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diff --git a/78728-0.txt b/78728-0.txt new file mode 100644 index 0000000..82f987e --- /dev/null +++ b/78728-0.txt @@ -0,0 +1,6024 @@ +*** START OF THE PROJECT GUTENBERG EBOOK 78728 *** + + + + + The Cambridge Manuals of Science and + Literature + + + + CAMBRIDGE UNIVERSITY PRESS + London: FETTER LANE, E.C. + C. F. CLAY, MANAGER + + [Illustration] + + Edinburgh: 100, PRINCES STREET + Berlin: A. ASHER AND CO. + Leipzig: F. A. BROCKHAUS + New York: G. P. PUTNAM’S SONS + Bombay and Calcutta: MACMILLAN AND CO., LTD. + + _All rights reserved_ + + + + + BRASSES + + BY + J. S. M. WARD + B.A., F.R.HIST.S. + + Cambridge: + at the University Press + 1912 + + + + + Cambridge: + + PRINTED BY JOHN CLAY, M.A. + AT THE UNIVERSITY PRESS + + +_With the exception of the coat-of-arms at the foot, the design on the +cover is a reproduction of one used by the earliest known Cambridge +printer, John Siberch, 1521_ + + + + +PREFACE + + +Of late years there has been a marked awakening of general interest +in monumental brasses. Previously, the more imposing realism of +statuary--either in single figures or in groups--may be said to have +deprived these ancient relics of the recognition they deserved. But +recently it has begun to dawn upon the more artistic members, at least +of the thinking public, how much of real archaeological interest +attaches to memorial brasses, hitherto known and appreciated only by +the few. + +As yet, however, there has been no cheap and handy manual which will +give the ordinary man in the street a fair idea of the classes into +which they may most readily be grouped, and at the same time furnish +him with such essential details as will enable him to distinguish +instinctively the salient points of the subject, and assimilate them +to the full. It is hoped that this little volume will succeed in +fulfilling this aim. + +The arrangement of the chapters is into periods corresponding with +those of History instead of the artificial method of grouping into +_knights_, _knights and ladies_, _demi-figures_, etc. Those who +would wish to follow up the subject in more extended form should read +Mr Macklin’s excellent work _The Brasses of England_, also Haines’ +_Manual_ and Boutell’s _Monumental Brasses_. + +Most of the illustrations are from the author’s own collection of +rubbings (numbering over 1500), and practically all the letter-press +and descriptions are based on his personal observations either from the +rubbings or from the brasses themselves. In a few cases where this is +not so, the author is indebted to one or other of those authors above +mentioned. The Editor of _The Builder_ has kindly given us permission +for the use of two of the blocks made from the author’s rubbings, which +appeared in a recent number of that paper. + + J. S. M. W. + + _August 16, 1912._ + + + + +CONTENTS + + + Preface v + + I. Edward I and II. 1272-1327 1 + + II. Edward III and Richard II. 1328-99 9 + + III. Lancastrian Period. 1400-53 14 + + IV. The Yorkist Period. 1453-85 24 + + V. Medieval Clergy 31 + + VI. The Monasteries 43 + + VII. The Early Tudors. 1485-1547 52 + + VIII. Edward VI and Mary. Transitional Period 60 + + IX. Elizabeth and James I. 1558-1625 62 + + X. The Caroline Brasses. 1625-60 70 + + XI. The Last Brasses. 1660-1773 75 + + XII. Special Types 76 + + XIII. Foreign Brasses 83 + + XIV. Architectural Details 87 + + XV. Conclusion 99 + + Appendix 112 + + Bibliography 148 + + Index 149 + + + + +LIST OF ILLUSTRATIONS + + + 1. Sir John Daubernon + + 2. Sir John de Creke + + 3. Sir John and Lady de Northwode + + 4. Lady Joan de Cobham + + 5. Sir Nicholas Burnell + + 6. Margaret, Lady Cobham + + 7. Thomas de Beauchamp, Earl of Warwick + + 8. Sir Symon de Felbrigge and Margaret, his wife + + 9. William Grevel and Wife + + 10. Sir John Cassy and Wife + + 11. Sir William and Lady Vernon + + 12. Sir Thomas Urswyk and family + + 13. Laurence de St Maur + + 14. John Blodwell + + 15. Thomas Cranley, Archbishop of Dublin + + 16. Thomas Neolond + + 17. Eleanor de Bohun, Duchess of Gloucester + + 18. John Shelley and Wife + + 19. Lady Tiptoft + + 20. Richard Wakehurst and Wife + + 21. John Wingfield + + 22. Alice, wife of William Wade + + 23. Sir Edward Filmer and family + + 24. John Strete + + 25. Robert de Paris and Wife + + + + +CHAPTER I + +EDWARD I AND II. 1272-1327 + + +The study of monumental brasses is one for which Englishmen have +special opportunities, for in England there are more brasses than in +all the other countries of Europe put together. The English brasses +moreover differ curiously from those of the Continent. On the Continent +the early engravers, probably influenced by the Limoges plates and +incised slabs which preceded them, engraved figures, inscriptions +and other details on rectangular plates. The monument of Geoffrey +Plantagenet, 1150, father of Henry II of England, which is now in +the Museum at Le Mans is such a plate. The enamelled effigy rests on +a diapered background. The earliest brass is that of Bishop Iso von +Wilpe, 1231, at Verden. (See Ch. XIII.) + +In England, as the engravers copied the stone figures without +backgrounds, they took the gravestone itself for the groundwork, and +figures, canopies, inscriptions, etc. are each set into separate +casements. The earliest _matrix_ (at St Paul’s, Bedford) shows a large +Latin cross and is believed to commemorate Sir Simon de Beauchamp, +1208. The earliest brass now extant is that of 1277 at Stoke d’Abernon. +To the first period belong in all twenty brasses (see Appendix). + +[Illustration: Fig. 1. Sir John Daubernon, 1277, Stoke d’Abernon, +Surrey] + +The figure of Sir John Daubernon (1) shows the armour which had been +worn for the last three centuries. He is in chain mail with _coif de +mailles_, hawberk and _chausses_ complete, but the junctions of these +are not distinct. Single-pointed prickspurs are buckled round the +ankles. The only sign of the coming change to plate armour are the +_genouillères_, which protect the knees and are adorned with a fine +pattern. They were probably at first made of leather, but later were of +plate. + +Over the mail is a linen surcoat, drawn tight round the waist by +a cord. Suspended upon his left shoulder is his shield, small and +heater-shaped, charged with his arms: _azure_, a _chevron or_. The +ground of the shield is in actual enamel--an almost unique feature. +The cross-handled sword is attached to a broad belt and hangs in front +of the body. This is the only brass which shows the lance. His feet +rest on a lion, which is said to signify that he fell in battle. + +Sir Roger de Trumpington differs from Sir John in several points. +He has _ailettes_ on his shoulders charged with his arms--three +trumpets--and his shield is long instead of heater-shaped. Further, +the great tilting helmet is placed under his head and is secured to +his waist by a chain, and his legs are crossed. In 1270 he went on the +Seventh Crusade with Prince Edward. So far as can be discovered, this +is the only brass extant of a Crusader, but several other brasses of +the same date have their legs crossed. This does not prove that they +were Crusaders, but only that in some way they were benefactors to the +Church. + +Sir Richard de Boselyngthorpe (a demi-figure) wears gloves of +fish-scale plates and holds a heart. Sir Robert de Bures is considered +to be the finest military figure among all the brasses of England. + +Sir Robert de Setvans is bare-headed and his gloves hang loosely from +the wrists, leaving his hands bare. His arms (winnowing fans, hence the +name Setvans) are shown on his surcoat, _ailettes_, and long shield. +Both he and Sir Robert de Bures are cross-legged. There is probably +French influence in this brass. + +[Illustration: Fig. 2. Sir John de Creke, c. 1325, Westley Waterless, +Cambs.] + +Next follow two transitional figures at Pebmarsh and Gorleston. Both +originally had canopies, which have now entirely disappeared. In these +the outsides of the upper and forearms are protected by steel plates +strapped over the mail, small elbow-pieces are added, and round plates +are fixed in front of the shoulders and at the bend of the arms. Shin +plates may also be noticed. + +Sir John de Creke is a fair example of a fourteenth century knight +clad almost entirely in plate armour, for we now pass definitely to +the second type of armour known as the “cyclas.” This garment is shown +in the illustration and is also depicted in the brass of Sir John +Daubernon II. It takes the place of the surcoat, is slit up the sides, +and is shorter in front than behind. + +It therefore shows beneath, first the gambeson, then the hawberk of +mail, and, finally, the padded haqueton. The hands are bare and the +hawberk sleeves short, thus showing the forearms entirely protected by +vambraces of plate worn under, not over, the mail. The upper arms have +pieces of plate over the chain, as before. A steel bascinet is on the +head, and the quatrefoil device on its apex was probably meant to hold +a crest or a lady’s favour. + +Sir John (II) has the earliest ogee-arch canopy. There was a fine +double one at Westley Waterless, but not a vestige of it remains. + +Sir John de Northwode’s effigy is almost certainly the work of a +French craftsman. His shield hangs at his left hip instead of on +his arm, which was a very usual method in France. The style of the +engraving, too, points in the same direction. His helmet is secured +by a chain, his head rests on a pillow and his forearms are protected +by scale-armour. About 1510, the lower portion of the figure having +been lost, new legs were engraved. Though an effort has been made to +preserve the style of 1330, yet the new work is obviously Tudor. The +altered shape of the feet and badly depicted lion readily show this. +At the same time, a strip was cut out of the middle to make the knight +of the same length as his wife! This removed the arm of the cross in +his shield, as shown in the illustration, but the missing piece has +recently been restored. + +[Illustration: Fig. 3. Sir John and Lady de Northwode, c. 1330, +Minster-in-Sheppey, Kent] + +[Illustration: Fig. 4. Lady Joan de Cobham, c. 1320, Cobham, Kent] + +We must now consider the costume of the ladies, of whom the first is +Margarete de Camoys, c. 1310. There was originally a canopy of the +earlier, or straight-sided type, and a border inscription in Lombardic +letters. Further, there were eight shields and thirty-one stars or +other devices on the slab. The figure alone survives and has on it +nine blank shields, probably the matrices of shields of enamel. + +Joan de Cobham, c. 1320, is the next lady. Her straight-sided canopy is +the only survivor of this early type. She wears a loose-fitting robe +with short sleeves, below which can be seen the sleeves of her kirtle. +Her head and neck are covered with a veil and wimple. + +Lady de Creke wears a long mantle fastened across the breast by a cord +and gathered up under the arm. The mark of the engraver is at her foot. +This is almost unique. + +Lady de Northwode has a mantle with side openings, through which the +arms pass. It is turned back in front to show the lining of variegated +fur. The head is bare and the hair plaited; a stiff wimple covers the +neck. Her head rests on a handsome cushion. + +Maud de Bladigdone has a dress similar to Joan de Cobham’s. + +She and her husband are small demi-figures in the centre of an octofoil +cross, most of which had to be restored in 1887. He wears a tunic +buttoned down the front, with tight sleeves having long lappets from +the elbows and a tippet over his shoulders. His beard is small and +forked. + +The remaining brasses are to priests in mass vestments, excepting +Archbishop Wm. de Grenefeld. But we shall deal with the vestments of +the clergy in a separate chapter. + +The Chinnor, Merton College and Woodchurch brasses are in varying forms +of crosses. Chinnor has only the head in the centre, Merton a fine +demi-figure, and Woodchurch a small figure. Until 1857 there existed +a fine, large brass to a priest Adam de Bacon (1310), at Oulton in +Suffolk. Unfortunately in that year it was stolen (and probably melted +down). The two remaining priests are simple demi-figures. + +There was originally a fine canopy over Archbishop Grenefeld with side +shafts containing saints. All this has long since perished and 18 +inches of the lower portion of the figure were stolen in 1829. + +These early figures all have very curly hair. + + + + +CHAPTER II + +EDWARD III AND RICHARD II. 1328-99 + + +We now find brasses commemorating members of almost every class, but +the first to claim our attention will be the military ones. + +A small group of three transitional but mutilated brasses must be taken +first: + +Of these that of Sir Hugh Hastings (1347) at Elsing, in Norfolk, is the +most interesting. His legs are now missing, but from an old rubbing +in the British Museum we know they were enclosed in chain mail. The +cyclas, worn shorter than hitherto, only reaches to the middle of +the thighs. Upon it is the maunche or sleeve of the Hastings family, +richly diapered, and differenced with a label of three points. This +also appears on his small heater-shaped shield. A belt hangs over his +hips with the sword on the left side, fastened in front. A hawberk of +mail was worn beneath the cyclas and the haqueton shows at the wrists. +A bascinet protects his head and a gorget of plate encircles his neck. +Additional plates are attached to the arms, and roundels are placed at +the elbows and below the shoulders. Cuisses of pourpoint appear for the +first time upon the thighs. These were of leather (_cuir-bouilli_) +studded with small steel plates. + +The canopy (now much mutilated) is very fine. Originally there were +four canopied niches on either side with “weepers,” or mourners, in +the military costume of the day. Three were missing, though of these +one, Lord Grey de Ruthyn, was preserved at the Fitzwilliam Museum, +Cambridge, and has lately, we believe, been restored to its place. +Those left are: Top dexter side, Edward III crowned, with the arms +of England and France on his cyclas. Below him, Thos. de Beauchamp, +holding a lance. Top sinister side, the Earl of Lancaster--Henry +Plantagenet, the next is lost, then Lord Stafford, and then Almeric, +Lord St Armand, who wears a ridged steel hat with a broad rim over his +bascinet, which is almost unique. + +Within a circle in the arch of the canopy is St George, and beneath him +the soul is being borne upwards by two angels. + +There are several other interesting details which it would take too +long to describe. The brass at Wimbish, in Essex (1347), consists of +a much mutilated cross, which contains within its head Sir John de +Wantone and his lady. He greatly resembles Sir Hugh, save that his legs +are partly clad in plate, as in the de Creke brass. + +Sir John Giffard (1348) at Bowers Gifford in Essex, has a suit of +banded chain with very few pieces of plate, and at first sight might +be considered a reversion to the type of Sir John Daubernon I, but a +closer inspection will show that his linen cloak is much more like the +jupon, which was destined very soon to take the place of the cyclas. +The head is lost. The Giffard coat-of-arms (six _fleurs-de-lys_) is +displayed on his shield. + +[Illustration: Fig. 5. Sir Nicholas Burnell, 1382, Acton Burnell, Salop] + +The Hundred Years’ War caused a development of armour which lasted +practically unaltered for fifty years. + +The type is clearly depicted in the illustration of Sir Nicholas +Burnell, 1382, Acton Burnell, Shropshire. The hawberk of mail has +shrunk to a vest and shows only at the armpits and lower edge. A +cuirass of steel covers this and has over it a leather jupon, which +is often ornamented with its owner’s coat-of-arms. The Burnell brass +here illustrated shows the armour of this type. The sharply-pointed +bascinet is connected with the body armour by a camail of chain, hence +this style of armour is often called the _camail style_. The arms and +legs are entirely enclosed in plate in the later examples, but in the +earlier cuirasses of pourpoint are used for the thighs, as in the brass +of Sir John de Cobham, 1365. A bawdric, or broad belt, worn straight +round the hips, held on the right a misericorde (dagger) and on the +left a sword. + +The dress of ladies of this period consists usually of a close-fitting +kirtle, buttoned tightly from neck to waist and from elbow to wrist, +and sometimes right down the front. Over this is worn a mantle, open +in front, and kept in position by a cord across the breast, see +illustration. + +Sometimes a third dress appears (with or without the mantle) over +the kirtle. It has two forms, one very like the kirtle, but with +close-fitting sleeves cut short at the elbow, with long lappets; the +other form is the sideless _cote-hardi_. This is slit up at the sides +and edged with fur at the openings. It has no sleeves or sides as far +as the hips. + +The first form is seen at Gt. Berkhampstead, Herts., 1356, Bray, +Berks., 1378, and elsewhere. The second is found at Lingfield, Surrey, +c. 1370, and Cobham, Kent, 1375. + +[Illustration: Fig. 6. Margaret, Lady Cobham, 1395, Cobham, Kent] + +A long overcoat sometimes takes the place of the mantle, as at Chinnor, +Oxford, c. 1385. The hair is usually enclosed in a net and plaited. +Mittens are often worn. Widows wear a veil with a barbe and wimple and +are often hard to distinguish from Vowesses, i.e. ladies who at the +death of their husbands take the vows in a nunnery. + +Alianore de Bohun, Duchess of Gloucester (1399), being a vowess, is +illustrated in the chapter dealing with the religious orders. With its +triple canopy it is one of the most splendid brasses still existing. + +The Cobham brasses especially should be noticed. This church has the +most magnificent series extant anywhere. They number 19 and most of +them have fine canopies. A visit to this little village is therefore +well repaid. + +We must now turn to the civilians. These are often of considerable +interest. + +By far the finest is the mutilated brass of Walter Pescod. He lies +beneath a fine canopy and super-canopy, and further reference will +be made to this in the chapter on architectural detail. He wears a +close-fitting tunic buttoned down the front, and a mantle with a hood. +In the small demi-figures the mantle is usually omitted. + +Frankelins wore a tunic, hood, and mantle buttoned over the right +shoulder. From the girdle hung an anlace, or short sword. This dress +can be seen at King’s Somborne, Felbrigg and Wimington. Beards are +usually, though not always, worn. Richard Torrington’s feet rest on a +lion, as if he were a knight, but this is unusual. (See list.) + + + + +CHAPTER III + +LANCASTRIAN PERIOD. 1400-1453 + + +There now begins to be evident a slight deterioration; careless and +poor work is found side by side with some of the very finest. In part +this is because so many different classes were now adopting this type +of monument. + +About 500 brasses belong to this period, including clergy and laity. + +The armed figures may be conveniently divided into three groups, and it +will be found that their wives naturally fall into similar divisions. + +The first is practically the same as that of the later Plantagenets and +still retains the camail. (See list (I).) + +Sir Wm. Bagot and his wife wear the collar of S. S. This collar was +conferred by Henry IV and the other Lancastrians on their friends. It +is found on many brasses during this period and is worn by ladies as +well as knights. We may appropriately refer here to the Order of the +Garter. Unfortunately there are not many instances of its being shown +on brasses, only six or seven being known. (See Appendix.) + +[Illustration: Fig. 7. Thomas de Beauchamp, Earl of Warwick, 1401, St +Mary’s, Warwick] + +Our illustration of Thomas de Beauchamp, Earl of Warwick, not only +shows the style of armour, but also that the armorial charges on his +jupon and on his wife’s mantle are wrought with a beautiful diaper +work. This way of depicting arms (by lightly engraving the surface with +dots, instead of lines) is unique. + +The ladies in this division, like their husbands, wear practically +the same costume as before. But at the same time other brasses were +being laid down showing that changes were taking place. The jupon +was abandoned, and the plain cuirass shown. This has a skirt of hoops, +known as taces. These cover the mail shirt, which gradually disappears. +The camail is likewise covered by a gorget of steel and later +abandoned. The bascinet becomes globular. + +An interesting example of the transitional period is the brass of +Sir Thos. Swynborne and his father at Little Horkesley in Essex. The +father, Sir Robert (died 1391), is shown in the armour of that date, +while his son shows the armour of 1412. + +Later, roundels are placed at the elbow and in front of the armpits. +(See list (II).) + +The illustration of Sir Simon Felbrigge is of special interest. He +holds the Royal Standard in his right hand charged with the arms of +Edward the Confessor impaling France and England. He was the Royal +Standard bearer during Richard II’s reign, yet was made K.G. by Henry +V. He did not die till 1443, but probably prepared his tomb in 1416. +The palettes at his armpits are charged with the cross of St George, +and he wears the Garter. Additional plates are placed on the shoulders +and cuirass. More changes now occur, the left side begins to be more +fully protected than the right, since the extra weight would have +prevented free action. Tuilles or plates are strapped to the lowest +tace, and other slight changes become noticeable. + +For examples of these changes see list (III) in the Appendix. + +[Illustration: Fig. 8. Sir Symon de Felbrigge, K.G., and Margaret, his +wife, 1416, Felbrigg, Norfolk] + +Sir Christopher Baynham (c. 1448) at Newland, Gloucester, has a most +curious crest--a miner with a candle in his mouth, a bag on his back +and a pickaxe in his hand. The brass is unfortunately rather mutilated. + +In the last section (section (iv)) the helmet is discarded and the hair +is close-cropped. The skirt of taces is very long, having often ten +hoops; tuilles are not used. Pauldrons are worn on the shoulders. + +The ladies do not vary in costume so much. The mantle is often omitted +and a high-waisted gown with long sleeves and turned-down collar worn. +The hair is gathered into a net and a kerchief draped over the top. + +Examples may be found at Routh, Yorks., c. 1410; East Markham, Notts., +1419; Digswell, Herts., 1415; Horley, Surrey (canopy), c. 1420. + +From 1420-1450 we find the plain kirtle and mantle (occasionally +the sideless _cote-hardi_, as at Trotton) and the horned or mitred +head-dress. This means that the hair, enclosed in a net, is raised +above the head in the design indicated and then draped with a kerchief. +Most of the ladies depicted with their husbands follow this arrangement. + +Examples alone, at Hever, Kent, 1419; Lingfield, Surrey, 1420; Cobham, +Kent, 1433, etc. + +The civilians are of great importance during this period, and two +groups demand special attention, the Woolmen and the Judges. Wm. Grevel +and wife, Chipping Campden, Glos., 1401 (woolman) may be taken as an +example of the earlier type. He wears a long gown buttoned right down +the front, a belt with an anlace, and mantle opening at the right +shoulder. His wife has no mantle and wears a similar dress to that of +the Plantagenet period. The magnificent double canopy has a central +column, a rare feature. + +[Illustration: Fig. 9. William Grevel (woolman) and wife, 1401, +Chipping Campden, Glos.] + +This type of dress, with slight variations, continued for the whole of +the Lancastrian period. Towards its close, however, certain changes +became more and more common. Mantle and hood are seldom seen, except as +a sign of municipal office. The dress becomes shorter, reaching only +a little below the knees, the hair is cropped and there is no beard. +Nicholas Canteys, St John’s, Margate, 1431, is an exception, having a +long beard. + +The brasses of the woolmen are the finest, as they were the richest. +Their feet often rest upon woolpacks or lambs. + +In many brasses, merchants’ marks on shields will be found, as in +Grevel’s. At Fletching, Sussex, there is a curious brass to Peter +Denot, glover, 1450. It consists of a pair of gloves and an inscription. + +The fine series of woolmen’s brasses at Northleach are specially +noticeable, and Gloucestershire takes the lead throughout England, +Lincolnshire coming next. + +We cannot leave the subject of the civilians without referring to +the legal profession. The judges are by far the most important. (See +Appendix.) + +John Cottusmore and his wife (1439) have two brasses; the first large, +with a fine canopy on the floor, the second small, on the wall, showing +them kneeling. + +The costume consists of a gown reaching to the feet, with close +sleeves. A fur tippet, a mantle lined with minever, a hood and a close +cap or coif. + +[Illustration: Fig. 10. + + Sir John Cassy and wife (part of marginal inscription omitted), + 1400, Deerhurst, Glos. +] + +Sir John Cassy, chief baron of the Exchequer (1400), has a magnificent +brass at Deerhurst. He shows most of these features but the tippet, +which is concealed. The fine double canopy no longer has the figure +of St John the Baptist, which was still there when the rubbing was +taken. The other figure is of St Anne and the Virgin as a child. The +inscription, as is often the case in Gloucestershire, is in raised +letters with curious leaves, and a dragon separating the words, but +the lower part is here omitted. The dog beneath Lady Cassy’s feet was +evidently meant to represent an old pet. It has a collar of bells round +its neck and its name, Terri, underneath. This is the only named pet +now extant, but a “Jakke” existed formerly at Ingham, Norfolk, on the +brass of Sir Bryan de Stapleton, 1438. It was sold as old metal in 1800. + +Three Serjeants-at-law belong to this period: John Rede, Checkendon, +Oxon. (triple canopy), 1404, Nich. Roland and wife, Cople, Beds., c. +1410, and Thos. Rolf, Gosfield, Essex, 1439. + +Thomas Rolf has the most characteristic dress, consisting of a cassock +and academical tabard, a tippet, hood with two bands and a coif. + +These include most types of civilian brasses, but there are numerous +variations, and therein lies the interest of the subject. + + + + +CHAPTER IV + +THE YORKIST PERIOD. 