalty thereof to the ringers pay.</div> +<div> First, when you do into the bellhouse come,</div> +<div> Look if the ringers have convenient room,</div> +<div> For if you do be an hindrance unto them,</div> +<div> Fourpence you forfeit unto these gentlemen.</div> +<div> Next, if here you do intend to ring,</div> +<div> With hat or spur do not touch a string;</div> +<div> For if you do, your forfeit is for that</div> +<div> Just fourpence down to pay, or lose your hat.</div> +<div> If you a bell turn over, without delay</div> +<div> Fourpence unto the ringers you must pay;</div> +<div> Or, if you strike, miscall, or do abuse,</div> +<div> You must pay fourpence for the ringers’ use.</div> +<div> For every oath here sworn, ere you go hence,</div> +<div> Unto the poor then you must pay twelve pence;</div> +<div> And if that you desire to be enrolled</div> +<div> A ringer here these orders keep and hold.</div> +<div> But whoso doth these orders disobey,</div> +<div> Unto the stocks we will take him straight way,</div> +<div> There to remain until he be willing</div> +<div> To pay his forfeit, and the clerk a shilling.</div> +</div> +</div> + +<p>Churchwardens’ accounts abound with bell +charges. We have before us the accounts of the +churchwardens of Youlgreave, in the Peak of +Derbyshire, for a period of a century and a half. +Under the year 1604 we have “Item to the +ringers on the Coronation Day (James I.), 2s. 6d.; +for mending the Bels agaynst that day, 1s.; and +for fatchinge the great bell yoke at Stanton hall, +<a name="p127" id="p127"></a><span class="pageno"><span + class="ns">[p </span>127<span class="ns">] + </span></span>6d.” In 1605 there is “Item for a rope for a +little bell, 5d.” In the following year is “Item +to the Ringers the 5th day of August, when +thanks was given to God for the delyvering of +King James from the conspiracye of the Lord +Gowyre, 5s.” In 1613 we find the sum of 6d. +expended in purchasing “a stirropp for the fyrst +bell wheele, 8d.” The year 1614 is prolific in +charges connected with the belfry, as the +following enumeration will show: “Item for the +bellefonder, his dinner, and his sonnes, with +other chargs at the same time, 10d.; at the +second coming of the sayd bellfonder, 9d.; at the +taking downe of the bell, 6d.; for castyng the +fyrst bell, £4; for the surplus mettall which wee +bought of the bellfounder because the new bell +waeghed more than ye old, £3 15s. 10d.; to the +bellfounder’s men, 4d.; for the carryage of our +old bell to Chesterfield, 3s.; for carrying the great +bell clapper to Chesterfield, 4d.; for carrying the +new bell from Chesterfield, 2s. 8d.; to Nicholos +Hibbert, for hanging the said bell, 1s. 1d.; to +Nicholas Hibbert the younger, for amending the +great bell yoke and wheele, 6d.; spent at Gybs +house at the bellfounder’s last coming, 3d.; for +amending the great bell clapper, 10d.”</p> + +<p><a name="p128" id="p128"></a><span class="pageno"><span + class="ns">[p </span>128<span class="ns">]<br + /></span></span>The inscriptions on church bells would make +an interesting chapter. On the second bell at +Aston-on-Trent appears in Lombardic capitals, +the words, “Jhesus be our spede, 1590,” and on +the fourth bell is inscribed, “All men that heare +my mournful sound, repent before you lye in +ground, 1661.” The fourth bell of S. Werburgh’s +at Derby is <span class="nw">inscribed—</span></p> + +<div class="poem" style="width:22em;"> +<div class="stanza"> +<div> My roaring sounde doth warning geve</div> +<div> That men cannot heare always lyve.—1605.</div> +</div> +</div> + +<p>The third bell at Allestree bears the <span class="nw">words—</span></p> + +<div class="poem" style="width:22em;"> +<div class="stanza"> +<div> I to the church the living call,</div> +<div> And to the grave do summons all.—1781.</div> +</div> +</div> + +<p>The second bell on the old peal at Ashbourne +was <span class="nw">inscribed—</span></p> + +<div class="poem" style="width:20em;"> +<div class="stanza"> +<div> Sweetly to sing men do call</div> +<div> To feed on meats that feed the soul.</div> +</div> +</div> + +<p>The fifth bell at Dovebridge has the words: +“Som rosa polsata monde Maria vocata, 1633.” +This is—according to the Rev. Dr. John Charles +Cox—a corrupt reading of “Sum Rosa pulsata +mundi Maria vocata,” a legend occasionally +found on pre-Reformation bells, and which may +be thus <span class="nw">Englished—</span></p> + +<div class="poem" style="width:16em;"> +<div class="stanza"> +<div> Rose of the world, I sound</div> +<div> Mary, my name, around.</div> +</div> +</div> + +<p><a name="p129" id="p129"></a><span class="pageno"><span + class="ns">[p </span>129<span class="ns">]<br + /></span></span>A similar inscription—similarly mis-spelt—occurs +on the third bell at Ibstock, Leicestershire, +the date of which is 1632. Mr. Sankey, +of Marlborough College, gives it a graceful +French <span class="nw">rendering—</span></p> + +<div class="poem" style="width:18em;"> +<div class="stanza"> +<div> Ici je sonne et je m’appelle,</div> +<div> Marie, du monde la rose plus belle.</div> +</div> +</div> + +<p>The fourth bell at Coton-in-the-Elms has the +<span class="nw">inscription—</span></p> + +<div class="poem" style="width:16em;"> +<div class="stanza"> +<div> The bride and groom we greet</div> +<div class="i2"><span class="kindle"> </span> In holy wedlock joined,</div> +<div> Our sounds are emblems sweet</div> +<div class="i2"><span class="kindle"> </span> Of hearts in love combined.</div> +</div> +</div> + +<p>The sixth bell is <span class="nw">inscribed—</span></p> + +<div class="poem" style="width:14em;"> +<div class="stanza"> +<div> The fleeting hours I tell,</div> +<div class="i2"><span class="kindle"> </span> I summon all to pray,</div> +<div> I toll the funeral knell,</div> +<div class="i2"><span class="kindle"> </span> I hail the festal day.</div> +</div> +</div> + +<p>The seventh bell at Castleton has the following +<span class="nw">legend—</span></p> + +<div class="poem" style="width:24em;"> +<div class="stanza"> +<div> When of departed hours we toll the knell,</div> +<div> Instruction take, and spend the future well.</div> +<div class="right"> James Harrison, Founder, 1803.</div> +</div> +</div> + +<p>The second bell at Monyash is inscribed: +“Sca Maria o. p. n.” (Sancta Maria ora pro +nobis.)</p> + +<p>The old curfew custom is still kept up in the +<a name="p130" id="p130"></a><span class="pageno"><span + class="ns">[p </span>130<span class="ns">] + </span></span>Peak district of Derbyshire, notably at Winster, +where the bell is rung throughout November, +December, January, and February at eight +o’clock every work day evening, except on +Saturdays, when the hour is seven. There are +Sanctus bells at Tideswell, Hathersage, Beeley, +Ashover, and other Derbyshire churches. All +Saints’ Church, at Derby (“All Saints,” <i>i.e.</i>, +“the unknown good”), has a melodious set of +chimes. They play the following tunes: Sunday, +“Old One Hundred and Fourth” (Hanover); +Monday, “The Lass of Patie’s Mill”; Tuesday, +“The Highland Lassie”; Wednesday, “The +Shady Bowers”; Thursday, “The National +Anthem”; Friday, Handel’s “March in Scipio”; +Saturday, “The Silken Garter.” They all date +from the last century.</p> + +<p>Church bells have the subtle charm of sentiment. +When they swing in the hoary village +tower, and send their mellifluous message across +the country side and down the deep and devious +valley, or when they make musical with mellow +carillon the dreamy atmosphere of moss grown +cathedral closes, they have a poetical influence. +How pleasant it is to listen to the chimes which +ring out from time to time from the towers of +<a name="p131" id="p131"></a><span class="pageno"><span + class="ns">[p </span>131<span class="ns">] + </span></span>Notre Dame, in the city of Rubens, and from the +Campanile at Venice!</p> + +<div class="poem" style="width:22em;"> +<div class="stanza"> +<div> Through the balmy air of night</div> +<div> How they ring out their delight!</div> +<div> From the molten golden notes,</div> +<div class="i2"><span class="kindle"> </span> And all in tune,</div> +<div> What a liquid ditty floats</div> +<div> To the turtle dove that listens, while she gloats</div> +<div class="i2"><span class="kindle"> </span> On the moon!</div> +</div> +</div> + +<p>Church bells in large towns, where one section +of the community are night workers and seek +their rest in the day-time, are by no means +invested with sentiment. We have in our mind +a church which is set in a dense population of +railwaymen, engine drivers, stokers, guards, +porters, &c. It possesses a particularly noisy +peal of bells. They begin their brazen tintinnabulations +at breakfast time, and ring on, at +intervals, until past the supper hour. Sometimes +the sound is a dismal monotone, as if the bellman +had no heart for his work. At other times a +number of stark mad Quasimodos seem to be +pulling at the ropes to frighten the gilded cock +on the vane into flapping flight. Sunday only +brings an increase of the din, distracting all +thought, destroying all conversation, defying all +study, turning the blessed sense of hearing into a +<a name="p132" id="p132"></a><span class="pageno"><span + class="ns">[p </span>132<span class="ns">] + </span></span>curse, and making you envy the deaf. It is well +known that upon many persons in health the +clangour of bells has a very depressing effect; +but at night, when narcotics are given and the +sick are wearied out, it is very easy to imagine +how irritating these bells must be both to the +invalids and their attendants. One is inclined +to exclaim with the <span class="nw">Frenchman—</span></p> + +<div class="poem" style="width:20em;"> +<div class="stanza"> +<div> Disturbers of the human race,</div> +<div class="i2"><span class="kindle"> </span> Whose charms are always ringing,</div> +<div> I wish the ropes were round your necks,</div> +<div class="i2"><span class="kindle"> </span> And you about them swinging.</div> +</div> +</div> + +<p>How very wise those Spanish innkeepers were +who, in the olden time, used to make “ruido” an +item in their bills, charging their guests with the +noise they made!</p> +</div> + + + +<div class="chunk"> +<h2 class="chap" title="Stories about Bells"><a name="p133" id="p133"></a><span class="pageno"><span + class="ns">[p </span>133<span class="ns">]<br + /></span></span>Stories about Bells.</h2> + +<p class="author">By J. Potter Briscoe, <span class="postnomial">F.R.H.S.</span></p> + +<p class="newchap"><span class="dropcap">On</span> the eve of the feast of Corpus Christi the +choristers of Durham Cathedral ascend +the tower, and, clad in their fluttering robes of +white, sing the <cite>Te Deum</cite>. This custom is +performed to commemorate the miraculous extinguishing +of a conflagration on that night in +the year 1429. The legend goes that, whilst the +monks were engaged in prayer at midnight, the +belfry was struck by the electric current and set +on fire. Though the flames continued to rage +until the middle of the next day, the tower +escaped serious damage, and the bells were +uninjured—an escape which was imputed to +the special interference of the incorruptible +S. Cuthbert, who was enshrined in that cathedral. +These are not the bells which now reverberate<!-- TN: original reads "reverbrate" --> +among the housetops on the steep banks of the +Wear, they having been cast by Thomas Bartlett +during the summer of 1631.</p> + +<p>The fine peal of bells in Limerick Cathedral +were originally brought from Italy, having been +<a name="p134" id="p134"></a><span class="pageno"><span + class="ns">[p </span>134<span class="ns">] + </span></span>manufactured by a young native, who devoted +himself enthusiastically to the work, and who, +after the toil of many years, succeeded in finishing +a splendid peal, which answered all the critical +requirements of his own musical ear. Upon +these bells the artist greatly prided himself, and +they were at length bought by the prior of a +neighbouring convent at a very liberal price. +With the proceeds of that sale the young Italian +purchased a little villa, where, in the stillness of +the evening, he could enjoy the sound of his own +melodious bells from the convent cliff. Here he +grew old in the bosom of his family and of +domestic happiness. At length, in one of those +feuds common to the period, the Italian became +a sufferer amongst many others. He lost his all. +After the passing of the storm, he found himself +preserved alone amid the wreck of fortune, +friends, family, and home. The bells too—his +favourite bells—were carried off from the convent, +and finally removed to Ireland. For a time their +artificer became a wanderer over Europe; and at +last, in the hope of soothing his troubled spirit, +he formed the resolution of seeking the land to +which those treasures of his memory had been +conveyed. He sailed for Ireland. Proceeding +<a name="p135" id="p135"></a><span class="pageno"><span + class="ns">[p </span>135<span class="ns">] + </span></span>up the Shannon one beautiful evening, which +reminded him of his native Italy, his own bells +suddenly struck upon his ear! Home, and all +its loving ties, happiness, early recollections, all—all +were in the sound, and went to his heart. His +face was turned towards the cathedral in the +attitude of intently listening. When the vessel +reached its destination the Italian bellfounder +was found to be a corpse!</p> + +<p>Odoceus, Bishop of Llandaff, removed the +bells from his cathedral during a time of +excommunication. Earlier still they are assumed +to have been in use in Ireland as early as the +time of S. Patrick, who died in 493. In those +days much superstitious feeling, as in later ages, +hung around the bells, and many sweetly pretty +and very curious legends are known respecting +them. Thus it is said S. Odoceus, of Llandaff, +being thirsty after undergoing labour, and more +accustomed to drink water than anything else, +came to a fountain in the vale of Llandaff, not +far from the church, that he might drink. Here +he found women washing butter after the manner +of the country. Sending to them his messengers +and disciples they requested that they would +accommodate them with a vessel that their +<a name="p136" id="p136"></a><span class="pageno"><span + class="ns">[p </span>136<span class="ns">] + </span></span>pastor might drink therefrom. These mischievous +girls replied, “We have no other cup +besides that which we hold in our hands,” +namely, the butter. The man of blessed memory +taking it, formed one piece into the shape of a +small bell, and drank from it. The story goes +that it permanently remained in that form, so +that it appeared to those who beheld it to consist +altogether of the purest gold. It is preserved in +the church at Llandaff, and it is said that, by +touching it, health is given to the diseased.</p> + +<p>The bell of S. Mura was formerly regarded +with superstitious reverence in Ireland, and any +liquid drunk from it was believed to have peculiar +properties in alleviating human suffering; hence +the peasant women of the district in which it was +long preserved particularly used it in cases of +child-birth, and a serious disturbance was excited +on a former attempt to sell it by its owner. Its +legendary history relates that it descended from +the sky ringing loudly, but as it approached the +concourse of people who had assembled at the +miraculous warning, the tongue detached itself +and returned towards the skies; hence it was +concluded that the bell was never to be profaned +by sounding on earth, but was to be kept for +<a name="p137" id="p137"></a><span class="pageno"><span + class="ns">[p </span>137<span class="ns">] + </span></span>purposes more holy and beneficent. This is +said to have happened on the spot where once +stood the famous Abbey of Fahan, near Innishowen, +in county Donegal, founded in the +seventh century by S. Mura, or Muranus.</p> + +<p>Mr. Robert Hunt, <span class="postnomial">F.R.S.</span>, tells us that, in days +long ago, the inhabitants of the parish of Forrabury—which +does not cover a square mile, but +which now includes the chief part of the town of +Bocastle and its harbour—resolved to have a +peal of bells which should rival those of the +neighbouring church of Tintagel, which are said +to have rung merrily at the marriage, and tolled +solemnly at the death of Arthur. The bells were +cast. The bells were blessed. The bells were +shipped for Forrabury. Few voyages were more +favourable. The ship glided, with a fair wind, +along the northern shores of Cornwall, waiting +for the tide to carry her safely into the harbour +of Bottreaux. The vesper bells rang out at +Tintagel. When he heard the blessed bell, the +pilot devoutly crossed himself, and bending his +knee, thanked God for the safe and quick voyage +which they had made. The captain laughed at +the superstition, as he called it, of the pilot, and +swore that they had only to thank themselves for +<a name="p138" id="p138"></a><span class="pageno"><span + class="ns">[p </span>138<span class="ns">] + </span></span>the speedy voyage, and that, with his own arm +at the helm, and his judgment to guide them, +they would soon have a happy landing. The +pilot checked this profane speech. The wicked +captain—and he swore more impiously than ever, +that all was due to himself and his men—laughed +to scorn the pilot’s prayer. “May God forgive +you,” was the pilot’s reply. Those who are +familiar with the northern shores of Cornwall +will know that sometimes a huge wave, generated +by some mysterious power in the wide Atlantic, +will roll on, overpowering everything by its +weight and force. While yet the captain’s oaths +were heard, and while the inhabitants on the +shore were looking out from the cliffs, expecting +within an hour to see the vessel charged with +their bells safe in their harbour, one of those vast +swellings of the ocean was seen. Onward came +the grand billow in all the terror of its might! +The ship rose not upon the waters as it came +onward! She was overwhelmed, and sank in an +instant close to the land. As the vessel sank, +the bells were heard tolling with a muffled sound, +as if ringing the death knell of the ship and +sailors, of whom the good pilot alone escaped +with life. When storms are coming, and only +<a name="p139" id="p139"></a><span class="pageno"><span + class="ns">[p </span>139<span class="ns">] + </span></span>then, the bells of Forrabury, with their dull +muffled sound, are heard from beneath the +heaving sea, a warning to the wicked. The +tower has remained silent to this day.</p> + +<p>Passing through Massingham, in Lincolnshire, +a long time ago, a traveller noticed three men +sitting on a stile in the churchyard, and saying, +“Come to church, Thompson!” “Come to +church, Brown!” and so on. Surprised at this, +the traveller asked what it meant. He was told +that, having no bells, this was how they called +folk to church. The traveller, remarking that it +was a pity so fine a church should have no bells, +asked the men if they could make three for the +church, promising to pay for them himself. This +they undertook to do. They were a tinker, a +carpenter, and a shoemaker respectively. When +the visitor came round that way again, he found +the three men ringing three bells, which said +“Ting, Tong, Pluff,” being made respectively of +tin, wood, and leather.</p> + +<p>There is a tradition that John Barton, the +donor of the third bell at Brigstock, Northamptonshire, +was one of several plaintiffs against Sir +John Gouch to recover their rights of common +upon certain lands in the neighbouring parish of +<a name="p140" id="p140"></a><span class="pageno"><span + class="ns">[p </span>140<span class="ns">] + </span></span>Benefield, and that Sir John threatened to ruin +him if he persisted in claiming his right. John +Barton replied that he would leave a cow which, +being pulled by the tail, would low three times a +day, and would be heard all over the common +when he (Sir John) and his heirs would have +nothing to do there. Hence the gift of the bell, +which was formerly rung at four in the morning, +and at eleven at morning and at night. He is +also said to have left means for paying for this +daily ringing.</p> + +<p>One Christmas Eve the ringers of Witham-on-the-Hill +left the bells standing for the purpose +of partaking of refreshments at a tavern that +stood opposite the church. One of their number, +a little more thirsty than the rest, insisted that +before going back to ring they should have +another pitcher of ale. This being at length +agreed to by his brother bell-ringers, the party +remained to duly drain the last draught. Whilst +they were drinking, the steeple fell. Whether +this is merely a tapster’s tale, or the sober +statement of a remarkable fact, we are not in a +position to state.</p> + +<p>From a curious and rare pamphlet on +“Catholic Miracles,” published in 1825, we +<a name="p141" id="p141"></a><span class="pageno"><span + class="ns">[p </span>141<span class="ns">] + </span></span>learn that a band of sacrilegious robbers, having +broken into a monastery, proceeded out of +bravado to ring a peal of bells, when, through +prayers offered up by the “holy fathers,” a +miracle was wrought, and the robbers were +unable to leave their hold on the ropes. This +state of affairs was depicted by the inimitable +George Cruikshank in a woodcut, impressions of +which are given in our “Curiosities of the +Belfry,” (Hamilton).