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 >-
 
 MONUMENTAL BRASSES. 
 
 BY THE 
 
 REV. HERBERT W. MACKLIX, B.A. 
 
 Late Hon. Sec. Cambridge University Association of Brass Collectors. 
 Member St. Paul's EccU^iological Society, etc. 
 
 SECOND 
 
 EDITION. 
 
 SWAN SONNENSCHEIN & CO., 
 
 PATERNOSTER SQUARE. 
 
 i?9i.
 
 Butler & Tanner, 
 
 The Selwood Printing Works, 
 
 Frome, and London.
 
 PREFACE. 
 
 The object of this handbook is to enable the explorer of churches, 
 young or old, clerical or lay, to more fully appreciate the true 
 value of those ancient brazen memorials which they so frequently 
 see adorning pavement or wall. 
 
 There are probably no objects of antiquarian interest which 
 so well repay any attention which may be devoted to them, and 
 the ease with which a valuable collection of rubbings can be made 
 has induced great numbers of persons to provide themselves with 
 paper and heelball, and apply their energies to the church floor. 
 To such persons this book is more particularly addressed, in the 
 hope that it will prove a useful and handy guide to the pursuit 
 of what the author has found to be a most fascinating branch of 
 the vast tree of archaeology. 
 
 No cheap handbook dealing with the subject has ever before 
 appeared, and even the more expensive manuals of Haines and 
 Boutell have long been out of print, and are hard to procure. 
 The beginner has therefore been frequently in a difficulty — eager 
 to rub, and anxious to imbibe knowledge, but unable to do so on 
 account of the absence of the needful text-book. Such was the 
 case with the author and his Kentish school-friends when first they 
 commenced their " chalchotriptic " expeditions from Cranbrook 
 town to the neighbouring churches of the Weald, and began to 
 adorn the walls of their studies with mediceval portraits in black 
 and white. 
 
 In the pages which follow, an attempt has been made, amongst 
 other matters, to give as full an account as space would permit 
 of the various styles and fashions of armour and costume. In 
 so doing, the author has been careful to follow in the lines laid 
 down by the famous antiquarians whose books are described in 
 
 807293
 
 PREFACE. 
 
 the chapter entitled "A Literary Guide." He has, however, 
 stated nothing which is not fully borne out by the evidence of his 
 own collection of rubbings. 
 
 The county notes, and the lists of towns and villages where 
 brasses are to be found, will no doubt be useful. It cannot claim 
 to be perfect, nor would space have allowed the brasses to be 
 mentioned in detail. For detailed information the collector must 
 have recourse to the larger works already mentioned. 
 
 The author is glad to embrace this opportunity of recording his 
 obligations to the clergy and others who are the custodians of the 
 brasses of England. Except in a few very rare instances, he has 
 met with nothing but kindness at their hands, from his school- 
 days upwards. The rubbing of a brass, properly performed, does 
 not work the slightest injury to the monument which is copied ; 
 but the collector should remember that, after all, he is under an 
 obligation to those who have permitted him to follow his pursuit. 
 Courtesy received should, if possible, be returned. And there is 
 one act of courtesy which is easily done, — on a wet and muddy 
 day the collector may well leave his boots in the church porch, 
 and on a Saturday afternoon, when God's House is ready for the 
 services of the morrow, it is only fair to do so. Much stronger 
 is the obligation to leave matting, seats, hassocks, and books in 
 the same places and state in which they were found. 
 
 In conclusion, if this little handbook should help to infuse a 
 greater love and reverence for our national antiquities into one 
 single breast, it will have done its work. 
 
 St. Ive, Cornwall, June, 1S90. 
 
 N.I3. — The illustrations are from the author's own collection, 
 except those on pages 72 and 82, which are reproduced from 
 rubbings made by Mr. Thorp, who kindly lent them for the pur- 
 pose, that on page 34, from a sketch by Mr. J. P. Erend, and 
 that on page 49.
 
 |v D 
 
 <L> 
 
 3 
 
 TABLE OF CONTENTS. 
 
 Introduction 
 
 I. Origin and History of the Manufacture of Brasses 
 
 a. Material 
 
 /'. Manufacture 
 
 c. Progress and Decline of the Art 
 
 d. Historic Treatment of Brasses 
 
 II. Making a Collection 
 
 a. Methods of Copying . 
 
 b. How to Arrange a Collection 
 
 III. Classes of Effigies 
 
 a. Priests 
 
 Episcopal Vestments 
 Processional Vestments 
 Academicals . 
 The Monastic Orders 
 Post-Reformation Ecclesiastics 
 
 b. Brasses of Knights 
 
 c. Brasses of Ladies 
 
 d. Brasses of Civilians 
 
 e. Shroud Brasses 
 
 • 
 
 IV. Accessories 
 
 a. Brasses and Architecture 
 
 Canopies 
 Crosses . 
 
 b. Brasses and Heraldry 
 
 c. Inscriptions . 
 
 V. Additional Classes. 
 
 a. Flemish Brasses . 
 
 b. French Brasses . 
 
 c. Palimpsests . 
 
 VI. A Literary Guide . 
 
 VII. Distribution . 
 
 Alphabetical List of Counties and PI 
 
 of R 
 
 ubbi 
 
 nirs 
 
 aces
 
 LIST OF ILLUSTRATIONS. 
 
 ies 
 
 Sir William Harper and Wife, 1573 
 Priest in Eucharistic Vestments 
 
 The Amice 
 
 Mitres, Fourteenth and Sixteenth Centu 
 
 Coped Priest, 151 i. 
 
 A Doctor, 14S0 
 
 Stone Effigy, 1270 
 
 Sir John Daubernoun, 1277 
 
 Sir John d' Argentine, 13S2. 
 
 Sir John Lowe, 1426 
 
 Sir Humphrey Stanley, 1505 
 
 A Lady, 1400, showing Head-dress 
 
 The Sideless Cote-IIakdi 
 
 Anne IIerward, 1485, showing Butterfly Head-dress 
 
 Elena Bernard, 1467, showing Horned Head-dress 
 
 ELYZTH. Perepoynt, 1543, showing Pedimental Head-dr 
 
 Edw. Courtenay, 1460 . 
 
 Shroud Brasses .... 
 
 Crosses 
 
 Palimpsest, from St. Alban's ALliey 
 Palimpsest Evang. Symbol, British Museum 
 
 cs^ 
 
 PACE 
 30 
 
 34 
 36 
 39 
 4i 
 45 
 49 
 54 
 53 
 61 
 
 65 
 
 70 
 
 70 
 
 72 
 
 75 
 
 75 
 
 79 
 
 82 
 
 S7-89 
 
 109 
 
 in
 
 INTRODUCTION. 
 
 Monumental brasses are of two kinds — ancient and modern, the 
 latter being almost invariably inscriptions within a more or less 
 elaborate border. The brass-rubber, however, confines his atten- 
 tion to those of earlier times, not without sufficient reason. 
 
 The brasses of mediaeval England are of the greatest possible 
 interest, and form a valuable series of illustrations and a com- 
 mentary on the history and manners and customs of our ancestors. 
 Commencing, as they do, in the reign of Edward I., and from the 
 time of the last Crusade, they continue in use, without a break, 
 through the troubled periods of the French wars, the Peasants' 
 revolt, the struggles of the rival Roses, the Revival of Learning, 
 and the Reformation, to the Great Rebellion and the establish- 
 ment of the Commonwealth, and thus form one of the many links 
 of the chain which binds us to the past. 
 
 A thousand churches in all parts of the country still preserve 
 the brasses that were laid down hundreds of years ago, and in 
 almost -as perfect a state as when they were fresh from the en- 
 graver's hand. Stone effigies of equal antiquity are often found 
 to be mutilated almost beyond recognition. The hands, the feet, 
 the noses, the very heads are broken and lost. The bodies are 
 hacked and disfigured with the names of Harry and Harriet, of 
 the Smiths and Joneses and Robinsons of the darkest of dark 
 ages, the eighteenth century. 
 
 The brass alone defies the hand of time and the penknife of 
 the desecrator. In the Chapel of St. Edmund, in the Abbey 
 Church of Westminster, lie side by side the brazen effigies of 
 Alianora de Cohun, Duchess of Gloucester, daughter and wife of 
 two great Constables of England, dramatis persona of Shake- 
 speare's " Richard II.," and Robert de Waldeby, Archbishop
 
 INTRODUCTION. 
 
 of York, the tutor of Edward the Black Prince. Elsewhere lie 
 the brasses of John Estney, Abbot of Westminster, of Dr. Bill, 
 the first Dean, of Sir Thomas Vaughan, beheaded by order of 
 Richard III., of Sir Humphrey Stanley, knighted upon the battle- 
 field of Bosworth, and others. Of these, some are slightly worn, 
 and some slightly broken, but on no single one of them have 
 wandering sightseers succeeded in scratching so much as an 
 initial. The material of which brasses are made is of such 
 strength and durability as to withstand misfortunes to which 
 effigies of stone would quickly succumb. The action of fire is 
 an instance. Churches have been burnt to the ground, and their 
 monuments for the most part reduced to dust ; but the brasses 
 have escaped with little or no damage. The Surrey Archaeological 
 Society has in its possession a beautiful little brass, originally in 
 Netley Abbey, which was discovered some years ago in a cottage, 
 doing duty as the back of a fireplace. It is quite uninjured. An 
 additional advantage which brasses have over stone effigies is that 
 all classes of the community are commemorated by them. The 
 carved figure upon its lofty marble tomb and beneath its vaulted 
 canopy was suitable only for persons of the highest rank : the 
 noble, the knight, the lord of the manor, the bishop of the 
 province, the abbot of the monastery. The brass might be used, 
 and was used, by all ranks alike ; and moreover, being usually 
 let into the pavement of the church, occupied no valuable space. 
 In brasses, as in monuments of stone, we have our nobles and 
 knights and bishops, but we can add to them the franklein, the 
 yeoman, the merchant, the mechanic, the servant, the parish 
 priest, the monk, the student, the schoolboy. The scope of the 
 brass-engraver was a wide one, and his work applicable to the 
 humblest purse as well as to the richest. In St. Alban's Abbey, 
 once the wealthiest and most important religious foundation in 
 England, lies the magnificent memorial of one of its abbots. His 
 life-size figure is engraved upon plates of brass of exquisite 
 workmanship and surrounded by canopy and diaper work, by 
 saints and angels. Close by are the humbler memorials of some 
 of the Benedictine monks of his monastery, simple figures or half- 
 figures, of small size and no great value, save to the siudent of the 
 past.
 
 INTRODUCTION. 
 
 But it is as memorials of middle-class and common-place life 
 that brasses gain their greatest importance. The vast majority 
 of persons pictured and commemorated by them are the possessors 
 of names absolutely unknown to history, of whom without their 
 brasses we should have known nothing. A new light, for instance, 
 is thrown upon the Wars of the Roses when we find that in spite 
 of troublous times brasses became more and more common, from 
 which, as from other indications, we can infer that the struggles 
 of the rival factions could have had little influence upon the 
 peaceful middle classes, who were all the time steadily increasing 
 in wealth and importance. 
 
 If any one still asks, What is the use of making a collection of 
 brass-rubbings? many answers may be given. 
 
 In the first place, brasses give a complete pictorial history of 
 the use and development of armour, dress, and ecclesiastical 
 vestments from the thirteenth to the end of the seventeenth 
 century — a long array of Crusaders, conquerors of Wales and 
 Scotland, fugitives from Bannockburn, opponents or supporters of 
 Gaveston and the Spencers, heroes of Crecy and Poictiers, of 
 Shrewsbury and Chevy Chase, of Agincourt and Orleans, of St. 
 Alban's and Barnet and Bosworth; knights of the Garter, and 
 rivals in the joust and the tournament; stately ecclesiastics, arch- 
 bishops, bishops, canons, parish priests, abbots, priors, monks, 
 abbesses, nuns, and the professors, lecturers and divines of the 
 Reformation. Among civilians, the wealthy burghers of the 
 fourteenth century, contemporaries of Chaucer and of Wiclif, of 
 Wat Tyler and Jack Cade, wool-staplers, brewers, glovers, salters, 
 and so forth; men who saw the monasteries suppressed, the Bible 
 first printed, the Marian martyrs burnt, who prepared to receive 
 the Spanish Armada, contemporaries of Shakespeare, mayors, 
 aldermen, notaries, jurats, and many more. All these we see, 
 not in fancy sketches, but in actual contemporaneous portraits. 
 
 But this answer by no means exhausts the subject. The rise 
 and fall of mediaeval art and architecture has no slight connection 
 with these memorials of the dead. With Gothic architecture 
 brasses attain to their greatest magnificence and beauty, and with 
 its decline they fall also. Bold and free designs characterize the 
 best period ; but by the time of the accession of Elizabeth, the
 
 10 INTRODUCTION. 
 
 art, as art, has almost died out, and succeeding brasses are poor 
 in design and feeble in execution, wrought no longer from the 
 best material that could be procured, but from thin and cheaper 
 plates, which have now suffered more in two hundred years than 
 the earlier examples have in five. To the herald also brasses are 
 of no small importance. Nearly all the better brasses are, or have 
 been, furnished with shields of arms, either in or about the 
 canopies, or at the corners of the stone slabs in which the plates 
 are set. In the fifteenth and sixteenth centuries, ladies of good 
 birth often wear their own and their husbands' coats-of-arms em- 
 broidered upon their kirtles and mantles, while their husbands 
 wear a short coat or tabard-of-arms over their body armour. 
 
 The inscriptions which usually accompany the engraved effigies 
 are of peculiar value to the student of archaeology. They form 
 the key to the chronology of art, and give invaluable aid in fixing 
 the date of any works of painting, sculpture, enamelling or metal- 
 working. Brasses, in fact, are almost the only dated mediaeval 
 works of art. In themselves, too, these inscriptions are of value 
 to the palaeographer as well as to the collector of epitaphs. Stone 
 inscriptions speedily wear away, but not so those on brass.
 
 MONUMENTAL BRASSES. 
 
 i. Origin an<> Ibiators of tbc flDamrfacturc 
 
 of Brasses. 
 
 According to Haines, brasses were more particularly derived 
 from two allied but older forms of memorial, — 
 
 (i) Stone incised slabs. 
 (2) Limoges enamels. 
 Incised slabs are precisely the same kind of memorials as brasses 
 themselves, differing only in the material used. Figures, canopies, 
 coats-of-anns, crosses, and the like, are cut in the Purbeck marble, 
 slate, or*. alabaster, which are commonly used for these purposes, 
 by means of incised lines. But the difference of material is by 
 no means unimportant. As has been already pointed out, the 
 durability of brass is beyond comparison greater than that of the 
 hardest stone, and consequently the number of incised slabs 
 which have remained to this day are inconsiderable. Even those 
 which we have are worn down to such an extent that the design 
 is almost obliterated, and in all cases alike an ordinary heelball 
 rubbing is practically an impossibility. One method alone may 
 be employed with any likelihood of success, and has been so 
 employed by Mr. Creeny, of Norwich, the continental brass- 
 rubber. A very light heelball rubbing must first be taken, so as 
 to indicate the position of the component parts of the design, and
 
 12 MONUMENTAL BRASSES. 
 
 then the details may, as far as possible, be painted in with printer's 
 ink from careful notes and measurements or a rough sketch. 
 
 Crosses were at an early date incised upon stone slabs, and 
 more especially on coffin-lids, and were followed during the 12th 
 century, both in England and on the Continent, by effigies. In 
 the 14th century brasses began almost entirely to supersede them 
 in England, though in Germany, France and Flanders the incised 
 slabs still held their ground, and continued in as frequent use as 
 their brazen rivals. Even in England they lingered on, and occa- 
 sional examples may be found of each of the principal classes of 
 effigies — priests, knights, ladies, and civilians — throughout the 
 14th, 15th, and 16th centuries. 
 
 Among the earlier examples of the 13th century the most not- 
 able are as follows : — 
 
 Sir John de Bitton, 1227; Iiitton, Somerset. 
 
 A knight (cross-legged), c. 1260, Avenbury, Herefordshire. 
 
 Bishop William de Byttone, 1274, Wells Cathedral. 
 
 Sir John de Botiler, c. 12S5, St. Bride's, Glamorgan. 
 
 These were preceded by effigies carved in low relief, almost 
 invariably on coffin-lids, and by effigies partly in relief and partly 
 incised. Good examples of the 12 th century may be seen in the 
 cloisters of Westminster Abbey, to an abbot, probably Gilbert 
 Crispin, 1114; and in Salisbury Cathedral, to Bishops Roger and 
 Jocelin, 1 139 and 11S4. 
 
 Limoges enamels came into use in France and Western Europe 
 generally about the 12th century, and therefore shortly before the 
 era of brasses. The art of enamelling metals had originally been 
 introduced from Byzantium, though not at first as a form of 
 memorial for the dead. This application was reserved for the 
 artists of Limoges. Rectangular sheets of copper were overlaid 
 with costly and many-coloured enamels, the colours being divided 
 one from the other by narrow ridges of metal. The whole com- 
 position would present somewhat of a resemblance to a beautiful 
 mosaic. For monumental purposes an effigy would usually occupy 
 the centre, and be surrounded by canopy, diapered background 
 and inscription. Such memorials were always of small size, on 
 account of their costliness, which must have been considerable. 
 After a time we find the central figure showing the plain and un-
 
 ORIGIN AND HISTORY OF MANUFACTURE. 1 3 
 
 enamelled surface of the metal, and at once have the monumental 
 brass. The rectangular brasses of Flanders and North Germany 
 bear clear witness to their Limoges origin, and were themselves 
 probably adorned by the insertion of enamel in their incised lines. 
 Indeed, enamel has always been used in connection with brasses, 
 especially with their armorial details, and in isolated shields of 
 arms, as they are commonly found at the corners of a brass-con- 
 taining slab ; the field is almost invariably cut away in order that 
 the plate may receive its heraldic tinctures. Owing to the frailty 
 of the enamel, and to the expansion and contraction of its metal 
 bed, as well as to the rough wear and tear undergone upon the 
 pavement of a church, it seldom occurs that any traces of its 
 use can actually be seen. Instances nevertheless do sometimes 
 occur, as in the shield borne by Sir John Daubernoun, 1277, 
 whose brass, the earliest still existing in England, lies in the chan- 
 cel of Stoke D'Abernon Church, in Surrey. On a later brass, 
 1473, at Broxbourne, in Hertfordshire, the tabard-of-arms worn 
 by Sir John Say contains much of the enamel with which it was 
 inlaid. Examples might without difficulty be multiplied. 
 
 MATERIAL. 
 
 The material with which brasses were made was an alloy of 
 copper and zinc, called laton. It was manufactured chiefly at 
 Cologne, where it was beaten into rectangular plates, and thence 
 imported into England and other countries. From the place 
 where they were produced they commonly went by the name of 
 Cullen plates. At the Jermyn Street Museum, London, an analysis 
 is given of the Flemish brass of Ludowic Cortewille and his lady, 
 1504. The proportions are as follows: copper, 64 per cent.; 
 zinc, 29^; lead, z\\ and tin > 3- 
 
 MANUFACTURE. 
 
 The three or four thousand brasses which have survived the 
 Reformation and the Civil War are but a remnant, a tithe of those 
 that were once laid down. Vast numbers were produced during 
 the 14th, 15th, and 16th centuries, and must have given employ-
 
 14 MONUMENTAL BRASSES. 
 
 ment to many engravers. They were in all probability divided 
 into guilds, established in London and some of the more import- 
 ant provincial towns, such as Norwich, Ipswich, and Bristol. 
 Peculiarities of style and design may often be traced to these pro- 
 vincial guilds. Hut the London guild was probably by far the 
 most important, and their works were conveyed to all parts of 
 the country. They had an extensive factory at Isleworth, in 
 Middlesex, but little is known of either it or them. Their work 
 was that of skilled artists, working, however, from certain well- 
 defined types supplied by the leading draughtsmen of their day. 
 Thus, although no two brasses are exactly alike, yet there may 
 be very close assimilation, and a great number of brasses of the 
 same decade or half-century may so nearly resemble one another 
 as to be indistinguishable until they are placed side by side. 
 
 Before reaching its destination, the engraved brass passed into 
 the hands of the mason, who inlaid it in its stone slab. He was 
 in those days usually an illiterate person, and it sometimes hap- 
 pened that the inscription was placed upside down, through his 
 ignorance of the art of reading. We have instances at Addington 
 and Kingston-on-Thames, in Surrey, at Harefield, in Middlesex, 
 and many other places. 
 
 PROGRESS AND DECLINE OF THE ART. 
 
 There are some portions of the designs which in each age are 
 almost invariable, and serve to characterize the brasses of one age 
 from those of the next. The earliest brasses are imitations of 
 sculptural effigies on a flat surface, and keep many of their dis 
 tinctive features. The persons commemorated are therefore 
 represented as in a recumbent position, with the head resting upon 
 a helmet or cushion, and the feet against a lion, hound, or, in the 
 ;ase of ladies, one or more lap-dogs, while the hands are joined 
 in the attitude of prayer upon the breast. 
 
 It is a noteworthy fact that the earliest brasses are the finesi 
 and the best, alike in boldness of design, in accuracy of workman- 
 ship, and in excellence of material. The engraved plates are of 
 great weight and thickness, so that it is not only not uncommon, 
 but even usual, for the oldest examples to be now in a far better
 
 ORIOIN AND HISTORY OF MANUFACTURE. 1 5 
 
 state of preservation than those which were laid down hundreds 
 of years later. The results of daily and weekly wear and tear will 
 be found to be in directly inverse ratio to the date of execution. 
 The history of brass-engraving after the close of the 14th century 
 is one of rapid deterioration and decline. Strange as this may 
 at first seem, it will have a different aspect if brasses are considered 
 in relation to the fabrics which they assisted to adoin. 
 
 Gothic architecture reached its middle and best period in the 
 decorated style of the 14th century. Monumental brasses arrived 
 at their highest point of excellence at the same time, and, de- 
 clining with it, they lost their beauty when Gothic architecture 
 fell from its high estate, and art was turned into new and as vet 
 unexplored channels. The old objects of art, and among them 
 brass-engraving and glass-painting and the illumination of manu- 
 scripts, were thing aside that men might plunge without let or 
 hindrance into the luxuriance of the Renaissance. Brass-engrav- 
 ing lingered on through an inglorious old age, until the upheaval 
 of the Great Rebellion, and at the present time, under the influence 
 of the Gothic Revival, is awaking to new life with the new con- 
 ditions of modern requirements. Returning to the special char- 
 acteristics of each age, we find various distinguishing features. 
 
 Edward I. and Edward II. 1 272-1 327. 
 
 The figures are usually life-size, and cut from very thick plates 
 of metal. The drawing is bold and unconventional ; there is an 
 entire absence of shading, and the lines are deeply incised. 
 
 Brasses are few in number, and represent exclusively knights 
 and their ladies, the former being commonly cross-legged, and 
 shown with shields upon their left arms. The inscription is set 
 round the border of the slab, and its Lombardic-Uncial letters are 
 made from separate pieces of metal, each set in its own matrix. 
 
 Under Edward II. canopies are first introduced. They are of 
 simple design, and when used the figures are generally rather less 
 than life-size. 
 
 Edward III. and Richard II. 1327-1399. 
 
 Brasses now attain their greatest magnificence and variety, and 
 all orders of the realm have their representatives. The figures are
 
 l6 MONUMENTAL BRASSES. 
 
 usually about four feet m height, but examples can be found of all 
 sizes, from a foot or so upwards. The drawing is a little more 
 conventional than before, but nevertheless of great beauty. 
 
 Knights are represented without their shields, but still with an 
 animal at the feet, and often with crest and helmet at the head. 
 The border inscription, on continuous strips or fillets of brass, is 
 retained, and a second inscription placed immediately below the 
 figure or figures. The language employed is often Norman-French. 
 Floriated crosses of great beauty now appear, and enclose within 
 their heads figures or half-effigies. 
 
 Bracket-brasses appear at the same time, in which figures are 
 represented upon a canopied bracket, or sometimes kneeling at 
 its foot, and supplicating certain saints above. 
 
 This period extends itself also into the first few years of the 
 next century. 
 
 House of Lancaster. 1399-1461. 
 
 Figures become smaller, but are still carefully and accurately 
 drawn. 
 
 Children are sometimes given, boys and girls being placed on 
 separate plates below their parents. 
 
 The border fillet is sometimes omitted, but never the foot in- 
 scription. 
 
 Floriated crosses give place to crosses fleury without figures, 
 and finally, together with bracket-brasses, disappear. 
 
 House of York. 1461-14S5. 
 
 The average size of brasses continues to decrease, and the en- 
 graving, though still excellent, is not so good as formerly. 
 
 Figures are attired in exaggerated forms of dress, and often 
 present the face in profile. This was necessitated in order to 
 exhibit the butterfly head-dress fashionable among ladies, and the 
 husbands were obliged to follow suit. 
 
 Knights are found bare-headed, with hair at first short, but 
 afterwards long. The recumbent position was sometimes, indeed 
 commonly, abandoned, and a ground of grass and flowers shown at 
 the feet. Shading, in the form of cross hatching, began to be used.
 
 ORIGIN AND HISTORY OF MANUFACTUR1 
 
 Shroud and skeleton brasses came into general use, especially 
 in the eastern counties. 
 
 Henry I'll, and Henry VIII. 14S5-1547. 
 
 Rapid deterioration sets in. 
 
 Figures are clumsily drawn, and are often out of proportion. 
 
 Single figures are usually given in profile. 
 
 Children have separate brasses, and chrysoms (i.e., swaddled 
 infants) are found. 
 
 Mural brasses come into fashion. They are small, and set in 
 slabs, which are adorned by canopies cut in low relief. The 
 principal figures kneel at desks or faldstools, with their children 
 marshalled behind them. 
 
 English becomes the common language of all inscriptions, 
 except those to ecclesiastics, which still retain the Latin. 
 
 The use of shading increases, and all boldness is lost. 
 
 Bad local artists are now often employed. 
 
 Elizabeth and James I. 155S-1625. 
 
 Art very much debased. 
 
 Thin plates of cheap metal are used, to the ruin of the me- 
 morials. The lines are spoilt by an excess of shading. 
 
 The figures stand in constrained attitudes upon a pavement or 
 pedestals, and portraits of the deceased are evidently intended. 
 
 Small and pictorial rectangular mural brasses become common. 
 
 • 
 
 Final Period. 
 
 Brasses become very rare, and the few that are to be found 
 show a remarkable deterioration even from those of James I. 
 reign. 
 
 The latest example, commemorating Benjamin Greenwood, 
 1773, at St. Mary Cray, Kent, is of a most degraded type, and 
 might have been merely scratched upon the metal.
 
 IS MONUMENTAL BRASSES, 
 
 HISTORIC TREATMENT OE BRASSES. 
 
 i. Before the Reformation. 
 
 2. At the Reformation: Henry VIIL, Edward VI., Elizabeth. 
 
 3. The Great Rebellion. 
 
 4. The Churchwarden era. 
 
 5. Modern treatment. 
 
 Of the first period there is little enough to say. Brasses and 
 monuments in general received the treatment they deserved, and 
 in times of civil war the combatants fought only against one 
 another, and not against the dead. No disrespect was shown by 
 either Lancastrians or Yorkists to each others tombs. 
 
 In the year 1536, by order of King Henry VIIL, came the 
 dissolution of the lesser monasteries, and in 1539 that of the 
 greater. This was the beginning of evil and sacrilegious times. 
 Priory chapels and conventual churches were sacked and 
 destroyed in all parts of the country, and with them of course 
 went all the monuments they contained. Great numbers of 
 brasses must have perished among the rest; but while the 
 majority doubtless found their way to the tinker and his melting- 
 pot, a considerable number returned to the hands of the monu- 
 mental brass-engraver, to reappear in a new form on other men's 
 graves. Thus we find that the brasses which were laid down in 
 the latter part of the 16th century were often cut from earlier 
 plates, and newly engraved upon the reverse side. 
 
 But the reign of Edward VI. was even more destructive, when 
 regularly-appointed commissioners were sent round to the various 
 cathedrals and parish churches, with orders to destroy or carry 
 away everything that was popish. And it may be noted that the 
 more intrinsic value anything possessed, the more papistical it 
 seemed to be in the eyes of these worldly commissioners. Had 
 Edward VI, 's reign continued but a few years longer, we might 
 have been obliged to count our brasses only by hundreds instead 
 of by thousands. 
 
 A good account of these times is found in \Yeever's "Ancient 
 Euneral Monuments," published in 1631, and therefore but a few
 
 OR TGI N AND HISTORY OF MANUFACTURE. 19 
 
 \ears before the outbreak of the Great Rebellion. He tells us 
 that — "Toward the latter end of the raigne of Henry the eight, 
 and throughout the whole raigne of E I ward the sixth, and in the 
 beginning of Queene Elizabeth, certaine persons of every County 
 were put in authority to pull down and cast out of all Churches, 
 Roodes, graven Images, Shrines with their reliques, to which the 
 ignorant people came flocking for adoration. Or anything else 
 which tended to idolatrie and superstition. . . . But the 
 foulest and most inhumane action of those times was the 
 violation of Funerall Monuments. Marbles which covered the 
 dead were digged up, and put to other uses, Tombes hackt and 
 hewne apeeces ; Images or representations of the defunct, broken, 
 erazed, cut, or dismembred, Inscriptions or Epitaphs, especially 
 if they began with an orate pro a?iima, or concluded with cuius 
 anitnae propitietur Deits. For greedinesse of the brasse, or for 
 that they were thought to bee Antichristian, pulled out from the 
 sepulchres, and purloined. . . . This barbarous rage against 
 the dead (by the Commissioners, and others animated by their 
 ill example) continued untill the second yeare of the raigne of 
 Queene Elizabeth, who, to restrain such a savage cruelty, caused 
 a Proclamation to bee published throughout all her dominions." 
 
 This was "A Proclamation against breaking or defacing of 
 Monuments of Antiquitie, being set up in churches, or other 
 public places, for memory, and not for superstition." Twelve 
 years later a second proclamation was published by Elizabeth to 
 the same put pose. 
 
 TJie Great Rebellion. — Again Weever, though now by anticipa- 
 tion, strikes the keynote of the treatment of brasses by the 
 Puritan party, — 
 
 "These proclamations (of Elizabeth) took small effect, for 
 much what about this time, there sprung up a contagious broode 
 of Seismaiickes; who, if they might have had their wills, would 
 not onely have robbed our Churches of all their ornaments and 
 riches, but also have laid them levell with the ground ; choosing 
 rather to exercise their devotions, and publish their erronious 
 doctrines, in some emptie barne, in the woods, or common fields, 
 than in these Churches, which they held to be polluted with the 
 abhominations of the whore of Babylon."
 
 20 MONUMENTAL BRASSES. 
 
 When the "contagious broode of scismatickes" at last did 
 have their wills, churches naturally suffered, and especially 
 cathedrals. Cromwell and his army of "godly men" left their 
 mark wherever they went. Once more commissioners were 
 appointed in every county to "reform" the churches, and so 
 thoroughly was their work performed, that scarcely a brass is now 
 to be found in any of the cathedrals, and many parish churches 
 also were stripped entirely of their memorials. The empty slabs 
 with which they often abound are a melancholy sight. Brasses 
 were made of valuable metal, and were sometimes found useful 
 in the casting of cannon. Numerous instances occur in which 
 brasses were torn up wholesale, and sold by weight for ridicu- 
 lously small sums, sometimes at as low a rate as threepence or 
 fourpence per pound. Nor must this ill treatment be laid wholly 
 at the door of the Parliamentarians. Charles and his cavaliers 
 were equally unscrupulous in all matters where money was con- 
 cerned, and it is only reasonable to suppose that when college 
 and family plate was sacrificed to the king's use, the safety of 
 brasses which happened to be under the care of royalist parsons 
 would be greatly endangered. 
 