1453-1485 + + +During the Wars of the Roses, England was practically isolated from +the Continent. It is therefore not surprising that this period has a +character of its own. + +There are about 350 brasses, and these include an entirely distinct +type of armour and a characteristic female head-dress. + +There are not many really fine brasses, canopies are few and heavy in +design, and the engraving is poor. The proportions are often bad. In +particular the head is often made too big or too small. + +The great characteristic of the armour of this period is the addition +of extra pieces of huge size and curious shape. Yet all were the +outcome of the exigencies of the time. So too were the ridges and +flutings which were meant to deflect the point of a weapon. The armour +was also decorated with punching, engraving, etc. + +During the wars in France, the knights had often dismounted and +fought on foot. During the Wars of the Roses, they usually charged on +horseback. This explains why the heavier armour is on the upper part of +the body, while the lower is more lightly protected. + +Often the upper half therefore seems out of proportion. + +Usually the head is bare, but occasionally the “sallad” or shell helmet +is found, as at Castle Donington, Cirencester, Addington, Sprotborough +and elsewhere. Among other peculiarities, a hooked lance-rest is +often screwed to the right side of the cuirass, as at Hildersham. The +elbow-pieces often attain to an enormous size. The tuilles have been +re-introduced. The shoes are long and pointed, the sword slung in front. + +[Illustration: Fig. 11. Sir William and Lady Vernon, 1467, Tong, Salop] + +The illustration of Sir Wm. and Lady Vernon, Tong, Salop, 1467, betrays +one of the signs of deterioration: the head rests on the helmet with +crest, yet the figure _stands_ on a field of grass. His wife wears +kirtle, sideless _cote-hardi_, mantle, veil and the widow’s wimple. +Her feet rest against an extraordinary dragon. This is probably in +allusion to her name and patron saint, Margaret, whose emblem was a +dragon. + +In the Morley brass (1470) the knight rests his head on his helmet and +stands on grass and flowers. The two wives wear the mitre head-dress +and there are three saints above. These are St Christopher, St Anne and +the Virgin, and St Mary and Child. + +During this period, armorial tabards and heraldic kirtles and mantles +became common. + +The earliest tabard is at Amberley, Sussex, 1424. + +Examples during the Yorkist period are found as follows: Wm. Stapilton +and wife, Edenhall, Cumberland, 1458; Hen. Grene and wife, Lowick, +Northants., 1467; Sir Jn. Say and wife, Broxbourne, Herts., 1473; Sir +Thos. Sellynger and wife, St George’s Chapel, Windsor, 1475; Philip +Mede and two wives, St Mary, Redcliff, Bristol, 1475. + +The Yorkist collar of stars and roses takes the place of the S.S. It is +found at Broxbourne, St Albans, Little Easton, 1483, and elsewhere. + +The horned head-dress of the ladies changes to the mitred, as at +Thornton and Morley. The memorial of Ly. Joyce Tiptoft, Enfield, +Middlesex, c. 1470, is one of the few really fine brasses of the +period and shows the dress and armorial bearings well. The canopy is +fine, possibly copied from that of the Duchess of Gloucester (1399) in +Westminster Abbey. The arrangement of shields hung from the shafts of +the canopy is only one of several similar features. The head is far +too large, as is often the case at this date, and spoils the general +effect. Her jewelled necklace should be noticed (page 57). + +[Illustration: Fig. 12. Sir Thomas Urswyk and family, 1479, Dagenham, +Essex] + +The butterfly head-dress begins to replace the mitred head-dress, +hitherto in vogue. A veil of gauze was extended over wires. In real +life it was doubtless light and beautiful, but in brass it looks heavy +and ungainly. The wife of Sir Thos. Urswyk, Dagenham, Essex, shows this +type of _coiffure_. She also wears a low-necked gown, showing the upper +part of the corsage. Her cuffs and necklace are characteristic, and +her somewhat awkward poise is typical of the period. Her daughters are +of special interest. The head-dresses of the six younger are formed by +conical nets of several designs, their long hair hanging down behind. +These examples are unique. The eldest daughter is a nun, and the other +two resemble their mother, but wear no mantle. The sons wore the +ordinary civilian costume of the time, but have quite recently been +stolen. + +Widows still wear the wimple, and maidens have long, flowing hair. + +There is but little variety in the dress of civilians. The anlace +becomes rare and its place is often taken by a rosary. The hair is +close-cropped, and the figures usually small. Mantles are only worn as +a sign of office. + +The _Woolmen_ and the _Lawyers_ represent the best work to be seen +at this epoch. Of the latter, Sir Thos. Urswyk, 1479, Chief Baron of +the Exchequer, already mentioned, will serve as an example. He is +bare-headed, and the fur lining of his mantle is visible, as is his +rosary. His sons display the usual costume of the day without the +mantle. + +Notaries wear a plain gown with pencase and inkhorn hanging from the +belt. A scarf and a cap are fastened on the left shoulder. (Appendix.) + +We have now come to the close of the Middle Ages. The signs of +deterioration of this, as of other medieval arts, are apparent. + +The question may be asked--In what language and type were the +inscriptions engraved? Briefly, the earlier (in Norman French) are +engraved in separated Lombardic letters which were inserted round the +edge of the slab. This gave place to a border fillet. This fillet soon +began to be engraved in Gothic characters. In the fifteenth century +Latin became the usual language--from the beginning it had been used +for _ecclesiastics_. It never entirely fell out of use, but towards +the end of the fifteenth century English began to appear. During +the sixteenth and seventeenth centuries the latter takes the place +of Latin to a large extent. Roman characters replaced Gothic in the +seventeenth century. + +The arbitrary contractions of words employed by the engravers from +the earliest to the latest periods render the deciphering of a large +proportion of the inscriptions no easy task. + + + + +CHAPTER V + +MEDIEVAL CLERGY + + +_Deacons._ + +There is no complete brass to a deacon now extant, and there exists but +one solitary mutilated example at Burwell, Cambridge, on the reverse of +part of the brass of John Lawrence, Abbot of Ramsey. + +The dalmatic was their distinguishing vestment. It was shorter than an +alb, slit up on either side for a short distance and had a straight +edge before and behind. The left side and lower edge were fringed for a +deacon, _both_ sides when worn by a bishop. + +When St Stephen, St Philip or St Lawrence appear in canopies, they wear +this vestment. + +The tunicle was worn by sub-deacons. It is similar to the dalmatic, +but of linen, whereas the latter was usually of silk and often richly +decorated. + + +_Mass Vestments._ + +The most numerous brasses to the clergy are to the incumbents of our +country churches, and these are usually depicted in mass vestments. +The average country parson was, as now, a man of modest means, and so +it is not surprising that these brasses as a rule are small, and very +few have canopies or even marginal inscriptions. There is but little +development in any of the vestments, as these had become fixed in their +main features many centuries earlier. + +The chief characteristic change is that the hair of early ecclesiastics +is long and curly and tends to become less so, till by Tudor times it +is absolutely straight. In fourteenth century brasses the material of +the vestments seems to be thin and fits closely to the body, whereas +later it is stiff and heavy. + +The fylfot cross is found on the vestments of many priests, as at +Kemsing, Kent, c. 1320, and in the brass of Rich. de Hakebourne, Merton +College, Oxford, 1310. This ancient symbol, known in the Sanscrit as +the _swastika_, is found on Buddhist inscriptions in India and China, +on Greek vases and Roman pavements (as at Brading, I.o.W.) and on Runic +inscriptions and elsewhere. On brasses it is mainly found upon those of +the fourteenth century. + +We will consider in detail the monument of Lawrence de St Maur, +1337; at Higham Ferrers, which must serve for all the others (see +frontispiece). It is by far the finest, and, indeed, there are only +four or five others with canopies at all, and hardly a dozen have +effigies over three feet long. The central panel of the canopy contains +God the Father, the soul and two angels, St Peter and St Paul, St +Andrew and St Thomas. At the four corners are the Evangelists. Then, St +Gabriel opposite (perhaps) St Mary; St John Baptist opposite (perhaps) +the Magdalene; St Stephen opposite (perhaps) St Lawrence; the Abbot St +Maur opposite St Christopher, whose bare feet can be seen standing in a +river. Beneath the priest’s feet are two dogs quarrelling over a bone. + +The total length of the brass is 8 ft. 3 inches, and breadth 3 ft. 5 +inches. + +The figure wears an _alb_ with apparels at the foot and on each +arm. In the earliest brasses these pieces of embroidery went right +round the wrists, but they were soon reduced to simple squares. The +amice encircles the neck and is like a handkerchief with a strip of +embroidery along one side. As worn it looks like a collar. The stole +was crossed over the breast and held in place by the girdle of the alb. +Usually, as here, only the ends can be seen. At Sudborough, Northants., +1415, at Horsham, Sussex, c. 1430, and at Upwell, Norfolk, 1435, it +can be seen in entirety. Over the left arm hangs the maniple, a strip +of embroidery, similar to a stole. Over all he wears a fine chasuble. +In this case there is a narrow band of embroidery round the edge, but +this is unusual. The ordinary type is perfectly plain. In the sixteenth +century a central pillar of embroidery or orphrey is common. It is +also found on the chasubles of bishops and abbots at an earlier date. +Occasionally, the whole ground was covered with a pattern. + +It will be noticed that many priests are represented holding chalices. +There is quite a considerable group of brasses consisting of chalices +only. They all commemorate priests. The selected list in the Appendix +will be useful to those who wish to study them more closely. It was +customary to bury pewter chalices with priests who were interred in +their mass vestments. The author himself has one of these coffin +chalices. It was probably from this custom that the idea originated of +making chalice brasses. The earliest are in Yorkshire; there are many +in Norfolk, but few outside these counties. + +Robt. Wodehowse’s brass at Holwell, Beds., 1515, has as a rebus two +wode-howses, or wild men, with clubs, on either side of the chalice. + +There is a peculiar brass at Winwick, Lancashire, to Sir Peter Legh, +1527. On the death of his wife, he gave up his calling as a knight and +became a priest. + +He is bare-headed and has a tonsure. Over his armour he wears a +chasuble, and between his hands is a coat-of-arms. + + +CHOIR AND PROCESSIONAL VESTMENTS + + +_The Almuce._ + +Except when at Mass, the usual vestments worn were cassock and +surplice, almuce, hood and cope. + +The cassock was the ordinary walking dress of the clergy. In a few +cases it is shown alone. (Appendix.) + +The almuce was a large cape turned down over the shoulders and lined +with fur. D.D.’s and canons wore one lined with grey fur, and the +former had the outside cloth scarlet. + +All others wore dark-brown fur. The tails of the animals were sewn +round the edge and two long lappets hung down in front. The fur lining +is the only part shown in brasses, and this is usually represented by +cutting away the metal and filling up the surface with lead or coloured +earths. Of these there are a fair number. (Appendix.) + + +_The Cope._ + +More usually the _cope_ accompanies the almuce. Over a hundred brasses +of coped priests remain. Many are both large and fine, with canopies. +They usually commemorate Church dignitaries. + +The cope was a beautiful and costly vestment, shaped like a cloak, +and was fastened across the breast by the morse. Orphreys adorned +the straight edges. The general surface was usually plain, though +occasionally covered by a pattern, as in the case of Robt. Langton, +Queen’s College, Oxford, 1518, and John White, Winchester College, +Hants., c. 1548. This is generally a sign of late work. A small, +semicircular hood attached to the back of the cope was usually hidden +by the upper part of the almuce, the lappets of which are also visible +beyond the long sleeves of the surplice. + +The two following are among the finest extant: + +John Sleford, Balsham, Cambs., 1401, was Rector of Balsham, Master of +the Wardrobe to Edward III, Chaplain to Queen Philippa, Canon of Wells +and later of Ripon, Archdeacon of Wells, etc. The whole composition +measures 8½ ft. × 4½ ft., and the figure is 5 ft. 2 in. long. The +triple canopy supports a shrine which is divided in half. The lower +portion shows the soul of the deceased supported in a sheet by two +angels. He is being borne up to the Holy Trinity, who are represented +in the upper story. Two seraphim are poised on the finials of the two +side arches. + +The shields are: dexter, quarterly Old France and England; sinister, +the same impaling Hainault. The arms of the See of Ely (three crowns) +are shown on the third shield, and the fourth is lost. + +Down the orphreys of the cope are depicted five pairs of saints under +embattled canopies: St Mary and St John Baptist; St John the Evangelist +and St Etheldreda; St Catherine and St Peter; St Paul and St Margaret; +St Mary Magdalene and St Wilfred. The sacred monogram I. S. is shown on +the morse and also on two roundels. + +The other brass is equally fine and measures 8 ft. 9 in. × 4 ft. 1 in. + +John Blodwell was Dean of St Asaph, Prebend of Lichfield and of +Hereford, Canon of St David’s and Rector of Balsham. His canopy is of +a different type to Sleford’s. It has a single arch resting on broad +shafts, in each of which are four niches with saints. The cope has +saints down the orphreys which are rather worn. The whole surface is +adorned with lions’ heads. The inscription is in a dialogue between +Blodwell and his guardian angel. The Dean’s words are in relief. + +The alb and amice are substituted for surplice and almuce at Horsham, +1411, Upwell, 1428 and 1435, Beeford, Yorks., 1472, Hitchin, 1498, and +Rauceby, 1536. + +Canons of Windsor, instead of a cope, wore the mantle of the Order of +the Garter. It has a small cross on the left shoulder and is found on +the brasses of Roger Parker (headless demi), Northstroke, Oxon., 1370; +Unknown, Bennington, Herts, (mutilated, an ordinary cope with badge +on shoulder), c. 1450; Roger Lupton, Eton College, 1540; Arthur Cole, +Magdalen College, Oxford, 1558. + + +_Academic Dress._ + +There are a considerable number of brasses showing the academic dress, +in all 75 to 80. + +About one-third are at Oxford and Cambridge, and the rest are widely +scattered. The distinction between the various degrees being usually +made by the colour and material rather than by the shape renders the +task of differentiating difficult. + +The academic tabard without sleeves, the cape or tippet, and the hood +are usually worn over a cassock, as on the brasses of Thos. Mason, +M.A., of Magdalen, Oxford, 1501, and of John London, M.A., S.T.P., of +New College, Oxford, 1508. Sometimes the academic tabard has short +sleeves. + +The taberdium talare is longer and probably implies a B.D., though it +is worn by others who had not this degree. Good examples are to be seen +on the brasses of John Bloxham, B.D., Merton College, Oxford, c. 1420 +(with John Whytton on bracket) (see Chap. XIV), and of Wm. Blakwey, +Little Wilbraham, Cambs (kn.), 1521. + +D.D.’s have the _cappa clausa_. This is a plain, sleeveless gown, and +the arms appear through a single opening, which only reaches to the +waist. The tippet is usually of fur, and a cap is worn. The latter +is either a skull cap or raised one or two inches and brought to a +low point in the centre. The first type is shown in the brass of Dr +Billingford, St Bene’t’s, Cambridge, 1432; the second in the brass of +Dr Towne, at King’s College, Cambridge, 1496. + +Doctors of other faculties wear the cap and pallium, a long gown +similar to the taberdium talare. It must not be confounded with the +pallium of an archbishop. Many academic persons wear the cope or +almuce, sometimes with the doctor’s cap. There are a few academic +brasses of Elizabethan and Jacobean date. They usually show the +long, civilian gown of the period. From it has developed the present +University gown, which has not sprung from the ancient tabard. + + +_Bishops._ + +Bishops and Mitred Abbots wore the mass vestments of the priests +with certain additions. The tunicle and dalmatic were worn below the +chasuble. The former is often of the same length as the dalmatic and +so cannot be seen. Sandals adorned with jewels and gloves similarly +ornamented were usually worn. The episcopal ring had a single precious +stone. + +The mitre and crozier are perhaps the most characteristic vestments. +The earliest mitres were low with plain edges; they gradually became +higher and crockets were added to the sides of the horns. In brasses +the extreme height to which they developed is not shown. They were made +of plain linen, of embroidered linen and of precious metals. Two narrow +strips of silk called “infulae” hung down from the back of the mitre. +These can be seen in the brasses at York and East Horsley. + +The crozier and pastoral staff are the same, the cross staff of the +archbishop is not really a crozier at all. The latter represents +the shepherd’s crook. A scarf was often fastened to the knob below +the crook. It was called either an “infula”--like the ribbons of a +mitre--or “vexillum.” The latter name refers to the Cross banner of +Constantine. + +Croziers and mitres are depicted long after vestments had fallen into +disuse. The last crozier, 1631, is at Chigwell, Essex. Mitres are found +even later, but are probably used as a crest. + +Archbishops generally hold the cross staff instead of a crozier and +wear the _pall_. It was simply a narrow loop of white lamb’s wool +placed round the neck and with a weighted band hanging down before and +behind. + +[Illustration: Fig. 15. Thomas Cranley, Archbishop of Dublin, 1417, New +College, Oxford] + +Thos. Cranley, 1417, clearly shows all the vestments; his cross, as was +often the case, was a crucifix. The triple canopy with super-canopy is +exceptionally fine, though somewhat mutilated. + +The crozier, or cross, is usually held in the left hand. The mitred +abbots wore exactly similar robes. + +Bishop Wyvil of Salisbury, in three-quarter length, 1375, is shown +within a battlemented castle with his champion standing under the gate +beneath. This commemorates his recovery of Sherborne Castle for his See. + +The Edenham brass (c. 1500) was formerly in a panel on the outer face +of the church tower, 40 feet from the ground. It is now inside the +church. Probably it represents St Thomas à Becket, the patron saint of +the donor of the tower. + +Bishop Goodryke of Ely, 1554, wrote “My duty towards my neighbour,” and +holds the prayer book in his hand. He also holds the Great Seal, as +he was formerly Lord Chancellor. Both he and Bishop Bell died during +the reign of Mary, which might be considered sufficient explanation of +their wearing vestments. Bishop Pursglove, however, whose brass is at +Tideswell, died in the middle of Elizabeth’s reign. + +The fact is that vestments only gradually fell into disuse. They were +undoubtedly worn by some of the clergy right into the seventeenth +century. + +The figure of John Bell at St James’s, Clerkenwell, the lower part of +which is lost, was sold in 1788 when the old church was pulled down. It +passed into the collection of Mr J. B. Nichols and on his death was +replaced in the new church. + +The vestments in which the king is crowned are largely of an +ecclesiastical nature. They include the dalmatic, the surcoat, the +belt, the stole and a surplice without sleeves. On monuments, kings +are shown wearing a long tunic with close sleeves, a cloak, or cope, +and a tippet of ermine. The only _brass_ is a demi-figure, c. 1440, +at Wimborne Minster, Dorset, laid down in memory of King Ethelred, +martyred 872 A.D. He is crowned and holds a sceptre. + + + + +CHAPTER VI + +THE MONASTERIES + + +The influence of the monasteries during the Middle Ages was +considerable, and it was in them that the lamp of learning and art was +kept burning. The causes which led to their destruction would be too +long a matter to discuss here. In justice we must say that the charges +of gross immorality levied against the monks were neither fair nor were +they the real reason for the dissolution of the monasteries. + +The last monastery had fallen by 1540. In most cases the churches were +destroyed, and even when they were preserved the brasses were taken +from the gravestones and sold by the Commissioners who confiscated the +property. + +Thus at St Albans there were over 270 brasses, and now there are hardly +a dozen. In all England there are barely 30 monastic brasses left. +They include seven monks and a friar, two abbesses, a prior and five +vowesses, besides one or two doubtful examples. + +Besides the three abbots already mentioned as showing episcopal +vestments, there are four mutilated fragments on the reverse of +palimpsests (see below). These will be given in the list of palimpsests. + +The dress of a monk included the tunic, an undergarment, with the gown +over it, the scapula and cowl or hood. The tonsure is much larger than +that of a parish priest. + +Abbot John Lawrence at Burwell, 1542, was originally shown in full +vestments, but as he survived the dissolution his brass was changed. +He now appears in cassock, surplice and almuce. The upper part of +the figure is new, but the lower shows on the reverse the original +engraving. There is a canopy, part of which is palimpsest and shows, on +the reverse, part of a deacon, c. 1320. + +The Benedictines were by far the richest and largest of the Orders. The +Cluniacs were a reformed order of Benedictines. The chief difference +was that each monastery was under the direct supervision of Cluny, +and not of the mother monastery from which it sprung. In England there +was an exception and Lewes stood in the position of Cluny to the other +English Cluniac monasteries. It alone was directly under Cluny. + +[Illustration: Fig. 16. Thomas Neolond, Prior of Lewes, 1433, Cowfold, +Sussex] + +Prior Neolond, here illustrated, was therefore a very important man. +His dress is exactly similar to that of the Benedictines. The canopy, +as shown, is the finest still extant of purely English type. The +central pediment is itself triple and holds a shrine with the Virgin +and Child within. St Pancras and St Thomas à Becket stand on the +finials of the other pediments. The whole brass measures 10 ft. 2 in. × +4 ft. 3 in. + +The Augustinian abbot wears gown and cowl over the ordinary choir +vestments. The crozier rests on the right arm and he wears no mitre. + +A vowess was a widow who took monastic vows. It is not easy to +distinguish the dress from that of the ordinary widow. + +The Duchess of Gloucester, after the murder of her husband in 1397, +entered the nunnery at Barking, Essex, and died there two years later. +She appears in the first act of _Richard II_. Her brass lies on an +altar tomb in St Edmund’s Chapel, Westminster Abbey. Her heraldic +badge--the swan--adorns the inscription and the central pediment of +her triple canopy. Five armorial shields still hang from the shafts, +but the sixth is lost. The pinnacle between the central and the +sinister arch is now lost, but was still intact when this rubbing was +taken. (See illustration.) Thus year by year portions of these ancient +monuments are carelessly lost or stolen. + +[Illustration: Fig. 17. Eleanor de Bohun, Duchess of Gloucester +(Vowess), 1399. Westminster Abbey] + +The friar, in gown and cowl, with knotted cord (c. 1440), at Denham, +Bucks., is on the reverse of Amphillis Peckham, 1545. + +The other brasses call for no further attention, save that in the case +of the two nuns from Sion their convent had already been dissolved. +The abbess is shown without her crosier and Margaret Dely without her +mantle. + + +_Palimpsest Brasses._ + +By this we mean brasses which have been twice used. The dissolution of +the monasteries led to thousands of brasses being sold for old metal, +both from the churches destroyed and from those that were allowed +to remain. In 1551 an order was issued confiscating all the church +plate. It is therefore not surprising that great numbers of brasses +were stolen. It is noteworthy that Elizabeth disapproved of these +proceedings and ordered that fresh plate should be procured, and that +the damaged monuments should be restored. The stolen brasses often went +into the melting pot, but sometimes they were re-engraved and used to +commemorate contemporary persons. + +Palimpsests are produced in three ways: + + I. By engraving the back of the brasses. + + II. By re-engraving and altering the figures. + + III. By simply substituting a fresh inscription. + +Those contained in the first group are probably the most numerous, and +are subdivided into three groups: + +(_a_) Plunder from English churches at the Reformation; (_b_) plunder +from Flemish churches at the same period; (_c_) shop-wastes and earlier +stolen brasses. + +The Flemish or German brasses, about 50 in number, were probably +plunder from the Dutch churches, which were sacked by the Calvinists in +1566. So complete was the destruction wrought in that short week that +to-day there are fewer complete Flemish brasses in their original home +than there are fragments of Flemish brasses in England. (See Appendix.) + +The reverses vary considerably in date and subject. Those laid down +from 1540-1570 show that even before the great outbreak of iconoclasm +of 1566 a good many brasses had been stolen. + +Taillor at Hadleigh, in Suffolk, was burnt during the Marian +persecution in 1555, and an inscription was laid down in 1560. The +reverse, c. 1500, shows the head and shoulders and hands of a civilian +on a diapered background with certain other details. The Margate +brass, 1582, shows on the reverse scenes from the life of man. One is +of a child catching butterflies, and the other, two boys walking on +stilts. + +Besides these groups there is a third type consisting mostly of +shop-wastes, i.e. sometimes a brass which had been ordered was not +approved; the engraver then either melted it down or re-engraved it +on the other side. Also, brasses were stolen and sold to the brass +engravers, who would use them again in the same way. Many of these are +quite early and often only a few years separate the engravings on the +two sides. + +In a few cases the same person is depicted with certain details +altered. John Lawrence of Burwell has already been mentioned. + +The demi-figure of Thos. Cod, St Margaret’s, Rochester, 1465, is a +striking example. The reverse shows him in almuce and cope, but for +some unknown reason this apparently was disapproved. He is therefore +shown on the obverse with an amice in place of the almuce. + +A late example is at Walton-on-Thames. John Selwyn, 1587, was Gentleman +Keeper of the Royal Park at Oatlands. At a stag-hunt in the presence +of Elizabeth he leapt from his horse on to the back of the stag when +both were going at full speed. There he kept his seat, with his sword +guided the animal towards the Queen, and then plunged the steel into +its throat so that it fell dead at her feet. + +This is depicted on a small plate placed between the heads of Selwyn +and his wife. The subject is engraved on both sides. The reverse was +lightly sketched and was rejected. It shows him hatless holding the +stag’s right horn. + +The two remaining groups, II and III, are much less numerous. Group II +consists of figures which have been altered. + +Examples of this kind are Robt. Hanson, 1545, Chalfont St Peters, +Bucks., altered (by adding shading, etc.) from a priest, 1440. Humphrey +Oker and wife, 1538, Okeover, Staffs., altered from Wm. Lord Zouche +and two wives, c. 1447. The figure of one wife was left intact and the +other was turned over and engraved with the children and an oak-tree +bearing a shield. + +There are a few other examples, but perhaps the most interesting is +that to Walter Curzon and wife, Waterperry, Oxon., 1527, altered from +c. 1445. A new head and shoulders were engraved, the palettes were +partly erased and shading was added on arms, cuirass and legs. The +taces have been re-engraved to form a skirt of mail. The ends of the +shoes have been partly erased and the toes rounded. The upper half of +the lady is Tudor, the lower half has had shading added to the lines, +and a chain hanging from the belt added. + +Group III consists of appropriate brasses which have not been +re-engraved. A new inscription, and sometimes shields, are merely added. + +Good examples of this group are the brasses of Sir John Dyve, 1535, +wife and mother, Bromham, Beds., appropriated from Thos. Wideville and +two wives under triple canopy, c. 1435; John Wybarne (in armour), c. +1546, Ticehurst, Sussex, appropriated from c. 1370; Laughton, Lincs., +1549, man under triple canopy, appropriated from c. 1400; Joan ffenner, +1516, Horley, Surrey, appropriated from c. 1420, with fine canopy. + +There are several other examples and they must be carefully +distinguished from those brasses which have been _copied_ from an +earlier brass, as has happened in the effigy of Peter Rede at St Peter +Mancroft, Norwich. + + + + +CHAPTER VII + +THE EARLY TUDORS. 1485-1547 + + +During this period more brasses were laid down than in the whole of the +preceding time. Over 1100 belong to the reigns of Henrys VII and VIII. +From Edward I to Richard III, 1000 were laid down. + +But the work shows lamentable signs of steady deterioration; metal and +engraving are usually poor, the former thin and the latter shallow and +with too much detail. There is a greater variety of design, but many +are in bad taste, such as figures shown in shrouds or as skeletons. +At this date brasses are often placed on the wall, and sometimes are +quadrangular. The latter must be carefully distinguished from foreign +ones (see later). + +Canopies are few and heavy, but continue to follow the traditional +lines. + +In the military brasses a sudden change becomes noticeable. The +Yorkist armour is changed to the Tudor between 1490 and 1500. Its +characteristics are that the placates are omitted, the pauldrons are +single and have passe-gards to protect the neck, shorter tuilles +are attached to the taces, a skirt of mail has been re-introduced +and reaches well down over the thighs. The graceful, pointed +sollerets--which must have been rather uncomfortable--were replaced by +sabbatons with large rounded or square toes. + +The sword is usually hung across the back of the legs. The hair is long +and straight. Most of these and other characteristics will be seen in +the illustration of John Shelley and wife, Clapham, Sussex, 1526. The +Tabard of Arms covers the body armour. + +[Illustration: Fig. 18. John Shelley and wife, 1526, Clapham, Sussex] + +The Yorkist armour was certainly more beautiful, but one is apt +to get rather an unfair impression from the brasses. There still +survives a considerable amount of actual armour of this period, and +from it we can see that it was often truly magnificent. At times it +was engraved and embossed, and there are several variations not shown +in the brasses, such as the skirt of plate. Those interested in the +subject should study the fine collections at the Tower of London and +elsewhere. It is most fortunate that our national collection of armour +was begun just when the brasses by deterioration began to furnish less +trustworthy evidence. Of the armour previous to the Yorkist period, +practically none survives, hence the importance of the good engraving +of the earlier brasses. (See Appendix.) + +Serjeants-at-arms usually carry maces. + +One of the most characteristic features of the period is the armorial +tabard. Often, too, the wife has an armorial mantle: as in the brass +of John Shelley and his wife, 1526, Clapham, Sussex, here shown. The +arms are repeated on Shelley’s sleeves and his wife bears her own arms +impaling those of her husband on her mantle. The Holy Trinity is shown +above the figures. + +The tabard replaced the heraldic jupon of the Plantagenets during the +Lancastrian period. The earliest is to John Wantele, 1424, Amberley, +Sussex, but the arms are not repeated on the sleeves. There are but +few examples, however, till the Yorkist period, and they only became +plentiful under the Tudors. They died out in the opening years of +Elizabeth, the last being to Sir John Tregonwell, Milton Abbey, Dorset, +1565. + +Examples of Tabards of Arms during the Yorkist period are: Sir John Say +and wife, Broxbourne, Herts., 1473, and Philip Mede and two wives, St +Mary, Redcliff. + +[Illustration: Fig. 19. Lady Tiptoft (Partly covered), c. 1470, +Enfield, Middlesex] + +Lady Tiptoft at Enfield, Middlesex, c. 1470 (here illustrated), is +a very splendid brass, and shows the armorial bearings well. (See +Appendix.) + +The colour of the coats-of-arms was probably shown by means of lead for +_argent_, coloured earths for _colour_, and the plain brass for _or_. +At Ardingley, Sussex, are three brasses in all of which the coloured +earth is still in place. Unless this has been replaced later, it is a +striking example, for in most cases all trace of the coloured earths +has vanished. At Broxbourne, real enamel was used (as also at Stoke +d’Abernon, 1279), and in consequence most of the colour is still in +place. + +It is held by some that all engraved lines on all brasses were filled +in with black wax or some similar substance, just as in our modern +inscriptions. That this was so in some cases seems certain, and at the +Victoria and Albert Museum in the foreign brass to Henry Oskens (canon) +from Nippes, near Cologne, 1535, much of the wax is still there. It +is, of course, impossible to make a good rubbing of such a brass. + +It does not seem likely that most of the brasses were so treated, but +it would take too long to go into all the evidence which leads one to +hold this view, nor is it desirable to use it now. + +The ladies’ dress also changes at the same time as their husbands’. +The butterfly head-dress gives way to the kennel head-dress. This has +a stiff point in front and is carried back like the roof of a kennel +(hence the name) and has long side lappets, usually of embroidery. In +some of the earlier examples these are pinned up (Ardingley), but, as a +rule, they fall straight down (Clapham). + +The dress is close-fitting and has a square collar and fur cuffs. +Round the waist is a girdle with a chain pendant in front, to which is +attached an ornament of varying shape. Occasionally mantles are worn, +as at Cobham, Kent, but seldom, except when they bear a coat-of-arms. + +Quite often babies will be found wrapped in chrysoms with swaddling +bands round them. This robe was placed on the child by the priest as +soon as it was baptised (which was when it was only a few days old). It +was worn till the mother came to be churched, when it was returned to +the priest. These brasses therefore show that the child died during the +time that elapsed between baptism and the churching. Chrysom children +are found alone or with parents. This type of brass survived till the +middle of the seventeenth century. + +Occasionally brasses are found commemorating women who died in +childbirth. The infant is then usually shown in a chrysom robe, and in +later brasses the mother is often shown lying on a four-post bedstead. +Anne Asteley, Blickling, Norfolk, 1512, probably belongs to this group. +During the reign of Elizabeth, several examples of bedstead brasses are +found. The first is at Heston, Middlesex, 1581, another is at Halling, +Kent, 1587, and there are several others. + +The civilians at this period are numerous, but not particularly +interesting. The hair is long and straight, the gown reaches to the +feet and is usually lined and edged with fur. The sleeves are wide, +and a girdle surrounds the waist, from which hangs a short rosary and +a purse. Broad-toed shoes are worn. The brass at Ardingley shows this +dress, the canopy is an unusual feature. + +[Illustration: Fig. 20. Richard Wakehurst and wife, engr. c. 1500, +Ardingley, Sussex] + + + + +CHAPTER VIII + +EDWARD VI AND MARY. TRANSITIONAL PERIOD + + +During this period not more than sixty brasses were laid down. This was +largely due to the religious and political turmoil of the period and is +the more to be regretted, especially in the case of the clergy, as the +brasses might have thrown much light on the question of the vestments +worn during the time when the first and second Prayer Books of Edward +VI were in use. + +The engraving grows steadily poorer and the metal thinner. + +Of the ecclesiastics, the following is believed to be a complete +list for both reigns, but the Marian clergy, being naturally in full +vestments, have for the most part been mentioned before. + + Hugh Brystowe (parson), Waddesdon, Bucks. (in shroud), 1548. + + Jn. White (Warden of Winchester College and later Bp. of + Winchester), Winchester College is in cope, laid down in 1548. + + Thos. Magnus (archdeacon), Sessay, Yorks. (cope), 1550. + + Bp. Goodryke of Ely, Ely Cathedral (full vestments), 1554. + + Bp. Bell of Worcester, St James, Clerkenwell (ditto), 1556. + + James Coorthopp (Dean of Peterborough), Christ Church, Oxford + (in almuce), 1557. + + Arthur Cole (Canon of Windsor), Magdalen College, Oxford (in + mantle of the Order), 1558. + + Robt. Brassie (in almuce), King’s College, Cambridge, 1558. + +The largest number of transitional brasses represent men in armour +either with or without the tabard of arms. + +The chief changes are that the mail skirt has often an indented edge, +the taces are divided at the lower part by an arched opening between +the tuilles, and frills are worn at the wrists. + +The most noteworthy change in the ladies’ attire is that the kennel +head-dress is abandoned. The hair is parted in front and a linen cap +supports a bonnet, often of velvet and having a jewelled edge. It is +generally of horseshoe shape. A kerchief hangs down over the neck and +shoulders behind. This head-dress is continued during the reign of +Elizabeth and was known as the Queen Mary cap, at first after Mary +Tudor, and later after Mary Stuart. The sleeves are slashed and puffed +at the shoulders and from the belt hangs a mirror or other ornament. +The collar is thrown open and reveals a gathered underbodice. A long +cloak with false sleeves is often found, and heraldic mantles are +still worn when the husband appears in a tabard. These died out in the +opening years of Elizabeth, as already stated. + +Of civilians little need be said. Their wives follow the new style, but +little alteration in their own dress is noticeable. Three examples may +be given, the last a woolman, the other two judges. These are Henry +Bradschawe and wife, Halton, Bucks., 1553; Wm. Coke and wife, Milton, +Cambridge, 1553; Anthony Cave and wife, Chicheley, Bucks., 1558. + + + + +CHAPTER IX + +ELIZABETH AND JAMES I. 1558-1625 + + +During this last period there was a considerable revival both in the +number and quality of brasses. About 800 were laid down in these two +reigns and at first there is a marked improvement in the engraving. It +is usual to speak as if the deterioration continued steadily from the +time of Henry VIII through the Edwardian and Elizabethan brasses to the +final disappearance of the art in the eighteenth century. This is not +quite the case. The Elizabethan brasses (with which are included those +of James I) are decidedly better in many instances than those of the +Transitional period. Even some of the Caroline examples are better than +those laid down between 1547 and 1558. + +Early in the reign of Elizabeth, the plate of brass itself began to +be manufactured in England. It was usually thin, however, and the +engraving as in the Transitional brasses was shallow and too much +detail and shading were attempted. The thinness of metal led to their +becoming battered and worn and they are often in far worse condition +than those laid down a couple of centuries earlier. + +Many brasses were, however, fixed to the walls and these are in a +much better state of preservation. These sometimes take the form of +rectangular plates: at times the figures are fixed against the wall in +a recess over a tomb. They are then usually depicted kneeling at desks. + +The new style of armour which took the place of that worn in the +Transitional period became finally established by 1575. Its main +characteristics are these: The use of the long-waisted doublet and the +short hose rendered the old style of armour unwearable. The cuirass +becomes long and is brought forward to a peak with a projecting rim. It +is known as a “peascod.” The pauldrons are large and have no ridges, +they are lined with leather the escalloped edge of which is allowed to +extend beyond the plates. The neck is encircled by a ruff, as are the +wrists. The helmet is seldom worn, but is often placed behind the head, +though the figure is depicted standing. + +Kneeling figures in many cases have the helmet on the ground, together +with the gauntlets. + +The front of the thighs are protected by laminated cuissarts under the +trunk hose, and the legs by knee-caps and greaves. The sollerets are +of a more graceful shape and fit the feet closely. Two long tassets +are buckled to the edge of the cuirass, and hang down over the trunk +hose. They are all formed of several hinged plates and take the place +of tuilles. They are not infrequently rounded at the lower edge and +are fastened by straps to the breeches. The sword hangs at the left +side from a leather belt and the dagger at the right side from a sash. +Swords usually possess guarded hilts. + +[Illustration: Fig. 21. John Wingfield, 1584, Easton, Suffolk] + +The illustration of Wingfield, Easton, Suffolk, shows these +characteristics, and there are but few variations. The most noticeable +is where, the puffed breeches not being worn, continuous plates from +knee to cuirass protect the legs. This type is shown in the brasses of +Thos. Hawkins, Boughton-under-Blean, Kent, 1587, and Thos. Nevynson and +wife, Eastry, Kent, 1590. + +It is remarkable how, in spite of gunpowder being in general use, the +men of the age of Elizabeth were still encased in a panoply of plate. + +The ladies fall naturally into two divisions. The Transitional form, +or Queen Mary dress, changed about 1560. The gown is fastened only at +the waist by a sash, and thus shows below an embroidered or quilted +petticoat. Between the bodice and the throat, the bust is covered by a +gathered partlet with a frill and the Paris bonnet continues in use. +From about 1575 a new style comes into vogue and is well shown in +the illustration of the wife of Wm. Wade, Bildeston, Suffolk, 1599. +Her skirt is distended at the hips by the farthingale and shows the +embroidered petticoat beneath. The sleeves are slashed and a large ruff +is round the neck. Usually frills are also worn at the wrists, but here +Alice Wade is an exception. A broad-brimmed hat is worn. + +[Illustration: Fig. 22. Alice, wife of William Wade, 1599, Bildeston, +Suffolk] + +There are several variations. The lappet of the bonnet is sometimes +turned up over the head, and when it comes far enough forward to shade +the face, it is called a “Shadow.” At the end of the period, a large +veil was substituted. Sometimes the hair is brushed up to a lace crown, +supported by a wire frame. This fashion is shown in the brass of Margt. +Chute, Marden, Hereford, 1614. She wears besides the wheel farthingale, +a peaked stomacher, and a starched collar ornamented with point lace. + +The bedstead brasses have already been mentioned in reference to the +chrysom children, but are really a peculiarity of this period. + +The civilian costume is not over-interesting, because doublet and +hose are usually covered by a long gown, such as is seen in the +memorial to Wm. Dunche and wife, quadrilateral plate, Little Wittenham, +Berks., engraved c. 1585. Here husband and wife kneel at desks under +two classical arches. Two sons kneel behind their father. They wear +short cloaks, doublet and hose. This is also the costume of the sons of +Alice Wade, who wear pointed beards. + +The brasses of children, especially boys, become fairly numerous and +are not without interest, as they exhibit the doublet and hose under +a short cloak. The brass of W. Browne, Holton, Oxon., 1599, is a good +example, showing the long hose fastened above the knee by garters of +ribbon. + +The clergy for the most part wear the ordinary civilian dress of the +day without cassock or surplice, and a long gown with long sleeves, +known as the Geneva gown. Some also wear a hood to denote they hold a +degree, as does Dr Wm. Bill, Dean of Westminster, Westminster Abbey, +1561. + +Of clergy in surplice and cassock only two brasses now survive. +Formerly at Denham, Bucks., there was one portraying Leonard Hurst, +1561, in cassock and surplice opening in front like a college surplice +and a long scarf. It is now lost, but is illustrated in Haine’s +_Manual_. The two that still survive are Wm. Dye (priest), Westerham, +Kent, 1567, who wears cassock, a closed and gathered surplice and a +scarf, and Nich. Asheton, Winchford, Warwick, 1582, very similar to +the lost brass at Denham, Bucks. + +The remaining clergy are in civilian costume, but one or two wear a +scarf over the Geneva gown, as at Stonham Aspal, 1606. + +In many cases the title of the ecclesiastic is given, and these are of +some interest. (See Appendix.) + +Tyndall’s figure is 5 ft. 4 in. long and there is a border fillet and +several shields. + +There are three bishops, but Robt. Pursglove, 1579, is in full mass +vestments, and has been mentioned before. + +Edmund Geste, Bishop of Salisbury, in his Cathedral, 1578, wears rochet +and chimere, a scarf and lawn sleeves. Instead of a crozier, he holds +a walking stick in his right and a book in his left hand. It should be +remembered that this was the outdoor garb, hence probably the walking +stick. + +H. Robinson, Bishop of Carlisle, 1616, has two brasses, that at Queen’s +College, Oxford, being copied and put over his grave in Carlisle +Cathedral. His brass, like Airay’s, who succeeded him as Provost +of Queen’s, differs from the usual type. They resemble the copper +plates used in books and are very finely engraved and filled with +many additional emblems. A good rubbing cannot be taken owing to the +thinness of the engraving, which nevertheless is well done. + +On a quadrilateral plate, Robinson kneels in front of Queen’s College +and Carlisle Cathedral. There are three sheep folds to signify he +was a shepherd to his flock. Several peasants with their tools and +in the dress of the period stand in one corner and dons are entering +Queen’s College in the other. He wears a skull cap and ruff, rochet and +chimere. In his left hand he holds his crozier, which has a human eye +in the centre, and a stork on the outer curve of the volute. The infula +is a napkin and bears the word “Velando.” + +From the Elizabethan period some attempt at portraiture is made: in +the case of Robinson and Airay with considerable success. The brass to +Erasmus Williams, Rector at Tingewick, Bucks., 1608, is probably by the +same hand as these two and is signed R. Haydock. It is very similar in +general treatment to them, and on Airay’s brass are the same initials +R. H. + + + + +CHAPTER X + +THE CAROLINE BRASSES. 