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  PShulish MArchitirturs 
 
 le! y —- During the Didie Apes. 
 iT By EL. Blackburne, ES A Pechitert, 
 
 J c Anthor of anBechitertural and Distoriral Arcount of 
 A Geosby Place, Jhonden. 
 
 John Williams & Cs. 141, Strand, 
 odo. 
 
 Pa ve 1847. ) vb wy 
 = cA 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
TO 
 
 THE REV. WILLIAM JOHN BLEW, M.A. OXON 
 
 , 
 
 CHAPLAIN OF ST. JOHN'S, MILTON, NEXT GRAVESEND, KENT; 
 
 DOMESTIC CHAPLAIN TO THE RIGHT HON. THE EARL AMHERST; 
 
 EEOC EEC! 
 
 Chis Work ts tnseribev, 
 
 WITH SENTIMENTS OF SINCERE RESPECT AND ESTEEM, 
 
 BY 
 
 THE AUTHOR. 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
PREFAC €, 
 
 §/N bringing before the notice of the public the following work on the Decorative 
 
 Painting anciently applied to English Architecture, the Author claims only to 
 
 
 
 
 
 the extent of having endeavoured to exhibit and dispose, in a collective form, 
 such example and information as we at present possess on the subject, evidenced, for the 
 
 greater part, in a number of separated instances, and dispersed through many discon- 
 
 nected authorities. 
 
 On the various claims which the nature of such a work has upon the consideration 
 of all interested in the preservation, or engaged in the restoration, of our Ancient Eidi- 
 fices, it is unnecessary, in so doing, particularly to insist. It is sufficient that, under an 
 advancing feeling for their renewed introduction, the pictured decorations of the M iddle 
 Age are becoming, as general and essentially characteristic ornaments in the architecture 
 of the period, the objects of particular attention, and at the same time matters of neces- 
 
 sary study. 
 
 It remains, therefore, only to observe, that, collected originally asa first step towards 
 supplying ready data for such a study in his own case, the Author ventures to hope 
 the contents of the present volume for a similar use brought before them, will not be 
 
 wholly unacceptable to, or unprofitable, in that of others. 
 
 
 

 
 iv 
 
 As respects the limited extent of the present publication, compared with what the 
 
 
 
 full consideration of the subject, and the variety in existing example, might seem to 
 demand, the Author would simply add, that having, at the commencement, announced 
 the work as one to be confined to Four Parts, he and the Publishers have desired to 
 keep faith with their Subscribers in this respect ; and have accordingly so shaped the 
 
 present issue. It is, however, intended, agreeably with the suggestions of several whose 
 
 
 
 opinions and wishes are entitled to consideration, to publish a Second Volume, or Series 
 
 > 
 
 
 
 
 
 
 
 also in Four Parts, in continuation of the same subject; with a view to afford, to such 
 as may be disposed to avail themselves of it, the opportunity of exceeding the first, or 
 original number, and of adding to the work many other valuable examples, as well as a 
 
 Chronological List of all the principal recorded and existing remains, which it is pro- 
 
 
 
 posed shall form part of the Letter-press of such Second Series. 
 
 Tn conclusion the Author has, as a matter of duty, to express his acknowledg- 
 ments for much kind assistance in his labour, received from several friends and well- 
 wishers to the undertaking; and at the same time would solicit at their hands and those 
 of the public, that indulgence which, as treading, to a certain extent, upon hitherto un- 
 
 broken ground, he is well aware he must necessarily require, for many imperfections, 
 
 and much omission. 
 
 London, December 14th, 1847. 
 
 
 
ON THE 
 
 
 
 
 
 atntirg 
 
 APPLIED TO 
 
 English Architecture 
 During he MMUiddle Ages, 
 
 “ Glimpses of glory ne’er forgot 
 That tell like gleams on a sunset sea, 
 
 What once hath been—what now is not, 
 
 with : SZ But, oh! what again shall brightly be.” 
 An 
 RO” 
 = ‘ fivonttc or coloured embellishments in architecture have their origin in 
 
 \ remote antiquity. The Egyptians painted their temples and habitations, 
 ~" as did several other of the primitive Eastern nations, and the practice 
 
 
 
 descending became common alike to the classical and medieval ages. 
 In that of England, properly so distinguished,—the subject more immedi- 
 ( is ately of the present work —such or similar decorations occur very early. Among 
 ( _/ the Anglo-Saxons, “Pictures of Saints,” with “embroidered Cloths,” used as hang- 
 ings—“pictas vestes'”—as they were called, and painted sculptures’, ornamented 
 the walls and altars of churches so early as the latter part of the seventh century’, 
 
 followimg a custom coevally and long antecedently exhibited throughout the adjacent 
 
 ~ continent. 
 At the commencement of the ninth, sanctioned by authority and example derived 
 
 1 « Painted vestments.”—See Henry’s History of England, quoting Angl. Sacra, t.ii. p. 94. 
 
 * Vide Ricardi Prioris Hagust. lib. i. c. iiiAbout the year 674, according to this authority, Wilfrid, 
 bishop of York, caused the walls, the capitals of the columns, and the arch of the sanctuary, ‘“arcum sanc- 
 tuarii,’” to be decorated, to use the words of the original, with “historiis et imaginibus et variis celaturam 
 figuris ex lapide prominentibus et picturarum et colorum grata varietate—.” 
 
 * Vide Bede, Hist. Abbat. Wiremuth. et Gyrw., and Turner’s History of the Anglo-Saxons, vol. iii. 
 p. 496, describing the paintings brought from France by Bishop Benedict. See also Milner’s Survey, Winton. 
 
 B 
 
 
 

 
 
 
 2 
 
 from this source, we find the introduction of such pictures or paintings the subject of 
 express ecclesiastical injunction. By a Canon of the second Council of Calcuth, or 
 Celicyth, in Northumberland, held a.p. 816, every Bishop dedicating a church, is 
 strictly required to see painted’ on the walls or altars thereof the figure or picture of 
 its patron saint. As a relative illustration, it may be noted also that in a Saxon MS. 
 of this age, quoted in Muratori Antiq.’, are contained (among others relating to similar 
 arts) directions for staining glass, so as to form “pictures of mosaic work,” with 
 which it would seem many of the altars and shrines of this period, in imitation of the 
 foréign glass and other mosaics similarly applied, were constructively and otherwise 
 ornamented. 
 