 The Churchwarden Era. — The worst ravages during this dark 
 period, when no care whatever was taken of any kind of an- 
 tiquities, occurred from the latter part of the last century to the 
 first part of the present. Great numbers of brasses were lost, 
 mutilated, or destroyed. A few instances may be given. A 
 correspondent says in the Gentleman's Magazine of 1794: "The 
 venerable church of St. Alkmond, in Shrewsbury, being to be 
 taken down and rebuilt, I went to transcribe some old monu- 
 mental inscriptions, for fear they should be destroyed by the 
 workmen ; but to my surprise, there were several inscriptions on 
 brass plates gone. This led me to make enquiry, and I found 
 they were sold, by order of the churchwardens, to a brazier ; on 
 which I went and desired to see the plates, and carefully copied 
 the inscriptions. That is, all I could find ; but there were more 
 taken from the church, which I fear are lost." His concluding 
 remarks are also worth quoting : " I am sorry, Mr. Urban, 
 we have such Goths and Vandals at this time, who would not 
 scruple to destroy any memento for the paltry sum of four or five
 
 ORIGIN AND HISTORY OF MANUFACTURE. 21 
 
 shillings. Such people must certainly be void of humanity, of 
 honour, and, I believe I may safely add, of honesty." 
 
 For that same paltry sum, and at about the same time, a 
 magnificent Flemish brass was sold at King's Lynn, similar to the 
 two that remain in that town, and therefore one of the finest 
 engravings in Europe. 
 
 Instances of such usage might be multiplied indefinitely, and 
 in every county. 
 
 Modern Treatment. — In the early years of the Gothic revival 
 brasses were treated almost as badly as before, and even yet do 
 not always receive good treatment. So-called " restorations " 
 have passed in a great wave over all our parish churches, and 
 have in many cases inflicted irreparable damage. Monuments 
 have been displaced, and brasses torn from their slabs and placed 
 upon the walls or in the tower or vestry, and all for the sake of 
 a uniformity of new flooring, or for an additional altar-step, never 
 intended by the original designers of the building. Here again 
 hundreds of instances might be adduced. In 1841 the Church 
 of St. Giles, Cambervvell, was almost wholly destroyed by fire, 
 and an entirely new edifice was built on its site by the late Sir 
 Gilbert Scott. The brasses were left to the tender mercies of the 
 contractor and his men. Out of half a score of brasses, one 
 figure, two inscriptions, and two shields escaped, and were 
 roughly cemented to the wall of the new vestry. The rest were 
 scattered broadcast through the parish. Most of them have 
 fortunately been since recovered and replaced. 
 
 At 'Chipping Norton, Oxon, the brasses, loose in 1846, 
 were relaid before 1861, but at the "restoration" of a few years 
 back were once more wrenched from their slabs, broken in the 
 process, and thrown aside in the parvise. 
 
 But the record of the last few years is not in the main one 
 of destruction and loss, but rather of recovery and restoration. 
 Brasses, formerly in private possession, are being restored to the 
 churches from whence they were abstracted, as at Hereford 
 Cathedral. The interest of brass-rubbers is gradually arousing 
 a corresponding interest in brass-guardians. Sometimes missing 
 portions of mutilated brasses have been restored, and well 
 restored too, as at Cobham in Kent, and Lingfield, in Surrey.
 
 MON U M ENTAL BRASSES 
 
 The beautiful little brass at East Wickham, Kent, was restored in 
 18S7, in commemoration of the Queen's Jubilee. 
 
 Since 188 1 the National Society for Preserving the Memorials 
 of the Dead has been doing good work in this direction, and its 
 influence is rapidly extending. It attempts carefully to watch 
 works carried on in churches, especially during the progress of 
 "restoration" and rebuilding, and to provide the repair of such 
 memorials as the Society may think necessary or desirable.
 
 ii. fife a funo a Collection. 
 
 METHODS OF COPYING. 
 
 Ey means of a collection of rubbings, it is possible to bring to- 
 gether and compare the brasses of each era and of each distinctive 
 style. The process of making a rubbing is a purely mechanical 
 one, and can be performed by persons altogether unskilled in 
 drawing. As in other things, however, a little practical experi- 
 ence is needed before the collector can expect his rubbings to be 
 quite up to the mark. Practice makes perfect. 
 
 The method usually adopted is as follows : — Purchase at a 
 paper-hanger's shop a roll of white lining or ceiling paper, of 
 medium thickness and quality. If the paper is too thin, it will 
 tear easily, and if too thick it will not press sufficiently into the 
 incised lines of the brass, and so will give only a bleared rubbing. 
 If the quality is poor, the paper will turn a dirty yellow colour, 
 especially after being exposed to the light. It is sold in pieces of 
 twelve yards each, and in two widths, viz., 22 inches and 30 inches. 
 Wider paper is rarely met with, and is exceedingly inconvenient 
 to carry about. When a brass is more than 30 inches wide, it must 
 be rubbed in separate pieces, which may afterwards be pasted 
 together. Some few collectors prefer to use tinted paper, but it 
 is not so satisfactory as white. 
 
 The rubbing is performed with heelball, a composition of bees- 
 wax, talloA', and lamp-black, which is sold by leather-cutters (not 
 saddlers) in small cakes about as large as a penny. It is used by 
 cobblers, and can sometimes be bought at their shops. The best 
 make is by Ullathorne, and can be procured everywhere. He also 
 sells larger cakes, of about three inches in diameter, which will often 
 be found useful. Heelball is either hard, medium, or soft, according 
 
 23
 
 -4 MONUMENTAL BRASSES. 
 
 to the amount of tallow it contains. The quality can always be 
 ascertained by application of the thumb-nail. It is as well to be 
 provided with all three kinds, as some brasses require rather dif- 
 ferent treatment to others. The softest heelball cannot be used 
 in hot weather, since it has a tendency to melt. 
 
 With a not too hard nail brush and a duster in his pocket, the 
 collector is now equipped for work, and may attempt his first 
 brass. A preliminary and very necessary operation is to carefully 
 brush and dust away every speck of dirt from the surface of the 
 brass. If this is not done, or any grits are left, the paper is sure 
 to tear before the rubbing is half completed. We will first suppose 
 the brass to be upon the pavement of the church, or upon the flat 
 surface of an altar-tomb. The roll of paper must be laid upon it, 
 and its upper edge firmly secured by weights, books, or hassocks ; 
 the rest of the paper can be unrolled as it is needed. The heel- 
 ball must be rubbed evenly over the whole brass, when a perfect 
 impression will be obtained, the incised lines appearing white. 
 Greater clearness will often be gained by first pressing the paper 
 into the lines. This can be done by the hand, or better by taking 
 off the boots and walking up and down upon the brass. 
 
 If the brass is small and finely engraved, covered with diaper 
 work or hatching, it will be well to use the hardest heelball. 
 Longer time and more trouble will be needed to get a black 
 nibbing, but the lines will be sharper, and the whole capable of 
 receiving a beautiful polish by being simply rubbed over with a 
 handkerchief. A heelball rubbing is quite fixed, and will not 
 smear. If the brass has much plain surface, a uniform blackness 
 can be far more easily obtained with softer heelball. Care should 
 be taken not to rub beyond the brass over the stone slab, and so 
 spoil the outline. Some, however, prefer to ignore the outline, 
 and afterwards to cut out and mount the rubbing. Should the 
 brass be fixed upon the wall, it will be necessary to fasten up the 
 paper in some way. Drawing-pins are not available against a 
 stone wall, and other means must therefore be found. Most col- 
 lectors use wafers. This is the cleanest and most convenient way. 
 Some prefer soft soap, which messes alike both paper and wall ; 
 others powdered gum, to be moistened in the hand. For carrying 
 the materials, it is as well to have some sort of case, made of
 
 MAKING A COLLECTION. 25 
 
 waterproof, to sling over the back. A needle case and an 
 umbrella cover will suggest two of the forms which it may take. 
 
 The heelball method has been thus fully described, because it 
 is the one most usually adopted, and is also the simplest. It was 
 not, however, discovered until some years after brasses began to 
 be copied, and collections of their impressions to be made. In 
 about the year 17S0, Craven Ord, Sir John Cullum, and the Rev. 
 Thomas Cole commenced the first known collection, and their 
 method of procedure was as follows : — Printers' ink was poured 
 upon the brass, and wiped into all its lines; damped paper was 
 then laid upon it and pressed well in, producing a printed fac- 
 simile, though of course the position of the brass was reversed. 
 This was a great disadvantage, especially as it rendered illegible 
 all the inscriptions. The process has not been made use of at all 
 in late years, and it is doubtful whether many incumbents could 
 be found who would permit the pavements of their churches to be 
 made in the mess which it would necessarily entail. 
 
 At the death of Craven Ord, in 1S30, his collection was pur- 
 chased by the late Francis Douce for ^43, and by him bequeathed 
 to the British Museum, where they were deposited in 1834. 
 
 While Ord and his friends were printing, other collectors began 
 to make use of blacklead in the same manner in which heelball is 
 now used. The result was very bad, for the rubbings would soon 
 become so smudgy and faint as to be almost worthless. 
 
 The Messrs. Waller next introduced a new method. Their plan 
 was to prepare rubbers of wash-leather, stiffened with paper, of a 
 triangular shape, and primed with a thin paste formed of very fine 
 powdered blacklead mixed with the best linseed oil. The rub- 
 bings were taken on stout tissue paper. This method is still in 
 use, and has certain advantages. An accurate rubbing can be 
 made in a few minutes, which would perhaps take an hour or more 
 if done with heelball. It is, however, very faint, and is absolutely 
 useless for exhibition. 
 
 Another method is mentioned by Albert Way in the Archao- 
 logical Journal of September, 1S44. He says that some collectors 
 prefer the use of rubbers of soft black leather, the waste pieces 
 which remain in the shoemaker's workshop, especially those parts 
 which are most strongly imbued with the " dubbing," or black
 
 20 MONUMENTAL BRASSES. 
 
 unctuous compound, with which the skins are dressed by the 
 curriers. The plan has not found general favour with brass- 
 rubbers, though it stands high in the favour of campanologists, 
 being admirably suited for taking rubbings of the inscriptions and 
 devices upon church bells. 
 
 In 1S44 there appeared Richardson's Metallic Rubber, a 
 bronze-coloured composition, intended to give to the rubbing the 
 appearance of the brass itself. It was intended to be used upon 
 a dark paper, so that the lines might be black and the surface 
 the colour of the original. It was used in the same way as heel- 
 ball. In giving an almost perfect facsimile of the brass, one of 
 the greatest advantages of a heelball rubbing was at once lost. A 
 rubbing in black and white is a great deal clearer than the brass 
 from which it is rubbed, and this clearness is of course lost by the 
 use of a bronze rubber. 
 
 If a number of copies are wanted of any single brass, litho- 
 graphic transfer paper may be used with lithographic crayons. 
 The rubbing thus obtained can be transferred to stone or zinc, 
 and other copies printed from it. 
 
 In searching for brasses in a church where such are believed 
 to be, the following hints, suggested by the Cambridge University 
 Association of Brass Collectors, will be found useful. They also 
 suggest notes which may be taken as to measurements and position. 
 They are perhaps more elaborate than are generally necessary, 
 being drawn up especially in reference to full accounts of the 
 brasses of certain counties or districts. 
 
 1. All brasses, including mere inscriptions, to end of iSth century required. 
 
 2. Search the Church as thoroughly as possible, walk and floor {taking up 
 all cocoanut matting), not omitting vestry, organ-loft, all chantries, side- 
 chapels, etc. 
 
 3. State all component parts of extant Brasses — viz., Figures, Children, 
 Canopies, Shields of Arms, Foot Inscriptions, Border Fillets, Scrolls, Labels, 
 Mottoes, etc., attending especially to the following details : — 
 
 Figures. — Full description of all garments, ornaments, armour, attitude 
 (whether kneeling or standing, etc., and to which side) ; all imper- 
 fections or peculiarities of engraving, mutilations, etc , slight or 
 serious, and in what part ; whether feet to Fast or otherwise ; whether 
 worn or in good preservation. 
 
 The exact dimensions (extreme length and breadth). With regard 
 to Children enumerate sons, an 1 daughters, how dressed, how dis- 
 posed, in what attitude, etc. {v. hints for Figures snf. ).
 
 making a collection. 27 
 
 Canopies. — Whether of i, 2, or 3 pediments ; mutilation 1 ;, if any ; Exact 
 Dimensions (tip of highest pinnacle to base, and from outside of shaft 
 to ditto). 
 
 Border Fillets. — Whether with plain angles, or having, and in what 
 order, the Evangelistic Symbols (eagle, St. Jno. ; angel, St. Matth. ; 
 lion, St. Mark ; ox, St. Lu. ). 
 
 An exact copy of the Inscription (with all contractions and errors of 
 spelling, peculiarities in use of small or capital letters, etc.), with a 
 notice of the character employed (whether incised or raised, whether 
 in English capitals or cursive, black letter, Lombardic-Uncial, etc., 
 etc., and any peculiarities generally, any flaws or mutilations, also 
 the distribution of the words around the 4 strips of the border fillet. 
 If the Brass is on an altar-tomb, state whether Inscription is in 
 chamfer (slanting edge) or flat. 
 
 Inscriptions, at feet of figures, or separate, v. hints on Border Fillets. 
 1 'intensions of the plate in all cases. 
 
 bhielis of Arms. — An heraldic description (tinctures freq. to be found 
 from other shields of the same arms on tombs, monuments, in painted 
 windows, affixed to roof beams, etc., etc). 
 In all cases, the dimensions of the whole composition (extreme length and 
 breadth) are essential ; as many oth r measurements as possible are desire I. 
 
 4. Especially of Shie'ds, inscriptions, and Figures, a rubbing, however, 
 perfunctory, would be welcomed in lien of a. full description. 
 
 5. The position of the Brass (mural, floor, or on altar-tomb, in nave, 
 chancel, aisle, or chantries, etc.) to be given, always in terms of the cardin il 
 points, with other details, where possible, and measure nents, such as height 
 from ground, or situation (under pews, etc., wholly or partly, etc.). 
 
 6. In all cases the heraldic terms, dexter and sinister ( for I., hand and K. 
 hand respectively) to be used — e.g. , in Border Fillets, " top-s.rip, sinister- 
 strip bottom-strip, dexter-strip," is the order. 
 
 7. Interview the Incumbent, wherever possible, for information of loose or 
 lost brasses, details of personages commemorated in extant brasses, or history 
 of the brasses themselves, etc., etc., and for name of the patron saint of 
 church, anil side-chapels, etc., wherein is the brass. 
 
 8. Mention should be made of all Matrices, stating position, etc., original 
 parts, as far as recognisable ; if large, dimensions, and all description generally, 
 will be welcome. 
 
 Drass-rubbings are greatly improved by being mounted, but the 
 process of mounting occupies a good deal of time and trouble. 
 Some collectors merely paste their rubbings upon thin linen or 
 canvas. Others first cut them out and paste them on tinted 
 paper, and then upon canvas, adding rollers at the top and 
 bottom. Fresh paper must always be stretched before use, or it 
 will do so afterwards, and spoil the appearance of the rubbing. 
 The name, date and origin of the brass may be very neatly in- 
 scribed by means of stencil plates. The mounted rubbings can 
 be sized and varnished without damage. A binding of coloured 
 braid gives a high finish to the uh'jle.
 
 2S 
 
 MONUMENTAL BRASSES. 
 
 HOW TO ARRANGE A COLLECTION OF RUBBINGS. 
 
 Brass-rubbings are necessarily bulky, and the young collector 
 will soon begin to be in difficulties about their bestowal. The 
 walls of his room or the family staircase are no longer spacious 
 enough to display his newer acquisitions. Where and how can 
 he conveniently keep them? He has a choice of several methods, 
 each with its own peculiar advantages. Some method, however, 
 he must adopt, or he will never be able to pick out a rubbing 
 which he may want without struggling helplessly through the 
 whole collection. 
 
 As a first step, whatever method of arrangement be adopted, 
 he must keep a careful catalogue, — or better still, two catalogues. 
 
 The name of the church from which the rubbing comes, and 
 its number in the catalogue, must be written upon it. If this is 
 omitted, the collector will before long forget to which churches 
 his brasses belong, confusing them one with another. 
 
 It is a great advantage to keep two catalogues. 
 
 i. A small one, to carry in the pocket. It should contain the 
 following information : — 
 
 (a) The name of the church, town, or village, and county 
 
 where the brass is to be found. 
 (/>) The name of the person or persons commemorated, or, 
 
 failing that, the class to which it belongs : knight, lady, 
 
 civilian, priest, etc. 
 
 (c) The date or approximate date of the brass. 
 
 (d) The date of the rubbing. 
 
 Example : — 
 
 245. 
 246. 
 247. 
 
 Ilaceombe 
 Balsham. 
 
 Goring. 
 
 Devon. 
 Cambs. 
 
 Oxon. 
 
 St. lilaize. 
 Holy Trin. 
 St. Thomas 
 
 Nidi. Care iv, Esq. j 1469 
 
 J. Blodwell, Priest. 1462. 
 
 A lady. I 1401. 
 
 1 S Aug., 86. 
 11 Dec, 86. 
 15 July, 86. 
 
 2. The larger catalogue, to which the smaller is a key, should 
 be modelled after the plan of the Oxford Architectural Society's 
 Manual. 
 
 A description and full particulars should be given, with measure- 
 ments, exact position, coats-of-arms, etc. 
 
 An example will best explain the method.
 
 William Harpfr and Wira, 1373. 
 it. Paul's, Bedford.
 
 MAKING A COLLECTION. 3 I 
 
 No. 355. 
 
 a.i). 1573. Sit EEEilliam f^atpet anti Edife. 
 
 St. Anil's, Bedford. 
 
 Position — On an altar-tomb against the south wall of the south chapel of the 
 choir. 
 
 Component Parts. — Two figures, each about 20 in. in length, a black letter 
 inscription of five lines, and a coat-of-arms. 
 
 Description. — The knight in Elizabethan armour, with mail-skirt protected by 
 tassets etc. Sword ami dagger to left and right. Over all, a cloak, 
 fastened at the neck by three buttons over the right shoulder. Head 
 bare, but resting on helmet. Small luff. 
 
 Lady in quilted petticoat and open dress with small waist sa-h. Sleeves 
 with large diagonal slashes. Queen Mary head-dress and small ruff. 
 
 Coat-of-Arms. — Harper, now borne by Bedford Grammar School. [Unless 
 well known, it is necessary to describe the coat.] 
 
 Inscription.—" Obiit 27 die Februarii, 1573. Ano aetatis suae 77 
 
 Hereunder lieth buried the body of Sir William Harper knight Alder- 
 man and I late Lorde Maior of the Citie of London withe dame Mar- 
 garett his last wife w ch | Sir William was borne in this towne of Bedford, 
 and here fouded tV gave lands | for the mayntenance of a Gram*-r Schoole. 
 [The I indicates the end of a line.] 
 
 Catalogue-keeping is of course troublesome, but should be 
 persevered in, for in no other way is it possible to get so clear an 
 idea of the peculiarities of armour and costume. The eye is thus 
 trained to see minute differences which would otherwise escape 
 notice, and the mind to report them with accuracy. 
 
 The preliminary question of a catalogue being decided, it be- 
 comes necessary to settle on a system of classification. 
 
 Three .systems may be noticed ; the choice of one of which 
 must be left to the collector. 
 
 1. The obvious one of setting down each rubbing in order, as it 
 is added to the collection, irrespective of date, place, or character. 
 This has its advantage in the ease with which the catalogue can 
 be kept. The rubbings should then be kept in rolls of ten or a 
 dozen together, each roll carefully marked. Particular rubbings 
 may be easily found by reference to the catalogues. 
 
 2. Division into classes. This is perhaps the best way to 
 arrange a large collection, but is applicable also to small ones. 
 The head divisions are, of course, armed knights and esquires, 
 priests, ladies, civilians, and miscellaneous brasses, such as skele-
 
 32 MONUMENTAL BRASSES. 
 
 tons and shroud-brasses, crosses, brasses of foreign workmanship, 
 etc. They may be sub-divided to almost any extent as the col- 
 lection grows, the natural sub-divisions being generally those of 
 date and style. Great stress must be laid on the accurate ticket- 
 ing of every roll. 
 
 A modification of this method is to divide brasses simply 
 according to date. It may be done in two ways : (i.) By classing 
 together all the brasses of the same century, sub-dividing them by 
 scores or decades of years, (ii.) By classing together all the 
 brasses of the same reign, sub-dividing them by great historical 
 events. 
 
 For the historian this method has decided advantages, but at 
 the same time is a little awkward in practice. Combined with 
 the class-division it becomes exceedingly useful. 
 
 3. Classification by counties or other local divisions. Generally 
 a clumsy method, and useful only when the aim of the collector 
 is to complete his series for a few particular counties. 
 
 Such a quantity of poorly engraved and poorly designed brasses 
 of the 16th and 17th centuries are in existence, that no ordinary 
 collector would care to encumber himself with a large number of 
 them. They so nearly resemble one another in many instances, 
 that a few typical examples are all that are needed. 
 
 With so many methods of classification open to him, it would 
 be well for the collector, before making choice of any one of 
 them, to ask himself what is his real reason for collecting. The 
 answer may at once decide him to adopt one or other method ; 
 but probably his reasons are many and various, and will not 
 help him. In that case it may on the whole be more convenient 
 to begin with the first method, and to change to the second as 
 soon as his collection is sufficiently large. 
 
 The collection at the British Museum is contained in half- 
 leather albums of enormous size, some of them ten feet or more 
 in height. Their great cost precludes their use by the private 
 collector, unless he is possessed of an ample income. In almost 
 all cases he must be content with a large cupboard in which to 
 keep his rolls, and if they are carefully arranged, they will be quite 
 as accessible as if they were in albums.
 
 £ 
 
 * 
 
 e 
 
 -- - e 
 
 f 
 
 a. The Amice. 
 
 <i. The Apparels of the Alb. 
 
 <-. The Chasuble. 
 
 d. The Maniple. 
 
 Priest in Euchaiistic Vestments. 
 
 e. The Stole. 
 
 f. The Alb. 
 
 £■. The Apparel of the Alb. 
 
 31
 
 in. Classes of Effigies. 
 
 PRIESTS. 
 
 Perhaps the most interesting classes of effigies are those which 
 represent respectively Sir Priest and Sir Knight. Of these it is 
 more convenient to take Sir Priest first, because his vestments are 
 an inheritance from a far earlier age, identical in name and use, 
 though not in shape and material, with those worn centuries 
 before, and because they underwent no changes, except in form, 
 during the period of Brasses down to the Reformation. More- 
 over, the earliest brass in existence, viz., a.d. 1231, represents one 
 of the priestly order, the German bishop Ysowilpe, still lying in 
 the Church of St. Andrew, at Verden. The clergy were divided 
 into two great classes :— 
 
 1. The Minor Orders. 
 
 Door-keeper; symbol, a key. 
 
 Exorcist ; symbol, a holy water-pot. 
 
 Lector ; symbol, a book. 
 
 Acojyte ; symbol, a candle. 
 All orders received the tonsure, and all wore the same dress, 
 viz., the long white alb, with the single exception, and that only 
 in parish churches, of the sexton, who ranked as a door-keeper. 
 
 2. The Major Orders. 
 
 Subdivided into two divisions : 
 
 (a) The Sub-deacon, whose symbol was an ewer and basin. 
 and who was sometimes also called the Epistoler 
 and the Pattener {i.e., he who held up the empty 
 patten). 
 T/ie Deacon, or Gospeller. 
 
 The Priest. 
 
 35
 
 
 MONUMENTAL BRASSES. 
 
 (Ir) The Lords Spiritual, bishops and archbishops, with 
 
 priors and abbots. 
 
 The mediaeval vestments of the Western Church received their 
 
 full development before the ninth century. From the beginning 
 
 of the Chiistian era there had been three great tendencies always 
 
 exerting themselves on the dress of the clergy : — 
 
 (a) For a real article of dress to become nothing more than 
 
 a useless, though symbolic, ornament, 
 (/>) For a plain white linen vestment to become gorgeous in 
 
 colour and material. 
 (c) For the lower orders of the clergy gradually to assume 
 the vestments properly belonging to the higher ranks. 
 We are not, however, concerned with the various stages through 
 which the different vestments passed, but must take them as we 
 find them in the 14th century. 
 
 The usual vestments which appear in the brasses of parish 
 priests ara those worn at the celebration of the Holy Eucharist, 
 or Sacrifice of the Mass. They consisted of the amice, alb, girdle, 
 stole, maniple, and, most important of all, the chasuble. 
 
 (1) The Amice was originally a hood, but soon became a mcr? 
 neckerchief, or square of silk, with a cross embroidered upon it, 
 -. and with a border sewn along 
 
 y the edge to which its strings 
 were fastened. This border 
 was called an apparel, a name 
 given to any piece of em- 
 broidery sewn upon a vest- 
 ment, and it was often orna- 
 mented with gold, silver, and 
 jewels. The name orphrey is 
 frequently used interchange- 
 The Amice. ably with apparel for the same 
 
 kind of work, but more often it implies a narrower strip of stuff, 
 such as will be found down the centre and round the edge of the 
 chasuble. The apparel of the amice is never called an orphrey, 
 and in brasses always appears like a broad collar. 
 
 (2) The Alb was a linen vestment reaching to the feet, with 
 close sleeves, and ornamented with six orphreys, or apparels, a 
 
 +l+ + ^l+ 
 
 + 
 
 + 
 
 + 
 
 + **+!•* 
 
 * 
 
 + 
 
 *- 
 
 
 
 
 
 

 
 CLASS is OF EFFIGIES. tf 
 
 square being sewn to the lower hem both in front and behind, 
 while the other four adorned the back, breast, and cuffs. Those 
 on the cuffs sometimes, in the earlier examples, entirely encircle 
 the sleeve, as at Horsmonden, Kent, c. 1330, and Wensley, Yorks, 
 c. 1360, but usually only cover the upper part. The alb was con- 
 fined at the waist by a girdle or belt, and was not open in front. 
 In a cathedral church all orders wore it, and most the amice also. 
 Angels are almost invariably represented in this attire. 
 
 (3) The Stole, almost entirely confined to the higher orders, 
 was a long and richly-embroidered band passed round the back 
 of the neck and hanging down in front. It was crossed over the 
 breast, and was kept in position by the girdle. Bishops usually 
 wore the stole straight, and by deacons it was only worn over 
 the left shoulder. Its fringed ends, appearing from beneath the 
 chasuble, are alone seen in brasses, with a few exceptions, as at 
 Horsham, Sussex, and Sudborough, Northants. 
 
 (4) The Maniple, once a napkin, and intended for use as such, 
 at about the time of the Norman Conquest dwindled down to a 
 silk and gold strip, very similar to one of the ends of the stole. 
 It was hooked or buttoned to the sleeve of the left arm. 
 
 (5) The Chasuble was int distinctive mark of a priest. It was 
 a large oval vestment, sometimes slightly pointed, with an aperture 
 in the middle for the head. It was put on over all the other 
 vestments, and was originally of a soft and pliable material. It 
 was usually ornamented in front and behind with a Y-shaped 
 orphrey, which in later times became a straight-armed cross. 
 
 These were the vestments which were worn by the priest at the 
 altar, and in which he was commonly buried. He is frequently- 
 represented in brasses as holding a chalice and wafer, and these 
 two were often buried with him, being laid upon his breast. In 
 most instances the chalice is held in the hands, but there are 
 exceptions, as at Wensley, in Yorkshire. Brasses of chasubled 
 priests are common everywhere, and are usually of small size, with 
 an average height of perhaps 20 inches. 
 
 N( table Examples :— 
 
 Lawrence de St. Maur, Higham Ferrers, Northants, 1337. Large. 
 John de Grovehurst, llorsemonden, Kent, c. 1340. Large. 
 Thomas de Horton, North Minims, Herts, c. 1360.
 
 38 MONUMENTAL BRASSES. 
 
 Simon He Wensley (name uncertain), Wensley, Yorks, c. 1500. Large. 
 Priest (unknown), Shottesbroke, Berks, c. 1370. Large. 
 Priest (unknown), Eulbourn, Cambs, c. 1370. 
 
 Episcopal Vestments. 
 
 The higher orders, bishops, abbots, and archbishops, were en- 
 titled to wear all that could be worn by their subordinates, together 
 with certain additional and distinctive vestments. Bishops and 
 mitred abbots were of equal rank, and cannot be distinguished by 
 their dress. It was once supposed that, contrary to die usage 
 of a bishop, an abbot held his pastoral staff with the crook turned 
 inwards, to signify that he had no jurisdiction outside his monas- 
 tery. This, however, has no support from existing effigies, in 
 which the staff is held indifferently either way. 
 
 In addition to the eucharistic vestments already enumerated, 
 bishops wore both — 
 
 1. The Tunicle of the sub-deacon, and 
 
 2. The Dalmatic of the deacon. 
 
 These reached to the knee, and were alike in shape and material. 
 They were fringed, and the latter often richly embroidered. Both 
 were slit up for a short distance at the sides. The tunicle is repre- 
 sented as rather the longer of the two, in order that both may 
 be seen. They were worn under the chasuble, while the stole 
 was sometimes below them, as at Westminster Abbey, Burwell, 
 Cambs, and New College, Oxford ; and sometimes below only the 
 dalmatic, but above the tunicle, as at Ely Cathedral. Other epis- 
 copal insignia are the mitre, sandals, gloves, ring, and pastoral 
 staff. 
 
 3. The Mitre began as a plain white linen or fur skull-cap, with 
 long strings. It attained the form by which we know it during 
 the 1 2th or 13th century, and its further developments were slight. 
 In the earlier examples it is low in height and without crockets, 
 which were first added at the end of the 15th century. Two 
 infulce or lappets, richly embroidered strips of silk, were attached 
 to the lower edge of the mitre, and hung down one behind each 
 ear. They may be seen in the brasses of Archbishop Crenfeld, 
 at York, 1315, and of Bishop Boothe, at East Horsley, Surrey, 
 '473.
 
 CLASSES OF EFFIGIES. 
 
 39 
 
 Mitre, 141I1 Century 
 
 Crocketed Mitre, 16th Century. 
 
 4. The Sandals were pointed slippers ornamented by three 
 strips of embroidery, forming a sort of orphrey. 
 
 5. The Gloves were of white netted silk, with a jewelled orna- 
 ment upon the back. The middle finger of the right hand was 
 cut away, in order to show the episcopal ring, which was worn 
 below a guard upon that finger. 
 
 6. The Pastoral Staff terminates in a heavy crook, ornamented 
 with jewels, and frequently containing the symbol of the lamb and 
 banner. To it is often attached a scarf, known as the vexillum, 
 and supposed to be derived from the Labarum, or Standard, of 
 the first Christian emperor, Constantine the Great. The end of 
 the staff is furnished with a small spike. 
 
 Archbishops used the same vestments as bishops, with one 
 addition and one alteration : — 
 
 1. The Tall, a circle of white lambs wool, adorned with crosses, 
 and with pendant and weighted ends in front and behind, was 
 thrown over the shoulders above the chasuble. Its history is 
 interesting, since it was first conferred as a mark of distinction by 
 the early Byzantine emperors upon the patriarchs of Constanti- 
 nople. Being adopted in the West, it became the special pre- 
 -ogative of the pope to confer this vestment, and the various 
 metropolitans always received it straight from the chair of St. 
 Peter. 
 
 2. The Crozier was substituted for the pastoral staff. The 
 difference lay in the head, which instead of a crook became a 
 cross, and sometimes a crucifix, as at New College, Oxford.
 
 43 MONUMENTAL BRASSES. 
 
 Examples : — 
 Archbishops. 
 Grerifeld, of York, York Cathedral, 1315. 
 Waldeby, of York, Westminster Abbey, 1 597. 
 Cranley, of Dublin, New College, Oxford, 1417. 
 Unknown (of York?), Edenham, Lines, c. 1550. 
 
 Bishops. 
 Trilleck, of Hereford, Hereford Cathedral, c. 13C0. 
 Wyvill, of Salisbury, Salisbury Cathedral, 1375, 
 Walt ham, of Salisbury, Westminster Abbey, 1393. 
 Boothe, of Exeter, East Horsley, Surrey, 147S. 
 Bell, of Carlisle, Carlisle Cathedral, 1496. 
 Stanley, of Ely, Manchester Cathedral, 1515. 
 Young, of Callipolis, New College, Oxford, 1526. 
 Goodrich, of Ely, Ely Cathedral, 1554. 
 
 Abbots. 
 Delamere, St. Alban's Abbey, c. 1373. 
 Estney, Westminster Abbey, 1498. 
 
 Processional Vestments. 
 
 Ecclesiastics are often represented as wearing other vestments 
 than those already described. 
 
 1. 7>ii? Cope is the chief among these, and is worn over a cassock 
 and surplice. It is a cloak-like outer vestment, with a broad 
 ornamental orphrey round the edge, and is semi-circular in shape, 
 fastened at the neck by a large clasp, called a morse. The whole 
 of the cope is sometimes richly diapered, as at Winchester and 
 Balsham. 
 