1625-60 + + +The art of monumental brasses shows signs of rapid deterioration, and +from it there was to be no recovery. About 150 were laid down during +the reign of Charles I and 13 during the Commonwealth. + +Only two are really fine: Archbp. Harsnett’s brass at Chigwell, 1631, +and Sir Edw. Filmer’s, here shown. + +[Illustration: Fig. 23. Sir Edward Filmer and family, 1638, East +Sutton, Kent] + +Armour is seldom worn, knights being usually depicted in civilian +dress, and where it is worn, it generally consists of a demi-suit of +cuirass, with laminated plates for the thighs and small knee pieces. +Jack boots protect the legs. There are many variations, but the brass +of Sir Edw. Filmer and wife, East Sutton, Kent, is fairly typical. + +Of the nine sons, only one wears armour and none wear ruffs. The +eight daughters are similar to their mother, who wears a gown without +farthingale and a veil over the head. The brass consists of two large +rectangular plates and though too much shading is put in, yet is a good +example for the period. + +The ladies have abandoned the farthingale and wear more graceful gowns, +sometimes with ruffs and sometimes with falling collars. A light veil +often covers the head. Sometimes the embroidered petticoat can be seen +underneath the gown, which is divided in front. An example is to be +found at Ardingley, Sussex, to Eliz. Culpeper, aged 7, 1634, and also +in a larger brass to her mother. + +The civilians are still fairly numerous, but the engraving is usually +poor. The long gown is worn no more, the costume being the tunic with +falling collar, knee-breeches, stockings and shoes or jack boots and +a short cloak. Sometimes a ruff is worn instead of a collar. Most +of these details will be seen in the sons of Sir Edw. Filmer. Point +lace was often worn and is occasionally seen, as in the small, badly +engraved brass of Thos. Holl, 1630. + +The brass of John Moorwood and wife is characteristic. He kneels +opposite his wife, Grace, at a desk. Besides the costume described +above, he wears a ruff and a skull cap. His hair is long and he has a +moustache and a pointed beard. His sons are similar, save that they are +hatless and have no beard or moustache. His wife has a very plain dress +and a high-crowned hat, her daughters have no ruffs, veils, or bonnets. + +The six at Llanrwst, Denbigh, are quite distinct and represent either +the work of a local school or of a special artist. There was also a +local school at York. Its peculiarity was that the figures were large +demi-figures, usually on a quadrilateral plate, which was narrower at +the top than at the bottom. A considerable amount of fur is displayed, +and the faces appear to be good portraits. The Elizabethan have already +been mentioned in the last chapter, but there are several others. + +There is one good Caroline brass--that to Thos. Atkinson, All Saints, +North St., York, 1642. It may have been engraved a few years earlier. + +Among ecclesiastics there is but one fine example, and that is +perhaps the best Caroline brass still extant. It commemorates Samuel +Harsnett, Archbp. of York at Chigwell, Essex, 1631. He had left special +instructions in his will as to how it was to be made. The metal was to +be an inch thick and to be rivetted right through the stone so that it +could not easily be torn up. The result is a fine monument. He wears +cope, rochet, chimere and a mitre. He holds his crozier in his left +hand and a book in the right. The face is evidently a portrait. There +is a border inscription with the evangelists at the corners. The figure +is 6 ft. long. The crozier is not a cross, but a crook and has a rose +in the volute. + +During the Commonwealth naturally few brasses were laid down, and +the distrust with which all representations of the human form were +regarded by the Puritans, who considered them a breach of the Second +Commandment, probably gave the death blow to the failing art. Besides +those already mentioned, the following have been noticed: Ralph +Assheton (in armour) and wife, Middleton, Lancs., 1650; Adam Beaumont +(in armour) and wife, Kirkheaton, Yorks., 1655. These are the only +men in armour. Assheton was a leader on the Puritan side and did good +service. Beaumont was his son-in-law and is clad in similar style. +The armour is a demi-suit, consisting of skirted cuirass, pauldrons, +elbow-pieces and laminar cuissarts extending to the top of his tall +boots. There is no actual representations of a cleric, but Dan. +Evance, rector, quadrilateral plate, Calbourne, I.o.W., 1652 is +commemorated by a plate with a drawing of Time and Death. + +Most of these are but miserable caricatures and reveal the final +stage of decay. Yet they are not without interest, though perhaps a +melancholy one. + +During the Caroline period many brasses to young children were laid +down. Sometimes the babe is shown lying on a tomb, at others it is +represented in its cradle. Two in St George’s Chapel, Windsor, may be +quoted, and commemorate the children of Dr John King. They are dated +1630 and 1633. + + + + +CHAPTER XI + +THE LAST BRASSES. 1660-1773 + + +The last few brasses are of little artistic value. (See Appendix.) + +Robt. Shiers, 1668, is perhaps the best of them. He wears a long, +flowing gown reaching to the feet and holds a book in his hand. +Nicholas Toke is in Jacobean armour, but with a fall collar and long +hair. Probably his figure was copied from an earlier brass, for his +daughters, who are on a separate plate, are very crudely drawn. + +The last two brasses are the only Georgian ones known to exist and +they are separated by a great space of time from the others. Whether +they were each engraved at the dates given on the plates or whether +they were both done at the same time is difficult to say. Benjamin +Greenwood’s brass is certainly the best, his wife’s figure being very +crude. She has on a plain gown and a veil. He is in a coat with open +skirts, a figured waistcoat, knee-breeches, and wig. He points to a +skull with his left hand and to a ship with his right. Probably he was +a merchant captain. + +Both plates have a pair of cherubs’ heads in the upper corners and are +upon separate gravestones; the engraving is very thin. + +Thus we have seen the art of the engravers rise in the thirteenth +century and die in the eighteenth. + + + + +CHAPTER XII + +SPECIAL TYPES + + +Besides the ordinary figure brasses, there are a certain number of +special types. Those representing Scriptural subjects are perhaps the +most interesting. They are less numerous than might be expected and +usually form part of a canopy, or, at any rate, part of a composition +which includes large figures. + +The Holy Trinity is the most common emblem and is depicted as a +venerable man seated, holding Christ crucified. The Holy Ghost in the +form of a dove is sometimes perched on one arm of the Cross, or hovers +over the head, but it is often omitted. + +The Holy Trinity is found at Cobham, 1407; Peperharrow, 1487; Shirburn, +1493, and Witney, Oxon., 1500; Childrey, Berks., 1507; Floore, +Northants., 1510; Wooburn, Bucks., 1520; Clapham, Sussex, 1526; +Beaumaris, Anglesea, c. 1530; Cheam, Surrey, 1542. + +The Virgin is found at Cobham, 1395; Bottesford, Leics., 1404; Morley, +Derbys., 1470; Etwall, Derbys., 1512; St George’s Chapel, Windsor, +1522; and elsewhere. + +Numerous other saints are depicted as well as those in canopy niches +and on the orphreys of copes. + +The Annunciation is found in several places. That at Fovant, Wilts., +1492, is contained in a rectangular plate commemorating Geo. Rede, +rector. He wears cassock and scarf, kneels on a chequered pavement and +prays to the Virgin, who, dressed in mantle, sideless _cote-hardi_ and +kirtle, with a wreath of roses on her head, kneels at a _prie-dieu_ in +the centre of the plate. A pot of lilies stands behind her and an angel +kneels on the further side, wearing an alb and mantle. The Dove flies +towards the Virgin from a cloud in the corner. The whole composition +is reminiscent of foreign work, but is almost certainly English. An +Annunciation is to be seen at March, Cambs. (1517), above the figures +of Antony Hansart and his wife. A third is in the canopy of William +Porter, S.T.P., 1524, Hereford Cathedral. + +The Adoration of the Shepherds is found at Cobham, Surrey, c. 1500. + +The Resurrection is more widely distributed, and in two forms according +as (_a_) there are or (_b_) are not soldiers round the tomb. + +Of class (_a_), those at Swansea, c. 1500; Cranley, Surrey, 1503; +All Hallows, Barking, c. 1510; and Narburgh, Norfolk, 1545, are +characteristic. + +Of class (_b_), examples may be seen at Stoke Charity, Hants., 1482; +Stoke Lyne, Oxon., 1535 and Burwell, Cambs., 1542. Of this latter +class, the Burwell brass is the best. The Saviour’s form is unclothed +and the lower half hidden within the tomb; His hands are raised and He +holds no cross. + +Class (_a_) is the more interesting. The Cranley and Swansea +representations are the best. In the former, which is to Robt. Hardyng +and his wife, 1503, Christ steps from the sarcophagus unclothed save +for a loin cloth. Four out of the five wounds are thus plainly shown. +He holds a cross (in His left hand) bearing a pennon, with a cross in +its centre. A nimbus is around His head. The four soldiers are clad in +armour with morions on their heads and halberts in their hands. + +The Swansea representation measures 12 × 11 inches and is to Sir Hugh +Johnys and his wife, c. 1500. He was a knight of the Holy Sepulchre, +and fought against the Turks under John, at that time Emperor of +Constantinople. One of the soldiers round the tomb evidently represents +a Saracen. He is shown sleeping with a scimitar at his left, a spiked +mace at his right side. + +One other curious pictorial example must not be omitted. It represents +the Mass of St Gregory. The Pope kneels before an altar, while the +figure of our Lord rises from behind the chalice, changed from the +consecrated wafer. It is in the brass of Roger Legh and wife (lost), +Macclesfield, Cheshire, 1506, and is unique. The original story is in +the _Golden Legend_. + + +_Heart Brasses._ + +The next curious type is that known as Heart Brasses. A heart is often +shown held in the hands of the deceased, as at Buslingthorpe, Lincs., +c. 1290. At other times it is found quite separate from the figure +and often with two or three inscribed scrolls coming from it. Thos. +Knyghtley, Fawsley, Northants., 1516, is typical of this class. + +But the name applies more especially to those monuments in which the +heart appears alone. Often these doubtless marked the spot where the +heart alone was buried. We have many authentic records of men who +ordered their hearts to be buried apart from their bodies. Some of +these were knights who perished abroad and ordered their bodies to be +buried where they died, but their hearts to be brought back to England. +From the inscription upon one of the four scrolls of the Wiggenhall +brass, _Cuius cor hic humatur_, we may reasonably infer that the heart +only lies beneath the stone. There are several stone monuments showing +only hearts, which records prove cover only that organ. Thus, Sir Thos. +Neville’s body was buried at Billing, 1535, and his heart at Mereworth, +Kent. At the latter place his stone monument consists of a heart held +by two hands. + +Heart brasses proper fall into two main divisions: (_a_) plain, +sometimes inscribed or with scrolls, (_b_) held by hands, usually +coming out of a cloud. + +Class (_a_) includes Thos. Smyth, priest, St John’s, Margate, Kent, +1433; an unknown person, Kirby Bedon, Norfolk, c. 1450; and Sir Robt. +Kervile, Wiggenhall St Mary, Norfolk, c. 1450. + +Good representatives of class (_b_) are the brasses of John Merstun, +priest, Lillingstone Lovell, Oxon., 1446; Wm. Stapilton, Helbroughton, +Norfolk, c. 1450; Dionysius Willys, Loddon, Norfolk, 1462; and Thos. +Denton, Caversfield, Bucks., 1533. (See Appendix.) + + +_Shrouds._ + +These and the following group are neither beautiful nor pleasing +monuments. They are signs of the morbid feeling that seems to have +begun to spread over England about the middle of the fifteenth century +and which did not pass away until the nineteenth. + +Many stone monuments exist showing reclining figures in the costume of +the period on a raised tomb, while beneath, visible through openings in +the sides, are the same persons shown as skeletons or shrouded figures. +This contrast is seldom exhibited in _brasses_, but the kneeling figure +of Lionel Dymoke, Horncastle, Lincs. (1519), in armour, is engraved +upon a small plate on the wall, while on the pavement below he is +represented by a shrouded figure. + +In some cases the brass was laid down on the death of one of those +commemorated. The latter is then shown in a shroud, while those who +survived are shown in the dress of the period. + +Women can be recognised by their long, flowing hair, and priests by +their tonsure. The purpose of this type of brass was probably to remind +us that “such as we are, such shall ye be.” (See Appendix.) + +Under the Tudors, this type of brass increased in favour, and its +persistence is remarkable. The last brass of 1660 was probably +inspired by the earlier one of 1505. + +At Childrey, c. 1520, husband and wife rise from their tombs, but at +Oddington devouring worms crawl out of the body, which is almost a +skeleton. + +This leads us to + + +_Skeletons._ + +They are not so common as shroud brasses, but belong to the same class. +Indeed, some of the former are really shrouded skeletons. + + +_Other designs._ + +A few other designs may be found scattered up and down the country. +Perhaps the most interesting is to Roger Morris, Margate, Kent, 1615. +He was an official in the Navy and his brass consists of a square +plate showing a three-masted square rigged man-o’-war. It has a lion +figure-head, high poop and many guns showing through the port holes. + + + + +CHAPTER XIII + +FOREIGN BRASSES + + +Brasses on the Continent, as already stated, were engraved on +quadrilateral plates, the inscription, canopy and background, all being +engraved on the same plates, there is therefore no background of stone, +as in England. Any space left over was usually filled with diaper +work or some similar pattern. Many of those which still survive on +the Continent are remarkably splendid. There were originally at least +three great schools, besides several minor subdivisions. These were the +German, Flemish, and French. The Revolutionaries destroyed almost all +those in France and the Reformers played sad havoc with the Dutch and +German monuments. Still, many fine examples remain of the German and +Flemish schools. The former are found at Ringstead, Denmark, engr. c. +1350, to King Eric and Queen Ingeborg, at Lübeck, Schwerin, Stralsund +(Pomerania), Thorn and elsewhere. The latter exist at Ghent 14th c., +Brussels 1398, Bruges 15th c. Most of these were Hanse towns and all +carried on trade with England. Merchants from them settled in England +and in some cases had their brasses made abroad. It thus came about +that 14 remain of undoubtedly foreign work, besides two which were +bought abroad and are now in the Victoria and Albert Museum. These +form an entirely separate group and must be dealt with apart. + +On the other hand, one English brass is known to exist on the +Continent. It is at Constance, to the memory of an English bishop who +died at the Council of Constance. + +The finest foreign brasses are those of the fourteenth century, and +are as follows: Adam de Walsokne and wife, King’s Lynn, Norfolk, 1349; +Abbot Thos. Delamere, St Albans Abbey, c. 1360; Simon de Wenslagh, +priest, Wensley, Yorks., c. 1360; a Priest, North Mimms, Herts., c. +1360; Robt. Braunche and two wives, King’s Lynn, Norfolk, 1364; Ralph +de Knevyngton (in armour, small) Aveley, Essex, 1370; Alan Fleming, +Newark, Notts., c. 1375; and Thos. de Topclyffe and wife, Topcliffe, +Yorks., 1391. + +There seems little doubt that these fall into two schools--North German +and Flemish. + +The first may be called North German, and five brasses of Hanseatic +merchants are so exactly alike that they must come from the very same +workshop. They are the two at King’s Lynn and one each at St Peter’s, +Lübeck, 1356, at Thorn, 1357, and at Stralsund, 1361. + +The trefoils on the background are similar, and so are the cushions on +which rest the heads of the figures. A woodhouse (a wild man) struggles +with an animal between the feet of the merchant, in each case. + +The most interesting feature in each is that beneath the feet of the +figures a long compartment is reserved for a scene. In the Walsokne +brass, a horseman carrying corn to be ground at a mill is followed by +two men bearing their master on a litter. There are also hunting scenes +and a forester fighting with an outlaw. In the Braunche brass there +is a representation (probably) of the mayor’s feast at Lynn. Braunche +was mayor in 1349 or 1359. The three peacocks are being borne by fair +ladies heralded by trumpets. + +There is in every brass a magnificent canopy with figures either of +saints or of “weepers” in niches. The soul, a small naked figure, is +being borne aloft by angels to God the Father. + +The large number of figures included may be judged when we consider +that the Walsokne brass has 57 alone. The principal figures are clad in +the civilian costume already described, and their wives in the mantle, +sideless _cote-hardi_ and kirtle. In some the mantle is omitted, when +it is easier to see the beautiful figured pattern with which the kirtle +is adorned. + +The Walsokne brass measures 9 ft. 10 in. × 5 ft. 8 in., and the +Braunche 8 ft. 10 in. × 5 ft. 1 in., and some of the Continental ones +are even larger. + +The second group springs from a second workshop and includes three +ecclesiastical brasses and the Royal brass at Ringstead. The former +are at St Albans, Lübeck and Schwerin (1347) respectively. The +distinguishing feature of this group is that the cushions are omitted. +A few other details differ, but in the main they follow the same lines +as the others of North Germany. These two sub-groups probably both came +from Lübeck, but are by different hands. + +The Newark brass is also North German, but of later work than the +other, for, though dated 1361, it was probably engraved about 1375. The +most striking difference is that the canopy is drawn in perspective, +with very unsatisfactory results. It is rather similar to the huge +brass of Bishops Godfrey and Frederic de Bulowe at Schwerin, 1375. +The latter measures 13 ft. 6 in. × 6 ft. 5 in. and is the largest in +the world. The Newark brass measures 9 ft. 4 in. × 5 ft. 7 in. It +is unfortunately much worn, and has been removed from its original +position and placed against the wall. + +The Wensley brass is also North German. The robes of the priest are +embroidered in a similar design to those of Abbot Delamere, but there +is no canopy or background. + +The North Mimms brass is similar, but not so well engraved and the +figure is only 27 inches long. The canopy has niches with the apostles, +two angels with censor and the soul in the arms of the Father. There is +no background, but probably it was cut away by the English workmen who +laid it in the stone to make it suit English ideas. The composition +rises from a bracket on which is a coat-of-arms and two lions. + +The Aveley and Topcliffe brasses are almost certainly Flemish. The +former is very small, but beautifully engraved; there is a canopy, and +the background has no design, being simply cross-hatched. The other +brass measures 5 ft. 9 in. × 3 ft. 1 in. and represents a civilian and +his wife. The ground work is a diaper pattern, and there is a fine +canopy. On the reverse of several pieces earlier work exists and in one +place a Flemish inscription. + +There are five other English brasses of foreign work, and two foreign +ones are in the Victoria and Albert Museum. There are also a few +fragments among the palimpsests (see Chap. VI) and a fragment in the +British Museum. (See Appendix.) + + + + +CHAPTER XIV + +ARCHITECTURAL DETAILS + +(See special articles on this subject by the author in _The Builder_, +vol. CII.) + + +Brasses frequently contain a considerable amount of architectural +detail in their composition. Sometimes they were placed on altar tombs +under stone canopies, but it is of those details depicted in the brass +itself that the author purposes to write. + +Canopies are by far the most important group, and the magnificence of +some of these can be but faintly realised from the illustrations. + +The earliest follow the Decorated style which was in fashion when they +were laid down. + +The first type consists of slender shafts supporting a pediment, of +which the upper sides are straight, forming a triangle ornamented with +crockets and terminated by a bunch of foliage. The arch beneath is +trefoil and the cusps are filled with leaves. This form lasted from +1300 to c. 1325, but unfortunately only one example survives--that of +Joan de Cobham, Cobham, Kent, 1320 (cf. p. 7). The side shafts were +missing, but have, we believe, been restored. This is the second lady +to be depicted on a brass, and she leads the fine series of nineteen +brasses at Cobham. The slab of Margarete de Camoys, Trotton, Sussex, c. +1310, shows the matrix of a similar canopy. The fragments of the canopy +of Sir Hugh Hastings, 1347, Elsing, Norfolk, also appear to belong +to this type, but with later variations. In it, as in the canopy of +Lawrence de St Maur, the canopies in the shafts are straight-sided. + +This low pedimental form was soon superseded by the ogee arch rising to +a considerable height. This is supported by equally tall side shafts. +Sometimes, in place of a bunch of foliage, figures of saints are seen +on the finial, as on several examples at Cobham, Kent, notably Lady +Margaret (cf. p. 13). At other times a shield with a coat-of-arms takes +its place, as in the brass of Archbishop Waldeby, Westminster Abbey, +1397. + +The next development was to widen the shafts, so as to form panels +or niches containing canopied saints. Often these are surmounted by +a super-canopy. The brass of Lawrence de St Maur, Higham Ferrers, +Northants. (cf. fig. 13) shows this type. Canopies over mass +priests are very rare and this is by far the finest. The details have +been given before, so we will turn to another variation of this type. + +Instead of canopy and super-canopy, an embattled canopy with an ogee +pediment within is found. A splendid example is to a former Dean of +St Asaph’s and rector of Balsham, John Blodwell, 1462 (cf. p. 37). It +measures 8 ft. 9 in. × 4 ft. 1 in. + +Another development was, in place of a single arch to have double or +triple arches. The former type was used almost exclusively where two +persons were commemorated. The latter was sometimes used over three +figures, but more often over one. Thus in the brass of the Duchess +of Gloucester, Westminster Abbey, 1399 (cf. p. 47), we have a truly +magnificent brass. Five shields hang from the shafts (the sixth is +lost) and between the finials of her triple canopy are two other +finials, one of which has been lost since this rubbing was made. A +tabernacle with the Holy Trinity is often placed above the ogee arch in +place of the central finial, as in the brass of Sir Nicholas Hawberk, +Cobham, Kent, 1407. But not only the finest of this group, but of +all _English_ brasses now extant is the monument to Thomas Neolond, +Cluniac Prior of Lewes, at Cowfold, Sussex, 1433 (cf. p. 45). This has +a tabernacle with the Virgin and Child, and, moreover, the finials +of the other two arches support St Pancras and St Thomas à Becket. +Further, the central arch is also triple, and the shafts are supported +by side shafts and connected by flying buttresses, as is likewise the +tabernacle. The entire scheme is very graceful and recalls the lantern +at Ely in its lightness. It is 10 ft. 2 in. × 4 ft. 3 in. A somewhat +similar brass is that to John Sleford at Balsham, 1401. + +The earlier canopies were not groined, one of the earliest exceptions +being that over Lord Nicholas Burnell, Acton Burnell, Salop, 1382 (cf. +p. 11). But during the fifteenth century this became more common (see +the canopy of John Bloxham and John Whytton). It is an unsatisfactory +feature, and characteristic of the gradual deterioration and coarsening +of the engraving. This latter is also shown by the heavy finials and +crockets. + +In the sixteenth century, these peculiarities became more marked, +though canopies still follow the traditional lines. There are two +or three early Renaissance canopies, e.g. a large, triple one to Wm. +Porter, S.T.P., Hereford Cathedral, 1524, and Dean Frowsetoure, in +cope, Hereford Cathedral, 1529. + +It is difficult to say whether the classical arches shown in a few of +the later brasses can be termed canopies. An example is to be found to +Wm. Dunche and wife, Little Wittenham, Berks, (double) engr., c. 