 Of the extent of these and the like applications of painting and mosaic during 
 this and the next succeeding century, little or no direct and authoritative record now 
 exists, though indications of the adoption of such are to be traced in the descriptions 
 of the altar Tabule’ and other similar gifts, made to the early Saxon church. Ap- 
 proaching the Norman era, however, an extended use of “picture work,” under which 
 term both these forms of decoration were at this time included, is decidedly and dis- 
 tinctly established. “Superb picture work,” intermixed with gold, is described as 
 among the works performed by the Saxon Archbishop Aldred to his Cathedral of York 
 in 1061‘, and the pictured ornaments of the Church of St. John, at Beverley, of a 
 
 corresponding age, are also alluded to by the same authority. At a little later date, 
 
 ’ Synod. Calcutheus, apud Spelman, Cone. vol. i. p. 327. “Lastly, every bishop shall draw the figures of 
 the saints to whom the church is dedicated either upon the wall, or on a board, or upon the altar.” 
 
 > Murator. Antiq. t. ii. p. 370.—* The Romans, tempo Augustus, had pictures, distinctively so, of glass 
 mosaic. Specimens were found in the ruins of the villa of the emperor Tiberius, in the island of Capri.” 
 Bardwell’s Temples, Ancient and Modern, p. 220. 
 
 * These Tabule appear, from the descriptions, to have been similar to those of a later date, in which 
 mosaics and painting were combined with goldsmith’s work, and of which we have a specimen still preserved at 
 Westminster, of the age of the thirteenth century. One given by Alwyn, Earl of the East Saxons, to the 
 church of Ramsey, in 969, is described as “richly jewelled.””  Archeol. vol. xxx., quoting Hist. Rames. Gale, 
 Hist. Brit. Script. i.420. Another, given to the Abbey of Ely by Abbot Theodwyn (obiit 1074), was “formed 
 of gold, and enriched with the representations of sacred personages,” probably in painting. Archeol. vol. xxx., 
 quoting Angl. Sacra, i. 610. And similarly ornamented to this last was one presented to Glastonbury in 
 1017, by Abbot Brithwy. Ibid., Joh. Glaston. Hist. i. 151. Gul. Malmesb. de Antiq. Glast., ed. Hearne, 
 1, 87. 
 
 * Chronica Pontificum Ecclesie Eboraci, autore Thoma Stubbs Dominicano, This authority, speaking 
 of the works of this bishop, says—“ totam ecclesiam a presbyterio usque ad turrim, ab intercessore suo 
 Kinsio constructam, superbus opere pictorio, quod celum yocant, auro multiformitu intermixo, mirabile arte 
 
 construxit.” 
 
3 
 
 9) 
 
 the second, or Lanfrane’s Cathedral at Canterbury, had its ceiling “egregié depictum’. 
 Subsequently, Malmesbury also notices its “ pictured roof’,” and in continuation, the 
 choir paintings at Ely, by Bishop Ridel*, and the ceiling at Peterborough may be 
 adduced, which latter, erected according to general authority between the years 1177 
 and 1199, has descended (restored) to the present day. 
 
 From the period to which the above notices have reference, pictured or painted 
 decorations of several kinds appear to have been commonly introduced, and are mat- 
 ters of frequent and particular account. 
 
 During the long reign of Henry III., occupying the whole of the first half of the 
 thirteenth century, directions as to such are numerous and special, in connexion with 
 the various works ordered by this king to be performed at his several palaces and 
 residences at Westminster, Northampton, Guildford, Winchester, and elsewhere. 
 
 In 1220, the fourth year of this reign, the king’s painted chamber, “cameram nos- 
 tram depictam,” in the Castle of Winchester, is referred to*. In 1232, the sixteenth, 
 the figures of the four Evangelists, with those of St. Edward and St. Edmund the 
 king, are ordered to be painted in the Chapel of the Palace, at Woodstock*. Again, in 
 1233, the following year, a Mandatum, addressed to the Sheriff of Southampton, directs 
 the king’s wainscoted chamber “ cameram regis lambruscatam,” in the Castle of Win- 
 chester, to be re-painted with such “histories and pictures as were previously depicted 
 
 there*;” and there are other further notices almost yearly throughout this reign’. 
 
 * Chr. Gervasii. ‘Ccelum inferius egregié depictum,” and “ccelum ligneam egregid pictura decoratum.” 
 
 * Will. Malmesb. de Gestis Pontif. Angl. 
 
 * Bentham’s History of Ely, p. 143, quoting Harleian MSS., Nos. 258 & 3721. 
 
 * Rot. Claus. 4 Hen. II]. m. 16. “ Rex vicecomiti Suhamt. salutem. Precipimus tibi quod statim visis 
 literis istis reparari et preeparari facias aulam castri nostri Winton et cameram nostram depictam, et coquinam 
 nostram, et minutas officinas, contra hoc instans festum natale Domini, ubi erimus in eodem festo, et custum 
 quod ad hoe posueris per visum et testimonium legalium hominum computabitur tibi ad Scaccarium. Teste 
 Henrico de Burgo apud Winton.” 
 
 ° Rot. Liberat. 17 Hen. III. m. 10. See also Vet. Mon. vol. vi., quoting this authority ; and Rot. Canc. 
 17 Hen. III., Southampton. 
 
 [1d. eod. an.] “ Mandatum est vicecomiti Suhampt’ quod in camerd regis depict infra castrum Wintoniew, 
 que nimis obscura est, fieri faciat fenestras secundum dispositionem magistri Elye de Dereham, et lambres- 
 curam ejusdem depingi faciat de viridi colore. Et custum etc. Teste rege apud Wudestok. 21 die Junii.” 
 
 ° Rot. Liberat. 17 Hen. III. m.6. “ Mandatum est vicecomiti Suhampt’ quod cameram regis lambrus- 
 catam de castro Wintoniw depingi faciat eisdem historiis et picturis quibus fuerat prius depicta. Et custum 
 etc. Teste rege apud Kideminstre. iii die Junii.” 
 
