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 CORNELL 
 
 UNIVERSITY 
 
 LIBRARY 
 
Cornell University Library 
 BX 1973K55 
 
 Illustrations of the occasional offices 
 
 3 1924 005 991 231 
 
 pnmTEDiNU « *■ 
 
dRftutn tiui Coikctione 
 
 XXIV 
 
 ILLUSTRATIONS 
 
 OF THE 
 
 OCCASIONAL OFFICES 
 
 OF THE CHURCH 
 
 IN THE MIDDLE AGES 
 
 FROM CONTEMPORARY SOURCES 
 
 Collected and Described 
 
 BY 
 
 H. S. KINGSFORD, M.A. 
 
 A. R. MOWBRAY & CO. Ltd. 
 
 London : 28 Margaret Street, Oxford Circus, W. i 
 
 Oxford : 9 High Street 
 
 Milwaukee, D.S.A. : The Morehouse Publishing Co. 
 
 1921 
 \Jll right i reiei^ed'\ 
 
2o 
 
 Yi'i^' 
 
PREFATORY NOTE. 
 
 ' I "*HE following pages are an attempt to gather together 
 -*- a selection of contemporary pictures illustrating the 
 religious life of the mediaeval layman from his birth to his 
 death. For this reason are included representations of 
 Communion, although not strictly an Occasional Office ; 
 and Orders are omitted as not coming within the 
 experience of the average layman. The scenes are 
 briefly described, and wherever possible illustrative passages 
 from the Sarum Manual and other service books are 
 added. But beyond this no attempt has been made to 
 discuss the liturgical aspect of any of the illustrations, for 
 which the reader is referred to the many books dealing 
 with the subject. This book indeed is frankly a book of 
 pictures, and as such it is hoped that it may prove of 
 interest and use, and serve to illustrate the various rites 
 and ceremonies in which a layman had his part in the 
 Middle Ages. 
 
 The pictures must not always be interpreted too 
 literally. The artist undoubtedly often allowed himself 
 a good deal of latitude, especially in the matter of colour, 
 and frequently treated his subject summarily and without 
 being too careful as to detail. Many too are by foreign 
 hands, and therefore cannot be expected to illustrate 
 English use with complete accuracy. 
 
 For the loan of photographs and for permission to 
 reproduce illustrations I have to thank the authorities of 
 the British Museum, the Society of Antiquaries, Mr. 
 C. R. Peers, Director S.A., the Rev. A. S. Duncan-Jones, 
 Mr. Pierpont Morgan, through Miss Costa Greene, 
 Mr. John Murray, C.V.O., F.S.A., and Mr. Emery 
 Walker, F.S.A. Lastly, I am under a great debt of 
 gratitude to the Rev. Dr. WooUey, who was good enough 
 
iv Prefatory Note 
 
 to read the greater part of the book in manuscript and to 
 
 make many valuable suggestions. I hasten to add that 
 
 he is in no way responsible for the mistakes. 
 
 The extracts from the Sarum Manual are taken from 
 
 that printed in the appendix to the edition of the York 
 
 Manual, published by the Surtees Society in 1874 (No. 63), 
 
 and from Maskell's Monumenta ritualia Ecdesiae Anglicanae, 
 
 2nd Edition, 1882. 
 
 H.S. K. 
 
ILLUSTRATIONS OF THE OCCASIONAL 
 
 OFFICES OF THE CHURCH 
 
 IN THE MIDDLE AGES 
 
 FROM CONTEMPORARY SOURCES 
 
BAPTISM. 
 
 2. M., Royal MS. 6 £. vj, / 171. 
 
 An initial B. On the left a priest vested in apparelled alb 
 and amice holds the child over a chalice-shaped font. The 
 child is represented as seated on the priest's right hand and 
 being supported by his left. Behind the priest stands a 
 clerk, and on the other side of the font are the three god- 
 parents. 
 
 This picture appears to represent the priest receiving the 
 child immediately before the act of baptism,' the infant 
 havmg been already anointed on his breast and between 
 his shoulders. 
 
 ' Sarum Manual : " De'inde accipidt saccrdos infontem fer latera in manibus 
 suis, et interrogaio nomine eius, baptixet eum sub trina mersione.^' 
 
Fig. I. Baptism. 
 
 B. M., Royal 6 E.v],f. 171. 
 
BAPTISM. 
 
 2. M., Add. 29704,/ 18. 
 
 This and the next picture represent baptism by immersion, 
 which was the general practice in the Middle Ages for 
 infants, except that the head was not always covered. But 
 infants were also baptized by affusion (fig. 4), and for 
 obvious reasons it was usual for adults (fig. 8). There 
 is, however, no reference to affusion in the normal service, 
 but the rubrics enjoining the priest to exhort lay folk to 
 baptize in case of necessity explain that baptism may be 
 either by affusion or by immersion. 
 
 An initial B. In a church, open at the sides, a priest, 
 wearing alb and apparelled amice, stands on the left and 
 dips the infant in the font. On the right stand a clerk, 
 holding the office book, and the sponsors. Issuing from 
 the priest's mouth is a scroll inscribed m IIOIC patVIS 
 ^ ft'Iil ^ SpC SCtT: ante •' Above is a representation of 
 the Holy Trinity, the stem of the crucifix, held by the 
 Father, rising from behind the font. 
 
 ' Sarum Manual : ". . . \sacerdos\ dicens. N. Et ego baptizo te in nomine 
 patris. Et mergat euin semel versa facie ad aqu'ihnem et capite versus orientem : 
 et Filii : et iterum mergat semel versa facie ad meridiem : et Spiritus sancti : 
 Amen. Et mergat iertio recta facie versus aquam." 
 
Fig. 2. Baptism. 
 S. M., Add. 29704, / li 
 
BAPTISM. 
 
 The Pageant of Richard Beauchamp. S. M., Colt. MS. Julius 
 E. iv, / I, d. 
 
 English, last quarter of 15TH Century. 
 
 This picture represents the baptism of a child who was to 
 become one of the greatest nobles of his age. On the left 
 a bishop in cope and mitre dips the infant in a large 
 hexagonal font supported by a central column and six 
 surrounding pillars. On the right stand the sponsors — 
 King Richard II in crown and royal robes, with his hand 
 on the child's head ; Richard le Scrope, Bishop of Lichfield,' 
 in mitre and gown and tippet, and a lady in a butterfly head- 
 dress. On the officiating bishop's left a clerk holds the 
 open service book. Behind the bishop are three other 
 clerks in surplices and almuces, one of whom holds the 
 open chrismatory with places for the three oils, 2 and 
 another the bishop's crozier and gloves. In the back- 
 ground are various spectators, one behind the king holding 
 upright a sword of state. 
 
 ' Afterwards Archbishop of York, executed in 1405. 
 ^ For the use of the chrismatory see p. 12. 
 

 
 ■"»^- I in' ii '^ 1 I /^n / h . ■■ 
 
 ^2^;^/^^ 
 
 r-f^^i ,, , 
 
 jj 
 
 •^' 
 
 
 Fig. 3- The Baptism of Richard Beauchamp, afterwards 
 Fifth Earl of Warwick. 
 
 B. M., Cott. Julius E. IV, f. I , d. 
 
 Photo, lent by Mr. Emery Walker. 
 
BAPTISM. 
 
 " The art of good ly'^inge^' f. i, i. 
 
 This and the next picture represent the baptism of an 
 infant by affusion. 
 