</p> + +<p>In the village of Tunstall, a few miles distant +from Yarmouth, there is a clump of alder trees, +familiarly known as “Hell Carr.” Not far from +these trees there is a pool of water having a +boggy bottom, that goes by the name of “Hell +Hole.” A succession of bubbles are frequently +seen floating on the surface of the water in +summer time, a circumstance (as Mr. Glyde, +the Norfolk antiquarian author, truly states) that +can be accounted for very naturally; but the +natives of the district maintain that these +bubbles are the result of supernatural action, the +cause of which is thus described. The tower of +the church is in ruins. Tradition says that it +was destroyed by fire, but that the bells were not +injured by the calamity. The parson and the +<a name="p142" id="p142"></a><span class="pageno"><span + class="ns">[p </span>142<span class="ns">] + </span></span>churchwarden each claimed the bells. While +they were quarrelling, his Satanic Majesty +carried out the disputed booty. The clergyman, +however, not desiring to lose the booty, pursued +and overtook the devil, who, in order to evade +his clerical opponent, dived through the earth to +his appointed dwelling-place, taking the bells +with him. Tradition points to “Hell Hole” as +the spot where this hurried departure took place. +The villagers believe that the bubbles on the +surface of the pool are caused by the continuous +descent of the waters to the bottomless pit.</p> + +<div class="illofltrt"> + <img src="images/p143.jpg" alt="" id="img143" /><br + /><small>THE BELL OF ST. FILLAN.</small> +</div> + +<p>In 1778 there was a bell belonging to the +chapel of S. Fillan, which was in high reputation +among the votaries of that saint in olden times. +It was of an oblong shape, about a foot high, and +was usually laid on a gravestone in the churchyard. +Mad people were brought to it to effect a +cure. They were first dipped into the “Saint’s +Pool,” where certain ceremonies were performed, +which partook of the character of Druidism and +Roman Catholicism. The bell was placed in the +chapel, where it remained, bound with ropes, all +night. Next day it was placed upon the heads +of the lunatics with great solemnity, but with +what results “deponent sayeth not.” It was the +<a name="p143" id="p143"></a><span class="pageno"><span + class="ns">[p </span>143<span class="ns">] + </span></span>popular opinion that, if stolen, this bell would +extricate itself from the hands of the thief and +return home ringing all the way! The bell had +ultimately to be kept under lock and key to +prevent its being used for superstitious purposes. +This old time relic is now in the National +Museum, Edinburgh, +of the Society of Antiquaries +of Scotland, +and it is described +as follows in the +catalogue: “The +‘Bell of S. Fillan,’ +of cast bronze, square +shaped, and with +double-headed, dragonesque +handle. It +lay on a gravestone +in the old churchyard +at Strathfillan, +Perthshire, where it was superstitiously used for +the cure of insanity and other diseases till 1798, +when it was removed by a traveller to England. +It was returned to Scotland in 1869, and +deposited in the Museum by Lord Crawford and +the Bishop of Brechin, with the consent of the +<a name="p144" id="p144"></a><span class="pageno"><span + class="ns">[p </span>144<span class="ns">] + </span></span>Heritors and Kirk-Session of S. Fillans.” +Near Raleigh there is a valley which is said to +have been caused by an earthquake several +hundred years ago, which convulsion of nature +swallowed up a whole village, together with the +church. Formerly it was the custom of the +people to assemble in this valley every Christmas +Day morning to listen to the ringing of the bells +of the church beneath them. This, it was +positively asserted, might be heard by placing +the ear to the ground and listening attentively. +As late as 1827 it was usual on this morning for +old men and women to tell their children and +young friends to go to the valley, stoop down, +and hear the bells ring merrily. The villagers +really heard the ringing of the bells of a neighbouring +church, the sound of which was communicated +by the surface of the ground, the +cause being misconstrued through the ignorance +and credulity of the listeners.</p> +</div> + + + +<div class="chunk"> +<h2 class="chap" title="Concerning Font-Lore"><a name="p145" id="p145"></a><span class="pageno"><span + class="ns">[p </span>145<span class="ns">]<br + /></span></span>Concerning Font-Lore.</h2> + +<p class="author">By the Rev. P. Oakley Hill.</p> + + +<p class="newchap"><span class="dropcap">When</span> those sermons in stone—the +beautiful fonts of the Decorated and +Perpendicular periods, which preached to a +bygone age—come to be translated into modern +English on an extensive and systematic scale, +they will be found to be not only sermons +theological, but treatises on hagiology, music, +contemporary history, symbolism, and art of the +highest order. One of the richest fields in font-lore +is to be found in East Anglia, and Norfolk +alone contains examples of sufficient importance +and of vivid interest, to fill a whole volume on +this particular subject. Only to mention a few, +that will rapidly occur to a Norfolk antiquary, is +to conjure up a varied and rich archæological +vision, which can be extended indefinitely at +will.</p> + +<p>Of canopied fonts perhaps that of S. Peter +(Mancroft), Norwich, takes the palm. The +carved oak canopy is supported by four massive +posts, giving great dignity to the stone font +<a name="p146" id="p146"></a><span class="pageno"><span + class="ns">[p </span>146<span class="ns">] + </span></span>which it overshadows. The canopy at Sall is of +a more graceful type, being in the form of a +crocketed spire, suspended by a pulley from an +ancient beam projecting from the belfry platform. +Elsing, Merton, and Worstead also possess font +covers of great interest.</p> + +<p>Seven Sacrament fonts are numerous, that of +New Walsingham being one of the finest of its +kind in England. It belongs to the Perpendicular +period, and is richly carved. On seven +of its eight panels are sculptured figures representing +the Seven Sacraments, the eighth +exhibiting the Crucifixion. The stem carries +figures of the four Evangelists and other saints, +and rests on an elaborately-carved plinth, the +upper part of which is in the form of a Maltese +cross. A copy of this magnificent structure has +been erected in the Mediæval Court of the +Crystal Palace. A counterpart of the Walsingham +font (more or less exact, though perhaps not +so rich in carving) is to be seen at Loddon, with +similar Maltese cross base, but the Vandal’s +hand has nearly obliterated the figuring of the +Sacramental panels. Other instances of Seven +Sacrament fonts are to be seen in Norwich +Cathedral, at Blofield, Martham, and elsewhere.</p> + +<p><a name="p147" id="p147"></a><span class="pageno"><span + class="ns">[p </span>147<span class="ns">]<br + /></span></span>Fonts bearing the date of their erection are +found at Acle and Sall, the former having the +following inscription upon the top step: “Orate +pro diabus qui hūc fontem in honore dei fecerunt +fecit anno dni millo cccc decimo.” An instance +of a Posy font with date (sixteenth century) +occurs in one of the Marshland churches, +the Posy <span class="nw">being:—</span></p> + +<p class="display"><span class="smcap">Thynk and Thank.</span></p> + +<p>The leaden font at Brundall is believed to be +one of three only of its kind remaining in +England; a fourth, somewhat damaged, existed +at Great Plumstead until a few years ago, when +alas! it perished in a disastrous fire which +practically destroyed the church. Lion fonts +are numerous, those of Acle and Strumpshaw +being excellent examples.</p> + +<p>Remarkable examples of carved fonts are +those at Toftrees, Blofield, Wymondham, Bergh +Apton, Aylsham, Ketteringham, Sculthorpe, +Walpole (S. Peter), etc. At Hemblington, +dedicated to All Saints, there is a perfect little +hagiology around the font-pedestal and upon +seven of the panels of the basin, the eighth panel +shewing the mediæval presentment of the Holy +Trinity, the Almighty Father being somewhat +<a name="p148" id="p148"></a><span class="pageno"><span + class="ns">[p </span>148<span class="ns">] + </span></span>blasphemously represented as an old man, while +the Crucifix rests upon an orb, and (what is +perhaps somewhat unusual) the Holy Dove +appears about to alight on the Cross.</p> + +<div class="illo"> + <img src="images/p148.jpg" alt="" id="img148" /><br + /><small>FONT AT UPTON CHURCH, NORFOLK.</small> +</div> + +<p>Of Decorated Fonts in the county of Norfolk, +that of Upton must be accounted <i>facile princeps</i>. +In beauty of design, in fulness of symbolism, in +richness of detail, it is a faithful type of the +elaborate art of the Decorated Period. It was +originally coloured, fragments of red and blue +<a name="p149" id="p149"></a><span class="pageno"><span + class="ns">[p </span>149<span class="ns">] + </span></span>paint being still visible. A massive base is +formed by three octagonal steps rising tier upon +tier, the upper step divided from the second by +eight sets of quatrefoils, flanked at the corners +by sitting dogs with open mouths. Upon the +stem of the font there are eight figures in <i>bas +relief</i>, standing upon pediments beneath overhanging +canopies exquisitely carved. These +canopies are adorned with crocketed pinnacles, +and the interior of each has a groined roof, with +rose boss in the centre. Some of the pediments +are garnished with foliage, others exhibit quaint +animals, <i>e.g.</i>, a double dragon with but one head +connecting the two bodies, two lions linked by +their tails, and two dogs in the act of biting each +other; all, of course, highly symbolical of various +types of sin. The canopied figures around the +pedestal represent the two Sacraments, an indication +that even in the fourteenth century the +two Sacraments of the Gospel were esteemed as +of the first importance. Holy Communion is +symbolised by five figures. A bishop in eucharistic +vestments, his right hand raised in blessing, +his left holding the pastoral staff, while the +double dragon is beneath his feet. It is not +unlikely that this ecclesiastic was de Spenser, the +<a name="p150" id="p150"></a><span class="pageno"><span + class="ns">[p </span>150<span class="ns">] + </span></span>contemporary Bishop of Norwich, of military +fame. The bishop is supported to right and +left by angels robed and girded, circlets and +crosses on their heads, each holding a candle in +a somewhat massive candlestick. The graceful +lines of the wings suggest the probability of the +artist having belonged to a continental guild of +stone carvers. The next two figures are priests, +each vested in dalmatic, maniple, stole, and alb, +acting as deacon and sub-deacon, the first holding +an open service book, the second the chalice +and pyx.</p> + +<p>The three remaining figures portray<!-- TN: original reads "pourtray" --> Holy +Baptism. Of the two godmothers and the godfather +in the lay dress of the fourteenth century, +the first holds a babe in her arms in swaddling +clothes, the swathing band being crossed again +and again. The other sponsors carry each a +rosary.</p> + +<p>To digress for a moment; here is an interesting +deduction. The infant is a girl—witness +the two godmothers. The font cannot +have been made later than about 1380, at which +time the Decorated merged into the Perpendicular. +Now the lord of the manor of Upton +from 1358 onwards, for many years, was one +<a name="p151" id="p151"></a><span class="pageno"><span + class="ns">[p </span>151<span class="ns">] + </span></span>John Buttetourt, or Botetourt, who, with his wife +Matilda, had an only daughter and heiress, to +whom was given the baptismal name Jocosa. It +appears highly probable that the lord of Upton, +rejoicing at the birth of his little heiress, caused +the font to be designed and built as a memorial +of her baptism. But it would seem that he did +not live to see her settled in life, for in 1399 +she had grown to early womanhood, had won +the affection of Sir Hugh Burnell, who made +her his wife, and by the following year, if +not before, she had inherited the manor in her +own right.</p> + +<p>To return to the description of the font. +Resting on the canopies above described, and +supported by eight half-angels with musical +instruments, etc., is the large and handsome +laver. The principal panels are occupied by +reliefs of the four living creatures of the Revelation—the +historic emblems of the four Evangelists—the +flying lion, the flying bull, the man, and +the eagle, the last named with scroll facing east. +The four alternative panels represent angels, +two holding instruments of music, two with +heraldic shields. The panels are separated from +each other by crocketed buttresses. The musical +<a name="p152" id="p152"></a><span class="pageno"><span + class="ns">[p </span>152<span class="ns">] + </span></span>instruments shewn upon the font are of great +interest. A kind of rebeck or lute twice occurs, +and once a curious pair of cymbals. One half-angel +is playing on a crowth, an early form of +the fiddle, consisting of an oblong box, a couple +of strings, a short straight and round handle, +and a bow. Another of the half-angels holds +an open music book, containing the ancient +four-line score.</p> + +<p>The font has suffered some amount of mutilation +in the five centuries of its existence; three +or four heads have disappeared, also the right +hand of the bishop, and the top of the pastoral +staff; the chalice has been broken off, and the +flying lion is fractured. And as a reminder of +the iconoclastic century which was most likely +responsible for the damage, these dates are +roughly cut into the leaden lining of the bowl: +1641, 1662, 1696.</p> +</div> + + + +<div class="chunk"> +<h2 class="chap" title="Watching Chambers in Churches"><a name="p153" id="p153"></a><span class="pageno"><span + class="ns">[p </span>153<span class="ns">]<br + /></span></span>Watching Chambers in Churches.</h2> + +<p class="author">By the Rev. Geo. S. Tyack, <span class="postnomial">B.A.</span></p> + + +<p class="newchap"><span class="dropcap">The</span> smallest acquaintance with the inventories, +or the ceremonial, of our mediæval +churches is sufficient to show anyone a glimpse +of the extraordinary wealth of which the larger +churches especially were possessed in those days. +Vestments of velvet and silk and cloth of gold, +adorned with jewels and the precious metals; +crosses and candlesticks of gold, studded with +gems; reliquaries that were ablaze with gorgeousness +and beauty; and sometimes shrines and +altars that were a complete mass of invaluable +treasure; such were the contents of the choirs +and sacristies of our cathedrals and abbey +churches. This being the case, it is obvious +that the greatest care had to be taken of such +places. Then, even as now, there were desperadoes +from whom the sanctity of the shrine could +not protect it, if they could get a chance of +fingering its jewels; men who would exclaim, +with Falconbridge in the play of “King John” +(Act III., <span class="nw">Sc. 3)—</span></p> + +<div class="poem" style="width:24em;"> +<div class="stanza"> +<div><a name="p154" id="p154"></a><span class="pageno"><span + class="ns">[p </span>154<span class="ns">]<br + /></span></span> “Bell, book, and candle shall not drive me back,</div> +<div> When gold and silver beck me to come on.”</div> +</div> +</div> + +<p>To protect the wealthier churches from desecration +and loss, therefore, bands of watchers +were organized, who throughout the night should +be ever on the alert against the attacks of +thieves; who would also, moreover, be able to +raise, if need were, the alarm of fire. At Lincoln +these guardians patrolled the Minster at nightfall, +to assure themselves that all was safe. To +facilitate the inspection of the whole building +occasionally squints were made; as at the +Cathedral of S. David’s, where the cross pierced +in the east wall behind, and just above, the high +altar, is supposed by some to have been for this +purpose, a view being thus obtained of the choir +from the Chapel of the Holy Trinity, or <i>vice +versâ</i>.</p> + +<div class="illo"><a name="p155" id="p155"></a><span class="pageno"><span + class="ns">[p </span>155<span class="ns">]<br + /></span></span> + <img src="images/p155.jpg" alt="" id="img155" /><br + /><small>ABBOT’S PEW, MALMESBURY ABBEY.</small> +</div> + +<p>In several instances, however, it was found +both more convenient and more effective to +erect a special chamber, so placed and so +elevated as to command a good view of the +church, or of the portion of the church to be +watched; and here a constant succession of +watchers kept guard. One of our most interesting +examples of this is at S. Albans. Near the +<a name="p157" id="p157"></a><span class="pageno"><span + class="ns">[p </span>157<span class="ns">] + </span></span>site of the shrine of the patron saint (on which +the fragments of the shattered shrine have been +skilfully built up once more) is a structure, in +two storeys, of carved timber. The lower stage +is fitted with cupboards, in which were probably +preserved relics, or such jewels and ornaments +as were not kept permanently upon the shrine. +A doorway in this storey admits to a staircase +leading to the gallery above. This is the +watchers’ chamber; the side fronting the shrine +being filled with perpendicular tracery, whence +the monks in charge could easily keep the +treasures around them under observation. A +somewhat similar structure is still seen at Christ +Church, Oxford, and is sometimes spoken of as +the shrine of S. Frideswide. It is really the +watching-chamber for that shrine; and was +erected in the fourteenth century upon an +ancient tomb, supposed to be that of the +founder of the <i>feretrum</i> of the saint, though +popular report describes it as the resting-place +of the bodies of her parents.</p> + +<p>In not a few cases, both in England and +abroad, these chambers were built in a yet more +durable fashion. At Bourges may be seen a +stone loft on the left side of the altar; at +<a name="p158" id="p158"></a><span class="pageno"><span + class="ns">[p </span>158<span class="ns">] + </span></span>Nuremberg also is one. In addition to the +wooden chamber, already described, S. Alban’s +Abbey (now the cathedral) has a small one of +stone in the transept. Lichfield has a gallery +over the sacristy door, which served the same +purpose; and at Worcester an oriel was +probably used by the watchers. Westminster +Abbey has such a chamber over the chantry of +King Henry VI., and Worcester Cathedral has +one in the north aisle; and there are several +other instances. Many churches had rooms +over the north porch, as the cathedrals of +Exeter and Hereford, the churches of Christchurch +(Hampshire), Alford (Lincolnshire), and +many others; and these in some cases, as at +Boston, had openings commanding a view of the +interior.</p> + +<p>Another explanation of the existence of a few +watching lofts is sometimes given, besides the +need of guarding the Church’s treasures. It is +held by some that in the face of the deterioration +of monastic simplicity and devotion in the later +times before the Dissolution in England, the +abbots felt the need of keeping a stricter eye +upon their community; and these rooms were +consequently constructed to enable them to +<a name="p159" id="p159"></a><span class="pageno"><span + class="ns">[p </span>159<span class="ns">] + </span></span>look, unobserved themselves, into their abbey +church, and to see that all whose duty called for +their presence were there, and properly occupied. +This theory is perhaps supported by the traditional +name of “the abbot’s pew,” by which a +very simple and substantial watching-chamber +in the triforium of Malmesbury Abbey is called. +With this may be compared another example in +the priory church of S. Bartholomew, Smithfield. +In these, and most of the other instances, +the watching-chamber is an addition to the +original structure, dating often considerably +later than the rest. This is quoted by the +believers in the rapid spread of monastic depravity +in later ages in support of the theory +just noticed; as is also the fact, that the “pew” +is often near what formerly constituted the +abbot’s private apartments within the adjoining +monastery. It is probable that both explanations +are true; some of these lofts forming +“abbot’s pews,” as others certainly were for the +guardian watchers of the shrines. In a large +community it would certainly be wise for the +head to be able at times to survey quietly and +unobserved the actions of the rest; but this +admission no more implies that the lives of all +<a name="p160" id="p160"></a><span class="pageno"><span + class="ns">[p </span>160<span class="ns">] + </span></span>monks were scandalous, than does the presence +of watchers by the shrines prove that all worshippers +were thieves.</p> + +<p>We have noticed in this paper the chief +watching-chambers in this country, but no doubt +other examples occur which may have special +points of interest.</p> +</div> + + + +<div class="chunk"> +<h2 class="chap" title="Church Chests"><a name="p161" id="p161"></a><span class="pageno"><span + class="ns">[p </span>161<span class="ns">]<br + /></span></span>Church Chests.</h2> + +<p class="author">By the Rev. Geo. S. Tyack, <span class="postnomial">B.A.</span></p> + + +<p class="newchap"><span class="dropcap">An</span> interesting article of Church furniture +which has scarcely received the amount +of notice which it deserves, is the Church Chest, +the receptacle for the registers and records of the +parish, and sometimes also for the office books, +vestments, and other valuables belonging to the +Church. In recent years attention has frequently +been directed to the interesting character of our +ancient parochial documents, but the useful +cases which for so many years have shielded +them, more or less securely, from damage or +loss, have been largely overlooked.