 ” See the Rot. Claus., Rot. Cancel., and Rot. Liberat., of this reign. See also Vet. Mon. vol. vi, and 
 
 Walpole, quoting same. 
 
 
 

 
 
 
 
 
 
 
 4 
 
 In the following reigns of Edward I., Edward I., and Edward III., similar ap- 
 plications continue to be recorded in the descriptions of the decorations by these kings, 
 to the Palace, the Chapel of St. Stephen, and the Abbey Church at Westminster’, 
 as well as in those referring to others performed by several of the higher ecclesiastics of 
 this period to their palatial residences and churches. Early in the reign of Edward II., 
 Bishop Walter Langton caused the coronation, marriages, wars, and funeral of his. 
 patron, the late king (Edward I.), to be painted on the walls of his Episcopal Hall at 
 Lichfield, then newly built*. About the same time also, Adam de Sodbury (Abbot) 
 adorned the nave roof of Glastonbury with “beautiful paintings’ ;” and in 1335, 1336, 
 and 1339, “nova pictura” are mentioned among the works at Ely’. 
 
 Henceforward it is hardly necessary to follow the order of further reference, or to 
 recur to the numerous additional evidences that might be adduced of the continued 
 and increasing admission of painting and colour during this and the fifteenth and 
 sixteenth centuries. Many examples yet remain, and sufficiently exhibit both the 
 universality of the practice throughout those periods, and its great beauty, discrimi- 
 nately applied, as an accessory enrichment in our ancient architecture. 
 
 Proceeding, therefore, from the general notice of its progress to a particular 
 consideration of the practice in its several varieties, as the same is evidenced 
 in authentic record or existing example, it may be premised, that of the first, 
 
 or the 
 
 apo Watnttwas, we possess only very general and incidental descrip- 
 tions. To those of the $)0rIM1At period the same observation will also 
 apply, and indeed will be found to extend, with but little exception, even 
 
 
 
 down to the commencement of the thirteenth century, a period from whence, as will 
 be seen hereafter, more detailed and certain record occurs. 
 
 According to such as we have, however, the principal decorations of these 
 
 1 See Britton and Brayley’s Westr. p.80, quoting Wardrobe accounts entered in Rot. Canc. 5 Edw. I— 
 Ibid., pp. 88-90, for similar accounts of 20 Edw. I., and Vet. Mon. vol. vi. p. 11-12, quoting Exchequer Rolls 
 of 20 and 22 Edw. I., and Compotus of Nicholas de Tikhull, for 1 and 2 Edw. Il. See also Britton and 
 Brayley, pp-125—127, and 171—185, quoting Rot. Canc. 1 Edw. III., the several Rot. of 25, 26, 29, and 31 
 Edw. IIT. ; and Smith’s Antiquities of Westminster. 
 
 2 Vide Archwologia, vol. iii. p. 188, quoting Erdeswicke’s Staffordshire, p. 101; and Browne Willis, vol. i. 
 Teh life 
 
 ® See Dallaway’s Discourses, p. 132, quoting Hearne. 
 
 + Vide “Rotulis Comput. de Expensis et Receptis Sacriste Eliensis, in Archivis Ecclesie Eliensis.” 
 Archeologia, vol. ix. p. 151. 
 
5 
 
 periods were, as before briefly observed, “Pictures of Saints,” to which were added 
 “Scripture histories,” and other “ Portraitures,” such as those of our Lord, the 
 Blessed Virgin’, and afterwards those of Kings and Bishops. 
 
 In the first instances, these pictures and histories, &c., appeared for the most 
 part as independent paintings, executed on boards or tablets, tabula—tablementum— 
 &c., or worked with the needle as embroideries on the wall cloths, the former affixed 
 as ornaments, the latter used as hangings or palls®, to the walls and altars. Occasion- 
 ally, and afterwards more commonly, they were transferred to and depicted on the 
 wall itself, becoming thus permanent and constituent embellishments; though, for the 
 purposes of both wall and altar ornament, the tabula and the embroidered hanging 
 
 was still retained, and indeed continue throughout succeeding periods *. 
 
 * These embroidered cloths, whether used as wall hangings or as altar coverings, appear indiscriminately 
 under their original Latin name of “ Pallia.”” Turner, in his History of the Anglo-Saxons, says they are 
 mentioned under this name and that of “Cortinas,” (see Dugd. 120. 3 Gale 418 and 495. and Ingulph. 53.) 
 and under the Saxon name of “wahrift.”” The terms “heall wahrift,” and “heall reafes,” occur. They were 
 formed of needlework and woven threads. See Turner, quoting Ingulph. Aldhelm notices their being stained 
 with purple and different varieties of colour. 
 
 * Among the paintings brought by Bishop Benedict on his return from France in the year 678, to adorn 
 his Abbey Church at Weremouth, were portraits of the Blessed Virgin and the Twelve Apostles; some of the 
 histories in the Evangelists, and some from subjects in the Apocalypse. And again, in 685, Isaac carrying 
 the wood on which he was about to be sacrificed, Christ bearing the Cross, the Serpent exalted by Moses, and 
 the Crucifixion. Vide Bede. Hist. Abbat. Wiremuth. 
 
 Similar pictures and histories appear to have decorated the continental churches so far back as the fourth 
 century. Paulinas, Bishop of Nola, against the anniversary of the dedication of the Church of St. Felix, 
 ordered the same “to be painted with the images of saints and scriptural histories, such as those of Esther— 
 and Job—and Tobit—and Judith.” See Bingham, Orig. Eccl., quoting Paulin. Natal. ix. Felices. St. Austin 
 also speaks of “pictures of Abraham sacrificing his son,” and of “pictures of Peter and Paul.” Portraits of 
 Bishops occur coevally. “ Paulinas’ own picture was set up with that of St. Martin in the baptistery of the 
 Church built by Severus.” Acasius, Bishop of Constantinople, had his picture set up a.p. 488; and that of 
 Gennadius, Patriarch of Constantinople, was joined with that of Christ.” Vide ibid. vol. ii. pp: 508—511. 
 