 The font is bath shaped and is divided into two un- 
 equal parts by a transverse partition. The object of the 
 division is believed to have been to prevent the drippings 
 from the infant's head falling back into the hallowed water. 
 The child was held over the smaller division, into which 
 the drippings would fall to be carried away by a drain. 
 On the right the infant is held by his sponsors over the 
 smaller division, while a priest, wearing surplice and stole, 
 stands behind the font and baptizes the infant by pouring 
 water from a shell over its head. The priest holds an 
 open book in his left hand. On his right a clerk, with 
 keys slung at his girdle, holds a chrismatory, and in front 
 stands a boy holding a lighted taper which subsequently 
 was placed in the infant's hand (see fig. 7). Various 
 spectators stand in the background. 
 
B. M.] 
 
 Fig. 4. Baptism. 
 
 Tie art of good lyAnge" f. i, 
 
BAPTISM. 
 
 B. M., Egerton 2019, / 135. 
 
 On the left a man in civil dress, the father or godparent, 
 holds the naked infant over a large chalice-shaped font. 
 Behind the man stands the godmother. On the right the 
 priest in surplice and stole pours water over the child's head 
 from a shell, and the drippings are seen falling into the 
 font. Behind the priest is a clerk holding the chrismatory. 
 Above the infant's head is the Holy Ghost in the likeness 
 of a dove. 
 
\.^; I 
 
 Fig. 5. Baptism. 
 B.M., Egerton 2019,/ 135. 
 
 Photo, lent by Mr. Emery Walker.] 
 
 II 
 
BAPTISM. 
 
 Triptych by Roger van der Weyden. 
 Flemish, 15TH Century. 
 
 This picture illustrates the infant being anointed on the 
 forehead immediately after baptism. The parents and 
 sponsors are standing around a circular font supported 
 on a central stem, over which is held the naked infant.' 
 On the right a priest vested in surplice and stole signs 
 with a style the infant's forehead with the cream. 2 while 
 he holds the chrismatory in his left hand. 
 
 ' Sarum Manual : " Tunc patrini accipientes infantem de manibus sacerdotis 
 levent eutn de tinted 
 
 ' Sarum Manual : '■'■Hie [after the child has been lifted from the font] 
 liniat infantem de ipso chrismate cum pollice in vertice in modum crucis." 
 
 12 
 
Fig. 6. Baptism : Confirmation : Penance. 
 
 'Right wing of Triptych by Roger van iter IVeyden. 
 
 Plwto. lent by Rev. A . S. Duncan-Joties.] 
 
 13 
 
BAPTISM. 
 
 " The arte or crafte to lyve 'K'elt" f. xxxvii. 
 Printed ey Wynkyn de Worde in 1503. 
 
 After the unction a lighted taper was placed in the child's 
 hand as illustrated in this picture. 
 
 A large circular font with what appears to be a small 
 projection in front.' On the right the godparents hold 
 the naked child over the font. On the left the priest, in 
 surplice and stole, holds an open book in his right hand 
 and with his left supports a lighted candle in the infant's 
 right hand,^ Behind the priest stands a clerk wearing a 
 surplice. 
 
 " Such projections, if thi-. be one, are found on several mediaeval fonts. 
 Their use Is not certain. The} may have held a bowl to catch the 
 drippings or have served as a book rest ; if hollow, as this one seems to be, 
 they may have been u;ed to hold the oils. 
 
 ^ Sarum Manual : ". . . ponat cereum ardentem in manu infanlis. . . ." 
 This placing of the lighted candle in the child's hand took place after he 
 had been vested in the chrism cloth. The artist has evidently made a mistake 
 in representing the child naked. 
 
 H 
 
Fig. -. Bapti;::. 
 
 T'r.c c^U rr cra".c .'; I'Sc a-c//," /- sxxvii. 
 
 S'.:. An-.:, 
 
BAPTISM. 
 
 2. M., Nero E. \\, part i, / 176. 
 French, early i 5TH Century. 
 
 This picture of the baptism of Rollo the Northman after 
 the Treaty of Clair-sur-Epte in 911,' represents an adult 
 baptism. Duke Rollo, naked except for a loin cloth, 
 kneels with clasped hands in a chalice-shaped font. On 
 the left a bishop in mitre, cope, dalmatic, alb, and gloves, 
 pours the water over the man's head from a bottle or 
 ampulla. Behind stands a clerk wearing a cope and hold- 
 ing a processional cross. On the right stand the Duke of 
 Aquitaine in a cap of estate and ducal robes and three 
 other laymen. The font stands on a tiled pavement and 
 behind hangs a brocaded curtain. 
 
 ' It will be noticed that the artist is depicting an event which took 
 place 500 years before his own time. The picture seems to be an attempt 
 to combine different usages, that of a later day when fonts designed for 
 infant baptism were employed, fonts which of course it was impossible 
 for an adult to enter, and the earlier practice, whereby baptism was 
 administered in low fonts or tanks, or in rivers, into which the neophyte 
 stepped. In both cases it is probable that the rite was administered, at 
 any rate where adults were concerned, by affusion, not immersion. 
 

 Fig. 8. Baptism. 
 
 ®. M., Nero E. ii, /^;7 i, / i 76. 
 
 •7 
 
CONFIRMATION. 
 
 B. M., Royal 6 E. vj,/ 372. 
 
 An initial C. On the right a woman in a long gown and 
 veil headdress holds on her right arm the child and 
 presents him to the bishop, who stands on the left, wearing 
 a mitre, alb, amice, and chasuble hanging as customary in 
 loose folds. Behind the bishop is a clerk holding a 
 chrismatory. 
 
 As the bishop is wearing a chasuble, he has either just 
 said, or is about to say, Mass. As only one child is 
 represented the confirmation is evidently an individual 
 one. Parents were exhorted to present their children for 
 confirmation whenever they heard that a bishop was in the 
 neighbourhood. 
 
 18 
 
^£"i^ ^ /«k ^*- . . 
 
 «mcttta6 
 
 nfmii 
 fH26<mrotti 
 
 pe (Vtf fc 
 
 mvam 
 
 , iiii -n^"^^^"_ 
 
 ^ ^f^tw^LA «1!i ^^ .^fe-L^,.^- A^^ bT^^. 
 
 Fig. 9. Confirmation. 
 5. M., Royal 6 E. vi, / 372. 
 
 19 
 
CONFIRMATION. 
 
 " The arte or crafte to ly^e well,'' f. xl. 
 
 In the centre of the picture a bishop in cope and mitre 
 anoints with the cream a row of five boys who kneel 
 before him.i The bishop holds an open chrismator)- in 
 his left hand. Behind the boys a clerk binds the chrism 
 cloth - round the forehead of one of those who have 
 already been confirmed. Behind the bishop are two clerks, 
 one holding a closed book and the other the bishop's 
 crozier. The ceremony is represented as taking place 
 before an altar, and it will be noticed that, possibly by an 
 artist's licence, the boys are not kneeling facing the altar 
 but sideways to it. 
 
 In this and the following picture the children are being 
 anointed and not being confirmed bv the imposition ot 
 hands. In the Middle Ages the imposition ot hands was 
 not individual, but general, the bishop raising his hands 
 over all the candidates at once. 
 
 ' S.irum Manual : " Et tunc episcopus petal nomen, et ungut pollicem chrismate: 
 ct fdciiit in fronte pueri crucem, dicens : Consigno te A" signo crucis ^ et 
 confirmo te chrismate salutis. In nomine Pa ►J^ triset Fi ►J) lii et Spiritus 
 ►J< Sancti. Amen." The words of the rubric in the Sarum Pontifical are 
 practically the same. It will be noticed that the child's name is asked 
 and he is anointed by name, illustrating the fact that it was allowable for 
 a person to change his name at confirmation. 
 