1585. +(See Appendix.) + + +_Brackets._ + +The idea of this group probably originated with the brackets supporting +figures of saints, which were common in our churches before the +Reformation. The brackets usually projected from a wall or column, and +a small pillar helped to support them. Above was a canopy of carved +stone or wood. + +One would naturally expect that, if this idea were copied, the bracket +would hold a saint and the deceased would kneel before it. There are, +however, only two examples extant. The brass of John Spycer and wife, +Burford, Oxon., 1437, is terribly mutilated. The canopy and Virgin and +Child are lost, and only the deceased couple remain, kneeling on either +side of the stem. The other example is practically complete and is to +John Strete (priest in academics), Upper Hardres, Kent, 1405 (cf. p. +93). St Peter and St Paul stand on the bracket, and there is no canopy. + +[Illustration: Fig. 24. John Strete, M.A. 1405, Upper Hardres, Kent] + +In all other cases the deceased persons themselves stand on the +bracket. The earlier ones are much mutilated, and only one fourteenth +century brass is at all perfect. It is to Sir John Foxley and two +wives, Bray, Berks., 1378. The canopy is lost. The three figures are on +a bracket with a short stem rising from the back of a fox, the family +crest. The total length of the composition is just over 5 ft. Though +the ladies are standing, the knight rests with his head on his helm and +his feet on a lion. + +The fifteenth century brasses are far more complete. (See Appendix.) + +The Merton College brass is one of the finest. The stem rises from a +tabernacle holding the Lamb with the banner. + +In the sixteenth century should be noted the brasses of Sir Roger +le Strange, Hunstanton, Norfolk, 1506; John Terry and wife, St +John, Maddermarket, Norwich, 1524; John Marsham and wife, St John, +Maddermarket, Norwich, 1525; and Robt. Rugge and wife, St John, +Maddermarket, Norwich, 1558. + +Sir Roger stands on a low bracket without a stem, placed _within_, not +supporting, a magnificent canopy with figures of weepers in the side +shafts. + +The other three evidently come from a local school of engravers. +Terry’s bracket resembles a tree, the branches support pedestals +for himself, his wife and for his children. The whole is on a single +plate. The Marsham bracket has a stem like that of a table and the top +is covered with skulls and bones. In the Rugge brass there is only a +corbel supporting an inscription. + +So far as is known, there are no later bracket brasses. + + +_Crosses._ + +These also form a group which may conveniently be dealt with here. +At one time they were very numerous, but provoked the wrath of the +Reformers more than any other type of brass, hence barely thirty +remain. Matrices are still numerous and many might doubtless be +restored as has been successfully done at Ely. + +They fall into three main divisions: (1) plain crosses, (2) crosses +with some saint in the centre, (3) crosses with the deceased in the +centre. + +This last group may be subdivided into: (_a_) quatrefoil, (_b_) +octofoil. (See Appendix.) + +(1) These vary considerably in form. At Higham Ferrers, the arms +terminate in the Evangelistic symbols. At Royston, a bleeding heart +and the four wounds are shown. At Eversley, the whole cross is formed +of interlocking bands, or links of a chain. The cross at Floore, +Northants., is drawn in perspective. + +(2) There are but few examples of the second type. The best is to Robt. +de Paris and wife, Hildersham, Cambs., 1379, here shown. The figures +kneel on either side of a cross with an octofoil head, in which is the +Holy Trinity. Robt. de Paris wears a long cloak, thrown open so as to +show his undergarment, which stops short above the knees. A belt holds +an anlace and his legs are covered with long hose. + +[Illustration: Fig. 25. Robert de Paris and wife, 1379, Hildersham, +Cambs.] + +Another example is that of John Mulsho and wife, Newton-by-Geddington, +Northants., c. 1400, commemorated by a quatrefoil cross, holding a +figure of St Faith. This brass was restored by Messrs Waller, but there +seems little reason to doubt that the design is correct. + +The brass of Robt. de Brun (priest), Chelsfield, Kent, 1417, is a much +mutilated crucifix; the figure of St John is lost, the head of the +Virgin and most of the cross. On the ground are Adam’s skull, Jacob’s +ladder and the jawbone of an ass. The latter refers to the scriptural +legend that from it flowed a stream of water to revive Samson’s spirit +(Judges xv. 19). + +(3) (_a_) This division includes a small group of much interest. Some +of the earliest belong to it, and many others--of the fourteenth +century--have perished. They are used to commemorate priests. These +are: Rich. de Hakebourne (priest), Merton College, Oxford, c. 1310; A +Priest, Chinnor, Oxford, c. 1320; Nichol. de Gore (priest), Woodchurch, +Kent, c. 1320; and Britell Avenel (priest), Buxted, Sussex, 1408. + +The first three brasses have lost their stems. The Merton and Chinnor +crosses hold a demi-figure and a head respectively. Nicholas de Gore +is a small, full-length figure, and the composition is very pleasing. +The Buxted cross is the only one which is nearly perfect. The priest +is a demi-figure, resting on a diapered background. There is a border +inscription. + +(_b_) Octofoil crosses are more numerous. Those at East Wickham, 1325, +and Wimbish, 1347, have already been described. + +The East Wickham brass had the missing parts restored in 1887. The +Taplow cross (c. 1350) rises from a dolphin, an appropriate emblem for +a fishmonger. + +The octofoil consists of eight ogee arches, alternately large and +small, with finials of foliage. + + +_Other Architectural Features._ + +There are several brasses in which architectural features are included +which do not come under these headings. Thus, Bishop Wyvil, Salisbury +Cathedral, 1375, is shown as a demi-figure within a castle, with his +champion at the portcullis below. This commemorates his recovery of the +Castle of Sherborne for the See. There are several rabbits at the foot +of the castle, and these probably commemorate his recovery of a piece +of ground known as “The Warren.” + +Bp. Robinson’s brass shows Carlisle Cathedral and Queen’s College, +Oxford, and many sixteenth century brasses show walls, pillars, etc. + +In an interesting series of three sixteenth century brasses, probably +by the same hand, to Robt. Honywode, St George’s Chapel, Windsor, +1522; Robt. Sutton, St Patrick’s, Dublin, 1528; and Geoff. Fyche, St +Patrick’s, Dublin, 1537; what is really a view of a side-chapel is +shown. + +At Windsor, beneath the Tudor arch, Honywode kneels at a _prie-dieu_ +before a statue of the Virgin and Child. In the Irish examples, the +resemblance to a side-chapel is still more complete. Fyche kneels at +a faldstool before an altar with a picture above it of the descent +from the Cross. The vaulting of part of the roof is visible, and the +walls have linenfold panelling. A shield hangs from a hook at one side +bearing a bush with several birds on it and the initials F. G., which +evidently refer to and are probably meant as a pun on his name--Finch +for Fyche. + +The floor is laid with tiles and a Renaissance arch forms a kind of +canopy in the foreground. Parts of rooms are often shown in sixteenth +century brasses. + +In a few cases, brasses were laid down to founders of churches. They +usually hold a model of the church in their hands. An example exists at +Cobham, to Sir John de Cobham, 1365. The building is in the decorated +style, has a small spire and a large porch. + + + + +CHAPTER XV + +CONCLUSION + + +The great fascination of monumental brasses can only be realised by +studying them on the spot. One of the best methods is to take rubbings +of them. + +Most of our readers doubtless know the method, but since a few may not, +some particulars are appended. + +A piece of cobblers wax should be procured from some boot repairer. +The black kind is the only one which produces satisfactory results +on white paper. It can usually be got in small lumps about the size +of a halfpenny across. Melt down six of these to make a single ball. +Procure a roll of plain white ceiling paper, the thinner the better, +from a paper-hanger’s. It should cost from 6_d._ to 8_d._ according to +quality. A penny nail-brush and a duster complete the outfit. + +First ask permission from the Rector or Vicar. This should not be +omitted, and will avoid unpleasantness. The clergy are usually most +considerate in the matter, and very rarely refuse. But naturally they +do not like absolute strangers to take rubbings without first asking +permission. So far as the writer knows, permission is refused only at +_two_ churches, though probably there are a few others. In those cases +the reason given was that it wore away the brass. We have never seen +any real cause to think this can be correct. If we did, we should be +the last to advocate brass-rubbing. + +There _is_ a kind of rubbing which does damage. Well-meaning vergers +have been known to _polish_ an old brass. This is absolutely +destructive of the engraving. + +Permission granted, remove the mat which probably covers and protects +it. Brush off the accumulated dust, finishing off with the duster. Then +carefully spread the paper over it and fix it down by weights round the +edge. For these, hassocks are handy; prayer-books should be avoided, +their misuse causes offence. + +Then rub the paper down well with a _clean_ part of the duster, so as +to mark the main features and edges, and after that the rubbing with +the wax ball itself will be easy. + +The aim should be to produce a clear, dark impression. To get it, the +rubbing must be hard and the paper must not slip. If there is a canopy, +it will probably be found that the wax will mark parts of the paper +beyond the design itself. In such a case, the rubbing should be cut +out and mounted on paper or calico. Paste is better than gum for this +purpose. The rubbing should always be polished by rubbing over with a +clean part of the duster _before_ being removed from the brass. + +The completed rubbing may be mounted on rollers. + +A good way of cataloguing, is to photograph each rubbing, mount a print +in a book, and then number and name print and rubbing alike. + +The proper treatment of the brasses themselves demands considerable +attention. We spend huge sums on buying old pictures by foreigners, yet +we take no trouble to preserve these matchless works of art, the work +of our own ancestors. + +There have been four great periods of destruction, each with its own +characteristics. Indeed, from the Reformation down to the present day +the work has gone on intermittently. + +During the sixteenth century, the extreme Reformers united with those +bent on plunder to rob our churches of these monuments. Brass has at +all times been a valuable metal, and when religious zeal is combined +with greed of gain, it is not surprising that thousands of brasses +perished. The destruction of the great monastic churches brought with +it of necessity the spoliation of their tombs which stood within; but +even the parish churches were not safe. So keen was the thirst for +plunder that the ministers of Edward VI confiscated even the church +plate and the money for the poor. + +Elizabeth,--all credit to her,--disapproved of such conduct and ordered +that the plate should be replaced, though at whose cost is unknown; +and, further, that all monuments broken down should be restored. If +possible, this was to be done at the cost of those who had wrought the +damage, otherwise the parish was to bear the burden. + +The latter command seems to have been but slightly enforced, and there +are but few examples of Elizabethan restoration of earlier monuments or +brasses, though a few do exist. + +During the seventeenth century, the Parliamentarians wrought tremendous +havoc, but have had more than their fair share credited to them. Nearly +as much destruction was wrought during the eighteenth century through +neglect, and often these losses are laid to the door of the Puritans by +the modern guide. + +But perhaps the most lamentable devastations are those wrought in the +nineteenth century. They were usually done by those who claimed to +be “restoring” their parish churches. For example, while restoring a +certain country church some twenty or thirty years ago, the architect +found there were several old brasses which were being abominably +treated. He informed a well-known firm of art metal workers, who sent +down one of the partners. He found the workmen using one of the figures +as a frying-pan over a wood fire in the churchyard! He rescued it, +and many others which had been thrown out into the churchyard. Then +he brought the matter to the notice of the incumbent, who absolutely +refused to have anything to do with them, and declared that he would +not have them in the church. Further, he told the partner that he could +take them away. The latter hesitated to do so, and left them behind. A +few days later, he received a box containing them. Not knowing what to +do with them, he stored them away and forgot all about them. + +Some twenty years later, they were re-discovered by his son, who showed +them to some friends, and in the end he returned them to the church, +suggesting that they should be restored to their proper places. He +never even received an acknowledgement, but learnt later they were +still lying neglected in the box. + +The little value attached by many to brasses may be judged from the +fact that Gilbert Scott replaced the fine brass at St John’s College, +Cambridge, beneath the organ loft; and Pearson hid another away in the +crypt of Truro. Often this scant respect was not shown, and they were +sold as old metal, or, at best, torn from their stone matrices and +fixed to a wall. + +This latter is a constant trick of restorers, and should be strongly +discouraged. Within the last year it has happened at Merstham, Surrey, +and, indeed, hardly a year passes but it takes place somewhere. +Firstly, the stone should not be removed at all, if in its original +spot it marks the grave of the deceased, and this alone should be a +sufficient reason for not removing it. If it must be removed and placed +against the wall, the whole stone should be moved, and not merely the +brass. Brass and stone are one and should not be separated. They may +fitly be compared to a jewel and its setting. + +Moreover, in raising them, the brasses become bent and twisted, and +parts are nearly always lost. Further, if in its original matrix, one +can fairly accurately judge of what is missing and, if it is desired, +restore it. + +Sometimes the excuse given for the removal is that it is to preserve +them from the wear of people walking over them. This can be far better +done by placing carpet or matting over them. + +Even where only the matrix remains, it should be carefully preserved, +as it is often of considerable interest and always the remnant of +ancient work. They are of far more interest than a series of slabs of +black and white marble or a series of modern machine-made tiles. + +In some cases they might be carefully restored. The matrix gives a +very faithful guide, and sometimes descriptions still exist. In the +case where only part of the brass is lost, this should most certainly +be done. Recently the author helped to restore an old brass at Shere, +Surrey, the cost of the work being most generously borne by the Rector +(Mr Hill). + +John Touchet, Lord Audley, was executed on the charge of high treason +by Henry VII in 1490. An altar tomb was set up in his memory about +1525. It showed a figure in armour with a marginal inscription on a +chamfered edge. About 1745 the tomb was destroyed, and the top slab +laid in the floor of the chancel. As the chamfered edge would thus be +hidden, some person stole the brass fillet. About 1800 the lower half +of the effigy was also stolen. When the church was restored in 1896, +a parishioner gave the Rector a piece of the inscription which she +had found hidden away in an old cottage she had recently bought. Not +knowing to what figure it belonged, he fastened it to a window sill. +Recently the writer drew his attention to the fact that it undoubtedly +belonged to the mutilated figure, and suggested that a fresh matrix +should be cut round the edge of the stone, and that the remainder of +the inscription and the legs should be restored. To this he agreed, and +the work was carefully executed by Messrs Gawthorp of 16, Long Acre. +Fortunately the piece of inscription contained almost all the personal +details save the year of Touchet’s death. This was discovered from +documentary evidence to be 1490. A description of the legs was also +found, taken just before they were stolen. This was fortunate, as one +would not otherwise have known that there was a greyhound _between_ +his feet. Our thanks are due to Mr Mill Stephenson for much valuable +advice and information. Every care was taken to make the new work +as exactly like the old in colour and engraving as possible. But to +prevent deception, each new piece was marked on the back with the date, +1911, and, further, a careful rubbing was taken before the restoration, +showing the old work and the matrix, and this was framed and hung in +the South Porch. + +The matrix of a fine cross with a prior kneeling at the foot was +restored some years ago at Ely. + +Where a brass is loose, it should be refixed. Palimpsests may cause +some difficulty. By far the best method is to have careful electrotypes +made of the reverses and fastened up in the church, and the originals +should then be permanently refixed in their matrices. + +One cannot close without emphasizing the terrible destruction of these +priceless works of art. + +In St Albans Abbey, a few years ago, no less than 270 matrices were +counted. Durham Cathedral, once paved with brasses, has not _one_ left! + +These matrices should be preserved, and, as yet, a complete catalogue +of them has not been made. It is to be hoped that some antiquary will +ere long undertake the task. There are still a great number--perhaps +6000--and often of unique interest. In several cases these slabs are +older than the earliest surviving brasses. For example, the earliest +of all is at St Paul’s, Bedford. It is believed to commemorate Sir +Simon de Beauchamp, 1208, mentioned by Leland. There was a large cross +5 ft. 9 in. × 2 ft. 6 in. springing from a plate with an inscription, +and having a small shield on either side of the head. There was also a +border fillet. + +Again, there is a splendid matrix at Durham, now carefully protected +beneath a thick carpet. It is to Bp. Beaumont, 1333, and is larger and +finer than any brass now extant, measuring 15 ft. × 10 ft. As a very +complete description of it exists in a sixteenth century book, it would +be comparatively easy to restore it to its former magnificence. And +it must have been a splendid brass! The bishop is in full canonicals +and a small angel censing him on either side, he stands beneath a fine +triple canopy with super-canopy and saints. The shafts contain niches +with the apostles, and on either side are side shafts connected to +the canopy by flying buttresses and containing twelve figures of his +ancestors. There are two lions beneath his feet and a border fillet, +besides other interesting details. Is it too much to hope that some day +money will be forthcoming to restore it? + +Though we advocate a judicious restoration, it must be _well_ done, +or not at all. We all know the harm that has been wrought by zealous +“restorers” of our churches, and we must not allow the same evil to +befall the brasses. + +The right lines to follow, in the author’s opinion, have already been +described. The _wrong_ way is to break the following rules: + + (1) Never destroy any of the original brass. + + (2) Never destroy the original matrix, and always let it act as + a guide. + + (3) Be sure and use the proper alloy. The old latten is of + different alloy from the ordinary brass of modern commerce, + which is much softer. + + (4) Do not get an amateur or a local artist, who has had little + or no experience in this kind of work, to do it. Go to one of + the few firms which have made a special study of this kind of + work. They may seem a little expensive, but in the end it is + well worth the difference. + + (5) If you want advice, write to the Monumental Brass Society, + London, or, if you prefer it, to the author, who would always + be glad to help in any way he could. + + (6) See if there are any rubbings or description extant in the + British Museum or elsewhere. + +Perhaps this is an appropriate place at which to draw attention to the +latent possibilities of a revival of brasses for modern memorials. +When one reflects on the over-crowded state of some of our finest +cathedrals with hideous and cumbersome monuments, the desirability +of this revival becomes apparent. They would take up practically no +space, and therefore would not interfere with the architecture of the +building, as do the statues in Westminster Abbey. They are in keeping +with the Gothic style of most of our churches. If good, they can be of +considerable beauty and interest; if bad, a mat readily hides them from +view. + +One difficulty undoubtedly obtrudes itself, viz. modern dress. However, +both Church and Army lend themselves to picturesque and fortuitous +treatment. For the civilian, university gowns, mayoral and civic robes +and even court dress are quite amenable to the engraver’s art. + +As to women’s attire, a simple arrangement of veil or scarf about the +head would be acceptable and dignified, in conjunction with garments +of flowing and harmonious lines. Grotesque contours and eccentric +mannerisms of attire would naturally be avoided. In this matter one +need but follow in the steps of the old engravers. + +The faces would either be portraits or not, as seemed desirable to +those who had the brass laid down. + +Two types might be followed: + + (1) The old Gothic, with the figures recumbent, in which case + the brass should be placed on the floor. + + (2) The Renaissance, with the figure kneeling, as in many of + the Elizabethan examples. These should be affixed to the wall. + The faults of these latter are usually: + + (_a_) Thin metal. + + (_b_) Too much detail. + + (_c_) Lack of depth in graving. + + All these defects could be avoided to-day. + +Certain modern specimens do exist, but cannot, as a rule, be placed in +the front rank. An exception must be made in favour of a modern brass +on the old lines laid down by Messrs Gawthorp at Islip, Northants. +It is meant to replace a fifteenth century brass long since entirely +vanished. A civilian and his wife, in the dress of c. 1460, stand +beneath a double canopy, and the effect is most pleasing. + +There is also a rather fine one to W. S. Sanders, Rector of St +Nicholas, Guildford, 1901, and two in Westminster Abbey. + +But so far no really fine example showing the figures in modern dress +has been laid down. In the author’s opinion, it is to be hoped that the +art of enamelling brasses will not be restored to favour at the same +time. Nor does he consider that the engraved lines should be filled in +with coloured matter or black wax. + +In conclusion; if even a few, by reading this little book, are +persuaded to study and help to preserve the ancient relics of the past, +the author will feel that it has not been written in vain. + +There is undoubtedly a decided awakening of interest in the subject, +but it behoves us to exert ourselves to make _all_ realize how +priceless are the four thousand which alone survive out of the large +number (some 150,000, including inscriptions) which were at one time or +another laid down. + + + + +APPENDIX + + +I. 1277-1327 + +Nearly life-size figures are marked with a star, and d = demi. + +/# + Sir John Daubernon, Stoke d’Abernon, Surrey, 1277. * + + Sir Roger de Trumpington, Trumpington, Cambs., 1289. * + + Sir Rich. de Boselyngthorpe, Buslingthorpe, Lincs., c. 1290. d + + Unknown Knight, Croft, Lincs., c. 1300. d + + Sir Robert de Bures, Acton, Suffolk, 1302. * + + Sir Robert de Setvans, Chatham, Kent, 1306. * + + Margarete de Camoys, Trotton, Sussex, c. 1310. * + + Rich. de Hakebourne (priest), Merton Coll., Oxford, c. 1310. d + + Archbishop Wm. de Grenefeld, York Minster, 1315. * + + Sir ---- Fitzralph, Pebmarsh, Essex, c. 1320. * + + Sir ---- Bacon, Gorleston, Suffolk, c. 1320. * + + Joan de Cobham, Cobham, Kent, c. 1320. * + + Nichol de Gore (priest), Woodchurch, Kent, c. 1320. + + A Priest, Chinnor, Oxford, c. 1320. d + + Thos. de Hop (priest), Kemsing, Kent, c. 1320. d + + A Priest, Wantage, Berks., c. 1320. d + + John de Bladigdone and wife (civilian), demi, in cross, East + Wickham, Kent, c. 1325. d + + Sir John de Creke and wife, Westley Waterless, Cambs., c. 1325. + * + + Sir John Daubernon II, Stoke d’Abernon, Surrey, 1327. * + + Sir John de Northwode and wife, Minster-in-Sheppey, Kent, c. + 1330. * +#/ + +II. 1327-1399 + +In this list those which are starred * show armorial jupons, and those +with daggers † have canopies. + +The following is believed to be a complete list of the military brasses +of this period:-- + + Sir John de Cobham (with church), Cobham, Kent, 1354. † + + John Bodiam, Bodiam, Sussex (small), c. 1360. + + Wm. de Aldeburgh (on bracket), Aldborough, Yorks., c. 1360. * + + Sir Philip Peletoot, Watton, Herts., 1361. + + Unknown, Gt. Berkhampstead, Herts., c. 1365. + + John de Cobham, Cobham, Kent, c. 1365. + + Sir Thos. de Cobham, Cobham, Kent, 1367. † + + Sir Adam de Clyfton, Methwold, Norfolk, 1367. † + + Thos. Cheyne, Drayton Beauchamp, Bucks., 1368. + + Ralph de Knevyngton, Aveley, Essex, 1370. + + Sir John de la Pole and wife, Chrishall, Essex, c. 1370. † + + Unknown, Freshwater, I. o. W., c. 1370. + + Sir Henry Redford and wife, Broughton, Lincs., c. 1370. + + Edmund Flambard (on bracket), Harrow, Middlesex, c. 1370. + + John Wybarne, Ticehurst, Sussex, c. 1370. + + Thos. Stapel (Serj.