 2. The Ahniice, a fur hood, with long ends pendant in front, is 
 worn with the cope. To conveniently represent the fur, the 
 surface of the brass is commonly lowered, and the depression 
 filled up with lead or some similar substance. 
 
 Examples of coped priests are exceedingly common, and often 
 very fine, thus affording a marked contrast to the memorials of 
 their brethren in Eucharistic vestments. 
 
 Notable Examples :— 
 Canon Campeden, St. Cross, Winchester, 13S2. 
 Canon Fulburne, Fulbourn, Cambs, c. 1390. 
 Canon Sleford, Balsham, Cambs, 1401. 
 Prior Prestwyk, Warbleton, Sussex, 1436. 
 Dean BlodWell, Balsham, Cambs, 1462. 
 Professor Sever, Merlon College, Oxford, 1471. 
 Bishop White. Winchester College, Hants, c. 1548. 
 Archbishop Ilarsnett, of York, Chigwell, Essex, 1631.
 
 
 Imliiiu: 
 
 
 Coped Priest, 151 1. Orpington, Kent. 
 
 41
 
 CLASSES OF EFFIGIES. 43 
 
 Canons of Windsor were entitled to wear, instead of the cope, 
 the mantle of the Order of the Garter, of which they were 
 members. It was purple in colour, and bore upon the left 
 shoulder a circular white badge with a red cross. 
 
 Examples : — 
 
 Canon Lupton, provost, Eton College, c. 1536. 
 Canon Cole, S.T.B. Magdalen College, Oxford, 155S. 
 
 The almuce is frequently worn without the cope, and then its 
 full dimensions become apparent. It is brought well together 
 over the breast, and slopes down over the arms. Its edge is 
 fringed by a row of small tufts of fur or tails. 
 
 Examples : — 
 
 Archdeacon Goberd, Magdalen College, Oxford, 15 1 5. 
 Prebendary Adams, East Mailing, Kent, 1522, 
 Provost Hacombleyn, King's College, Cambridge, 152S. 
 Canon Coorthopp, Christ Church Cathedral, Oxford, 1557. 
 Provost Brassie, King's College, Cambridge, 1558. 
 
 Academicals. 
 
 At the two universities, and more particularly at Oxford, there 
 are to be found a number of brasses of priests in academical 
 habits, though they are rare elsewhere. 
 
 Among them there is considerable diversity, and it is exceed- 
 ingly difficult to discriminate between these divergences, and 
 explain their meaning. 
 
 All wear the cassock. They may be roughly divided into several 
 classes, according to the dress. 
 
 1. The Doctor s dress, probably (vide illus., p. 45) 
 
 (cf) Sleeveless Gown, reaching to the feet, and having a single 
 slit in front, through which both the arms were thrust. 
 
 (b) The Tippet, a large cape, distinguished from the almuce 
 
 by having a straight edge and no pendants. 
 
 (c) The Academical Hood, either added to or substituted for 
 
 the tippet. It is best seen in profile, as in the kneeling 
 figures of Dr. Billingford, at St. Benet's, Cambridge, 
 and of Archdeacon Polton, at All Souls' College, Oxford. 
 
 (d) The Cap, stiff and round, and rising slightly to a point in 
 
 the middle. Dr. Billingford and Dr. Hautryve, of New
 
 44 MONUMENTAL BRASSES. 
 
 College, wear skull caps instead. Neither kind bears 
 any resemblance to the modern college-cap. 
 Examples : — 
 
 William ILintryve, LL. D., New College, Oxford. 1441. 
 Richard Billingford, D.D., St. Benet's Church, Cambridge, 1442. 
 John Argentein, D.D. and M.D., Ring's College, Cambridge, c. 14SJ. 
 Unknown, Little St. -Mary's, Cambridge, c. 14S0. 
 William Towne, I). D., Ring's College, Cambridge, 1496. 
 Unknown, Great St. Helen's, Bishopsgate, London,^. 1500. 
 
 2. Bachelors of Divinity, perhaps 
 
 (a) Gown with two slits, instead of one. 
 
 (if) Tippet, half- furred. 
 
 (c) Academical Hood, sometimes omitted. 
 
 This class is a doubtful one, and two of the examples below, 
 
 from Queens' College and Trinity Hall, are, to say the least, 
 
 peculiar. 
 
 Examples : — 
 
 John Bloxham, S.T. B. (Sancice Thcolo^ia: Baccalaureus), Merton 
 
 College, Oxford, 1387. 
 John Darley, Heme, Rent. c. 1450. 
 William Blakwey, Little Wilbraham, Cambs, 1 52 1. 
 Unknown, Trinity Hall, Cambs, c. 1530. 
 Unknown, Queens' College, Cambridge, c. 1535. 
 
 3. Masters and Bachelors in other faculties. 
 
 (a) Surplice, of course over the cassock. 
 
 (b) Tippet. 
 
 (c) Hood. 
 
 In this class are included the great mass of academical brasses. 
 The different degrees are probably distinguished only by the 
 colour of the hood, which does not appear. The surplice has 
 usually very short sleeves. 
 
 Examples : — 
 John Mottesfont, LL.B., Lydd, Rent, 1420. 
 Walter Wake, S.T.S., New College, Oxford, 1451. 
 David Lloyde, LL.B., All Souls' College, Oxford, 1510. 
 Nicholas Gold well, M.A. (no tonsure), Magdalen College, Oxford, 1523. 
 Abbot Lawrence, of Ramsey, Burwell, Cambs, 1542. 
 
 Sometimes the surplice is apparently omitted, but whether this 
 has any special significance or not it is impossible to tell. 
 Examples :— 
 
 Ralph Vaudrey, M.A., Magdalen College, Oxford, 1478. 
 
 Nicholas Wotton, LL. 15., Great St. Helen's, Bishopsgate, London, 14S2 
 
 Richard Spekynton. LL.B., All Souls' College, Oxfo'rd, 1490.
 
 A Doctor, c. \i,Zc. Little St. Mary's, Cambridge. 
 
 45
 
 CLASSES OF EFFIGIES. 47 
 
 4. Undergraduates, or more properly, students. It is possible 
 that in the brass of Thos. Laker, student of civil law, 1510, in 
 All Souls' Chapel, we have the attire of the mediaeval under- 
 graduate. He is dressed in a belted tunic, a fur-sleeved gown, 
 and a mantle, to which is attached a small hood, gathered up 
 upon the left shoulder. He has no tonsure. 
 
 The Monastic Orders. 
 
 Monastic brasses are comparatively rare, in consequence doubt- 
 less of the spoliation and destruction of the monasteries under 
 Henry VIII. 
 
 Abbots, in episcopal vestments, are to be found at St. Alban's, 
 Westminster, and a few other places. 
 
 The only one in distinctly monastic attire is at Dorchester, 
 Oxon, representing Richard Bewfforeste, c. 15 10. His cowled 
 cloak is open in front, showing a surplice andalmuce underneath. 
 His pastoral staff rests on his right arm. 
 
 Priors. Of a prior there is a very fine example at Cowfold, in 
 Sussex, the cloak and cowl alone being visible. 
 
 Monks, of the Benedictine order, in the same simple dress, are 
 to be found at St. Alban's and elsewhere. 
 
 Abbesses. Two only are known, at Elstow, in Bedfordshire, 
 and Denham, in Buckinghamshire. Their dress is that of a 
 widow in ordinary life, viz., a plain kirtle, mantle, veil head-dress, 
 and barbe or wimple. The Elstow abbess has a pastoral staff. 
 
 Nuns. Some half-dozen nuns are similarly attired, but Margaret 
 Dely, 1561, treasurer of the convent of Syon, in her diminutive 
 brass at Isleworth, Middlesex, has no mantle. 
 
 Post-Reformation Ecclesiastics. 
 
 1 
 
 The divines of the Reformation are not very commonly com- 
 memorated by brasses ; but when they occur, they are represented 
 in the ordinary dress of citizens, which will be described under 
 the head " Civilians." 
 
 Notable Examples : — 
 
 Griffin Lloyd, rector, Chevening, Kent, 1596. 
 
 Dean Tyndall, Master of Queens' College, Cambridge, Ely Cathedral, 
 
 1614. 
 Dean Wythines, Vice-Chancellor of Oxford University, Battle, Sussex, 
 
 1615.
 
 4$ MONUMENTAL BRASSES. 
 
 BRASSES OF KNIGHTS. 
 
 Mediaeval armour is nowhere so well represented as on brasses. 
 We have left to us specimens of every kind of armour, from the 
 chain-mail of the crusader to the latest development of the reign 
 of Charles II., when gunpowder and shot caused it to be finally 
 abandoned. 
 
 The student should, however, by no means neglect to visit the 
 armouries in the Tower of London, where he may learn much 
 that is not apparent upon an engraved brass; e.g. the methods of 
 fastening together the various parts of a suit of armour, the way 
 in which roundels are strapped and buckled to the breast-plate 
 or qiauliere, and similar details. The defences of the back are 
 never shown in brasses. These can hardly be learnt but from 
 collections of armour. The Tower is particularly rich in armour 
 of the reign of Henry VII., and all later developments are repre- 
 sented. 
 
 Stone efligies deserve equal attention, chiefly for the light they 
 throw on the earlier periods. Knights who fought under Plan- 
 tagenet kings may be found in nearly all the great cathedral and 
 conventual churches. Westminster Abbey must be specially 
 mentioned under this head, and among lesser churches the 
 Temple. 
 
 At St. Paul's Church, Bedford, there is recorded to have been 
 a brass to Sir John Beauchamp, 1208, and this, if it had survived 
 to our day, would have been the oldest brass known. As it 
 happens, little is known about it beyond the name of the knight 
 whom it commemorated, and we can only regret its untimely 
 loss. 
 
 Jn knightly brasses we have brought before us the actual con- 
 temporaneous portraits of our forefathers as they fought in all 
 the great battles and wars of English history, from the last 
 Crusade to the close of the Great Rebellion. During this period 
 1 he armour of the knights underwent almost as many changes as 
 occurred in the passing fashions of their ladies. It may be 
 divided into seven distinct classes, each a development of the one
 
 Stone Effigy, t. 1270. 
 49 
 
 D
 
 CLASSES OF EFFIGIES. 5 I 
 
 before it. But between each there is of course a short peril »d 
 of transition, just as between the different styles of Gothic archi- 
 tecture, with whose rise and fall the art of brass-engraving is 
 intimately connected. 
 
 I. The Surcoat Period, During which entire suits of mail were 
 worn, ending with the death of Edward I., 1307. 
 
 Notahle Examples: — 
 
 Sir John Daubernoun, Stoke d'Abernon, Surrey, 1277. 
 Sir Roger de Trumpington, Trumpington, Cambs, 12S9. 
 Sir Robert de Bures, Acton, Suffolk, 1302. 
 Sir Robert de Setvans, Chartham, Kent, 1306. 
 
 (a) A period of transition, during which additional defences of 
 plate began to be worn over the suit of mail, and with 
 the surcoat. Extended through the greater part of the 
 reisn of Edward II. 
 
 *o* 
 
 Notable Examples : — 
 
 Sir William Fitzralph, Pebmarsh, Essex, c. 1320. 
 Sir de Bacon, Gorleston, Suffolk, c. 1320. 
 
 II. The Cyclas Period. From the Despencer troubles at the 
 close of the reign of Edward II., to the middle of that of Edward 
 III., say to the founding of the Order of the Garter, 1350, 
 between the battles of Cregy and Poictiers. 
 
 Notable Examples:— 
 
 Sir John de Northwode, Minister, Is!e of Sheppey, 1325. 
 Sir John de Creke, Westley Waterless, Cambridgeshire, 1325. 
 Sir Jqhn Daubernoun II., Stoke d'Abernon, Surrey, 1327. 
 • John Giffard, Bowers Gifford, Essex, 1348. 
 
 III. The Camail Period. From the founding of the Order of 
 the Garter to the first few years of the reign of Henry IV. 
 
 NOTABLE Examples, exceedingly numerous, e.g.'. — 
 
 The Cobham Series, Cobham, Kent, 1354-1407. 
 Sir Wm. Fienlez, Hurstmonceux, Sussex, 1402. 
 Sir Wm. Bagot, Baginton, Warwick, 1407. 
 
 (a) Transitional, overlapping the two periods which it partially
 
 52 MONUMENTAL BRASSES. 
 
 divides. A larger quantity of plate armour is worn in 
 conjunction with the camail of mail. 
 
 Notable Examples : 
 
 Sir Thomas Braunstone, Wisbeach, Cambridgeshire, 1401. 
 Sir John Hanley, Dartmouth, Devon, 1408. 
 
 IV. The Complete Plate, or Lancastrian, Period, From Henry 
 IV. to the commencement of the Wars of the Roses in 1455, 
 marked chiefly by Henry V.'s French wars and the battle of 
 Agincourt. 
 
 Notaulk Examples: — 
 
 Sir Simon de Felbrigge, Felbrigg, Norfolk, 1413. 
 
 Sir John Peryent, Digswell, Herts, 141 5. 
 
 Sir Thomas Bromflete, Wimington, Bedfordshire, 1430. 
 
 V. The Yorkist Period. From the battle of St. Alban's to the 
 battle of Bosworth and death of Richard III. in 1485, covering 
 the whole period of the Wars of the Roses. The defences of 
 plate were made more numerous and exaggerated than before. 
 
 Notable Examples: — 
 
 John Ansty, Esq., Quy, Cambs, c. 1465. 
 
 Sir Anthony de Grey, St. Allan's, Herts, I4S0. 
 
 Sir Thomas Vaughan, Westminster Abbey, 1483. 
 
 VI. The Mail Skirt, or Early Tudor, Period, of the reigns of 
 Henry VII., Henry VIII., Edward VI., and Mary. 
 
 Examples are so numerous that it is useless to mention any in 
 particular, especially as none of them are of any very great merit. 
 
 VII. The Tasset, or Elizabethan, Period. Extending to the 
 final abandonment of the use of armour. The very few instances 
 of knights in armour later than the reign of Elizabeth are of the 
 same style. Perhaps the latest known is that of Nicholas Toke, 
 Esq., Great Chart, Kent, 16S0. 
 
 I. The Surcoat Period. 
 
 The reign of Edward I. produces the earliest remaining knightly 
 effigy, viz., that of Sir John Daubernoun, mentioned above, at 
 Stoke d'Abernon, near Leatherhead, in Surrey. Here we have
 
 Sik John Davbbhnoun, 1277. 
 Stoke d'Abernon, Surrey. 
 
 54
 
 CLASSES OF EFFIGIES. 5 5 
 
 portrayed the full crusading panoply, though this particular knight 
 never visited the Holy Land. 
 
 The armour is as follows : — 
 
 i. A complete suit of chain mail, consisting of 
 (a) Hawberk, covering the body and arms. 
 (/') Coif de mailles, or hood. 
 (c) Ckausses, or stockings. 
 
 (d) Gloves, continued from the sleeves of the hawberk, and 
 undivided for the fingers. 
 
 2. Genouillieres, or knee pieces, made either of steel or of a 
 leather called cuirbouilli, and strapped over the chain mail. 
 
 A surcoat of linen or cloth was worn over the armour. It was 
 sleeveless, and reached to some distance below the knee, being 
 slit up part of the way in front, confined at the waist by a narrow 
 cord, and fringed at the bottom. 
 
 Accessories : — 
 
 i. Shield, which was either small and heater-shaped, as worn 
 by Sir John Daubernoun, or else rounded to the body, as 
 Sir Roger de Trumpington has it. In both cases the 
 coat of arms of the wearer was emblazoned upon it. 
 
 It was worn on the left arm, and supported by a guige 
 or strap, usually ornamented, passing over the right 
 shoulder. 
 
 ii. Spurs. These were of the " prick " kind, i.e., they were 
 cruelly long plain spikes, fastened by straps across the 
 insteps. 
 
 iii. Ailettes. Curious square appendages, fastened in an up- 
 right position on the shoulders, fringed and emblazoned 
 with the wearer's arms. They were not always used. 
 
 iv. Tilting Helmet. Only worn when in action. At other times 
 carried slung over the saddle. Made of heavy steel, and 
 padded inside. It is shown only in the Trumpington 
 brass, where the knight's head is pillowed upon it. A 
 chain connects it with the cord which surrounds his 
 waist, answering the same purpose as the modern hat- 
 guard.
 
 56 MONUMENTAL BRASSES. 
 
 Weapons : — 
 
 i. Sword. Large, and cross-hilted. Often very handsome, 
 with a beautifully enriched scabbard. It is hung in front, 
 or a little to the left side, from a broad belt adjusted over 
 the hips. 
 
 ii. Spear. Only found in the brass of Sir John Daubemoun. 
 It leans against his right arm, and is adorned by a small 
 emblazoned pennon. 
 
 In most cases the feet rest against a lion, though oc- 
 casionally a hound is substituted. 
 
 (a) Transition Period. The same weapons are used, and the 
 same armour worn, but with certain additional defences of plate. 
 These are as follows : — 
 
 i. Demi-plates, on the upper and forearms, called brassarts or 
 
 rere-braces and vambraces. 
 h. Coutes, protecting the elbows, 
 iii. Roundels, or palettes, spiked, buckled to the shoulders and 
 
 the bend of the arms, 
 iv. Jambs, or shin-plates. 
 v. Sollerets, which were small square plates jointed together 
 
 and protecting the feet. 
 The Gurleston knight is in banded instead of chain mail. 
 
 II. The Cyclas Period. 
 
 The close of the reign of Edward II. saw several important 
 changes in defensive armour. The suit of mail was still worn, 
 but was generally banded, i.e., instead of the little rings being 
 linked to one another, they were sewn in rows upon a leather 
 foundation. The sleeves of the hawberk became shorter, and 
 vambraces were worn beneath on the forearm. The coif de 
 mailles upon the head gave way to the fluted steel bascinet, and 
 the surcoat to the cyclas. In other respects the armour remained 
 the same as in the transitional period, except that prick spurs fell 
 into disuse, and were replaced by the ordinary rowell type. The 
 cyclas differed from the surcoat in being slit up at the sides, and
 
 m 
 
 m 
 
 m 
 
 -Art, A I 
 
 p5I 
 
 HE 
 
 biK John D'Argentine, 1382. 
 Horsehcath, Cambridgeshire.
 
 CLASSES OF EFFIGIES. 59 
 
 very much shorter in front than at the back ; even behind it did 
 not reach below the knees. Owing to its shortness in front, the 
 garments worn beneath it can all be seen, one below the other. 
 Beginning from the outermost, the body-coverings were as 
 follows : — 
 
 i. Crclas. 
 
 ii. Pourpoint. A fringed dress of rich materials, usually em- 
 broidered with some pattern. 
 
 iii. Hawberk. Now usually with the lower edge pointed, but at 
 Minster straight and slit up the front. 
 
 iv. Hauketon. A padded garment, stitched in parallel down- 
 ward lines, and intended to protect the body from the 
 chafing of the heavy hawberk. 
 
 The Bowers Gifford knight, mentioned above as a notable ex- 
 ample, is really transitional, or rather, peculiar, since he wears a 
 garment which can only be described as something between a 
 surcoat and a jupon (speedily to be mentioned), and has no bras- 
 sarts or jambs. 
 
 III. The Camail Period. 
 
 The armour worn during this period, which lasted half a cen- 
 tury, was almost invariable, and moreover quite different to that 
 which it displaced. 
 
 Defensive Armour (vide illus. opposite) : 
 
 i. E>ascinet. A plain, acutely pointed steel cap. 
 
 ii. Camail. A tippet of mail, cnain or banded, laced to the 
 bascinet, and covering the neck and shoulders. 
 
 iii. Mail S/iirt, or sleeveless hawberk, visible only at its lower 
 edge, and sometimes at the arm-pits. 
 
 iv. Jupon. A tight-fitting short tunic without sleeves, generally 
 of leather, and sometimes charged with armorial bear- 
 ings. Its lower edge was in most cases escalloped or 
 fringed. 
 
 v. Arm-defences, now entirely of steel, and consisting of 
 cpauliacs (epaulets), protecting the shoulders, usually of
 
 60 MONUMENTAL BRASSES. 
 
 three plates one above the other ; brassarts, coutes, and 
 vambraces. 
 
 vi. Gauntlets, of steel or leather, or sometimes of leather faced 
 with steel. 
 
 vii. Cuisses, or thigh armour. Steel plates, frequently covered 
 by pourpointrie work, i.e., pieces of coloured satin sewn 
 with metal studs, 
 viii. Genouilliires, small and plain. 
 
 ix. Jambs, in some instances showing pair of mail stockings. 
 
 x. Sollerets, sharp-toed, and generally having the instep pro- 
 tected by what is called a gusset of mail. 
 
 xi. Roivell Spurs. 
 
 Offensive Armour : 
 
 i. Stuord, cross-hilted, witli a plain scabbard. It was fastened 
 at the left side to a handsome baivdric, a broad straight 
 belt adjusted upon the hips, 
 ii. Misericorde, a short dagger, without guard, fastened to the 
 bawdric on the right. 
 An important change has not yet been mentioned. The shield 
 is now no longer represented as an adjunct to the pictured knight. 
 It disappears as completely as if it had fallen into disuse. The 
 feet rest always against a lion or a hound. 
 
 a. Transition Period. The chief mark of change is to be 
 found in the abandonment of the jupon, formerly so essential a 
 part of a knight's equipment. The armour worn beneath it is 
 therefore now for the first time visible. It consists of, — 
 i. Cuirass of steel, very plain, and rounded in front, 
 ii. Taces, or broad hoops of steel, fastened one to the other, 
 and forming a short skirt. There are usually about six 
 of these. 
 
 IV. Lancastrian Period. 
 
 We now come to the armour worn by the knights who fought 
 at Agincourt and Orleans. It differed from that of the preceding 
 reigns in being of complete plate, without any admixture of mail 
 except sometimes a narrow fringe to the lowest tace.
 
 UnrUitr m Mint wnuiiif Uuilic infos -volurr mnnnimps Rsr wag 
 Mttoflturannis fir j? luiinT\miiriins -. Of tuiutiugimirrji flfuunsKTiitmnn 
 -^uinir. aciv umm tKiTtre? ft,i jiiraraiUiiaouOiniumuoiitro ir.rnnaiuvirmtiuitl 
 2i qd msftrra rc nD" c tiui poTtuliii-i'oiunnnnis ituftns uuflra&ii mrijajTom 
 
 3Mfit mAm Mm Uur nourtuis - m tyttQrfflvua muitfoitUtrbfata - 
 
 Sir John Lowe, 1426. 
 Battle, Sussex. 
 
 61
 
 CLASSES OF EFFIGIES. 6} 
 
 One absolutely new piece of armour came into use. This was 
 the steel gorge/, encircling the neck, and replacing the camail, 
 which entirely disappears. 
 
 The acutely pointed bascinet also fell into disuse, and gave way 
 to a lower and rounder helmet. The gorget was not so deep as 
 the camail had been, involving a lengthening of the epaulieres, 
 which now consisted of six or more plates, instead of three only. 
 At the armpits roundels were still used, but gradually gave place 
 to oblong palettes, which were sometimes charged with a cross. 
 The coutes at the elbows in most instances became fan-shaped. 
 Below the knee small additional plates were attached to the genou- 
 illieres. Bawdries went out with the jupons, and the sword was 
 now kept in position at the left side by a narrow transverse belt 
 ornamented usually with quatrefoils. The misericorde, on the 
 other side, was hooked to one of the taces themselves. 
 
 At the close of the French wars came several slight alterations. 
 Two small plates, called titillcs were buckled to the lowermost 
 tace. At first they were hardly deeper than the hoop to which 
 they were attached, but gradually lengthened till they almost 
 touched the genouillieres. Pauldrons and placcates now began 
 to make their appearance, but they belong more properly to 
 the next period, to which it is more convenient to leave their 
 description. 
 
 V. The Yorkist Period. 
 
 The style of armour which was adopted throughout the Wars 
 of thVe Roses was perhaps the most extraordinary ever invented by 
 mankind. 
 
 Its most striking feature is the rapid accumulation of heavy 
 and ungainly steel plates, one upon another, till it is difficult to 
 imagine how any knight could sustain .their combined weight. 
 The helmet is but rarely depicted in the brasses of the time, and 
 the hair is worn short at first, and afterwards flowing to the 
 shoulders. 
 
 The old armour remains as a foundation, though much of it is 
 greatly changed, chiefly by a process of exaggeration.
 
 64 MONUMENTAL BRASSES. 
 
 The first indications of the coming change are to be seen in 
 the use of — 
 
 i. Pauldrons, massive steel plates protecting the upper arms 
 and shoulders. They were at first quite plain, and 
 showed the uppermost plates of the epaulieres beneath. 
 ii. Placcates, additional defences to the upper part of the 
 
 cuirass, one on each side, 
 iii. Demi-placeates, covering the lower part of the cuirass, 
 broad at the bottom, and tapering upwards to a point 
 between the placcates. 
 iv. Gardes-de-bras, sometimes attached to the coutes or 
 gauntlets. Those on the right arm were of different 
 shape to those on the left, the idea being to leave the 
 former freer for action, while the latter was rather for 
 defence. 
 By the time Edward IV. ascended the throne, in 1461, the 
 armour of the period had reached its utmost development, and 
 continued practically the same till the close of the civil wars. 
 
 A collar of mail was now substituted for the gorget, and the 
 pauldrons and coutes had attained to colossal proportions. 
 
 i. The Pauldrons were worn sometimes on the left shoulder 
 alone, in which case a large garde-de-bras was riveted 
 to the epaulieres of the right, and sometimes on both 
 shoulders. They consisted usually of two plates, one 
 above the other, the uppermost being ridged, and having 
 an upturned edge to protect the neck, termed a pass- 
 guard. 
 ii. The Coutes, now often called coudieres, were of immense 
 size, as large as helmets, and often fluted, with escalloped 
 edges. 
 The skirt of taces was divided transversely into a great number 
 of separate pieces, and was much shortened, while the tuilles in- 
 creased correspondingly. Between them appears a short baguette 
 of mail. 
 
 The genouiliieres had extra plates above as well as below. 
 The sword, which had a very short hilt, was hung in front of the 
 body.
 
 
 ftmtct tranrfjrtms sumto nj\IrB$o.mzpiPtf 
 BEttllnrnffim prmcpig tamajni skus mm 
 qui olnn eetq dieaiacnitmfio mttmai^^ • 
 
 Sir Hi'mphrey Stanley, 1505. 
 Westminster Abbey. 
 60
 
 CLASSES OF EFFIGIES. Gj 
 
 VI. The Early Tudor Period. 
 
 About the time of the battle of Bosworth, a.d. 14S5, we get 
 another complete change, when all the old extravagances were 
 abandoned. The change must have been sudden as well as com- 
 plete, for we have scarcely any traces of a state of transition. 
 
 The cuirass returns to its simple condition, except that it has 
 a ridge down the centre. Placcates, demi-placcates, coudieres 
 and gardes-de-bras are either abandoned altogether or reduced to 
 the smallest possible dimensions. 
 
 Mail collars are retained, and also pauldrons with pass-guards 
 and tuilles, but they are smaller than before. The latter, as re- 
 presented on brasses, can now be seen to be four in number. 
 
 New features are : — 
 
 i. Mail Skirt, the mark of the period. It appears below the 
 
 taces, and generally reaches beyond the tuilles. 
 ii. Sabbatons, or broad-toed shoes, upon the feet instead of 
 
 pointed sollerets. A gusset of mail is shown at the 
 
 instep, 
 iii. Spear-rest, a small hook, occasionally seen screwed to the 
 
 right-hand side of the breast of the cuirass. 
 
 With this style of armour is now frequently seen the tabard of 
 arms, a most important ornament of knightly equipment. It was 
 an heialdic coat reaching below the skirt of taces, and charged 
 with the wearer's armorial bearings. It had short sleeves, on 
 each of which the arms were repeated. The tabard occasionally 
 appears in.brasses of the Yorkist period, but did not come into 
 anything like general use till the reigns of Henry VII. and Henry 
 VIII. It is never sejn later than the midJle of the i6ih cen- 
 tury. 
 
 VII. The Elizabethan Period. 
 
 Armour now received its last development. The cuirass be- 
 came long-waisted, and was sharply ridged down the breast. 
 
 Pauldrons were discarded, and once more replaced by epaulieres,
 
 68 MONUMENTAL BRASSES. 
 
 enlarged, having an ornamental edge, and nearly meeting across, 
 the cuirass. 
 
 The skirt of taces disappeared, and in its stead appendages 
 called tasse/t, or lamboys, were buckled immediately to the cuirass. 
 These tassets were a legitimate development of the tuilles, but 
 consisted of many plates, of which the lowest were, except in a 
 few of the earliest examples, rounded off. In some few instances 
 they were fastened to the knee-plates, but did not usually reach 
 quite so low. 
 
 Ruffs were always worn round the neck, and generally at the 
 wrists also. At the beginning of Elizabeth's reign the mail 
 skirt was still worn beneath the lamboys, but was speedily 
 abandoned. 
 
 The armour of the Stuarts was in all points the same as that of 
 the Elizabethan period. The sword-hilt, however, assumes, with 
 James I., the pattern still in use. 
 
 The latest known brass representing a man in armour is to be 
 found at Great Chart, near Ashford, in Kent, a.d. 1680, when 
 Charles II. was on the throne. The Elizabethan type of armour 
 still holds its ground, and the lamboys are seen covering a large 
 pair of trunk breeches. The ruffs are replaced by a turned-down 
 collar and cuffs. 
 
 BRASSES OF LADIES. 
 
 Ladies' dress must be taken in close connection with the armour 
 of their husbands, apart from whom they seldom appear on 
 sculptured tomb or engraved brass. The earliest representations 
 of ladies are to be found on the brasses of Margaret Lady Camoys, 
 at Trotton, Sussex, a.d. 13 10 ; Joan Lady Cobham, at Cobham, 
 Kent, 1320; Alyne Lady Creke, at Westley Waterless, Cambs, 
 1325 ; Joan Lady Northwode, at Minster, Sheppey, 1330; and a 
 few more. 
 
 The dress is, in all cases, of the most simple character, con- 
 sisting of a kirtle with tight buttoned sleeves, and over it a loose 
 flowing gown, waistless, and having short sleeves reaching a little 
 below the elbow.
 
 CLASSES OF EFFIGIES. 69 
 
 Lady Creke wears also an open cloak or mantle, fastened by a 
 cord across the breast. 
 
 A hideous wimple or gorget is worn round the neck, hiding 
 also the chin and sides of the face. 
 
 The hair is usually kept in place by a narrow enriched fillet or 
 coronet, while a single plait or curl appears on either side of the 
 forehead. 
 
 Upon the head is a veil or coverchef, descending to the 
 shoulders. 
 
 This style of dress continued in vogue until the beginning of 
 the camail period among the knights, commencing towards the 
 end of the reign of Edward III. 
 
 The changes of fashion may now be marked chiefly by the 
 head-dresses, which are of several distinctive types. The different 
 styles may be briefly enumerated thus : — 
 
 1. Reticulated head-dresses, Edward III.-Henry IV. 
 
 2. Horned head-dresses, a peculiar development of the first- 
 
 mentioned, Henry V.-Richard III. 
 
 3. Butterfly head-dresses, corresponding to the exaggerated 
 
 armour of the Yorkist period, Edward IV.-Henry VII. 
 
 4. Pedimental head-dresses, corresponding to the mail skirt 
 
 period of the Tudor knights, Henry VII.-Queen Mary. 
 
 5. Paris head-dresses, or Mary Queen of Scots caps, chiefly 
 
 of the Elizabethan period, Henry VII. -James I. 
 
 It will thus be seen that several styles considerably over- 
 lap one another, especially the last two, which began almost 
 at the same time, although the one very much outlasted the 
 other. 
 
 The firSt style was subject to a great many variations, and in 
 its earlier stages is frequently called the nebuh or zigzag head- 
 dress. The hair was enclosed within a thin net, encircling the 
 face, and represented by a series of wavy (nebule) or zigzag lines, 
 from two to six in number. A tress of hair was often allowed 
 to escape on either side, and its end rolled up into a netted ball, 
 of similar construction to the upper net, and resting upon the 
 shoulder {vide illus. on next page). 
 