 ^ Sarum Pontifical : ". , . itiiungatur ab al'iquo sacerdotc . . . quod tert'ia 
 die z'adiint cum pueris ad ecclesiam ad chrismalia deponenda." Bishop Cantilupe 
 of Hereford's Constitutions (1240) : " prozideant matres parTukrum, quod 
 confirmandi qui mittuntur ad epiicopum habeant ligamina novae telaeT 
 
 CONFIRMATION. 
 
 The yan der Weyden Triptych (see fig. 6). 
 
 A BISHOP in cope, alb, and mitre, the infulae of which 
 are well shown, anoints with the cream the forehead of 
 a boy who kneels before him. The bishop holds a circular 
 chrismatory in his left hand. On his left a clerk, in a 
 surplice, binds the chrism cloth round the forehead of 
 a kneeling boy, and two boys and a girl, each with the 
 chrism cloth round their foreheads, walk away. On the 
 bishop's right is a group of four laymen. 
 
Fig. io. Confirmation. 
 
 The arte or irafte to h'te a-ell," f. xl. 
 
 Soc. Jnt.] 
 
 21 
 
PENANCE. 
 B. M., Add. MS. 25698, / 9. 
 
 15TH Century. 
 
 The priest in surplice, gown, and grey almuce, is seated 
 in a stall on the left. Fixed to the back of the stall is 
 a painting of the papal arms. With his right hand he 
 is giving a blessing, and in his left hand he holds a long 
 discipline rod,' with which he touches the head of a man 
 who rises from his knees some little way in front of him. 
 It is probable that this man has not made his confession 
 but that he is asking an absolution as he passes by. 2 On 
 the left hand of the priest a penitent is kneeling, and two 
 other penitents kneel near by, one at a stall on the priest's 
 right, the other in front of the altar which is vested in 
 the Passiontide array with a red frontal. At the side of 
 the altar is another confessing pew with the papal arms 
 on the back of the stall. 
 
 ' For the discipline rod see Wicicham Legg, The QlerPs Boo\ 0/ i^^g 
 (Henr)- Bradshaw Society), p. 118. 
 
 ^ Rock, Qhurch of our Fathers, 1853 edition, vol. iii, part i, pp. 224.-5. 
 
-». i 
 
 Fig. 1 1. Penance. 
 n. M., Add. 25698,/ 9. 
 
 23 
 
PENANCE. 
 
 " The arte or crafte to lyve well,'' f. xxiv, d. 
 
 Within a vaulted church, a priest, wearing surplice, stole, 
 and cap, is seated on the left, absolving with uplifted hand 
 a woman penitent who kneels betore him. On the right 
 a male penitent is kneeling, and making his confession to 
 another priest, possibly a friar, as he appears to be dressed 
 in a habit with the cowl over his head. 
 
 24 
 
Fig. 12. Penance. 
 
 ■ The arte or crafte to /yzr zvel!" f. xxiv, d. 
 
 Soc. ^'tnt.'] 
 
PENANCE. 
 
 " The arte or crafte to lyce vpe/I," f. xlii, d. 
 
 Ox the left, within a doorwav, a priest is seated, hearing 
 the contession of a kneeling man. In the centre another 
 priest is seated in a high-backed seat. He wears a cap 
 and gown and holds a book ; his almuce is over his arm. 
 Beside hin:i, on his right, a man in a gown with a scarf 
 over his shoulder, kneels and makes his confession. On 
 the right, another priest, in habit with cowl thrown back, 
 absolves a kneeling woman by placing his hand upon her 
 head. 
 
 PENANCE. 
 
 Van der IVeydefi Triptxch (see fig. 6). 
 
 A PRIEST in a surplice with almuce over his head, is seated 
 in a chair in front of a parclose screen ; a male penitent 
 kneels before him. On the right, a woman penitent is 
 kneeling- awaitino- her turn. 
 
 PENANCE. 
 
 B. M., Egerton 2019, f. 14; (see fig. 44). 
 
 The initial D of the verse Dilexi qitoniam below the picture 
 of the funeral. 
 
 In a seat with a high brocaded back is a priest in a 
 surplice, with almuce over his head. With his right hand 
 he absolves a man kneeling on his right. 
 
Fig. 13. Penance. 
 
 The arte or crafte to l-jvc well," f. xlii, d. 
 
 Soc. Jtit.] 
 
 27 
 
PENANCE. 
 
 B. M., Egerton 2019, / 135. 
 
 On the right a triar in his habit, is seated in a chair. 
 With his left hand he holds his knotted girdle. With 
 his right hand he absolves a woman penitent who kneels 
 by his side. Behind is a brocaded hanging, and above 
 the Holy Ghost flies downwards in the likeness ot a 
 dove. 
 
 PENANCE. 
 
 B. M., Add. 1 885 1, / 69, d. 
 
 I 5x11 CtiNTURV. 
 
 On the left a priest seated in a high backed wooden chair 
 hears the confession of a woman penitent, in gown and 
 hood, kneeling by his side. On the right a priest in 
 cassock, stole, and sleeveless rochet, stands on the footpace 
 in front of an altar and marks with ashes the forehead 
 of a man passing in front of him. Other penitents stand 
 behind and wait their turn. A clerk stands to the right of 
 the priest. 
 
 This picture represents the ceremony on Ash Wednes- 
 day, when penitents were signed with the sign of the cross 
 in ashes ' and then ejected from the church. 
 
 ' Sarum Missal : " Postea distribuantur cineres super capita clericorum et 
 lauorum a dignioribus person'is ,- signo cruets cineribus signet." 
 
 For other illustrations of penance see figs. 27, 28. 
 
Fig. 14. Penance. 
 B. M., Eget-ton 2019,7"^ 135. 
 
 P)wto. Itnt by Mr. Emety Walker. ] 
 
 
 Fig. 15. Penance and the signing 
 
 OF Penitents. 
 
 B.M., JdJ. I 88 5 I,/ 69, ./. 
 
 29 
 
COMMUNION. 
 
 Queen Marys Psalter: B. M., Royal 2 B. vii, / 207, d. 
 English, early 14TH Century. 
 
 On the left is an altar, with an image of our Lady and 
 Child above it. To the right two clerks in surplices hold 
 a long houseling cloth in front of three kneeling boys, 
 one of whom is being communicated by having a wafer 
 placed in his mouth by a priest, vested in alb and 
 apparelled amice, who holds a paten in his left hand. 
 
 This picture is of particular interest as showing the 
 houseling cloth. Another point to be noticed is that the 
 communicant does not receive the wafer in his hands, but 
 in his mouth, as is enjoined in the first Prayer Book of 
 Edward VI.' As the clerk administering the communion 
 is vested in an alb, it may be understood that the communion 
 is taking place after Mass, or at some other time. 
 
 The houseling cloth is also well shown in the next 
 illustration (fig. 17), taken from the same manuscript 
 (/. 259, d.), which represents the miracle of St. Donatus 
 restoring the broken chalice. Here iour boys kneel with 
 the houseling cloth held in front of them by two clerks in 
 surplices. 
 
 ' It is thought convenient the people commonly receive the Sacrament 
 of Christe's body in their mouthes at the Trieste's hande. 
 
 30 
 
■— ^v- '^-^ wi^w r- ^^fw^^c-iXi^xjLi^^^^^scKssrcssa' 
 
 ummmauffJiiimcimm: 
 
 Fig. i6. Communion. 
 S. M., Royal z B. vii, / 207, d. 
 
 mivo0XiKimtix^vm^ 
 
 [■■' .\~i, ; 
 
 ^ 'i 
 
 Fig. 17. Communion. 
 5. M., 'Royal 2 B. vii, / 259, d. 
 
 3' 
 
COMMUNION. 
 B. M., Harl. MS. 2915, /. 84, d. 
 
 I 5th Century. 
 