</p> + +<p>The present authority for the provision in +every English church of a proper repository for +its records is the seventieth canon, the latter +part of which runs in the following words, from +which it will be seen that some of its details +have been suffered to become obsolete: “For +the safe keeping of the said book (the register of +baptisms, weddings, and burials), the churchwardens, +at the charge of the parish, shall +<a name="p162" id="p162"></a><span class="pageno"><span + class="ns">[p </span>162<span class="ns">] + </span></span>provide one sure coffer, and three locks and +keys; whereof one to remain with the minister, +and the other two with the churchwardens severally; +so that neither the minister without the +two churchwardens, nor the churchwardens +without the minister, shall at any time take that +book out of the said coffer. And henceforth +upon every Sabbath day immediately after +morning or evening prayer, the minister and +the churchwardens shall take the said parchment +book out of the said coffer, and the minister in +the presence of the churchwardens shall write +and record in the said book the names of all +persons christened, together with the names and +surnames of their parents, and also the names of +all persons married and buried in that parish in +the week before, and the day and year of every +such christening, marriage, and burial; and that +done, they shall lay up the book in the coffer as +before.” This Canon, made with others in 1603, +was a natural sequence to the Act passed in +1538, which enjoined the due keeping of parish +registers of the kind above described. It is, in +fact, obvious that the canon only gave additional +sanction to a practice enforced some years +earlier; for Grindal, in his “Metropolitical +<a name="p163" id="p163"></a><span class="pageno"><span + class="ns">[p </span>163<span class="ns">] + </span></span>Visitation of the Province of York in 1571,” uses +almost identical terms, requiring, amongst many +other things, “That the churchwardens in every +parish shall, at the costs and charges of the +parish, provide ... a sure coffer with two locks +and keys for keeping the register book, and a +strong chest or box for the almose of the poor, +with three locks and keys to the same:” the +same demand was made, also by Grindal, on the +province of Canterbury in 1576.</p> + +<p>Church chests did not, however, come into +use in consequence of the introduction of the +regular keeping of registers. The Synod of +Exeter, held in 1287, ordered that every parish +should provide “a chest for the books and the +vestments,” and the convenience and even +necessity of some such article of furniture, +doubtless led to its use in many places from yet +earlier times.</p> + +<p>We have in England several excellent examples +of “hutches,” or chests, which date from the +thirteenth, or even from the close of the twelfth +century. Some there are for which a much +earlier date has been claimed. These latter are +rough coffers formed usually of a single log of +wood, hollowed out, and fitted with a massive +<a name="p164" id="p164"></a><span class="pageno"><span + class="ns">[p </span>164<span class="ns">] + </span></span>lid, the whole being bound with iron bands.<!-- TN: original has comma --> +Chests of this kind may be seen at Newdigate,<!-- TN: original has period --> +Surrey, at Hales Owen, Shropshire, and elsewhere; +and on the strength of the rudeness of +the carpentry displayed, it has been asserted +that they are of Norman, or even of Saxon, +workmanship. Roughness of design and work +are scarcely, however, in themselves sufficient +evidence of great antiquity; many local causes, +especially in small country places, may have led +the priests and people to be content with a very +rude article of home manufacture, at a time when +far more elaborate ones were procurable in return +for a little more enterprise or considerably more +money. The date of these rough coffers must +therefore be considered doubtful.</p> + +<p>Of Early English chests, we have examples at +Clymping, Sussex, at Saltwood and Graveney, +Kent, at Earl Stonham, Suffolk, at Stoke +D’Abernon, Surrey, and at Newport, Essex. The +Decorated Period is represented by chests at +Brancepeth, Durham, at Huttoft and Haconby, +Lincolnshire, at Faversham and Withersham, +Kent, and at S. Mary Magdalene’s, Oxford. +The workmanship of the Perpendicular Period +has numerous illustrations among our church +<a name="p165" id="p165"></a><span class="pageno"><span + class="ns">[p </span>165<span class="ns">] + </span></span>chests, such as those at S. Michael’s, Coventry, +S. Mary’s, Cambridge, the Chapter House of +Christchurch Cathedral, Oxford, and others at +Frettenham, Norfolk, at Guestling, Sussex, at +Harty Chapel, Kent, at Southwold, Suffolk, and +at Stonham Aspel, Suffolk.</p> + +<div class="illo"> + <img src="images/p165.jpg" alt="" id="img165" /><br + /><small>CHEST AT SALTWOOD, KENT.</small> +</div> + +<p>In the making of all these coffers, strength was +naturally the great characteristic which was +most obviously aimed at; strength of structure, +so as to secure durability, and strength of locks +and bolts, so as to ensure the contents from +theft. But in addition to this, artistic beauty +was not lost sight of, and many chests are +excellent illustrations of the wood-carvers’ taste +and skill, and several were originally enriched +with colour.</p> + +<div class="illo"> +<a name="p167" id="p167"></a><span class="pageno"><span + class="ns">[p </span>167<span class="ns">]<br + /></span></span> + <img src="images/p167a.jpg" alt="" id="img167a" /><br + /><small>CHEST AT UPTON CHURCH.</small><br + /> <br + /><img src="images/p167b.jpg" alt="" id="img167b" /><br + /><small>CHEST AT OVER, CHESHIRE.</small> +</div> + +<p><a name="p166" id="p166"></a><span class="pageno"><span + class="ns">[p </span>166<span class="ns">]<br + /></span></span>A good example of those in which security has +been almost exclusively sought, is provided by a +chest at S. Peter’s, Upton, Northamptonshire. +The dimensions of this hutch are six feet three +inches in length, two feet six inches in height, +and two feet in width. Its only adornment is +provided by the wrought iron bands which are +attached to it. Four of these are laid laterally +across each end, and four more, running perpendicularly, +divide the front into five unequal +panels; the bands on the front correspond with +an equal number laid across the lid, where, +however, two more are placed at the extreme +ends. Each of the panels in front and top is +filled with a device in beaten iron roughly +resembling an eight-pointed star, the lowest +point of which runs to the bottom of the chest. +Yet simpler is the chest at S. Mary’s, West +Horsley, which is a long, narrow, oaken box, +strengthened by flat iron bands crossing the ends +and doubled well round the front and back, +while six others are fastened perpendicularly to +the front; there are two large locks, and three +hinges terminating in long strips of iron running +almost the complete breadth of the lid. The +church of S. Botolph, Church Brampton, has +<a name="p169" id="p169"></a><span class="pageno"><span + class="ns">[p </span>169<span class="ns">] + </span></span>a chest equally plain in itself, but the iron bands +are in this case of a richer character. Elegant +scroll-work originally covered the front and ends, +much still remaining to this day. S. Lawrence’s, +in the Isle of Thanet, possesses an exceedingly +rough example, with a curved top; seven broad +iron bands strengthen the lid, and several perpendicular +ones, crossed by a lateral one, are +affixed to the front, the whole being studded with +large square-headed nails; a huge lock is placed +in the middle, with hasps for padlocks to the +right and left of it. It is raised slightly from the +ground by wooden “feet.”</p> + +<div class="illo"> + <img src="images/p169.jpg" alt="" id="img169" /><br + /><small>CHEST AT S. LAWRENCE, ISLE OF THANET.</small> +</div> + +<p><a name="p170" id="p170"></a><span class="pageno"><span + class="ns">[p </span>170<span class="ns">]<br + /></span></span>For security and strength, however, the palm +must be awarded to a coffer at Stonham Aspel. +The following description of this remarkable +chest was given in the “Journal of the British +Archæological Society” in September, 1872: +“This curious example is of chestnut wood, +8 feet in length, 2 feet 3 inches in height, and +2 feet 7 inches from front to back; and is entirely +covered on the outer surface with sheets of iron +4½ inches in width, the joinings being hid by +straps. The two lids are secured by fourteen +hasps; the second from the left locks the first, +and the hasp simply covers the keyhole; the +fourth locks the third, etc. After this process is +finished, a bar from each angle passes over them, +and is secured by a curious lock in the centre, +which fastens them both. The interior of this +gigantic chest is divided into two equal compartments +by a central partition of wood, the one to +the left being painted red; the other is plain. +Each division can be opened separately; the rector +holding four of the keys, and the churchwardens +the others, all being of different patterns.” The +writer of this description (Mr. H. Syer Cuming, +<span class="postnomial">F.S.A.</span>, Scot., <span class="postnomial">V.P.</span>) assigns the chest to the fifteenth +century.</p> + +<div class="illo"> +<a name="p171" id="p171"></a><span class="pageno"><span + class="ns">[p </span>171<span class="ns">]<br + /></span></span> + <img src="images/p171.jpg" alt="" id="img171" /><br + /><small>CHURCH CHEST, S. MICHAEL’S, COVENTRY.</small> +</div> + +<p><a name="p173" id="p173"></a><span class="pageno"><span + class="ns">[p </span>173<span class="ns">]<br + /></span></span>Turning now to those chests, whose makers, +while not forgetting the needful solidity and +strength, aimed also at greater decoration, the +handsome hutch at S. Michael’s, Coventry, +claims our notice. The front of this is carved +with a double row of panels having traceried +heads, the upper row being half the width of the +lower one. In the centre are two crowned +figures, popularly (and not improbably) described +as Leofric and his wife, the Lady Godiva. At +each end of the front is a long panel decorated +with lozenges enclosing Tudor roses, foliage, and +conventional animals; while two dragons adorn +the bottom, which is cut away so as to leave a +triangular space beneath the chest. At S. John’s, +Glastonbury, is another fine example, +measuring six feet two inches in length, and at +present lidless. Within six vesica-shaped panels +are placed quatrefoil ornaments, each divided by +a horizontal bar. Above these are five shields, +three charged with S. George’s Cross, and the +others, one with three lozenges in fess, and the +other with three roundles, two and one, and a +label. The ends, or legs, are elaborately carved +with dog-tooth figures in squares and circles. +Saltwood, Kent, has an ornately carved chest, +<a name="p174" id="p174"></a><span class="pageno"><span + class="ns">[p </span>174<span class="ns">] + </span></span>divided (like that of Stonham Aspel) into two +parts, the lid being correspondingly formed, and +opening in sections. One half is secured by +three locks, and the other by one. The front is +carved with five geometrical “windows” of four +lights each; and the ends of the front have three +carved square panels, divided by bands of +dancette ornament. The base has a long +narrow panel, with a simple wavy design. There +is some bold carving on a chest at S. George’s, +South Acre, in Norfolk; a row of cusped arches +fills rather more than half the height of the front, +the rest being taken up with four panels containing +roses and stars, similar designs on a smaller +scale being repeated at the ends. The front is +cut away at the bottom in a series of curves.</p> + +<div class="illo"> +<a name="p175" id="p175"></a><span class="pageno"><span + class="ns">[p </span>175<span class="ns">]<br + /></span></span> + <img src="images/p175.jpg" alt="" id="img175" /><br + /><small>CHURCH CHEST S. JOHN’S GLASTONBURY</small> +</div> + +<p>At Alnwick is a massive coffer, over seven feet +long, bearing on its front a number of figures of +dragons, and heads of birds and beasts, amid +foliage; above which are two hunting scenes, in +which appear men with horns, dogs, and deer, +amid trees. These two scenes are separated by +the lock, and are precisely alike, save that the +quarry in one is a stag, and a hind in the other. +Empingham, near Stamford, has a fine chest of +cedar wood, adorned with incised figures. At +<a name="p177" id="p177"></a><span class="pageno"><span + class="ns">[p </span>177<span class="ns">] + </span></span>S. Mary’s, Mortlake, is one of walnut, inlaid +with boxwood and ebony, and ornamented with +designs in metal work; the under side of the lid +has some delicate iron-wrought tracery, which +was originally set off with red velvet. The +Huttoft chest is enriched with traceried arches, +which were apparently at one time picked out in +colour; that of Stoke D’Abernon is raised on +four substantial legs, and is decorated with three +circles on the front filled with a kind of tracery; +there are other interesting specimens at Winchester +and at Ewerby. In the old castle at +Newcastle-on-Tyne is preserved an old church +coffer, which was probably removed there for +safety during the troublous days of the Civil +War. At Harty Chapel, Kent, we find the +figures of two knights in full armour, tilting at +each other, carved on the front of a chest; the +legend of S. George and the dragon is illustrated +in a similar way at Southwold Church, +Suffolk, and yet more fully on a chest in the +treasury of York Minster.</p> + +<p>Probably, however, the handsomest example +of a carved church chest now preserved in +England is at Brancepeth, in the county of +Durham. This beautiful piece of work, which +<a name="p178" id="p178"></a><span class="pageno"><span + class="ns">[p </span>178<span class="ns">] + </span></span>rests in the south chapel of the church, has its +front completely covered with elaborate carving. +At either end are three oblong panels, one above +another, on each of which is a conventional bird +or beast; at the base is a series of diamonds +filled, as are the intervals between them, with +tracery; and above this is an arcade of six +pointed arches, each enclosing three lights surmounted +by a circle, the six being divided by +tall lancets, the crockets of the arches and a +wealth of foliage filling up the intervening +spaces. This fine chest dates from the fourteenth +century.</p> + +<p>The Rev. Francis E. Powell, <span class="postnomial">M.A.</span>, in his +pleasantly-written work entitled “The Story of +a Cheshire Parish,” gives particulars of the +parish chest of Over. “The chest,” says Mr. +Powell, was “the gift of Bishop Samuel Peploe +to Joseph Maddock, Clerk, April 30th, 1750.” +It probably was an old chest even then. The +donor was Bishop of Chester from 1726 to +1752. He was a Whig in politics, and a +latitudinarian in religion, as so many bishops of +that time were. That he was a man of determined +courage may be seen by his loyalty to the +House of Hanover, even under adverse +<a name="p179" id="p179"></a><span class="pageno"><span + class="ns">[p </span>179<span class="ns">] + </span></span>circumstances. One day, in the year 1715, he was +reading Morning Prayer at the parish church at +Preston. The town was occupied by Jacobite +troops, some of whom burst into the church +during the service. Approaching the prayer-desk, +with drawn sword, a trooper demanded +that Peploe should substitute James for George +in the prayer for the King’s Majesty. Peploe +merely paused to say, “Soldier, I am doing my +duty; do you do yours;” and went on with the +prayers, whereupon the soldiers at once proceeded +to eject him from the church. The +illustration of the chest is kindly lent to us by +the Rev. Francis E. Powell, vicar of Over.</p> + +<p>In the vestry of Lambeth Palace is a curiously +painted chest; several of an early date are preserved +in the triforium of Westminster Abbey; +there is one at Salisbury Cathedral, and another +in the Record Office, having been removed from +the Pix Chapel.</p> + +<p>One of the original uses of these coffers, as we +have seen, was to preserve the vestments of the +church. The copes, however, being larger than +the other vestments, and in the cathedrals and +other important churches, being very numerous, +frequently had a special receptacle provided. +<a name="p180" id="p180"></a><span class="pageno"><span + class="ns">[p </span>180<span class="ns">] + </span></span>At York, Salisbury, Westminster, and Gloucester, +ancient cope-chests are still preserved. These +are triangular in shape, the cope being most +easily folded into that form.</p> + +<p>In not a few instances these large coffers, or +sections of them, were used as alms boxes, for +which a very ancient precedent can be found. +At the restoration of the Jewish Temple under +King Joash, we are told (2 Kings xii., 9, 10) +that “Jehoiada the priest took a chest, and +bored a hole in the lid of it, and set it beside +the altar, on the right side as one cometh into +the house of the Lord: and the priests that kept +the door put therein all the money that was +brought into the house of the Lord: and it was +so, when they saw that there was much money +in the chest, that the King’s scribe and the high +priest came up, and they put up in bags, and +told the money that was found in the house of +the Lord.”</p> + +<p>At Llanaber, near Barmouth in North Wales, +is a chest hewn from a single block of wood, and +pierced to receive coins. At Hatfield, Yorkshire, +is an ancient example of a similar kind; and +others may be seen at S. Peter’s-in-the-East, +Oxford, at Drayton in Berkshire, at Meare +<a name="p181" id="p181"></a><span class="pageno"><span + class="ns">[p </span>181<span class="ns">] + </span></span>Church, Somersetshire, at Irchester and Mears +Ashby, in Northamptonshire, at Hartland, in +Devonshire, and in the Isle of Wight at Carisbrooke. +An interesting chest, with provision for +the reception of alms, is preserved at Combs +Church, Suffolk, where there is also another +plain hutch, iron-bound and treble-locked. The +chest in question is strongly, but simply, made, +the front being divided into four plain panels, +with some very slight attempt at decoration in +the form of small disks and diamonds along the +top; and the lid being quite flat and plain, and +secured by two locks. At one end, however, a +long slit has been cut in this lid, and beneath it +is a till, or trough, to receive the money, very +similar to the little locker often inserted at one +end of an old oak chest intended for domestic +use, save that in this case the compartment has, +of course, no second lid of its own. This chest +has the date 1599 carved upon it, but is supposed +to be some half a century older, the date perhaps +marking the time of some repairs or alterations +made in it.</p> + +<p>Hutches of the kind that we have been considering +are not peculiar to England, some fine +and well-preserved examples being found in +<a name="p182" id="p182"></a><span class="pageno"><span + class="ns">[p </span>182<span class="ns">] + </span></span>several of the ancient churches in France. +Among ourselves it is obvious that great numbers +must have disappeared; many doubtless were +rough and scarcely worthy of long preservation; +others by the very beauty of their workmanship +probably roused the cupidity, or the iconoclastic +prejudice, of the spoiler. Near Brinkburn Priory +a handsome fourteenth century chest was found, +used for domestic purposes, in a neighbouring +farm-house; a Tudor chest, belonging to +S. Mary’s, Newington, lay for years in the old +rectory house, and subsequently disappeared; +and these are doubtless typical of many another +case. When the strictness at first enforced as +to the care of the parish registers became +culpably relaxed, and parish clerks and sextons +were left in practically sole charge of them, it is +but too probable that these men, often illiterate +and otherwise unsuited to such a trust, were in +many instances as careless, or as criminal, in +regard to the coffers, as we unfortunately know +they frequently were with respect to their contents.</p> + +<p>Few church chests of any interest date from +the Jacobean, or any subsequent period. Plain +deal boxes were then held good enough for the +purpose of a “church hutch.”</p> +</div> + + + +<div class="chunk"> +<h2 class="chap" title="An Antiquarian Problem: The Leper Window"><a name="p183" id="p183"></a><span class="pageno"><span + class="ns">[p </span>183<span class="ns">]<br + /></span></span>An Antiquarian Problem: The Leper Window.</h2> + +<p class="author">By William White, <span class="postnomial">F.S.A.</span></p> + + +<p class="newchap"><span class="dropcap">These</span> windows were called by Parker and +other writers of the Gothic Revival, +“Lychnoscopes;” and then by the ecclesiologists, +“Low-side Windows.” But the name +given by the late G. E. Street has now become +so generally accepted that it seems necessary +to look a little further into the evidence of the +fitness or unfitness of this designation for them.</p> + +<p>Behind some stalls in the Royal Chapel were +discovered some remains of a mural painting, +apparently to represent the communicating of a +leper through some such window, and he at once +concluded that it was for this very purpose so +many of them were introduced into the chancels +of our mediæval churches. There seemed, however, +nothing to indicate that it was at one of +these special windows at all that this function +was performed. And the very fact of the representation +itself would seem to indicate rather an +exceptional instance, or special circumstance, +such as the communicating of some knight or +<a name="p184" id="p184"></a><span class="pageno"><span + class="ns">[p </span>184<span class="ns">] + </span></span>person of note who might, for instance, have +brought leprosy in his own person from the Holy +Land, from whence probably in the first instance +it came; and who would not be admitted within +the church. But the records of the existence of +lepers would seem to show their numbers to have +been very limited, and confined to few localities. +And in any case this would be no sufficient cause +for the introduction of these windows as of universal +occurrence throughout the land, for these +windows are found almost everywhere, and in +very many instances on both sides of the chancel. +Moreover, in many cases the act of administration +through these windows would be exceedingly +difficult, if not impossible, on account of the +position, or the arrangement, of the window itself.