-at-arms), Shopland, Essex, 1371. + + Sir John de Mereworth, Mereworth, Kent, 1371. + + Sir John de Foxley and two wives (on bracket), Bray, Berks., 1378. + + Unknown, Calbourne, I. o. W., c. 1380. + + Unknown, St Michael’s, St Albans, Herts., c. 1380. + + Roger de Felbrigg, Felbrigg, Norfolk, c. 1380. + + A Dallingridge and wife, Fletching, Sussex, c. 1380. †* + + A Quinton, Clyffe Pypard, Wilts., c. 1380. + + Rich. de Feversham, Graveney, Kent, 1381. + + Sir John de Argentine, Horseheath, Cambs., 1382. + + Lord Nicholas Burnell, Acton Burnell, Salop, 1382. † + + Sir John Harsyck and wife, in armorial mantle, Southacre, + Norfolk, 1384. * + + Regd. de Malyn and two wives, Chinnor, Oxon., 1385. + + Sir Thos. de Audley, Audley, Staffs., 1385. + + Esmoun de Malyn and wife, Chinnor, Oxon., 1386. + + Sir Robt. de Grey, Rotherfield Grays, Oxon., 1387. + + Sir Wm. de Echingham, Etchingham, Sussex, 1388. + + Sir John de Wyngefield, Letheringham, Suffolk, 1389. † + + Sir Andrew Louttrell, Irnham, Lincs., 1390. + + John Flambard, Harrow, Middlesex, c. 1390. + + Robt. Russel, Strensham, Worc., c. 1390. + + Sir Wm. Kerdeston and wife, Reepham, Norfolk, 1391. † + + Thos. Ld. Berkley and wife, Wootton-under-Edge, Glos., 1392. + + John Gray, Chinnor, Oxon., 1392. + + Sir Thos. Walsch and wife, Wanlip, Leics., 1393. + + Henry English and wife, Wood Ditton, Cambs., 1393. + + Ld. Rich. Atte Lese and wife, Sheldwich, Kent, 1394. † + + Sir Edw. Cerne and wife, Draycott Cerne, Wilts., 1394. + + Ld. Wm. de Bryene, Seal, Kent, 1395. + + Sir Jn. de Quintin and wife, Brandsburton, Yorks., 1397. + + John Bettesthorne, Mere, Wilts., 1398. + + +Some examples of ladies _alone_, in addition to those included in the +text, are given:-- + + Unknown, Norbury, Staffs., c. 1350. + + Joan Plessi, Quainton, Bucks., c. 1360. + + Isabella Beaufo, Waterperry, Oxon., c. 1370. + + A Cobham, Lingfield, Surrey, c. 1370. + + Ismayne Winston, Necton, Norfolk, 1372. + + Lady Margaret de Cobham, Cobham, Kent, 1375. + + Lady Maud de Cobham, Cobham, Kent, 1380. + + Margt. Holes, Watford, Herts., c. 1390. + + Margery Wyllughby, Spilsby, Lincs., 1391. + + Lady Margaret de Cobham, Cobham, Kent, 1395. + + Alianore de Bohun, Duchess of Glo’ster, Westminster Abbey, 1399. + + +Civilians: a selection. + + Man and wife, Upchurch, Kent, demi, 1340. + + Rich. Torrington and wife (fine), Gt. Berkhampstead, Herts., 1356. + + John de Walden, Ashbury, Berks., demi, c. 1360. + + A frankelein and a priest (fine), Shottesbrook, Berks., c. 1370. + + John de Feversham and mother, Graveney, Kent, demi, c. 1370. + + A frankelein, Cheam, Surrey, c. 1370. + + Two Civilians, Kings Somborne, Hants., c. 1380. + + Symon de Felbrigg and wife, Felbrigg, Norfolk, c. 1382. + + Unknown, Hampsthwaite, Yorks., c. 1380. + + John Alderburne, Lewknor, Oxon., demi, 1380. + + John Corp and granddaughter, under peculiar double canopy, Stoke + Fleming, Devon, 1391. + + John Curteys and wife, under double canopy (a woolman), + Wimington, Beds., 1391. + + Unknown, Temple Church, Bristol, 1396. + + Walter Pescod (wife lost) under fine double triple canopy, + Boston, Lincs., 1398. + + +III. 1400-1453 + +(i) + + Sir Geo. Felbrigg, Playford, Suffolk, 1400. + + Sir Thos. Massingberd and wife, Gunby St Peter, Lincs. (double + canopy), c. 1400. + + Unknown (triple canopy), Laughton, Lincs., c. 1400. + + Thos. de Beauchamp, E. of Warwick, and wife, St Mary’s, Warwick, + 1401. + + Sir Nich. Dagworth, Blickling, Norfolk, 1401. + + Sir Wm. Fienlez, Hurstmonceaux, Sussex (canopy), 1402. + + Sir Reg. Braybrok, Cobham, Kent (canopy), 1405. + + Sir Roger Drury and wife, Rougham, Suffolk, 1405. + + Sir Nich. Hawberk, Cobham, Kent (canopy), 1407. + + Sir Wm. Bagot and wife, Baginton, Warwick, 1407. + + Wm. Snayth, Esq. and wife, Addington, Kent (double canopy), 1409. + + Lord Bourgchier and two wives, Halstead, Essex, 1409. + + Wm., Lord Willoughby d’Eresby and wife, Spilsby, Lincs. (double + triple canopy), 1410. + + Sir Thos. Burton and wife, Little Casterton, Rutland, c. 1410. + + Sir Robt. Swynborne, Little Horkesley, Essex (triple canopy), + 1412. (See below.) + + Robt., Lord Ferrers and wife, Merevale Abbey, Warwick, 1412. + + Sir Geo. Felbrigg and Sir Wm. Bagot (1400) at Playford in + Suffolk, (1407) at Baginton, Warwick, wear armorial jupons. + +The Order of the Garter is found at Exeter Cathedral, 1409, Felbrigg, +Norfolk, 1416, and Trotton, Sussex, 1419. These wear the Garter only. +Perhaps at Tattershall, Lincs., 1455, and certainly at Little Easton, +Essex, 1483, both Garter and Mantle are worn. Finally, Thos. Bullen, +Hever, Kent, 1538, wears the full insignia. There is a palimpsest (see +_Palimpsests_) fragment c. 1530 showing part of the Mantle and Garter +at Holy Trinity, Chester. + +Transitional examples:-- + + Sir Reg. de Cobham, Lingfield, Surrey, 1403. + + John Hanley and two wives, Dartmouth, Devon, 1408 (triple canopy). + + Thos. Seintleger, Otterden, Kent, 1408. + + John Wylcotes and wife (canopy), Gt. Tew, Oxon., 1410. + + Sir Thos. Swynborne and father (under double triple canopy), + Little Horkesley, Essex, 1412. + + +(ii) Typical Lancastrian examples. + + Sir Jn. Routh and wife (with S.S.), Routh, Yorks., c. 1410. + + Thos. de Crewe and wife, Wixford, Warw. (canopy and additional + badges), 1411. + + Geof. Fransham, Gt. Fransham, Norfolk (canopy), 1414. + + Sir Jn. Phelip, Walter Cookesey, and wife (S.S.) (triple canopy), + Kidderminster, Worc., 1415. + + Sir Jn. Erpingham, Erpingham, Norfolk, c. 1415. (He built the + Erpingham Gate, Norwich Cathedral.) + + Sir Thos. de Skelton and two wives, Hinxton, Cambs., 1416. + + Sir Symon Felbrigge, K.G., and wife (canopy), Felbrigg, Norfolk, + 1416. + + Lord Thos. Camoys, K.G., and wife (double canopy), Trotton, + Sussex, 1419. + + John Doreward and wife, Bocking, Essex, 1420. + + Sir Wm. Calthorpe (S.S.), Burnhamthorpe, Norfolk (canopy and + super-canopy), 1420. + + Peter Halle and wife, Herne, Kent, c. 1420. + + Sir John Lysle, Thruxton, Hants. (triple canopy), died 1407, + engraved c. 1425. + + John Lowe, Battle, Sussex, 1426. + + Sir John de Brewys, Wiston, Sussex (additional scrolls), 1426. + + Lord Thos. de Straunge (S.S.), Wellesbourne, Warw., 1426. + + John Norwiche and wife, Yoxford, Suffolk, 1428. + + Wm. Harwedon and wife, Gt. Harrowden, Northants., 1433. + + Wm. Scot, Brabourn, Kent, 1434. + + Thos. Wideville, Esq. and two wives (triple canopy), Bromham, + Beds., c. 1435. + + Thos. Chaucer and wife, Ewelme, Oxon., 1436. + + Sir John Harpedon, Westminster Abbey, 1437. + + +(iii) Changes. + + Sir John Leventhorpe and wife, Sawbridgeworth, Herts., 1433. + + Sir Rich. Delamere and wife, Hereford Cathedral (canopy), 1435. + + John Weston, Albury, Surrey (headless), 1440. + + Man in Armour, Arkesden, Essex, c. 1440. + + Sir Wm. Wadham and wife, Ilminster, Somerset, c. 1440 (double + triple canopy and super-canopy). + + Reg. Barantyn, Chalgrove, Oxon., 1441. + + Thos. de St Quintin, Harpham, Yorks., 1445. + + Sir Chris. Baynham and Wife, Newland, Glos., c. 1448. + + +(iv) Transitional. + + Sir Wm. Etchingham, wife and son (triple canopy), Etchingham, + Sussex, 1444. + + John Gaynesford, Crowhurst, Surrey, 1450. + + Walter Grene, Hayes, Middlesex, c. 1450. + + Unknown, Isleworth, Middlesex, c. 1450. + + Thos. Reynes and wife, Marston Mortayne, Beds., 1451. + + Sir John Bernard and wife (S.S.), Isleham, Cambs. (double + canopy), 1451. + + +Woolmen and Civilians: a selection. + + A Woolman and wife and several others, Northleach, Glos., c. 1400. + + A Civilian and wife and several others, Ore, Sussex, c. 1400. + + Rich. Martyn and wife, Dartford, Kent (double canopy), 1402. + + Robt. de Haitfield and wife, Owston, Yorks., 1409. + + Nich. Atte Heel, Chinnor, Oxford, c. 1410. + + Hugo de Gondeby, Tattershall, Lincs., 1411. + + Thos. Fayreman and wife, St Albans Abbey (Woolman), 1411. + + John Lyndewode and wife (double canopy), Lyndewode, Lincs., 1419 + (Woolman), and others. + + Harry Hawes (English Inscription), Arreton, I. o. W., c. 1430. + + Nich. Carrew and wife, Beddington, Surrey, 1432. + + Simon Seeman, Barton-on-Humber (Vintner), 1433. + + Robt. Skern and wife, Kingston, Surrey, 1437. + + John Bacon and wife (Woolman), All Hallows, Barking, 1437. + + Wm. Markeby and wife, St Bartholomew-the-Less, London, 1439. + + Robt. Page and wife (double canopy), Cirencester, Glos., 1440. + + John Hicchecok, Ampthill, Beds. (Woolman), 1450. + + Laurence Pygott and wife, Dunstable, Beds. (Woolman), 1450. + + John Yonge and wife, Chipping Norton, Oxon. (Woolman), 1451. + + Edm. Mille and wife, Pulborough, Sussex, 1452. + + +Judges: complete list. + + Sir Jn. Cassy and wife, Deerhurst, Glos. (canopy), 1400. + + Sir Hugh de Holes (mutilated), Watford, Herts., 1415. + + Wm. de Lodyngton, Gunby, Lincs. (canopy), 1419. + + Rich. Norton and wife (worn), Wath, Yorks., 1420. + + Jn. Staverton (mutilated), Eyke, Suffolk, c. 1430. + + Jn. Martyn and wife, Graveney, Kent (double canopy), 1436. + + Sir Jn. Juyn, St Mary, Redcliff, Bristol, 1439. + + Jn. Cottusmore and wife, Brightwell Baldwin, Oxon., 1439. + + +IV. 1453-1485 + +About 70 knights still exist, from which the following are selected:-- + + Robert Staunton and wife, Castle Donington, Leics. (canopy), 1458. + + Sir Thos. Shernborne and wife, Shernborne, Norfolk, 1458. + + Sir Robt. del Bothe and wife, Wilmslow, Cheshire, 1460. + + Rich. Quatremayns, wife and son, Thame, Oxon., c. 1460. + + Wm. Prelatte, Esq. and two wives, Cirencester, Glos., 1462. + + Robt. Eyr and wife, Hathersage, Derbys., 1463. + + John Threel and wife, Arundel, Sussex, 1463. + + John Ansty, Stow-cum-Quy, Camb., c. 1465. + + Hen. Paris, Hildersham, Cambs. (canopy), 1466. + + Rich. Ask and wife, Aughton, Yorks., 1466. + + Sir Thos. Strathum and two wives, Morley, Derbys., 1470. + + Unknown, Holbrook, Suffolk, 1470. + + Robt. Wotton and wife, Addington, Kent, 1470. + + Robt. Ingylton and three wives, Thornton, Bucks., 1472 (fine + under quadruple canopy). + + Wm. Fitz-William and widow, Sprotborough, Yorks., 1474. + + Sir Antony Grey, St Albans Abbey, 1480. + + Sir Thos. Vaughan (mutilated), Westminster Abbey, 1483. + + Thos. Peyton and two wives, Isleham, Cambs., 1484. + + Sir Thos. Brewes and wife, Fressingfield, Suffolk (engraved), c. + 1485. + + +Ladies’ Dress. + +A few examples are given:-- + + Agnes Molyngton (widow), Dartford, Kent, 1454. + + Eliz. Dencourt, Upminster, Essex (heraldic), 1455. + + Cecilie Boleyn (maid), Blickling, Norfolk, 1458. + + Jane Keriell, Ash-next-Sandwich, Kent (peculiar head-dress), c. + 1460. + + Christine Phelip, Herne, Kent (peculiar), 1470. + + Marg. Elmes, All Saints, Stamford, Lincs., 1471. + + Joan Haselden, Oxted, Surrey, 1480. + + Margery Clopton and Alice Harleston, Long Melford, Suffolk + (heraldic), c. 1480. + + +Lawyers. + + +(_a_) Judges. + + Nich. Assheton and wife, Callington, Cornwall, c. 1465. + + Sir Peter Arderne and wife, Latton, Essex, 1467. + + Sir Wm. Yelverton and wife, Rougham, Norfolk, c. 1470 (in armour, + mantle, coif and hood, and wearing collar of roses and suns). + + Sir Wm. Laken, Bray, Berks, (wife lost), 1475. + + Sir Rich. Byngham and wife, Middleton, Warw., 1476. + + Sir Thos. Urswyk and wife, Dagenham, Essex, 1479. + + Sir Thos. Billyng and wife, Wappenham, Northants., 1481. + + Brian Rouclyff, Cowthorpe, Yorks, (wife lost), 1494. + +The last may be included here, as his costume belongs more nearly +to the Yorkist than to the Tudor period. It was a most interesting +brass, including the model of the church, which he founded, and a bier +commemorating his uncle. It had also a double canopy. Several of the +most interesting features remain, but the rest was stolen a few years +after Waller described it in 1841. + + +(_b_) Notaries. + + Unknown, Gt. Chart, Kent, c. 1470. + + Unknown, St Mary’s Tower, Ipswich, c. 1475. + + Barth. Willesdon, Willesdon, Middlesex (peculiar), 1492. + + Unknown, St Mary’s Tower, Ipswich, 1506. + + Unknown, New College, Oxford, c. 1510. + + +Other Civilians. + + Jn. Fortey (Woolman), Northleach, Glos. (canopy), 1458, and + others. + + Jn. Browne and wife (Woolman), All Saints, Stamford, Lincs. + (canopy), c. 1460. + + Edward Courtenay, Ch. Ch. Cath., Oxon., c. 1460. + + John Lethenard and wife, Chipping Campden, Glos., 1467. + + Jn. Waliston and two wives (a smith), Chenies, Bucks., 1469. + + Jn. Wynter (mayor), St Margt., Canterbury, 1470. + + Ralph Segrim and wife (mayor), St John, Maddermarket, Norwich, + 1472. + + John Feld (Woolman), Standon, Herts., 1477. + + Thos. Rowley and wife (sheriff), St John’s, Bristol, 1478. + + John Cobleigh and two wives, Chittlehampton, Devon, 1480. + + Jn. Jay and wife (sheriff), St Mary, Redcliff, Bristol, c. 1480. + + Robt. Lytton and wife, Tideswell, Derbys., 1483. + +At Stopham, Sussex, there is an interesting series of brasses to +officials of Arundel Castle, c. 1460 and onwards. + + +V + +There are about 450 brasses of mass priests, of which the following are +worthy of note. + +Those over 3 ft. long are marked with a star:-- + + St Lawrence de St Maur, Higham Ferrers (with canopy), + Northants., 1337. * + + John de Grovehurst, Horsmonden, Kent (with canopy), c. 1340. * + + Wm. de Herleston, Sparsholt, Berks., c. 1360. + + Unknown, with chalice, North Mimms, Herts., c. 1360. + + Esmund de Burnedissh, Brundish, Suffolk, c. 1360. + + Simon de Wenslagh, with chalice, Wensley, Yorks., c. 1360. * + + John Seys, West Hanney, Berks., c. 1370. * + + Unknown, Shottesbrook, Berks., with franklin (under double + canopy), c. 1370. * + + Unknown, Stoke-in-Teignhead, Devon, c. 1370. + + Wm. de Lound, Althorpe, Lincs., c. 1370. + + Robt. Levee, Hayes, Middlesex, c. 1370. + + Peter de Lacy, Northfleet, Kent, 1375. * + + Unknown, Beachamwell St Mary, Norfolk, c. 1385. + + John de Swynsteade, Ashridge House, Herts., formerly at + Edlesborough (with part of canopy), 1395. * + + Unknown, with chalice, Stanford-on-Soar, Leic., c. 1400. + + Wm. de Thorp, West Wickham, Kent, 1407. + + John Mordon, Emberton, Bucks., c. 1410. + + Rich. Bayly, Hoo St Werburgh, Kent, 1412. * + + Robt. Scarclyf, Shere, Surrey, 1412. + + Robt. Fyn, Little Easton, Essex, c. 1420. + + Robt. Willardsey, St Nicholas, Warwick, 1424. + + Adam Babyngton, Milton Keynes, Bucks., 1427. + + Roger Godeale, with chalice, Bainton, Yorks., 1429. + + Robt. Clere, Battle, Sussex, c. 1430. + + Edw. Cranford, Puttenham, Surrey, 1431. + + John Heyne, Yelden, Beds., 1434. + + John Colt, Tansor, Northants., 1440. + + John Baker, Arundel, Sussex, 1445. + + Rich. Goldon, with heart, Willian, Herts., 1446. + + Unknown, Turweston, Bucks., c. 1450. + + Roger Gery, with chalice, Whitchurch, Oxon., 1456. + + Robt. Lond, with chalice, St Peter’s, Bristol, 1461. + + John Spycer (?), Monkton-in-Thanet, Kent, c. 1465. * + + John Swetecock, Lingfield, Surrey, 1469. + + Thos. Wyrley, with heart, Letchworth, Herts., 1475. + + Gulfrid Bysschop (hands crossed downwards), Fulbourn, Cambs., + 1477. + + Unknown, with chalice, Laindon, Essex, c. 1480. + + Roger Clerk, St Ethelred, Norwich, 1487. + + John Balam, Blewbury, Berks., 1496. + + Alex. Inglisshe, with chalice, Campsey Ash, Suffolk, 1504. + + Thos. Warner, Soulderne, Oxon., 1508. + + Thos. Symons, Gt. Greenford, Middlesex, c. 1515. + + John Wright, with chalice, Clothall, Herts., 1519. + + Wm. Grey, with chalice, Evershot, Dorset, 1524. + + John ap Meredyth, with chalice, Bettws, Montgy., 1531. + + Wm. Wardsworth, with chalice, Betchworth, Surrey, 1533. + + Wm. Harman, with chalice, Eton College, Bucks., 1535. + + Robt. Hanson (small), Chalfont St Peter, Bucks., 1545. + +In a few brasses the stole or maniple is omitted. These are probably +the work of careless local engravers. Examples are found at Dronfield, +Derby, 1399; Clothall, Herts., 1404; Newton Bromshold, Northants., +1426; Sparham, Norfolk, 1490; Blockley, Worc., c. 1500; Laindon, Essex, +c. 1510; and elsewhere. + + +Chalice Brasses. + + +(_a_) Yorkshire. + + Rich. Kendale, Ripley, 1429. + + Peter Johnson, Bishop Burton, 1460. + + Wm. Langton, St Michael Spurriergate, York, 1466. + + Thos. Clarell, St Peter’s, Leeds, 1469. + + +(_b_) Norfolk. + + John Smyth, St Giles, Norwich, 1499. + + Rich. Grene, Hedenham, 1502. + + Robt. Northen, Buxton, 1508. + + Rich. Louhouwys, Surlingham, 1513. + + Edmund Ward, North Walsham, 1519. + + Wm. Westow, Little Walsingham, c. 1520, and several others. + +There are but few elsewhere, such as: + + Robt. Wodehowse, Holwell, Beds., 1515. + + Thos. Elys, Shorne, Kent, 1519. + + Thos. King, Rendham, Suffolk, 1523. + + Unknown, Gazeley, Suffolk, 1530. + + +Cassock alone. + + Thos. Awmarle, Cardynham, Cornwall, c. 1400. + + Unknown (kn.), peculiar, Aspley Guise, Beds., c. 1410. + + John Lewys (kn.), Quainton, Bucks., 1422. + + Unknown, Cirencester, Glos., c. 1480. + + Unknown, North Creake, Norfolk, c. 1500. + + Rich. Bethel, Shorwell, I. o. W., 1518. + + John Yslyngton, with chalice, Cley, Norfolk, c. 1520. + + Wm. Lawnder (kn.), Northleach, Glos., c. 1530. + + +Almuce. + + John Morys, First Warden, Winchester College, Hants., 1413 + + Win. Whyte, Arundel, Sussex, 1419. + + John Huntington, Warden, Manchester Cathedral, 1458. + + Robt. Brerely, Billingham, Durham, 1480. + + Thos. Barker, Eton College, Bucks. (fellow), 1489. + + Canon Thos. Teylar, Byfleet, Surrey, 1489. + + Wm. Fordmell, Bordon, Kent, 1490. + + Thos. Parker, Dean, Beds., 1501. + + Henry Bost (Provost), Eton College, Bucks., 1503. + + Ralph Elcock, Tong, Salop, 1510. + + John Fynexs, Archdeacon of Sudbury, St Mary’s, Bury St Edmunds, + 1514. + + Wm. Goberd, B. A., Archdeacon, Magdalen College, Oxford, 1515. + + Robt. Honywode, LL.D., quadrilateral plate, St George’s Chapel, + Windsor (peculiar), 1522. + + Rich. Adams, with chalice, East Maling, Kent, 1522. + + Robt. Hacombleyn (Provost), King’s College, Cambridge, 1528. + + Robt. Sutton (Dean), St Patrick’s Cath., Dublin (quadrilateral + plate, peculiar), 1528. + + Geoff. Fyche (Dean), St Patrick’s Cath., Dublin (quadrilateral + plate, peculiar), 1537. + + Jas. Coorthopp (Dean of Peterborough), Christ Ch., Oxford, 1557. + + Robt. Brassie, S.T.P., Provost, King’s College, Cambridge, 1558. + + +The Cope: a selection. + + Wm. de Rothwelle, Rothwell, Northants. (curious), 1361. + + John de Campden, St Cross, Winchester, 1382. + + Nich. de Luda, Cottingham, Yorks., 1383. + + Wm. de Fubburne, Fulbourn, Cambs. (canopy), 1391. + + Math. de Asscheton, Shillington, Beds., 1400. + + John Sleford, Balsham, Cambridge, 1401. + + + Rich. Malford, New College, Oxford, 1403. + + Hen. de Codryngton, Bottesford, Leic. (canopy), 1404. + + Wm. Langeton, Exeter Cathedral (kn.), 1403. + + Simon Bache, Knebworth, Herts., 1414. + + John Prophete, Ringwood, Hants., 1416. + + Thos. Patteslie, Gt Shelford, Cambs., 1418. + + Robt. Wyntryngham, Cotterstock, Northants., 1420. + + Thos. Harlyng, Pulborough, Sussex, 1423. + + Rich. Cassey, Tredington, Worcs., 1427. + + Hen. Mowbray, Upwell, Norfolk, 1428. + + John Mapilton, Broadwater, Sussex (canopy), 1432. + + John Stanwey, Hereford Cathedral, 1434. + + Wm. Prestwyk, Warbleton, Sussex, 1436. + + Jn. Lovelle, St Geo., Canterbury (no almuce), 1438. + + Simon Marcheford, Harrow, Middlesex, 1442. + + Robt. Arthur, Chartham, Kent, 1454. + + John Blodwell, Balsham, Cambs., 1462. + + Hen. Sever, Merton College, Oxford, 1471. + + Wm. Langley, Buckland, Herts., (with chalice), 1478. + + Wm. Gisburne, Kirby Wharfe, Yorks., 1480. + + Wm. Malster, Girton, Cambs., 1492. + + Walter Hyll, New College, Oxford, 1494. + + Jas. Hart, B.D., Hitchin, Herts., 1498. + + Hen. Wykys, All Saints, Stamford, Lincs., 1508. + + Unknown, Tattershall, Lincs., c. 1510. + + Silvester Gabriel, Croydon, Surrey, 1512. + + Walter Hewke, D.C.L., Trinity Hall, Cambridge, 1517.[1] + + Wm. Lichfield, LL.D., Willesdon, Middlesex, 1517. + + Robt. Langton, Queen’s College, Oxford, 1518. + + Thos. Swayn, Wooburn, Bucks., 1519. + + Christopher Urswic, Hackney, Middlesex, 1521. + + Wm. Boutrod, Eton College, Bucks., 1522. + + Edm. Frowsetoure, Hereford Cathedral (Renais. canopy), 1536. + + Wm. Styrlay, Rauceby, Lincs., 1536. + + Thos. Dalyson, Clothall, Herts. (no almuce), 1541. + + John White, Winchester College, 1548. + + Thos. Magnus, Sessay, Yorks., 1550. + +[1] Hewke’s cope was one in use at the College at the time, and a +contemporary description of it still survives. It was of red samite. + + +Academic Dress: a selection. + + Unknown in cap, Gt. Brington, Northants., c. 1340. + + John Hotham, Chinnor, Oxon., demi in cap, 1361. + + John Strete, M.A., in skull cap, Upper Hardres, Kent, 1405 + (kneeling before bracket, see Illus.). + + Eudo de la Zouch, St John’s College, Cambridge, c. 1410 (large, + but mutilated). + + Wm. Calwe, Ledbury, Heref., sm., kn., c. 1410. + + John Mottesfont, B.C.L., Lydd, Kent, 1420. + + John Lowthe, New College, Oxford, in skull cap, 1427. + + Priest and parents, large, Melton, Suffolk (mut. trip. canopy), + 1430. + + Wm. Hautryve, D.D., New College, Oxford, in skull cap, 1441, and + several others. + + John Darley, Herne, Kent, skull cap, c. 1450. + + Wm. Snell, M.A., Boxley, Kent, 1451. + + John Alnwik, M.A., Surlingham, Norfolk, 1460. + + Unknown, Harrow, Middlesex, c. 1460. + + Thos. Sondes, Magdalen College, Oxford, 1478, and several others. + + Unknown, D.D., Little St Mary’s, Cambridge, skull cap, c. 1480. + + Unknown, Little Shelford, Cambs., c. 1480. + + Unknown, with chalice, Barking, Essex, c. 1480. + + Nich. Wotton, LL.B., Gt. St Helen’s, Bishopsgate, London, 1482. + + Philip Worthyn, M.A., Blockley, Worc., kn., 1488. + + Geo. Rede, Fovant, Wilts., quadrilateral plate (peculiar), 1492 + (he kneels before a large Annunciation). + + Wm. Towne, D.D., in cap, King’s College, Cambridge, 1496, and + others. + + Wm. Heyward, Abingdon, Berks., 1501. + + David Lloyde, LL.B., and Thos. Baker, demi, All Souls, Oxford, + 1510. + + John Trembras, M.A., St Michael Penkevil, Cornwall, 1515. + + Arthur Vernon, M.A., Tong, Salop, 1517. + + John Yslyngton, S.T.P., Cley, Norfolk, in cap with chalice, c. + 1520. + + Bryan Roos, LL.D., Childrey, Berks., 1529. + + Unknown, Trinity Hall, Cambridge, c. 1530. + + Unknown, Queens’ College, Cambridge, c. 1535. + + Unknown, Christ’s College, Cambridge, c. 1535. + + Wm. Bill, Westminster Abbey, 1561. + + +Bishops and mitred Abbots: a complete list. + + Wm. de Grenefeld, Archbp. of York, York Minister, 1315. + + John Trilleck, Bp. of Hereford, Hereford Cathedral (canopy), 1360. + + Thos. Delamere, Abbot of St Albans, St Albans, c. 1360 (very fine + foreign work, canopy, etc.). + + Robt. Wyvil, Bp. of Salisbury, Salisbury Cathedral (peculiar), + 1375. + + Unknown, Adderley, Salop, c. 1390. + + John de Waltham, Bp. of Salisbury, Westminster Abbey (with fine + but mutilated canopy), 1395. + + Robt. de Waldeby, Archbp. of York, Westminster Abbey (canopy), + 1397. + + Abbot Moote (lower half), St Albans Abbey, 1401. + + Thos. Cranley, Archbp. of Dublin, New College, Oxford (canopy), + 1417. + + John Bowthe, Bp. of Exeter, East Horsley, Surrey, 1478 (small, + side view). + + Rich. Bell, Bp. of Carlisle, Carlisle Cathedral (worn, canopy), + 1496. + + John Estney, Abbot of Westminster, Westminster Abbey, patron of + Caxton (canopy), 1498. + + Unknown Archbp., Edenham, Lincs., c. 1500. + + Jas. Stanley, Bp. of Ely, Manchester Cathedral, 1515. + + John Yong, Titular Bp. of Callipolis (headless), New College, + Oxford, c. 1525. + + Thos. Goodryke, Bp. of Ely, Ely Cathedral, 1554. + + John Bell, Bp. of Worcester, St James’s, Clerkenwell, 1556. + + Robt. Pursglove, Suffragan Bp. of Hull, Tideswell, Derbys., 1579. + + +VI + +Monastic brasses. + + A Monk, Watton, Herts., c. 1370. + + The head of a Nun, St Mary’s, Kilburn, c. 1380. + + The Duchess of Gloucester, Vowess, Westminster Abbey (canopy), + 1399. + + Joan Clopton, Vowess, Quinton, Glos., c. 1430. + + Thos. Neolond, Cluniac Prior of