ARCHITECTURAL DETAILS
(See special articles on this subject by the author in _The Builder_,
vol. CII.)
Brasses frequently contain a considerable amount of architectural
detail in their composition. Sometimes they were placed on altar tombs
under stone canopies, but it is of those details depicted in the brass
itself that the author purposes to write.
Canopies are by far the most important group, and the magnificence of
some of these can be but faintly realised from the illustrations.
The earliest follow the Decorated style which was in fashion when they
were laid down.
The first type consists of slender shafts supporting a pediment, of
which the upper sides are straight, forming a triangle ornamented with
crockets and terminated by a bunch of foliage. The arch beneath is
trefoil and the cusps are filled with leaves. This form lasted from
1300 to c. 1325, but unfortunately only one example survives--that of
Joan de Cobham, Cobham, Kent, 1320 (cf. p. 7). The side shafts were
missing, but have, we believe, been restored. This is the second lady
to be depicted on a brass, and she leads the fine series of nineteen
brasses at Cobham. The slab of Margarete de Camoys, Trotton, Sussex, c.
1310, shows the matrix of a similar canopy. The fragments of the canopy
of Sir Hugh Hastings, 1347, Elsing, Norfolk, also appear to belong
to this type, but with later variations. In it, as in the canopy of
Lawrence de St Maur, the canopies in the shafts are straight-sided.
This low pedimental form was soon superseded by the ogee arch rising to
a considerable height. This is supported by equally tall side shafts.
Sometimes, in place of a bunch of foliage, figures of saints are seen
on the finial, as on several examples at Cobham, Kent, notably Lady
Margaret (cf. p. 13). At other times a shield with a coat-of-arms takes
its place, as in the brass of Archbishop Waldeby, Westminster Abbey,
1397.
The next development was to widen the shafts, so as to form panels
or niches containing canopied saints. Often these are surmounted by
a super-canopy. The brass of Lawrence de St Maur, Higham Ferrers,
Northants. (cf. fig. 13) shows this type. Canopies over mass
priests are very rare and this is by far the finest. The details have
been given before, so we will turn to another variation of this type.
Instead of canopy and super-canopy, an embattled canopy with an ogee
pediment within is found. A splendid example is to a former Dean of
St Asaph’s and rector of Balsham, John Blodwell, 1462 (cf. p. 37). It
measures 8 ft. 9 in. × 4 ft. 1 in.
Another development was, in place of a single arch to have double or
triple arches. The former type was used almost exclusively where two
persons were commemorated. The latter was sometimes used over three
figures, but more often over one. Thus in the brass of the Duchess
of Gloucester, Westminster Abbey, 1399 (cf. p. 47), we have a truly
magnificent brass. Five shields hang from the shafts (the sixth is
lost) and between the finials of her triple canopy are two other
finials, one of which has been lost since this rubbing was made. A
tabernacle with the Holy Trinity is often placed above the ogee arch in
place of the central finial, as in the brass of Sir Nicholas Hawberk,
Cobham, Kent, 1407. But not only the finest of this group, but of
all _English_ brasses now extant is the monument to Thomas Neolond,
Cluniac Prior of Lewes, at Cowfold, Sussex, 1433 (cf. p. 45). This has
a tabernacle with the Virgin and Child, and, moreover, the finials
of the other two arches support St Pancras and St Thomas à Becket.
Further, the central arch is also triple, and the shafts are supported
by side shafts and connected by flying buttresses, as is likewise the
tabernacle. The entire scheme is very graceful and recalls the lantern
at Ely in its lightness. It is 10 ft. 2 in. × 4 ft. 3 in. A somewhat
similar brass is that to John Sleford at Balsham, 1401.
The earlier canopies were not groined, one of the earliest exceptions
being that over Lord Nicholas Burnell, Acton Burnell, Salop, 1382 (cf.
p. 11). But during the fifteenth century this became more common (see
the canopy of John Bloxham and John Whytton). It is an unsatisfactory
feature, and characteristic of the gradual deterioration and coarsening
of the engraving. This latter is also shown by the heavy finials and
crockets.