 The typical relation of the subjects imported by Benedict is remarkable as illustrating the teaching of the 
 early Church by such means. This connected introduction of type and antitype appears very early abroad. In 
 one of the four chambers of the catacomb of St. Calistus, between the Appian and Ardentinian ways, are 
 three paintings, the second representing the Fall of Man, and the next immediately adjoining, the Man healed 
 of his Palsy, and carrying his couch at the command of our Lord. Vide Ecclesiastic, quoting Bede, Comment. 
 in S. Marci Evang. c. ii. 
 
 * Of this retention of the wall tabula in an after age there aie numerous instances—vide postea. To 
 that of the hanging and the altar tabule it is unnecessary to recur. As respects the latter, indeed, the tablet, 
 from having been here particularly the original and common form, seems to have been always more or less 
 
 employed, or in a manner represented ; progressing gradually from the saintly portrait to the enriched altar 
 
 Cc 
 
 
 
 
 
 
 
 
 

 
 | 
 fl 
 
 
 
 
 
 
 
 
 
 
 
 6 
 
 To what extent these wall tabule, as the earlier form, were distinguished in 
 
 application from the wall painting, strictly so, at this age, the general nature of the 
 
 descriptions just given afford no direct information. At the later period of the 13th 
 
 century, just adyerted to, both the wall tablet and the permanent painting—the pic- 
 
 tured hanging being also as commonly introduced—were the equally usual and conjomed 
 
 modes of representation adopted in 
 
 all Paintings. 
 
 
 
 Into particular or distinct notice of the recorded introductions in each case, from 
 this period, it is unecessary to enter. Some few instances of that of the tablet may be 
 sufficient to show the general prevalence of this form, and its continued admission, as 
 well where portraits and histories, as where other subjects were employed. Two tablet 
 paintings, one containing “the Crucifixion with Mary and John,” and the other, sathe 
 Lord in Majesty, and the four Evangelists,” are mentioned among those executed a. D. 
 1235, for the Palace at Guildford’. At Winchester, the celebrated “tabula rotunda,” or 
 “rota fortune,” of Hen. III.’, isavaried form of the tablet. At Canterbury, the painting 
 representing the murder of St. Thomas 4 Becket, is strictly a tablet painting. That 
 
 of the doom at Gloucester is another. The Doom and Rood paintings were frequently 
 
 tabule of the later Saxon and immediately succeeding period, and from them to the caryed and coloured 
 Arriere-dosse and the Tryptic paintings of a later age—each, in fact, but a modification, to a greater or less 
 extent, of the primitive and more simple altar picture. 
 
 » Rot. Canc. 19 Hen, III. Surrey. 
 
 2 This tablet is usually known as the round table of King Arthur, and which having been repainted about 
 the time of Henry VIII., in a style having reference to this tradition, has so continued to be called. It 
 seems far from improbable, however, that this so termed round table is, strictly, nothing more than the tabula 
 rotunda, or circular tablet of Winchester, on which the “rota fortune” of Henry IIT. was painted, and has 
 no other than a vulgar connexion between the word itself and the many traditions of King Arthur’s wondrous 
 acts and institutions. Mr. Smirke, in his “Essay on the Hall and Round Table at Winchester,” remarks, 
 
 that “the conversion of such a wheel (the ‘rota fortuna cum aliis figuris eam circumambiensis’—the usual 
 
 representation) into the subject now painted on the round table, was obvious and easy ;” and his suggestion 
 that the first alteration from the original subject might have taken place in 1285, when Edward I. celebrated 
 
 the creation of many knights at Winchester, is well entitled to consideration. 
 
7 
 
 tablets down to a very late date—as were also many general subjects. Portraits were 
 usually so (see postea). At St. Michael, Michel-Dean, Gloucestershire, and St. Michael, 
 St. Alban’s, Herts, the doom is so painted, as it was also formerly at Enfield Church, 
 Middlesex’. The painted representation of the rood at Wincham Church, Gloucester- 
 shire, is a tablet. At Chichester, the history of the foundation of the monastery of 
 Selsea, by Ceedwalla, and the re-edification of the church by king Henry VII., as well 
 as portraits of all the kings of England from William the Conqueror to Henry VIII. in- 
 clusive, were painted on tablets and put up by order of Bishop Sherborne about a.p. 1500, 
 and in the south transept of that cathedral, and the “tabula Eliensis”’ is a corres- 
 ponding instance. 
 
 Following original practices in this respect, it will be seen that under the 
 adoption of either or all of the three forms just mentioned, the prevalent represent- 
 ations at this time were still the “Saintly Portrait” and the “Historie:” the general 
 features of which appear to. have been sometimes taken from illuminated MSS., 
 and as frequently the retentions of earlier usage. The Antioch Book seems to 
 have been referred to, if the subjects were not actually copied, for the paintings at 
 Westminster, in the 16th year of Henry III.’, while the directions contained in Rot. 
 Literat. 17th Henry ITI., command the restoration in the chamber of the same king, 
 at Winchester, of “ such pictures and histories as were formerly depicted there*.” In 
 some cases other varieties of picture work, as well as simple applications of plain 
 colour, variously disposed, appear blended with the above. 
 
 For many of both the former and the latter of these, applied as wall decorations, 
 there can be little doubt the Saxon wall cloths were the authorities in the first in- 
 stances. On such, from their earliest admission, besides the sacred and saintly por- 
 trait, and the Scripture histories before referred to, other subjects, taken from general, 
 
 national,—particular,—and legendary history,—poetry, and romance,—as well as many 
 
 See Gentleman’s Magazine, vol. xciii. 
 
 2 Vide Rot. Claus. 31 Hen. IJ]. Mandat. est patri R. de Sanford, Magistro Miliere Templi in Angl., 
 quod fac~ hre~ Henri de Warderoba latori prescensium ad op’ Regine quondam librum magnum qui est 
 in domo sua Lond-, gallico ydiomate scriptum, in quo continent’ gestu Antiochie et Regum ac etiam alios. 
 Teste Rege apud Westm- xvij die Maij. 
 
 This work is considered to have been a French translation of a Latin poem, entitled “'The War of 
 Antioch, or the Third Crusade of Richard I.,” written by Joseph of Exeter, otherwise called Josephus Iscanus. 
 The subjects of the Antioch chamber were favourite ones with Henry III; they were painted at Clarendon, 
 and in the Tower of London, as well as at Westminster. 
 