Lewes, Cowfold, Sussex (canopy), + 1433. + + Dame Maria Gore, Prioress, Nether Wallop, Hants., 1436. + + Geof. Langley, Benedictine Prior of Horsham St Faith, St + Lawrence, Norwich, 1437. + + John Pyke, Friar, Denham, Bucks. (palimpsest), c. 1440. + + A Nun, daughter of a Lady, c. 1440, on reverse of inscription to + Nich. Suttherton, St John, Maddermarket, Norwich. + + A Benedictine Monk, St Albans Abbey, c. 1450. + + Wm. Jernemut, Monk, demi, c. 1460, on reverse of Alice Swane + (1540), Halvergate, Norfolk. + + Martin Forester, Monk, demi, on a _lectern_, Yeovil, Somerset, c. + 1460. + + Robt. Beauver, Benedictine Monk, St Albans Abbey, c. 1470. + + A Benedictine Monk, demi, St Albans Abbey, c. 1470. + + An Abbot (or Bishop), one of the children of Wm. Lucas, + Wendensloft, Essex, c. 1470. + + A Nun, one of the children of Sir Thos. Urswyk, Dagenham, Essex, + 1479. + + A Nun, one of the children of Thos. Mountford, Hornby, Yorks., + 1489. + + A Nun, one of the children of Sir Thos. Barnardiston, Gt. Cotes, + Lincs., 1503. + + Juliana Amyell, Vowess, Witton, Norfolk, c. 1505. + + John Norton, with cope and crozier, South Creake, Norfolk, 1509. + + A Monk and a Nun, among children of John Hampton, Minchinhampton, + Glos., c. 1510. + + Rich. Bewfforeste, Augustinian Abbot of Dorchester, Dorchester, + Oxon., c. 1510. + + John Stodeley, Augustinian Canon of St Frideswide’s, Oxford, Over + Winchendon, Bucks., 1515. + + Joan Braham, Vowess, Frenze, Norfolk, 1519. + + Thos. Rutlond, Sub Prior, St Albans Abbey, 1521. + + Dame Eliz. Herwy, Benedictine Abbess, Elstow, Beds., c. 1525. + + Joan Cook, Vowess, St Mary de Crypt, Glos., 1529. + + Susan Kyngeston, Vowess, Shalston, Bucks., 1540. + + Dame Agnes Jordon, Abbess of Sion, Denham, Bucks., c. 1540. + + John Lawrence, Benedictine Abbot of Ramsey, Burwell, Camb. + (palimpsest), 1542. + + Marg. Dely, Nun, Treasurer of Sion, Isleworth, Middlesex, 1561. + +It is believed that this includes all those brasses which can in any +way be regarded as monastic, and one or two of these are doubtful. The +most complete series are those of the Benedictines at St Albans. + + +Palimpsests engraved on back. + +(_a_) From English Churches: a selection. + + St Lawrence, Reading, 1538 (Walt. Barton). _Rev._ parts of brass + of Sir John Popham, 1463. + + Hedgerley, Bucks., 1540 (Bulstrode). _Rev._ various parts of + abbot, etc., c. 1312-1530. + + Taplow, Bucks., 1540 (Manfelde). _Rev._ eight pieces, c. + 1470-1490. + + Halvergate, Norf., 1540 (Swane). _Rev._ bust of Wm. Jernemut + (monk), c. 1460. + + Tolleshunt Darcy, Essex, c. 1540 (a lady). _Rev._ part of abbot, + c. 1400. + + Upminster, Essex, c. 1540 (a civilian). _Rev._ part of abbot, c. + 1410. + + Odiham, Hants., c. 1540 (a knight). _Rev._ several pieces, c. + 1460. + + Cheam, Surrey, 1542 (Fromondes). _Rev._ several pieces, c. 1500. + + Holy Trinity, Chester, 1545 (Gee). _Rev._ part of Garter knight, + c. 1530. + + All Hallows, Barking, London, 1546 (Thynne). _Rev._ several + pieces, c. 1510-1530. + + Winchester College, 1548 (White). _Rev._ part of a widow, c. 1440. + + Manchester Cathedral, 1548 (Ordsall). _Rev._ a lady, c. 1450. + + Sessay, Yorks., 1550 (Magnus). _Rev._ several pieces, c. 1450. + + Cobham, Surrey, c. 1550 (a knight). _Rev._ a priest, c. 1510. + + Binfield, Berks., 1558 (Turner). _Rev._ part of abbot, c. 1420. + + St John Maddermarket, Norwich, 1558 (Rugge). _Rev._ an abbot, c. + 1320. + + Morland, Westmorland, 1562 (Blythe). _Rev._ two knights, c. 1520. + + Howden, Yorks., 1621 (Dolman). _Rev._ part of civilian, c. 1520. + +There are about one hundred brasses included in this type. + + +(_b_) From Flemish or German Brasses. + + Winestead, Yorks., c. 1540 (Hildyard). _Rev._ frag. of civilian, + c. 1360. + + Isleworth, Middlesex, 1544 (Chase). _Rev._ saint in niche, c. + 1360. + + Upminster, Essex, 1545 (Wayte). _Rev._ frag. of abbot, c. 1480. + + Aylesford, Kent, 1545 (Savell). _Rev._ canopy, possibly French, + c. 1530. + + Bayford, Herts., c. 1545 (Knighton). _Rev._ frag. of abbot, c. + 1480. + + Ossington, Notts., 1551 (Peckham). _Rev._ frag. of lady, etc., c. + 1360. + + Hadleigh, Suffolk, c. 1560 (Taillor). _Rev._ civilian and angel, + c. 1500. + + Westerham, Kent, 1563 (Potter). _Rev._ column and shield, c. 1530. + + St Peter Mancroft, Norwich, 1568 (Rede). _Rev._ civilian, c. 1500. + + Haseley, Warw., 1573 (Throkmorton). _Rev._ canopy work, c. 1390. + + Constantine, Cornwall, 1574 (Gerveys). _Rev._ man in armour, c. + 1375. + + Harrow, Middlesex, 1574 (Frankishe). _Rev._ border and lady, c. + 1360 and c. 1370. + + St Peter-in-the-East, Oxford, 1574 (Atkinson). _Rev._ canopy, c. + 1520. + + British Museum, fr. Wimbish, Essex, 1575 (fragment). _Rev._ + marginal inscription, c. 1420. + + Cookham, Berks., 1577 (Moore). _Rev._ head and background, etc., + c. 1380 and c. 1480. + + Wardour Castle, Wilts., c. 1577 and 1578 (Arundell). _Rev._ part + of saint, canopy, etc., 1374. + + Yealmpton, Devon, 1580 (Copleston). _Rev._ head, saint, etc., c. + 1460. + + Holme-next-Sea, Norfolk, 1582 (Strickland). _Rev._ canopy, c. + 1400. + + Margate, Kent, 1582 (Flitt). _Rev._ border, c. 1400. + + +(_c_) Shop-wastes etc. + + A priest, Temple Ch., Bristol, c. 1460. _Rev._ lady, c. 1460. + + A lady, Ampton, Suffolk, c. 1490. _Rev._ lady, c. 1470. + + A lady (demi) on bracket, c. 1360. _Rev._ cross-legged knight, c. + 1300. At Clifton Campville, Staffs. + + Thos. and Isabel Englysche, 1525, Ipsden, Oxon. _Rev._ a lady and + inscription, c. 1420. + + +VII + +Early Tudor Canopies. + +The following are remarkably fine: + + Winwick, Lancs., triple, 1492. + + Westminster (Estney), triple, 1498. + + Hunstanton, Norf. (with saints), triple, 1506. + + Wyvenhoe, Essex, triple, 1507. + + Ardingley, Sussex, small, double, c. 1500. Illustrated. + + Ardingley, Sussex, double (only upper half), 1504. + + Hillingdon, Middlesex, double, 1509. + + Little Wenham, Suffolk, double, 1514. + + Faversham, Kent, double, 1533. + + +Early Tudor armour (still showing Yorkist characteristics): a selection. + + Jn. Bohun and wife, Latton, Essex, c. 1485. + + Edm. Clere and wife, Stokesby, Norfolk, 1488. + + Nich. Gaynesford and wife, Carshalton, Surrey, c. 1490. + + Rich. Curzon and wife, Kedlestone, Derbyshire, 1496. + + Rich. Culpeper and wife (canopy), Ardingley, Sussex, 1504. + + Sir Humphrey Stanley, Westminster Abbey, 1505. + + Willm. Viscount Beaumont, Wyvenhoe, Essex (very fine, with triple + canopy), 1507. + + +Typical. + + Jn., Lord le Strange and wife, Hillingdon, Middlesex (double + canopy), 1509. + + Jn. Leventhorp, Gt. St Helen’s, Bishopsgate, London, 1510. + + Thos. Pekham and wife, Wrotham, Kent, 1512. + + Jn. Ackworth and two wives, Luton, Beds., 1513. + + Sir Jn. Danvers and wife, Dauntsey, Wilts., 1514. + + Thos. Broke (Serjeant-at-arms) and wife, Ewelme, Oxon., 1518. + + Philip Chatwyn (gent. usher), Alvechurch, Worc., 1524. + + Sir Edw. Grey and two wives, Kinver, Staffs., 1528. + + Sir Thos. Brooke, Ld. Cobham and wife, Cobham, Kent, 1529. + + John Borell (Serjeant-at-arms), Broxbourne, Herts., 1531. + + Sir Thos. Bullen, Hever, Kent (in full Garter insignia), 1538. + + Thos. Hatteclyff, Addington, Surrey, 1540. + + Sir Robt. Dymoke, Scrivelsby, Lincs., 1545. + + John Lymsey, Hackney, Middlesex, 1545. + + Thos. Clere, St Mary’s, Lambeth, Surrey, 1545. + + +Tabard brasses: a selection. + + John Fitz-Lewis and four wives, Ingrave, Essex, c. 1500. + + Jn. Burgoyn and wife, Impington, Cambridge, 1505. + + Sir Roger le Strange, Hunstanton, Norfolk, 1506. (Very fine. On + bracket within canopy which has weepers, also in tabards of + arms.) + + Anthy. Fetyplace, Swinbrook, Oxon., 1510. + + Anthy. Hansart and wife, kn., March, Cambs., 1517. + + Ly. Jane Iwarby, kn., Ewell, Surrey, 1519. + + Jn. Garney and wife, kn., quadrilateral plate, Kenton, Suffolk, + 1524. + + Sir Godfrey Foljambe and wife, Chesterfield, Derbys., 1529. + + Ly. Cath. Howard, St Mary’s, Lambeth, 1535. + + A lady, Gt. St Helen’s, Bishopsgate, c. 1535. + + Ly. Eliz. Scroope, Wyvenhoe, Essex, 1537. + + Sir Ralph Verney and wife, Aldbury, Herts. (canopy), 1546. + + +Babies (alone). + + Rougham, Norfolk, 1510. + + Chesham Bois, Bucks., c. 1520. + + +(With parents.) + + Cranbrook, Kent, c. 1520. + + +Later examples:-- + + Pinner, Middlesex, c. 1580. + + Edgeware, Middlesex, 1599. + + Upper Deal, Kent, 1606. + + Odiham, Hants., 1636. + + +Civilians: a selection. + +Over 400 are extant, mostly small and often poorly engraved. + + Rich. Amondesham and wife (wool merchant), Ealing, Middlesex, c. + 1490 (under fine double canopy). + + Sir Rich. Wakehurst and wife, Ardingley, Sussex, died 1464, + engraved c. 1500. + + Rich. Wenman and two wives, Witney, Oxon., 1500. + + Hen. Eliot and wife, Wonersh, Surrey, 1503. + + Wm. Andrew and Jn. Monkeden and their wives, Cookham, Berks., + 1503. + + Robt. Foster and wife (wool merchant), Mattishall, Norfolk, 1507. + + Sir Wm. Grevill and wife (judge), Cheltenham, Glos., 1513. + + Chris. Rawson and two wives (wool merchant), All Hallows, + Barking, 1518. + + Rauf. Rowlatt and two wives (wool merchant), St Albans Abbey, + Herts., 1519. + + Thos. Bush and wife (under double canopy) (wool merchant), + Northleach, Glos., 1526. + + Henry Hatche and wife (under double canopy), Faversham, Kent, + 1533. + + Sir Anth. Fitzherbert and wife (judge), Norbury, Derbys., 1538. + + Nich. Leveson and wife (wool merchant), St Andrew Undershaft, + London, 1539. + + Sir Walter Lake and wife (judge), Cople, Beds., 1544. + + Thos. Holte and wife (judge), Aston, Warwick, 1545. + +The inscriptions are chiefly in English and often quaintly spelt. + + +VIII + +Transitional Period (1547-1558) + +Men in armour: a selection. + + +(_a_) Without tabards. + + Sir Humphrey Stafford and wife, Blatherwycke, Northants., 1548. + + Thos. Giffard, Twyford, Bucks., 1551. + + Rich. Fermer and wife, Easton Neston, Northants., 1552. + + Sir Jn. Hampden and two wives, Gt. Hampden, Bucks., 1553. + + Nich. Saunders and wife, Charlwood, Surrey, 1553. + + Robt. Bulkeley and wife, quadrilateral plate, Cople, Beds., 1556. + + +(_b_) With tabards. + +The brasses are usually small and badly engraved. + + John Latton and wife, Blewbury, Berks., 1548. + + Sir Humphrey Style and two wives, Beckenham, Kent, 1552. + + Ly. Jane Guyldeford, Chelsea, Middlesex, 1555. + + Henry Hobart, Loddon, Norfolk, 1561. + + Sir John Tregonwell, Milton Abbey, Dorset, 1565. + + +IX. 1558-1625. + +A few examples are given below, the earlier, up to about 1575, are in +the Transitional style, the later in the “tasset” armour. + + Jn. Colby and wife, Brundish, Suffolk, 1560. + + Sir Jn. Arundell and two wives, Stratton, Cornwall, 1561. + + Geo. Medley and wife, Tiltey Abbey, Essex, 1562. + + Sir Wm. Molyneux and two wives, Sefton, Lancs., 1568. + + Jn. Clavell and two wives, Knowle, Dorset, 1572. + + Thos. Higate and wife, Hayes, Middlesex, 1576. + + Thos. Shurley and wife, Isfield, Sussex, 1579. + + Rowland Lytton and two wives, Knebworth, Herts., 1582. + + John Wingfield, Easton, Suffolk, 1584. + + Thos. Carewe, Haccombe, Devon, 1586. + + Thos. Stoughton, St Martin’s, Canterbury, 1591. + + Humphrey Brewster, Wrentham, Suffolk, 1593. + + Jn. Clippesby and wife, Clippesby, Norfolk, 1594. + + Edw. Leventhorpe and wife, Sawbridgeworth, Herts., c. 1600. + + Christopher Septvans and wife, Ash-next-Sandwich, Kent, 1602. + + Thos. Windham, Felbrigg, Norfolk, 1608. + + Rich. Barttelot and two wives, Stopham, Sussex, 1614. + + Nich. Wadham and wife, Ilminster, Somerset, 1618. + + Sir Clem. Edmonds and wife, Preston Deanery, Northants., 1622. + + +Civilians. + +A few examples are given, but there are a fair number scattered up and +down the country. + + Sir Rich. Peyton and wife, Isleham, Cambs., 1574. + + Wm. Dunche and wife, Little Wittenham, Berks., quadrilateral + plate, engraved, c. 1585. + + Robt. Cotton and wife, Richmond, Surrey, 1591. + + Walter Bailey, New Coll., Oxford, 1592. + + Jn. Martin and wife, Barton, Cambs., c. 1593. + + Jn. Tedcastle and wife, Barking, Essex, 1596. + + Jacob Verzelini and wife, Downe, Kent, 1607. + + Anth. Cooke, Yoxford, Suffolk, 1613. + + Rich. Gadburye and wife, Eyworth, Beds., 1624. + +The York school of brasses will be referred to later; they include +among others:-- + + Eliz. Fynes, York Minster, 1585. + + James Cotrel, York Minster, 1595. + + Robert Askwith, St Crux, York, 1597. + + +Clergy. + + Jn. Fenton, Priest and Vicar, Coleshill, Warwick, 1566. + + Patrick Fearne and wife, Parson, Sandon, Essex, c. 1580. + + Jn. Garbrand, D.D., Parson, quadrilateral plate, N. Crawley, + Bucks., 1589. + + Edw. Leeds, LL.D., Rector, Croxton, Cambs., 1589. + + Vincent Huffam and wife, Priest, St James, Dover, c. 1590. + + Griffin Lloyd and wife, Chevening, Kent, 1596. + + Wm. Lucas, M.A., Parson, Clothall, Herts., 1602. + + Jn. Metcalfe, Stonham Aspal, Suffolk, 1606. + + Jn. Burton, Rector, kn., Burgh St Margaret, Norfolk, 1608. + + Isaiah Bures, M.A., Pastor, sm., kn., Northolt, Middlesex, 1610. + + Peter Winder, Curate, Whitchurch, Oxon., 1610. + + Humphrey Tyndall, Dean, Ely Cathedral (fine), 1614. + + Jn. Wythines, D.D., Dean, Battle, Sussex, 1615. + + Hen. Airay, Provost, Queen’s Coll., Oxford, 1616. + + Wm. Palke and wife, Minister, High Halstow, Kent, 1618. + + Hugh Johnson (in pulpit), Vicar, Hackney, Middlesex, 1618. + + Andrew Willet, D.D., Minister, Barley, Herts., 1621. + + +X. 1625-1660. + +Of other knights in armour than the illustration, the following are +noteworthy: + + Simon Mayne and wife, Dinton, Bucks., 1628. + + Sir Jn. Arundel and wife, St Columb, Cornwall, c. 1630. + + Christopher Playters, Sotterley, Suffolk, c. 1630. + + Edm. Sawyer and wife, quadrilateral plate, Kettering, Northants., + 1631. + + Rich. Bugges and two wives, Harlow, Essex, 1636. + + Wm. Penn and wife, Penn, Bucks., 1638. + + Jn. Boscawen, quadrilateral plate, St Michael Penkevil, Cornwall, + c. 1640. + + Wm. Strode and wife, quadrilateral plate, Shepton Mallet, + Somerset, 1649. + + +Civilians. + +The following are characteristic examples: + + Thos. Holl, Heigham, Norfolk, 1630. + + Rich. Chiverton and wife, Quethiock, Cornwall, 1631. + + Robt. Chambers, Swaffham Priory, Cambs., 1638. + + Geo. Coles and two wives, St Sepulchre’s, Northampton, 1640. + + John Moorwood and wife, quadrilateral plate, Bradfield, near + Ecclesfield, Yorks., 1647. + +At Llanrwst, Denbigh. The plates are lozenge-shaped, showing usually +only the bust of the deceased and are quite good portraits. + + Sir John Wynne, 1620, and his wife, 1632, his daughter, Lady + Mary Mostyn, 1658, Sir Owen Wynne, 1660, Kath. Lewis, 1669, + Dame Sarah Wynne, 1671. + + +Clergy. + +Of the clergy, only six brasses are known: + + Arch. Lightfoot, rector, quadrilateral plate, Stoke Bruerne, + Northants., 1625. + + Thos. Stones (demi), Acle, Norfolk, 1627. + + Wm. Procter, rector, Upper Boddington, Northants., 1627. + + Maurice Hughes, vicar, Abergavenny, Monm., 1631. + + Edw. Nayler and wife, kn., Bigby, Lincs., 1642. + + Rice, Jem, rector, Husbands Bosworth, Leics., 1648. + +In three cases bishops are commemorated by a mitre: + + Arthur Lake, Bp. of Bath and Wells, Wells Cath., 1626. + + John Prideaux, Bp. of Worcester, Bredon, Worc., 1650. + + Henry Ferne, Bp. of Chester, Westminster Abbey, 1661. + + +Commonwealth Civilians and Women. + + Bonham Faunce and two wives, Cliffe, Kent, 1652. + + Jn. Davids, Haverfordwest, Pembrokes., 1654. + + Anne Cary (a child), Clovelly, Devon, 1655. + + Thos. Carewe and wife, quadrilateral plate, Haccombe, Devon, 1656. + + Thos. Lawe (mayor), demi, Boston, Lincs., 1657. + + Mary Hall, Sheriff Hutton, Yorks., 1657. + + Lady Mary Mostyn, Llanrwst, Denbigh, 1658. + + Rich. Breton and wife, Barwell, Leics., 1659. + + +XI. 1660-1773. + + John Harris and wife, Milton, Cambs., 1660. + + The Llanrwst series. + + Philip Tenison, S.T.P., in shroud, Bawburgh, Norfolk, 1660. + + Mary Thorne and three daughters, St Mary, Bedford, 1663. + + Robt. Shiers, Gt. Bookham, Surrey, 1668. + + Shrouded Effigy on tomb, Thornton Watlass, Yorks., 1669. + + Nich. Toke in armour and three daughters kneeling, Gt. Chart, + Kent, 1680. + + Edm. West, Serjeant-at-law, in armour, and wife, quadrilateral + plate, Marsworth, Bucks., 1681. + + Ann Dunch, a child, quadrilateral plate, Little Wittenham, + Berks., 1683. + + Edw. Turpin and wife, Bassingbourn, Cambs., 1683. + + Dorothy Williams, Pimperne, Dorset., 1694. + + John Price (naval officer) and wife, Leigh, Essex, 1709. + + John Massie and family, St Peter’s, Leeds, Yorks., 1709. + + Thos. Lund (mayor), Newark, Notts., 1715. + + Philadelphia Greenwood, quadrilateral plate, St Mary Cray, Kent, + 1747. + + Benj. Greenwood, St Mary Cray, Kent, 1773. + + +XII + +Special Types: Heart Brasses. + +Some others which differ in various ways from the two types described +in the text are included below: + + Anne Muston, Saltwood, Kent, 1496. + + Unknown, Fakenham, Norfolk, c. 1500. + + Unknown, Higham Ferrers, Northants., c. 1510. + + Crystofer Tonson and wife, Melton Mowbray, Leics., 1543. + + Thos. Hodges, Wedmore, Somerset, c. 1630. + + Grace White, Ludham, Norfolk, 1633. + +In the Saltwood and Wedmore brasses it is distinctly stated that only +the bowel or heart is buried there. + +Sir Thos. Hodges was killed at the siege of Antwerp 1583, and asked +that his body should be buried there and his heart sent home to his +wife. + +At Saltwood an angel, rising from a cloud, holds a heart. + +At Fakenham there are four double hearts inscribed “Jhu, mercy,” “Lady, +help.” It is evidently to the memory of a husband and wife whose names +are unknown. + + +Shroud Brasses. + + John Brigge, Sall, Norfolk, 1454. + + John Manfield, Taplow, Bucks., 1455. + + Thos. Pethyn, priest, Lytchett Maltravers, Dorset, c. 1470. + + Man and wife, Sedgefield, Durham, c. 1470. + + Thos. Fleming, New Coll., Oxford, 1472. + + A Priest, Stifford, Essex, c. 1480. + + Man and wife, Baldock, Herts., c. 1480. + + Tomesina Tendryng, Yoxford, Suff., 1485. + + Thos. Spryng and wife, Lavenham, Staff., 1486. + + Several at Hitchin, Herts., 1480-1490. + + A Man and wife, Sawston, Cambs., c. 1500. + + A Lady, Gt. Fransham, Norfolk, c. 1500. + + Ralph Hamsterley, a priest, Oddington, Oxon., c. 1500. + + Wm. Gibsson and wife, Watlington, Oxon., 1501. + + Thos. Tyard, priest, Bawburgh, Norfolk, 1505. + + Joan Strangbon, Childrey, Berks., 1507. + + Man and wife, West Molesey, Surrey, c. 1510. + + Hen. Scolows and wife, St Michael Coslany, Norwich, 1515. + + John Goodryngton, Appleton, Berks., 1518. + + Unknown, Wooburn, Bucks., c. 1520. + + Unknown and wife, Childrey, Berks., c. 1520. + + John Claimond, Corpus Christi, Oxford, c. 1530. + + Eliz. Rok, Penn, Bucks., 1540. + + Wm. Fyssher, master, Wigston’s Hospital, Leicester, 1543. + + Lucas Goodyere, Aldenham, Herts., 1547. + + Hugh Brystowe, priest, Waddesdon, Bucks., 1548. + + Unknown, Chicheley, Bucks., 1560. + + A Lady, Leigh, Kent, c. 1580. + + Thos. Nele, Cassington, Oxon., 1590. + + John Maunsell, Haversham, Bucks., 1605. + + Eliz. Popeley, Birstall, Yorks., 1632. + + Lady Mary Howard, West Firle, Sussex, 1638. + + Wives of Clere Talbot, Dunston, Norfolk, 1649. + + Philipp Tenison, S.T.P., Bawburgh, Norfolk, 1660. + + +Skeleton Brasses. + + Rich. Notfelde, St John’s, Margate, Kent, c. 1446. + + Thos. Childes, St Lawrence, Norwich, 1452. + + Three Skeletons, Weybridge, Surrey, c. 1520. + + A Skeleton in shroud, Hildersham, Cambs., c. 1530. + + Barbara Ferrer, St Michael-at-Plea, Norwich, 1588. + + +XIII + +Later Foreign Brasses. + + Roger Thornton and wife, All Saints, Newcastle-on-Tyne, 1429. + + Thos. Pownder and wife, St Mary Quay, Ipswich, 1525. + + Margaret Hornebolt, Fulham, Middlesex, 1529. + + Andrew Evyngar and wife, All Hallows, Barking, c. 1535. + + Duncan Liddell, M.D., St Nicholas, Aberdeen, 1613. + +The Newcastle brass measures 7 ft. × 4 ft. 4 in. The civilian and his +wife completely fill the spaces under the canopy, so that no background +is necessary. There are saints and angels in the niches, and each soul +is shown borne aloft by angels and again in God the Father’s arms. + +Below the main figures are seven sons and seven daughters, each under +a canopy. It is probably North German work. There are no less than 92 +figures altogether. + +The brasses to Pownder and Evyngar are both Flemish, and somewhat +similar in size and design. These sixteenth century brasses are much +smaller than those of the fourteenth century. + +Pownder’s has a marginal inscription and an outer border of foliage. +The merchant and his wife stand beneath a Renaissance canopy. Two sons +and six daughters kneel at his feet. + +Evyngar’s brass is very similar, but there is no border, and the +inscription is at the foot instead of round the edge. + +Margaret Hornebolt was the wife of a Flemish painter from Ghent. The +brass is lozenge-shaped and shows her as a demi-figure in a shroud with +angels supporting the inscription. The Scotch brass was engraved in +Antwerp by the instruction of Liddel’s brother John. It is just over 5 +ft. high. There is a marginal inscription, and half the space within it +is also filled with inscription. + +The doctor is shown above this seated at table, with books, writing +materials, etc. around him. It reminds us of the seventeenth century +brasses to Airay and Bp. Robinson. + +In the Victoria and Albert Museum are two other foreign brasses. The +larger is also Flemish, to Sire Louis Corteville and wife, 1504. It was +originally in the ruined chapel of the Castle of Corteville, Flanders, +thence passed to a shop in Antwerp and thence to the Jermyn Street +Museum. Recently it has been set up at South Kensington. It has a +fillet of foliage and within that a border inscription. The places of +the four Evangelists at the corners are filled by shields; there is no +canopy. Above the knight, his crest, helmet and coat-of-arms appear, +above his wife, a coat-of-arms is supported by an angel. The heads of +both rest on embroidered cushions, and the background is covered with a +design of foliage. + +The armour of the knight, though similar to that of the same date in +England, shows several minor variations, which should be studied by +those interested in the subject. + +The other brass is much smaller and is of German origin. It is +to Henry Oskens, canon, from Nippes, near Cologne, 1535. It is +beautifully engraved. Oskens kneels in adoration to the Virgin. Rays +of light stream from behind her. These are coloured red, the rest of +the engraving being mostly filled in with black wax or some similar +substance. This, coupled with the fineness of the engraving, renders it +impossible to take a good rubbing. + +This completes the list of foreign brasses in England. It will be +noticed that the majority of the earlier ones are German, and the later +Flemish. + +One or two other brasses show traces of foreign (probably French) +work, but to them reference has already been made. Thus the knights +at Chartham and Minster, and the priest at Horsmonden were probably +engraved by French craftsmen. Since, however, only five or six late +brasses still survive in France, it is impossible to say for certain. + + +XIV + +Canopies: a selection. + + +_Fourteenth Century._ + + Several at Cobham. + + Hereford Cathedral, canopy and super-canopy, 1360. + + Fletching, Sussex, double with centre shaft, c. 1380. + + Letheringham, Suffolk, single, 1389. + + Fulbourn, Cambs., single, 1391. + + Stoke Fleming, Devon, double (peculiar), 1391. + + Westminster Abbey, single, 1397. + + Boston, Lincs., double triple, with super-canopy and saints in + shafts, 1398. + + +_Fifteenth Century._ + + Balsham, Cambs., triple, 1401. + + Bottesford, Leics., triple, 1404. + + Burgate, Suffolk, double, 1409. + + Kidderminster, Worcs., triple, 1415. + + Lynwode, Lincs., double with super-canopy, 1419. + + Trotton, Sussex, double with super-canopy, 1419. + + Horley, Surrey, single, c. 1420. + + Warbleton, Sussex, single, 1436. + + Okeover, Staffs., triple, 1447. + + Hildersham, Cambs., single, 1466. + + Enfield, Middlesex, triple, c. 1470. + + Thornton, Bucks., quadruple, 1472. + + Isleham, Cambs., triple, 1484. + + Westminster Abbey, triple, 1498. + + +_Sixteenth Century._ + + Two, Ardingley, Sussex, double, engraved c. 1500 and 1504. + + Cobham, double, 1506. + + Hunstanton, triple with figures in side shafts, etc., 1506. + + Wyvenhoe, Essex, triple, 1507. + + Hillingdon, Middlesex, double, 1509. + + Northleach, Glos., double, 1526. + + Faversham, Kent, double, 1533. + + Ashbourn, Derbs., double, 1538. + + +Fifteenth century brackets. + + A Lady, Southfleet, Kent, 1414. + + A Priest, Cotterstock, Northants. (with canopy), 1420. + + A Priest, Cobham, Kent (with triple canopy), c. 1420. + + John Bloxham and Jn. Whytton, priests, Merton Coll., Oxford, c. + 1420. + + Wm. Harwedon and wife, Gt. Harrowden, Northants., 1433. + + Prior Langley, St Lawrence, Norwich, 1437. + + Thos. Roose and wife, Sall, Norfolk, 1440. + + Civilian and wife, St George, Colegate, Norwich, 1472. + + +Plain