In the sixteenth century, these peculiarities became more marked,
though canopies still follow the traditional lines. There are two
or three early Renaissance canopies, e.g. a large, triple one to Wm.
Porter, S.T.P., Hereford Cathedral, 1524, and Dean Frowsetoure, in
cope, Hereford Cathedral, 1529.
It is difficult to say whether the classical arches shown in a few of
the later brasses can be termed canopies. An example is to be found to
Wm. Dunche and wife, Little Wittenham, Berks, (double) engr., c. 1585.
(See Appendix.)
_Brackets._
The idea of this group probably originated with the brackets supporting
figures of saints, which were common in our churches before the
Reformation. The brackets usually projected from a wall or column, and
a small pillar helped to support them. Above was a canopy of carved
stone or wood.
One would naturally expect that, if this idea were copied, the bracket
would hold a saint and the deceased would kneel before it. There are,
however, only two examples extant. The brass of John Spycer and wife,
Burford, Oxon., 1437, is terribly mutilated. The canopy and Virgin and
Child are lost, and only the deceased couple remain, kneeling on either
side of the stem. The other example is practically complete and is to
John Strete (priest in academics), Upper Hardres, Kent, 1405 (cf. p.
93). St Peter and St Paul stand on the bracket, and there is no canopy.
[Illustration: Fig. 24. John Strete, M.A. 1405, Upper Hardres, Kent]
In all other cases the deceased persons themselves stand on the
bracket. The earlier ones are much mutilated, and only one fourteenth
century brass is at all perfect. It is to Sir John Foxley and two
wives, Bray, Berks., 1378. The canopy is lost. The three figures are on
a bracket with a short stem rising from the back of a fox, the family
crest. The total length of the composition is just over 5 ft. Though
the ladies are standing, the knight rests with his head on his helm and
his feet on a lion.
The fifteenth century brasses are far more complete. (See Appendix.)
The Merton College brass is one of the finest. The stem rises from a
tabernacle holding the Lamb with the banner.
In the sixteenth century should be noted the brasses of Sir Roger
le Strange, Hunstanton, Norfolk, 1506; John Terry and wife, St
John, Maddermarket, Norwich, 1524; John Marsham and wife, St John,
Maddermarket, Norwich, 1525; and Robt. Rugge and wife, St John,
Maddermarket, Norwich, 1558.
Sir Roger stands on a low bracket without a stem, placed _within_, not
supporting, a magnificent canopy with figures of weepers in the side
shafts.
The other three evidently come from a local school of engravers.
Terry’s bracket resembles a tree, the branches support pedestals
for himself, his wife and for his children. The whole is on a single
plate. The Marsham bracket has a stem like that of a table and the top
is covered with skulls and bones. In the Rugge brass there is only a
corbel supporting an inscription.
So far as is known, there are no later bracket brasses.
_Crosses._
These also form a group which may conveniently be dealt with here.
At one time they were very numerous, but provoked the wrath of the
Reformers more than any other type of brass, hence barely thirty
remain. Matrices are still numerous and many might doubtless be
restored as has been successfully done at Ely.
They fall into three main divisions: (1) plain crosses, (2) crosses
with some saint in the centre, (3) crosses with the deceased in the
centre.
This last group may be subdivided into: (_a_) quatrefoil, (_b_)
octofoil. (See Appendix.)
(1) These vary considerably in form. At Higham Ferrers, the arms
terminate in the Evangelistic symbols. At Royston, a bleeding heart
and the four wounds are shown. At Eversley, the whole cross is formed
of interlocking bands, or links of a chain. The cross at Floore,
Northants., is drawn in perspective.