 On the right stands a clerk, vested in an alb and stole, 
 holding a paten in his left hand. With his right hand 
 he places a wafer into the mouth of a man kneeling before 
 him. The man has a cloth covering his uplifted hands. 
 
 32 
 
Benttiid 
 cvxfceuiS;, 
 
 Fig. i8. Communion. 
 B.M.,Harl. 2915,/ 8+, ^. 
 
 33 
 
MARRIAGE. 
 
 B. M., Nero E. ii, part ii, / 217. 
 French, late 14TH or early 15TH Cektury. 
 
 In the centre a priest vested in cope, with orphreys 
 embroidered with crosses, alb and apparelled amice and 
 crossed stole, likewise embroidered with crosses, joins 
 the hands of the groom and bride. The groom wears 
 a gown with long sleeves lined with fur, and has a collar 
 round his neck ; the bride is in a long gown, the train 
 of which she holds up ; three daisies are embroidered 
 on the front of her dress. She wears a chaplet of flowers, 
 but her hair is not hanging down. Behind the groom are 
 two gentlemen, one wearing a collar, and behind the bride 
 two ladies, the foremost one wearing the sideless cote 
 hardly a costume common at the end ot the 14th and 
 beginning of the 15th century. Behind the officiating 
 priest are two clerks. 
 
 The ceremony is clearly taking place at the church 
 door, and therefore represents the preliminary ceremony 
 before the actual marriage service. ' 
 
 ' Sarura Manual : " In primis statuantur yir et midier ante ostium eccksiae 
 coram Deo, sacerdote, et populn, vir a dextris mulieris, et mulier a sintstris tiri." 
 
 34 
 
Fig. 19. Marriage. 
 
 B. JV/., Nero E. ii, part \\, f. z\j. 
 
 35 
 
MARRIAGE. 
 
 " The arte or crafte to lyve well" f. xlvii. 
 
 A PRIEST wearing what seems to be intended for a rochet 
 (it does not appear to be an alb), and ornamented stole, 
 joins the hands of the man and woman. The bride wears 
 a long gown and jewelled necklace, her hair hangs down 
 her back, as was the custom for maidens, and on her head 
 is a chaplet of flowers. The groom wears a long gown 
 and holds his cap in his left hand. Behind the groom is a 
 group of men and behind the bride a group of maidens. 
 
 On the left there is what would seem to be the exterior 
 of a building, so this picture also probably represents the 
 ceremony at the church door. 
 
 36 
 
Fig. 20. Marriage. 
 
 The arte or crafte to lyre ■well," J. xlvli. 
 
 Soc. /Int.'] 
 
 37 
 
MAKIUAr;iv 
 
 Qu<fi7i Mary's P.ui/trr : li. M ., Royal 2 li. vii, /; ?.H'^, ,1. 
 
 This jiitfurc rcprcsc/iliiif^ tht- ni;irri;if_H: of dillicrl I'jcckil, 
 the father of St. Thomas, fo the I'.riiir's dau^hlcr, inust lie 
 considered as an artist's heense, as tlic inarriaf/c is l)rin^ 
 performed hy a hishop wearing a (hasiilih:.' The liishop 
 is joininf^ the hands of the fnan ami woman. Uehind 
 the woman is apparently a clerk, and on llie ri^jht an ;dtar. 
 The whole is ex(^uisifely drawn \\ ■.omcwhat '.ummarily 
 treated. 
 
 ' In a |)iilijri: o( ihc iji;irriaj;'; ul Si. I'J li'-Mrntj, l,(l(,ni;in(; In iIji- 
 So" i';ly of Am i(|iiari'- ., |)jiiili:'l .il.oiil llj'- (ii,l '|iiarlii ol iIk- i :; I h irnliiry, 
 tin: fillii iatin;; Im .Iiojj al /i apprar'. lo In- wrariu;; a ■ liaaiM ■. 
 
 38 
 
nmMomtmmiJjiiAtmmiiiAm 
 
 7 / ' t 
 
 ^! 
 
 r ^ 
 
 
MARRIAGE. 
 
 Van der Weyden Triptych. 
 
 The groom and bride stand holding hands in front of 
 a priest vested in surplice and stole,' with a cap on his 
 head. The bride wears a chaplet, and on the right a boy 
 holds back the long sleeve of her gown. A woman in 
 a horned headdress stands behind the bride and the groom's 
 supporter is seen behind the priest. 
 
 ' The usual vestments for the priest seem to have been cope, amice, 
 alb, and stole. The Hereford Missal has " Coram presbyteio amictu, alba, 
 fanonc, et stola revestito" which Implies that at Hereford at all events the 
 fanon, or maniple, could be worn at other times than at Mass. No 
 mention is here made of the cope, but nearly all the pictures represent 
 the priest as wearing one. Dr. Woolley informs me that in a manuscript 
 at Lincoln there is a rough drawing of a priest vested in amice, alb, fanon, 
 and stole, joining the hands of a couple. 
 
 40 
 
Fig. 22. [Ordkrs] : Marriage : Unction. 
 Left Tving of Ir'tptych by Roger van der li'e'jden. 
 
 Fhoto. lent by Rev. A . S. Duncan-Jcnes.] 
 
 4' 
 
MARRIAGE. 
 
 The Marriage of Count Walleran of St. Pol. 
 
 B. M., Royal 14 E. iv, /. 30. 
 Third quarter of 15TH Century. 
 
 The wedding takes place before the altar, which has 
 a sculptured reredos, riddles, and a figure of our Lady and 
 Child above it. In the centre a bishop in mitre, cope, and 
 alb, joins the hands of the bride and bridegroom. The 
 groom in a long furred gown stands on the left, and behind 
 him is a group of his supporters, two holding sceptres and 
 all but one wearing their hats. On the right is the bride, 
 in a dress of rich brocade ; her hair is long and she wears 
 a steeple headdress turned up with fur. Behind her is 
 a group of ladies. Other people are entering the church 
 by a door on the right : on the soffits of the door are 
 figures of saints on bracicets. Over the churchyard wall 
 can be seen a landscape with trees. 
 
 42 
 
MARRIAGE. 
 
 The Marriage of King Henry V and Katherine 
 OF France. 
 
 Pageant of 'Richard Beauchamp. B. M., Julius E. iv, / 22. 
 
 The bride and bridegroom, wearing royal robes and crowns, 
 stand liolding hands. Behind them a bishop, vested in 
 cope and mitre, surphce and almuce, blesses them with 
 his right hand, while with his left he joins their hands. 
 Behind the king is a group of his lords, and behind 
 the queen of her ladies.' 
 
 ' This picture probably represents the blessing given after the ring 
 has been placed on the bride's fourth finger. Sarum Manual : " Deinde 
 inclinatis eorum capitibus, dicat sacerdos benedictionem super eoi." 
 
 44 
 
, ■«,..- '-■•! '^I 
 
 
 ■i.'^l**) M^'U. n.uv •♦■'S 
 
 'i? 
 
 A3.*i 
 
 
 ^ 
 
 't 
 
 --■-* : J 
 
 Fig. 24. The Marriage of King Henry V and Katherine 
 
 OF France. 
 
 Photo, lent by Mr. Emery Walker.] 
 
 'B.M.,Ju/lus E. \w, f. 11. 
 
 45 
 
CARRYING THE VIATICUM. 
 
 Nuremberg Chronicle^ i493- 
 
 This picture represents a party of merrymakers who did 
 not kneel to the host when it was being carried over a 
 bridge, and as a result the bridge broke and they were 
 drowned, although the priest crossed in safety. 
 