Crosses. + + Unknown, Grainthorpe, Lincs., c. 1380. + + Thos. Chichele and wife, Higham Ferrers, Northants., 1400. + + Sir Roger Cheyne, Cassington, Oxon., 1414. + + Margaret Oliver, Beddington, Surrey, 1425. + + Rich. Tooner (priest), Broadwater, Sussex, 1445. + + Joan Brokes, Peperharrow, Surrey, 1487. + + Unknown, Royston, Herts., c. 1500. + + Rich. Pendilton, Eversley, Hants., 1502. + + Herward Bwllayen, Hever, Kent, c. 1520. + + Alice Wyrley, Floore, Northants., 1537. + + +Octofoil Crosses with the deceased in the centre. + + Nich. Aumberdene (fishmonger), Taplow, Bucks., 1350. + + Wm. de Herleston (priest), Sparsholt, Berks., c. 1360. + + A priest in civil dress, Merton College, Oxford, 1372. + + A priest in cope, Hereford Cathedral, c. 1390. + + John Lumbarde (priest), Stone, Kent, 1408. + + + + +BIBLIOGRAPHY + + +_General._ + +Manual for the Study of Monumental Brasses (Oxon., 1848). + +Boutell’s Monumental Brasses (Lond., 1849). + +Haines. Manual of Monumental Brasses (1861). + +Waller’s Series of Monumental Brasses (Lond. and Oxford, 1863). + +H. W. Macklin. Monumental Brasses (1890). + +H. W. Macklin. The Brasses of England (Methuen, 1907). + + +_Counties._ + +Cotman’s Brasses of Norfolk (1813-16). Second Edition (Lond. 1839). + +Brasses in Cambridge. Camden Society (1846). + +F. Hudson. Brasses of Northamptonshire (1853). + +G. Kite. Brasses of Wiltshire (1860). + +E. H. W. Dunken. Brasses of Cornwall (1882). + +C. T. Davis. Brasses in Worcestershire and Herefordshire (1884). + +W. D. Belcher. Kentish Brasses (1888). + +Rev. E. Farrar. Brasses of Norfolk (1890). + +Ja. Thornely. Brasses in Lancs. and Cheshire (1893, Hull). + +Grace Isherwood. Brasses in the Bedfordshire Churches. + +W. F. Andrews. Brasses in Herefordshire (1903). + +The Transactions of the Monumental Brass Society, London, since 1886. + + +_Foreign._ + +Monumental Brasses and Incised Slabs in Belgium (1849). + +Books of Facsimiles of Monumental Brasses of the Continent of Europe by +Rev. W. F. Creeny, 1884. + +[Illustration: Fig. 13. Laurence de St Maur, 1337, Higham Ferrers, +Northants.] + +[Illustration: Fig. 14. John Blodwell, Dean of St Asaph, 1462, Balsham, +Cambs.] + + + + +INDEX + +This index is meant as a guide to the most interesting brasses in each +county. At the same time, though it includes all mentioned in this +manual, it does not profess to be exhaustive. Where there are several +brasses at one church the author has often only given one or two, +knowing that when there the _brass-rubber_ will look round for others. + + + BEDFORDSHIRE-- + + Ampthill, _1450_, 119 + + Aspley Guise, _c. 1410_, 124 + + Bedford, _1663_, 140 + + Bromham, _c. 1435_, 52, 117; _1535_, 52 + + Cople, _c. 1410_, 24; _1544_, 136; _1556_, 136 + + Dean, _1501_, 125 + + Dunstable, _1450_, 119 + + Elstow, _c. 1525_, 130 + + Eyworth, _1624_, 138 + + Holwell, _1515_, 34 + + Luton, _1513_, 134 + + Marston Mortayne, _1451_, 118 + + Shillington, _1400_, 125 + + Wimington, _1391_, 14, 115 + + Yelden, _1434_, 123 + + + BERKSHIRE-- + + Abingdon, _1501_, 128 + + Appleton, _1518_, 142 + + Ashbury, _c. 1360_, 115 + + Binfield, _1558_, 131 + + Blewbury, _1496_, 123; _1548_, 136 + + Bray, _1378_, 12, 92, 113; _1475_, 126 + + Childrey, _1507_, 77, 142; _1520_, 82, 142; _1529_, 128 + + Cookham, _1503_, 135; _1577_, 132 + + Hanney, West, _c. 1370_, 122 + + Reading, St Lawrence, _1538_, 131 + + Shottesbrook, _c. 1370_, 115 + + Sparsholt, _c. 1360_, 122, 147 + + Windsor, St Geo. Chapel, _1475_, 27; _1522_, 77, 98, 125; _1630_, 75; + _1633_, 75 + + Wittenham, Little, _c. 1585_, 68, 91, 137; _1683_, 141 + + + BUCKINGHAMSHIRE-- + + Caversfield, _1538_, 80 + + Chalfont St Peter, _1545_, 51, 123 + + Chenies, _1469_, 121 + + Chesham Bois, _1520_, 135 + + Chicheley, _1558_, 62; _1560_, 142 + + Crawley, North, _1589_, 138 + + Denham, _c. 1440_, 48, 129; _1540_, 48, 130; _1561_ (lost), 68 + + Dinton, _1628_, 139 + + Drayton Beauchamp, _1368_, 113 + + Emberton, _1410_, 122 + + Eton College, _1489_, 125; _1503_, 125; _1522_, 126; _1535_, 123; + _1540_, 38 + + Halton, _1553_, 62 + + Hampden, Great, _1553_, 136 + + Haversham, _1605_, 142 + + Hedgerley, _1540_, 131 + + Marsworth, _1681_, 141 + + Milton Keynes, _1427_, 123 + + Penn, _1540_, 142; _1638_, 139 + + Quainton, _1360_, 116 + + Shalston, _1540_, 130 + + Taplow, _1350_, 97, 147; _1455_, 142; _1540_, 131 + + Thornton, _1472_, 27, 120, 146 + + Tingewick, _1608_, 70 + + Turweston, _1450_, 123 + + Twyford, _1550_, 136 + + Waddesdon, _1548_, 60, 142 + + Winchendon, Over, _1515_, 130 + + Wooburn, _1519_, 126; _c. 1520_, 77, 142 + + + CAMBRIDGESHIRE-- + + Balsham, _1401_, 36, 90, 125, 145; _1462_, 37, 89, 126, end + + Barton, _c. 1593_, 137 + + Bassingbourn, _1683_, 141 + + Burwell, _1542_, 31, 44, 78, 130 + + Cambridge, + Christ’s College, _c. 1535_, 128 + King’s College, _1496_, 39, 127; _1528_, 125; _1558_, 61, 125 + Queens’ College, _c. 1535_, 128 + St John’s College, _1410_, 127 + Trinity Hall, _1517_, 126; _c. 1530_, 127 + St Bene’t’s, _1432_, 39 + St Mary-the-Less, _c. 1480_, 127 + + Croxton, _1589_, 138 + + Ely Cathedral, _1554_, 42, 61, 129; _1614_, 138 + + Fulbourn, _1391_, 125, 145; _1477_, 123 + + Girton, _1492_, 126 + + Hildersham, _1379_, 95, 96; _1466_, 25, 119, 146; _1530_, 142 + + Hinxton, _1416_, 117 + + Horseheath, _1382_, 113 + + Impington, _1505_, 134 + + Isleham, _1451_, 118; _1484_, 120, 146 + + March, _1517_, 77, 134 + + Milton, _1553_, 62; _1660_, 140 + + Sawston, _1500_, 142 + + Shelford, Great, _1418_, 126 + + Shelford, Little, _c. 1480_, 127 + + Stow-cum-Quy, _c. 1465_, 119 + + Swaffham, _1638_, 139 + + Trumpington, _1289_, 3, 112 + + Westley Waterless, _c. 1325_, 4, 7, 112 + + Wilbraham, Little, _1521_, 38 + + Wood Ditton, _1393_, 114 + + + CHESHIRE-- + + Chester, Holy Trinity, _1530_, 116; _1545_, 131 + + Macclesfield, _1460_, 119 + + Wilmslow, _1506_, 79 + + + CORNWALL-- + + Callington, _c. 1465_, 120 + + Cardynham, _c. 1400_, 124 + + Quethiock, _1631_, 139 + + St Columb Major, _c. 1630_, 139 + + St Michael Penkevil, _1515_, 128; _c. 1640_, 139 + + Stratton, _1561_, 137 + + + CUMBERLAND-- + + Carlisle Cathedral, _1496_, 128; _1616_, 69, 70, 98 + + Edenhall, _1458_, 27 + + + DERBYSHIRE-- + + Ashbourn, _1538_, 146 + + Chesterfield, _1529_, 134 + + Dronfield, _1399_, 123 + + Etwall, _1512_, 77 + + Hathersage, _1463_, 119 + + Kedlestone, _1496_, 133 + + Morley, _1470_, 27, 77, 120 + + Norbury, _1538_, 136 + + Tideswell, _1483_, 122 + + + DEVONSHIRE-- + + Chittlehampton, _1480_, 121 + + Clovelly, _1655_, 140 + + Dartmouth, _1408_, 116 + + Exeter Cathedral, _1403_, 126; _1409_, 116 + + Haccombe, _1586_, 137; _1656_, 140 + + Stoke Fleming, _1391_, 115, 145 + + Stoke-in-Teignmouth, _c. 1370_, 121 + + + DORSETSHIRE-- + + Evershot, _1524_, 123 + + Knowle, _1572_, 137 + + Lytchett Maltravers, _c. 1470_, 142 + + Milton Abbey, _1565_, 56, 136 + + Pimperne, _1694_, 141 + + Wimborne Minster, _c. 1440_, 43 + + + DURHAM-- + + Billingham, _1480_, 125 + + Sedgefield, _c. 1470_, 142 + + + ESSEX-- + + Arkesden, _1440_, 118 + + Aveley, _1370_, 84, 113 + + Barking, _c. 1480_, 127; _1596_, 138 + + Bocking, _1420_, 117 + + Bowers Gifford, _1348_, 10 + + Chigwell, _1631_, 70, 72, 74 + + Chrishall, _c. 1370_, 113 + + Dagenham, _1479_, 28, 29, 30, 121, 130 + + Easton, Little, _c. 1420_, 122; _1483_, 27, 116 + + Gosfield, _1439_, 24 + + Halstead, _1409_, 116 + + Harlow, _1636_, 139 + + Horkesley, Little, _1412_, 17, 116 + + Ingrave, _c. 1500_, 134 + + Laindon, _c. 1480_, 123; _c. 1510_, 123 + + Latton, _1467_, 120; _c. 1485_, 133 + + Leigh, _1709_, 141 + + Pebmarsh, _c. 1320_, 4, 112 + + Sandon, _c. 1580_, 138 + + Shopland, _1371_, 113 + + Stifford, _c. 1480_, 142 + + Tiltey Abbey, _1562_, 137 + + Tolleshunt Darcy, _c. 1540_, 131 + + Upminster, _1455_, 120; _c. 1540_, 131; _1545_, 132 + + Wendensloft, _c. 1470_, 130 + + Wimbish, _1347_, 10, 97 + + Wyvenhoe, _1507_, 133, 134, 146; _1537_, 135 + + + GLOUCESTERSHIRE-- + + Bristol, + St John, _1478_, 121 + St Mary Redcliff, _1439_, 119; _1475_, 27; _c. 1480_, 122 + St Peter, _1461_, 123 + Temple Church, _1396_, 115; _c. 1460_, 133 + + Campden, Chipping, _1401_, 20; _1467_, 121 + + Cheltenham, _1513_, 135 + + Cirencester, _1440_, 119; _1462_, 25, 119; _c. 1480_, 124 + + Deerhurst, _1400_, 22, 23, 119 + + Gloucester, St Mary de Crypt, _1529_, 130 + + Minchinhampton, _c. 1510_, 130 + + Newland, _c. 1448_, 19, 118 + + Northleach, _c. 1400_, 118; _1458_, 121; _c. 1530_, 124; _1526_, 136, + 146 + + Quinton, _c. 1430_, 129 + + Wootton-under-Edge, _1392_, 114 + + + HAMPSHIRE-- + + Eversley, _1502_, 94, 147 + + Odiham, _c. 1540_, 131; _1636_, 135 + + Ringwood, _1416_, 126 + + Somborne, King’s, _c. 1380_, 14, 115 + + Stoke Charity, _1482_, 78 + + Thruxton, _c. 1425_, 117 + + Wallop, Nether, _1436_, 129 + + Winchester College, _1413_, 125; _1548_, 36, 61, 127, 131 + St Cross, _1382_, 125 + + Isle of Wight, + Arreton, _1430_, 118 + Calbourne, _c. 1380_, 113; _1652_, 75 + Freshwater, _1370_, 113 + Shorwell, _1518_, 124 + + + HEREFORDSHIRE-- + + Hereford Cathedral, _1360_, 128, 145; _c. 1390_, 147; _1434_, 126; + _1435_, 117; _1524_, 78, 91; _1529_, 91; _1536_, 126 + + Ledbury, _c. 1410_, 127 + + Marden, _1614_, 66 + + + HERTFORDSHIRE-- + + Aldbury, _1546_, 135 + + Aldenham, _1547_, 142 + + Ashridge House, _1395_, 122 + + Baldock, _c. 1480_, 142 + + Bayford, _c. 1545_, 132 + + Bennington, _c. 1450_, 37 + + Berkhampstead, Great, _1356_, 12, 115; _1365_, 113 + + Broxbourne, _1473_, 27, 56; _1531_, 134 + + Buckland, _1478_, 126 + + Clothall, _1519_, 123; _1541_, 127; _1602_, 138 + + Digswell, _1415_, 19 + + Hitchin, _1480-90_, 142; _1498_, 37, 126 + + Knebworth, _1414_, 126; _1582_, 137 + + Letchworth, _1475_, 123 + + Mimms, North, _c. 1360_, 84, 122 + + Royston, _c. 1500_, 147 + + St Albans, + Abbey, _1360_, 84, 128; _1401_, 128; _1411_, 118; _c. 1450_, 129; + _c. 1470_, 129; _1480_, 27, 120; _1519_, 136; _1521_, 130 + St Michael, _c. 1380_, 113 + + Sawbridgeworth, _1433_, 117; _c. 1600_, 137 + + Standon, _1477_, 121 + + Watford, _1415_, 119 + + Watton, _1361_, 113; _c. 1370_, 129 + + Willian, _1446_, 123 + + + KENT-- + + Addington, _1409_, 116; _1470_, 25, 120 + + Ash-next-Sandwich, _c. 1460_, 120; _1602_, 137 + + Aylesford, _1545_, 132 + + Beckenham, _1552_, 136 + + Borden, _1490_, 125 + + Boughton-under-Blean, _1587_, 64 + + Boxley, _1451_, 127 + + Brabourn, _1434_, 117 + + Canterbury, + St George, _1438_, 126 + St Margaret, _1470_, 121 + St Martin, _1591_, 137 + + Chart, Great, _c. 1470_, 121; _1680_, 75, 140 + + Chartham, _1306_, 3, 112, 145; _1456_, 126 + + Chelsfield, _1417_, 96 + + Chevening, _1596_, 138 + + Cliffe, _1652_, 140 + + Cobham, _1320_, 7, 88; _1354_, 113; _c. 1365_, 12, 99, 113; _1367_, + 113; _1375_, 13, 114; _c. 1380_, 114; _1395_, 13, 77, 88, 115; + _1405_, 116; _1407_, 77, 90, 116; _1420_, 146; _1433_, 19; + _1506_, 146; _1529_, 134 + + Cranbrook, _c. 1520_, 135 + + Cray, St Mary, _1747_, _1773_, 76, 140 + + Dartford, _1402_, 118; _1454_, 120 + + Deal, Upper, _1606_, 135 + + Dover, St James, _c. 1590_, 138 + + Downe, _1596_, 138 + + Eastry, _1590_, 64 + + Faversham, _1533_, 133, 136, 146 + + Graveney, _c. 1370_, 115; _1436_, 119 + + Halstow, High, _1618_, 38 + + Hardres, Upper, _1405_, 91, 92, 93, 127 + + Herne, _c. 1420_, 118; _c. 1450_, 127; _1470_, 120 + + Hever, _1419_, 19; _c. 1520_, 147; _1538_, 116, 134 + + Hoo St Werburgh, _1412_, 122 + + Horsmonden, _c. 1340_, 122, 145 + + Kemsing, _c. 1320_, 32, 112 + + Leigh, _c. 1580_, 142 + + Lydd, _1420_, 127 + + Maling, East, _1522_, 125 + + Margate, St John, _1431_, 20; _1433_, 80; _1446_, 142; _1582_, 133; + _1615_, 82 + + Mereworth, _1371_, 113 + + Minster-in-Sheppey, _c. 1330_, 5, 7, 112, 145 + + Monkton-in-Thanet, _c. 1465_, 123 + + Northfleet, _1375_, 122 + + Otterden, _1408_, 116 + + Rochester, St Margaret, _1465_, 50 + + Saltwood, _1496_, 141 + + Seal, _1395_, 114 + + Sheldwich, _1394_, 114 + + Shorne, _1519_, 124 + + Southfleet, _1414_, 146 + + Stone, _1408_, 147 + + Sutton, East, _1638_, 71, 72 + + Upchurch, _1340_, 115 + + Westerham, _1563_, 132; _1567_, 68 + + Wickham, East, _c. 1325_, 8, 97, 112 + + Woodchurch, _c. 1320_, 8, 97, 112 + + LANCASHIRE-- + + Manchester Cathedral, _1458_, 125; _1515_, 129; _1548_, 131 + + Middleton, _1650_, 74 + + Sefton, _1568_, 137 + + Winwick, _1492_, 133; _1527_, 34 + + + LEICESTERSHIRE-- + + Barwell, _1659_, 140 + + Bosworth, Husbands, _1648_, 140 + + Bottesford, _1404_, 77, 126, 145 + + Castle Donington, _1458_, 25, 119 + + Leicester, Wigston’s Hospital, _1543_, 142 + + Melton Mowbray, _1543_, 141 + + Stanford-on-Soar, _c. 1400_, 122 + + Wanlip, _1393_, 114 + + + LINCOLNSHIRE-- + + Althorpe, _c. 1370_, 122 + + Bigby, _1642_, 140 + + Boston, _1398_, 14, 115, 145; _1657_, 140 + + Broughton, _c. 1370_, 113 + + Buslingthorpe, _c. 1290_, 3, 79, 112 + + Cotes, Great, _1503_, 130 + + Croft, _c. 1300_, 112 + + Edenham, _c. 1500_, 42, 129 + + Grainthorpe, _c. 1380_, 146 + + Gunby, _1400_, 115; _1419_, 119 + + Horncastle, _1519_, 81 + + Irnham, _1390_, 114 + + Laughton, _c. 1400_, 115; _1549_, 52 + + Lyndewode, _1419_, 118, 145 + + Rauceby, _1536_, 37, 126 + + Scrivelsby, _1545_, 134 + + Spilsby, _1410_, 116 + + Stamford, All Saints, _c. 1460_, 121; _1471_, 120; _1508_, 126 + + Tattershall, _1411_, 118; _1455_, 116; _c. 1510_, 126 + + + MIDDLESEX-- + + Chelsea, _1555_, 136 + + Clerkenwell, St James, _1556_, 42, 61, 129 + + Ealing, _c. 1490_, 135 + + Edgeware, _1599_, 135 + + Enfield, _1470_, 27, 56, 57, 145 + + Fulham, _1529_, 143, 144 + + Greenford, Great, _c. 1515_, 123 + + Hackney, _1521_, 126; _1545_, 134 + + Harrow, _c. 1370_, 113; _c. 1390_, 114; _1442_, 126; _c. 1460_, 127 + + Hayes, _c. 1370_, 127; _c. 1450_, 118; _1576_, 137 + + Hillingdon, _1509_, 133, 134, 146 + + Isleworth, _1450_, 118; _1544_, 132; _1561_, 130, 148 + + Kilburn, St Mary, _1380_, 129 + + London (The City), + All Hallows’, Barking, _1437_, 118; _c. 1510_, 78; _1518_, 135; _c. + 1535_, 143, 144; _1546_, 131 + Great St Helen, _1482_, 127; _1510_, 134; _c. 1535_, 135 + St Andrew Undershaft, _1539_, 136 + St Bartholomew-the-Less, _1439_, 119 + Museum, British, _1575_, 132 + Museum, South Kensington, _1504_, 144; _1535_, 58 + + Northolt, _1610_, 138 + + Pinner, _c. 1580_, 135 + + Westminster Abbey, _1395_, 128; _1397_, 128, 145; _1399_, 13, 46, + 47, 88, 115, 129; _1437_, 117; _1483_, 120; _1498_, 129, 146; + _1505_, 134; _1561_, 68, 128; _1661_, 140 + + Willesdon, _1517_, 126 + + + MONMOUTHSHIRE-- + + Abergavenny, _1631_, 140 + + + NORFOLK-- + + Acle, _1627_, 140 + + Bawburgh, _1505_, 82, 142; _1660_, 82, 143 + + Beachamwell St Mary, _c. 1385_, 122 + + Bedon, Kirby, _c. 1450_, 80 + + Blickling, _1401_, 116; _1458_, 120 + + Burg St Margaret, _1608_, 138 + + Burnham Thorpe, _1420_, 117 + + Buxton, _1508_, 124 + + Cley, _c. 1520_, 124, 128 + + Clippesby, _1594_, 137 + + Creake, North, _c. 1500_, 124 + + Creake, South, _1509_, 130 + + Dunston, _1649_, 143 + + Elsing, _1347_, 9, 88 + + Erpingham, _c. 1415_, 117 + + Fakenham, _c. 1500_, 141 + + Felbrigg, _c. 1380_, 113; _c. 1382_, 14, 115; _1461_, 17, 18, 116, + 117; _1608_, 137 + + Fransham, Great, _1414_, 117; _c. 1500_, 142 + + Frenze, _1519_, 130 + + Halvergate, _c. 1460_, 129; _1540_, 129, 131 + + Hedenham, _1502_, 124 + + Heigham, _1630_, 139 + + Helbroughton, _c. 1450_, 80 + + Hunstanton, _1506_, 92, 133, 134, 146 + + Loddon, _1462_, 80 + + Ludham, _1633_, 141 + + Lynn, St Margaret, _1349_, 84, 85; _1364_, 84, 85 + + Mattishall, _1507_, 135 + + Methwold, _1637_, 113 + + Narburgh, _1545_, 78 + + Necton, _1372_, 114 + + Norwich, + St Ethelred, _1487_, 123 + St George, Colgate, _1472_, 146 + St Giles, _1499_, 124 + St John, Maddermarket, _1440_, 129; _1472_, 121; _1524_, _1525_, + 92, 94; _1558_, 92, 94, 131 + St Laurence, _1437_, 129, 146; _1452_, 143 + St Michael-at-Plea, _1588_, 143 + St Michael Coslany, _1515_, 142 + St Peter Mancroft, _1568_, 132 + + Reepham, _1391_, 114 + + Rougham, _1470_, 120; _1510_, 135 + + Sall, _1440_, 146; _1454_, 142 + + Shernborne, _1458_, 119 + + Sparham, _1490_, 123 + + Stokesby, _1488_, 133 + + Surlingham, _1460_, 127; _1513_, 124 + + Upwell, _1428_, 37, 126; _1435_, 33, 37 + + Walsham, North, _1519_, 124 + + Walsingham, Little, _c. 1520_, 124 + + Wiggenhall, _1450_, 80 + + Witton, _1505_, 130 + + + NORTHAMPTONSHIRE-- + + Blatherwycke, _1548_, 136 + + Boddington, Upper, _1627_, 140 + + Brington, Great, _c. 1340_, 127 + + Cotterstock, _1420_, 126, 146 + + Easton Neston, _1552_, 136 + + Fawsley, _1516_, 79 + + Floore, _1510_, 77; _1537_, 96, 147 + + Harrowden, Great, _1433_, 117, 146 + + Higham Ferrers, _1337_, 32, 33, 88, 89, 122, end; _c. 1510_, 141 + + Kettering, _1631_, 139 + + Lowick, _1467_, 27 + + Newton-by-Geddington, _c. 1400_, 96 + + Newton Bromshold, _1426_, 123 + + Northampton, St Sepulchre, _1640_, 139 + + Preston Deanery, _1622_, 137 + + Rothwell, _1361_, 125 + + Stoke Bruerne, _1625_, 140 + + Sudborough, _1415_, 33 + + Tansor, _1440_, 123 + + Wappenham, _1481_, 121 + + + NORTHUMBERLAND-- + + Newcastle, _1429_, 143 + + + NOTTINGHAMSHIRE-- + + Markham, East, _1419_, 19 + + Newark, _1715_, 141 + + Ossington, _1551_, 132 + + + OXFORDSHIRE-- + + Brightwell Baldwin, _1439_, 22, 119 + + Burford, _1437_, 91 + + Cassington, _1414_, 146; _1590_, 142 + + Chalgrove, _1441_, 118 + + Checkendon, _1404_, 24 + + Chinnor, _c. 1320_, 8, 97, 112; _1361_, 127; _1385_, 13, 114; _1386_, + 114; _1392_, 114; _1410_, 118 + + Dorchester, _c. 1510_, 46, 130 + + Ewelme, _1436_, 117; _1518_, 134 + + Holton, _1599_, 68 + + Ipsden, _1525_, 77, 133 + + Lewknor, _1380_, 115 + + Lillingstone Lovell, _1446_, 80 + + Lyne, Stoke, _1535_, 142 + + Northstoke, _1370_, 37 + + Norton, Chipping, _1451_, 119 + + Oddington, _c. 1500_, 82, 142 + + Oxford, + All Souls College, _1510_, 128 + Christ Church, _c. 1460_, 121; _1557_, 61, 125 + Corpus Christi, _c. 1530_, 142 + Magdalen College, _1478_, 127; _1501_, 38; _1515_, 125; _1558_, 38, + 61 + Merton College, _c. 1310_, 8, 32, 97, 112; _1372_, 147; _c. 1420_, + 38, 90, 92, 146; _1471_, 126 + New College, _1403_, 126; _1417_, 40, 41, 128; _1427_, 127; _1441_, + 127; _1472_, 142; _1494_, 126; _1508_, 38; _c. 1510_, 121; _c. + 1525_, 129; _1592_, 137 + Queen’s College, _1518_, 36, 126; _1616_, 69, 98, 138; _1616_ + (another), 69, 70 + + Rotherfield Grays, _1387_, 114 + + Shirburn, _1493_, 77 + + Soulderne, _1508_, 123 + + Swinbrook, _1510_, 134 + + Tew, Great, _1410_, 116 + + Thame, _c. 1460_, 119 + + Waterperry, _c. 1370_, 114; _1527_, 51 + + Watlington, _1501_, 142 + + Whitchurch, _1456_, 123; _1610_, 138 + + Witney, _c. 1500_, 135 + + + RUTLAND-- + + Casterton, Little, _c. 1410_, 116 + + + SHROPSHIRE-- + + Acton Burnell, _1382_, 11, 90, 113 + + Adderley, _1390_, 128 + + Tong, _1467_, 25, 26, 125, 128 + + + SOMERSETSHIRE-- + + Ilminster, _c. 1440_, 118; _1618_, 137 + + Shepton Mallet, _1649_, 139 + + Wedmore, _c. 1630_, 141 + + Wells Cathedral, _1626_, 160 + + Yeovil, _c. 1460_, 129 + + + STAFFORDSHIRE-- + + Clifton Campville, _c. 1360_, 133 + + Kinver, _1528_, 134 + + Norbury, _c. 1350_, 114 + + Okeover, _1538_, 51, 146 + + + SUFFOLK-- + + Acton, _1302_, 3, 112 + + Ampton, _c. 1490_, 133 + + Bildeston, _1599_, 66, 67 + + Brundish, _c. 1360_, 122; _1560_, 136 + + Burgate, _1409_, 145 + + Bury St Edmunds, _1519_, 125 + + Campsey Ash, _1504_, 123 + + Easton, _1584_, 64, 65, 137 + + Eyke, _c. 1430_, 119 + + Fressingfield, _c. 1485_, 120 + + Gazeley, _1530_, 124 + + Gorleston, _c. 1320_, 4, 112 + + Hadleigh, _c. 1560_, 49, 132 + + Holbrook, _1470_, 120 + + Ipswich, + St Mary Quay, _1525_, 143 + St Mary Tower, _c. 1475_, 121; _1506_, 121 + + Kenton, _1524_, 134 + + Lavenham, _1486_, 142 + + Letheringham, _1389_, 114, 145 + + Melford, Long, _c. 1480_, 120 + + Melton, _1430_, 127 + + Oulton, _1310_ (lost), 8 + + Playford, _1400_, 115 + + Rendham, _1523_, 124 + + Rougham, _1405_, 116 + + Sotterley, _c. 1630_, 139 + + Stonham Aspal, _1606_, 69 + + Wenham, Little, _1514_, 133 + + Wrentham, _1593_, 137 + + Yoxford, _1428_, 117; _1485_, 142; _1613_, 138 + + + SURREY-- + + Addington, _1540_, 134 + + Albury, _1440_, 118 + + Beddington, _1425_, 146; _1432_, 118 + + Betchworth, _1533_, 123 + + Bookham, Great, _1668_, 75, 160 + + Byfleet, _1489_, 125 + + Carshalton, _c. 1490_, 133 + + Charlwood, _1553_, 136 + + Cheam, _1370_, 115; _1542_, 77, 131 + + Cobham, _c. 1500_, 78; _c. 1550_, 131 + + Cranley, _1503_, 78 + + Crowhurst, _1450_, 118 + + Croydon, _1512_, 126 + + Ewell, _1519_, 134 + + Guildford, _1901_, 111 + + Horley, _1420_, 19; _1516_, 52, 145 + + Horsley, East, _1478_, 40, 128 + + Kingston-on-Thames, _1437_, 118 + + Lambeth St Mary, _1535_, 135; _1545_, 136 + + Lingfield, _c. 1370_, 13, 114; _1403_, 116; _1420_, 19; _1469_, 123 + + Molesey, West, _c. 1510_, 142 + + Oxted, _1480_, 120 + + Peperharrow, _1487_, 77, 147 + + Puttenham, _1431_, 123 + + Richmond, _1591_, 137 + + Shere, _1412_, 122; _c. 1525_, 105 + + Stoke d’Abernon, _1277_, 2, 56, 112; _1327_, 4, 5, 112 + + Walton-on-Thames, _1587_, 50 + + Weybridge, _c. 1520_, 143 + + Wonersh, _1503_, 135 + + + SUSSEX-- + + Amberley, _1424_, 27 + + Ardingley, _c. 1500_, 56, 58, 133, 135, 146; _1504_, 56, 133, 134, + 146; _1634_, 72 + + Arundel, _1419_, 125; _1445_, 123; _1463_, 119 + + Battle, _1426_, 117; _c. 1430_, 123; _1615_, 138 + + Bodiam, _c. 1360_, 113 + + Broadwater, _1432_, 126 + + Buxted, _1408_, 97 + + Clapham, _1526_, 53, 54, 55, 77 + + Cowfold, _1433_, 45, 46, 90, 129 + + Etchingham, _1388_, 114 + + Firle, West, _1638_, 142 + + Fletching, _c. 1380_, 113, 145; _1450_, 20 + + Horsham, _1411_, 37; _c. 1430_, 33 + + Hurstmonceaux, _1407_, 116 + + Isfield, _1579_, 136 + + Ore, _c. 1440_, 118 + + Pulborough, _1423_, 126; _1452_, 119 + + Stopham, _c. 1460_, 122; _1614_, 137 + + Ticehurst, _c. 1370_, 113; _1546_, 52 + + Trotton, _1310_, 5, 8, 112; _1419_, 116, 117, 145 + + Warbleton, _1436_, 126, 145 + + Wiston, _1426_, 117 + + + WARWICKSHIRE-- + + Aston, _1545_, 136 + + Baginton, _1407_, 15, 116 + + Coleshill, _1566_, 138 + + Merevale Abbey, _1412_, 116 + + Middleton, _1476_, 121 + + Warwick, + St Mary, _1401_, 15, 16, 115 + St Nicholas, _1424_, 122 + + Wellesbourne, _1426_, 117 + + Wixford, _1411_, 116 + + + WESTMORLAND-- + + Morland, _1562_, 131 + + + WILTSHIRE-- + + Dauntsey, _1514_, 134 + + Draycott Cerne, _1394_, 114 + + Fovant, _1492_, 77, 127 + + Mere, _1398_, 114 + + Salisbury Cathedral, _1375_, 63, 98, 128; _1578_, 69 + + + WORCESTERSHIRE-- + + Alvechurch, _1524_, 134 + + Blockley, _1488_, 127; _c. 1500_, 123 + + Bredon, _1650_, 140 + + Kidderminster, _1415_, 117, 145 + + Strensham, _c. 1390_, 114 + + Tredington, _1427_, 126 + + + YORKSHIRE-- + + Aldborough, _c. 1360_, 113 + + Aughton, _1466_, 120 + + Bainton, _1429_, 123 + + Barton-on-Humber, _1433_, 118 + + Beeford, _1472_, 37 + + Borstall, _1632_, 142 + + Bradfield, _1647_, 139 + + Brandsburton, _1397_, 114 + + Burton, Bishop, _1460_, 124 + + Cottingham, _1383_, 125 + + Cowthorpe, _1494_, 121 + + Hampsthwaite, _c. 1380_, 115 + + Harpham, _1445_, 118 + + Hornby, _1489_, 130 + + Howden, _1621_, 131 + + Hutton, Sheriff, _1657_, 140 + + Kirby Wharfe, _1480_, 126 + + Kirkheaton, _1655_, 74 + + Leeds St Peter, _1469_, 124; _1709_, 141 + + Owston, _1409_, 118 + + Ripley, _1429_, 124 + + Routh, _c. 1410_, 19, 117 + + Sessay, _1550_, 61, 127, 131 + + Sprotborough, _1474_, 25, 120 + + Thornton Watlass, _1669_, 140 + + Topcliffe, _1391_, 84 + + Wath, _1420_, 119 + + Wensley, _c. 1360_, 84, 86, 122 + + Winestead, _c. 1540_, 132 + + York, + Minster, _1315_, 8, 40, 112, 128; _1585_, 138; _1595_, 138 + All Saints, _1642_, 139 + St Crux, _1597_, 138 + St Michael Spurriergate, _1466_, 124 + + + IRELAND-- + + Dublin, St Patrick, _1528_, 98, 125; _1537_, 98, 99, 125 + + + WALES-- + + Anglesea, Beaumaris, _c. 1530_, 115 + + Denbigh, Llanrwst, _1620_, _1632_, _1658_, _1660_, _1669_, _1671_, + 73, 139, 140 + + Glamorgan, Swansea, _c. 1500_, 78, 79 + + Montgomery, Bettws, _1531_, 123 + + Pembroke, Haverfordwest, _1654_, 140 + + + SCOTLAND-- + + Aberdeen, _1613_, 143, 144 + + + THE CONTINENT-- + + Belgium, + Bruges, _15th cent._, 83 + Brussels, _1398_, 83 + Ghent, _14th cent._, 83 + + Denmark, Ringstead, engr. _c. 1350_, 83, 85 + + Germany, + Lübeck, _1356_, 83, 84 + Schwerin, _1347_, 86; _1375_, 86 + Stralsund, _1361_, 83, 84 + Thorn, _1357_, 83, 84 + Verden, _1231_, 1 + + Switzerland, Constance, _15th cent._, 84 + + + Cambridge: + PRINTED BY JOHN CLAY, M.A. + AT THE UNIVERSITY PRESS + + +Transcriber’s Notes. + +Italic text is indicated with _underscores_, bold text with =equals=. +Small/mixed capitals have been replaced with ALL CAPITALS. + +Evident typographical and punctuation errors have been corrected +silently. Inconsistent spelling/hyphenation/punctuation has been +normalised. + +Reiterations of the title have been discarded. + +To improve text flow, illustrations have been relocated between +paragraphs. Page number references in the list of illustrations have +been discarded. + +Title-page decoration (same as cover) has not been attempted. A +reference to the decoration is redirected to the cover image. + + +*** END OF THE PROJECT GUTENBERG EBOOK 78728 *** |