 ® Vide ante, note, p. 7. 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 8 
 
 arbitrary patterns, were represented. On the hanging given by Elfleda to the Abbey 
 Church of Ely, were embroidered the principal events in the life of her deceased Lord, 
 Brithnoth, Duke or Earl of Mercia’; and on the veil—“vellum’’—or hanging, given 
 by Wiglaf, King of Mercia, a.p. 833, to the Abbey of Crowland, “the Fall of Troy’.” 
 Numerous vestments, presented to the Saxon Church, and thus used, are described 
 also as severally ornamented with “golden eagles”—“ gold flowers *”. 
 apples *” —“gold birds’”—&c., &c. 
 
 Associated with similar use and situation, like representations were doubtless 
 
 —“ Hesperian. 
 
 early introduced into wall paintings. They occur frequently in those of later periods. 
 The “Troy Storie” was a common picture, and the hanging itself, or vestment used 
 as such, both plain—in imitation of the more simple hanging of coloured silk otherwise 
 unornamented—and enriched, as in other more costly instances, was frequently pour- 
 trayed. On the wall of Henry III.’s great chamber at Guildford, at the head of 
 the king’s bed, the sheriff of Surrey was commanded, a. p. 1260, to have painted a 
 “certain pall’.” A mandate of the 20th year of the same king, also directs his great 
 chamber at Westminster to be painted in like manner, “after the fashion of a curtain 
 or hanging ’.” In fact, depicted as a back ground in niches and to figures, the imitative 
 
 hanging occurs in instances almost without number. 
 
 ' Bentham’s History of Ely, p. 86, and Henry’s History of England. 
 
 ? Churton’s Early English Church, p. 234, and Lambert’s Church Needlework, quoting Ingulphus, p. 487, 
 ed. 1596. 
 
 5 Vide Ingulph. 
 
 * Art of Needlework, p, 82. 
 
 ® Dugd. Monast. vol. ii, p.95. Of the subjects represented on the similar cloths of subsequent periods, 
 there is an almost endless variety. A suite of hangings, presented to his Monastery by Richard, Abbot of 
 St. Alban’s from 1088 to 1119, contained the whole history of St. Alban, the proto-martyr of England. Art 
 of Needlework, p. 82. Among the cloths for the choir of York Minster were, “Item, two white pieces with 
 red roses.” ‘Item, twelve red pieces with the arms of Lord Scrope.”” “Item, 8 blue pieces with the arms of 
 John Pakenham.” Inventory of York Minster. Dugd. Monast., quoted in Pugin’s Glossary. At Long Melford 
 Church, Suffolk, “a cloth of Adam and Eve, called the veil.” ‘A cloth for Lent, painted with whips and 
 angels.” “Three long cloths hanging before the rood loft, stained or painted with the Dawnce of Powlis.” 
 Inventory of Long Melford. 
 
 ® Vide Rot. Claus. 44 Hen. III. m, 11.—“ et in camera nostra ibidem, ad caput lectri nostri super album 
 muram quoddam pallium depingi.” 
 
 7 Rot. Claus. 20 Hen. III. m. 12. Mandatum est Thesaurario Regis quod magnam cameram regis apud 
 Westm- bono viride colore depingi ad modum curtine et in magno gabulo ejusdem camer juxta hostium 
 depingi ludum illum. ‘Ke ne dune ke ne tine ne pret ke desire’ et etiam parvam garderobam Regis viride 
 colore ad modum curtine depingi faciat. Ita quod Rex in primo adventu suo illuc inveniat predictas cameram et 
 
 garderobam ita depictas et ornatus, sicut predictum est, et custum,etc. Teste Rege apud Merwell xxx’ die Maii. 
 
9 
 
 But to return—Among the first of these several subjects ; viz., the 
 ortrattures—that of Our Lord, as the Sacred Portrait, under various 
 
 aspects, the two most usual being those of His Crucifixion, or as it was 
 
 
 
 
 
 commonly called “The Passio Domini,” and His second Advent, or 
 coming in Majesty, claims the first attention. 
 
 Both permanently painted, and as tablet pictures “Che Crurifivion” and 
 “The Majesty” were prominent, and at the same time the prevailing, forms for the 
 Sacred portrait. The former as a tabula, or in a similar shape, appears at the earliest 
 period!. The portrait of our Lord, crucified, accompanied the mission of St. Augustine?, 
 and “The Crucifixion,” was among the paintings in the Church of Weremouth, a. D. 
 685. At a later date both were equally common representations. Durandus refers to 
 “The Crucifixion” and to portraits of “Our Lord in Majesty,” as two of the three 
 modes in which the image of our Lord was usually pourtrayed in his time abroad*. In 
 England a similar practice, adopted and retained, is exhibited throughout the middle 
 age, not only in painting, but in almost every description of ornament. 
 
 The more prevalent form of the “Passio Domini,” or Crucifixion, in wall paintings, 
 
 shows our Lord as extended on his cross, usually as a nearly nude figure, sometimes 
 
 ‘ Portraits generally, admitted as an architectural accessory or otherwise, are referable to the highest 
 antiquity. Portraits of Amasis the Egyptian, and of Darius Hystaspes, are mentioned by Herodotus 
 (Herod. ii. 182, and iv. 88.) Portraits of the thrice victorious at the Olympic Games are likewise noticed by 
 Pliny (xxxiv. 9.) The master piece of Apelles, says this author (I.c.), was a portrait of King Antigonus on 
 horseback. 
 
 Introduced into temples or religious edifices, they occur also very early. A portrait of Alexander, painted 
 by Apelles, was hung in the Temple of Diana, at Ephesus, and one of Themistocles was placed in the Parthe- 
 non. Among the Greeks, portraits or pictures thus placed passed under the general term of avaQnura— 
 “consecrated.” Shields engraved with portraits were similarly dedicated in the temples, and called “ clypei,” 
 on account of these portraits “ imagines clypiate” (Pliny xxxv. 2.) Appius Claudius dedicated the shields 
 of his ancestors, with their portraits on them, in the Templé of Bellona.—Afterwards the introduction of such 
 portraits became a common Roman custom, and descending, was adopted also into the Christian church. 
 (Vide ante, note, p. 15.) 
 