 On the right is the priest in gown, cape, and cap,' 
 carrying the pyx which is covered with a veil. In front of 
 him walks a boy, bareheaded, wearing a gown with hood. 
 In his left hand he carries a staff, on the top of which a 
 lantern is fastened with a church banner below it ; in his 
 right hand he holds a small handbell. 2 
 
 ' According to the S.irum Manual the priest should have been vested 
 in surplice and stole, but it may be supposed that he would wear a gown 
 over his surplice when going abroad. 
 
 ' It was laid down in all the constitutions that the viaticum should be 
 earned in a proper pyx and should be preceded by at least one clerk 
 carrying a lantern and a little bell, except in exceptional circumstances, 
 when the priest might carry both himself. Thus the regulations made 
 by Bishop Poore at a Synod at Durham in 1220 (Wilkins Concilia, i, 579, 
 there tentatively ascribed to Bishop Marsh) provide : " His adiicimus, quod 
 cum eucharistia ad aegruni fuerit dcferenda, habeeit sacerdos pyxidem mundam 
 et honestam . . . in ea deferat corpus Dominicum ad acgrotum, Unteo niundo 
 super posito, et luce ma precedente, nisi aeger zmlde remotus fuerit . . . Precedente 
 quoque tintinnabulo" A small bell probably for this purpose, .although 
 generally called a sacring bell, is preserved in Bottesford Church, Lincoln- 
 shire. 
 
 46 
 
Fig. 25. Carrying the Viaticum. 
 Kiiremberg Chronicle. 
 
 47 
 
DEATH. 
 
 B. M., Add. 18854, / 78, d. 
 
 Hours of our Lady, 1525. 
 
 The picture represents the death of our Lady who, dressed 
 in blue, lies on a bed surrounded by the Apostles. At the 
 foot of the bed is a candlestick. On the left St. Peter 
 wearing an alb and crossed black stole supports with his 
 left hand a lighted candle in our Lady's hand, while in his 
 right hand he holds a sprinkler.' Above our Lady is a 
 representation of her soul ascending in an aureole. On 
 the right an apostle rests his left hand on a book open 
 upon the bed and holds a crucifix in his right hand. 
 
 ' This picture probabl)- represents the sprinkling of the sicl< person 
 before confession and unction. 
 
 48 
 
Fig. 26. The Death of our Lady. 
 B.M., .Add. 18854,/ 78, a'. 
 
 +9 
 
CONFESSION OF THE DYING. 
 
 Bcdfon: Hzurs : iB. M., J^d. 1S850, /. I2C. 
 In vpper RiGHT Hand bordir of flneral ~cine (tg. 59). 
 
 Thh sick man lies in bed. At the bedside sits a priest 
 in an alb, with his head covered, hearing; the confession, 
 his head restino- on his hand. 
 
 50 
 
Pig. 27. Confession of the Dying, 
 11. M., .Add. 18850, / 120. 
 
 5« 
 
THE ABSOLUTION OF THE DYING. 
 
 Egmont Psalter : Pierpont Morgan Collection. 
 Flemish, c. 1460. 
 
 In the centre a man wearing a gold gown, sits up in bed, 
 his hands joined in prayer. The bed is covered with a 
 sheet and pink coverlet and has a tester with coloured 
 fringe and green curtains. On the left a Dominican friar 
 in his habit, absolves the sick man placing his right 
 hand upon his head.' On the left is a group of four 
 religious, one in a black habit, another in blue, a third in 
 pink with blue cassock and green cowl, and a fourth in red. 
 The colours of these habits would appear to be an artist's 
 licence as they do not correspond to any known religious 
 dress, but they probably are intended to represent the 
 four orders of friars. By a fire, on the left, a woman in a 
 red gown warms some food in a pan. On the right of the 
 bedside is a table with an ewer, a dish, and other utensils 
 upon it, and further on is a group of eight laymen in 
 clothes of various colours. On the cheeky floor are two 
 dogs. 
 
 ' Sarum Manual : " Detnde [after confession] abiolvat sacerdos hijirmum 
 ab omnibus peccatis suis . . ." 
 
 52 
 
uue. a^ifamturtui ops 
 
 nuftOiani^ cr mmm (utDjo- , 
 uac- jftcgt) iuirtoiimrf ipws 
 
 Fig. 28. The Absolution of the Dying. 
 
 Sgmonl Psalter : Pierpont /Morgtin Qollcction. 
 
 53 
 
UNCTION. 
 
 Bedford Hours : S. M., Add. 18850, / 120. • 
 In lower right hand border of funeral scene (fig. 39). 
 
 The sick man is in bed. On the left a priest is standing 
 and anointing him, apparently on the eyes.' Behind is 
 a clerk with the chrismatory. 
 
 ' Sarum Manual; " Dum dicitur praedictus psalmus \lJsquequo, Domine, 
 ps. xit] a choro vel a clerico, accipiat interim sacerdos oleum injirmorum super 
 pollicem dextrum : et sic cum illo pollice tangat injirmum cum oleo, signum sanctae 
 crucis faciens, super utrumque oculum incipiendo ad dextrum. . . ." 
 
 The places to be anointed and the order in which they were anointed 
 differed somewhat according to the different uses, but generally were as 
 follows ; eyes, ears, lips, nostrils, breast, hands, feet, back, or umbilicus. 
 
 5+ 
 
Fig. 29. Unction. 
 D.-^L., Add. 18850, / 120. 
 
 55 
 
UNCTION. 
 
 Pageant of Richard Beauchamp. S. M., Julius E. iv, / 26, d. 
 
 The dying earl is represented lying in bed, his head resting 
 on pillows. On the right a bishop in mitre, surplice, and 
 almuce, anoints the earl's breast ' with his right hand, 
 while with his left he holds a crucifix. 2 The crucifix is 
 one which could be used on an altar if placed upon a 
 foot, or in procession if placed on a staff. On the bishop's 
 left a clerk in a surplice holds the chrismatory, which has 
 a gabled and crested cover and places for the three oils. 
 Mourners in attitudes of grief stand around the bed. 
 
 ■ The Sarum Manual makes no provision for anointing the breast, 
 but it is found in Yorli and other uses. 
 = See n. i, p. 58. 
 
 UNCTION. 
 
 Van der Weyden Triptych (see fig. 22). 
 
 The sick man, naked except for a towel round his head, 
 lies, propped up with pillows, in a bed with a wooden back. 
 A priest, in surplice, stole, and cap, with his almuce over 
 his left arm, stands at the foot of the bed and with his right 
 hand anoints the right hand of the sick man.' In his left 
 hand he holds a circular chrismatory. At the bedside 
 kneels a clerk in a surplice, with a bason and towel ; 2 he 
 apparently holds in his left hand a piece of linen to wipe 
 off the cream. On the left a woman sits on the floor 
 reading a book, while another woman stands behind the 
 bed on the right. 
 
 ' Sarum Manual : " Deinde super manus." 
 
 ^ For the priest to wash his hands after the anointing. " Tunc erigcns 
 se sacerdos layet manus mas cum sale et aqua." 
 
 56 
 
>y>cSki 0«v -^/^Uph -A^^-t-^K Cti/iV,., -H.wii^*- -Stjot.^ 
 
 ^ '^vf 111 
 
 
 M^ 
 
 Fig. 30. Unction : the Death of Richard Beauchamp, 
 Earl of Warwick. 
 
 Photo, lent by Mr. Emery Walker.] 
 
 B.M., Julius E. iv, / 26, d. 
 
 57 
 
UNCTION. 
 
 " The arte or crafte to ly^e ive//," f. xl\'. d. 
 