</p> + +<p>To my mind a very much more practical and +reasonable supposition would be that they were +introduced, and used, for burial purposes. At +a period when the body would not be brought +into the church, except in the case of some +ecclesiastic or other notable person, the priest +would here be able, <em>from his stall</em>, to see the +funeral <i>cortége</i> come into the churchyard, and +then say the first part of the office through this +window; which was always shuttered and without +<a name="p185" id="p185"></a><span class="pageno"><span + class="ns">[p </span>185<span class="ns">] + </span></span>glass. In some cases there is a book-ledge +corbelled out on the east jamb of the window +inside, which has puzzled antiquaries, but which +has not otherwise received a satisfactory explanation. +In immediate proximity to the window, +at the end of the stalls (and sometimes in the +earlier churches <em>through</em> them), was the priest’s +door, out of which he would then proceed to the +grave to commit the body to the earth. The +grave itself needs not necessarily be within sight +of the window. But in a number of instances +the churchyard cross was so; and this may have +served as the recognised place for the mourners, +with the body, to assemble.</p> + +<p>In the case of Foxton, Leicestershire, the +“Lych Window,” as I would call it, is on the +north side. Here the burials are chiefly on +the north side; a steep slope down towards the +church on the south side rendering it very +difficult and unsuitable for them. At Addisham, +Kent, the priest’s door is, contrary to the usual +custom, on the north side, where is also a +principal portion of the churchyard, and, so far +as my own observations go, the position of the +window would greatly depend upon the arrangement +of the churchyard, whether north or south.</p> +</div> + + + +<div class="chunk"> +<h2 class="chap" title="Mazes"><a name="p186" id="p186"></a><span class="pageno"><span + class="ns">[p </span>186<span class="ns">]<br + /></span></span>Mazes.</h2> + +<p class="author">By the Rev. Geo. S. Tyack, <span class="postnomial">B.A.</span></p> + + +<p class="newchap"><span class="dropcap">Something</span> concerning the construction +of labyrinths, or mazes, is known even to +the most general reader; it needs but a slight +acquaintance with classical literature to learn of +the famous example formed at Crete by Dædalus; +the legend of the concealment of “fair Rosamond,” +within a maze at Woodstock, is familiar +enough; and the existing labyrinth at Hampton +Court, the work of William III. is well known. +But probably few who have not looked somewhat +into the matter, have any idea of the number +of such mazes which still exist, or of the yet +greater number of which we have authentic +records. A learned French antiquary, Mons. +Bonnin, of Evreux, collected two hundred +examples, gathered from many lands, and +stretching in history from classical to modern +times.</p> + +<p>Of the most ancient labyrinths it will be +enough to indicate the localities. One is said to +have been constructed in Egypt by King Minos, +<a name="p187" id="p187"></a><span class="pageno"><span + class="ns">[p </span>187<span class="ns">] + </span></span>and to have served as a model for the one raised +by Dædalus at Cnossus, in Crete, as a prison +for the Minataur<!-- TN: sic -->. Another Egyptian example, +which has been noticed by several authors, was +near Lake Mœris. Lemnos contained a famous +labyrinth; and Lar Porsena built one at Clusium, +in Etruria. These mazes consisted either of a +series of connected caverns, as it has been +supposed was the case in Crete; or, as in the +<a name="p188" id="p188"></a><span class="pageno"><span + class="ns">[p </span>188<span class="ns">] + </span></span>other instances, were formed of courts enclosed +by walls and colonnades.</p> + +<div class="illo"> + <img src="images/p187.jpg" alt="" id="img187" /><br + /><small>LABYRINTH INSCRIBED ON ONE OF THE PORCH PIERS OF LUCCA CATHEDRAL.</small> +</div> + +<p>The use of the labyrinth in mediæval times, +has, however, greater interest for us in this +paper, especially from the fact that such was +distinctly ecclesiastical. Several continental +churches have labyrinths, either cut in stone or +inlaid in coloured marbles, figured upon their +walls or elsewhere. At Lucca Cathedral is an +example incised upon one of the piers of the +porch; and others may be seen at Pavia, Aix in +Provence, and at Poitiers. These are all small, +the diameter of the Lucca labyrinth being +1 foot 7½ inches, which is the dimension also +of one in an ancient pavement in the church +of S. Maria in Aquiro, in Rome. That the +suggestion for the construction of these arose +from the mythological legends concerning those +of pagan days is proved by the fact that in +several of them the figures of Theseus and the +Minataur<!-- TN: sic --> were placed in the centre. Probably +from the first, the Church, in her use of the +figure, spiritualized the meaning of the heathen +story, as we know was her wont in other cases; +and a labyrinth formed in mosaic on the floor of +an ancient basilica at Orleansville, Algeria, shows +<a name="p189" id="p189"></a><span class="pageno"><span + class="ns">[p </span>189<span class="ns">] + </span></span>that presently the mythological symbols gave +place entirely to obviously Christian ones. In +this last-named instance, the centre is occupied +by the words <cite>Sancta Ecclesia</cite>.</p> + +<p>About the twelfth century these curious figures +became very popular, and a considerable number +dating from that period still exist. They have +for the most part been constructed in parti-coloured +marbles on some portion of the floor of +the church. One was laid down in 1189 at +S. Maria in Trastevere, in Rome; S. Vitale, +Ravenna, contains another; and the parish +church of S. Quentin has a third. Others +formerly existed at Amiens Cathedral (made in +1288 and destroyed in 1825), at Rheims (made +about 1240 and destroyed in 1779), and at Arras +(destroyed at the Revolution). These are much +larger than the examples before noticed; the two +Italian examples are each about 11 feet across, +but the French ones greatly exceed this. Those +of S. Quentin and Arras were each over 34 feet +in diameter, and the others were somewhat +larger; Amiens possessed the largest, measuring +42 feet. France had another example of a +similar kind at Chartres.</p> + +<p>The Christian meaning which was read into +<a name="p190" id="p190"></a><span class="pageno"><span + class="ns">[p </span>190<span class="ns">] + </span></span>these complicated designs was more emphatically +expressed in these twelfth-century instances. +The centre is usually occupied by a cross, round +which, in some cases, were arranged figures of +bishops, angels, and others.</p> + +<p>The introduction of these large labyrinths, +together with the name which came at this time +to be applied to them in France, namely, +<i>Chemins de Jerusalem</i>, suggests the new use to +which such arrangements now began to be put. +It is well known that in some cases substitutes +for the great pilgrimage to Jerusalem were +allowed to be counted as of almost equal merit. +Thus the Spaniards, so long as they had not +expelled the infidel from their own territory, +were forbidden to join the Crusades to the Holy +Land; and were permitted to substitute a journey +to the shrine of S. Jago, at Compostella, for one +to the Holy Sepulchre in Jerusalem. By an +extension of the same principle, especially when +the zeal of Christendom for pilgrimages began to +cool, easy substitutes for the more exacting +devotion were found in many ways. The introduction +of the Stations of the Cross is ascribed +to this cause, the devout following in imagination +of the footsteps of the Saviour in His last sufferings, +<a name="p191" id="p191"></a><span class="pageno"><span + class="ns">[p </span>191<span class="ns">] + </span></span>being accounted equivalent to visiting the +holy places; and somewhat similarly, the maze, +or labyrinth, is said to have been pressed into the +service of religion, the following out (probably +upon the knees) of its long and tortuous path- +way, being reckoned as a simple substitute for a +longer pilgrimage.</p> + +<p>From such a use as this, it was no great step +to the employment of the maze as a means of +penance in other cases. The whole of the +intricate pathway was intended to remind the +penitent of the difficulties which beset the +Christian course; and the centre, which could +only be reached by surmounting them, was often +called heaven (<i>Ciel</i>). Nor could such a penance +be deemed a light one. Though occupying so +small a space of ground, the mazy path was so +involved as to reach a considerable length, +whence it was sometimes named the League +(<i>La lièue</i>). The pathway at Chartres measures +668 feet; at Sens was a maze which required +some 2,000 steps to gain the centre. An hour is +said to have been often needed to accomplish +the journey, due allowance being made for the +prayers which had to be recited at certain fixed +stations of it, or throughout its whole course.</p> + +<p><a name="p192" id="p192"></a><span class="pageno"><span + class="ns">[p </span>192<span class="ns">]<br + /></span></span>At S. Omer are one or two examples of the +labyrinth. One at the Church of Notre Dame +has figures of towns, mountains, rivers, and wild +beasts depicted along the pathway, to give, no +doubt, greater realism to the pilgrimage. The +existing drawing of another, which has been +destroyed, is inscribed, “The way of the road to +Jerusalem at one time marked on the floor of the +Church of S. Bertin.” Many of these designs +are not only ingenious, but beautiful. In the +Chapterhouse at Bayeux is one enriched with +heraldic figures; that at Chartres has its central +circle relieved with six cusps, while an engrailed +border encloses the whole work. A circular +shape was apparently the most popular; the +maze at S. Quentin, with some others, however, +is octagonal. The pathway is usually marked +by coloured marbles, sometimes the darker, +sometimes the lighter shades in the design being +used for the purpose; at Sens, lead has been +employed to indicate it.</p> + +<p>The Revolution, as we have seen, led to the +destruction of several ecclesiastical labyrinths; +some, however, became a source of annoyance +to the worshippers, from children attempting +to trace the true pathway during the time of +<a name="p193" id="p193"></a><span class="pageno"><span + class="ns">[p </span>193<span class="ns">] + </span></span>service, and they were removed in consequence. +Labyrinths of this kind do not appear to have +been introduced into England, the only instance +known to the present writer being quite a modern +one. This is in the church porch at Alkborough, +in Lincolnshire, where, at the recent restoration, +the design of a local maze (to be noticed further +hereafter) was reproduced.</p> + +<p>If England, however, has not imitated the +continent in this respect, she has struck out a +line no less interesting, which has remained +almost exclusively her own; namely, in the +mazes cut in the green turf of her meadows. +Shakespeare has an allusion to these in the +“Midsummer Night’s Dream,” (Act iii., 3) +where Titania says,</p> + +<div class="poem" style="width:22em;"> +<div class="stanza"> +<div> “The nine men’s morris is fill’d up with mud,</div> +<div> And the quaint mazes in the wanton green</div> +<div> For lack of tread are indistinguishable.”</div> +</div> +</div> + +<p>Some twenty of these rustic labyrinths have +been noted as still existing, or as recorded by +a sound tradition, in England; and no doubt +there have been others which have disappeared, +leaving no trace behind.</p> + +<div class="illo"> + <img src="images/p194.jpg" alt="" id="img194" /><br + /><small>MAZE AT ALKBOROUGH, LINCOLNSHIRE.</small> +</div> + +<p>Among those which have been preserved, the +following may be noticed. At Alkborough, in +<a name="p194" id="p194"></a><span class="pageno"><span + class="ns">[p </span>194<span class="ns">] + </span></span>Lincolnshire, near the confluence of the Trent +and the Ouse, is a maze, the diameter of which +is 44 feet; by a happy suggestion, the design of +this has been repeated, as was above remarked, +in the porch of the Parish Church, so that +should the original unfortunately be destroyed, +a permanent record has been provided. Hilton, +in Huntingdonshire has a maze of exactly the +<a name="p195" id="p195"></a><span class="pageno"><span + class="ns">[p </span>195<span class="ns">] + </span></span>same plan, in the centre of which is a stone +pillar, bearing an inscription in Latin and +English, to the effect that the work was constructed +in 1660, by William Sparrow. Comberton, +in Cambridgeshire, possesses a maze, +locally known as the “Mazles,” which is fifty +feet in diameter. The pathway is two feet +wide, and is defined by small trenches, the +whole surface being gradually hollowed towards +<a name="p196" id="p196"></a><span class="pageno"><span + class="ns">[p </span>196<span class="ns">] + </span></span>the centre. Northamptonshire is represented by +Boughton Green, which has a labyrinth 37 feet +in diameter; and Rutland has one at Wing, +which measures 40 feet.</p> + +<div class="illo"> + <img src="images/p195.jpg" alt="" id="img195" /><br + /><small>THE MIZE-MAZE ON ST. KATHERINE’S HILL, WINCHESTER.</small> +</div> + +<p>At Asenby, in the parish of Topcliffe, Yorkshire, +is a maze measuring 51 feet across, which +has been carefully preserved by the local +authorities. At Chilcombe, near Winchester, a +maze is cut in the turf of S. Catherine’s Hill; +it is square in outline, each side being 86 feet. +It is locally known as the “Mize-maze.” One +much larger than any yet noticed is found +near Saffron Waldon, in Essex, its diameter +being 110 feet. There are local records which +prove the great antiquity of a maze at this place. +The design is peculiar, being properly a circle, +save that at four equal distances along the circumference +the pathway sweeps out into a horseshoe +projection.</p> + +<div class="illo"> +<a name="p197" id="p197"></a><span class="pageno"><span + class="ns">[p </span>197<span class="ns">]<br + /></span></span> +<img src="images/p197.jpg" alt="" id="img197" /><br + /><small>THE MAZE NEAR ST. ANNE’S CHAPEL, NOTTINGHAM.</small> +</div> + +<p>A similar plan was followed in cutting a maze, +once of some celebrity, near S. Anne’s Well, at +Sneinton, Nottingham. The projections in this +case are bolder, and within the spaces enclosed +by the triple pathway which swept around them +were cut cross-crosslets. The popular names for +this maze in the district were the “Shepherd’s +<a name="p199" id="p199"></a><span class="pageno"><span + class="ns">[p </span>199<span class="ns">] + </span></span>Maze,” and “Robin Hood’s Race.” This was, +unfortunately, ploughed up in 1797, at the enclosure +of the lordship of Sneinton. Nottinghamshire +has, however, another example in the small +square one at Clifton.</p> + +<div class="illo"> +<img src="images/p199.jpg" alt="" id="img199" /><br + /><small>MAZE FORMERLY EXISTING NEAR ST. ANNE’S WELL, SNEINTON, NOTTINGHAMSHIRE.</small> +</div> + +<p>Many of these turf-cut labyrinths were destroyed +during the Commonwealth, before which +<a name="p200" id="p200"></a><span class="pageno"><span + class="ns">[p </span>200<span class="ns">] + </span></span>period, according to Aubrey in his history of +Surrey, there were many in England. Not a few, +however, which survived that time of wanton +destruction, have been obliterated since.</p> + +<p>In 1827 one which was on Ripon Common +was ploughed up. Its diameter was 60 feet. +Another existed till comparatively recent times +at Hillbury, between Farnham and Guildford. +At Pimpern, in Dorset, there was formerly a +maze of a unique design. The outline was +roughly a triangle, which enclosed nearly an acre +of ground; the pathway was marked out by +ridges of earth about a foot in height, and +followed a singularly intricate course. The +plough destroyed this also in 1730.</p> + +<p>The names locally applied to these structures +often imply very erroneous ideas as to their +origin and purpose. In some instances they are +ascribed to the shepherds, as if cut by them as +pastime in their idle moments; a suggestion, +which a glance at the mazes themselves, with +their intricate designs and correctly formed +curves, will prove to be hardly tenable. Two +other names of frequent occurrence in England +are “Troy Town,” and “Julian’s Bower”; the +latter being connected with the former, Julius, +<a name="p201" id="p201"></a><span class="pageno"><span + class="ns">[p </span>201<span class="ns">] + </span></span>son of Æneas being the person alluded to. +Some have from these titles sought to trace a +connection with a very ancient sport known as +the <cite>Troy Game</cite>, which arose in classic times, +and survived down to the Middle Ages. It +consisted probably in the rhythmic<!-- TN: original reads "rythmic" --> + performance +of certain evolutions, much after the fashion of +the “Musical Rides” executed by our cavalry. +The origin of the idea is to be sought in a +passage in Virgil’s Æneid (Bk. V., v. 583 <i>et seq.</i>), +which has been thus translated by <span class="nw">Kennett:—</span></p> + +<div class="poem" style="width:26em;"> +<div class="stanza"> +<div> “Files facing files their bold companions dare,</div> +<div> And wheel, and charge, and urge the sportive war.</div> +<div> Now flight they feign, and naked backs expose,</div> +<div> Now with turned spears drive headlong on the foes,</div> +<div> And now, confederate grown, in peaceful ranks they close.</div> +<div> As Crete’s fam’d labyrinth, to a thousand ways</div> +<div> And endless darken’d walls the guest conveys;</div> +<div> Endless, inextricable rounds amuse,</div> +<div> And no kind track the doubtful passage shows;</div> +<div> So the glad Trojan youth, the winding course</div> +<div> Sporting pursue, and charge the rival force.”</div> +</div> +</div> + +<p>Tresco, Scilly, has a maze known as Troy-town; +and it would seem that such were once +common in Cornwall, since any intricate arrangement +is often locally called by that name.</p> + +<p>It has, however, been pointed out that +<a name="p202" id="p202"></a><span class="pageno"><span + class="ns">[p </span>202<span class="ns">] + </span></span>most of these mazes date from a time when +classical knowledge was not widely spread in +England; that, in fact, the name has probably +been given in most instances long after the date +of the construction of the work.</p> + +<p>It would seem rather that the original use +of these quaint figures was, as with those +continental examples before noted, ecclesiastical. +No one who has had the opportunity of comparing +the designs of the English and the +foreign mazes can fail to be struck with the +great similarity between them; suggesting, at +least, a common origin and purpose. And this +suggestion is greatly strengthened when we notice +that, although the English mazes are never (with +one modern instance only excepted) within +churches, as are the continental instances, yet +they are almost invariably close to a church, or +the ancient site of a church. The Alkborough +and Wing mazes, for instance, are hard by the +parish churches; and those at Sneinton, Winchester, +and Boughton Green are beside spots +once consecrated by chapels dedicated in honour +of St. Anne, St. Catherine, and St. John. The +most probable conjecture is that these were +originally formed, and for long years were used, +<a name="p203" id="p203"></a><span class="pageno"><span + class="ns">[p </span>203<span class="ns">] + </span></span>for purposes of devotion and penance. Doubtless +in later times the children often trod those +mazy ways in sport and emulation, which had +been slowly measured countless times before in +silent meditation or in penitential tears.</p> + +<p>A word or two may be added in conclusion on +mazes of the more modern sort, formed for +amusement rather than for use, as a curious +feature in a scheme of landscape gardening. +These <i>topiary</i> mazes, as they are called, usually +have their paths defined by walls of well-cut +box, yew, or other suitable shrubs; and they +differ from the turf mazes in that they are often +made purposely puzzling and misleading. In +the ecclesiastical maze, it is always the patience, +not the ingenuity, which is tested; there is but +one road to follow, and though that one wanders +in and out with tantalizing curves and coils, yet +it leads him who follows it unerringly to the +centre.</p> + +<p>From Tudor times this form of decoration for +a large garden has been more or less popular. +Burleigh formed one at the old palace at +Theobald’s, Hertfordshire, about 1560; and the +Maze in Southwark, near a spot once occupied +by the residence of Queen Mary before coming +<a name="p204" id="p204"></a><span class="pageno"><span + class="ns">[p </span>204<span class="ns">] + </span></span>to the throne, and Maze Hill at Greenwich, no +doubt mark the sites of labyrinths now otherwise +forgotten. Lord Fauconbergh had a maze at +Sutton Court in 1691; and William III. so +highly approved of them that, having left one +behind him at the Palace of the Loo, he had +another constructed at Hampton Court.</p> + +<p>Literature and art have not disdained to +interest themselves in this somewhat formal +method of gardening; for in the sixteenth and +seventeenth centuries more than one treatise on +their construction was published; while Holbein +and Tintoretto have left behind them designs +for topiary labyrinths.