 > It has been considered that this portrait was an embroidered cloth or banner. Such portraits were 
 frequently so executed about this time. Saint Gregory (Pope) writing to the holy hermit, Secundinus, god- 
 father to the son of Theodelinda, Queen of the Lombards, says—“ We have sent you two cloths, containing 
 the pictures of God, our Saviour, and of Mary, the holy mother of God, and of the blessed apostles, Peter and 
 Paul,” &c. See Butler’s Lives of the Saints, quoting Epistles of Saint Gregory. 
 
 * In reference to this observation, Webb and Neale, at page 57 of their translation of this author, say 
 in a note, “ Durandus had doubtless in his mind the ancient mosaics over the apsides of the earliest churches 
 
 of Rome. The extremely beautiful one in San Clemente represents our Lord as Crucified.” 
 
 D 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 10 
 
 regally attired’, attended by His blessed Mother, and His beloved disciple, St. John. 
 “The Crucifixion, and Mary and John,” painted on a tablet, was set up in the Chapel 
 at Guildford Castle, a. D. 1235 (vide ante, p. 6). The same was delineated at a later 
 period on the wall at the north side of our Lady of Pity’s Altar, in the Gallilee of Dur- 
 ham’. “Over the wainscotting of the Frater-house, also, was a large picture of our 
 Saviour Christ, the Blessed Virgin Mary, and St. John, in fine gilt work, and most 
 excellent colours*.” On the walls of Copford Church, Essex, A. D. 1690, when the same 
 were whitened over, was a similar picture*; and in the Chapel of Prior Crauden, at Ely, 
 are the remains of another’. 
 
 In some paintings of the Passion in addition to these, the usual number, other figures 
 as well as variations of the more customary representation, viewed as a portraiture, and 
 so distinguished from the historical picture, are introduced. This is often the case in 
 paintings attached to the Rood Screen, where a painted representation of the Crucifixion 
 occasionally supplied the place of the carved Rood and its accompanying figures. 
 
 In the painted Rood over the screen at Winchham, or Winsham, Church, Somer- 
 setshire, five figures are delineated, viz. :—those of our Saviour, the Blessed Virgin, with 
 St. Mary Magdalene probably, or St. John (the quoted authority® says a weeping female 
 on each side), and the Two Thieves. 
 
 The above comprise the main and prevailing characteristics in the portraiture of 
 our Lord, crucified. In many, however, several minor peculiarities and differences are 
 
 to be observed ; thus, in an instance at Godshill Church, Hants, an unusual variation in 
 
 ‘ Very early objection seems to have been taken to entirely naked representations of our Lord—probably 
 the original mode; and consequently many of the earlier exhibit Him vested, or at least semi-veiled. In the 
 case of “ some old Roods, the Saviour was depicted as a crowned king, arrayed in royal apparel.” .... “The 
 same conventional form was applied also to royal saints, or those of royal lineage. St. Edmund is usually 
 shown wearing his kingly crown during his passion.” See Webb and Neale’s Durandus, Introd. p. Ixxxvi. 
 
 * Sanderson’s Antiquities of Durham, p. 47. 
 
 * Ibid. p. 72. 
 
 * There were also paintings representing St. Peter’s Wife’s Mother lying sick of a fever, and St. Mary 
 Magdelene. See Excursions through Essex, p. 57. 
 
 * Webb and Neale’s Translation of Durandus, p. 57. 
 
 * Gentleman’s Magazine, vol. cii. p. 310. In this instance the painting “fills the whole of the arch 
 above the screen, and is on panel, executed in a bold style, and in lively colors.” 
 
 The carved Rood at Durham had two Archangels, one by the side of the Blessed Virgin, and the other at 
 the side of St. John. (See Rites of Durham.) Abroad, many varieties in the accompaniments of paintings, and 
 other representations of the Crucifixion occur. In the mosaic of San Clemente, at Rome, twelve Doves sur- 
 
 round the figure of our Lord on the Cross, to indicate the twelve Apostles. The Evangelistic symbols are also 
 frequent. 
 
 
 
11 
 
 the kind of cross upon which our Lord is suspended occurs, which, differing from the 
 general and common form of a hewn and shaped cross of wood, is here “figured by a 
 tree with three branches!.” Again, accompanying some portraitures of our Lord, cruci- 
 fied, was a hand in the attitude of benediction, issuing from a cloud, situate above and 
 directed to the head of the Saviour. This is often seen introduced in illuminations to 
 MSS., and in stained glass, particularly in more strictly historical representations of the 
 Crucifixion, and “is the indication,” says Pugin’, “of a holy person or thing” occur- 
 ring frequently, according to this authority, in delineations of the martyrdom of Saints. 
 
 In some late paintings angels are delineated on each side of the cross, receiving the 
 blood of our Lord, which streams from His five wounds into chalices; in reference to 
 which it may be noted, that our Lord is, in the majority, if not in all cases, depicted as 
 undergoing His passion: that is alive, and not, as yet, dead upon His cross. ‘The passion 
 in the act is the peculiar feature, not only in the case of our Lord, but also in that of the 
 Saints. In the earlier, four are the number of nails most usual, one through each hand 
 and each foot of our Lord; the latter being represented, as resting on the “suppeda- 
 neum,” in contra-distinction to the later pictures, which show His feet laid together, and 
 pierced with one nail. In some ancient representations the crown of thorns is omitted. 
 The cruciform nimbus is general. The most usual back ground is an indication of 
 the heavens, in a dark blue colour, studded with stars; the foreground representing 
 Calvary or Golgotha. 
 
 Of the pictures of “ur Lord im Majesty,” the second form of the Sacred por- 
 trait, there existed formerly many examples’, in the majority of which our Lord was 
 exhibited as regally vested, seated on a rainbow, and enclosed within the Vesica-pisces or 
 aureole, proper, for the most part, to representations of the Saviour, though frequently 
 
 introduced as enclosing those of God pourtrayed as the Father, and the Blessed Virgin, 
 
 * Proceedings of the Society of Antiquaries, p. 51. 
 
 * Glossary of Ecclesiastical Ornament, p. 139, Art. Hand. 
 