 The sick man lies in bed, his hands joined in prayer : 
 on his right against the bolster is a cross.' At the foot of 
 the bed on the left kneels a priest in surplice and stole, - 
 anointing the man's left foot 3 with a style; in his lett 
 hand he holds the chrismatory. Opposite to him a woman, 
 holding a candle, lifts the bed clothes from the man's foot. 
 Behind her is another woman. Behind the priest is a group 
 ot clerks with three torches. 4 
 
 ' S.irum Manu.Tl : " Et sciendum est quando infirmus debet inungi, 
 offerendd est ei imago crucifixi et ante conspectum ejus statuenda." In another 
 version of this picture, printed in the "Art of good Ivvinge," the cross 
 is a crucifix. 
 
 ^ Sarum Manual : " In primis induat se sacerdos superpellic'w cum stola" 
 
 3 Sarum Manu.al : " Deinde super pedes. . . ." 
 
 * Bangor Pontifical : " Duo Jratres pro cereis deportandis et tertius pro 
 cruce portanda superpelliciis induantur." 
 
 58 
 
Fig. 3 i. Unction. 
 " The arte or crafte to lyve ivell," f. xlv, d. 
 
 Soc. Jtit.] 
 
 59 
 
COMMUNION OF THE DYING. 
 
 Bedford Hours : S. M., Add. 18850,/. 120. 
 
 In MinDLE RIGHT HAND BORDER OF FUNERAL SCENE (fig. 39). 
 
 The dying man is lying in a bed which is surmounted 
 by a tester. On the right at the bed's foot, a priest 
 kneels holding up the host before the sick man.' On the 
 left kneel three persons in civil dress. Behind the priest 
 is a stool, covered with a linen cloth, on which is a 
 covered pyx. 
 
 ' Sarum Manual : " Facta uncttone . . . de'inde comtnunicetur infirmus." 
 After the unction the priest inquired if the sick man remembered any 
 other sins which he had not confessed, asked him whether he believed 
 that the consecrated bread was the body and blood of our Lord Jesus 
 Christ, and on the sick man replying that he believed, proceeded to 
 communicate him. 
 
 COMMUNION OF THE DYING. 
 
 S. M., Egerton 2019, /. 142. 
 
 (Fig. 44, MIDDLE OF RIGHT HAND MARGIn). 
 
 The sick man is in a bed, with sheet and coverlet. On 
 the left stands the priest in alb and stole, holding up the 
 host before the dying man. Behind the priest kneels a 
 clerk wearing alb and amice and holding a torch : other 
 clerks may be inferred from the fact that two other torches 
 are seen behind. 
 
 PREPARING THE CORPSE FOR BURIAL. 
 
 ■??. M., Egerton 2019, /. 142. 
 
 (Fig. 44, TOP LEFT HAND CORNER). 
 
 The corpse is being wound in its cerecloth by a woman in 
 
 a dark dress with veil headdress and white apron, who 
 
 kneels on the left. 
 
 60 
 
Fig. 32. Communion of the Dying. 
 ■B. M., Add. 18850, / 120. 
 
 61 
 
BURIAL. 
 
 Sprinkling the Corpse. 
 
 Brooke Antiphonar {of SS. Cosmas and Damian), Society of 
 Antiquaries MS. 450, /^ 27, d. 
 
 Italian, probably Venetian, c. 1450.' An initial S. 
 
 The bodies of the two saints, in red cloth of gold gowns 
 and caps, lie on a wooden bed upon a blue covering with 
 a gold border ; their heads rest on a black pillow em- 
 broidered with gold. Behind, a clerk in surplice and 
 red cassock, dips his sprinkler into the waterpot - which 
 is held by another clerk, similarly vested, standing on his 
 left. This clerk holds a closed book, bound in red, in his 
 right hand. Behind them are two other clerks, one of 
 whom holds a processional cross, with gold head and staff. 
 On either side stands a boy in civil dress, holding a lighted 
 torch. 
 
 ' This and the next picture, with some others in this m.inuscript, 
 have been ascribed to Andrea de Mantegna, and indeed are so ascribed 
 by the painter of a later miniature in the same book. Modern 
 criticism unfortunately rejects this attribution. 
 
 ' Sarum Manual : '■^Ouando deportari debet corpus defuncti ad ecelesiam, in 
 primis sumat sacerdos spiculam, et aspergat aquam benedictam super corpus exanime, 
 interim dicendo psalmum De profundis." 
 
 62 
 
Fig. 33. Sprinkling the Corpse. 
 
 Brooke Anttpkonar, Sec. Jnl. Loml., MS. 450, /. 27, </. 
 
 63 
 
BURIAL. 
 
 The Bodies being carried into Church. 
 
 Brooke Antiphonar {of SS. Cosmas and Damian), Society of 
 Antiquaries MS. 450, / 32, d. 
 
 The bodies of the two saints, dressed as in the former 
 picture and not in a coffin, are being carried into a church 
 upon a wooden bier, with a high back, draped in red cloth 
 of gold. The bier is being carried shoulder high by four 
 clerks, but only the two at the head are visible, the two at 
 the foot being already in the church. The two clerks are 
 vested in cassock and surplice, the cassock of the one in 
 front being red, of the other blue. On the right stand two 
 mourners in mourning gowns and hoods. 
 
 64 
 
Fig. 34. The Bodies being carried to the Church. 
 
 Brry,kc .{ntiph'-jnar. Stir. Jnt. Lond., .V5. 45c, /" 32, d. 
 
 65 
 
BURIAL. 
 
 The Coffin being borne to the Church. 
 
 Hours of Amedee of Saluces. B. il/., Add. 27697, f. 194- 
 French, late ijth Centvry. 
 
 The scene takes place outside a church. In the centre the 
 coffin, covered with a pall ornamented with a cross, is being 
 carried on the shoulders of four monks wearing their habits. 
 In front of the coffin walk two priests in copes and hats 
 singing the service, and in tront of them walk six clerks in 
 surplices. At each corner of the coffin is a poor man 
 carrving a lighted torch. A group of mourners, in mourn- 
 ing gowns and hoods, follows. In the foreground the sexton 
 is digging the grave ; a flat stone slab lies on the ground 
 at one side. 
 
 66 
 
^^Site-l^ 
 
 Fig. 25- The Coffin being carried to the Church. 
 
 •B.M., Add. 27697,/ 194. 
 
 e-i 
 
BURIAL. 
 
 " ViGILIAE MoRTL'ORUM." 
 
 Society of Antiquariei MS. ;, f. [39. 
 French, Second quarter of i 5TH Century. 
 
 When the body had been placed in the church the Jlgiliae 
 Mortuorum, with Placebo and Dirige, were said or sung. 
 
 In the picture the coffin is covered with a blue pall 
 ornamented with a white cross ; a lighted taper stands at 
 each corner. The service is being sung by four clerks on 
 the left, who are vested in copes and stand at a reversible 
 lectern. On the right three mourners in mourning gowns 
 are seated in a canopied stall.' 
 
 ' A general note on this .and the following pictures may be added 
 here. It will be seen that the coffin was not fashioned as nowadays, 
 roughly to the sh.ape of the body, but was a plain oblong chest sometimes 
 with what looks like a coyed lid but which is more likely a sm.all herse 
 to carry the pall. The peculiar dignity of this form of coffin must be seen 
 to be appreciated. The plain chest with its simple pall, which makes 
 flowers not only unnecessary but unseemly, is in striking contrast to the 
 modern coffin of polished vyood with brass fittings, and the adyantage as 
 usual is with the mediaeyal arrangement. 
 