 The dress worn at the same time was a low-necked closely- 
 fittino- kirtle, with tight sleeves buttoned from the elbow to the
 
 MOM'MKNTAL BRASSES. 
 
 wrist. It was frequently buttoned to the waist, and sometimes 
 had a broad border or trimming of heavy fur. Its chief feature 
 was its simplicity. 
 
 Occasionally the kirtle is seen alone, but more frequently 
 another dress is worn over it. This is called a cote-/ia?di, and 
 is almost as simple as the kirtle. Its chief distinction is that its 
 sleeves terminate above the elbows, but have attached to them 
 long and narrow lappets reaching almost to the ground. It some- 
 times also has two pockets in front. A very peculiar development 
 of this same dress came quickly into fashion. 
 
 A Lady, c. 1400. Ore, Sussex. 
 The Nebule head-dress, p. 69. 
 
 V-vy— ■ 
 
 The Sideless Cote- hanli. 
 
 It was the sideless cote-hai di, a dress as fashionable as it was 
 peculiar. The bodice, or jacket, was absolutely without sides, 
 consisting of a fur trimming which trimmed nothing. To this 
 was attached a short skirt, slit up at the sides, like a Bannockburn 
 warrior's cyclas, and almost resembling a double apron. Over 
 these dresses a mantle was worn, fastened by a cord passed across 
 the breast between two jewelled clasps. 
 
 During the reign of Henry V. the most noticeable changes in
 
 awg^^te^g^i ^^^!^ 
 
 Anne Herward, i 4 8 s . Aldborough, Norfolk. 
 The Butterfly head-dress. 
 
 7a
 
 CLASSES OF EFFIGIES. 
 
 73 
 
 Elena Bernard, 1467. 
 
 Isleham, Cambs. 
 The Horned head-dress. 
 
 costume are to be seen in the head-dresses, although it must not 
 be forgotten that the varying styles greatly overlap. The hair is 
 still confined within a net, in a remarkably stiff but handsome 
 manner. 
 
 In this crespine head-dress, as it 
 is called, the hair is fastened in a 
 net, often jewelled, upon the top of 
 the head, with a bunch or knob, 
 also netted, above each ear. The 
 whole coiffure is kept in position by 
 a jewelled band or fillet, and par- 
 tially covered by a light veil, which 
 hangs down over the shoulders. 
 There are numerous variations of 
 this head-dress, and indeed hardly 
 two brasses can be found in which 
 the hair is done in exactly the same 
 way. 
 
 Widows wear a barbe or wimple, 
 and a heavy veil which entirely hides the hair. 
 
 The crespine head-dress, however, merely leads up to the style 
 in which the head-dresses assume the horned or mitred shapes, 
 and which remained in fashion till the close of the Yorkist period. 
 
 In it the side nets were increased to a very large size, so as to 
 form a pair of stiff horns. The central part of the hair is usually 
 hidden by the veil, which reaches, as before, to the shoulders. 
 
 With the horned head-dress came in a new kind of gown, 
 which commonly, though not always, took the place of the kirtle 
 and mantle. It was plain, and high-waisted, girt under the breast 
 by a narrow but rich band. Its sleeves were extremely wide and 
 loose, but brought together at the wrists. A broad collar was 
 either turned up round the neck, or fell gracefully upon the 
 shoulders. 
 
 We now come to one of the most extraordinary erections with 
 which ladies ever burdened themselves. The butterfly head-dress 
 came into fashion during the reign of Edward IV., but did not 
 retain its popularity for more than a few years, disappearing soon 
 after the accession of Henry VII. It is not seen to advantage in
 
 MONUMENTAL BRASSES. 
 
 brasses, which always give it an appearance of far greater heavi- 
 ness than it really possessed. To display its proportions in a 
 brass, it was necessary to turn the figure slightly sideways, and 
 this was invariably done. The hair was brushed straight back 
 from the forehead and enclosed in a net at the back of the head. 
 Upon this was erected a huge framework of wire, covered by a 
 spreading veil. The effect must, at least, have been imposing. 
 The accompanying dress was extremely low in the neck, edged 
 usually with fur, and having tight sleeves and cuffs. To a girdle 
 about the waist a rich charm or ornament was hung by a some- 
 what lengthy chain. A broad and rich necklace was usually 
 worn. An outer mantle is still often seen. About the same time 
 in which knightly tabards became common, there appeared among 
 the ladies richly embroidered heraldic dresses. A married lady 
 would wear the arms of her own family emblazoned upon her 
 kirtle, and those of her husband on her mantle. The custom 
 continued till the close of the reign of Henry VIII. 
 
 Excellent examples of the heraldic kirtle and mantle in con- 
 nection with the butterfly head-dress may be seen in the brasses 
 of two sisters-in-law at the Church of Long Melford, in Suffolk, 
 c. 1480. 
 
 The pedimenial head-dress made its first appearance in the 
 reign of Henry VII. Its shape and style, together with the dress 
 with which it was associated, underwent but little change until 
 the middle of Henry VIII. 's reign. It was exceedingly stiff, and 
 entirely hid the hair. Frontlets of tlvck velvet, elaborately 
 embroidered, met over the forehead, so as to form a sharp and 
 decided angle, and hung down in lappets on either side of the 
 face, reaching to the shoulders, or lower. Similar lappets, or else 
 a veil, hung behind. 
 
 The dress had tight sleeves with fur cuffs, and was cut square 
 at the neck. Its skirt was frequently trimmed with fur. A large 
 embroidered belt, faced with silver, was buckled loosely round 
 the waist, and its end allowed to hang almost to the ground. 
 Three metal roses or clasps were sometimes substituted for the 
 buckle, with a pendant chain attached, generally terminated by a 
 handsome pomander or scent-bpx. 
 
 Several changes were made during the second half of the bluff
 
 CLASSES OF EFFIGIES. 
 
 fcfcmi* toutr/ 
 
 kings reign, beginning atabout a.d. 1530. The front l.q>pets of 
 the liead-dress were frequently pinned up out of the way, and 
 the collar of the dress, no longer cut square, was turned down so 
 as to show the fartlet, a linen 
 garment drawn together round 
 the neck. The dress sleeves 
 reached only to the elbow, and 
 were very broad, and heavily 
 trimmed with fur. Embroidered 
 under-sleeves, striped longitudin- 
 ally and slashed beneath, were 
 now rendered visible. A long 
 rosary sometimes takes the place 
 of the chain and pomander. 
 
 Excellent instances may be 
 seen at Harefield, Middlesex, 
 1537 and 1540; and at Lulling- 
 stone and West Mailing, in Kent, 
 '544. 1533 and 1543 {vide illus.). 
 
 Throughout the reigns of Ed- 
 ward VI. and Mary, the pedi- 
 mental head-dress lingered on, 
 but was partially superseded by 
 a new and very different cos- 
 tume. 
 
 The French bonnet, Paris-head, 
 or Mary Queen of Scots head-dress, 
 was a close linen cap with a 
 horse'shoe shaped front, and a 
 short lappet or veil hanging down 
 behind. The outer gown or 
 mantle is frequently straight, 
 without waistband or girdle, and 
 open down the front, though held 
 together by small bows. Erom 
 its puffed and slashed shoulders false sleeves hang almost to the 
 ground. 
 
 Soon after the accession of Queen Elizabeth, false sleeves were 
 
 Ely/, in. J'e-vki ivst, 1543. 
 \\c<t Mailing, Kent. 
 The Pedimeiual hc.id-dresi.
 
 ;5 MONUMENTAL BRASSES. 
 
 abandoned, and true sleeves were cut and slashed from the 
 shoulder to the waist. A sash was worn round the waist, and 
 below it the gown opened out, showing an elaborately quilted 
 petticoat. Ruffs began to be worn about the neck, and gradually 
 increased in size and stiffness. Towards the end of the reisrn the 
 
 O 
 
 centre of the French cap was considerably depressed, and the 
 back lappet turned up upon it. Important changes, which re- 
 mained in fashion throughout the reigns of James I. and Charles 
 I. now appeared. The embroidered petticoat was still in vogue, 
 but it and the skirt of the dress were gathered up at the waist, 
 often with a flounce, and stuffed out by a large farthingale, the 
 precursor of the more modern crinoline. The sash was given up, 
 and the bodice became a long-waisted peaked stomacher. A 
 short cloak and a large hood were occasionally worn. 
 
 In the reign of James I. and onwards to the Commonwealth, a 
 large broad-brimmed hat is frequently added to the other cover- 
 ings of the head. 
 
 Ladies' brasses of a later date and style to this of the ruff, 
 stomacher, and farthingale, are rarely seen, and need not be 
 described. 
 
 The latest known brass to a lady, previous to the modern 
 revival, is to be seen in the Church of St. Mary Cray, in Kent. It 
 commemorates Mrs. Philadelphia Greenwood, who died a.d. 1747. 
 She wears a plain gown, with a plaited neckerchief and a long 
 gauzy veil, thrown over her head and falling to the ground. 
 
 It must be remembered that in the preceding sketch of female 
 costume, the typical dresses only of the several styles have been 
 mentioned, space forbidding a more complete account. The 
 minute variations and eccentricities of fashion were almost, if not 
 quite, as numerous as they are at the present day. 
 
 BRASSES OF CIVILIANS. 
 
 The illustrations of civil costume as they appear on brasses do 
 not date back further than the times of Chaucer and Wiclif, and 
 indeed do not become numerous till the reign of Henry VI. 
 
 We have, however, quite enough examples from the middle of 
 the reign of Edward III. to show us what sort of dress was worn
 
 CLASSES OF EFFIGIES. 77 
 
 by the laity when our first great poet sang and our first great 
 reformer preached and wrote. 
 
 The extravagances of fashion we must not expect to find. 
 They would be altogether out of place upon the monuments of 
 the dead, and must be looked for rather in illuminated manu- 
 scripts, and in the denunciations of sober-minded writers of the 
 
 day. 
 
 Edward III. 
 
 Among the earliest civilian brasses, two distinct and contempo- 
 rary styles of dress may be seen, perhaps distinguishing the 
 wealthier merchant princes from their humbler brethren. 
 
 In the simplest of these only one garment is visible, a long 
 loose gown with close sleeves, fastened at the neck by two or 
 three buttons, and furnished with a hood. It has very much the 
 appearance of a modern nightshirt. Good examples are at Great 
 Berkhampstead, Herts., a.d. 1356; St. Helen's, Ore, Sussex, 
 c. 1400; and St. Michael's, St. Alban's, Herts, c. 1400. 
 
 The other dress is somewhat more elaborate. Over a very 
 short doublet and tight hose is thrown a tunic, which reaches 
 below the knees. It has no waist-belt, but is made to fit the 
 figure, and is cut open in front towards the bottom, in order 
 to give greater freedom in walking. There are usually two 
 slits for pockets. The sleeves terminate at the elbows, and have 
 long lappets or liripipes attached to them. A tippet and hood 
 are worn over the shoulders. 
 
 Examples are to be found at Taplow, Bucks, c. 1350, and in 
 the magnificent Flemish brasses at King's Lynn, Norfolk, to Adam 
 de Walsokne, 1349, and Robert Braunche, 1364, and at Newark, 
 Notts, to Alan Fleming, 1361. 
 
 Richard II. 
 
 In the reign ot Richard II. several modifications appear. The 
 tunic becomes simpler, without sleeve-lappets, and is girt at the 
 waist by a cord or belt, to which is usually attached an anelace. 
 The anelace is a short sword. Over the tunic is worn a large 
 cloak or mantle, buttoned upon the right shoulder, and usually 
 gathered up over the left arm. The dress was worn also through- 
 out the reigns of Henry IV. and Henry V.
 
 /S MONUMENTAL BRASSES. 
 
 Henry VI.— Henry VII. 
 
 During the greater part cf the 15th century but few varia- 
 tions appear in the dress of the ordinary civilian. He wears a 
 long tunic, as in the preceding reigns, but it is furnished with 
 exceedingly wide sleeves, narrowing to the wrists. Planche tells 
 us that they were called the devil's receptacles, for whatever 
 could he stolen was popped into them. The cuffs and the lower 
 edge of the tunic are often edged with fur. The mantle is now 
 discarded by all but certain functionaries, such as judges and 
 mayors. The hair is worn quite short. There remain number- 
 less instances of this st>le of dress all over England, and the 
 collector will find no difficulty in supplying himself with good 
 examples {vide illus ). 
 
 Henry VIII. 
 
 The next great change came at about the time of the accession 
 of Henry VIII. Peaching to the feet was worn a fur-lined gown, 
 open in front, but kept together ny the belt. It is usually turned 
 back a little, so as to show the fur, from the neck to the feet. The 
 sleeves are wide, like those of a surplice. From the belt is 
 usually suspended a gypciere, or purse, and a short rosary. The 
 anelace disappears. Hitherto the shoes have been always 
 sharply pointed, but from this time onwards they are heeled 
 sabots, gradually developing into the modern shoes. The hair is 
 now long, and reaches to the neck. 
 
 Elizabeth. 
 
 Elizabethan dress is perhaps the most widely represented of any 
 figured on brasses, and is almost always associated in the col- 
 lector's mind with thin and battered and badly-engraved plates, 
 which refuse to yield even fairly good rubbings. 
 
 The doublet and hose now worn is too well known to need 
 description, and is, moreover, rarely seen upon a brass. It is 
 almost entirely hidden by the long gown, which differs in many 
 respects from that of the last reign. There is no waistband, and 
 the narrow sleeves hang nearly to the ground. They are, how- 
 ever, intended for ornament, and not for use, the sleeves of the 
 doublet being thiust through slits in their upper parts. Towards
 
 Ij^iajit£# 1 iitos'£flii]lniii);fcljnp{if3^ , 
 
 Edw. Cuuktenav, t". 14C0. Christ Church, OxluiU,

 
 Rich, and Cecilie Howard, 1499. Aylsham, Norfolk. 
 
 El
 
 CLASSES OF EFFIGIES. 8 
 
 J 
 
 the middle of the reign the fur-lining or trimming falls into dis- 
 use, and with its disappearance comes the fashion of wearing frills 
 or ruffs round the neck and wrists. 
 
 The Stuarts. 
 
 The costume of the early years of James I. was in all respects 
 similar to that worn at the close of the last reign, and brasses of 
 later date are of rare occurrence. A passing word will therefore 
 be sufficient before dismissing the subject. 
 
 Under Charles I. knee-breeches came into fashion, and with 
 them a short cloak instead of the heavy gown. The ruff was 
 replaced by a wide collar, and jack-boots were sometimes worn, 
 as may be seen at Biddenden, Kent. With the Commonwealth 
 the practice of engraving memorial brasses came to an end, 
 though there are a few isolated examples later. The latest 
 recorded brass commemorates Benjamin Greenwood, a.d. 1773, 
 and lies in the Church of St. Mary Cray, Kent. During the last 
 fifty years the art has been partially revived, but modern brasses 
 possess little or no originality, and do not fall within the scope of 
 this handbook. 
 
 SHROUD BRASSES. 
 
 The custom of engraving shrouded figures and skeletons was 
 introduced shortly before the middle of the fifteenth century and 
 continued till the end of the sixteenth. It was a horrible prac- 
 tice, and"* became most common in the reign of Henry VII., and 
 especially in the eastern counties. The shroud is usually knotted 
 at the head and feet, and sufficiently open to expose the breast 
 and knees of the deceased. These ghastly memorials were fre- 
 quently laid down during the lifetime of the persons they were 
 intended to commemorate, in order that they might constantly be 
 reminded that they were but mortal. The emaciated corpse is 
 the form most frequently adopted. Skeletons are rarer, but may 
 be seen at Hildersham, Cambs; Weybridge, Surrey; Margate, 
 Norwich, and other places.
 
 iv. Hcceesories. 
 
 BRASSES AND ARCHITECTURE. 
 
 CANOPIES. 
 
 Great numbers of brasses are adorned with handsome canopies 
 over and around the figures, and these bear a very close relation 
 to Decorated and Perpendicular Gothic architecture. 
 
 In describing them we are at once introduced to a new set of 
 technical terms, which need to be explained to the beginner. 
 
 The usual form adopted is that of a Gothic arch springing from 
 a pair of side-shafts, and terminating in a bunch of foliage, called 
 \\\o.finial. The side-shafts continue beyond the spring of the arch 
 in the form of pinnacles. In the earlier examples the upper sides of 
 the arch are quite straight, and give a bold angle at the point to 
 which the finial is affixed. The inner side consists of a pointed 
 or round arch, of which the chief line is called the soffit, and is 
 often ornamented with a row of quatrefoils. Its inner surface is 
 diversified by curved and pointed projections, called cusps. They 
 are two or more in number, and are sometimes themselves 
 cusped again. The general result is to give the enclosed spact. 
 the shape of half a trefoil, or half a cinquefoil, as the case may 
 be. The space between the inner and outer arches is occupied by 
 a triangular spandril. The outer edge is ornamented by a row of 
 crockets (i.e. " little crooks "), which are projecting leaves, as of 
 some creeping plant. They are, however, always placed at regular 
 intervals. The part of the shaft from which the arch springs is 
 called the pediment. 
 
 Straight-sided canopies are comparatively rare in brasses,
 
 ACCESSORIES. 85 
 
 though they may often be seen in stone or marble tombs of the 
 early part of the 14th century. 
 
 In the brass of Joan <le Cobham, Cobham, Kent, c. 1320, 
 there is a well-known example of this :tyle of canopy. Its early 
 date is also marked by the characteristic, unknown in later times, 
 of its pediments being made to rest on corbels of foliage, from 
 which exceedingly slender shafts descend to the ground. 
 
 But the usual shape of the outer arch is that of a graceful 
 curve, which merges into the finial at a considerable height. The 
 side pinnacles reach to about the same altitude. 
 
 In detail canopies are usually of great beauty, and their forms 
 and patterns are as multitudinous as they are themselves. The 
 spandrils are richly engraved, and frequently enclose within a circle 
 or quatrefoil a flower, a crest, a badge, a shield of arms, or some 
 other device. Figures of saints or shields of arms are sometimes 
 substituted for finials and the summits of pinnacles. The whole 
 canopy is often triple, or, if there are two figures below, double, 
 and even doubly triple. In these cases the effect of the clustered 
 pinnacles is very beautiful. 
 
 Shields are sometimes hung upon the pinnacles and shafts 
 with admirable effect. 
 
 Notaijle Examples : — 
 
 Single Canopies. 
 
 The Cobham Series, 1320-1407. 
 llorsmonden, Kent, c. 1330. 
 Hurstmonceux, Sussex, 1402. 
 W'arbleton, Sussex, 1436. 
 Others numerous. 
 
 Do'tile Canopies. 
 
 Wimington, Bedfordshire, 1391. 
 Dartford, Kent, 1402. 
 Faversham, Kent, 1533. 
 
 Common with doubie figures. 
 
 Triple Canopies. 
 
 Ralsham, Cambridgeshire, 1401. 
 
 Dartmouth, Devon, 1408. 
 
 New College, Oxford, 141 7. 
 
 Etchingham, Sussex, 1414. 
 
 Enfield, Middlesex, 1446. 
 
 St. Alban's, Hertfordshire, 1451. 
 
 Westminster (Abbot Estney), 1498.
 
 S6 MONUMENTAL BRASSES. 
 
 In some cases the upper arch alone is present, without any 
 soffit, and supports one or three figures of saints in niches. 
 
 Notable Examples :— 
 
 Cobliam, Kent (Sir Reg. Braybrok), 1405. 
 
 Cobliam, Kent (Sir Nidi. Haw berk, very fine), 1407. 
 
 Faversham, Kent, c. 14S0. 
 
 In the brass of John Bloxham and John Whytton, c. 1420, at 
 Mcrton College, Oxford, the arches pierce a panelled arcade in a 
 somewhat unique manner. A similar arrangement may be seen 
 in the panelling of the nave walls of the church of Stratford-on- 
 Avon, Warwickshire. 
 
 In many canopies, especially those of the end of the 15th 
 century, some further work is seen below the soffit and cusps. 
 This is intended to represent vaulting, and exhibits the usual ribs 
 and bosses. It is of course drawn in perspective. 
 
 Notable Examples:— 
 
 Acton Burnell, Salop, 1382. 
 Laughton. Lincolnshire, 14S0. 
 Long Melford, Suffolk, 14S0. 
 Coliham, Kent, 1506. 
 Hunstanton, Nonoik, 1507. 
 
 Embattled Canopies. 
 During the 15th century it is not uncommon to find large 
 super-canopies added to those already described, a characteristic 
 of the Perpendicular or Late Gothic style of architecture. The 
 side-shafts are continued upwards beyond their pinnacles, and 
 support a heavy embattled entablature, strengthened by a circular 
 arch, with spandrils on either side. 
 
 Notable Examples : — 
 
 New College, Oxford (Archbishop Cranley), 1417. 
 Trolton, Sussex (Camoysj, 1424. 
 Upwell, Norfolk, c. 1430. 
 
 The pointed canopy is often omitted altogether, and the em- 
 battled entablature brought close down to the figure. The shafts 
 are occasionally broadened out into a series of niches, into which 
 the figures of saints are introduced. 
 
 Notable Examples : — 
 
 With saints. 
 Balsham, Cambridgeshire (Blodwell), 1462. 
 Tattersall, Lincolnshire, 1479.
 
 ACCESSORIES. 
 
 87 
 
 Without saints. 
 Lingfield, Surrey, 1420. 
 Beddington, Surrey, 1432. 
 
 After the close of the 15th century canopes are rarely met 
 with, and are much debased. 
 
 CROSSES. 
 
 Crosses were a very favourite form of memorial throughout the 
 14th century, and were often of great beauty. Of the large 
 numbers that were then laid down, but few have survived to our 
 day. They were considered " popish " by all zealous Reformers, 
 and ruthlessly torn from the gravestones which they embellished. 
 The despoiled slabs may be seen everywhere in our cathedrals 
 and more important churches. Some few, however, escaped the 
 general destruction of the Tudor and Puritan " crusades," and 
 remain for the most part in a mutilated condition, to indicate the 
 
 Greek Cru^s, Fleury. 
 
 r£b 
 
 Floriated Quatrefoil Cross. 
 
 beauty, of those we have lost. They may be divided into several 
 
 classes': — 
 
 1. Floriated Crosses. 
 
 (a) With a head or demi-figure engraved upon a Greek cross 
 
 at the intersection of the arms. The floriated extremities 
 
 or finials are richly worked. 
 
 Examples : — 
 
 Richard de Hakebourne, priest, Meiton College, Oxford, c. 1310. 
 A priest (head only), Chinnor, Oxon, c. 1320. 
 
 (/>) With a quatrefoil head, enclosing a half or full-length 
 figure. Again the finials are richly floriated, and the
 
 ss 
 
 MONUMENTAL BRASSES. 
 
 *x^ } 
 
 c 
 
 db 
 
 Circle and Quatrefoil Cross. 
 
 Floriated Uttofoil Cross. 
 
 stem also, where the leaves usually appear in three or 
 four pairs. The base consists of a few steps, or else 
 some animal or religious symbol. This applies to all 
 floriated crosses. 
 
 The quatrefoil of the head may itself be drawn within 
 a circle, as at Woodchurch. 
 
 Examples: — 
 
 Nicliol de Gore, priest, Woodchurch, Kent, c. 1330. 
 Britellus Avenel, priest, Buxted, Sussex, c. 1375. 
 
 (c) With an octofoil head, enclosing a figure or figures. 
 Here we have a series of eight ogee arches, alternately 
 larger and smaller, and terminating with floriated finials 
 both within and without. The under sides of the arches 
 are usually cusped. The stem may be floriated, or 
 else covered with a diaper pattern or inscription. 
 
 Examples : — 
 
 John de Bhdigdone and wife, East Wickham, Kent, c. 1325. 
 Sir John de Wantone and wife, Wimbish, Essex, 1347. 
 Nicholas Aumberdene, Taplow, Buckinghamshire, c. 1350. 
 A priest, Merton College. Oxford, 1372. 
 A civilian, St. Michael's, St. Alban's, Herts, c. 1400. 
 John Lumbarde, priest, Stone, Kent, 140S. 
 
 id) With a saint or symbol enclosed in the head, and figures 
 kneeling at the foot in an attitude of supplication.
 
 ACCESSOR IKS. 89 
 
 Examples : — 
 
 John Mulsho and wife (with St. Faith), Newton-by-Geddington, 
 Northampton, 1400. 
 
 Robert Parys and wife (with Holy Trinity), Hildersham, Cambridge- 
 shire, 140S. 
 
 2. Latin Crosses. 
 (a) Crosses fleury. These differ in many ways from the 
 Greek crosses described above. The most notice- 
 able difference is the entire absence of figures in 
 any part of the composition. The head is straight "**" 
 and square, and its arms are usually terminated 
 each by a fleur de -lys. At Higham Ferrers, how- 
 ever, the four evangelistic emblems serve as finials. 
 A long stem rises from a few steps, or, as is the 
 case in a number of matrices of most magnificent 
 
 lost brasses in Ely Cathedral, from the central ^J^f 8 ' 
 finial of a Gothic canopy. 
 
 Examples :— 
 
 Higham Ferrers, Northants, 1400. 
 Cassington, Oxon, c. 1415. 
 Beddington, Surrey, c. 1425. 
 Broadwater, Sussex, 1445. 
 
 (b) Plain crosses. A few small and late brasses are formed 
 
 merely by two strips of metal laid across one another, with 
 
 an inscription at the foot. 
 
 Examples :— 
 
 Hever, Kent, c. 1520. (Henry Bullayen.) 
 Penshurst, Kent, c. 1520. (Sir Thos. Bullayen.) 
 
 3. Bracket Brasses. 
 Figures*.standing upon brackets are not uncommon in the early 
 part of the 15th century. The stem is very much like a 
 cross, and rises in the same way from steps, or from some 
 heraldic device or crest. A canopy is frequently added. 
 
 Examples : — 
 
 Sir John Foxley and wives, Bray, Berks, c. 1370. 
 
 Reginald de Cobliam, priest, Cobham, Kent, 1402. 
 
 Joan Urban, Southfieet, Kent, 1414. 
 
 Bloxham and Whytton, priests, Merton College, Oxford, c. 1420. 
 
 Sir Roger L'Estrange, Hunstanton, Norfolk, 1507. 
 
 A curious and unique bracket brass occurs at Upper Hardres,
 
 QO MONUMENTAL BRASSES. 
 
 Kent, 1405, in which John Stiete kneels at the foot and prays 
 to St. Peter and St. Paul, who are represented as standing upon 
 the bracket. 
 
 BRASSES AND HERALDRY. 
 
 Heraldry plays a very important part in the composition of 
 brasses, and should by no means be neglected. Small shields of 
 arms are commonly let into the slabs towards the corners, and 
 within the border fillet, if there be one. They are engraved with 
 the armorial bearings of the person or persons commemorated, 
 and are of constant use in the identification of these persons 
 when the accompanying inscription happens to be lost. In 
 describing their positions, the heraldic terms dexter and sinister 
 must always be used. The dexter side is that on the right hand 
 of the effigy, and therefore at the spectator's left, and the sinister 
 on the effigy's left and spectator's right. The same terms must 
 be used in describing the component parts of each shield. 
 
 When a shield is divided down the middle (party per pale), 
 with a separate coat on either side, a married couple is implied, 
 the husband's arms being on the dexter side, and the wife's on 
 the sinister. The former is then said to impale the latter. If the 
 wife is an heiress, the coats are not impaled, but an itiescutcheon, 
 or small shield, bearing the wife's arms, is placed upon the centre 
 of those of the husband. Where there are two wives, the hus- 
 band's arms, on the dexter side, impale the two wives' on the 
 sinister, one above the other. 
 
 When a shield is divided into four parts, it is said to be 
 quartered, and the quarters are numbered — the upper pair, dexter 
 and sinister, 1st and 2nd, and the lower pair as before, 3rd and 
 4th. When a man quarters two coats only, the 1st and 4th 
 (identical) are the arms of his father, and the 2nd and 3rd those 
 of his mother, or some more remote ancestress. 
 
 There are in heraldry two metals, gold and silver (yellow and 
 white), termed respectively or and argent. Colours or tinctures 
 are more numerous, but the two most common are blue and red, 
 termed azure and gules. The others are black, green, and purple, 
 termed sable, vert, and purpure. With respect to metals and 
 tinctures, the following rule should be remembered : a metal is
 
 ACCESSORIES. 9 1 
 
 never put upon a metal, nor a colour upon a colour. A method 
 of expressing the metals and colours by dots and lines was in- 
 vented at the close of the iCth century, but is of no impor 
 tance in relation to brasses. In these memorials the actual 
 colours were always used in the following manner : the surface of 
 the brass was cut away, and the cavities filled with coloured 
 enamels or other perishable substances, of which, in the vast 
 majority of examples, not a vestige now remains. Gold was 
 treated differently, and forms the key to the armorial bearings 
 of nearly all brasses. In this case the brazen surface was not 
 cut away, but was either gilded or left plain, though doubtless 
 polished. Thus in a rubbing, the parts which appear black are 
 always or. Argent was sometimes represented by lead inlaid. 
 
 besides tinctures, two kinds of fur were in constant use. 
 Ermine, white with black spots, with its variants ermines, sable 
 with white spots, and erminois, of which the ground was or; the 
 latter may always be determined at a glance. Fair, a blue and 
 white fur, was represented by alternate pieces in a manner dove- 
 tailed together. 
 
 For the names of charges and other technical information, 
 reference must be made to one of the numerous illustrated 
 manuals and handbooks of heraldry. 
 
 But coats-of-arms are not confined to separate shields uncon- 
 nected with the designs of brasses. They appear also in various 
 parts of the canopies, as finials, or in the spandrils, or hung from 
 the shafts ; they are sometimes placed half-way down the sides of 
 border fillets, or on either side of the foot inscriptions ; they are 
 blazoned on banners, as at Felbrigg, Norfolk, and Ashford, Kent, 
 and on»J>en/ions, as at Stoke d'Abernon, Surrey ; they appear on 
 war-shields, as in all knightly effigies of the reigns of Edward I. 
 and Edward II., and on ailettes or epaulettes, as at Trumping- 
 ham, Cambs ; they are embroidered on the dress of both knights 
 and their ladies. 
 
 With heraldic dresses knights and ladies must be taken 
 separately : — 
 
 1. Knights. 
 
 Surcoats charged with armorial bearings. A good example 
 may be seen at Chartham, Kent, 1307, where Sir
 
 Q2 MONUMENTAL BRASSES. 
 
 Robert de Setvans (Septfans) has his surcoat semee (i.e. 
 sewn or sprinkled) with winnowing fans. Four only 
 appear on his surcoat, but there are two more upon his 
 ailettes and three on his shield. 
 Jufions, at a later date, are usually quite plain, but there are 
 several instances of their being charged with armorial 
 bearings. 
 
 Examples : — 
 
 Sir William de Aldeburgh, Aldborough, Yorks, c. 1360. 
 Lord John Harsick, Southacre, Norfolk, 1384. 
 Sir William Bagot, Baginton, Warwick, 1407. 
 
 Tcibards-of-arms came into use at about the middle of the 
 15th century, and continued till the reign of Elizabeth. 
 Since then they ' have been worn only by heralds on 
 great public occasions. They were short coats of silk, 
 worn over the body-armour, and reaching to the thighs. 
 The wearer's arms were embroidered on the front and 
 on the back, and were repeated on each sleeve. 
 
 Examples : — 
 
 William Fyndeme, Esq., Childrey, Berks, 1444. 
 Sir John Say, Broxbourne, Herts, 1 473. 
 Sir Roger l'Estrange, Hunstanton, Norfolk, 1506. 
 Sir William Gascoigne, Cardington, Beds, c. 1540. 
 
 2. Ladies. 
 
 Several methods of blazoning ladies' dresses were in vogue. 
 One of the earliest was to embroider the lady's own 
 arms on her kirtle, and her husband's arms on her 
 mantle. 
 
 Examples : — 
 
 Two of the Clopton family, Long Mel ford, Suffolk, c. 1480. 
 Jane and Elizabeth Gascoigne (Pickering and Mowbray), Cardington, 
 Beds, c. 1540. 
 
 Another was to blazon only the mantle, placing the husband's 
 arms on the dexter side and the Lady's on the sinister. 
 