</p> + +<p>The oldest and most famous maze in our +history is “Fair Rosamond’s Bower,” already +mentioned. Of what kind this was, if indeed it +was at all, it is difficult to say; authorities +disagreeing as to whether it was a matter of +architectural arrangement, of connected caves, or +of some other kind. The trend of modern historical +criticism in this, as in so many other +romantic stories from our annals, is to deny its +genuineness altogether.</p> + +<p>Fortunately although so many of our ancient +mazes have disappeared, the designs of their +<a name="p205" id="p205"></a><span class="pageno"><span + class="ns">[p </span>205<span class="ns">] + </span></span>construction has, in not a few cases, been +preserved to us by means of contemporary +drawings; so that a fairly accurate idea of the +type most commonly followed may still be +obtained.</p> + +<p>We have to thank Mr. J. Potter Briscoe, +<span class="postnomial">F.R.H.S.</span>, editor of “Old Nottinghamshire,” for +kindly placing at our disposal the two illustrations +relating to the St. Anne’s Well Maze.</p> +</div> + + + +<div class="chunk"> +<h2 class="chap" title="Churchyard Superstitions"><a name="p206" id="p206"></a><span class="pageno"><span + class="ns">[p </span>206<span class="ns">]<br + /></span></span>Churchyard Superstitions.</h2> + +<p class="author">By the Rev. Theodore Johnson.</p> + + +<p class="newchap"><span class="dropcap">Among</span> all classes of English people there +are mixed feelings relating to our churchyards. +They are either places of reverence on the +one hand, or superstition on the other. The sacred +plot surrounding the old Parish Church carries +with it such a host of memories and associations, +that to the learned and thoughtful it has always +been God’s Acre, hallowed with a tender hush of +silent contemplation of the many sad rifts and +partings among us. We almost vie with each +other in proclaiming that deep reverence for this +one sacred spot, so dear to our family life, and +affections, by those mementos of love which we +raise over the resting-places of our lost ones gone +before. This is strangely apparent in the stately +monument, where the carver’s art declares the +virtues of the dead, either by sculptured figure, +or verse engraven, as well as in the ofttimes more +pathetic, and perhaps more beautiful, tribute of +the floral cross or wreath culled by loving hands, +and borne in silence, by our poorer brethren, as +<a name="p207" id="p207"></a><span class="pageno"><span + class="ns">[p </span>207<span class="ns">] + </span></span>the only offering, or tribute, their slender means +allows them to make. Be sure of this one fact, +that our English Churchyards are better kept—more +worthy of the name of God’s Acre than +in the times past, for what is a more beautiful +sight, than to see the kneeling children around +the garden grave of a parent, or a child companion, +adorning the little mound with flowers +for the Eastertide festival. Here we have +a living illustration of the truth of the concluding +words of our Great Creed: “I look for the +Resurrection of the Dead and the Life of the +World to come.”</p> + +<p>On the other hand, to the ignorant, and unlearned +in these things, the Churchyard often +becomes a place of dread, and it may be, some of +the strange behaviour sometimes seen there +arises from this inner feeling of awe, which in +their ignorant superstition they are wont to carry +off in the spirit of daring bravado.</p> + +<p>From a close study of the subject, I am led +to conclude that the common unchristian idea, +that the churchyard is ‘haunted,’ whatever that +may mean to a weak or ignorant person, has +much to do with it. The evil report, once +circulated, will be handed on to generations yet +<a name="p208" id="p208"></a><span class="pageno"><span + class="ns">[p </span>208<span class="ns">] + </span></span>unborn, until the simple origin, which at first +might have been easily explained, becomes +clouded in mystery as time goes on, and the +deep rooted feeling of horror spreads around us, +until even the more strong-minded among us, feel +at times, somewhat doubtful as to whether there +may not be some truth where the popular testimony +is so strong.</p> + +<p>In country districts, more than in towns, +superstition is rife with regard to our Churchyards. +The variety and form of this superstition +is well nigh ‘Legion,’ and though many of my +readers may enjoy an Ingoldsby experience +when read in a well-lighted room, surrounded by +smiling companions, few of them, after such an +experience would care to pay a visit alone to +some neighbouring churchyard, renowned for its +tale of ghostly appearances. This will, I think +enable me to show that by far the larger number +of churchyard superstitions are purely chimerous +fancies of the brain, and do not owe their origin, +or existence, to any other source, be that source +a wilful fraud, or imposition, designed to produce +fear, or merely the imaginative delusion of some +overstrained, or weak brain, which called first it +into existence.</p> + + +<p><a name="p209" id="p209"></a><span class="pageno"><span + class="ns">[p </span>209<span class="ns">]<br + /></span></span>Yet there are prevalent ideas or notions, about +the churchyard and its sleepers, as deep-rooted +as any wild superstition, and perhaps as difficult +to solve, or to trace to any rational source. I +would here mention one of the most strange, and +probably one of the most prejudiced notions to +be met with relating to burial in the churchyard. +I refer to the East Anglian prejudice of being +buried on the north side of the church. That +this prejudice is a strong one, among the country +people in certain parts of England, is proved by +the scarcity of graves, nay, in many instances the +total absence of graves, on the north side of our +churches.</p> + +<p>Some seventeen years ago, shortly after taking +charge of a parish in Norfolk, I was called upon +to select a suitable spot for the burial of a poor +man, who had been killed by an accident. After +several places had been suggested by me to the +sexton, who claimed for them either a family +right, or some similar objection; I noticed for the +first time, that there were no graves upon the +north side of the church, and I, in my innocence, +suggested that there would be plenty of space +there; whereupon my companion’s face at once +assumed the most serious expression, and I +<a name="p210" id="p210"></a><span class="pageno"><span + class="ns">[p </span>210<span class="ns">] + </span></span>immediately saw that fear had taken hold of his +mind, as he answered with a somewhat shaky +voice, “No, Sir! No, that cannot be!” My +curiosity was immediately aroused, and I sought +for an explanation, which I found not from my +good and loyal friend, who would not trust +himself to answer further than “No, Sir! No, +that cannot be!” The sexton’s manner puzzled +me greatly, for the man was an upright, straightforward, +open-hearted, servant of the Church—but +I at once saw that it would be fruitless +to push the matter further with him, so after +marking out a suitable resting place for the poor +unfortunate man, who not being a parishoner of +long standing, had no family burial place awaiting +him, I made my way home to think over the +whole occurrence.</p> + +<p>The cause for non-burial on the north side of +the Church was indeed a mystery, yet that my +parishoners had some valid reason for not being +laid to rest there, was apparent; so I set about +the task of unravelling the superstition, if so it +may be called.</p> + +<p>My library shelves seemed to be the most natural +place of research, but here after consultation +with several volumes of Archæology, Ecclesiology, +<a name="p211" id="p211"></a><span class="pageno"><span + class="ns">[p </span>211<span class="ns">] + </span></span>and Folk Lore, I could find nothing bearing upon +the subject, beyond that in certain instances +relating to Churchyard Parishes on the sea-coast, +the north side by reason of its exposure to wind +and storm, and being the sunless quarter of the +burying ground, was less used than other parts; +but here the reason given was in consideration of +the living mourners at the time of the interment, +and not the body sleeping in its last resting +place of earth.</p> + +<p>After some considerable correspondence with +friends likely to be interested in such a matter, +I was rewarded with information that, in some +instances, the northern portion of the churchyard +was left unconsecrated, and only thus occasionally +used for the burial of suicides, vagrants, +highwaymen (after the four cross road graves +had been discontinued<!-- TN: original reads "discontined" -->), or for nondescripts and +unbaptised persons, for whom no religious service +was considered necessary. Even this I did not +accept as a solution of my problem. That there +was something more than local feeling underlying +this superstition, I was certain, but how to +get to the root of the subject perplexed me.</p> + +<p>The Editor of “Notes and Queries” could +not satisfy me. His general suggestions and +<a name="p212" id="p212"></a><span class="pageno"><span + class="ns">[p </span>212<span class="ns">] + </span></span>kind desire to aid me were well-nigh fruitless, +so that there remained for me the course of +watching and waiting, as none of my neighbours +could, or would, go beyond the conclusive +statement of the sexton, “It must not be!” or +what was even more indefinite, “I have never +heard of such a thing.”</p> + +<p>The subject was a fruitful source of thought +for some months, and in vain I tried to connect +some religious custom of other days, or to find +some Text of Scripture, which might have given +rise to the idea, if mistranslated, or twisted by +human ingenuity, to serve such a purpose, but +none occurred to me that in the least would bear +of such a contortion.</p> + +<p>In my intercourse with my older parishoners I +sought in vain to test the unbaptized or suicidal +burying place theory as suggested above, but +this was entirely foreign to them. At length, the +truth of the old saying, “<cite>All things come to those +who wait</cite>” brought its due reward. I was called +in to visit an aged parishoner, who was nearing +the end of life’s journey, and among other +subjects naturally came the thoughts, and wishes, +of this old saintly man’s last hours on earth. +He had been a shepherd for well nigh sixty +<a name="p213" id="p213"></a><span class="pageno"><span + class="ns">[p </span>213<span class="ns">] + </span></span>years, and a widower for the past fifteen years, +and in consequence he had lived and worked +much alone. This had produced a thoughtful +spirit, and a certain slowness of speech, so that +he was quite the last man I should have consulted +for a solution of my mystery. Yet, here the +secret was unfolded, or to my mind more +satisfactorily explained, than by any previous +consultation with either men or books. The +grand old labourer, or faithful shepherd, as he +was laid helpless on his bed, with his life work +symbol—the shepherd’s crook, standing idle in +the corner, and his trusty dog, restless and +perplexed, roaming from room to room, was a +wonderful picture of a Christian death-bed.</p> + +<p>There I learned many a solemn life-lesson +never to be forgotten. The calm voice, the monosyllabic +answers given in response to my questions +are still fresh to me; and there I learned the +source of my Churchyard Superstition in the +following <span class="nw">manner:—</span></p> + +<p>With a strange, weird, unnatural light in the +aged man’s eyes, which portrayed much anxiety +of mind, he spoke about his burial-place, and +particularly emphasising the words “<em>On the south +side, sir, near by the wife</em>.” When I ventured to +<a name="p214" id="p214"></a><span class="pageno"><span + class="ns">[p </span>214<span class="ns">] + </span></span>inquire if he knew why such a strong objection +was held to burial on the north side of the +church. He started suddenly, and I shall never +forget his reproachful, sad look as he more +readily than usual gave the <span class="nw">answer:—</span>“The left +side of Christ, sir: we don’t like to be counted +among the goats.”</p> + +<p>As a flash of lightning illuminates the whole +darkness of the country side, and reveals for the +moment every object in clear outline, so this +quaint saying of my dying friend dispelled in a +moment the mists of the past which clouded the +truth of my strange superstition.</p> + +<p>Here was the best answer to the mystery, +pointing with no uncertain words to the glorious +Resurrection Day, this aged, earthly shepherd at +the end of his years of toil recognised his Great +Master, Jesus, as the True Shepherd of mankind, +meeting His flock as they arose from their long +sleep of death, with their faces turned eastward, +awaiting His appearing.</p> + +<p>Then when all had been called and recognised +He turned to lead them onward, still their True +Shepherd and Guide, with the sheep on His +right hand, and the goats on His left hand, so +wonderfully foretold in the Gospel story: +<a name="p215" id="p215"></a><span class="pageno"><span + class="ns">[p </span>215<span class="ns">] + </span></span>“When the Son of Man shall come in His glory, +and all the holy angels with Him, then shall He +sit upon the throne of His glory; And before +Him shall be gathered all nations: and He shall +separate them one from another, as a shepherd +divideth his sheep from the goats: and He shall +set the sheep on His right hand, but the goats +on the left.”—<i>S. Matt, xxv., 31, 32, 33.</i></p> + +<p>Surely, the above simple illustration explains +much that is difficult and mysterious to us in the +way of religious superstition. Undoubtedly, we +have here a good example of how superstitions +have arisen, probably from a good source, it may +be the words of some teacher long since passed +away. The circumstance has long been forgotten, +yet the lesson remains, and being handed +down by oral tradition only, every vestige of its +religious nature disappears and but the feeling +remains, which, in the minds of the ignorant +populace, increases in mystery and enfolds itself +in superstitious awe, without any desire from +them to discover the origin, or source, of such +a strange custom, or event.</p> +</div> + + + +<div class="chunk"> +<h2 class="chap" title="Curious Announcements in the Church"><a name="p216" id="p216"></a><span class="pageno"><span + class="ns">[p </span>216<span class="ns">]<br + /></span></span>Curious Announcements in the Church.</h2> + +<p class="author">By the Rev. R. Wilkins Rees.</p> + + +<p class="newchap"><span class="dropcap">Years</span> ago announcements in churches were +of a distinctly curious character, and the +parish clerk in making the intimation seems +to have been left completely to his own indiscretion. +In country districts, where proper +advertising would be quite impossible, the +practical advantages of some classes of announcements +would be great, but none of them accord +with our modern sense of the fitness of things, +and many can only be accounted for on the +ground of extraordinary familiarity between +clergyman, clerk, and congregation. A brief +consideration of the subject furnishes a few +side-lights into the general condition of the +church, as well as into the laxity of church +discipline, about fifty years and more ago, especially +away from large centres of population.</p> + +<p>In certain parts, the custom of crying lost +goods in church was undoubtedly prevalent, and +did not then appear peculiar. The rector, who +had lost his favourite dog and told the parish +<a name="p217" id="p217"></a><span class="pageno"><span + class="ns">[p </span>217<span class="ns">] + </span></span>clerk to do his best to ascertain its whereabouts, +may have been astonished to hear him announce +the loss in church, coupled with a statement that +a reward of three pounds would be given to the +person who should restore the animal to its +owner. But such surprise was hardly natural +when an announcement like the following was +<span class="nw">possible:—</span>“Mislaid on Sunday last! The gold-rimmed +vicar’s spectacles of best glass, taken +from his eyes in going into the poor box, or put +down somewhere when going into the font to +fetch the water after the christening.” What a +shock this rare jumble produced by a country +clerk must have been to the precise and classical +vicar can only be imagined. The thought, +however, of a gold-rimmed vicar diminutive +enough to enter font or poor box is somewhat +staggering! Quite as muddled, but much more +ingenious, was the clerk who announced, in +recent years, an accomplished D.Sc. and LL.D. +as a Doctor of Schools and a Lord Lieutenant +of Divinity!</p> + +<p>“Lost, stolen, or strayed,” shouted the clerk +in church one Sunday, with the strident voice of +a town crier, and the manner of one not unaccustomed +to the task, “lost, stolen, or strayed. +<a name="p218" id="p218"></a><span class="pageno"><span + class="ns">[p </span>218<span class="ns">] + </span></span>Four fat sheep and one lean cow. Whoever will +return the same to Mr. <span class="nw">——’s</span> farm will be +suitably rewarded.” It is well that the name of +the parish in which it was given, is missing from +another specimen of this sort of announcement, +for it seems to indicate that honesty there could +be but the outcome of an inducement afforded +by the promise of substantial reward. “Lost,” +said the clerk, “on Sunday last, when the wearer +was walking home from this church, and before +she reached the Town Hall, a lady’s gold brooch, +set with pearls and other precious stones. The +one who has found it will consider it worth while +to restore it, for the reward of a guinea is +offered.”</p> + +<p>It is not a little surprising<!-- TN: original reads "suprising" --> that the clergyman +in charge did not supervise more carefully the +various announcements, especially when so many +a <i>contretemps</i> occurred. Once a parish clerk +announced in his rector’s <span class="nw">hearing:—</span>“There’ll be +no service next Sunday as the rector’s going out +grouse shooting.” The rector had injudiciously +acquainted his clerk with the reason of his +approaching absence, and this was the result. +It happened, of course, a half century since, but +it illustrates an interesting state of things as +<a name="p219" id="p219"></a><span class="pageno"><span + class="ns">[p </span>219<span class="ns">] + </span></span>existing at that period. With it two similar +incidents may well be mentioned, the first of +which occurred in Scotland, the second in the +Principality. “Next Sawbath,” said a worthy +Scotch beadle, “we shall have no Sawbath, for +the meenister’s house is having spring cleaning, +and as the weather is very bad the meenister’s +wife wants the kirk to dry the things in.” “Next +Sunday,” declared the unconsciously amusing +Welshman, “there’ll be no Sunday, as we’re +going to whitewash the church with yellow-ochre.” +Sometimes the omission of a stop +caused sore trouble to the clerk, while it hugely +delighted the congregation. “A man having +gone to see his wife desires the prayers of this +church,” was the startling announcement. But +had not the clerk been near-sighted and mistaken +<em>sea</em> for <em>see</em>, and had a comma been supplied after +sea, the notice would have been all right, for it +was simply the request of a sailor’s wife on behalf +of her husband.</p> + +<p>Once the clerk made the announcement that a +parish meeting would be held on a given date. +“No, no,” interrupted the vicar. “D’ye think +I’d attend to business on the audit day!” The +audit days were recognised as times of hearty +<a name="p220" id="p220"></a><span class="pageno"><span + class="ns">[p </span>220<span class="ns">] + </span></span>feasting and convivial mirth, in which the vicar +played no unimportant part. This freedom of +speech between clergyman and clerk was not +seldom fruitful of ill-restrained amusement when +the announcements were made. A vicar informed +his congregation one Sunday morning that he +would hold the customary service for baptisms in +the afternoon, and requested the parents to bring +their children punctually, so that there might be +no delay in commencing. Immediately he had +said this, the old clerk, sleepy and deaf, thinking +the parson’s announcement had to do with a new +hymn-book which at that time was being introduced, +arose, and graciously informed the people +that for those who were still without them he had +a stock in the vestry from which they could be +supplied at the low charge of eighteenpence each. +This is slightly <span class="nw">similar:—</span>“I publish the banns +of marriage between ... between ...” +announced a clergyman from the pulpit. But +here for a moment he stopped, as the book in +which were the notices was not to be seen. The +clerk, seeing his vicar’s predicament, and catching +sight of the whereabouts of the missing book, +<span class="nw">ejaculated:—</span>“Between the cushion and the +desk, sir.” The unique character of another +<a name="p221" id="p221"></a><span class="pageno"><span + class="ns">[p </span>221<span class="ns">] + </span></span>notice will fully justify its inclusion. “I am +unwell, my friends, very unwell,” announced a +preacher one Sunday evening, “and therefore I +shall dispense with my usual gesticulation.” +This happened not very long ago.