 The candles round the bier should be noted. The usu.il number 
 appears to haye been four, one at each corner, or one at e.ach end and 
 one on each side (see Hope, English Altars, plate 8, fig. 2). Henry Lord 
 Scrope of Masham, who was executed in 141 5 for his share in Cambridge's 
 conspiracy, ordered in his will (printed in Foedera, ix, 272) that there 
 should only be t^vo candles, one at each end of his coffin, and that twelye 
 poor men should each carry a torch, and in plate 12, fig. 2, of Hope's 
 English Altars, there is an illustration of a funeral with only one candle, 
 placed at the side, while a bedesman stands at each end holding a torch. 
 Frequently, as seen in some of the following pictures, a herse coyered with 
 tapers was set around and aboye the coffin. 
 
 The gowns and hoods of the chief mourners were usual in England 
 certainly until the reign of Elizabeth, and in state funerals were worn by 
 some of the official mourners until the end of the 17th century. Dr. 
 Woolley informs me that in a miniature at Lincoln the mourners wear 
 white gowns, and Henry Lord Scrope ordered that the poor men who 
 attended his funeral should be vested in white cloth. White too was the 
 colour at canons' funerals at Salisbury and St. Paul's in the 13th century 
 (see Hope and Atchley, ./// Introduction to English Liturgical Colours, p. 18). 
 
 68 
 
Fig. 36. "ViGILIAE MORTUORUM." 
 Sue. JtiL Lond., MS. 5, / I 39. 
 
 69 
 
BURIAL. 
 
 "ViGILIAE MORTUORUM." 
 
 B. M., Harl. 2915, /. 55, d. 
 I 5th Century. 
 
 The service takes place in a vaulted church, the altar being 
 vested in a white cloth, black upper and lower fronts, each 
 embroidered with a red cross, and black riddles. Before 
 the altar rests the coffin, covered with a red pall on which 
 is a white cross. A taper in a candlestick is at each corner. 
 On the right are three mourners in black mourning gowns, 
 and on the left are four clerks, two of whom wear black 
 copes and sing the service from a book on a desk covered 
 with a cloth. 
 
 70 
 
^ y i^ s^ :::a i^vl>tt-";-^j >^ 
 
 ". " \'lGILIAE MORTUORUM." 
 5. .v.. He--:. 2915./: -.-..d. 
 
BURIAL. 
 
 " ViGILIAE MoRTUORUM." 
 
 Hours of Hene of Anjou : B. M., Egerton 1070, / 54, d. 
 French, before 1480. 
 
 The coffin, covered with a pall ornamented with a cross, 
 stands within the quire of a church and is surrounded by 
 a herse of candles. At the head of the coffin is a cross, 
 and two monks, dressed in their habit, sing the service 
 from a book. Six other monks join in the service from 
 the stalls, three on either side, and with them, two on each 
 side, are four mourners wearing their mourning gowns and 
 hoods. It will be noticed that the altar is not vested, and 
 that above it is a hanging pyx and canopy. 
 
 7* 
 
Fig. 38. " ViGILIAE MoRTUORUiM. 
 
 B. M., Egerton 1070, /. 54., d. 
 
 73 
 
BURIAL. 
 
 " ViGILIAE MORTUORUM." 
 
 Hours : B. M., Add. 18850, / 120. 
 French, c. 1423. 
 
 Within a vaulted church, hung with funeral hangings, 
 stands the coffin, covered with the usual pall ornamented 
 with a cross and powdered with fleurs de lys, and beneath 
 a gabled herse with tapers and with a cross on each gable. 
 At the foot of the bier stand four mourners holding tapers, 
 and on the right are three more. On the left are four 
 clerks, three of them singing from a lectern and a fourth 
 from a book on the stall before him, while he beats time 
 with his hand. 
 
 For the pictures in the margin see figs. 27, 29, 32, and 41. 
 
 " ViGILIAE MoRTUORUM." 
 
 B. M., Egerton 2019,/ 142. 
 
 (Fig. 44, TOP RIGHT HAND CORNER). 
 
 In the centre is the coffin, covered with a pall, with two 
 candles on the right and a cross at the head. On the left 
 three clerks in copes say the service from a book on a 
 desk. On the right two mourners, in mourning gowns, 
 kneel at a faldstool. 
 
 74 
 
vLoiiMnfnflnurkO:flofftfcrr(ffcniirfiri,'inKrt'fpMirltjnrf(«rffsnip»niirbiCMqmUcttrtt)(iitC 
 
 1jMi)'t|>-isfr'iHiiifir|na\iiJt)li Coiniai!frtoiio'.ft)iinvr(T)iirir/dlliO!f.<£jffr(Tfr?irtin(ril't-.f((' ijt'ifr 
 
 Fig. 39. "ViGILIAE MORTUORUM." 
 
 •B.M., Add. 18850,/ 120. 
 75 
 
THE I'UNKRAI. MASS. 
 'B. M.y Add. 16997,/. 1195^^- 
 
 French, middi.k i jth ChNiuKv. 
 
 This miniature is of especial interest as it shows the funeral 
 Mass,' and depicts the scene from an unusual point of 
 view, looking north instead of cast. 
 
 The service takes place within the quire of a church. 
 On the left is the rood screen and loft, on which is a desk 
 facing east. Below, in the return stalls, are the clerks to 
 sing the service, one of whom wears a black cope and 
 another his almuce on his head. In the centre is the 
 coffin, covered with a blue pall, surrounded by six candles. 
 On each side of the coffin are three mourners. 
 
 A priest, wearing a very full gold chasuble, stands at 
 the altar, the upper and lower fronts of which are blue 
 powdered with golden stars. Upon the altar is a crucifix 
 with St. Mary and St. John, and above it a hanging pyx. 
 On the celebrant's left kneels a server, dressed in a red 
 gown with a green hood. At the east end of the north 
 wall is a doorway leading into a vestry. 
 
 ' Sarum Manual: " De'tnde sine intefvallo incipiatur Mhsa pro 'Drfunttii. 
 Vbi uero in die sepulturae deportetur corpus ad ecclesiiim, tunc immediate poit 
 predictam oralionem, Suscipe Dominc, dicatur commendatio animarum sokmniter, 
 ct finite pialmo Dominc probasti .- statim incipiatur Missa pro defunctis" 
 
 76 
 
m^&^^fm^'c^. 
 
 Fig. 4C. The Funeral Mass 
 B. .1/., JJa. 16997, /: I 19. a'. 
 
BURIAL. 
 
 'Bedford Hours : S. M., Add. 18850,/ 120. 
 In lower left hand border of Funeral Scene (fig. 39). 
 
 An open grave in which stands the sexton holding the 
 corpse, wrapped in a cerecloth,' which he is placing in 
 the grave. 2 At the foot a priest in a cope reads the office 
 from a book, and by his side stands a clerk with the water- 
 pot. Behind the grave are three crosses, marking the 
 sites of other graves. 
 
 ' It will be noticed that in the following pictures, with but one 
 exception, the body, although placed in a coffin for the service, was not 
 buried in the coffin but in the cerecloth alone, having been taken out of 
 the coffin before burial. The coffin, in fact, was a common one belonging to 
 the parish. This illustrates the rubric in the Book of Common Prayer : 
 " Wiien they come to the grave, while the corpse is made ready to be 
 laid into the earth," etc. It is clear that if it h.id been customary to 
 bury the body in a coffin the rubric would have been unnecessary, or at 
 least would have been differently expressed. The only exception here 
 illustrated to the usage of not burying the coffin, is the burial of Richard 
 Beauchamp, Earl of Warwick (fig. 46), but the Earl is not being buried 
 in the earth but in a stone tomb, which explains the exception. The 
 cerecloth was originally of linen, but in England under the Tudors it was 
 enacted for national reasons that bodies should be burled in woollen. 
 
 ^ Sarum Manual : "■ Vinit'is oraUonibus ponatur corpus in sepukhro cantors 
 incipiente : 
 
 " Ant. Ingredtar. 
 
 " Ps. Quemadmodum desiderat cervus." 
 