(2) There are but few examples of the second type. The best is to Robt.
de Paris and wife, Hildersham, Cambs., 1379, here shown. The figures
kneel on either side of a cross with an octofoil head, in which is the
Holy Trinity. Robt. de Paris wears a long cloak, thrown open so as to
show his undergarment, which stops short above the knees. A belt holds
an anlace and his legs are covered with long hose.
[Illustration: Fig. 25. Robert de Paris and wife, 1379, Hildersham,
Cambs.]
Another example is that of John Mulsho and wife, Newton-by-Geddington,
Northants., c. 1400, commemorated by a quatrefoil cross, holding a
figure of St Faith. This brass was restored by Messrs Waller, but there
seems little reason to doubt that the design is correct.
The brass of Robt. de Brun (priest), Chelsfield, Kent, 1417, is a much
mutilated crucifix; the figure of St John is lost, the head of the
Virgin and most of the cross. On the ground are Adam’s skull, Jacob’s
ladder and the jawbone of an ass. The latter refers to the scriptural
legend that from it flowed a stream of water to revive Samson’s spirit
(Judges xv. 19).
(3) (_a_) This division includes a small group of much interest. Some
of the earliest belong to it, and many others--of the fourteenth
century--have perished. They are used to commemorate priests. These
are: Rich. de Hakebourne (priest), Merton College, Oxford, c. 1310; A
Priest, Chinnor, Oxford, c. 1320; Nichol. de Gore (priest), Woodchurch,
Kent, c. 1320; and Britell Avenel (priest), Buxted, Sussex, 1408.
The first three brasses have lost their stems. The Merton and Chinnor
crosses hold a demi-figure and a head respectively. Nicholas de Gore
is a small, full-length figure, and the composition is very pleasing.
The Buxted cross is the only one which is nearly perfect. The priest
is a demi-figure, resting on a diapered background. There is a border
inscription.
(_b_) Octofoil crosses are more numerous. Those at East Wickham, 1325,
and Wimbish, 1347, have already been described.
The East Wickham brass had the missing parts restored in 1887. The
Taplow cross (c. 1350) rises from a dolphin, an appropriate emblem for
a fishmonger.
The octofoil consists of eight ogee arches, alternately large and
small, with finials of foliage.
_Other Architectural Features._
There are several brasses in which architectural features are included
which do not come under these headings. Thus, Bishop Wyvil, Salisbury
Cathedral, 1375, is shown as a demi-figure within a castle, with his
champion at the portcullis below. This commemorates his recovery of the
Castle of Sherborne for the See. There are several rabbits at the foot
of the castle, and these probably commemorate his recovery of a piece
of ground known as “The Warren.”
Bp. Robinson’s brass shows Carlisle Cathedral and Queen’s College,
Oxford, and many sixteenth century brasses show walls, pillars, etc.
In an interesting series of three sixteenth century brasses, probably
by the same hand, to Robt. Honywode, St George’s Chapel, Windsor,
1522; Robt. Sutton, St Patrick’s, Dublin, 1528; and Geoff. Fyche, St
Patrick’s, Dublin, 1537; what is really a view of a side-chapel is
shown.
At Windsor, beneath the Tudor arch, Honywode kneels at a _prie-dieu_
before a statue of the Virgin and Child. In the Irish examples, the
resemblance to a side-chapel is still more complete. Fyche kneels at
a faldstool before an altar with a picture above it of the descent
from the Cross. The vaulting of part of the roof is visible, and the
walls have linenfold panelling. A shield hangs from a hook at one side
bearing a bush with several birds on it and the initials F. G., which
evidently refer to and are probably meant as a pun on his name--Finch
for Fyche.
The floor is laid with tiles and a Renaissance arch forms a kind of
canopy in the foreground. Parts of rooms are often shown in sixteenth
century brasses.
In a few cases, brasses were laid down to founders of churches. They
usually hold a model of the church in their hands. An example exists at
Cobham, to Sir John de Cobham, 1365. The building is in the decorated
style, has a small spire and a large porch.