</p> + +<p>So disregarded, indeed, were the proprieties of +worship a generation since, that the clergyman +would sometimes pause during the delivery of his +sermon and make an announcement which, to +say the least of it, had no connection with the +theme he was pursuing. Thus the Rev. Samuel +Sherwen, a well-known cleric in Cumberland, +announced one morning that he had just caught +sight, through a window near the pulpit, of some +cows in a cornfield, and requested that some one +would go and drive them out. At another time +he said there were some pigs in the churchyard +which were not his, and his servant Peter would +do well to expel the intruders. Very probably +such announcements, though made from a pulpit, +would be excused because they resulted in a +certain benefit. The same plea could undoubtedly +be put forward for the following trio, each +of which hails from beyond the Severn. “Take +notice!” exclaimed the clerk. “A thief is going +through the Vale of Glamorgan selling tin ware, +<a name="p222" id="p222"></a><span class="pageno"><span + class="ns">[p </span>222<span class="ns">] + </span></span>false gold, trinkets, and rings, and other domestic +implements and instruments, and robbing houses +of hens, chickens, eggs, butter, and other portable +animals, making all sorts of pretences to get +money!” Again, “Beware! beware! of a man +with one eye, talking like a preacher, and a +wooden leg, given to begging and stealing!” +And once more, “Take notice! take notice! +there’s a mad dog going the round of the parish +with two crop ears and a very long tail!” +Surely the intention of such announcements was +good, even though the literary form was bad. +The last, as might be inferred, was made at a +time when rabies were prevalent.</p> + +<p>The Rev. Samuel Sherwen, already alluded +to, was surpassed in this direction by another +Cumbrian clergyman, the Rev. William Sewell, +of Troutbeck. One Sunday morning the latter +entered the pulpit of the little church at Wythburn +to preach. The pulpit sadly needed repair, +and, in leaning out from the wall, left an undesirable +opening behind it. Into this chink +the parson’s sermon fell, and the pulpit was so +ricketty in its broken-down condition that the +preacher feared the consequences of turning in +it. Moreover, the manuscript had fallen so far +<a name="p223" id="p223"></a><span class="pageno"><span + class="ns">[p </span>223<span class="ns">] + </span></span>that it could not be reached. Mr. Sewell, bereft +of his sermon, announced to his congregation in +broad dialect: “T’ sarmont’s slipt down i’ t’ +neuk, and I can’t git it out; but I’ll tell ye what—I’se +read ye a chapter i’ t’ Bible ’at’s worth +three on’t.” A similar story is told in connection +with the Rev. Mr. Alcock, who in the middle +of the last century was rector of Burnsal, near +Skipton, in Yorkshire. Of this clergyman another +story is given which well illustrates the excessive +familiarity indulged in by occupants of the pulpit +in bygone days. One of his friends, at whose +house he was wont to call previous to entering +the church on Sundays, seized a chance to +unfasten and then misplace the leaves of his +sermon. In the service the parson had not read +far before he discovered the trick. “Will,” cried +he, “thou rascal! what’s thou been doing with +my sermon?” Then turning to his people, he +continued: “Brethren, Will Thornton’s been +misplacing the leaves of my sermon; I have not +time to put them right; I shall read on as I find +it, and you must make the best of it that you +can.” He accordingly read to the close of the +confused mass to the utter astonishment of his +congregation.</p> + +<p><a name="p224" id="p224"></a><span class="pageno"><span + class="ns">[p </span>224<span class="ns">]<br + /></span></span>Of such familiarity Scottish churches furnish +well-nigh innumerable instances. One or two +will, however, be sufficient for my purpose. The +clergyman who was expected to conduct the +morning service had not made his appearance at +the appointed time. After a dreadful suspense +of some fifteen minutes the beadle, that much-privileged +individual, entered the church, +marched slowly along the accustomed passage, +and mounted the pulpit-stair. When half-way +up he stopped, turned to the congregation, and +thus addressed them: “There was one Alexander +to hae preached here the day, but he’s neither +come hissel; nor has he sent the scrape o’ a pen +to say what’s come owre him. Ye’d better keep +your seats for anither ten meenits to see whether +the body turns up or no. If he disna come, +there’s naething for ’t but for ye a’ to gang hame +again an’ say naething mair aboot it. The like +o’ this hasna happened here syne I hae been +conneckit wi’ the place, an’ that’s mair than four-and-thirty +year now.” As an announcement to +the point, and for the purpose, that could not +easily be beaten. A clergyman of Crossmichael, +in Galloway, would even intersperse his lessons +or sermon with any announcement that might +<a name="p225" id="p225"></a><span class="pageno"><span + class="ns">[p </span>225<span class="ns">] + </span></span>at the moment occur to him, or with allusions to +the behaviour of his hearers. Once, because of +this method, a verse from Exodus was hardly +recognisable. The version given was as follows: +“And the Lord said unto Moses—shut that +door; I’m thinkin’ if ye had to sit beside that +door yersel’, ye wadna be sae ready leavin’ it +open; it was just beside that door that Yedam +Tamson, the bellman, gat his death o’ cauld, an’ +I’m sure, honest man, he didna lat it stey muckle +open.—And the Lord said unto Moses—put oot +that dog; wha is’t that brings dogs to the kirk, +yaff-yaffin’? Lat me never see ye bring yer dogs +here ony mair, for, if ye do, tak notice, I’ll put +you an’ them baith oot.—And the Lord said +unto Moses—I see a man aneeth that wast laft +wi’ his hat on; I’m sure ye’re cleen oot o’ the +souch o’ the door; keep aff yer bonnet, Tammas, +an’ if yer bare pow be cauld, ye maun jist get a +grey worset wig like mysel’; they’re no sae dear; +plenty o’ them at Bob Gillespie’s for tenpence.” +At last, however, the preacher informed his +hearers what was said to Moses in a manner at +once more accurate and becoming.</p> + +<p>It was, indeed, a usual custom for the clergyman +publicly to rebuke offenders, as when it +<a name="p226" id="p226"></a><span class="pageno"><span + class="ns">[p </span>226<span class="ns">] + </span></span>happened that a young man, sitting in a prominent +position in the church, pulled out his +handkerchief and brought with it a bundle of +playing cards, which flew in every direction. +He had, so it turned out, been up late the previous +night, and had stuffed the cards with which he +had been gambling into his pocket, where they +had remained forgotten. The people were +amazed and horrified, but the clergyman simply +looked at the offender and remarked with quiet, +yet most withering sarcasm, “Sir, that prayer +book of yours has been badly bound!” But +some times the rebuke was deftly thrust back +upon the preacher. “You’re sleepy, John,” +said the clergyman, pausing in the middle of a +drowsy discourse, and looking hard at the man +he thus addressed. “Take some snuff, John.” +“Put the snuff in the sermon,” ejaculated John; +and the faces of the audience showed that the +retort was fully appreciated.</p> + +<p>In fact, such was the freedom tolerated, that +this incident in Eskdale might be taken as an +example. Someone walked noisily up the aisle +during divine service. “Whaa’s tat?” asked +the clergyman in a tone quite loud enough to +rebuke the offender. “It’s aad Sharp o’ Laa +<a name="p227" id="p227"></a><span class="pageno"><span + class="ns">[p </span>227<span class="ns">] + </span></span>Birker,” responded the clerk. “Afooat or o’ +horseback?” was the significant query. “Nay,” +was the answer, “nobbet afooat, wi’ cokert shun” +(calkered shoes). Frequently the clerk would +interrupt the clergyman, and the interruption +would not enhance the devotional character of +the service. In a rural parish church a new +pitch-pipe was provided, but the clerk had not +tested it before entering his desk on the Sunday, +and when he should have given the key-note the +instrument could not be adjusted. The clerk +tugged at it, thrust it in, gave it several thumps, +made sundry grimaces, but the pipe was obdurate. +“My friends,” announced the impatient +parson, “the pitch-pipe will not work, so let us +pray.” “Pray!” snorted the aggrieved official, +“pray! no, no, we’ll pray none till I put this +thing aright.” And members of the congregation +would even stand up in their pews to +contradict the parson or clerk when making the +announcement. “There will be a service here +as usual on Thursday evening next,” announced +the clerk one Sunday morning. “No, there +won’t,” declared the churchwarden as he rose +from his seat. “We be going to carry hay all +day Thursday.” “But the service will be held +<a name="p228" id="p228"></a><span class="pageno"><span + class="ns">[p </span>228<span class="ns">] + </span></span>as usual,” asserted the clerk. But the churchwarden +was not to be thwarted. “Then there’ll +be nobody here,” said he. “D’ye think we’re +coming to church and leave the hay in the fields? +No, no, p’r’aps it’ll rain Friday.”</p> + +<p>But of all amusing instances of curious announcements +in church those given by the Rev. +Cuthbert Bede in <cite>All the Year Round</cite>, November +1880, may take the palm and fittingly conclude +this chapter. “An old rector of a small country +parish,” so runs the story, “had sent his +set of false teeth to be repaired, on the +understanding that they should be returned +“by Saturday” as there was no Sunday +post, and the village was nine miles from the +post town. The old rector tried to brave out the +difficulty, but after he had incoherently mumbled +through the prayers, he decided not to address +his congregation on that day. While the hymn +was being sung, he summoned the clerk to the +vestry, and then said to him: “It is quite useless +for me to attempt to go on. The fact is, +that my dentist has not sent me back my artificial +teeth, and it is impossible for me to make +myself understood. You must tell the congregation +that the service is ended for this morning, +<a name="p229" id="p229"></a><span class="pageno"><span + class="ns">[p </span>229<span class="ns">] + </span></span>and that there will be no service this afternoon.” +The old clerk went back to his desk; the singing +of the hymn was brought to an end; and the +rector, from the vestry, heard the clerk address +the congregation thus: “This is to give notice! +as there won’t be no sarmon nor no more sarvice +this mornin’, so you’ better all go whum (home); +and there won’t be no sarvice this aternoon, as +the rector ain’t got his artful teeth back from the +dentist!”</p> +</div> + + + +<div class="chunk"> +<h2 class="chap" title="Big Bones Preserved in Churches"><a name="p230" id="p230"></a><span class="pageno"><span + class="ns">[p </span>230<span class="ns">]<br + /></span></span>Big Bones Preserved in Churches.</h2> + +<p class="author">By the Rev. R. Wilkins Rees.</p> + + +<p class="newchap"><span class="dropcap">In</span> a lovely and secluded valley in Montgomeryshire +is situated the interesting old +church of Pennant Melangell, of whose foundation +a charming legend is told. The romantic +glen was in the first instance the retreat of a +beautiful Irish maiden, Monacella (in Welsh, +Melangell), who had fled from her father’s court +rather than wed a noble to whom he had promised +her hand, that here she might alone “serve God +and the spotless virgin.” Brochwell Yscythrog, +Prince of Powys, being one day hare-hunting in +the locality, pursued his game till he came to +a thicket, where to his amazement he found a +lady of surpassing beauty, with the hare he was +chasing safely sheltered beneath her robe. Notwithstanding +all the efforts of the sportsman to +make them seize their prey, the dogs had retired +to a distance, howling as though in fear, and +even when the huntsman essayed to blow his +horn, it stuck to his lips. The Prince, learning +the lady’s story, right royally assigned to her the +<a name="p231" id="p231"></a><span class="pageno"><span + class="ns">[p </span>231<span class="ns">] + </span></span>spot as a sanctuary for ever to all who fled there. +It afterwards became a safe asylum for the +oppressed, and an institution for the training of +female devotees. But how long it so continued +cannot be said. Monacella’s hard bed used to +be shown in the cleft of a neighbouring rock, +while her tomb was in a little oratory adjoining +the church.</p> + +<p>In the church is to be found carved woodwork, +which doubtless once formed part of the rood-loft, +representing the legend of Saint Melangell. +The protection afforded by the saint to the hare +gave such animals the name of Wyn Melangell—St. +Monacella’s lambs—and the superstition was +so fully credited that no person would kill a hare +in the parish, while it was also believed that if +anyone cried “God and St. Monacella be with +thee” after a hunted hare, it would surely escape.</p> + +<p>The church contains another interesting item +in the shape of a large bone, more than four feet +long, which has been described as the bone of +the patron saint. Southey visited the church, +and in an amusing rhyming letter addressed to +his daughter, thus refers to it: “’Tis a church +in a vale, whereby hangs a tale, how a hare being +pressed by the dogs was much distressed, the +<a name="p232" id="p232"></a><span class="pageno"><span + class="ns">[p </span>232<span class="ns">] + </span></span>hunters coming nigh and the dogs in full cry, +looked about for someone to defend her, and saw +just in time, as it now comes pat in rhyme, a +saint of the feminine gender. The saint was +buried there, and a figure carved with care, in +the churchyard is shown, as being her own; +but ’tis used for a whetstone (like a stone at our +back door), till the pity is the more (I should say +the more’s the pity, if it suited with my ditty), +it is whetted half away—lack-a-day, lack-a-day! +They show a mammoth rib (was there ever such +a fib?) as belonging to the saint Melangell. It +was no use to wrangle, and tell the simple people +that if this had been her bone, she must certainly +have grown to be three times as tall as the +steeple!”</p> + +<p>In Lewis’s “Topographical Dictionary of +Wales” (1843), we are told that on the mountain +between Bala and Pennant Melangell was +found a large bone named the Giant’s Rib, +perhaps the bone of some fish, now kept in the +church. But where the bone came from it is +quite impossible to say. Old superstitions have +clung to it, and beyond what tradition furnishes +there is practically nothing for our guidance.</p> + +<p>It is somewhat strange that in the same +<a name="p233" id="p233"></a><span class="pageno"><span + class="ns">[p </span>233<span class="ns">] + </span></span>county, in connection with the church at +Mallwyd, other bones are exhibited. Of this +church, surrounded by romantic scenery, the +Dr. Davies, who rendered into Welsh the +Thirty-nine Articles of the Church of England, +and assisted Bishop Perry in the translation of +the Bible, was for many years incumbent. The +sacred edifice was far-famed for its magnificent +yew trees, and for the position of the communion +table in the centre. Archbishop Laud issued +orders that it should be placed at the east end, +but Dr. Davies defied the prelate, and restored +it to its old position, where, according to +Hemmingway’s “Panorama of North Wales,” +in which the church was described as a “humble +Gothic structure, the floor covered with rushes,” +it remained till 1848. It is not, however, so placed +now. Over the porch of this church some bones +are suspended, but no palæontologist has yet +decided as to their origin. It has been said that +they are the rib and part of the spine of a whale +caught in the Dovey in bygone days! Whatever +may be the truth, however, it is not now to be +ascertained, but must remain shrouded in mystery +with that concerning the bones at Pennant +Melangell. The bones were in their present +<a name="p234" id="p234"></a><span class="pageno"><span + class="ns">[p </span>234<span class="ns">] + </span></span>position in 1816, for they are then mentioned by +Pugh in his <cite>Cambria Depicta</cite>.</p> + +<p>England has several instances of big bones +preserved in churches, and one story seems to be +told regarding almost all. A most interesting +example is to be found over one of the altar +tombs in the Foljambe Chapel, Chesterfield +Church. This bone, supposed to be the jawbone +of a small whale, is seven feet four inches in +length, and about thirteen inches, on an average, +in circumference. Near one end is engraved, in +old English characters, the name “Thomas +Fletcher.” The Foljambes disposed of their +manor in 1633 to the Ingrams, who in turn sold +it to the Fletchers, and thus the name on the +bone is accounted for. A generally-accepted +explanation about this bone—not even disbelieved +entirely at the present day—was that it formed a +rib of the celebrated Dun Cow of Dunsmore +Heath, killed by the doughty Guy of Warwick, +with whom local tradition identified the warrior +whose marble effigy lies beneath the bone, sent +to Chesterfield to celebrate the much-appreciated +victory.</p> + +<div class="illo"> +<a name="p235" id="p235"></a><span class="pageno"><span + class="ns">[p </span>235<span class="ns">]<br + /></span></span> +<img src="images/duncow.jpg" alt="" id="img235" /><br + /><small>THE DUN COW, DURHAM CATHEDRAL.</small> +</div> + +<p>It is interesting to remember here the legendary +story of the foundation of Durham Cathedral, +<a name="p237" id="p237"></a><span class="pageno"><span + class="ns">[p </span>237<span class="ns">] + </span></span>which explains certain carving on the north front +of that majestic pile. While the final resting-place +of St. Cuthbert was still undetermined, +“it was revealed to Eadmer, a virtuous man, +that he should be carried to Dunholme, where +he should find a place of rest. His followers +were in distress, not knowing where Dunholme +lay; but as they proceeded, a woman, wanting +her cow, called aloud to her companion to know +if she had seen her, when the other answered +that she was in Dunholme. This was happy +news to the distressed monks, who thereby +knew that their journey’s end was at hand, +and the saint’s body near its resting-place.” +It has been said that the after riches of the +See of Durham gave rise to the proverb, “The +dun cow’s milk makes the prebend’s wives go +in silk.”</p> + +<p>But to return to the dun cow slain by Guy. +That the champion was credited of old with +having overcome some such animal is evident +from the matter-of-fact fashion in which it is +recorded by ancient chroniclers. In Percy’s +“Reliques of Antient Poetry,” occur the following +verses in a black-letter ballad which sings the +exploits of <span class="nw">Guy:—</span></p> + +<div class="poem" style="width:20em;"> +<div class="stanza"> +<div><a name="p238" id="p238"></a><span class="pageno"><span + class="ns">[p </span>238<span class="ns">]<br + /></span></span> “On Dunsmore heath I alsoe slewe</div> +<div> A monstrous wyld and cruell beast,</div> +<div> Called the Dun-Cow of Dunsmore heath,</div> +<div> Which manye people had opprest.</div> +<br class="kindle" /></div> +<div class="stanza"> +<div> Some of her bons in Warwicke yett</div> +<div> Still for a monument doe lye;</div> +<div> Which unto every lookers viewe</div> +<div> As wondrous strange, they may espye.”</div> +</div> +</div> + +<p>A circumstantial account is given in the +“Noble and Renowned History of Guy, Earl of +Warwick,” as translated from the curious old +French black-letter volume in Warwick Castle, +and of this a somewhat modernised version may +be submitted. “Fame made known in every +corner of the land that a dun cow of enormous +size, ‘at least four yards in height, and six in +length, and a head proportionable,’ was making +dreadful devastations, and destroying man and +beast. The king was at York when he heard of +the havoc and slaughter which this monstrous +animal had made. He offered knighthood to +anyone who would destroy her, and many +lamented the absence in Normandy of Guy, +who, hearing of the beast, went privately to give +it battle. With bow and sword and axe he came, +and found every village desolate, every cottage +empty. His heart filled with compassion, and +<a name="p239" id="p239"></a><span class="pageno"><span + class="ns">[p </span>239<span class="ns">] + </span></span>he waited for the encounter. The furious beast +glared at him with her eyes of fire. His arrows +flew from her sides as from adamant itself. Like +the wind from the mountain side the beast came +on. Her horns pierced his armour of proof, +though his mighty battle-axe struck her in the +forehead. He wheeled his gallant steed about +and struck her again. He wounded her behind +the ear. The monster roared and snorted as she +felt the anguish of the wound. At last she fell, +and Guy, alighting, hewed at her until she +expired, deluged with her blood. He then rode +to the next town, and made known the monster’s +death, and then went to his ship, hoping to sail +before the king could know of the deed. Fame +was swifter than Guy. The king sent for him, +gave him the honour of knighthood, and caused +one of the ribs of the cow to be hung up in +Warwick Castle, where it remains until this +day.” Old Dr. Caius, of Cambridge, writes of +having seen an enormous head at Warwick +Castle in 1552, and also “a vertebra of the neck +of the same animal, of such great size that its +circumference is not less than three Roman +feet seven inches and a half.” He thinks also +that “the blade-bone, which is to be seen hung +<a name="p240" id="p240"></a><span class="pageno"><span + class="ns">[p </span>240<span class="ns">] + </span></span>up by chains form the north gate of Coventry, +belongs to the same animal. The circumference +of the whole bone is not less than eleven feet +four inches and a half.” The same authority +further states that “in the chapel of the great +Guy, Earl of Warwick, which is situated rather +more than a mile from the town of Warwick +(Guy’s Cliff), there is hung up a rib of the same +animal, as I suppose, the girth of which in the +smallest part is nine inches, the length six feet +and a half,” and he inclines to a half-belief, at +any rate, in the Dun-Cow story.