 Examples : — 
 
 Joyce, Lady Tiptoft (very fine), Enfield, Middlesex, 1446. 
 Bridget and Elizabeth Style (Bauldry and Peryn), Beckenham, Kent, 
 I55 2 - 
 
 Sometimes, and especially in late brasses, the husband's arms
 
 ACCESSORIES. 93 
 
 were omitted, and the lady's embroidered alone on her 
 mantle. 
 
 Examples : — 
 Mary Burgoyn, Impington, Cambs, 1505- 
 Joyce Pekham, Wrotham, Kent, 1525. 
 
 Crests are frequently given in brasses. The knight pillows 
 his head upon a helmet, and from it, or rather from a 
 wreath (of two colours, twisted like a turban), rises the 
 crest. A handsome mantling, and lambrequins, or orna- 
 mental foliage, are frequently added. The helm, wreath, 
 crest, and mantling, together with the shield of arms, 
 are sometimes placed apart from and above the figure, 
 making what is called an achievement. 
 
 Badges appear in some few instances, especially in the 
 memorials of crown-keepers and yeomen-of-the-guard, 
 who are distinguished by a rose and crown. There is 
 a good example at East Wickham, Kent, to William 
 Payn, 1568. At Digswell, Herts, a swan is seen 
 embroidered on the collar of Lady Peryent, 141 5, a 
 unique usage. A small rectangular unnamed brass, in 
 the possession of the Surrey Archaeological Society, has 
 its field semee of fire-beacons, the badge of the Comp- 
 ton family. 
 
 Collars are much worn by knights and ladies of the 
 15th century. The Lancastrian collar of SS., and the 
 Yorkist collar of Suns and Roses, are the most usual. 
 
 The Order of the Garter. Sir Thomas Bullen, at Hever, 
 wears the full insignia of the order, mantle, collar, hood, 
 *. badge, and garter. In other instances we find only the 
 garter, buckled round the left leg, below the knee. 
 
 Examples : — 
 
 Sir Peter Courtenav, Exeter Cathedral, 1409. 
 Sir Simon cle Felhrigge, Felling, Norfolk, 1413. 
 Lord Camoys, Trotton, Sussex, 1424. 
 Sir Henry Bourchier, Little Easton, Essex, I4G3. 
 Sir Thomas Bullen, Hever, Kent, IS.38. 
 
 Merchant? Marks are very frequently found engraved upon 
 shields, especially from c. 1450 to c. 1550, in the place 
 of armorial bearings, which, in their case, were granted 
 only to Corporate Companies.
 
 94 MONUMENTAL BRASSES. 
 
 INSCRIPTIONS. 
 
 Inscriptions vary from century to century quite as much as any 
 other parts of a brass. 
 
 There are three kinds of type : — 
 
 1. Lombavdic, called also Uncial, Longobardic, and Lombardic- 
 Uncial. The letters are broad, well-formed, and easily read. 
 They were used in the 13th and at the beginning of the 14th 
 centuries. 
 
 2 Elack-lettcr, or Old English. 
 
 (a) Early, of a round character, being influenced by the 
 Lombardic, which preceded it. Used during the 14th 
 century. 
 
 (b) Straight. The letters all composed more or less of 
 straight lines, which very nearly resemble one another, 
 and are sometimes exceedingly difficult to read. Used 
 during the 15th century. 
 
 (c) Tudor. Again a -more rounded type, the letters being 
 
 much more fanciful, ornamental, and easily read. Used 
 during the 16th century. 
 
 3. Roman Capitals. Came into general use in the 17th cen- 
 tury. 
 
 The earliest inscriptions were placed round the edge of the 
 slab, and every letter was cut out separately, and inserted in its 
 own matrix. Thin fillets of metal were placed above and below 
 the line, in order to protect the letters. At the present time 
 scarcely one remains, but the indents are often sufficiently well 
 marked for the inscription to be read without any great difficulty. 
 In such inscriptions the character was always Lombardic. 
 
 A better method was to engrave the inscription upon a single 
 fillet running all round the edge of the slab. In the early part 
 of the 14th century these border fillets had plain angles, but 
 towards its close the corners were occupied usually by the four 
 evangelistic symbols, engraved in a quatrefoil projecting from a 
 square set lozenge-wise. Thus we have constantly the angel for 
 St. Matthew, the lion fur St. Mark, the ox fur St. Luke, and the
 
 ACCESSORIES. 95 
 
 eagle for St. John. At the same time it became customary to 
 add a second inscription, which was written upon a rectangular 
 plate, and placed at the feet of the effigy or effigies. 
 
 In the 15th century the foot inscription was generally the only 
 one, and was always present, whether there was a border fillet or 
 not. The latter was only retained in the more elaborate brasses. 
 When a brass was raised upon an altar-tomb, the border fillet 
 was commonly placed in chamfer, i.e. on the sloping verge of the 
 tomb, and was read from outside, instead of from the inside, as 
 was always the case where it was flat. 
 
 In the 1 6th century the border fillet was rarely used, and has 
 entirely disappeared by the time that the next century is reached. 
 
 Three languages are used, viz., Norman-French, Latin, and 
 English. 
 
 1. ITorman-French, the language of the court and of the 
 nobility, is commonly used on brasses of the 13th and the begin- 
 ning of the 14th centuries. 
 
 With a little knowledge of modern French these inscriptions 
 may be easily read, since scarcely any contractions are used. A 
 few simple rules may be given : — 
 
 i. The spelling is more or less phonetic. Thus c and s, s and 
 
 x, y and * may be used interchangeably, e.g., cis = six, 
 
 and ycy = ici. 
 ii. The letter s is often inserted before another consonant. 
 
 Thus aisne or eisne = aine, fest = fete, fist = fit, gist = git, 
 
 morust = raourut. 
 iii. The letter a is omitted. Thus cely = celui, gere = guerre, 
 
 . qi or ky = qui, ly = lui. 
 iv. Malme is written for mon ame, lalme for Tame, etc. 
 v. In these and in all other inscriptions, Latin and English, 
 
 j and v are represented by i and u. 
 
 The earliest inscriptions are the most simple, giving only the 
 name and a prayer for mercy. The date and other particulars 
 wore soon added. 
 
 Sloke W Abemon, Surrey. 1277. 
 
 Sire : John : Daubemoun : Chiualier : Gist : Icy : Deu : De : Sa : 
 Alme : Eyt : Mercy.
 
 0,5 MONUMENTAL BRASSES. 
 
 St. AfiehaeFs, St. Albans, c. 1330. 
 
 John Tecok & Maud sa femme gisont yci dieu de lour almes eit 
 merci ame. 
 
 Cobham, Kent. 1375. 
 
 >J< Icy gist dame Margarete deCobehm iadis femme a Will Tympe 
 (Jhiualier qe morust le 1 1 II iour de Septembre Ian de grace 
 Mil ccc lxxv de qi alme dieu pur sa pite eit mercy amen. 
 
 All Hallow? Barkings I. on Jon. c. 1400. 
 
 >J< Pries p' lalmeWillm Tonge q gyt ycy ky dieu de sonn alme eyt 
 mercy. 
 
 Cobham, Kent. 1407. 
 
 >J< De Terre fu fait et fourme 
 
 X Et en Terre et a terre suy retourne 
 
 X Johan de Cobham foundeur de ceste place qi fu iadys nome 
 
 X Mercy tie malme eit la seynte Trinite. 
 
 2. Latin. The language of nearly all inscriptions of the 15th 
 century. Both before and after that period it was used more 
 sparingly, dividing the honours, first with French and afterwards 
 with English. The chief difficulties in reading Latin inscriptions 
 are to be found in the various abbreviations which were constantly 
 used. The greater number of them will, however, come under 
 the three heads following. 
 
 i. The syllables pro, per, prae are rarely written in full, but 
 are represented merely by their initial letter, with or 
 without an apostrophe. Thus, p'fectus for perfectus. 
 ii. The letters ;// and n are always omitted where possible. 
 A straight line over the next vowel shows their position. 
 Thus, ale for animae. 
 iii. Terminations of all kinds are liable to be cut off without 
 any other compensation than an apostrophe. Thus, 
 ux' for uxor, ei' for ejus. 
 Several common words are abbreviated without following any 
 rule ; such as Uils for Dominus, ecclla for ecclesia, xps for christus, 
 Johes for Johannes. The letter c is often written instead of /, as 
 in tercius and eciam for tertius and etiam. 
 
 The greater number of inscriptions begin with the words " Hie 
 jacet ;" then follows the name and rank of the deceased, and the 
 date of his death j all alike end with the phrase, "Cujus anime 
 propitietur deus, Amen." This is usually abbreviated to " Cui' 
 aie ppiciet' de' ame," or sometimes to the bare letters c.a.p.d.a.
 
 ACCESSORIES. 97 
 
 In Tudor inscriptions the " Hie jacet " frequently gives place to 
 
 the alternative phrase " Orate pro anima." Shortened to " Or' 
 p' a la." 
 
 A second plate, inscribed with elegiac verses, is often added. 
 
 The following are instances : — 
 
 Croydon, Surrey. 15 12. 
 
 Silvester Gabriel cuius lapis hie tegit ossa 
 
 Vera sacerdotum gloria nuper erat 
 Legis nemo sacre ilivina volumina verbis 
 
 Clarius ant vita sanctius explicuit 
 Cominus ergo deu modo felix eminus almis 
 
 Qeve pius in scriptis viderat ante videt. 
 
 The next takes the form of an address to the reader : — 
 
 BidJenden, Kent. 1609. 
 
 Scire cupis (lector) tumulo quis conditur isto 
 
 Accipe : in hoc tumulo foemina virque jacent 
 Quosque prius thorus unus amor conjunxerat unus. 
 
 Unica defunct OS nunc tenet urna duos 
 Urna quidera corpus tenet hujus et illius una 
 
 Unitas animas fulgidus aether habet. 
 
 We find also another kind of verses, known as Leonine, in 
 which the lines are made to rhyme. It was at one time highly 
 fashionable. 
 
 Wimington, Beds. 1407. 
 
 Hie Margareta : de Brounflet laude repleta. 
 Est Edward nata ; Seynt Jon chivaler tumula. 
 Non laleat te res : DiTo Vessy fnit heres. 
 Militis in vita : Thome Brounfletque niarita 
 Quinque per hos natis : una nata generatus. 
 In Womyngtona bona : corruit ista patrona. 
 Morte tlie Mensis : viceno victa secundo. 
 Octobris mundi : picta more ferit necis ensis. 
 Annus Millenos: C quater suscipe plenos. 
 , Adderis septenos : domum celi^tis amenos. 
 * Nata pater domine : Flamen deus vince tue. 
 I lane Margaretam : tibi luce poli cape letam. 
 
 The following exhortation was highly popular : — 
 
 East Horsley, Surrey. 147S. 
 
 Quisquis eris qui transieris sta plege plora 
 hum q d eris fueraq' q d es : pro me precor ora. 
 
 This also : — 
 
 Tcmfl? Church, Bristol. 1396. 
 
 Es testis xJTe : qd' non jacet hie lapis iste 
 Corpus ut oraet : spe ut memoret'
 
 93 
 
 MONUMENTAL BRASSES. 
 
 Miles 
 
 = Knight. 
 
 Armiger 
 
 = Esquire. 
 
 Generosus 
 
 = Gentleman. 
 
 Comes 
 
 = Earl. 
 
 Consul 
 
 = Counsellor. 
 
 Camerarius 
 
 = Chamberlain. 
 
 Pincema 
 
 = Cup-bearer. 
 
 Huic lu qui transis : magnus medius puer an sis 
 
 Pro me fuiule preces : dabit michi sic venie spes. 
 
 The translation of titles is in many cases perfectly obvious. 
 The following, however, do not at first sight suggest their English 
 equivalents : — 
 
 Prepositus =Frovost. 
 
 Deeanus = Dean. 
 
 Capellanus = Chaplain. 
 Elemosinarius = Almoner. 
 
 Domicella = Maid of Honour. 
 
 Pannarius = Draper. 
 
 Pelliparius «= Tanner. 
 
 3. English. Here we have several difficulties to overcome, 
 such as obsolete words and forms, random spelling, and arbitrary 
 abbreviations. Tbe dialect and spelling of the earlier inscriptions 
 is in the main that of Chaucer and Wiclif, and may be best 
 mastered by reading the " Canterbury Tales," which might, in 
 costume as well as in language, be illustrated throughout by 
 brasses ; or the Holy Scriptures according to the quaint Saxon 
 translation of the Oxford Schoolman. When once the dialect 
 is familiar, the abbreviated words can be filled out with the 
 greatest ease. 
 
 Before the Reformation the great majority of English in- 
 scriptions began with the words, " Of your charity pray for the 
 soul of," or more simply, " Pray for the soul of," and ended " On 
 whose soul Jesus have mercy. Amen." The concluding phrase 
 was often amplified by the addition, after " On whose soul," of 
 "and all Christian souls." Sometimes it was still further amplified, 
 as at Stifford, Essex, 1504, "Of your chante pray for the soulle 
 of John Ardalle . . . and for his fader soulle and his moder 
 soulle and all crystyn soullys on whose soullys ihu have mercy 
 amen." Or more explicitly, " Of whose soul of your charity say 
 a paternoster and an ave." 
 
 In cases where the brass was laid down before the person's 
 death, the date of decease was necessarily omitted, and we 
 frequently find blank spaces which have never been filled up. 
 Some of these inscriptions to the living substitute " good estate " 
 for " soul." 
 
 It is exceedingly common to find that the opening and con-
 
 ACCESSORIES. 99 
 
 eluding clauses have been totally or partially erased, especially in 
 and near London. This was probably done at the Reformation 
 by the children of the persons commemorated, in order that the 
 Royal Commissioners might not tear up the brasses as "popish." 
 Verses are often found in addition to, or instead of, the ordinary 
 prose inscription : — 
 
 Ilolm-next-the-Sea, Norfolk, c. 1405. 
 
 Herry Notyngham & hys wyffe lyne here 
 Vat maden this chirche stepull & quere 
 Two vestments and belles they made also 
 Crist hem save therfore ffro wo 
 Ande to bringe her saules to blis at heven 
 Sayth pater & ave with mylde Steven. 
 
 Ash, Kent. c. 1460. 
 
 Prey for the sowle of Jane Keriell 
 Ye ffrendis alle that forth by pass 
 In endeleslyfFperpetuell 
 That god it grawnte m'cy and grace 
 Roger Cletherowe hir fadir was 
 Thowgh erthe to erthe of kynde reto'ne 
 Prey that the sowle in blisse sojo'ne. 
 
 Cople, Bedfordshire, c. 1500. 
 
 What can myght powr or auncyet bloode avaylf 
 Or els lyches, that men cownte ftlicite 
 What can they helpe, ferfull delhe to assayll 
 Certes nothynge, and that is p(ro)vyd by me 
 That had thus yistis rehersid w l all plente 
 Nevthelesse yit am I leyd lowe in clay 
 That whylom was squyer called thos g'y. (Gray.} 
 Benet my wyf eke is fro this world past 
 yit We trust to be had in memory 
 As longe as the paryshe of Coople shall last 
 P'or our benefitis don to it largely. 
 As witnesse xx li pownd wt other yistis many 
 • Wherfor all cristen men that goo by this way 
 P'y for y e soulis of Benet and Thos gray. 
 
 Romney, Kent. 15 10. 
 
 Of yo 1 charite pray for me 
 
 Thomas Lamberd of Romeney 
 
 Which dyed the xxiiii day of August 
 
 In lyke wyse so alle ye must 
 
 for dethe is sure to Alle mankynde 
 
 therefore have my soule in mvnde 
 
 Which ended MVX 
 
 T y e yeres of hym yt dyed for alle men. 
 
 From these examples it will be seen that not only is the spell-
 
 IOO 
 
 MONUMENTAL BRASSES. 
 
 ing peculiar, but the versification faulty, and that to an extreme 
 degree. 
 
 A glossary of the more common archaic words will probably 
 be useful : — 
 
 almys 
 
 = 
 
 alms. 
 
 mede 
 
 — 
 
 merit. 
 
 auncynt 
 
 = 
 
 ancient. 
 
 moder 
 
 = 
 
 mother. 
 
 aungeles 
 
 = 
 
 angels. 
 
 o r 
 
 = 
 
 our. 
 
 awtere 
 
 = 
 
 altar. 
 
 pish 
 
 = 
 
 parish. 
 
 bles 
 
 = 
 
 bliss. 
 
 pson 
 
 = 
 
 par>on. 
 
 certes 
 
 = 
 
 surely. 
 
 que re 
 
 = 
 
 choir or chancel. 
 
 clieyffe 
 
 = 
 
 chief. 
 
 redecion 
 
 = 
 
 redemption. 
 
 crysten 
 
 = 
 
 christian. 
 
 sowlys 
 
 = 
 
 souls. 
 
 deptyd 
 
 = 
 
 departed. 
 
 Steven 
 
 = 
 
 staves of music. 
 
 eke 
 
 = 
 
 also. 
 
 s'teyne 
 
 = 
 
 certain. 
 
 erchdiakn 
 
 = 
 
 archdeacon. 
 
 thred 
 
 = 
 
 third. 
 
 eyre 
 
 = 
 
 heir, heiress. 
 
 twey 
 
 = 
 
 two. 
 
 fadyr 
 
 = 
 
 father. 
 
 vestment 
 
 = 
 
 a set of vestments 
 
 ffro 
 
 = 
 
 from. 
 
 wen 
 
 = 
 
 think. 
 
 lialud 
 
 = 
 
 hallowed. 
 
 whylom 
 
 = 
 
 once. 
 
 hem 
 
 = 
 
 them. 
 
 wot 
 
 = 
 
 know. 
 
 her 
 
 = 
 
 their. 
 
 yat 
 
 = 
 
 that. 
 
 mad en 
 
 = 
 
 made (and simi- 
 
 ys 
 
 = 
 
 this. 
 
 
 
 larly other verbs.) 
 
 yistis 
 
 = 
 
 gifts. 
 
 mci 
 
 = 
 
 mercy. 
 
 . 
 
 
 
 After the Reformation the prayers for the soul of course dis- 
 appeared. Inscriptions began, " Here, or under this stone, lyeth 
 the body of," and occasionally ended with, "To whom God grant 
 a joyful resurrection." The old simplicity and piety often gave 
 place to lengthy and fulsome flatteries of the deceased person, 
 and the character of the composition at last reached as low an 
 <ebb as the art of engraving to which it ministered. But the 
 change was gradual, and many of the inscriptions remain of the 
 highest interest. 
 
 The two following will supply examples of the kind of prose 
 inscriptions in vogue after the Reformation : — 
 
 Biddenden t Kent. 159S. 
 
 John Evrenden beinge of the age of threescore yeares havinge 
 passed the tyme of his pilgrimage with good and godly report 
 hath finished his mortall days. J lis wives were two, Jone and 
 Jane. With the first he lived twentye-five yeares and had 
 issue William Keidinando Isabel] and 1'hebe ; with the other 
 seven yeares and had noe issue and now lyeth under this 
 marble stone who was buried the thirteenth day of Aprill 
 1598.
 
 ACCESSORIES. IOI 
 
 Jf null oi-ii, Kent. 1636. 
 
 Here lyeth the body of John Byrd sonn of William Byrd of 
 this parish of Headcorn, who was borne the io" 1 of May 1629, 
 and in the time of his sicknesse delivered many Godly ex- 
 hortations to his parents, taking his leave of them with such 
 unexpected expressions as are not common in so young a 
 child he departed this life on the 31st of January, anno 1036. 
 
 Verse inscriptions abound, and are of all kinds ; the two 
 examples below have little in common with one another: — 
 
 J yd J, Kent. 1572. 
 
 As nature breath & lyfe doth yelde, 
 
 So drawes on death by kynde 
 
 And yet through fayth in Chryste by deathe 
 
 Eternal! lyfe we fynde. 
 
 Heboid a profe by me that dyd, 
 
 Emoye my vitall breath ; 
 
 Full th re skore yeres & twelve thereto, 
 
 And then gave place to death 
 
 A Juratt of thys Towne was I, 
 
 And Thomas Bate by name, 
 
 Leke the I was, and now am dust 
 
 As thow shalt be the same 
 
 Power chyldren now my place supplye 
 
 My soule it ys wyth Chry.st, 
 
 Who sende to them and the good lyfe, 
 
 And eke in hyin to rest. 
 
 Rye, Sussex. 1607. 
 
 Loe Thomas Ilamon here enterd doth lye 
 Thrice burgesse for the parliament elected 
 Six times by freemens choyce made maior of Rye 
 And Captaine longetime of the band selected 
 Whose prudent courage justice gravitie 
 Deserves a monument ofmemorye. 
 
 At Stifford, Essex, we have a curious instance of one inscrip- 
 tion imitating another, a mother having died some three years 
 after her daughter. The two brasses are quite distinct, and the 
 epitaphs run as follows : — 
 
 Attn I.athum, daughter of Thos. Lalhum. 1627. 
 
 Behold in me the life of man 
 
 Compar'd by David to a span 
 
 Who in my strength death cal'd away 
 
 Before the middle of my dive 
 
 Let freinds and parents weepe no more 
 
 Her's all the odds I went before 
 
 And let them sone their lives amend 
 
 That death may be a welcombe freind.
 
 102 MONUMENTAL BRASSES. 
 
 Elizth. Lot hum, iv'fe of Thos. Lathum. 1630. 
 
 Yet once Againe behold and see 
 
 The frayletie of this life in me 
 And as t'was sayd to me before 
 Let freinds and parents weepe no more 
 So I may now the phrase returne 
 Let children all forbeare to mourne 
 And let them all in love remayne 
 And be prepar'd heaven to attayne. 
 
 Punning is frequently resorted to, as well in Latin as in Eng- 
 lish. Two very similar examples will suffice : — 
 
 Thos. Hylle, Neiv College, Oxford. 1468. 
 
 Mons in valle jacet : quern tu deus erijje rursum 
 Ut valeat montem crista p'fingere sursum 
 
 Thos. Grenhill, Beddington, Surrey. 1634. 
 
 Hee once a Hill was fresh & Greene 
 Now wither'd is not to bee seene 
 Earth in Earth shoveld up is shut 
 A 1 1 ill into a Hole is put. 
 
 Scrolls are seen issuing from the mouths or hands of 15th and 
 1 6th century figures, and curving upwards over the head. They 
 are inscribed for the most part with pious sentences, ejaculatory 
 prayers, and are usually in the Latin language. 
 
 They may be divided into several classes : — 
 
 Invocations of the Holy Trinity. 
 
 Sancta Tiinitas unus deus miserere nobis. 
 
 1 libera nos 
 O beata Trinitas? justifica nos 
 
 ( salva nos 
 
 Invocations of God the Father. 
 
 Pater de celis deus miserere nobis. 
 
 Miserere mei deus. 
 
 Deus propicius esto mihi peccatori 
 
 Sit laus deo. 
 
 Cor mundum crea in me deus. 
 
 Invocations of God the Son. 
 
 Jhu fili dei miserere mei. 
 
 Domine Jhu secundum actum mcum noli me judicare. 
 Vulnera xpe tua mihi dulcis sint medicina. 
 Virginis at<[iie dei fili crucifixe redemptor Humani 
 
 generis : xpe memento mei. 
 Exultabo in deo Jhu meo
 
 ACCESSORIES. 103 
 
 In domino confido. 
 
 f redemptor mens vivit. 
 Credo quod 3 de terra surrecturus sum 
 
 fin carne mea videbo dcum salvatorem meum. 
 
 Invocations of God the Holy Ghost. 
 
 Spiritus sancte deus miserere nobis. 
 
 Invocations of the Virgin Mary. 
 
 Sancta Maria ora pro nobis. 
 
 Mater dei memento mei. 
 
 O virgo virginum ora pro nobis tuum filium. 
 
 Occasionally they appear in English : — 
 
 Eexley, Kent. 1 5 13. 
 
 What so ever my dedys have bee 
 of me allmyghty Jhu have mercy. 
 
 Carshalton, Surrey. 1524. 
 
 blyssyd lady of pite py for me 
 y my soule savyd may be. 
 
 With the Reformation their character completely changed. 
 Scrolls still continued sparingly in use, though the reason for their 
 existence was gone, viz , as vehicles of invocatory prayers. 
 
 A few examples will show the change : — 
 
 Taedet animam meam vitae meae. 
 Cupio dissolvi et esse cum Christo. 
 Vive pius moriere pius. 
 Diis dedit diTs abstulit. 
 
 1 know that my redeemer Iiveth. 
 I rejoice only in the Lord. 
 
 On some few brass slabs of the 15th century small scrolls are 
 scattered about on each side of the figure, and inscribed with one 
 or tw© words only. These words are usually "Jhu," "mercy," 
 "Grace," " Misericordia," "Jesu mercy," or "Lady helpe." The 
 two last are perhaps the most common.
 
 v. Hbbitional (Classes, 
 
 FLEMISH BRASSES. 
 
 Among brasses of more than usual interest are those engraved 
 by foreign artists. A number of these exist in England, and are 
 commonly spoken of as '• Flemish." They are to be found not 
 only in Belgium and England, but more frequently in North 
 Germany. Instances occur also in Denmark, Poland, and other 
 countries. They are usually of great magnificence, and differ in 
 style very materially fiom those commonly used in England. 
 In most cases they are rectangular in shape, the figures being 
 engraved upon a background of diaper-work beneath splendid 
 canopies. In size they often measure ten or twelve by five or six 
 feet. Figures alone, without canopy or background, sometimes 
 occur, but never become the rule, as in England. There are 
 many minor differences in style, which can best be learnt by an 
 examination of the Anglo-Flemish examples, or of Mr. Creeny's 
 very fine volume of photo-lithographs. 
 
 Twenty or more Anglo-Flemish brasses remain to us, and they 
 fall naturally into several groups. 
 
 First come four great brasses, the largest as well as the most 
 beautiful in all England. They are evidently from the hands 
 of a single artist, the engraver of certain other magnificent 
 memorials at Lubeck and Schwerin in North Germany. 
 
 They commemorate : — 
 
 Adam de Walsokne and wife Margaret. 10 ft. x 5 ft. 7 in. King's 
 
 Lynn, Norfolk, a.d. 13+9. 
 Alan Fleming. 9 ft. 4 in. X 5 ft. 7 in. Newark, Nottinghamshire. A.D. 
 
 1361. 
 Robert Braunche, and two wives. 8 ft. 8 in. x 5 ft. 5 in. King's Lynn. 
 
 Norfolk, A.D. 1364. 
 Abbpt Thomas Delamcre. 9 ft. 3£in.X4ft. 3i ft. St. A/ban's Abbey, 
 
 Hertfordshire, c. a.d. 1375. 
 
 All these are well described in Boutell's " Monumental 
 Brasses." The last is known to have been engraved in the 
 
 101
 
 ADDITIONAL CLASSES. 105 
 
 abbot's lifetime and under his own superintendence, a practice 
 which was in all probability exceedingly common. 
 
 A fragment of another work by the same artist is preserved 
 in the British Museum. It shows the mitred head of an abbot or 
 bishop, with part of the surrounding canopy and groundwork, and 
 bears a strong similarity to the corresponding parts of the 
 Delamere brass. 
 
 A noticeable feature in these brasses is the disposition and 
 grouping of a number of minor figures round the person or per- 
 sons actually commemorated. Each is placed within a separate 
 niche, and under its own canopy. At the top there is invariably 
 a representation of the Deity enthroned, and to Him is carried 
 by two angels the soul of the deceased, symbolized by a naked 
 figure standing in a sheet. On either side are angels, swinging 
 censers or playing upon musical instruments. The shafts of the 
 canopy are occupied by saints and prophets, usually in pairs. 
 At St. Alban's, Offa, king of Mercia, founder of the abbey, stands 
 upon one side, and the proto-martyr Alban himself on the other. 
 Below the figures there is frequently a space in which the 
 engraver can give freer scope to his artistic powers. Thus at 
 Lynn we have a hunting scene in the Walsokne brass, and a 
 royal peacock-feast in the Braunche. 
 
 Next in importance come the brasses of two paristi priests : — 
 
 Simon de Wensley (name uncertain), c. 1360. Wensley, Yorkshire. 
 Thomas de Morton, c. 1360. North Minims, Hertfordshire. 
 
 The former of these consists of a figure only, but so engraved 
 that .there is not the smallest doubt of its Flemish origin. The 
 priest is nearly life-size, and is dressed in eucharistic vestments, 
 all the apparels of which are beautifully diapered. The principal 
 lines are very broad, and cut with great boldness, exhibiting 
 another characteristic feature of Flemish workmanship. 
 
 At North Minims the figure is much smaller, but in style not 
 unlike that at Wensley. A canopy of the usual t)pe is added, 
 but is cut away round the figure itself. 
 
 Other Flemish brasses are of a more miscellaneous character, — 
 
 Ralph de Knevyngton, Esq. 1370. Aveley, Essex. In armour ; small; 
 
 canopy plain. 
 Thomas de TopclyfF, and wife. 1391. 5 ft. 9 in. X 3 ft. I in. Cam ; y 
 with souls, angels, etc. ToJ>cliffe, Yorkshire.
 
 106 MONUMENTAL BRASSES. 
 
 Roger Thornton, and wife. 14-9. All Saints' , Newcastle. 7 ft. 6 in. x 
 
 4 ft. 3 in. Souls, angels, etc. 
 Margaret Ilornebolt. 1529. Fnlham, Middlesex. Lozenge-shaped 
 
 mural plate; demi-figure in shroud. 
 Thomas Pownder, and wife. 1525. St. Mary Quay, Ipswich. 
 Andrew Evyngar, and wife. 1536. All Hallows Barking, London. 
 
 The two last are similar in many respects. They are ot 
 medium size, and more pictorial than brasses of earlier date. 
 The members of the family are grouped together upon a pave- 
 ment, and individual portraits are evidently intended. 
 
 Two wholly foreign brasses are preserved in the museums of 
 London, and deserve careful attention : — 
 
 Ludowic Cortewille, AND WIFE. 1504. Geological Museum, Jermyn 
 Street, Piccadilly. Size : 6 ft. 8 in. X 3 ft. 6 in. 
 Brought from the chapel of the ruined castle of Cortville, near Liege. Male 
 figure in armour : collar of mail, cuirass protected by placcates or 
 demi-placcates, pauldrons and coutes with large aiming points, short 
 skirt of taces, lour tuilles, mail skirt, sword-belt and sword, usual 
 leg armour and broad sabbatons. Lady in plain thick veil head-dress, 
 lace collar, and gown with wide fur-lined sleeves. 
 
 Henry OsKENS, priest. 1535. South Kensington Museum. 
 2 ft. 9 in. x I ft. 10^ in. 
 Originally at Nippes, near Cologne, it was transferred to the museum of the 
 Archbishop of that city, and afterwards found its way to Paris, where 
 it was purchased in 1866 for ^20 by the South Kensington authorities. 
 The brass consists of four figures within an elaborate canopy of renais- 
 sance architecture. In the centre is a beautiful Virgin, some fourteen 
 inches high, standing upon a crescent, and surrounded by a glory of 
 fiery rays. On her right arm she bears the Holy Child, who holds 
 a large Tau cross. On her right stands St. Peter, and on her left the 
 emperor St. Henry, crowned and in armour. Below him kneels the 
 priest, " Cantor et Canonicus huius Ecclesie," vested in a surplice. 
 
 Besides the above-mentioned, there are a considerable number 
 of English brasses, which, on being detached from their stone 
 matrices, have been found to have been cut from older plates of 
 Flemish workmanship, whose engravings appear upon the reverse 
 side. A distinct class of palimpsests is thus formed, which is 
 constantly receiving fresh additions, as brasses are displaced and 
 new discoveries made. 
 
 Examples are at Mawgan Nunnery, in Cornwall; Margate; 
 Pinner, near Harrow ; and Camberwell, in South London. In 
 the last two instances the brasses are now set in frames, so that 
 both sides can be easily seen. 
 
 In the 1 6th and 17th centuries the use of small mural
 
 ADDITIONAL CLASSES. 10J 
 
 rectangular plates became common in this country, and 
 the young collector must be careful to distinguish these from 
 Flemish brasses. With a little practice they will be easily recog- 
 nised. A good practical rule is that if a rectangular brass is 
 mural, and also not more than eighteen inches high, it is almost 
 certainly not Flemish. One of the earliest of such brasses, 
 representing a man in armour, wife, and children (c. 1500), was 
 once in Netley Abbey, and is now in the possession of the Surrey 
 Archaeological Society. Its history is a curious one, and fur 
 some years it did duty as the back of a cottage fireplace, where 
 it was discovered by the incumbent of a neighbouring parish. 
 Fortunately it remains uninjured. Boutell has actually set it 
 down as Flemish, but without sufficient reason. 
 
