made without their devotional posture, which up to this date had been almost universal. They were then placed on the church walls, on tablets, or on the top and at the back of altar-tombs, and this led the way for the erection of a large number of monuments in stone of similar design, but more cumbrous and inconvenient. Inferior workmen also were evidently employed at this time to engrave the brasses, and they became more and more debased, till they reached the lowest point of all, a hundred years ago, and soon after their manufacture altogether ceased. It was near the time when this brass was put up to the old park-keeper, that that ugly monument in memory of Sir John York, with its four heathen obelisks, and its four disconsolate Cupids, was put up in our chancel, covering so much of the floor as to deprive at least twenty persons of their right to a place in God's House. About this time, too, that uncomfortable looking effigy of Lady Lancaster was put upon its massive altar-tomb. To judge from the position of her Ladyship, and hundreds of other similar monuments, represented as reclining and resting the face upon the hand, we might imagine that a large proportion of the population in those days died of the toothache. However, the attitude of prayer was that most commonly adopted, as well in stone as brass effigies, till long after this period.
"If any thing more than the figure, canopy, inscription, and shield is represented on a brass, it is commonly a sacred symbol, a trade mark, or some badge of rank or profession. To this there are but a few exceptions, besides the brass of John Selwyn. At Lynn, in Norfolk, on one brass is a hunting scene, on another a harvest-home, such as it was in the year 1349, and on another a peacock feast, the date of which is 1364. Founders of churches frequently hold in their hands the model of a church. The emblem of undying love we find in the heart, either alone or held by both hands of the effigy. A long epitaph was often avoided by the simple representation of a chalice, a sword, an ink-horn, a wool-sack, a barrel, shears, or some such trade or professional emblem. Some – comparatively few – of the inscriptions on brasses are, however, profusely long, and sometimes, but very rarely, ridiculous.
In very early times the epitaphs were always written in Latin or Norman French; and if that practice had continued, it would not much matter to persons generally even if they were absurd, as few could read them: but about the year 1400 they began to be written in English, and then of course these foolish inscriptions must have been distracting to the thoughts of those who attended the church. But it very often happened that persons had their brasses put down some time before their decease, as is evident from the circumstance that in many cases the dates have never been filled in. This custom would much tend to prevent foolish and flattering inscriptions.
"I have noticed that there is in nearly all brasses a solemn or serious expression in the countenance suitable to their presence in God's House. They were frequently portraits of the persons commemorated45. This was no doubt the case in later brasses, and I think in the earlier also. Latterly the faces were sometimes coloured, no doubt to represent the originals more exactly. It seldom happens that the age of the person is otherwise than pretty faithfully portrayed.
"I must next tell you something of the dresses of the clergy, the soldiers, and the civilians, as we see them engraved upon the pavements of our churches."
CHAPTER IX
THE PAVEMENT
"On the floor beneath
Sepulchral stones appear'd, with emblems graven
And footworn epitaphs, and some with small
And shining effigies of brass inlaid."
"The warrior from his armed tent,
The seaman from the tide —
Far as the Sabbath chimes are sent,
In Christian nations wide, —
Thousands and tens of thousands bring
Their sorrows to His shrine,
And taste the never-failing spring
Of Jesus' love Divine.
"If at the earthly chime, the tread
Of million million feet
Approach whene'er the Gospel's read
In God's own temple-seat;
How blest the sight, from death's dark sleep
To see God's saints arise,
And countless hosts of angels keep
The Sabbath of the skies!"
"That costumes are pretty accurately represented on brasses," continued Mr. Ambrose, "we are sure, from the fact that many different artists have made the dresses of each particular period so much alike; and this circumstance adds much interest and importance to these monuments. I will now describe some of these dresses, and you must try to find out, as I go on, the several parts of the dress I am describing on Ernest's rubbing's which hang upon the wall. But I shall only be able to say a little about each. First there come the persons holding sacred office in the Church. The priests are usually, you see, dressed in the robes worn at Holy Communion, and they commonly hold the chalice and wafer in their hands. The robe which is most conspicuous is the chasuble. It is usually richly embroidered in gold and silk. This robe is one of the ornaments of the minister referred to in the rubric at the commencement of the Prayer Book. At the top of it you see the amice. This too is worked in various colours and patterns. The academic hood, some suppose, now represents this part of the priest's dress. You must remember we are looking at the dresses worn five hundred years ago, and which had been in use long before that time, and we cannot be surprised if some of them, as now worn, are a little changed in shape and appearance. The narrow band which hangs from the shoulders nearly to the feet, embroidered at the ends, is called the stole. This, you know, is still worn by us just as it was then. It is one of the most ancient vestments of the Church, and is intended to represent the yoke of Christ. The small embroidered strip hanging on the left arm is the maniple. It is used for cleaning the sacred vessels. Beneath the chasuble is the albe, a white robe which – changed somewhat in form – we still wear. It is derived from the linen ephod of the Jews. Sometimes on brasses, as on that beautiful one to the memory of Henry Sever46, the cope is represented. This is a very rich and costly robe, and is still always worn at the coronations of our Kings and Queens; it is also ordered to be worn on other occasions. Then the bishops wore, you see, other robes besides those I have mentioned: – the mitre, like the albe, handed down from the time of the Jews to our own period; the tunic, a close-fitting linen vestment; the dalmatic, so called because it was once the regal dress of Dalmatia; the gloves, often jewelled. They hold the crozier, or cross staff, or else the crooked, or pastoral staff, in their hand. As bishops and priests were then, as now, very often buried in their ecclesiastical vestments, the brass probably in such cases represented, as near as could be, the robed body of the person beneath. The earliest brasses of ecclesiastics are at Oulton, Suffolk, and Merton College, Oxford. The date of both is about 1310.
"We must next come to the monumental brasses of knights and warriors; and that curious brass to Sir Peter Legh, which is taken from Winwick Church, will do well for a connecting link between the clergy and the warriors. He is, you see, in armour, but over the upper part of it is a chasuble, on the front of which is his shield of arms. And this tells his history. He was formerly a soldier, but at the decease of his wife he relinquished his former occupation, and became a priest of the Church. You see before you soldiers in all kinds of armour, and you can easily trace the gradual change from the chain mail to the plated armour, till you find the former almost entirely abandoned, and the latter adopted, in the early part of the fifteenth century. Now I should soon tire you if I were to describe all the curious sorts of armour these soldiers wear, so I must just take one of them, and that will go far to wards explaining
"If any one will lay the portrait of Lord Bristol (in Mr. Gage Rokewode's
See page 77.