</p> + +<p>In connection with the legend it should be +mentioned that in the north-west of Shropshire is +the Staple Hill, which has a ring of upright +stones, about ninety feet in diameter, of the rude +pre-historic type. “Here the voice of fiction +declares there formerly dwelt a giant who guarded +his cow within this inclosure, like another Apis +among the ancient Egyptians, a cow who yielded +her milk as miraculously as the bear Œdumla, +whom we read of in Icelandic mythology, filling +every vessel that could be brought to her, until +at length an old crone attempted to catch her +milk in a sieve, when, furious at the insult, she +broke out of the magical inclosure and wandered +<a name="p241" id="p241"></a><span class="pageno"><span + class="ns">[p </span>241<span class="ns">] + </span></span>into Warwickshire, where her subsequent history +and fate are well known under that of the Dun +Cow, whose death added another wreath of +laurel to the immortal Guy, Earl of Warwick.” +The presence of bones at Chesterfield and elsewhere +is, of course, accounted for by the fact (?) +that they were distributed over the country so +that in various places Guy’s marvellous feat +might be commemorated.</p> + +<p>In Queen Elizabeth’s “fairest and most famous +parish church in England,” St. Mary Redcliff, +Bristol, is preserved a bone said to have belonged +to a monster cow which once supplied the whole +city with milk. Bristolians, proud of their +connection with the great discoverer, Cabot, +assert that it is a whalebone brought to the city +by the illustrious voyager on his return from +Newfoundland. But here the story of Guy of +Warwick and the cow has also been introduced. +The bone, which is now fixed not far from the +stair leading to the chamber containing the +muniment chest where Chatterton pretended to +have found the Rowley poems, was formerly +hung within the church, while near to it was +suspended a grimy old picture now banished to +a position on a staircase just where the room in +<a name="p242" id="p242"></a><span class="pageno"><span + class="ns">[p </span>242<span class="ns">] + </span></span>which the vestry meetings are held is entered. +The picture, so far as it can be made out, +contains a big figure of a man on the right hand +side, while in the foreground lies a prostrate man, +behind whom stands a cow. To the left of the +picture are certain human figures in attitudes +expressive of surprise. This ancient painting +was said to refer to Guy’s exploit, and the rib +was pointed out as a positive proof that the +daring deed was done.</p> + +<p>It may be presumed that all, or nearly all, +these bones preserved in churches are those of +whales, though in some instances they have been +supposed to be those of the wild <span class="postnomial">BONASUS</span> or +<span class="postnomial">URUS</span> and most are associated in some way or +other with the legend of Guy and the Dun-Cow. +Indeed, it seems almost strange that the story +has not been connected even with the bone at +Pennant Melangell, especially as on the mountain +between Llanwddyn and the parish is a circular +inclosure surrounded by a wall called Hên Eglwys, +and supposed to be a Druidical relic, which would +have been just the spot to have lent itself to the +statement that there the animal was confined.</p> + +<p>The late Frank Buckland, in his entertaining +chapter on “A Hunt on the Sea-Shore,” in his +<a name="p243" id="p243"></a><span class="pageno"><span + class="ns">[p </span>243<span class="ns">] + </span></span>second volume of “Curiosities of Natural History,” +says: “Whale-bones get to odd places,” +and writes of having seen them used for a grotto +in Abingdon, and a garden chair in Clapham. +Not far from Chesterfield there were, until recently, +some whale-jaw gate posts which formed +an arch, and in North Lincolnshire such bones, +tall and curved, are still to be seen serving similar +purposes. But the presence of such bones, +carefully preserved in churches, though it may +occasion considerable conjecture, cannot, it +seems, be properly explained. As yet, at any +rate, the riddle remains unsolved.</p> +</div> + + + +<div class="chunk"> +<h2 class="chapanon" title="Samuel Pepys at Church"><a name="p244" id="p244"></a><span class="pageno"><span + class="ns">[p </span>244<span class="ns">]<br + /></span></span>Samuel Pepys at Church.</h2> + + +<p class="newchap"><span class="dropcap">The</span> Diary of Samuel Pepys, from 1659 to +1669, presents us with a picture of London +in the days of Charles II. that has perhaps not +been equalled in any other work dealing with the +manners, customs, and the social life of the +period. We get a good idea from it how Sunday +was spent in an age largely given to pleasure. +Samuel Pepys had strong leanings towards the +Presbyterians, but was a churchman, and seldom +missed going to a place of worship on Sunday, +and did not neglect to have family prayers in +his own home. He generally attended his own +church in the morning, and after dinner in the +afternoon would roam about the city, and visit +more than one place of worship. Take for an +example an account of one Sunday. After being +present at his own church in the forenoon, and +dining, he says: “I went and ranged and ranged +about to many churches, among the rest to the +Temple, where I heard Dr. Wilkins a <em>little</em>.”</p> + +<p>It is to be feared pretty faces and not powerful +preachers often induced him to go to the house +<a name="p245" id="p245"></a><span class="pageno"><span + class="ns">[p </span>245<span class="ns">] + </span></span>of prayer. Writing on August 11th, 1661, he +says: “To our own church in the forenoon, and +in the afternoon to Clerkenwell Church, only to +see the two fair Botelers.” He managed to +obtain a seat where he could have a good view +of them, but they did not charm him, for he +says: “I am now out of conceit with them.” +Another Sunday he writes: “By coach to +Greenwich Church, where a good sermon, a +fine church, and a good company of handsome +women.” At another church he visited he says +that his pretty black girl was present.</p> + +<p>Pepys has much to say about the sermons he +heard, and when they were dull he went to sleep. +Judging from his frequent records of slumbering +in church, prosy preachers were by no means +rare in his day.</p> + +<p>Writing on the 4th August, 1662, he gives us +a glimpse of the manners of a rustic church. +His cousin Roger himself attended the service, +and says Pepys: “At our coming in, the country +people all rose with so much reverence; and +when the parson begins, he begins, ‘Right worshipful +and dearly beloved’ to us.”</p> + +<p>Conversation appears to have been freely +carried<!-- TN: original reads "carred" --> on in city churches. “In my pew,” says +<a name="p246" id="p246"></a><span class="pageno"><span + class="ns">[p </span>246<span class="ns">] + </span></span>Pepys, “both Sir Williams and I had much talk +about the death of Sir Robert.” Laughter was +by no means unusual. “Before sermon,” writes +Pepys, “I laughed at the reader, who, in his +prayer, desired God that he would imprint his +Word on the thumbs of our right hands and on +the right toes of our right feet.”</p> + +<p>When Pepys remained at home on Sunday he +frequently cast up his accounts, and there are in +his Diary several allusions to this subject.</p> + +<div class="illo"> +<img src="images/theend.jpg" alt="The End" id="img246" /> +</div> +</div> + + + +<div class="index"> +<h2 class="chapanon" title="Index"><a name="p247" id="p247"></a><span class="pageno"><span + class="ns">[p </span>247<span class="ns">]<br + /></span></span>Index.</h2> + +<ul> + <li>Abbot’s Pew, Malmesbury Abbey, <a href="#p155">155</a>, <a href="#p159">159</a></li> + <li>Addisham, Priest’s door at, <a href="#p185">185</a></li> + <li>Alkborough Maze, <a href="#p193">193</a>, <a href="#p194">194</a></li> + <li>All Hallows, Barking, <a href="#p81">81</a></li> + <li>Alms boxes, <a href="#p180">180</a></li> + <li>Alnwick<!-- TN: original reads "Alnwich" -->, chest at, <a href="#p174">174</a></li> + <li>Announcing cows in a cornfield, <a href="#p221">221</a></li> + <li>Antiquarian Problem: The Leper Window, <a href="#p183">183</a>–185</li> + <li>Artificial teeth missing, <a href="#p229">229</a></li> + <li>Asenby, Maze at, <a href="#p196">196</a></li> + <li>Ashbourne bells, <a href="#p121">121</a></li> + <li>Ashton-under-Lyne, <a href="#p113">113</a>, <a href="#p116">116</a>–118</li> +</ul> + +<ul> + <li>Bailey, J. E. The Five of Spades and the Church of + Ashton-under-Lyne, <a href="#p113">113</a>–118</li> + <li>Baptisms performed in porches, <a href="#p24">24</a></li> + <li>Beadle’s announcement, <a href="#p224">224</a></li> + <li>Bede, Venerable, <a href="#p81">81</a></li> + <li>Bell-ringing laws, <a href="#p125">125</a></li> + <li>Bell-robbers, <a href="#p141">141</a></li> + <li>Bells and their Messages, <a href="#p119">119</a>–132</li> + <li>Belvoir, <a href="#p80">80</a></li> + <li>Beware of thieves, <a href="#p221">221</a></li> + <li>Big Bones Preserved in Churches, <a href="#p230">230</a>–243</li> + <li>Blacksmith, mediæval, <a href="#p19">19</a></li> + <li>Blood, foundation laid in, <a href="#p30">30</a>, <a href="#p43">43</a></li> + <li>Bocastle, <a href="#p137">137</a></li> + <li>Bottreaux, <a href="#p137">137</a></li> + <li>Bradbury, Edward. Bells and their Messages, <a href="#p119">119</a>–132</li> + <li>Bradford-on-Avon Church, <a href="#p7">7</a></li> + <li>Brancepeth<!-- TN: original reads "Brancepth" -->, chest at, <a href="#p178">178</a></li> + <li>Briefs, <a href="#p49">49</a></li> + <li>Brigstock bells, <a href="#p139">139</a></li> + <li>Briscoe, J. P. Stories about Bells, <a href="#p133">133</a>–144</li> + <li>Bristol, <a href="#p62">62</a>, <a href="#p75">75</a>, <a href="#p79">79</a></li> + <li>Bronze-doors, <a href="#p21">21</a></li> + <li>Brundall, <a href="#p147">147</a></li> + <li>Building of the English Cathedrals, <a href="#p46">46</a>–75</li> + <li>Burial customs, <a href="#p26">26</a></li> + <li>Burial at north side of church, <a href="#p209">209</a>–215</li> + <li>Buried alive, <a href="#p40">40</a></li> + <li>Burials in Lady Chapels, <a href="#p82">82</a>–83</li> + <li>Bury St. Edmunds, <a href="#p80">80</a></li> +</ul> + +<ul> + <li>Candle in a coffin, <a href="#p42">42</a></li> + <li>Canterbury, <a href="#p51">51</a>, <a href="#p53">53</a>, <a href="#p72">72</a>, <a href="#p79">79</a></li> + <li>Carlisle, <a href="#p62">62</a>, <a href="#p70">70</a>, <a href="#p72">72</a></li> + <li>Carthage, Council of, <a href="#p4">4</a></li> + <li>Cauld Lad of Hilton, <a href="#p32">32</a></li> + <li>Chantries, <a href="#p72">72</a></li> + <li>Chappell of Oure Ladye, <a href="#p76">76</a>–100</li> + <li>Charm of country bells, <a href="#p131">131</a></li> + <li>Chartres, Maze at, <a href="#p191">191</a></li> + <li>Cheltenham, All Saints’ Church, <a href="#p14">14</a></li> + <li>Chester, <a href="#p62">62</a>, <a href="#p79">79</a></li> + <li>Chesterfield, bones at, <a href="#p234">234</a>; spire, <a href="#p110">110</a></li> + <li>Chichester, <a href="#p49">49</a>, <a href="#p50">50</a>, <a href="#p62">62</a>, <a href="#p65">65</a>, <a href="#p75">75</a>, <a href="#p79">79</a></li> + <li>Chimes, <a href="#p130">130</a></li> + <li>Christening ships, <a href="#p35">35</a></li> + <li>Christmas games, <a href="#p115">115</a></li> + <li>Christ Church, Hants., <a href="#p79">79</a>; Christ Church, Oxford, <a href="#p157">157</a></li> + <li>Church Chests, <a href="#p161">161</a>–182</li> + <li>Church Door, <a href="#p1">1</a>–29</li> + <li>Churchwardens’ accounts, <a href="#p126">126</a>–127</li> + <li>Churchyard Superstitions, <a href="#p206">206</a>–215</li> + <li>Cocks, live, built into walls, <a href="#p44">44</a></li> + <li>Coins, burial of, <a href="#p35">35</a></li> + <li>Colchester, Trinity Church Door, <a href="#p5">5</a>, <a href="#p7">7</a></li> + <li>Cologne Cathedral, <a href="#p42">42</a></li> + <li>Combs, chest at, <a href="#p181">181</a></li> + <li>Compton Martin, <a href="#p80">80</a></li> + <li>Concerning Font-Lore, <a href="#p145">145</a>–152</li> + <li>Conversation in church, <a href="#p245">245</a></li> + <li>Cope chests, <a href="#p180">180</a></li> + <li>Cornish bell-lore, <a href="#p137">137</a></li> + <li>Coventry, chest at, <a href="#p171">171</a>, <a href="#p173">173</a>; spires, <a href="#p102">102</a>, <a href="#p104">104</a></li> + <li>Courts in the porch, <a href="#p27">27</a></li> + <li>Cromwell’s soldiers, <a href="#p84">84</a></li> + <li>Crowle Church, <a href="#p1">1</a>, <a href="#p8">8</a>, <a href="#p10">10</a></li> + <li>Crowland Abbey, <a href="#p48">48</a></li> + <li><a name="p248" id="p248"></a><span class="pageno"><span + class="ns">[p </span>248<span class="ns">]<br + /></span></span>Curfew bell, <a href="#p125">125</a>, <a href="#p129">129</a></li> + <li>Curious Announcements in Church, <a href="#p216">216</a>–229</li> +</ul> + +<ul> + <li>Danes, incursions of, <a href="#p53">53</a>–55</li> + <li>Darenth, <a href="#p80">80</a></li> + <li>Darrington church, <a href="#p38">38</a></li> + <li>Dartmouth Church, <a href="#p19">19</a>, <a href="#p21">21</a></li> + <li>Decorated Style, <a href="#p68">68</a></li> + <li>Dedicating chapels, <a href="#p81">81</a></li> + <li>Devil, sold to the, <a href="#p42">42</a></li> + <li>Dickens, Charles, on Bells, <a href="#p120">120</a></li> + <li>Dissolution of monasteries, <a href="#p84">84</a></li> + <li>Dogs haunting churches and castles, <a href="#p31">31</a></li> + <li>Doom, <a href="#p15">15</a></li> + <li>Door-keepers, <a href="#p4">4</a></li> + <li>Dun Cow, <a href="#p234">234</a>, <a href="#p238">238</a></li> + <li>Durham, <a href="#p9">9</a>, <a href="#p58">58</a>, <a href="#p67">67</a>, <a href="#p80">80</a>, <a href="#p81">81</a>, <a href="#p133">133</a>, <a href="#p234">234</a></li> +</ul> + +<ul> + <li>Early Cathedrals, <a href="#p52">52</a></li> + <li>Early English chests, <a href="#p164">164</a></li> + <li>Earthquake, <a href="#p65">65</a></li> + <li>Eggs in foundations, <a href="#p43">43</a></li> + <li>Elgin<!-- TN: original reads "Elgen" -->, <a href="#p80">80</a></li> + <li>Elkstone Church, <a href="#p16">16</a></li> + <li>Elston Church, <a href="#p16">16</a>, <a href="#p17">17</a></li> + <li>Exeter, <a href="#p79">79</a></li> + <li>Ely, <a href="#p54">54</a>, <a href="#p72">72</a>, <a href="#p80">80</a>, <a href="#p84">84</a></li> +</ul> + +<ul> + <li>Fair Rosamond, <a href="#p186">186</a></li> + <li>Finedon, <a href="#p109">109</a></li> + <li>Fire, <a href="#p65">65</a>, <a href="#p67">67</a>, <a href="#p70">70</a></li> + <li>First burial in a churchyard, <a href="#p39">39</a></li> + <li>First Prayer Book of Edward VI., <a href="#p25">25</a>, <a href="#p26">26</a></li> + <li>Fives of Spades and the Church of Ashton-under-Lyne, <a href="#p113">113</a>–118</li> + <li>Florence, doors at, <a href="#p22">22</a></li> + <li>Flowers in churchyards, <a href="#p207">207</a></li> + <li>Fordham, <a href="#p80">80</a></li> + <li>Forrabury<!-- TN: original reads "Forraby" -->, <a href="#p137">137</a></li> + <li>Founhope Church, <a href="#p16">16</a></li> + <li>Foxton, <a href="#p185">185</a></li> + <li>France, card playing in, <a href="#p113">113</a></li> +</ul> + +<ul> + <li>Galilee Chapel, Durham, <a href="#p67">67</a></li> + <li>Gambling, sermon against, <a href="#p113">113</a></li> + <li>German bell-lore, <a href="#p121">121</a>; mythology, <a href="#p36">36</a></li> + <li>Gild of Cloth Merchants, <a href="#p22">22</a></li> + <li>Glastonbury, <a href="#p79">79</a>, <a href="#p175">175</a></li> + <li>Gloucester, <a href="#p13">13</a>, <a href="#p56">56</a>, <a href="#p61">61</a>, <a href="#p79">79</a></li> + <li>Grantham, <a href="#p107">107</a></li> + <li>Guy, Earl of Warwick, <a href="#p238">238</a></li> +</ul> + +<ul> + <li>Haddenham, <a href="#p81">81</a></li> + <li>Haltham Church, <a href="#p16">16</a></li> + <li>Hampton Court, maze at, <a href="#p186">186</a></li> + <li>Harold’s tomb, <a href="#p96">96</a></li> + <li>Harty<!-- TN: original reads "Hartly" --> Chapel, chest at, <a href="#p177">177</a></li> + <li>Hearthstones, bones under, <a href="#p40">40</a></li> + <li>Hel-horse, <a href="#p43">43</a></li> + <li>Henry the Seventh’s Chapel, <a href="#p82">82</a>, <a href="#p85">85</a></li> + <li>Henry VII. a card player, <a href="#p115">115</a></li> + <li>Hereford, <a href="#p61">61</a>, <a href="#p72">72</a>, <a href="#p74">74</a>, <a href="#p79">79</a></li> + <li>Heysham, <a href="#p10">10</a></li> + <li>Higham Ferrers, <a href="#p13">13</a>, <a href="#p14">14</a>, <a href="#p18">18</a>, <a href="#p109">109</a></li> + <li>Hill, Rev. P. Oakley. Concerning Font-Lore, <a href="#p145">145</a>–152</li> + <li>Hillbury maze, <a href="#p200">200</a></li> + <li>Hilton maze, <a href="#p194">194</a></li> + <li>Holland, <a href="#p41">41</a></li> + <li>Holsworthy<!-- TN: original reads "Holsworth" --> Church, <a href="#p36">36</a></li> + <li>Holy Land, leprosy brought from, <a href="#p184">184</a></li> + <li>Horses interred alive, <a href="#p43">43</a></li> + <li>Howlett, E. Sacrificial Foundations, <a href="#p30">30</a>–45</li> + <li>Hulme, <a href="#p80">80</a></li> +</ul> + +<ul> + <li>Importation of cards prohibited, <a href="#p114">114</a></li> + <li>Indulgences<!-- TN: original reads "Indulgencies" -->, <a href="#p49">49</a></li> + <li>Inscriptions on bells, <a href="#p128">128</a>–129</li> + <li>Iona, <a href="#p39">39</a></li> + <li>Ironwork, <a href="#p19">19</a>–20</li> + <li>Islington, <a href="#p111">111</a></li> +</ul> + +<ul> + <li>Jarrow-on-Tyne, <a href="#p81">81</a></li> + <li>Johnson, Rev. T. Churchyard Superstitions, <a href="#p206">206</a>–215</li> +</ul> + +<ul> + <li>Kilkenny, <a href="#p80">80</a></li> + <li>Knockers, <a href="#p23">23</a></li> +</ul> + +<ul> + <li>Laughter in church, <a href="#p246">246</a></li> + <li>Lambeth Palace, <a href="#p179">179</a></li> + <li>Leper-Window, <a href="#p183">183</a>–185</li> + <li>Lichfield, <a href="#p62">62</a>, <a href="#p68">68</a>, <a href="#p104">104</a>, <a href="#p107">107</a>, <a href="#p158">158</a></li> + <li>Lights in Lady Chapels, <a href="#p95">95</a></li> + <li>Limerick bells, <a href="#p134">134</a></li> + <li>Lincoln Cathedral, <a href="#p15">15</a>, <a href="#p65">65</a>, <a href="#p70">70</a>, <a href="#p71">71</a>, <a href="#p154">154</a></li> + <li>Lion Fonts, <a href="#p147">147</a></li> + <li>Liverpool, <a href="#p74">74</a></li> + <li>Llanaber, chest at, <a href="#p180">180</a></li> + <li>Llandaff, <a href="#p9">9</a>, <a href="#p62">62</a>, <a href="#p135">135</a></li> + <li>Llanthony, <a href="#p80">80</a></li> + <li>Lost goods cried in church, <a href="#p215">215</a></li> + <li>Louth, <a href="#p105">105</a>, <a href="#p108">108</a></li> + <li>Low-side windows, <a href="#p183">183</a></li> + <li>Lucca Cathedral, maze at, <a href="#p187">187</a>, <a href="#p188">188</a></li> + <li><a name="p249" id="p249"></a><span class="pageno"><span + class="ns">[p </span>249<span class="ns">]<br + /></span></span>Lych window, <a href="#p185">185</a></li> + <li>Lynn, Thoresby door, <a href="#p18">18</a>, <a href="#p19">19</a></li> +</ul> + +<ul> + <li>Malmesbury Abbey, <a href="#p155">155</a>, <a href="#p159">159</a></li> + <li>Mallwyd, bones at, <a href="#p233">233</a></li> + <li>Manchester, <a href="#p69">69</a>, <a href="#p79">79</a></li> + <li>Mariolatry, <a href="#p77">77</a></li> + <li>Marriage customs, <a href="#p25">25</a></li> + <li>Massacre of Thomas à Becket, <a href="#p90">90</a></li> + <li>Massingham bells, <a href="#p139">139</a></li> + <li>Maundy Thursday, <a href="#p15">15</a></li> + <li>Mazes, <a href="#p186">186</a>–205</li> + <li>Modern mazes, <a href="#p203">203</a>–205</li> + <li>Mortar, blood in, <a href="#p37">37</a></li> + <li>Mortlake, chest at, <a href="#p177">177</a></li> +</ul> + +<ul> + <li>New Walsingham, <a href="#p146">146</a></li> + <li>Newcastle-on-Tyne, <a href="#p70">70</a></li> + <li>Newington chest lost, <a href="#p182">182</a></li> + <li>Norman architecture, <a href="#p8">8</a>, <a href="#p57">57</a>–68</li> + <li>Norman Conquest, <a href="#p57">57</a></li> + <li>Northamptonshire spires, <a href="#p102">102</a></li> + <li>North side of church, burial at, <a href="#p209">209</a>–215</li> + <li>Northorpe, <a href="#p31">31</a></li> + <li>Norwich, <a href="#p28">28</a>, <a href="#p61">61</a>, <a href="#p84">84</a>, <a href="#p103">103</a>, <a href="#p104">104</a>, <a href="#p145">145</a></li> +</ul> + +<ul> + <li>Old Saint Paul’s, <a href="#p103">103</a></li> + <li>Olney, <a href="#p109">109</a></li> + <li>Oundle, <a href="#p108">108</a></li> + <li>Over, chest at, <a href="#p167">167</a>, <a href="#p178">178</a></li> + <li>Oxford, <a href="#p62">62</a>, <a href="#p66">66</a>, <a href="#p79">79</a>, <a href="#p82">82</a>, <a href="#p108">108</a></li> +</ul> + +<ul> + <li>Page, Jno. T. Some Famous Spires, <a href="#p101">101</a>–112</li> + <li>Paris, <a href="#p11">11</a></li> + <li>“Paston Letters,” <a href="#p114">114</a></li> + <li>Penance, <a href="#p49">49</a></li> + <li>Pennant Melangell, legend of, <a href="#p230">230</a></li> + <li>People and Steeple Rhymes, <a href="#p111">111</a></li> + <li>Pepys, Samuel, at Church, <a href="#p244">244</a>–246</li> + <li>Peterborough, <a href="#p12">12</a>, <a href="#p47">47</a>, <a href="#p62">62</a>, <a href="#p65">65</a>, <a href="#p72">72</a>, <a href="#p75">75</a>, <a href="#p79">79</a>, <a href="#p84">84</a></li> + <li>Pimpern maze, <a href="#p200">200</a></li> + <li>Poetry on bells, <a href="#p122">122</a>–125</li> + <li>Porches, <a href="#p24">24</a></li> + <li>Preferment fee, <a href="#p50">50</a></li> +</ul> + +<ul> + <li>Rees, Rev. R. Wilkins. Curious Announcements in Church, <a href="#p216">216</a>–229; + Big Bones Preserved in Churches, <a href="#p230">230</a>–243</li> + <li>Relics of a Saint, <a href="#p81">81</a></li> + <li>Ripon, <a href="#p59">59</a>, <a href="#p62">62</a>, <a href="#p72">72</a>, <a href="#p73">73</a>, <a href="#p80">80</a>, <a href="#p200">200</a></li> + <li>Rochester, <a href="#p51">51</a>, <a href="#p62">62</a>, <a href="#p65">65</a>, <a href="#p80">80</a></li> + <li>Rome, founding of, <a href="#p34">34</a></li> + <li>Rooms over porches, <a href="#p158">158</a></li> + <li>Rougham Church, <a href="#p16">16</a></li> + <li>Roumania, <a href="#p40">40</a></li> + <li>Rushden, <a href="#p109">109</a></li> +</ul> + +<ul> + <li>Sacrificial Foundations, <a href="#p30">30</a>–45</li> + <li>Saffron Waldon, maze at, <a href="#p196">196</a></li> + <li>Salisbury, <a href="#p47">47</a>, <a href="#p68">68</a>, <a href="#p79">79</a>, <a href="#p103">103</a></li> + <li>Samuel Pepys at Church, <a href="#p244">244</a>–246</li> + <li>Saxon architecture, <a href="#p8">8</a></li> + <li>Scutari, <a href="#p41">41</a></li> + <li>Sempringham Abbey, <a href="#p18">18</a>, <a href="#p20">20</a></li> + <li>Sermon lost, <a href="#p222">222</a></li> + <li>Seven Sacrament Fonts, <a href="#p146">146</a></li> + <li>Seville Cathedral, <a href="#p11">11</a></li> + <li>Shakespeare, <a href="#p28">28</a>, <a href="#p31">31</a>, <a href="#p193">193</a></li> + <li>Shandon, bells of, <a href="#p123">123</a></li> + <li>Shrewsbury, <a href="#p107">107</a></li> + <li>Shrine of St. Frideswide, <a href="#p82">82</a></li> + <li>Shrines, <a href="#p51">51</a>, <a href="#p82">82</a></li> + <li>Skipton<!