 * As an architectural decoration, and in ornament generally, the Majesty, as previously observed of 
 the subject of the Crucifixion, was extremely prevalent. In embroidery it was largely employed. See a 
 description of the Dalmatic of St. Leo, (Pope) in Pugin’s Gloss. p. 106, Art. Dalmatic. In the connected case 
 of Jewellery, it is equally common. The Majesty was a frequent enrichment of the Morse. See Dugd. 
 Monast. for many examples. The same subject also appears on the ornamented covers of the Books of the 
 Gospels. In Pugin’s Gloss. Art. Text, are numerous instances taken from the Inventories of St. Paul’s, 
 Lincoln, and Canterbury. In the latter cases, the Majesty in the midst, and the Four Evangelists at the 
 corners, seems the common ornament, “et cum Majestate in medio, et 4 Evangelistis in angules.’” The 
 
 Crucifixion, with St. Mary and St. John, also appears here almost as frequently. 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 12 
 
 and occasionally round less sacred or holy figures!. Generally the E'vangelistic symbols, 
 according to the visions of Hzekiel, ch. i. v. 20, and ch. x. v. 14; or of St. John, Re- 
 velations, ch. iv. v.6 and 7; or the figures of the Evangelists proper are attached 
 on either hand. A picture of “The Lord in Majesty and Four Evangelists,” painted 
 on a tablet for the Chapel at Guildford, occurs A.D. 1235’. 
 
 Several other, as well as more elaborate forms of «The Majesty ” are also frequent. 
 This is particularly the case in paintings of the Doom—of which hereafter—where the 
 figure of our Lord usually appears in glory or majesty, agreeably with the scripture, 
 Matthew, ch. xxv. v. 31 and 32; and with Mark, ch. viii. v. 38, “ when he cometh in 
 the glory of his Father with the holy angels,” &c. 
 
 A Majesty, or representation of the Godhead seated, His right hand elevated in 
 benediction, the left supporting a book or tablet, inscribed with the letters Alpha and 
 Omega, is among the paintings on the vaulting of St. Mary’s, Guildford®. A portrait of 
 “Our Lord in Majesty, and the Four Evangelists,” having on one side St. Edmund, 
 and on the other St. Edward, was painted in the Chapel of the palace of Henry III., at 
 Woodstock, a.p. 12324. A Majesty, between the images of St. Dunstan and St. 
 ClIphage, was among the ornaments of the Beam (érabes) over the High Altar at Can- 
 terbury, and also upon the similar Beam of the High Altar of St. Alban’s*. A Majesty, 
 containing “the picture of our Saviour seated on a throne, one hand erected, and 
 holding a globe in the other, attended by the four Evangelists, and Saints on each side 
 with crowns in their hands,” in allusion to the scripture, “Therefore shall they receive,” 
 &c., Wisdom, v. 16, was painted on the roof above the High Altar at Peterborough’. 
 Our Lord seated to give judgment on a throne within the Vesica, and attended by 
 the twenty-four Elders in white garments and crowns of gold, is noticed also by Du- 
 randus, 
 
 Sometimes, also, in portraitures of our Lord thus represented, we find Him pour- 
 
 trayed with a sword in or issuing from His month, in reference to the Apocalypse, 
 
 An aureole or nimbus of this form surrounds a figure of Satan in an illumination in Cott. MS. Claud. 
 B. iv. Brit. Museum. 
 
 * Vide Rot. Canc. 19 Hen. III. Surrey. 
 
 * Archeeologia, vol. xxvii.'p. 413. 
 
 * Vide Rot. Cancell. and Rot. Liberat. 17 Henry III.; also Vet. Mon. vol. vi. p. 23, quoting these and 
 Walpole, p. 13. 
 
 5 See Pugin’s Glossary, quoting Hasted’s Hist. of Kent, and Lives of Abbots of St. Alban’s (apud 
 
 Ducange), Art. Beam. 
 
 * Gunton’s Hist. of the Church of Peterborough. 
 
13 
 
 ch. i. v. 16. In the Chancel of Widford Church, Herts, was a painting of our Lord 
 “seated on a rainbow, a sword proceeding from His mouth; His feet and His hands 
 pierced.” In Alfriston Church, Sussex, was a similar one’. Our Saviour seated on a rain- 
 bow to give judgment, was also painted on the cover of St. Cuthbert’s shrine, at Durham”. 
 
 Another form of the portraiture of our Lord was that of the “ Gernarle” or deli- 
 neation of His face on a handkerchief, agreeably with the legend of St. Veronica. The 
 Vernacle occurs among the ornaments in the Inventory of St. Paul’s, London. “ Item, 
 the (Veronica) Vernacle, with the images of the Blessed Virgin and St. John painted *.” 
 It is also to be seen in the ceiling of the Chapel of the Savoy Palace. 
 
 Others also appear of an emblematic or symbolic character, such as those of the 
 Agnus Bei, or Holy Lamb ; and the Wesita Pisres, a symbol supposed to have allusion 
 to the Greek word, IKHTHYS, signifying a fish,—hence the holy name, [XeY=, Jesus. 
 
 The Agnus Dei is painted on the groining of the Choir ceiling, at St. Alban’s, 
 Herts. The Vesica, however, as a distinct emblem, or otherwise than as an aureole, or 
 nimbus, connected with the Divine effigies, does not appear to have been very general in 
 England, at least in painting. Abroad, many examples are to be met with, and from 
 a very remote date‘. 
 
 To the above may be added two other forms of the Sacred portrait, viz., that of ®ur 
 Lord in Trinity, and the single figure of God as the father. The most usual portrai- 
 ture of the former, as evidenced in England’, exhibits a collective or conjoimed repre- 
 sentation of God as the Father, God as the Son, and God as the Holy Spirit; the former 
 delineated as a venerable and bearded figure, seated on a throne regally or pontifically 
 attired, holding His Son as the crucified Saviour in His hands; the latter, or the Holy 
 Spirit, in the shape of a Dove attending; in some cases resting on one arm of the Sa- 
 viour’s Cross, in others issuing from the mouth of the Father : the Evangelistic symbols, 
 
 as in pictures of the Majesty, on either side. 
 
 1 Webb and Neale’s Durandus, p. 57. 
 
 ® Antiquities of Durham, p. 7. 
 