 78 
 
Fig. 41. Burial. 
 
 B. M., Jdd. 18850,/ 120. 
 
 79 
 
BURIAL. 
 
 Horae belonging to Mr. John Murray. 
 French, second half of 15TH Century. 
 
 In the foreground the body wrapped \\\ a cerecloth is 
 being placed in the grave by two sextons. At the side 
 of the grave a clerk, in surplice and cope, holds a sprinkler' 
 and sings the service from a book which he shares with 
 another clerk similarly habited. On their left another 
 clerk, in a surplice, holds the water-pot and a cross. 
 Behind is a group of mourners, three of them in mourning 
 gowns and hoods. The funeral seems to be taking place 
 at night. 
 
 ' Sarum Manual : " Hie aspcrgatur aqua bcncdicta super scpulchrum." 
 
 80 
 
Fig. 42. Burial. 
 
 Horae belonging to Mr. John Murray. 
 
BURIAL. 
 
 Home of the Regent Philips Duke of Orleans, novo belonging 
 
 to Mr. J. Pierpont Morgan. 
 
 French, 1450-60. 
 
 The funeral takes place in a churchyard within a low wall ; 
 on right and left are porches with gold roofs. In the 
 background is a cloister, full of bones, with a blue roof 
 and dormer windows ; above it appears a large church. 
 
 In the foreground two men, one in a blue gown and 
 red cap and stockings, the other in a red gown, place 
 the body in the grave. The body is wound in a tight cere- 
 cloth, but the head and arms are free. Behind the grave 
 a clerk in alb, crossed red stole, and black cope with gold 
 orphreys, sprinkles the corpse or grave ;' in his left hand 
 he holds a closed book. Behind him stand two clerks 
 in grey dalmatics with gold orphreys and amices ; the one 
 on the left holds an open book. On the right a boy 
 in surplice and blue cassock holds the water-pot and a cross 
 with gold head and red staff. On right and left are groups 
 of mourners in mourning gowns and hoods. Behind in the 
 churchyard is a standing stone cross, coloured pink (as is 
 the stonework of the cloister and the church but not of the 
 porches), and a smaller wooden cross marking a grave. 
 
 ' Sarum Manual : " Hk aspergatur tumulus aqua benedicta." 
 
 8z 
 

 B ^ u^Ko icsi)io)i^ji)mciitplafch). 
 
 Fig. 43. Burial. 
 
 Horae of the Regent Philip : Pierpont Morgan Collection. 
 
 83 
 
BURIAL. 
 
 B. M., Egerton 2019, / 142. 
 
 In the foreground the corpse in its cerecloth is being 
 placed in the grave by two sextons. Behind, a clerk 
 in a cope sprinkles the corpse and holds a book in his left 
 hand. On his right another clerk similarly vested holds 
 the processional cross and behind is another clerk in a cope. 
 On the officiant's left a clerk in alb and amice holds the 
 water-pot. A group of mourners, three of them in mourn- 
 ing weeds, stands on the right. In the background Is a 
 church and cloister, with spectators looking out of the 
 windows and a row of skulls along the top. In the sky 
 above is a representation of God the Father, to whom 
 the soul of the deceased, represented as a naked child, 
 is being carried by an angel. The angel spears with the 
 end of a cross a devil who tries to catch the soul. 
 
 For the pictures in the margin see the descriptions on pp. 26, 60, 
 and 74. 
 
Fig. 44. Burial. 
 
 B. M., Egerton 2019, _/; 14.2. 
 
 photo, lint by Mr. Evury Walker. \ 
 
 85 
 
BURIAL. 
 
 Horae belonging to Mr. C. R. Peers. 
 French, c. 1450. 
 
 On the left by the open grave stands a bishop or abbot, in 
 a white red-lined mitre, with gold ornaments, wearing an 
 alb, gold amice, crossed blue stole, ornamented with 
 crosses, and a red cassock. He holds a sprinkler in his 
 right hand and a spade in his left.' Behind him stand a 
 clerk in a surplice and blue cassock, holding a cross, and 
 another clerk in surplice and brown cassock holding 
 the water-pot. Behind them are various clerks in their 
 habits, one of whom wears a red hat. On the right the 
 sexton, in a red gown and black hat, places the corpse 
 in the grave. The body is tightly wound in its cerecloth, 
 which is stitched down the front. At the head of the 
 grave is a group of mourners, two in mourning gowns, one 
 worn over a blue dress ; one wears a gold gown and a 
 red cap and others are variously attired ; three wear hats. 
 
 Behind is a church and what appears to be a cloister 
 with skulls along the roof; in one bay is a man wearing 
 a brown dress and hat. 
 
 ' Sarum Manual : " Finitis orationibus executor officii terratn super corpus ad 
 modutn crucis ponat et corpus thurificet et aqua benedicta aspergat.^' It should 
 be noted that although the rubrics enjoin the use of incense it is but rarely 
 represented in the pictures. 
 
 86 
 
Fig. 45. Burial. 
 
 Horae belonging to Mr. C. R. "Peers. 
 
 87 
 
BURIAL. 
 
 Pageant of Richard Beauchamp. B. M., Julius E. iv, / 27. 
 
 Two men, one at the head and the other at the foot, 
 are placing the coffin, which is covered with cloth em- 
 broidered with a cross, in a stone tomb, on the side of 
 which is a shield of the Earl's arms.' Behind the tomb the 
 Bishop of Lichfield^ in cope, mitre, alb, and crossed stole, 
 sprinkles the coffin with holy water. On his left a clerk 
 in surplice and almuce holds a large open book, and on the 
 bishop's right another clerk, also in surplice and almuce, 
 holds the crozier. Various mourners in mourning gowns 
 and holding torches stand on the right as also do three 
 women mourners. One of the male mourners holds a 
 string of beads. 
 
 ' Quarterly, i and 4 [gules], a fess and six crosslets [gold] for Beauchamp, 
 2 and 3, checkered [gold and azure], a chevron ermine, for Newburgh. 
 
 = William Heyworth, formerly abbot of St. Albans, died 13th March, 
 1446/7. 
 
 88 
 
'I 
 
 "^^^JT-.S.-^;!?! 
 
 iT).vtR^\i^ (fgWv tftf Z*.^'? J 
 
 
 
 
 Fig. 46. The Burial of Richard Beauchamp, Earl of Warwick. 
 
 •B. M., Julius E. iv, / 27. 
 
 Photo, lent by Mr. Emery Walker.] 
 
 89 
 
Printed by A. R. Mowbray & Co. Ltd. 
 London and Oxford 
 
THE ALCUIN CLUB 
 
 Founded with the object of promoting the study of the History and Use of 
 the Book of Common Prayer. 
 
 IPrest&ent 
 
 The Right Rev. Bishop Charles Gore, D.D. 
 
 Commtttee 
 
 Athelstan Riley, Esq. 
 
 E. G. CuTHBERT F. AtCHLEY, 
 
 Esq., L.R.C.P., M.R.C.S. 
 
 The Rev. E. M. Blackie, M.A. 
 
 * The Rev. F. E. Brightman, 
 
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 Sir Cyril S. Cobb, M.A., 
 
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 The Rev. Percy Dearmer, D.D. 
 •The Rev. A. S. Duncan-Jones, 
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 •The Rev. W. H. Frere, D.D. 
 
 * Publications 
 
 , St., M.A., Chairman. 
 
 * Stephen Gaselee, Esq., M.A. 
 Harold C. King, Esq., M.A. 
 Vivian H. King, Esq., A.R.I.B.A. 
 
 The Rev. Canon T. A. Lacey, 
 
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 D.D. 
 
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 Ibon. Secretary 
 
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iMlllii 
 
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