-- TN: original reads "Shipton" -->, <a href="#p223">223</a><!-- TN: original reads "56" --></li> + <li>Sleeping in church, <a href="#p245">245</a></li> + <li>Sneinton, maze at, <a href="#p196">196</a>–199</li> + <li>Spires, <a href="#p101">101</a>–112</li> + <li>Some Famous Spires, <a href="#p101">101</a>–112</li> + <li>Southwell, <a href="#p62">62</a>, <a href="#p63">63</a>, <a href="#p66">66</a></li> + <li>Southwold chest, <a href="#p165">165</a></li> + <li>Sowerford-Keynes, <a href="#p8">8</a></li> + <li>Stamp, Rev. J. H. Ye Chappell of Oure Ladye, <a href="#p76">76</a>–100</li> + <li>Stonham Aspel, <a href="#p170">170</a></li> + <li>Stories about Bells, <a href="#p133">133</a>–144</li> + <li>Strasburg Cathedral, <a href="#p11">11</a></li> + <li>St. Albans, <a href="#p52">52</a>, <a href="#p62">62</a>, <a href="#p72">72</a>, <a href="#p75">75</a>, <a href="#p79">79</a>, <a href="#p85">85</a>, <a href="#p87">87</a>, <a href="#p154">154</a>, <a href="#p158">158</a></li> + <li>St. Anne’s Well and Maze, <a href="#p196">196</a>, <a href="#p197">197</a>, <a href="#p199">199</a></li> + <li>St. Asaph, <a href="#p69">69</a></li> + <li>St. Cuthbert, tomb of, <a href="#p82">82</a></li> + <li>St. David’s, <a href="#p62">62</a>, <a href="#p154">154</a></li> + <li>St. Fillan’s bell, <a href="#p144">144</a></li> + <li>St. Frideswide’s shrine, <a href="#p157">157</a></li> + <li>St. Giles’s Cathedral, <a href="#p14">14</a></li> + <li>St. Hugh, <a href="#p66">66</a>, <a href="#p71">71</a></li> + <li>St. Lawrence’s, Isle of Thanet, <a href="#p169">169</a></li> + <li>St. Mary’s Redcliff, <a href="#p79">79</a>, <a href="#p85">85</a>, <a href="#p107">107</a>, <a href="#p241">241</a></li> + <li>St. Monacella’s lambs, <a href="#p231">231</a></li> + <li>St. Mura, bell of, <a href="#p136">136</a></li> + <li>St. Odhran, <a href="#p39">39</a></li> + <li>St. Paul’s, <a href="#p73">73</a></li> + <li>St. Peter Mancroft, Norwich, <a href="#p145">145</a></li> + <li>St. Quentin, maze at, <a href="#p192">192</a></li> + <li><a name="p250" id="p250"></a><span class="pageno"><span + class="ns">[p </span>250<span class="ns">]<br + /></span></span>Suicides, Burial of, <a href="#p211">211</a></li> + <li>Swedish folk-tales, <a href="#p32">32</a></li> +</ul> + +<ul> + <li>Thetford, <a href="#p80">80</a></li> + <li>Thorns, barring a door with, <a href="#p29">29</a></li> + <li>Tintagel, <a href="#p137">137</a></li> + <li>Torch, symbol of, <a href="#p42">42</a></li> + <li>Town bells, <a href="#p131">131</a></li> + <li>Truro, <a href="#p75">75</a></li> + <li>Tunstall, legend of, <a href="#p141">141</a></li> + <li>Tyack, Rev. G. S. The Church Door, <a href="#p1">1</a>–29; The Building of the + English Cathedrals, <a href="#p46">46</a>–75; Watching-Chambers, <a href="#p153">153</a>–160; + Church Chests, <a href="#p161">161</a>–182; Mazes, <a href="#p186">186</a>–205</li> + <li>Tympanum, <a href="#p5">5</a>, <a href="#p12">12</a>, <a href="#p14">14</a>, <a href="#p16">16</a></li> + <li>Tyre, church at, <a href="#p2">2</a></li> +</ul> + +<ul> + <li>Unclerically dressed, <a href="#p49">49</a></li> + <li>Upton chest, <a href="#p166">166</a>, <a href="#p167">167</a></li> + <li>Upton font, <a href="#p148">148</a></li> +</ul> + +<ul> + <li>Vestments <a href="#p153">153</a></li> + <li>Voluntary labour, <a href="#p52">52</a></li> +</ul> + +<ul> + <li>Wakefield, <a href="#p74">74</a></li> + <li>Walsingham, <a href="#p80">80</a></li> + <li>Waltham Abbey, <a href="#p80">80</a>, <a href="#p88">88</a></li> + <li>Warwick, <a href="#p82">82</a></li> + <li>Watching-Chambers in Churches, <a href="#p153">153</a>–160</li> + <li>Weathercock rhyme, <a href="#p109">109</a></li> + <li>Wells, <a href="#p69">69</a>, <a href="#p72">72</a>, <a href="#p79">79</a></li> + <li>Welsh border, <a href="#p55">55</a></li> + <li>West doors, <a href="#p13">13</a>, <a href="#p14">14</a></li> + <li>Westminster, <a href="#p79">79</a>–81, <a href="#p82">82</a>, <a href="#p179">179</a></li> + <li>White, William. An Antiquarian Problem: The Leper Window, <a href="#p183">183</a>–185</li> + <li>Wimborne, <a href="#p80">80</a></li> + <li>Winchester, <a href="#p61">61</a>, <a href="#p67">67</a>, <a href="#p79">79</a>, <a href="#p177">177</a>, <a href="#p195">195</a>, <a href="#p196">196</a></li> + <li>Witham-on-the-Hill bells, <a href="#p140">140</a></li> + <li>Worcester, <a href="#p56">56</a>, <a href="#p61">61</a>, <a href="#p68">68</a>, <a href="#p70">70</a></li> + <li>Wymondham, <a href="#p80">80</a></li> +</ul> + +<ul> + <li>York, <a href="#p71">71</a>, <a href="#p72">72</a></li> +</ul> +</div> + + + +<div class="backmatter"> +<h2 class="ns">Advertisements</h2> +<p><a name="cat1" id="cat1"></a><span class="pageno"><span + class="ns">[p </span>I<span class="ns">]<br + /></span></span>“Mr. Andrews’ books are always interesting.”—<cite>Church Bells.</cite></p> + +<p>“No student of Mr. Andrews’ books can be a dull after-dinner speaker, +for his writings are full of curious out-of-the-way information and good +stories.”—<cite>Birmingham Daily Gazette.</cite></p> + +<!-- TN: original has horizontal rule here --> + +<h2 class="catalog" title="">England in the Days of Old</h2> + +<p class="byline"><span class="smcap">By WILLIAM ANDREWS</span>, <span class="postnomial">F.H.R.S.</span><br + /><small><i>Demy 8vo., 7s. 6d. Numerous Illustrations</i></small></p> + + +<p><big><span class="smcap">This</span> volume is one of unusual interest and value to the lover +of olden days and ways, and can hardly fail to interest and +instruct the reader. It recalls many forgotten episodes, scenes, +characters, manners, customs, etc., in the social and domestic +life of England.</big></p> + +<p><span class="smcap">Contents</span>:—When Wigs were Worn—Powdering the Hair—Men +Wearing Muffs—Concerning Corporation Customs—Bribes for the Palate—Rebel +Heads on City Gates—Burial at Cross Roads—Detaining the Dead +for Debt—A Nobleman’s Household in Tudor Times—Bread and Baking +in Bygone Days—Arise, Mistress, Arise!—The Turnspit—A Gossip about +the Goose—Bells as Time-Tellers—The Age of Snuffing—State +Lotteries—Bear-Baiting—Morris Dancers—The Folk-Lore of Midsummer +Eve—Harvest Home—Curious Charities—An Old-Time Chronicler.</p> + +<p><span class="smcap">List of Illustrations</span>:—The House of Commons in the time of Sir +Robert Walpole—Egyptian Wig—The Earl of Albemarle—Campaign Wig—Periwig +with Tail—Ramillie-Wig—Pig-tail Wig—Bag-Wig—Archbishop +Tilotson—Heart-Breakers—A Barber’s Shop in the time of Queen +Elizabeth—With and Without a Wig—Stealing a Wig—Man with Muff, +1693—Burying the Mace at Nottingham—The Lord Mayor of York escorting +Princess Margaret—The Mayor of Wycombe going to the Guildhall—Woman +wearing a Scold’s Bridle—The Brank—Andrew Marvell—Old +London Bridge, shewing heads of rebels on the gate—Axe, Block, and +Executioner’s Mask—Margaret Roper taking leave of her father, Sir Thomas +More—Rebel Heads, from a print published in 1746—Temple Bar in Dr. +Johnson’s time—Micklegate Bar, York—Clock, Hampton Court Palace—Drawing +a Lottery in the Guildhall, 1751—Advertising the Last State +Lottery—Partaking of the Pungent Pinch—Morris Dance, from a painted +window at Betley—Morris Dance, temp. James I.—A Whitsun Morris +Dance—Bear Garden, or Hope Theatre, 1647—The Globe Theatre, temp. +Elizabeth—Plan of Bankside early in the Seventeenth Century—John Stow’s +Monument.</p> + +<p>A carefully prepared Index enables the reader to refer to the varied and +interesting contents of the book.</p> + +<p>“A very attractive and informing book.”—<cite>Birmingham Daily Gazette.</cite></p> + +<p>“Mr Andrews has the true art of narration, and contrives to give us +the results of his learning with considerable freshness of style, whilst his +subjects are always interesting and picturesque.”—<cite>Manchester Courier.</cite></p> + +<p>“The book is of unusual interest.”—<cite>Eastern Morning News.</cite></p> + +<p>“Of the many clever books which Mr. Andrews has written none does +him greater credit than “England in the Days of Old,” and none will be +read with greater profit.”—<cite>Northern Gazette.</cite></p> + +<p><a name="cat2" id="cat2"></a><span class="pageno"><span + class="ns">[p </span>II<span class="ns">]<br + /></span></span>“Valuable and interesting.”—<cite>The Times.</cite></p> + +<p>“Readable as well as instructive.”—<cite>The Globe.</cite></p> + +<p>“A valuable addition to any library.”—<cite>Derbyshire Times.</cite></p> + +<!-- TN: original has horizontal rule here --> + +<h2 class="catalog" title=""><big>The Bygone Series.</big></h2> + +<p>In this series the following volumes ate included, and issued at 7s. 6d. +each. Demy 8vo, cloth gilt.</p> + +<p>These books have been favourably reviewed in the leading critical +journals of England and America.</p> + +<p>Carefully written articles by recognised authorities are included on +history, castles, abbeys, biography, romantic episodes, legendary lore, +traditional stories, curious customs, folk-lore, etc., etc.</p> + +<p>The works are illustrated by eminent artists, and by the reproduction of +quaint pictures of the olden time.</p> + +<!-- TN: original has horizontal rule here --> + +<ul class="catalog"> +<li>BYGONE BERKSHIRE, edited by Rev. P. H. Ditchfield, <span class="postnomial">M.A.</span>, <span class="postnomial">F.S.A.</span></li> + +<li>BYGONE CHESHIRE, edited by William Andrews.</li> + +<li>BYGONE DEVONSHIRE, by the Rev. Hilderic Friend.</li> + +<li>BYGONE DURHAM, edited by William Andrews.</li> + +<li>BYGONE GLOUCESTERSHIRE, edited by William Andrews.</li> + +<li>BYGONE HERTFORDSHIRE, edited by William Andrews.</li> + +<li>BYGONE LEICESTERSHIRE, edited by William Andrews.</li> + +<li>BYGONE LINCOLNSHIRE (2 vols), edited by William Andrews.</li> + +<li>BYGONE MIDDLESEX, edited by William Andrews.</li> + +<li>BYGONE NORFOLK, edited by William Andrews.</li> + +<li>BYGONE NORTHUMBERLAND, edited by William Andrews.</li> + +<li>BYGONE NOTTINGHAMSHIRE, by William Stevenson.</li> + +<li>BYGONE SCOTLAND, by David Maxwell, <span class="postnomial">C.E.</span></li> + +<li>BYGONE SOMERSETSHIRE, edited by Cuming Walters.</li> + +<li>BYGONE SOUTHWARK, by Mrs. E. Boger.</li> + +<li>BYGONE SUFFOLK, edited by Cuming Walters.</li> + +<li>BYGONE SURREY, edited by George Clinch and S. W. Kershaw, <span class="postnomial">F.S.A.</span></li> + +<li>BYGONE SUSSEX, by W. E. A. Axon.</li> + +<li>BYGONE WARWICKSHIRE, edited by William Andrews.</li> + +<li>BYGONE YORKSHIRE, edited by William Andrews.</li> +</ul> + + +<h2 class="catalogleft" title=""><a name="cat3" id="cat3"></a><span class="pageno"><span + class="ns">[p </span>III<span class="ns">]<br + /></span></span>Bygone Punishments.</h2> + +<p class="byline"><span class="smcap">By William Andrews.</span><br + /><small><i>Demy 8vo, cloth gilt, 7s. 6d. Numerous Illustrations.</i></small></p> + + +<p><span class="smcap">Contents</span>:—Hanging—Hanging in Chains—Hanging, Drawing, and +Quartering—Pressing to Death—Drowning—Burning to Death—Boiling to +Death—Beheading—The Halifax Gibbet—The Scottish +Maiden—Mutilation—Branding—The Pillory—Punishing Authors and Burning +Books—Finger Pillory—The Jougs—The Stocks—The Drunkard’s +Cloak—Whipping and Whipping-Posts—Public Penance—The Repentance +Stool—The Ducking Stool—The Brank, or Scold’s Bridle—Riding the +Stang—Index.</p> + +<p>“A book of great interest.“—<cite>Manchester Courier.</cite></p> + +<p>“Crowded with extraordinary facts.”—<cite>Birmingham Daily Gazette.</cite></p> + +<p>“Contains much that is curious and interesting both to the student of +history and social reformer.”—<cite>Lancashire Daily Express.</cite></p> + +<p>“Full of curious lore, sought out and arranged with much +industry.”—<cite>The Scotsman.</cite></p> + +<p>“Mr. Andrews’ volume is admirably produced, and contains a collection +of curious illustrations, representative of many of the punishments he +describes, which contribute towards making it one of the most curious and +entertaining books that we have perused for a long time.”—<cite>Norfolk +Chronicle.</cite></p> + +<p>“Those who wish to obtain a good general idea on the subject of +criminal punishment in days long past, will obtain it in this well-printed +and stoutly-bound volume.”—<cite>Daily Mail.</cite></p> + +<p>“Mr. William Andrews, of Hull, is an indefatigable searcher amongst +the byways of ancient English history, and it would be difficult to name an +antiquary who, along his chosen lines, has made so thoroughly interesting +and instructive the mass of facts a painstaking industry has brought to +light. For twenty-five years he has been delving into the subject of +Bygone Punishments, and is now one of the best authorities upon obsolete +systems of jurisdiction and torture, for torture was, in various forms, the +main characteristic of punishment in the good old times. The reformation +of the person punished was a far more remote object of retribution than it +is with us, and even with us reform is very much a matter of sentiment. +Punishment was intended to be punishment to the individual in the first +place, and in the second a warning to the rest. It is a gruesome study, +but Mr Andrews nowhere writes for mere effect. As an antiquary ought +to do, he has made the collection of facts and their preservation for modern +students of history in a clear, straightforward narrative his main object, and +in this volume he keeps to it consistently. Every page is therefore full of +curious, out-of-the-way facts, with authorities and references amply +quoted.”—<cite>Yorkshire Post.</cite></p> + + + +<h2 class="catalog" title=""><a name="cat4" id="cat4"></a><span class="pageno"><span + class="ns">[p </span>IV<span class="ns">]<br + /></span></span>The Church Treasury of History, Custom, Folk-Lore, etc.</h2> + +<p class="byline"><span class="smcap">Edited by WILLIAM ANDREWS.</span><br + /><small><i>Demy 8vo., 7s. 6d. Numerous Illustrations.</i></small></p> + + +<p><span class="smcap">Contents</span>:—Stave-Kirks—Curious Churches of Cornwall—Holy +Wells—Hermits and Hermit Cells—Church Wakes—Fortified Church +Towers—The Knight Templars: their Churches and their Privileges—English +Medieval Pilgrimages—Pilgrims’ Signs—Human Skin on Church +Doors—Animals of the Church in Wood, Stone, and Bronze—Queries in +Stones—Pictures in Churches—Flowers and the Rites of the Church—Ghost +Layers and Ghost Laying—Church Walks—Westminster Waxworks—Index. +Numerous Illustrations.</p> + +<p>“It is a work that will prove interesting to the clergy and churchmen +generally, and to all others who have an antiquarian turn of mind, or like +to be regaled occasionally by reading old-world customs and +anecdotes.”—<cite>Church Family Newspaper.</cite></p> + +<p>“Mr. Andrews has given us some excellent volumes of Church lore, but +none quite so good as this. The subjects are well chosen. They are +treated brightly and with considerable detail, and they are well illustrated. +... Mr. Andrews is himself responsible for some of the most +interesting papers, but all his helpers have caught his own spirit, and the +result is a volume full of information well and pleasantly put.”—<cite>London +Quarterly Review.</cite></p> + +<p>“Those who seek information regarding curious and quaint relics or +customs will find much to interest them in this book. The illustrations +are good.”—<cite>Publishers’ Circular.</cite></p> + +<p>“An excellent and entertaining book.”—<cite>Newcastle Daily Leader.</cite></p> + +<p>“The book will be welcome to every lover of archæological lore.<!-- TN: period invisible in original -->”—<cite>Liverpool +Daily Post.</cite></p> + +<p>“The volume is of a most informing and suggestive character, abounding +in facts not easy of access to the ordinary reader, and enhanced with +illustrations of a high order of merit, and extremely numerous.”—<cite>Birmingham +Daily Gazette.</cite></p> + +<p>“The contents of the volume are very good.”—<cite>Leeds Mercury.</cite></p> + +<p>“The volume is sure to meet with a cordial reception.”—<cite>Manchester +Courier.</cite></p> + +<p>“A fascinating book.”—<cite>Stockport Advertiser.</cite></p> + +<p>“Mr. Andrews has brought together much curious matter.”—<cite>Manchester +Guardian.</cite></p> + +<p>“The book is a very readable one, and will receive a hearty +welcome.”—<cite>Herts. Advertiser.</cite></p> + +<p>“Mr. William Andrews has been able to give us a very acceptable and +useful addition to the books which deal with the curiosities of Church lore, +and for this deserves our hearty thanks. The manner in which the book is +printed and illustrated also commands our admiration.”—<cite>Norfolk Chronicle.</cite></p> + + + + +<h2 class="catalogleft" title=""><a name="cat5" id="cat5"></a><span class="pageno"><span + class="ns">[p </span>V<span class="ns">]<br + /></span></span>Historic Dress of the Clergy.</h2> + +<p class="byline"><span class="smcap">By the Rev. GEO. S. TYACK</span>, <span class="postnomial">B.A.</span>,<br + /><small>Author of “The Cross in Ritual, Architecture, and Art.”<br + /><i>Crown, cloth extra, 3s. 6d.</i></small></p> + +<p><big>The work contains thirty-three illustrations from ancient +monuments, rare manuscripts, and other sources.</big></p> + +<p>“A very painstaking and very valuable volume on a subject which is just +now attracting much attention. Mr. Tyack has collected a large amount +of information from sources not available to the unlearned, and has put +together his materials in an attractive way. The book deserves and is sure +to meet with a wide circulation.”—<cite>Daily Chronicle.</cite></p> + +<p>“This book is written with great care, and with an evident knowledge +of history. It is well worth the study of all who wish to be better informed +upon a subject which the author states in his preface gives evident signs of +a lively and growing interest.”—<cite>Manchester Courier.</cite></p> + +<p>“Those who are interested in the Dress of the Clergy will find full +information gathered together here, and set forth in a lucid and scholarly +way.”—<cite>Glasgow Herald.</cite></p> + +<p>“We are glad to welcome yet another volume from the author of ‘The +Cross in Ritual, Architecture, and Art.’ His subject, chosen widely and +carried out comprehensively, makes this a valuable book of reference for +all classes. It is only the antiquary and the ecclesiologist who can devote +time and talents to research of this kind, and Mr. Tyack has done a real +and lasting service to the Church of England by collecting so much useful +and reliable information upon the dress of the clergy in all ages, and offering +it to the public in such a popular form. We do not hesitate to recommend +this volume as the most reliable and the most comprehensive illustrated +guide to the history and origin of the canonical vestments and other dress +worn by the clergy, whether ecclesiastical, academical, or general, while +the excellent work in typography and binding make it a beautiful +gift-book.”—<cite>Church Bells.</cite></p> + +<p>“A very lucid history of ecclesiastical vestments from Levitical times to +the present day.”—<cite>Pall Mall Gazette.</cite></p> + +<p>“The book can be recommended to the undoubtedly large class of +persons who are seeking information on this and kindred subjects.”—<cite>The +Times.</cite></p> + +<p>“The work may be read either as pastime or for instruction, and is +worthy of a place in the permanent section of any library. The numerous +illustrations, extensive contents table and index, and beautiful workmanship, +both in typography and binding, are all features of attraction and +utility.”—<cite>Dundee Advertiser.</cite></p> +</div> + +<div class="tnote"> +<h2>Transcriber’s Note</h2> + +<p>In view of the multiple authors represented, inconsistent spelling +and hyphenation have been retained.</p> + +<p class="screenonly">Illustrations that occurred mid-paragraph in the original +book have here been moved between paragraphs: as a result, page numbers may +appear out of sequence. Page numbers corresponding to the blank reverse +of full-page illustrations and plates have been suppressed.</p> + +</div> + + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Ecclesiastical Curiosities, by Various + +*** END OF THIS PROJECT GUTENBERG EBOOK ECCLESIASTICAL CURIOSITIES *** + +***** This file should be named 38274-h.htm or 38274-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/3/8/2/7/38274/ + +Produced by David Wilson + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +http://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, are critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at http://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +http://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at http://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit http://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including checks, online payments and credit card donations. +To donate, please visit: http://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart is the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + http://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. + + +</pre> + +</body> +</html> |