 FRENCH BRASSES. 
 
 A few brasses have been assigned by some antiquarians to 
 French engravers. In France itself scarcely a brass remains, 
 and there is little to prove what were the special characteristics 
 of such works in that country. 
 
 The greatest probability of French origin attaches itself to the 
 two following : — 
 
 Sir John de Northwode and lady. c. 1330. Minster, Isle of Sheppey. 
 John de Grovehurst, priest, c. 1340. Horsemonden, Kent. 
 
 PALIMPSESTS. 
 
 The term palimpsest is applied to those brasses which have been 
 laid down a second time, in memory of some person other than 
 the one £or whom the plate was originally engraved. Its primary 
 application was to a certain class of manuscripts, from which the 
 first writings were scraped or sponged out, in order that the some- 
 what costly parchment might be used by another writer. The best 
 known instance perhaps is that of the New Testament Codex 
 Ephraemi, of the 5th century, now at Paris; in it the theological 
 works of Ephraem the Syrian are written over the partially erased 
 text of the New Testament. 
 
 1. Palimpsest brasses are nearly all of a date subsequent to 
 the dissolution of the lesser and greater monasteries, 1536-9,
 
 IOS MONUMENTAL BRASSES. 
 
 when great numbers of plates found their way from the abbeys 
 and priories to parish churches. In these cases new figures were 
 engraved and cut from the older memorials, which were turned 
 over and made to do duty once more as new brasses. Out of the 
 comparatively small number of brasses which have in modern 
 times become detached from their slabs, a remarkably large 
 proportion of those of the latter part of the 16th century have 
 been found to be palimpsest. At Chobham, Surrey, is the 
 figure of a knight or esquire, with long beard, and dressed in 
 armour of about the year 1550; on the reverse is a priest, c, 1510, 
 in eucharistic vestments, holding a chalice and wafer. The brass 
 is now nailed to a pillar in the south aisle, so that only the priest 
 can be seen, which presents a very battered appearance. Similarly 
 at Cambenvell, in the same county, an inscription to Edward 
 Scott, 1538, has on its reverse another to John Ratford, some 
 half a century earlier. At Howden, Yorks, an inscription to 
 Peter Dolman, Esq , 162 1, has on its reverse the lower part of a 
 civilian, c. 1520. Again, at Hedgerly, Bucks, the brass of Mary 
 Bulstrode, 1540, is entirely made up of palimpsest fragments, 
 brought apparently from Bury St. Edmund's, in Suffolk. On the 
 reverse of the figure is an early inscription in English verse; on 
 that of the Bulstrode inscription, another to Thomas de Totyng- 
 ton, Abbot of St. Edmund's 1301-1312 ; on that of a plate of 
 children, part of the figure of an abbot, c. 1530, showing his 
 chasuble, d dmatic, and pastoral staff; and finally, on the reverse 
 of a shield, a representation of the resurrection. The great 
 Abbey of St. Edmund's was only delivered up to the king in 
 November, 1539, a few months before the death of Margaret 
 Bulstrode. 
 
 The accompanying illustration (p. 1 11) shows on the obverse 
 the symbol of St. John, from one of the angles of a border fillet, 
 and on the reverse part of a shield or coat-of-arms. It is now pre^ 
 served at the British Museum, but nothing is known of its origin. 
 
 Palimpsests of which both sides were engraved before the 
 Dissolution are rare, but examples occasionally occur. The 
 illustration here given is from a rubbing of a palimpsest which 
 may be seen at St. Alban's Abbey. The side first engraved dis- 
 plays the lower part of a female effigy, c. 1430, having at her feet
 
 ADDITIONAL CLASSES. 
 
 I I I 
 
 Palimpsest Evang. Symbol, riritUh Museum. 
 
 a dog with a collar of bells ; on the reverse is the similar portion 
 of an abbot in full vestments, c. 1490. Such cases can only be 
 explained by a theory of direct theft, the engraver being probably 
 the receiver of the stolen goods. 
 
 2. Another somewhat numerous class of palimpsests consists 
 of those in which the earlier engraving is foreign, i.e., Flemish or 
 German. These may be either spoilt or stolen plates which had 
 somehow come into the hands of the exporters, who sent them 
 over to the English engravers as cheap or second-hand stock. 
 They are usually very fragmentary. For instance, at Pinner, 
 Middlesex, a small chrysom child, by name Anne Bedingfeld, 
 exhibits on the reverse the words, " Hier light," cut from the 
 margin of a Flemish brass, c. 1450. Again, at Camberwell, behind 
 a shield and inscription to Margaret Dove, 1585, are fragments of 
 a foreign shroud brass, c. 1500. So also at Margate (c. 1480) and 
 Aylesford (c. 1540) Kent, and at St. Peter's Mancroft, Norwich, 
 c. 1520. In this last brass the figure of Peter Rede, Esq., 156S, 
 is copied from a much earlier engraving. 
 
 3. A tlnVd class of palimpsests may be exemplified by the brass 
 of Laurence de Wardeboys, Burwell, Cambs. This man was 
 the last Abbot of Ramsey, in the Huntingdonshire fens, and had 
 his brass laid down during his abbacy, 1 508-1 539, representing 
 him in mitre and full vestments. Then came the dissolution, 
 and he was forced to resign his office, dying about three years 
 late.. The figure was altered to that of a priest in canonicals, 
 cassock, surplice, almuce and hood, in the following way :— The 
 lower part was turned over and re-engraved, and an entirely new 
 head and shoulders were added. Traces of the original matrix
 
 112 MONUMENTAL BRASSES. 
 
 remain, especially the cutting for the mitre. The canopy of this 
 brass is also palimpsest, but of the ordinary type. Part of it is cut 
 from the figure of a deacon, and shows on the reverse his fringed 
 plain dalmatic and his maniple. 
 
 At St. Margaret's, Rochester, is another somewhat similar 
 example. The half effigy of Thomas Cod, priest, 1465. is engraved 
 upon both sides of the plate. The first engraving was evidently 
 cancelled on account of a slight inaccuracy, since an amice has 
 been subsituted for an almuce. 
 
 4. Another and rarer kind of palimpsest is that in which a 
 figure has been altered without reversing the plate. The best 
 known example is at Waterpery, Oxon, and commemorates Walter 
 Curzon, Esq., and his wife, 1527. The figures of a knight and 
 lady of the middle of the previous century have been adapted to 
 the more modern style of dress. To the male effigy a new head 
 and shoulders have been given, while the skirt of taces has been 
 altered to one of mail ; other changes of less importance have 
 been made in the other parts of the armour. The upper half of 
 the lady is entirely new, and the lower part has been shaded and 
 slightly altered. 
 
 At Chalfont St. Peter, Bucks, the brass of Robert Hanson, 
 priest, 1545, exhibits similar alterations; shading has been added 
 to the lines of the vestments, and pointed shoes have been made 
 round. 
 
 5. In the fifth and last class early effigies have been merely 
 appropriated to later persons, by the simple process of adding a 
 fresh inscription. Examples are frequent. At Ticehurst, Sussex, 
 Sir John Wyborne, 1510, is represented by the figure of a knight 
 which was engraved, c. 1370, and in this case his two wives have 
 been added ; they are placed on either side of the original effigy, 
 and, being only half its size, look supremely ridiculous. In these 
 cases of misappropriation warriors seem to have been the chief 
 offenders, as at Laughton, Lines, c. 1400 and 1549 ; Bromham, 
 Beds, c. 1430 and 1535; and Isleworth, Middlesex,^. 1450 and 
 1544. At Weybridge, Surrey, three skeletons, c. 1520, are made 
 to represent the three children of Sir John Trevor, the last of 
 whom died in 1605. In many of these instances the Dissolution 
 of the Monasteries may once more give an explanation.
 
 vi. H Xtteran? (Bui&e. 
 
 It will probably be useful to the young collector and beginner 
 in the art of brass-rubbing to know something of the literature 
 which deals with his pursuit. 
 
 A fair number of books, many of them full of magnificent illus- 
 trations, have from time to time been published on the subject- 
 All these, with the exception of the two latest, both published by 
 subscription, have long been but of print, and are difficult to pro- 
 cure. Moreover, their costliness, when they do find their way 
 into the market, places them beyond the reach of the majority of 
 collectors. 
 
 They can all be studied in the reading-room of the British 
 Museum, but nowhere else. The great libraries of Oxford and 
 Cambridge are lamentably deficient in the literature of this branch 
 of archaeology. 
 
 It will be well to state clearly the nature of the books which 
 can be consulted, and before particularizing to divide and place 
 them under five heads, differing from one another in importance. 
 They are : — 
 
 I. Works treating solely of the Study of Monumental 
 Brasses : 
 (a) Of English brasses generally. 
 • (/>) Of brasses of single counties. 
 (c) Of foreign brasses. 
 II. Works on Monuments generally. 
 
 III. Works on armour and costumes. 
 
 IV. County Histories, Heralds Visitations and other anti- 
 
 quarian works treating incidentally of brasses. 
 Local guide-books. 
 V. Magazine articles and Transactions of Antiquarian 
 
 Societies. 
 
 113 H
 
 114 MONUMENTAL BRASSES. 
 
 I. Under the first head may be classed everything of real 
 importance to the brass-collector, and the following list will, it is 
 :*oped, be found to be a fairly complete one. 
 
 Haines, Rev. H. : " A Manual of Monumental Brasses." i86r. 
 
 This comes far before all other books in the brass-collector's 
 estimation. 
 
 It is simply invaluable, and no good work can be done without 
 it. It consists of two parts, an introduction and a list, which are 
 usually bound in separate volumes. The introduction is extremely 
 full, and leaves little or nothing to be desired. Its usefulness is 
 moreover enhanced by some 200 illustrations, many of which are 
 of complete brasses. 
 
 The list is of greater value even than the introduction, and 
 remains, after a quarter of a century, the only one in existence of 
 the brasses of the whole of England. It forms the basis of every 
 more complete county list. As might be expected, the restora- 
 tions and re-sealings which have taken place in almost every old 
 church during the last few years, have brought to light a number 
 of brasses which were unknown to Haines, and also, unfortunately, 
 through ignorance and carelessness, have brought about the loss, 
 mutilation, and covering up of others. Thus it comes to pass that 
 Haines' list is no longer a very accurate one, and needs revising. 
 
 The work of revision has been taken up by an association of 
 brass-collectors at Cambridge University, and corrections are 
 being collected to that end. The process is, however, a slow one, 
 and will probably occupy two or three years. Till then the old 
 edition still holds its place. It was published by subscription a', 
 a guinea per copy, but now, when it occasionally finds its way into 
 the market, is worth nearly half as much again. 
 
 About twelve years before the appearance of these volumes, a 
 " Manual for the Study of Monumental Brasses, and Descriptive 
 Catalogue of Rubbings," was issued by the Oxford Architecture-.) 
 Society. 
 
 This also was written by Haines, and its introduction is a 
 shorter draught of the later manual. The catalogue of the 
 Society's rubbings is its peculiar feature, and this forms an excel- 
 lent model which all would do well to follow.
 
 A LITERARY GUIDE. 1 I 5 
 
 Manning, Rev. C. R., published a tentative list of brasses a 
 few years before Haines appeared. As a first attempt it deserves 
 praise, but was entirely superseded by the later work. 
 
 Justin Simpson: "A List of the Sepulchral Brasses of Eng- 
 land." 1857. 
 This is a work of the same description as Manning's. 
 
 Boutell, Rev. C. : "Monumental Brasses and Slabs." 1S47. 
 
 The contents of this volume, as the title-page says, were read 
 for the most part at the meetings of the St. Albans Architectural 
 Society. The primary object of its composition is impressed on 
 the style and character of the book. As a readable introduction 
 it is most excellent. Containing not half as much information as 
 Haines, it has better engravings and is better printed. In in 
 appendix is given a classified list of some fine examples of brasses' 
 chronologically arranged. 
 
 " The Monumental Brasses of England. A series of engravings 
 upon wood, etc., accompanied with brief descriptive notices.' 
 1849. 
 
 This is better known as " Boutell's Series," is uniform with the 
 first book, and contains a good collection of engravings, drawn 
 and executed by Utting. In selecting the contents, those brasses 
 are preferred which are most meritorious end possess the greatest 
 general interest. At the foot of each plate are given the approxi- 
 mate date, measurement, and position of the brass. Priests, 
 knights, and ladies are well represented by many fine specimens, 
 but there are few civilians, and few curious, i.e. unusual, types of 
 brasses. 
 
 Waller, J. G. and L. A. B. : "A Series of Monumental 
 Brasses, from the 13th to the 16th Century." 1S42-1864. 
 
 A magnificent folio volume, published originally in parts, an 1 
 containing sixty-one grand coloured plates. The stone slab or 
 matrix is represented as pale blue, the brass itself brown or green, 
 while lost portions are restored when possible, but in a pale 
 colour. Coats of arms are coloured wherever there is the slightest 
 trace of enamel or other colouring matter in the originals. A 
 full descriptive notice is given of each brass engraved, with 
 genealogical an/* historical details when known.
 
 Il6 MONUMENTAL BRASSES. 
 
 Cambridge Camden Society: "Illustrations of Monumental 
 Brasses." 1846. 
 
 A peculiar but highly interesting book. Good plates of two 
 dozen fine and representative brasses are given. To each of them 
 is appended an elaborate and somewhat flowery essay by one ot 
 the members of the famous society. No single writer contributes 
 more than three to the number. All the essays are initialed, and 
 many of the initials belong to well-known names. 
 
 (/') We now come to works treating of the brasses of different 
 counties. They are not as yet at all numerous. 
 
 Fisher, Thos. Bedfordshire. " Collections, Historical, Genea- 
 logical, and Topographical for Bedfordshire." 18 12. 
 
 This work, though not treating exclusively of brasses, heads the 
 list. It is a handsome quarto volume of very fine plates, a great 
 number of which are devoted to the brasses of the county. The 
 plates are coloured light yellow. 
 
 Cotman, John Sell. Norfolk. " Engravings of the most Re- 
 markable of the Sepulchral Brasses in Norfolk." 1S19. 
 
 Here we have a most valuable book on the brasses of this 
 county. No other, except perhaps Kent, possesses so extensive, 
 so various and so interesting a series of brasses as Norfolk. 
 
 It is worthily treated by Cotman, whose book is unrivalled 
 in its class. It is a small folio, and contains numerous beautiful 
 engravings. The great Anglo Flemish brasses of King's Lynn 
 to Adam de Walsokne, 1349, and Robert Braunche, 1364, are 
 particularly fine. 
 
 Not a few of the brasses described by Cotman at the begin- 
 ning of the century are now unhappily lost. This adds greatly 
 to the value of the book. 
 
 Hartshorne, Rev. C. H. Northants. "An Endeavour to 
 
 Classify the Sepulchral Remains in Northants." 1840. 
 It is a small book, devoted chiefly to brasses, and is not, as 
 the title would lead one to expect, confined alone to the county 
 of Northants. For instance, plates are given of the brasses to 
 Sir Roger de Trumpington and Sir John de Creke, both in Cam- 
 bridgeshire.
 
 A LITERARY GUIDE. I 17 
 
 Hudson, Franklin. Northants. "The Brasses of North- 
 amptonshire." 1 S53. 
 There is no other book whose plates are worthy to be compared 
 with those contained in this grand production, except the Wallers'. 
 
 Doth books are large folios, and their bronze-tinted lithographic 
 plates are altogether beyond comparison. 
 
 Hudson's is improved by a good alphabetical index. 
 
 Kite, Edw. Wiltshire. "The Monumental Brasses- of Wilt- 
 shire." 1S60. 
 
 An excellent piece of work, giving a very full account of the 
 brasses of this county. The general character of the letterpress 
 and the style of the engravings are similar to those in Boutell. 
 Among the plates, those of bishop Wyvil (in Salisbury Cathedral ), 
 and bishop Hallum (from Constance) are the best. 
 
 The brasses are arranged in order of date, and there is an 
 interesting chapter on " Despoiled Slabs." 
 
 Dunkin, E. H. W. Cornwall. "Monumental Trasses ot 
 Cornwall." 1882. 
 
 The western duchy has received excellent treatment. Dunkin's 
 quarto volume contains sixty-two very accurate engravings, with 
 it full description of each brass figured. Numerous genealogical 
 and other details are given, nor are despoiled slabs allowed to 
 pa^s without notice. Haines' list is carefully corrected. The 
 index will be found at the end of the introduction. 
 
 Andrews, W. F. Herts. " Memorial Brasses in Hertfordshire 
 Cnurches." 1SS6. 
 
 As a modern production this little book is extremely bad. It 
 is a reprint of articles in a local newspaper. The plan alone is 
 good, for the author takes Haines' list as the basis of his account, 
 supplementing, correcting, and embellishing with details gathered 
 from Chauncy's, Clutterbuck's, and Cussans' county histories. 
 
 It is disfigured by occasional gross mistakes, e.g., among the 
 Broxbourne brasses, a priest in academicals is called, " A man 
 in civil costume," although correctly given by Haines. Three 
 or four illustrations are given on the inside of the paper cover.
 
 I I S MO N U M E N TAL B RASSES. 
 
 Belcher, W. D. Kent. " Kentish Brasses." 1888. 
 
 Kent has long needed separate treatment, possessing as it 
 does, after Norfolk, the best and largest series of brasses. 
 
 The modern method of reproducing brasses is by photo-litho- 
 graphy, a method at once accurate and inexpensive. In Belcher's 
 book 225 brasses are figured, the great majority for the first 
 time. The letterpress, however, is altogether inadequate, and 
 frequently misleading ; it might almost have been omitted. 
 
 Farrrr, Rev. E. : "List of Norfolk Monumental Brasses," 
 1890. A simple, but remarkably complete list, just published. 
 
 In Lincolnshire Notes and Queries, the Rev. G. E. Jeans is 
 is-uingavery valuable descriptive list for Lincolnshire. When 
 finished, it is to be republished in book form. 
 
 Before leaving this section, it may be well to mention that good 
 accounts of the brasses of Herefordshire, Worcestershire, and 
 Gloucestershire, by C. T. Davis, have appeared in several Midland 
 newspapers. 
 
 These are The Gloucester Journal, from June, 1882, to Septem- 
 ber, 18S5 ; the Worcester Herald, from March to December, 1883 ; 
 and the Evesham Journal and Four Shires Advertiser, from July, 
 18S6, onwards. The Evesham series includes brasses in the 
 counties of Gloucestershire, Worcestershire, Oxfordshire, and 
 Warwickshire, i.e., in the district through which the paper circu- 
 lates. Unfortunately they have not been reprinted. 
 
 Two books on the Cambridgeshire brasses have been written, 
 but not published. The first, by the Rev. B. Hale Wortham, 
 dates some years back, and is scarcely likely ever to appear. 
 The second, by H. K. St. J. Sanderson and the Rev. A. Brown, 
 assisted by other members of the Cambridge University Associa- 
 tion of Brass Collectors, has been only recently completed. The 
 information it contains is most full, and the loss to antiquarianism 
 will be a heavy one if it should not be published. 
 
 (c) Works treating on foreign brasses. 
 
 Creeny, Rev. W. F. : " Monumental Brasses on the Continent 
 
 of Europe." 1S84. 
 In this section Creeny's handsome folio stands alone. A
 
 A LITERARY GUIDE. I IQ 
 
 series of plates, similar to the Wallers', was advertised by W. II. 
 T. Weale twenty or thirty years ago. They were to include the 
 finest brasses of Northern Europe, but for some reason or other 
 the project was abandoned. The field remained unoccupied till 
 the appearance of Creeny's book. His plates are photo- 
 lithographs, well executed on good paper, and are among the 
 finest of their kind. The brasses figured are many of them 
 magnificent examples of the engraver's art, especially those from 
 Lubeck and Schwerin. To the student of English brasses they 
 are most valuable for the light they throw on the great Anglo- 
 Flemish brasses at St. Albans, King's Lynn, and Newark, together 
 with all the lesser English examples of foreign workmanship. 
 
 II. Works on Monuments generally. 
 
 It will not be necessary to say much of this class of books, 
 though they sometimes have a bearing on the subject of brasses. 
 Modern productions are fairly common, especially those which are 
 concerned only with some particular locality. Of the older 
 books, Weever is the parent. His book, " Ancient Funeral Monu- 
 ments," was published in a. d. 1631, just before the beginning of 
 the Great Rebellion, and deals with the dioceses of Canterbury, 
 Rochester, London, and Norwich. The greater part is devoted 
 to London. His accounts are extremely valuable, especially that 
 of Old St. Paul's, with all its beautiful tombs and brasses, as well 
 as of the other churches destroyed in the fire. He gives a great 
 deal of most interesting information about the disgraceful treat- 
 ment of ancient monuments during the progress of the Reforma- 
 tion. Had Edward VI. 's reign continued but a few years longer 
 it is highly probable that the brasses of England would have as 
 complefiely disappeared as those of France did during the Revo- 
 lution. 
 
 From Weever we pass on a century and a half to another great 
 antiquarian landmark, Gough's " Sepulchral Monuments in Great 
 Britain," published in 17S6. He is not greatly concerned with 
 brasses, though they are of course included in his subject 
 ScOthard speaks very slightingly of his illustrations : " Whatevei 
 information we may receive from his writings, the delineating 
 part is so extremely incorrect, and full of errors, that at a future 
 period, when the originals no longer exist, it will be impossible
 
 120 MONUMENTAL BRASSES. 
 
 to form any correct idea of what they really were." This criticism 
 goes somewhat beyond the truth, for in the department of brasses 
 there are several illustrations of small brasses printed from the 
 monuments themselves, after the manner of Craven Ord and Sir 
 John Cullum, who were just then at work forming their collec- 
 tions. 
 
 Stothard published his " Monumental Effigies of Great Britain," 
 in 1817, a valuable quarto. His plates are good, and include 
 several well-known brasses, — from Stoke d'Abernon, in Surrey 
 (Sir J. Daubernoun, jun.), Ingham, in Norfolk, Amberley, in 
 Sussex (John Wantele), Minster, in Sheppey, and Gorleston, in 
 Suffolk. ' 
 
 In 1S40 appeared another volume of "Monumental Effigies of 
 Great Britain," by Thomas and George Hollis. It was first 
 published in six parts, and was intended to correspond to Stot- 
 hard's book of the same title. It contains a fine series of plates, 
 but no letterpress. The brasses figured are from Chartham, in 
 Kent (Setvans), Mildenhall, in Suffolk, and Wotton-under-Edge, 
 in Gloucestershire. 
 
 III. Works on Armour and Costume. 
 
 As none of the writers of these works take their illustrations 
 from brasses, except occasionally Fairholt, a mere mention of the 
 names of a few of the oldest and best known will suffice. 
 
 In the preface to his " Costume in England," Fairholt says 
 that it is his purpose not to enter into lengthened disquisitions 
 upon, or descriptions of, costume, but rather to note the general 
 characteristic of the several epochs, and to direct the artist to 
 the sources — in books, illuminated manuscripts, monuments, 
 brasses, etc., etc. The mention of illuminated manuscripts strikes 
 the keynote of nearly all works on armour and costume, their 
 illustrations being almost exclusively drawn from this source. It 
 is worked out more particularly in Strutt's " Dress and Habits of 
 the People of England," and in Sir Samuel Meyrick's grand book 
 on armour. Both are crowded with beautiful illustrations. The 
 works of Shawe and Blanche on these same subjects are also well 
 worth looking through. 
 
 Blanche's " History of British Costume," with 400 illustrations, 
 has lately been republished by Bell at a moderate price.
 
 A LITERARY GUIDE. 121 
 
 IV. County Histories, etc. 
 
 A great deal of useful information may be picked up from these 
 books, not so much about the brasses themselves, though they 
 are occasionally the subject of good illustrations, as in Lyson's 
 "Magna Britannica," but about the people they represent. His- 
 torical and family details, when wanted, must be looked for in 
 books of this class. It would be quite impossible to give a list of 
 them, for their name is legion, since histories of single towns and 
 villages must necessarily be included among them. 
 
 The young collector, to whom the larger and rarer works are 
 generally inaccessible, must by no means despise the local guide- 
 book. Its information may be scanty and imperfect, and is fre- 
 quently inaccurate, but it may often give him useful hints which 
 he will do well to follow out. Especially when he possesses no 
 good list of brasses, he may generally discover from a guide-book 
 what churches are most likely to repay a visit. 
 
 V. Magazine Articles and Transactions of Antiquarian 
 Societies. 
 
 It is extremely difficult to collect and make use of the large 
 amount of varied information to be found on the subject of 
 brasses among the publications mentioned above. In this field 
 a great deal might be done. For instance, in the older volumes 
 of the Gentleman's Magazine there is a large amount of in- 
 cidental information scattered up and down its pages. A good 
 deal of it takes the form of letters to the editor, Sylvanus Urban, 
 which frequently refer to brasses that have now disappeared. A 
 collection of all these notices into a single volume would be ol 
 great value. Modern antiquarian monthlies, such as The Anti- 
 quary and Watford's Antiquarian, also yield much that is ex- 
 tremely valuable. They may be far more easily consulted than 
 the Gentleman's Magazine of our great-grandfathers. 
 
 Far greater difficulties will be experienced in the collecting 
 of information from the published transactions of antiquarian 
 societies. They are for the most part printed merely for private 
 circulation among the members of each particular Society, and 
 are therefore extremely difficult of access. To make matters 
 worse, it seldom happens that copies are sent even to the British 
 Museum.
 
 122 MONUMENTAL BRASSES. 
 
 The Archceohgical Journal, containing the proceedings of the 
 Archaeological Institute, is perhaps the most accessible. In vol. i. 
 a.d. 1844, there is an excellent paper by Albert Way on brasses, 
 treating chiefly of the historical treatment of brasses and of the 
 various methods of copying. Notices of isolated brasses, by J. 
 G. Waller and others, are to be found in later volumes. 
 
 Next in rank come the transactions of county societies, such as 
 the Yorkshire Architectural (cf. Military Brasses with facsimiles, 
 by J. R. Fairbank, M.D., 1886), the Essex Archaeological, and the 
 Exeter Diocesan Architectural Societies. The last of these has a 
 volume especially rich in brasses. 
 
 In the transactions of the Birmingham and Midland Institute, 
 in the archaeological section for 1SS4-5, are two valuable papers, 
 both illustrated: the one, by C.Williams, is entitled "A Few 
 Notes on Monumental Brasses, with a Catalogue of those Existing 
 in Warwickshire"; the other, by C. T. Davis, "The Monumental 
 Brasses of Herefordshire and Worcestershire." 
 
 One publication has been devoted exclusively to the subject, 
 of brasses, viz., the " Transactions of the Cambridge University 
 Association of Brass Collectors." The first number was issued 
 in November, 1SS7, but its circulation is extremely limited. It 
 is just possible that it has a future before it.
 
 vii. ^Distribution. 
 
 The monumental brasses of the British Isles are by no means 
 indiscriminately scattered over the whole country. They are 
 in the first place almost entirely confined to England itself. 
 Only one is known to be still in existence in Scotland, viz., 
 a small mural rectangular plate in Glasgow Cathedral, while 
 four brasses, also mural and rectangular, in St. Patrick's Cathedral, 
 1 Hiblin, constitute the whole of the Irish contingent, at least as 
 far as is known. The principality of Wales possesses perhaps a 
 score, but they are for the most part quite unimportant. 
 
 In England there are three or four thousand, and yet these 
 are but a small fraction of the number which must have been 
 in existence at the commencement of the Reformation. Of 
 those that remain, the greater number are to be found in the 
 eastern and home counties, while in the west and north, brasses 
 are rare and unimportant. For this several reasons have been 
 assigned, of which the following are the chief. London and 
 East Anglia were in direct communication with Flanders and 
 Germany, whence was imported the raw material, i.e., the unen- 
 grave/J nletal plates. Moreover, the trade of East Anglia was 
 accelerated by the facility of transport by water, since its rivers 
 are numerous and sluggish. 
 
 In the west and north stone and marble is found in great 
 abundance; therefore the marble effigy was the most obvious 
 memorial for the rich. For the middle classes, brazen plates 
 would be much increased in cost by the necessary land trans- 
 port. Again, these regions were not nearly so wealthy as the 
 trading communities of the east. 
 
 Among individual counties, the two best in the brass-rubber's 
 eyes are certainly Norfolk and Kent. Which of them actually 
 heads the list it would perhaps be difficult to say ; against the 
 
 123
 
 124 MONUMENTAL BRASSES. 
 
 great Flemish brasses of King's Lynn may be set Sir Robt. de 
 Setvans, of Chartham ; Sir John and Lady de Northwode, of 
 Sheppey ; and the Cobhams, of Cobham. 
 
 In the second rank we should place Suffolk, Essex, and Surrey, 
 and perhaps Cambridgeshire ; while in the third we should in- 
 clude Middlesex, Herts, Sussex, Bedfordshire, and Lincolnshire, 
 together with Yorkshire, Oxfordshire and Buckinghamshire. 
 
 Among great cities, London, Oxford, Norwich, Ipswich, and 
 Bristol yield the largest numbers of brasses. 
 
 In a small handbook, it is of course quite impossible to give 
 a complete list, and the only thing which can be done to help 
 the young collector will be to record the names of those towns 
 and villages in each county where brasses are to be found. 
 The list is compiled chiefly from Haines. Places where only 
 inscriptions occur are not mentioned : — 
 
 Bedfordshire. 
 
 The best brasses are at Wimington, and include a beautiful 
 memorial to John Curteys, mayor of the wool-staple of Calais, 
 and his wife, 1391, under a handsome canopy ; also to Sir Thos. 
 Brounflet, cupbearer to Richard II., 1430. At Bromham, a 
 good three-figured brass (knight and wives), under triple canopy, 
 1435, Wltn iater inscription. Elstow has an abbess, Eli/.th. 
 Herwy, holding her pastoral staff. Cople, Dunstable, and Luton 
 excel in the number of their brasses. 
 
 The following places have brasses : — 
 
 14//1 century. Barton-in-the-Clay and Wimington. 
 
 15/// century. Ampthill, Apsley Guise, Barton-in-the-Clay, Bicklen- 
 ham, Biggleswade, Bromham, Campton, Cople, Dunstable, 
 Eaton Socon, Elstow, Flitton, Hatley Cockayne, Houghton 
 Conquest, Houghton Re^'is, Lidlington, Luton, Marston 
 Morteyne, Mepshall, Shillington, Stevington, Thurleigh, Til- 
 brook, Turvey, Wilshampstead, Wimington, and Yielden. 
 
 16th century. Ampthill, (heat Harford, Little Harford, Reilford 
 St. Paul's), Blunham, Caddington, Cardington, Clifton, Cople, 
 Dean, Dunstable, Eaton Bray, Flitton, Goldington, Hatley 
 Cockayne, Hawnes, Holwell, Houghton Conquest, Houghton 
 Regis, Langford, Leighton Buzzard, Luton, Marston Morteyne, 
 Maulden, Puddington, Renhold, Salford, Sharnbrook, Sutton, 
 Totternhoe, and Wimington.
 
 DISTRIBUTION. 12: 
 
 \~th century. Bedford (St. Mary's), Biddenham, Cardington, 
 Dunstable, Eyworth, Fclmersham, Flitton, Lower Gravenhurst, 
 Higham Gobion, Leigh ton Buzzard, Luton, Puddington, 
 Sharnbrook, Tilbrook, Tingrith, Totternhoe, Turvey, and 
 Yielden. 
 
 Berkshire. 
 
 Shottesbrooke has a good brass to a priest and frankelein, 
 c. 1370, under fine canopy. At Bray, Sir John de Foxley and 
 two wives, 137S, stand upon a bracket. At Childrey there are a 
 considerable number of brasses, and among them Wm. Fynderne, 
 Esq., and wives, 1444, large figures under a handsome canopy. 
 A warden and several canons of Windsor are to be found in 
 St. George's Chapel. 
 
 \j,th century. Ashbury, Binfield, Bray, West Hanney, Shottes- 
 brooke, Sparsholt, Stanford-in-tlie-Vale, Wantage, and Wind- 
 sor. 
 
 15/// century. Abingdon (St. Helen's), Ashbury, Basildon, Blcw- 
 bury, Bray, Childrey, Cholsey, Cookham, Farringdon, East 
 Hampstead, East Hendred, Lambourn, Reading (St. Laurence, 
 St. Alary), Shottesbrooke, Sparsholt, Stanford Dingley, Steven- 
 ton, Stratfield-Mortimer, Sunning, Swallowfield, Tidmarsh, 
 Tilehurst, White Waltham, Wantage, Windsor, Little Witten- 
 ham, and Wytham. 
 
 lOt/i century. Abingdon, Appleton, Bisham, Blewbury, Brightwell, 
 Buckland, Burghfield, Childrey r , Compton, Cookham, Great 
 Coxwell, Gumnor, Dencheworth, Farringdon, West Hanney, 
 Harwell, East Hendred, Hurst, Reading (St. Giles, St. Laur- 
 ence, St. Mary), Little Shefford, Shottesbrooke, Streatley, 
 Sunning, Swallowfield, Bright Waltham, White Waltham, 
 Wantage, Warfield, Welford, Windsor, Little Wittenham, and 
 Wokingham. 
 
 17/// century. Bray, Fawley, Finchampstead, East Hagbourn, 
 West Hanney, Kintbury, Lambourn, Langford, East Locking, 
 Sandhurst, Streatley, Ufton-Nurvet, Wantage, Did Windsor, 
 Winktield, and Little Wittenham. 
 
 Buckinghamshire. 
 
 At Taplow there is a beautiful floriated cross, c. 1350, in the 
 head of which is the small effigy of Nicholas de Aumberdene. 
 At Denham lies Dame Agnes Jordan, Abbess of Syon, c. 1540. 
 Several brasses of Provosts and Fellows of Eton are to be found 
 in the College Chapel. The palimpsest at Hedgerley is of con- 
 siderable interest.
 
 126 MONUMENTAL BRASSES. 
 
 14/// century. Drayton Beauchamp, Quainton, and Taplow. 
 
 1 5/ 'h century. Amersbam, Caversfield, Chalfont St. Giles, West, 
 Chalfont, Chearsley, denies (or Isenhampstead), Clifton Reynes, 
 Long Crendon, Denham, Dinham, Uunton, Emberton, Eton, 
 Haddenham, Hambledon, Haversham, Hedgerley, Hitchen- 
 don, Great Horvvood, Lillingstone Dayrell, Great Linford, 
 Little Marlow, Milton Keynes, Great Missenden, Newport 
 Pagnell, Quainton, Monks Risborough, Saunderton, Slapton, 
 Soke Poges, Stone, Stow, Taplow, Thornborough, Thornton, 
 Tyringham, Twyford, Upton, Nether Winchendon, Wing, and 
 Wooburn. 
 
 l6t/i century. Amersham. Astwood, Bledlow, Burnham, Caversfield 
 Chalfont St. Giles, West Chalfont, Chenies, Chesham Bois, 
 Chicheley, Middle Claydon, Crawley, Datchet, Denham, 
 Dinton, Drayton Beauchamp, Dunton, Edlesborough, Ellcs- 
 borough, Eton, Halton, Great Hampden, Hardmead, Hedger- 
 ley, Hitcham, Iver, Ivinghoe, Leckhampstead, Great Linford, 
 Linslade, Loughton, Ludgershall, Marsworth, Great Missen- 
 den, Moulsoe, Nettleden, Penn, Quainton, Monks Risborough, 
 Shalston, Slapton, Soulbury, Stoke Poges, Stone, Stowe, 
 Taplow, Thornton, Tyringham, Turweston, Tyford, Upton, 
 Waddesdon, Wavendon, Wendover, Weston Turville, Weston 
 Underwood, Whaddon, Over Winchendon, Winslow, Wooburn, 
 Worminghall, VVootton Underwood, and Wyrardisbury. 
 
 17th century. Amersham, Beachampton, Beaconsfield, Bletchley, 
 Dinton, Eton, Hambledon, Hanslope, Haversham, Langley 
 Marsh, Great Linford, North Marston, Marsworth, Little 
 Missenden, Penn, Swanbourn, Tingewick, Whaddon, Wing 
 and Wooburn. 
 
 Cambridgeshire. 
 At Trumpington is the full-sized effigy of a crusader, Sir Roger 
 de Trumpington, 1289 ; and at Westley Waterless, Sir John and 
 Lady Creke, c. 1325, both being brasses of very great interest, 
 At Wisbech is the enormous figure of Thos. de Braunstone. 
 Constable of the Castle, 1401. Two splendid coped priests, 
 with elaborate canopies, are at Balsham, 1401 and 1462. Bur- 
 well has a curious palimpsest, and Hildersham an elegant 
 floriated cross with kneeling figures. 
 
 13/// century. Trumpington. 
 
 \\ih century. Fulbourn, Hildersham, Horseheath, Westley Water- 
 less, and Wood Ditton. 
 
 I $th century. Balsham, Cambridge (St. Benet's and Little St. 
 Mary's Churches, St. John's and King's Colleges), Fulbourn, 
 Girton, Haddenham, Hatley St George, Hildersham, Hinxton, 
 Isleham, Linton, Quy, Sawston Great Shelford, Little Shelford, 
 Stretham, Swaff.iam Prior. Wicken, Wilburton, and Wisbech.
 
 DISTRIBUTION. 1 27 
 
 16//1 century. Abington-in-the-Clay, Barton, Burwell, Cambrii 
 (Caius, Christ's, King's, Queens' Colleges, and Trinity Hall), 
 Dry Drayton, Ely Cathedral, Fordham, East Hatley, Hiltler- 
 sham, Horseheath, Impington, Isleham, Kirtling, March, 
 Miiton, Sawston, Swaffhain Prior, Weston Colville, Little 
 Wilbraham, Wilburton, and Wimpole. 
 
 17 th century. Bassingbourn, Cambridge (Queens' Coll.), Ely 
 Cathedral, Milton, Stapleford, Swaffham Prior, and Wimpole. 
 
 Cheshire. 
 
 Tliere is nothing of any consequence in this county. 
 
 \^th century. Wilmslow. 
 
 \bth century. Macclesfield, Middlewich, Over, and Wybunbury. 
 
 18//; century. Chester Cathedral. 
 
 Cornwall. 
 
 At Constantine and Mawgan are interesting Flemish palimpsests, 
 14th century. Cornisli brasses are generally of late date, while 
 many of the 17th century are of a most degraded type. 
 
 15//! century. East Anthony, Blisland, Callington, Cardynham, 
 Crowan, Fowey, St. Gluvias, St. Ives, Lanteglos-juxta-Fowey, 
 Lostwithiel, Mawgan-in-Pyder, Penkevil, Quethiock, and 
 Tintagel. 
 
 16th century. St. Breock, St. Budock, Colan, St. Columb, Con- 
 stantine, Crowan, Fowey, Gorran, Grade, St. Just, Landrake, 
 Lanteglos, Mawgan, St. Mellion, St. Minver, Penkevil, Probus, 
 Stratton, Truro, St. Erme, and Wendron. 
 
 l/t/i century. St. Columb, Constantine, Helston, Illogan, Laun- 
 ceston, Madron, Minster, Penkevil, Quethiock and Truro. 
 
 Cumberland. 
 
 In Carlisle Cathedral is the brass of Bishop Bell, formerly 
 Prior of Durham, under a triple canopy, 1496. 
 
 15/// century. Carlisle, Edenhall, and Graystoke. 
 
 \6th century. Crosthwaite. 
 
 I 7 tii century. Carlisle Cathedral. 
 
 Derbyshire. 
 
 There are several very fair brasses in this county, but nothing 
 worthy of special mention. 
 
 14/// century. Dronfield. 
 
 15M century. Hathersage, Kedlestone, Motley, Mugginton, 
 Sawley, Staveley, Tideswell, and Walton-on-Trent.
 
 I2S MONUMENTAL BRASSES. 
 
 lGtu century. Aslibourn, Ashover, Chesterfield, Dronfield, Etwall, 
 Hathersage, Morley, Norbury, Staveley, Taddington, Wilne. 
 and Wirksworth. 
 
 17/// century. Bakewell, Crich, and Youlgrave. 
 
 Devonshire. 
 
 The best are at St. Saviour's, Dartmouth, to John Hanley, 
 Esq., and wives, 140S, under triple canopy, and at Stoke Fleming, 
 to John Corp and grand-daughter, standing upon a low pedestal, 
 1 391, with canopy. 
 
 \\th century. Stoke Fleming and Stoke-in-Teignhead. 
 
 15th century. Bigbury, Chhtlehampton, Dartmouth (St. Saviour\ 
 
 Exeter Cathedral, St. Giles-in-the-Wood, Haccombe, and 
 
 Thorncombe. 
 \6lh century. East Allington, Atherington, Blackhauton, Braunton, 
 
 Clovelly, Ermington, Filleigh, Haccombe, Harford, Kentis- 
 
 beare, Monkleigh, Petrockstow, Shillingford, Staverton, 
 
 Tiverton, Tor Mohun, and Yealmpton. 
 iyt/i century. Clovelly, St. George's Clyst, Dartmouth (St. Petrock, 
 
 St. Saviour), St. Gile's-in-the-Wood, Haccombe, Harford, 
 
 Okehampton, Otterton, Ottery St. Mary, Sampford Pevercll, 
 
 Sandford, Tedburn St. Mary, and Washrield. 
 
 Dorsetshire. 
 
 Nothing important. 
 
 \lth century. Compton Valence, Dorchester (St. Peter), Lytchett 
 Matravers, Swanwick, and Wimborne Minster. 
 
 'tilt century. Bere Regis, Caundle Purse, Critchill More, Evershot, 
 Melbury Sampford, Milton Abbas, Moreton, Puddletown, 
 Rampisham, Shaftesbury (St. Peter), Shapwick, Sturminster 
 Marshall, and Yetminstcr. 
 
 17th century. Fleet, Knowle, Pimperne, Puddlehinton, Puncknowle, 
 and Wolland. 
 
 Durham. 
 
 Nothing important. 
 
 15th century. Billingham, Brancepath, Chestcr-le-Street, Sockburn, 
 
 and Sedgefield. 
 \bth century. Auckland (St. Andrew), Houghton-lc-Skerne, and 
 
 Houghton- le-Spring. 
 iyt/i century. Long Newton. 
 
 Essex. 
 
 This is one of the best counties, and possesses many fine 
 brasses. Among the best are the following :— Sir — Fitzralph,
 
 DISTRIBUTION. 1 29 
 
 c. 1320, at Pebmarsh, a knight in mixed mail and plate, of the kind 
 worn in the last crusade; at Wimbish, a much mutilated cross 
 brass, with figures to Sir John de Wantone and his lady, 1347 ; at 
 Cowers Gifford, a headless knight in unique armour, 1348 ; at 
 Aveley, a small Flemish plate to Ralph de Knevynton, 1370; at 
 Little Horkesley, Sir Robt. and Sir Thos. Swynborne, fine effigies 
 under a doubly triple canopy, 1412 ; at Little Easton, Sir Henry 
 Bourchier, K.G., Earl of Essex, and his countess, 1483 ; and at 
 Chigwell, Samuel Harsnett, Archbishop of York, vested in a cope. 
 
 \4tJ1 century. Aveley, Bowers Gifford, Chrishall, Corringham, Great 
 Leigh, Pebmarsh, Sliopland, Stebbing, Stifford, and Wimbish. 
 
 l$th century. Arkesden, Ashton, Barking, Berden, Booking, Bright- 
 lingsea, Great Bromley, Chrishall, Clavering, Coggeshall, 
 Corringham, Uagenham, Little Easton, Gosrield, Halstead, 
 Harlow, Hempstead Heydon, Little Horkesley, East Horndon, 
 Ingrave, Laindon, Latton, Layer Marney, Leigh, Great Leigh, 
 Low Leyton, Littlebury, South Ockendon, Raleigh, Roydon, 
 Saffron Waldon, Springfield, Stanford Rivers, Stifford, Streth- 
 all, Terling, Thaxted, Theydon Gernon, Tolleshunt Darcy, 
 Upniinster, South Weald, Wendon, and Wenden Lofts. 
 
 \btli century. Aveley, Great Bardheld, Barking, Little Bentley, 
 Belchamp St. Paul's, Boreham, Bradrield, Little Braxted, Bright- 
 lingsea, Cheat Canfield, Little Canfield, Great Chesterford, Chig- 
 well, Chingtord, Clavering, Coggeshall, Colchester (St. James, 
 St. Peter), Great Dunmow, Elmdon, Elmstead, FaulUbourn, 
 Finchingheld, Fryerning, West Ham, Harlow, Hempstead, 
 Little Horkesley, Hornchurch, Hutton, Little Ilford, Kelvedon 
 Hatch, Lambourn, Latton, High Lavers, Littlebury, Loughton 
 Margaretting, Messing, Nettleswell, Newport, North Ockendon, 
 High Ongar, Orsett, Rawreth, Raynham, Rettenden, Rochford, 
 High Roding, Roydon, Runwell, Saffron W^alden, Sandon, 
 SJnnford Rivers, Stisted Stock, Stondon Massey, Terling, 
 Theydon Gernon, Thorrington, Grays Thurrock, West Thur- 
 rock. Tillingham, Tiltey Abbey,*Tolleshunt Darcy, Toppesfield, 
 Upminster, Waltham Abbey, Walthamstow, Little Warley, 
 South Weald, Willinghale Doe, Wimbish, Wivenhoe, and 
 Wiittle. 
 
 Ijth century. Creat Baddow, Berden, Booking, Chigwell, Col- 
 chester (St. Peter), Cressing, Good Easter, Eastwood, Elsen- 
 ham, North Fanibridge, Fingringhoe, Halstead, East Ham, 
 Harlow, Heybridge, Little Ilford, Leigh, Low Leyton, Lough- 
 ton, South Ockendon, New Rumsey, Stifford, Twinstead, Greaf 
 Waltham. North Weald, South Weald, Writtle, and Great 
 Yeldhain.
 
 j-zO MONUMENTAL BRASSES. 
 
 J 
 
 Gloucestershire. 
 
 The best brass is at Wotton-under-Edge, to Thomas Lord 
 Berkeley, and his lady, 1392. There are some fairly good brasses 
 at St. Mary Redcliffe, Bristol, to Chief Justice Sir John Juyn, 
 1439; John Jay, sheriff, 1480; and John Brook, serjeant-at-law, 
 1522. At Cirencester are no less than fifteen to various priests 
 and merchants. 
 
 14/// century. Bristol (Temple Church), Winterbourne, and Wotton- 
 under-Edge. 
 
 15M century. Bristol (St. John, St. Mary Redcliffe, St. Peter, 
 Temple Church, Trinity or Barstaple Almshouse Chapel), 
 Chipping Campden, Cirencester, Deerhurst, Dyrham, Lechlade, 
 Micheldean, Newland, Northleach, Ouinton,Rodmarton, Seven- 
 hampton, and Tormarton. 
 
 16/// century. Berkeley, Bislev, Bristol (St. Mary Redcliffe, St. 
 Werburgh), Cheltenham (St. Mary), Cirencester, Clifford 
 Chambers, Deerhurst, Dowdeswell, Eastington, Fairford, 
 Gloucester (St. John, St. Mary, St. Michael), Kempsford, Leck- 
 hampton, Minchinhampton, Newent, Northleach, Olveston, 
 Thornbury, Weston-upon-Avon, Weston-sub-Edge, Whitting- 
 ton, and Yate. 
 
 \-jth century. Abbenhall, Cirencester, Todcnham, and Wormington. 
 
 Hampshire. 
 
 At Winchester College, in the chapel and cloisters, are a dozen 
 brasses to various Wardens and Fellows, and a number of similar 
 inscriptions without effigies. At St. Cross, in the same city, there 
 is a fine coped figure of John de Campeden, Canon of Southwell, 
 13S2. 
 
 14/// century. Crondall, Sherborne St. John's, King's Sombourne, 
 and Winchester (St. Cross). 
 
 \$th century. Havant, Hcadbourn Worthy, Church Oakley, Ring- 
 wood, Sherborne St. John's, Stoke Charity, Thruxton, Nether 
 Wallop, Week, Winchester College, and Winchester (St. Cross). 
 
 16th century. Alton, Barton Stacey, Bramley, Brown Candover, 
 Crondall, Dimmer Eversley, Froyle, Heckfield, Itchen Stoke, 
 Kimpton, Kingsclere, Monkton, Odiham, Sherborne St. John's, 
 Southampton (God's House), Southwick, Bishop's Sutton, 
 Farley Wallop, South Warnborough, Winchester College, and 
 Yateley. 
 
 \~th century. Alton, Basingstoke, Crondall Odiham, and Preaton 
 Candover.
 
 DISTRIBUTION. 13I 
 
 14/// century. Calbourne. 
 15/// cc/itury. Arreton. 
 
 Isle of Wight. 
 
 \Gtli century. Kingston and Shorwell. 
 17th century. Colbo.irne and Shorwell. 
 
 Herefordshire. 
 
 In the cathedral there are a number of good brasses. That to 
 Bishop Trilleck, 1360, with canopy, is particularly fine. Several 
 plates, for some years in the possession of the late J. B. Nichols, 
 Esq., have recently been restored, and are now mural in the 
 tower. 
 
 14/4 century. Hereford Cathedral. 
 
 15//; century. Clchonger, Hereford, Kinnersley, and Ledbury. 
 
 )6/// century. Brampton Abbots, Colwall, Hereford Cathedral, and 
 
 Ludtoid. 
 
 \~th century. Burghill, Ledbury, and Marden. 
 
 Hertfordshire. 
 
 A good county. In St. Alban's Abbey lies perhaps the most 
 magnificent brass in England, a great Flemish plate to Abbot 
 John Delamere, c. 1360 ; other abbey brasses include those of 
 several of the Benedictine monks. At St. Michael's in the out- 
 skirts of the same city, is a beautiful floriated cross with a figure 
 in the head, c. 1380. At North Minims, another Flemish brass, 
 but small, to a priest, c. 1360. There are also fine brasses at 
 Digswell, to John Peryent, Esq., and wife, 1415 ; at Sawbrid^c- 
 worth, to John Leventhorp, Esq., and wife, 1433 ; and at Great 
 Berklfampstead, to Richard Torryngton and wife, 1356. 
 
 14th century. Great Berkhampstead, North Minims, St. Alban*s 
 (Abbey, St. Michael), Watlord, and Walton. 
 
 15//* century. Aldbury, Great Am well, Baldock, Bark way, (beat 
 Berkhampstead, Branghing, Broxbourne, Buckland, Cheshunt, 
 Clothall, Digswell, Flamstead, Little Hadliam, Harpenden, 
 Hemel Hempstead, Hinxworth, Hitchen, Himsdon, lckleford, 
 Kelshall, Knebwortb, Abbots Langley, King's Langley, Letch- 
 worth, North Minims, Newenham, Furneux Pelhain, Royston, 
 St. Alban's (Abbey, St. Stephen), Sandon, Sawbridgeworth, 
 Standon, Walkerne, Ware, Watford, Watton, Wheathampstead, 
 W r illian, and Wormley. 
 
 16//1 century. Albury, Aldbury, Aldenham, Ardeley, Aspeden, 
 Aston, Bay ford, Bennington; (beat Berkhampstead, liraugh- 
 ing, Broxbourne, Cheshunt, Clothall, Digswell, Eastwick,
 
 H2 MONUMKNTAL BRASSES. 
 
 Essendon, Great Gaddesden, Much Hadham, Harpenden, 
 Hitcliin, Hunsdon, Ippolyts, Knebworih, Abbots Lan»lcy, 
 King's Langley, Layston, North Mjmms, Offley, Furneux Pel- 
 ham, Radwell, Redburn, St. Alban's (Abbey), Sawbridgeworth, 
 Standon, Stanstead Abbots, Stevenage, Walkerne, Watton, 
 Wheathampstead, Wormley, and Wyddiall. 
 \-jlii century. Aldenham, Great Amwcll, Barley, Cheshunt, Clot- 
 liall, Datchworth, Much Hadham, Newenham, Brent Pelhani, 
 Rickmansworth, St. Alban's (St. Peter), Savvbridgeworth, 
 Shenley, Tewin, and Walkerne. 
 
 Huntingdonshire. 
 
 Nothing important. 
 
 15/// century. Offord Darcy and Sawtrey. 
 
 itih century. Diddington, Godmanchester, Offord Darcy, and 
 
 Somersham. 
 lyt/t century. Stilton. 
 
 Kent. 
 
 Full of excellent brasses. At Chartham is the cross legged and 
 mail-clad effigy of Sir Robert de Setvans, c. 1306, a brass possibly 
 of French workmanship. Again, at Minster, in the Isle of Sheppey, 
 we may have another example of French work in the splendid 
 figures of Sir John and Lady de Northwode, 1330; and also at 
 Horsmonden, in the effigy of John de Grovehurst, c. 1340, an 
 ecclesiastic in eucharistic vestments. At Cobham we have a whole 
 series of knights and ladies and priests of the Cobham family 
 during the 14th and 15th centuries, most of them beneath hand- 
 some canopies. At Hever is the figure of Sir Thos. Bullen, K.G , 
 Earl of Wiltshire, 1538, in the full robes of the illustrious Ordet 
 to which he belonged. Three beautiful floriated crosses, with 
 figures in their heads, are to be found at Woodchurch, East Wick- 
 ham, and Stone, to Nichol de Gore, priest, c. 1320 ; to John de 
 Bladigdone and wife, c. 1325 ; and to John Lumbarde, priest, 
 1408. At Upper Hardres is a curious bracket brass to John 
 Strete, priest, 1405. 
 
 14/// century. Ashford, Chartham, Cobham, Graveney, High Hal- 
 stow, Horsmonden, Kemsing, Mereworth, Minster (in Sheppey), 
 Northfleet, Saltwood, Seal, Sheldwick, East Wickham, and 
 Woodchurch. 
 
 15/// century. Addington, Ash, Ashford, Aylesford, Bethersden, 
 Birchington, Bobbing, Houghton Malherbe, Boxley, Brabourn,
 
 DISTRIBUTION. 133 
 
 1 
 
 Canterbury (St. George, St. Margaret, St. Mary Magdale 
 Great Chart, Chartham, Chelsfield, Cheriton, Chislehurst, Cob- 
 ham, Dartford, Downc, Frith, Farningham, Faversham, Goud- 
 hurst, Gravenev, Halstead, Upper Hard res, Hawkhurst, Hayes, 
 Heine, Hever, Hoath, Hoo St. Werburgh, Lullingstone, Lydd, 
 East Mailing, West Mailing, Margate (St John), Mere worth, 
 Milton-next-Sittingbourne, Monkton, Newington, Northfleet, 
 Pluckley, Preston, Rochester (St. Margaret), St. Lawrence 
 (Thanet), St. Mary-in-the-Marsh(Romney), St. Peter (Thanet), 
 Saltwood, Sandwich (St. Clement), Sheldwich, Shorne, Snod- 
 land, Southfleet, Stoke, Stone, Sundridge, Teynham, Thanning- 
 ton, Trotterscliffe, Ulcombe, West Wickham, Wrotham, and 
 Wye. 
 6th century. Ash, Beckenham, Bethersden, Bexley, Biddenden, 
 Birchington, Boughton Malherbe, Boughton-under-Blean, Box- 
 ley, Brabourn, Bredgar, Prenchley, Canterbury (St. Alphege, 
 St. Martin, St. Mary Northgate, St. Paul), Capel-le-Ferne, 
 Cliallock, Great Chart, Chartham, Cheriton, Chevcning, Cob- 
 ham, Cowling, Cranbrook, St. Mary Cray, Cudham, Dartford, 
 Upper Deal, Ditton, Eastry, Edenbridge, Erith, Farningham, 
 Faversham, Ooodnestone, Goudhurst, Hailing, Halstead, Upper 
 Hardies, Hayes, Heine, Hever, Horton Kirby, Ightham, Lee, 
 Leeds, Leigh, Linstead, Lullingstonc, Lydd, Maidstone (All 
 Saints, Museum), East Mailing, West Mailing, Mereworth, 
 Milton, Newington, Newington-juxta-Hythe, Orpington, East 
 Peckham, Penshurst, Rainham, Ringwould, New Romney, « Jld 
 Romney, St. Mary-in-the-Marsh, St. Nicholas (Thanet), Selling, 
 Shorne, Snodland, Southfleet, Staple, Staplehurst, Sundridj 
 Teynham, Tunstall, Westerham, Ea^t Wickham, West Wick- 
 ham, Woodchurch, and Wrotham. 
 
 \~tli century. Ash, Biddenden, Great Chart, Cliffe, Cranbrook, St. 
 Mary Cray, Dartford, Davington, Dover (St. James, St. Mary), 
 Downe, Faversham, Fordwich, High Halstow, Headcorn, 
 Heme, Hoo, Horsmonden, Ightham, Lydd, Margate (St. John , 
 Newington-juxta-Hythe, Penbury, Pluckley, New Romney. 
 East Sutton, and Wrotham. 
 
 18th century. St. Mary Cray. 
 
 Lancashire. 
 
 At Win wick there is a curious brass to Lord Peter Legh, 1527, 
 who is represented in armour, but wearing a priestly chasuble over 
 his cuirass. 
 
 15/// century. Eccleston, Manchester Cathedral, and Winwick. 
 \6tii century. Childwall, Manchester Cathedral, Middleton, Orms- 
 
 kirk, Sefton. Whalley Abbey, and Winwick. 
 \~lh century. Manchester Cathedral and Middleton
 
 134 MONUMENTAL BRASSES. 
 
 Leicestershire. 
 
 Nothing of consequence ; but the canopied brasses of Pre- 
 bendary Cudyngtoun, 1404, at Bottesford, and of Robert 
 Staunton, Esq., ami wife, 1458, at Castle Donington, are fairly 
 good. 
 
 r 4//* century. Wanlip. 
 
 l$th century. Bottesford, Castle Donington, Hinckley, Hoby, 
 
 Loughborough, Lutterworth, Stapleford, Stokerston, Swithland, 
 
 and Thurcaston. 
 \6th century. Aylestone, Leicester (Wigston's Hospital), Melton 
 
 Mowbray, Saxelby, Scalford, Sheepshed, Sibson, and Wymond- 
 
 ham. 
 \"]th century. Barwell and Husband's Bosworth. 
 
 Lincolnshire. 
 
 Among a number of interesting brasses are the following : Two 
 haif effigies of knights, one in chain-mail and the other in banded- 
 mail, with surcoats, at Buslingthorpe, c. 1290, and Croft, c. 1310. 
 At Boston a doubly triple canopy is placed over the figures of 
 Walter Pescod and his wife, 1398, and above it again a super- 
 canopy with fourteen saints. In the same church is a canopied 
 bracket with a civilian and two wives, c. 1400. At Tattershall are 
 several fine canopied brasses to members of the Cromwell family. 
 
 13/// century. Buslingthorpe. 
 
 \\th century. Boston, Broughton, Croft, Grainthorpc, Irnham, and 
 Spilsby. 
 
 15/// century. Algarkirke, Barton-upon-Humber, Boston, Great 
 Cotes, Covenham (St. Bartholomew), Fiskerton, Gunby 
 Hainton, Harrington, Hatcliffe, Holbeach, Irnham, South 
 Kelsey, Laughton, Linwood, South Ormsby, Salmonby, 
 Scrivelsby, Spilsby, Stamford (All Saints, St. John), Stoke 
 Rochford, Tattershall, Thedcllcthorpe (All Saints), and Wal- 
 tham. 
 
 \(>th century. Ashby Puerorum, Bigby, Great Cotes, Conisholme, 
 Driby, Edenham, Hainton, Harrington, Horncastle, Ingold- 
 mells, Mablethorpe (St. Mary), Norton Disney, Kauceby, 
 Scotter, Scrivelsby, Sleaford, Stallingborough, Stamford, 
 Tattershall, Winterton, Winthorpe, and Wrangle. 
 
 \-jth century. Bigby, Boston, Burton Goggles, Burton Pedwardine, 
 Evedon, Halton Holgate, Leadenham, Lincoln (St. Peter-at- 
 Arches), Pinchbeck, and Somcrsby.
 
 DISTRIBUTION. 135 
 
 Middlesex. 
 
 At Westminster Abbey there are several brasses commemorating 
 certain great personages ; among them Bishop John of Waltham, 
 lord high treasurer, 1395 ; Archbishop Waldeby, tutor of the 
 Black Prince, 1397; Alianora, Duchess of Gloucester, 1399; Sir 
 Thos. Vaughan, one of the victims of Richard III., 1483; Abbot 
 Estney, 1498 ; and Dr. Wm. Bill, the first Dean. The Duchess 
 and Sir Thos. Vaughan are dramatis persona of Shakespeare. At 
 Enfield is a beautiful canopied brass to Joyce Lady Tiptofr, c. 
 1470, in heraldic mantle and coronet ; at All Hallows barking, 
 by the Tower of London, and at Fulham, are Flemish brasses to 
 Andrew Evyngnr and wife, c. 1535, and Margaret Hornebolt, 
 1529 ; and at Harrow are several effigies of early knights and 
 priests, as well as of John Lyon, yeoman, 1592, the founder of 
 the school. 
 
 \\tli century. Harrow, Hayes, and Westminster Abbey. 
 
 i$t/i century. Ealing, Enfield, Finchley, Great Greenford, Hadley, 
 Harefield, Harlington, Harrow, Isleworth, London (All Hallows 
 Barking, St. Bartholomew-the-Less, Great St. Helen), West- 
 minster Abbey, South Mimms, Northolt, Stanwell, and Willes- 
 den. 
 
 16th century. Acton, New Brentford, Chelsea, Cowley, West 
 Drayton, Edgeware, Edmonton, Enfield, Fulham, Great 
 Greenford, Little Greenford, Hackney, Hadley, Harefield, 
 Harlington, Harrow, Hayes, Hendon, Heston, Homsey, 
 Hillingdon, Ickenham, Isleworth, Islington (St. Mary), Kings- 
 bury, London (All Hallows Barking; St. Andrew Undershaft; 
 V>t. Catherine, Regent's Park ; St. Dunstan-in-the-West, Great 
 St. Helen ; Holy Trinity, Minories ; St. Mary Magdalen, Old 
 Fish Street ; St. Olave, Hart Street), Westminster Abbey, 
 Westminster (St. Margaret), Northolt, Pinner, Ruislip. 
 Teddington, and Willesden. 
 
 lyt/i century. Edmonton, Finchley, Hackney, Hadley, Harmonds 
 worth, Harrow, London (St. Dunstan-in-the-West), Northolt, 
 Norwood, Ruislip, and Tottenham. 
 
 Konniouthsliire. 
 Nothing important. 
 
 16/// century. Matherne. 
 
 \~th century. Abergavenny and Llangattock-nigh-Usk.
 
 136 MONUMENTAL BRASSES. 
 
 Norfolk. 
 
 There are more brasses in Norfolk than in any other single 
 county, and far more than in all England north of the Mersey 
 and the Humber, or on the whole of the Continent of Europe. 
 The great Flemish brasses at Lynn Regis have only two rivals in 
 England ; viz., at St. Alban's, Herts, and Newark, Notts. They 
 are truly magnificent. A fine, but much mutilated brass, perhaps 
 also of foreign workmanship, to Sir Hugh Hastings, 1347, is at 
 Elsing. Among many other good brasses the following may be 
 mentioned : Symon and Alice, Roger and Elizabeth de Felbrig, 
 c. 13S0, and Sir Symon Felbrygge, K.G., standard-bearer to 
 Richard II., 1416, at Felbrigg; Sir Win. Cahhorp, 1420, at 
 liurnham Thorpe; Brian de Stapilton, Esq., 1438, at Ingham; 
 and the curious imitative brass of Sir Roger l'Estrange, 1506, at 
 Hunstanton. The brasses of priests of the 16th century in this 
 county, and seldom elsewhere, consist often of a chalice and 
 wafer, instead of the effigy of the deceased. 
 
 14/// century. Beachamwell St. Mary, Blickling, Elsing, Felbrigg, 
 Hellesclon, King's Lynn, Methwold, Necton, Reepham, and 
 Southacre. 
 
 \$tk century. Aldborough, Aylsham, Baconsthorp. Barnham-Broom, 
 Barningham-Town, Beachamwell St. Mary, Belaugh, Blickling, 
 Brampton, Burnham Thorpe, Cley, South Creak, Great Cress- 
 ingham, East Dereham, Ditcbingham, Erpingham, Fakenham, 
 Felbrigg, Great Fransham, Frenze, Frettenham, West Hailing, 
 Heacham, Holm-by-the-Sea, Honing, Hunstanton, Ingham, 
 Keteringham, Kirby Bedon, Loddon, Metton, Narburgh, 
 Norwich (St. Andrew, St. George Colgate ; St. Giles ; St. 
 John Maddermarket ; St. Laurence, St. Stephen, St. Swithin), 
 Great Ormesby, Little Plumstead, Raven ingham, Reed ham, 
 Great Ringstead, Rougham. Sail, Sculthorpe, Shernbourne, 
 Great Snoring, Sparham, Stalham, Stokesby, Stradsett, Sur- 
 lingham, SwafTham, Swanton Abbot, Upwcll, Little Walsing- 
 ham, Warham (All Saints'), Whissonsct, Wiggenhall (St. Mary), 
 and Worstead. 
 
 \6th century. Acle, Antingham (St. Mary), Attlebridge, Aylsham, 
 Barnham-Broom, Barningham Norwood, Bawborough, Bee- 
 ston Regis, Belaugh, Bintry, Blickling, Brisley, Uld Bucken- 
 ham, South Burlingham, Burnham Westgate, Buxton, Catfield, 
 Cley, Clippesby, Colby, Colney, North Creak, Great Cressing- 
 ham, Feltwell, Fincham, Frenze, Guestwick, Halvergate, West 
 Hailing, Hedcnham, Hunstanton, Kimberley, Locklon, West 
 Lynn, Mattishall, Merton, Mileham, Narburgh, Necton,
 
 DISTRIBUTION. 1 37 
 
 Norwich (St. Andrew, St. Clement, St. John Maddermarket, 
 St. John Sepulchre, St. Laurence, St. Margaret, St. Michael 
 Coslany, St. Peter Mancroft, St. Peter Southgate, St. 
 Stephen), Great Ormesby, Outwell, Paston, Little Phimstead, 
 East Rainham, Rougham, Scottow, Sculthorpe, Sherringham, 
 Shottisham (St. Mary), Southacre, Sparham, Sprowston, 
 Stokesby, Surlingham, Taverham, Themelthorpe, Thwaite, 
 Tottington, Trowse, Trunch, East Tuddenham, North Wal- 
 sham, Little Walsingham, Witton, Wiveton, Worstead, and 
 Yelverton. 
 ijth century. Acle, Bawburgh, Burgh St. Margaret, Dunston, 
 Felbrigg, Heigham, Hingham, Langley, Loddon, Snettisham, 
 and North Tuddenham. 
 
 Northamptonshire. 
 The best brass is at Higham Ferrers, to Laurence de St. Maur, 
 priest, 1337, with fine canopy and super-canopy. At Great 
 Brington and Cotterstock there are bracket-brasses, c. 1340 and 
 1420, both to priests. At Xe\vton-by-Geddington, the small 
 figures of John Mulsho, Esq., and wife, 1400, kneel to a floriated 
 cross, with St. Faith in the head. 
 
 14//1 century. Great Brington, Higham Ferrers, and Rothwell. 
 
 l$th century. Aldwinckle, Castle Ashby, Ashby St. Leger's, 
 Blakesley, Brampton-by-Dingley, Charwelton, Chipping War- 
 den, Cotterstock, Cranford (St. Andrew), Dodford, Floore, 
 Geddington, Green's Norton, Grendon, Great Harrowden, 
 Nether Heyford, Higham Ferrers, Horton, Lowick, Naseby, 
 Newnham, Newton-by-Geddington, Newton Bromshold, 
 Raunds, Spratton, Sudborough, Tansor, Wappenham, Wark- 
 w'orth, and Woodford-cum-Membris. 
 
 ibth century. Great Addington, Ashby Canons, Ashby St. Leger's, 
 Ashton, Earl's Barton, Blathervvycke, Blisworth, Church Bramp- 
 ton, Burton Latimer, Chacomb, Charwelton, Chipping Warden, 
 Cransley, Dean, Easton Neston, Fawsley, Floore, Hemington, 
 Higham Ferrers, Kelmarsh, Marholm, Newbottle, Norton, 
 Orlingbury, Paulerspury, Rothwell, Staverton, Sulgrave, Thorp 
 Malsor, Wappenham, Welford, and Woodford. 
 
 \,th century. Aston-le- Walls, Barnwell St. Andrew, Barton Sea- 
 grave, Boddington, Burton Latimer, Cranford (St. Andrew), 
 Dene, Dodford, Kettering, Newton-by-Geddington, Northamp- 
 ton (St. Sepulchre), Pottersbury, Preston Deanery, Raunds, 
 and Stoke Bruerne. 
 
 Northumberland. 
 
 Only one brass is known in this county, at Newcastle-on-Tyne 
 (All Saints). It is a large Flemish plate, and commemorates 
 Roger Thornton,. merchant, and his wife Agnes, 1429.
 
 I 3S MONUMENTAL BRASSES. 
 
 Nottinghamshire. 
 
 At Newark is one of the famous quartette of great Anplo- 
 Flemish brasses of the 14th century. It commemorates Alan 
 Fleming, merchant, 1361, and is exceedingly fine. 
 
 14//1 century. Newark. 
 
 X^th century. Clifton, East Markham, Stanford, Strelley, and 
 
 Wollaton. 
 \6th century. Darlton and Newark. 
 
 Oxfordshire. 
 
 The city of Oxford has almost as many brasses as an average 
 county, and the best of them are in Merton and New Colleges. 
 In the former, Richard de Hakebourne, c. 13 10, in the head of a 
 cross ; John Bloxham and John Whytton, c. 1420, on a canopied 
 bracket; and Henry Sever, 1471, vested in a rich cope, are par- 
 ticularly fine; in the latter are twenty-one members of the college, 
 including an Archbishop of Dublin, 141 7, and a titular Bishop of 
 Callipolis, c. 1525. At Chinnor there are no less than six brasses 
 of the 14th century, one of them being a floriated cross with the 
 head of a priest in the centre, c. 1320. At Cassington there is a 
 cross fleury for Roger Cheyne, 1414; and at Thame a good 
 bracket-brass to Thos. Quatremayn and wife, c. 1420. 
 
 14/// centi/ry. Chinnor, Deddington, Lewknor, Nuffield, Oxford 
 Merton College), Rotherfield-Greys, and Waterpery. 
 
 15/// century. Adderbury, Aston Rowant, Bampton, Great Barford, 
 Brightwell-Baldwin, Brightwell-Salome, Broughton, Burford, 
 Cassington, Chalgrove, Charlton-upon-Otmoor, Checkendon, 
 Chinnor, Crowell, Dorchester, Ewelme, Garsington, Goring, 
 Hampton Poyle, Harpsden, Great Haseley, Lillingstone Lovell, 
 Northleigh, Oxford (All Souls, Christ Church, Magdalen, Mer- 
 ton, and New Colleges, St. Peter-in-the-East, St. Peter-le- 
 Bailey), Shirburn, Stanton Harcourt, Stokrnchurch, Swin- 
 brook, Great Tew, Thame, Watlington, Whitchurch, and 
 Woodstock. 
 
 16//1 century. Adderbury, Brampton, Brightwell-Priors, Chastle- 
 ton, Cottisford, Crowmarsh Gifford, Cuxham, Dorchester, 
 Ewelme, Handborough, Harpsden, Great Haseley, Heythorpe, 
 Holton, Ipsden, Kiddington, Kingham, Lillingstone Lovell, 
 Great Milton, Noke, Chipping Norton, Oddington, Oxford (All 
 Souls, Christ Church, Corpus Christi, Magdalen, Merton, New, 
 Queen's, and St. John's Colleges, St. Mary Magdalene, St.
 
 DISTRIBUTION. 1 39 
 
 Mary-the-Virgin, St. Michael, St Peter-in-the-East, St. Peter- 
 le-Bailey), ( licit Rollriglit, Shiplake, Shipton under-Wychwood, 
 Somerton, Souldern, Stadhsunpton, Stanton Harcourt, Stoke 
 Lyne, Stoke Talmage, S win brook, Great Tew, Thame, Water- 
 pery, Whatlington, and Witney. 
 jjt/i century. Bampton, Chastleton, Chesterton, Deddington, 
 Glympton, Goring, Harpsden, Islip, Oxford (Christ Church 
 and New Colleges, Holywell, St. Aldate, St. Michael, St. Peter- 
 le-Bailey), and Souldern. 
 
 Paitland. 
 
 The Little Casterton brass to Sir Thos. and Lady Burton, 
 c. 14 10, is a good one. 
 
 15M century. Little Casterton and Liddington. 
 lbt/i century. Braunston and Liddington. 
 
 Shropshire. 
 
 At Acton Burnell tnere is a fine canopied brass to Lord 
 Nicholas Burnell, 1382. 
 
 14/A century. Acton Burnell, Adderley, and Burford. 
 15/// century. Ightfield, Middle, and Tong. 
 
 l6t/i century. Adderley, Drayton, Edgmond, Glazclcy, Middle, 
 Tong, Much Wenlock, and Witbington. 
 
 Somersetshire. 
 
 The best brass is at Ilminster, to Sir William and Lady 
 Wadham, c. \-\-\o, each under a triple canopy with embattled 
 entablature. In the same church lies Nicholas Wadham, Esq., 
 1 618, the founder of Wadham College, Oxford. 
 
 1 5/A century. Axbridge, Banwell, Beckington, Cheddar, Chedzoy, 
 Hutton, Ilminster, Langridge, Minenead, South Petherton, 
 Swainswick, Tintinhull, and Yeovil. 
 
 16th century. Banwell, Beckington, Burnett, Churchill, Cossington, 
 Crewkerne, Dunster, Fivehead, Hemington, Hinton St. George, 
 Hutton, Ilton, Bishop's Lydiard, St. Dccumans, Stogumber, 
 Weare, and Yeovil. 
 
 l"jth century. Backwell, Bath Abbey, Croscombe, Ilminster, Luc- 
 combe, Portbury, Shepton Mallett, Wedmore, and Wells 
 (St. Cuthbert). 
 
 Staffordshire. 
 
 None of the brasses are conspicuously good. The best are to 
 
 Sir Thomas de Audeley, 13S5, at Audley, and the demi-figure of 
 
 a lady, c. 1360, on a bracket, at Clifton Campville.
 
 140 MONUMENTAL BRASSES. 
 
 14//; century. Audley, Clifton Campville, H anbury, and Norbury. 
 
 15/A century. Abbots-Bromley. Blore, H anbury, and Okeover. 
 
 ibth century. Kinver, Leek, Madeley, Rugeley, Stow, and Tren- 
 tham. 
 
 ljt/i century. Biddulph and Stone. 
 
 Suffolk. 
 There are numerous s^ood brasses in this East Anglian countv. 
 The best are two cross-legged, mail-clad knights at Acton and 
 Gorleston, the former being Sir Robert de Bures, 1302, and the 
 latter a member of the Bacon family, c. 1320. At St. Mary Quay, 
 Ipswich, is the Flemish brass of Thomas Pownder, merchant, and 
 wife, 1525, somewhat similar to that of All Hallows Barking, 
 London. Again, at Letheringham and Playford are two knights, 
 Sir John de Wyngefeld, 1389, and Sir George Felbrigg, 1400, 
 with the arms embroidered upon their jupons. 
 
 \\th century. Acton, Brundish, Gorleston, Letheringham, and Lid- 
 gate. 
 
 l$th century. Acton, Ampton, Barningham, Barsham, Burgate, 
 Bury St. Edmunds (St. Mary), Carlton, Debcnham, Easton, 
 Euston, Eyke, Fressingfield, Halesworth, Holbrook, Ipswich, 
 (St. Mary Tower, St. Nicholas), I x worth, Knodishall, Laven- 
 ham, Lowestoft, Long Melford, Melton, Mendlesham, Neyland, 
 Occold, Oulton, Pakefield, Playford, Polstead, Raydon, Roug- 
 ham, Sotterley, Stoke-by- Neyland, Stutton, Ufford, Walton, 
 Wilby, Wrentham, and Yoxford. 
 
 16th century. Acton, Aldeburgh, Campsey Ash, Ash-Bocking, Ass- 
 ington, Barham, Barrow, Belstead, Benhall, Bildeston, Little 
 Bradley, Braiseworth, Bruisyard, Brundish, Bury St. Edmund's 
 (St. Mary), Chattisham, Cookley, Denliam, Denston, Depden, 
 Ellough, Euston, Fornham All Saints, Gazeley, Hadleigh, 
 Halesworth, Hawkedon, Hawstead, Honington, Ipswich (St. 
 Clement, St. Mary Quay, St. Mary Tower, St. Nicholas), Ix- 
 worth, Kenton, Kettleburgh, Lakenheath, Lavenham, Great 
 Livennere, Lowestoft, Long Melford, Middleton, Monewden, 
 Nettlestead, Neyland, Orford, Pettaugh, I'ettistree, Rendham, 
 Rushbrooke, Sibton, Sotterley, Southelmham (St. James), 
 Southolt, Stoke- by - Clare, Stoke - by - Neyland, Stratford 
 (St. Mary), Great Thurlow, Little Thurlow, Little Waldingfield, 
 Little Wenham, Wickham-Brooke, Wickham-Skeith, Wilby, 
 Worlingham, Worlingworth, and Yaxley. 
 
 17th century. Aldeburgh, Ampton, East Bergholt, Boxford, Little 
 Bradley, Bredfield, Bruisyard, Darsham, Easton, Edwardstone, 
 Hadleigh, Hawkedon, Ipswich (St. Clement, St. Nicholas, St. 
 Peter), Lavenham, Long Melford, Mendham, Mickfield, Middle-
 
 DISTRIBUTION. I4I 
 
 ton, Mildenhall, Orford, Redgrave, Ringsfield, Great Saxham, 
 Sibton, Stoke-by-Clare, Stoke-by-Neyland, Stonham Aspal, 
 Stowmarket, Tannington, Walton, Woodbridge, and Yoxford. 
 
 Surrey. 
 
 This county possesses the earliest existing English brass, viz. 
 to Sir John Daubernoun, 1 277, a well-preserved figure in chain 
 mail, with spear and enamelled shield. It is at Stoke D'Abernon, 
 a small village near Leatherhead. In the same church is the 
 effigy of Sir John the younger, 1327, in the armour of the reign 
 of Edward II. 
 
 Two small brasses at East Horsley, to Robert de Brentyng- 
 ham, c. 1400, and Bishop Bowthe, of Exeter, 147S, and some 
 good brasses to members of the Cobham family at Lingfield, are 
 also worthy of mention. 
 
 13/// century. Stoke D'Abernon. 
 
 \\th century. Cheam, Lingfield, Ockham, and Stoke D'Abernon. 
 
 15/// century. Albury, Beddington, Bletchingley, Great Bookham, 
 Byfleet, Camberwell, Carshalton, Cheam, Crowhurst, Farley, 
 Horley, East Horsley, Kingston-upon-Thames, Leigh, Ling- 
 field, Merstham, Nutfield, Oakwood, Oxted, Pepper-Harrow, 
 Puttenham, Shere, and Wandsworth. 
 
 \6tli century. Addington, Barnes, Beddington, Bletchworth, Great 
 Bookham, Camberwell, Carshalton, Charlwood, Cobham, 
 Compton, Croydon, Thames Ditton, Egham, Ewell, Farnham, 
 Godalming, Horley, Lambeth (St. Mary), Lingfield, Merstham, 
 Micklebam, Putney, Richmond, Sander stead, Send. Shere, 
 Stoke D'Abernon, Streatham, Titsey, Thorpe, Walton-on- 
 Thames, Weybridge, Witley, and Woking. 
 
 lyt/i cc>T{ury. Great Bookham, Camberwell, Chipstead, Long Dit- 
 ton, Guildford (Abbott's Hospital), Horshill, Oxted, and Rother- 
 hithe. 
 
 Sussex. 
 
 There are a considerable number of fine brasses in this county. 
 The two best are at Trotton, to Margaret de Camois, c. 13 10, 
 and to Thomas Baton Camoys, and his lady, 14 19, under canopy 
 and super-canopy ; Lord Camoys commanded the English left 
 wing at the battle of Agincourt, and for his bravery was created 
 a Knight of the Garter. The brass at Cowfold, to Thomas Ne- 
 lond, Prior of Lewes, 1433, is particularly fine ; the canopy, with 
 its clustered pinnacles and flying buttresses, is one of the most
 
 142 MONUMENTAL BRASSES. 
 
 beautiful known. Among other fine brasses may be mentioned 
 those to Sir William Fienlez, 1402, at Hurstmonceux, to Sir John 
 de Brewys, 1426, at Wiston, to Sir William, Sir Thomas, and 
 Lady Joan Echyngham, 1444, at Etchingham, and to Britell 
 Avenel, priest, 1408, in the head of a floriated cross, at Buxtead. 
 
 \\tli century. Arundel, Bodiam, Etchingham, Fletching, Rusper, 
 Ticehurst, and Trotton. 
 
 l$th century. Amberley, Arundel, Battle, Billinghurst, Brede, 
 Brightling, Broadwater, Buxtead, Cowfold, Etchingham, West 
 Firle, Fletching, Goring, West Grinstead, Hellingley, Horsham, 
 Hurstmonceux, Iden, Lewes (St. Michael), Ore, Poling, 1'ul- 
 borough, New Shoreham, Stopham, Trotton, Warblelou, Win- 
 chelsea, and Wiston. 
 
 l6l h century. Angmering, Ardingley, Bodccton, Bodiam, Bright- 
 ling, Chichester Cathedral, Clapham, Clayton, Crawley, Cuck- 
 field, Ewhurst, West Firle, Framfield, Friston, East Grinstead. 
 Hastings (All Saints, St. Clement), Henfield, Isfield, Northiam. 
 Rusper, Slangham, Slinfold, Storrington, Thakeham, Warming- 
 hurst, and Willingdon. 
 
 17th century. Ardingley, Battle, Cuckfield, West Firle, Hastings 
 (St. Clement), Ilenrield, Rye, Slinfold, Stopham, and Uckrield. 
 
 Warwickshire. 
 
 At St. Mary's, Warwick, there is a fine brass to Thomas de 
 Beauchamp, Earl of Warwick, and Countess Margaret, 1406. A 
 similar brass occurs at Baginton, to Sir William and Lady Bagot, 
 
 1407. 
 
 1 ith century. Astley, Baginton, Hillmorton, Mercvale, Middleton, 
 Tysoe, Warwick (St. Mary, St. Nicholas), Wellesbourne, Withy- 
 brook, Wixford, and Wroxhall. 
 
 l6t/t century. Aston, Baddesley (Clinton Hall), Barchcston, Coles- 
 hill, Compton Vcrney, Coughton, Coventry (St. Michael), Ex- 
 hall, Hampton-in-Arden, Harbury, Haseley, Preston Bagot, 
 Solihull, Shuckburgh Superior, Tysoe, Ufion, Warwick (St. 
 Mary), Whatcote, \A hichford, Whitmarsh, Wexford, and Woot- 
 ton-Wawen. 
 
 17th century. Aston, Barton, Chadshunt, Coventry (St. Michael, 
 Holy Trinity), Harbury, Long Itchington, Meriden, Solihull, 
 Sutton Coldfield, and Tamworth. 
 
 Westmoreland. 
 There is one brass only, at Kendal, to Alan Bellingham, Esq., 
 1577-
 
 DISTRIBUTION. 143 
 
 Wiltshire. 
 
 At Salisbury Cathedral is the curious brass of Bishop Wyyil, 
 
 t 375 ; the half effigy of the bishop is seen standing in the castle 
 of Sherborne, with his champion before the gate. At Mere there 
 is a good brass to John Bettesthprne, Esq., 139S. 
 
 14/A century. Cliffe-Pypard, Drayton Cerne, Mere, and Salisbury 
 Cathedral. 
 
 15//! century. Berwick Basset, Bromham, Collingbourne Kingston, 
 Fovant, Mere, Seend, Upton Lovell, and Wandborough. 
 
 l6t/i century. Aldbourne, Alton Priors, Barford St. Martin, Great 
 Bedwyn, Bradford-on-Avon, Bromham, Charlton, Chisledon, 
 Dauntsey, Ham, West Lavington, Laycock, Long Newnton, 
 Ogbourne St. George, Preshutc, Salisbury (Cathedral, St. 
 Thomas), Stockton, Tisbury, Wilton, and Woodford. 
 
 \7tl1 century. Alton Priors, Bradford-on-Avon, Broad Rlunsden, 
 Broughton Gifford, Collingbourne Ducis, West Deane, Devizes 
 (St. John), Great Durnford, Minety, and Westbury. 
 
 Worcestershire. 
 
 Nothing important. 
 
 14/// century. Strensham. 
 
 l$th century. Blockley, Fladbury, Kidderminster, Strensham, and 
 Tredington. 
 
 l6t/i century. Alvechurch, Blockley, Broadway, Bushley, Chaddes- 
 ley Corbet, Fladbury, Hanley Castle, Longdon, M amble, Stock- 
 ton Strensham, Tredington, and Yardley. 
 
 ijt/i century. Birlingham, Daylesford, and Stoke Prior. 
 
 Yorkshire. 
 
 At Wensley there is a beautiful figure of a priest, c. 1360, of 
 Flemish workmanship. Another Flemish brass, rectangular, as is 
 most usual, is at Topcliffe, to Thomas de Topclyff and wife, 
 1 39 1. There is also a fine brass at Aldborough, near Borough- 
 bridge, to William de Aldeburgh, c. 1360, in armour and standing 
 upon a short bracket. 
 
 \\th century. Aldborough, Brandsburton, Cottingham, Topcliffe, 
 Wensley, and York Minster. 
 
 l$t/i century. Allerton Mauleverer, Aughton, Beeford, Bishop Bur- 
 ton, Catterick, Cowthorpe, Harpham, Howden, Hull (Holy 
 Trinity), Leeds (St. Peter), Londesborou^h, Owston, Ronald 
 Kirk, Routh, Sprotborough, West Tanfield, Thirsk, Wath, 
 Winestead, and York (St. Michael Spurrier Gate).
 
 144 MONUMENTAL BRASSES. 
 
 1 6/// century. Bainton, Bolton-by-Bolland, Burgh Wallis, Bishop 
 Burton, Hull (St. Mary), Leak,Marr, Otley, Rotherham, Roxby 
 Chapel, Sessay, Wentworth, Winestead, and York Minster. 
 
 lyt/i century. Kirby Moorside, Laughton-en-le-Morthen, Otley, 
 Rawmarsh, Sheriff Hutton, Thornton Watlass, Welhvick, 
 Wycliffe, and York (All Saints, North Street, St. Cross, St. 
 Martin-Ie-Grand). 
 
 18/// century. Leeds (St. Peter). 
 
 Wales. 
 
 Nothing important. 
 
 15/// century. Llandough (Glamorganshire). 
 
 \6th century. Beaumaris (Anglesea), Bettws (Montgomeryshire), 
 Dolwyddelan, Llanbeblig (Carnarvonshire), Swansea (Glamor- 
 ganshire), Ruthin and Whitchurch (Denbighshire). 
 ZJt/i century. Clynnog (Carnarvonshire), Haverfordwest (Pembroke- 
 shire) and Llanrwst (Denbighshire). 
 
 ADDENDA. 
 
 Lincolnshire. 
 
 (From "Line. Notes and Queiies." Jeans.) 
 
 14/A century. Add Althorpe and Gedney. 
 
 15/// century. Add Barrowby, Glentham, Harpswcll, Lincoln (St. 
 Mary-le-Wigford), Rand, Long Sutton, and North Witham. 
 Omit Scrivelsby. 
 i6t/i century. Add Cotes-by-Stow, Northorpe, and Rand. 
 
 Norfolk. 
 
 (From " List of Norfolk Brasses." Farrer.) 
 
 14/// century. Add Merton. 
 
 \$th century. Add Great Ellingham, Fcltwell, Helhoughton, Matti- 
 shall, Norwich (St. Ethelred, St. George Tombland), Sharington, 
 Thwaite, and Wood Dalling. 
 
 Omit Baconsthorpc and Belaugh. 
 \(jth century. Add Baconsthorpe, Binham, Brampton, South 
 Creak, Cromer, Ditchingham, Fakenham, Hindolvestone, 
 Ketteringham, Marston, Newton Flotman, Salthouse, Sharing- 
 ton, Snettisham, and Weston Woodton. 
 
 Omit Catfield, Colby, Norwich (St. Peter Southgate), 
 Sparham, and Taverham. 
 \jth century. Add Brampton, Ingoldisthorpc, Morton-on-the-hill, 
 Stokesby, and Up well.
 
 INDEX OF NAMES. 
 (Exclusive of Section VII.) 
 
 Acton, 51. 
 
 Acton Burnell, 86. 
 
 Addington (Surrey), 14. 
 
 Aldborough (Norfolk), 72. 
 
 Aldborough (Yorks), 92. 
 
 All Hallows Barking, 96, 106. 
 
 Amberley, 120. 
 
 Ash-next-Sandvvich, 99. 
 
 Ashford (Kent), 91. 
 
 Aveley, 105. 
 
 Avenbury, 12. 
 
 Aylesford, III. 
 
 Aylsham, 82. 
 
 Baginton, 51, 92. 
 
 Balsham, 28, 40, 85, 86. 
 
 Battle, 47, 61. 
 
 Beckenham, 92. 
 
 Beddington, 87, 89, 102. 
 
 Bedford (St. Paul), 30, 31, 48. 
 
 Berkhampstead, Great, 77. 
 
 Bexley, 103. 
 
 Biddenden, S3, 97, 100. 
 
 Bishopsgaie (Gt. St. Helen), 44. 
 
 Bitton, 12. 
 
 Bowers Gifford, 51, 59. 
 
 Bray, 89. 
 
 Bristol (The Temple), 97. 
 
 British Museum, 25, 32, 105, 10S, 
 
 in, 113. 
 Broadwater, S9. 
 Bromham, 112. 
 Broxbourne, 13, 92, 117. 
 Burwell, 38, III. 
 Bury St. Edmunds, 108. 
 Buxted, 88. 
 
 Camberwell (St. Giles). 21, 106, 10S, 
 
 ill. 
 Cambridge, 43, 44, 45, 47, 113. 
 
 Cardington, 92. 
 Carlisle Cathedral, 40. 
 Carshalton, 103. 
 Cassington, 89. 
 Chalfont St. Peter, 112. 
 Chart, Great, 52, 68. 
 Chartham, 51, 91, 120. 
 
 vening, 47. 
 Chigwell, 40. 
 Childrey, 92. 
 Chipping Norton, 21. 
 Chobham, 108. 
 
 Cobham, 21, 51, 68, 85, 86, 89, 95. 
 Cologne, 106. 
 Constance, 1 1 7. 
 Cople, 99. 
 Cowfold, 47. 
 
 Cray, St. Mary's, 17, 76, 83. 
 Croydon, 97. 
 
 Dartford, 85. 
 Dartmouth, 52, 85. 
 Denham, 47. 
 Digswell, 52, 93. 
 Dorchester, 47. 
 
 Easton, Little, 93. 
 Edenham, 40. 
 Elstow, 47. 
 
 Ely Cathedral, 3S, 40, 89. 
 Enfield, 85, 92. 
 Etcfaingham, 85. 
 Eton College, 43. 
 Exeter Cathedral, 93. 
 
 Faversham, S5, 86. 
 Felbrigg, 52, 91, 93. 
 Fulbourn, 38, 40. 
 Fulham, 106.
 
 146 
 
 INDEX OF NAMES. 
 
 Goring, 28. 
 
 Newcastle-on-Tyne, 106. 
 
 
 
 Gorleston, 51, 120. 
 
 Newton-by-Geddington, 89. 
 Norwich, 83, III. 
 
 
 
 Haccombe, 28. 
 
 
 
 
 Hard res, Upper, 89. 
 
 Ore, 70, 77. 
 
 
 
 Harefield, 14, 75. 
 
 Orpington, 41. 
 
 
 
 Headcom, 101. 
 
 Oxford, 38, 39, 40, 43, 44, 
 
 47, 
 
 79- 
 
 Hedgerley, 108. 
 
 85,86,87,88, 102, 113. 
 
 
 
 Hereford Cathedral, 21, 40. 
 
 
 
 
 Heme, 44. 
 
 Pebmarsh, 51. 
 
 
 
 Hever, 89, 93. 
 
 I'enshurst, 89. 
 
 
 
 Higham Ferrers, 37, 89. 
 
 Pinner, 106, III. 
 
 
 
 Hildersham, 83, 89. 
 
 
 
 
 Holm-next-the Sea, 99. 
 
 Q i, y» 5 2 - 
 
 
 
 Horseheath, 58. 
 
 
 
 
 Horsham, 37. 
 
 Rochester, 112. 
 
 
 
 Horsley, East, 38, 40, 97. 
 
 Romney, 99. 
 
 
 
 Horsmonden, 37, 85, 107. 
 
 Rye, 101. 
 
 
 
 Howden, 108. 
 
 
 
 
 Hunstanton, 86, 89, 92. 
 
 St. Albans Abbey, 8, 40, 47 
 
 5 2 , 
 
 85, 
 
 Hurstmonceux, 51, 85. 
 
 104, 105, 108, 109, 119. 
 
 
 
 
 St. Albans (St. Michael's), 77 
 
 , S8, 
 
 96. 
 
 Impington,93. 
 
 St. Bride's, Glamorgan, 12. 
 
 
 
 Ingham, 120. 
 
 Salisbury Cathedral, 12, 40, 
 
 117. 
 
 
 Ipswich, 106. 
 
 Schwerin, 104, 119. 
 
 
 
 Isleham, 73. 
 
 Shottesbroke, 38. 
 
 
 
 Isleworth, 14, 47, 112. 
 
 Shrewsbury (St. Alkmond), 20. 
 
 
 
 Southacre, 92. 
 
 
 
 Jermyn Street Museum, 13, 106. 
 
 Southfleet, 89. 
 Stifford, 98, 101, 102. 
 
 
 
 Kensington Museum, 106, 
 
 Stoke d'Abernon, 13, 51, 52 
 
 54- 
 
 55, 
 
 Kingston-on-Thames, 14. 
 
 56, 91, 95, 120. 
 Stone, 88. 
 
 
 
 Laughton, 86, 112. 
 
 Stratford-on-Avon, 86. 
 
 
 
 Liege, 106. 
 
 Sud borough, 37. 
 
 
 
 Limoges, 11, 12. 
 
 Surrey Archaeological 
 
 Society 
 
 Linglield, 21, 87. 
 
 Museum, 8, 93, 107. 
 
 
 
 Lubeck, 104, 1 19 
 Lullingstone, 75. 
 Lydd, 44, 101. 
 
 Lynn, King's, 21, 77, 104, 105, 116, 
 119. 
 
 Mailing, East, 43. 
 Mailing, West, 75. 
 Manchester Cathedral, 40. 
 Margate, 83, 106, in. 
 Mawgan-in-Pyder, 106. 
 Mel ford, Long, 74, 86, 92. 
 Mildenhall, 120. 
 Mimms, North, 37, 105. 
 
 Netley Abbey, 8, 107. 
 Newark, 77, 104, 119. 
 
 Taplow, 77, 88. 
 Tattershall, 86. 
 Ticehurst, 112. 
 
 Topcliffe, 105. 
 Trotton, 6S, 86, 93. 
 Trumpington, 51, 55, 91, I \d. 
 
 Upwell, 86. ; 
 
 Verden (St. Andrew), 35. 
 
 Warbleton, 40, 85. 
 Waterpery, 112. 
 Wells Cathedral, 12. 
 Wensley, 37, 38, 105. 
 Westley Waterless, 51, 68, Il6.
 
 INDEX OF NAMES. 
 
 1 47 
 
 Westminster Abbey, 7, 8, 12, 
 
 38, 
 
 40, 
 
 Winchester, 40. 
 
 47, 4S, 52, 66, 85. 
 
 
 
 Wisbeach, 52. 
 
 Wcybridge, 83, 112. 
 
 
 
 Woodchurch, 88. 
 
 Wickham, East, 22, 88. 93. 
 
 
 
 Wotton-under-Edge, 120. 
 
 Wilbraham, Little, 44. 
 
 
 
 Wrotham, 93. 
 
 Wimbish, 88. 
 
 
 
 
 Wimington, 52, 85, 97. 
 
 
 
 York Minster, 38, 40. 
 
 Butler & Tanner, The Selwood Printing Works, Frome, and London.
 
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