 5 Dugdale’s History of St. Paul’s. 
 
 ‘ The Vesica, or symbolic fish, was a frequent figure on early Christian monuments, and is found, says 
 Pugin, “from the fourth century downwards.” See Glossary of Ecclesiastical Ornament, p. 214. Art. Vesica 
 Pisces. 
 
 5 Abroad there were many different variations in the representation. Several may be seen on reference to 
 Didron’s “Iconographie Chretienne” (Paris, Imprimiere Royale, 1843), some of which are copied into Beard’s 
 “ Historical and Artistic Illustrations of the Trinity.” (Lond. 1846.) D’Agincourt, in his “ Histoire de PArt 
 par les Monumens,” has also given two curious representations. 
 
 E 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 14 
 
 A portrait of our Lord thus represented, is pourtrayed on the Sperver, or Canopy, 
 of the Tomb of Edward the Black Prince, at Canterbury ; and considerable remains of 
 a similar picture are still to be seen on the east wall of the north aisle at Aldenham, 
 Herts. The Holy Trinity appears also to have been, in like manner, painted on the 
 east wall of the Chapel of the Holy Trinity, in Tewkesbury Abbey Church ’°. 
 
 Of the latter, though not equally common form of the Sacred portrait, instances are 
 to be found in several ancient manuscript and printed missals, usually at the commence- 
 ment of the Canon of the Mass, and also occasionally in stained glass. In other paint- 
 ings, disconnected with representations of the Holy Trinity, it is not frequent, at least 
 as far as example or record shows®. Where it does occur, God the Father is generally 
 depicted as a venerable and enthroned King or Sovereign pontiff, clothed in royal ap- 
 parel; the head enclosed within a nimbus, and crowned with the triple crown, or tiara ; 
 the left hand holding a globe, significative of dominion ; the right hand elevated in 
 benediction *. Sometimes where the representation occurs, as before observed, as an 
 illumination or illustration to the Canon of the Mass, the right hand is extended hori- 
 zontally, and directed towards the figure of our Lord on the Cross, which here usually 
 appears on the opposite page. 
 
 This particular attitude and direction of the Divine Hand in these instances is 
 remarkable, as apparently connecting the figure of the Hand, introduced, as previously 
 noticed, into some portraits of our Lord crucified, with an immediate reference to the 
 person of the Father in such cases; agreeably with a passage in Clemens Romanus 
 (Hom. xvi. 12,) where the Spirit of God, spoken of as one and the same with God, is in 
 figurative speech compared to a hand. 
 
 Next to the Sacred portrait occurs the Saintly, together with the Kingly and Epis- 
 
 1 The painting in this instance is now much defaced. A scripture of the time of Elizabeth, as com- 
 monly occurs, has been painted over it, on the whitewash intended to obliterate it. At Canterbury the subject 
 is rather more perfect, from the circumstance of a less exposed position, or as escaping mutilation, perhaps, 
 from immediate connection with a royal memorial. It is observable in the painting at Aldenham, that 
 the emblem of St. John occupies its more correct situation in the upper angle of the right hand of our 
 Lord. 
 
 * Gentleman’s Magazine, vol. xevii. i. 122. n. 
 
 ® Both to this form of the portraiture of the Godhead, and to personations of the Holy Trinity, particular 
 hostility appears to have been exhibited by the Puritans of the times of Elizabeth and Charles I., and as a 
 consequence almost all those accessible were scrupulously destroyed. 
 
 * A portrait of God the Father thus represented formerly existed on the north wall of what was the Lady 
 Chapel, at Hereford. See Gough’s Sepulchral Monuments, vol. i. p. ii. 194. 
 
Visi 
 
 copal, the two latter represented where properly such, as included among the former, 
 and otherwise as Founders and Benefactors, or as reigning Kings and Bishops. 
 
 Among the first named, or the Saintlp, that of the Blessed V: irgin, and those of the 
 Apostles, bear a conspicuous place. The portraits of the Blessed Virgin and the Twelve 
 Apostles were included in the importations of Bishop Benedict'. In a.p. 1245, the 
 portrait of the Blessed Virgin was painted on the outside of the King’s seat, in the 
 Chancel of the King’s Chapel, at Westminster?; and in 1250, round the walls, the 
 figures of the Twelve Apostles*. In 1251 the Apostles were ordered to be painted also 
 in the King’s Cloister, at Windsor. Over our Lady of Pity’s altar, in the north aisle at 
 Durham, on the wall, was painted the picture of our Lady holding our Saviour in her 
 lap. ‘The same was also painted on the west side of the cover of St. Cuthbert’s shrine, 
 in the same church’. Of both, however, instances might be adduced, ad infinitum, as 
 respects pictures of the Apostles particularly, who are constantly represented, and are the 
 peculiar features in many Chancel screens, on which observation will be made hereafter. 
 They occur likewise on other screens. Figures of ten of the Twelve Apostles are still 
 visible on the ambulatory side of the Choir screens at Carlisle Cathedral. 
 
 Singly, or in legendary connection with those of Kings and other Saints, as in the 
 story of St. Edward on the Westminster Sedilia®, and as Patron, the Apostolic figure is 
 also frequent. St. Peter in Pontificalibus, as Patron, occurs in St. Peter’s Chapel, in 
 the Tower of London, a. D. 1240’, and also on the Sedilia just noticed at Westminster. 
 The Apostle and Evangelist St. John, habited as a pilgrim, associated with St. Ed- 
 ward, King and Confessor, was painted in the Chapels of Henry III. at Westminster, 
 
 1 See ante, note p. 15.—That of the Blessed Virgin, with those of the Apostles, were disposed on the 
 roof at the east end of Bishop Benedict’s Church; the Gospel histories, imported at the same time, on the 
 south wall; and other subjects from the Apocalypse on the north. Milner’s Survey, Winton. 
 
 * Rot. Claus. 29 Hen. III.m.15. Mandatum est Edwardo filio Odonis quod in exteriori parte sedis 
 Regis in capella Sancti Stephani, Westm. sicut intrat* in capella decendendo de Aula bii depingi faciat plerum et 
 decentem imaginem Sancte Marie, et ex alia parte cancelli versus hostium gardini imagines Regis et Regine. 
 Ita, &c. Teste Rege .apud Clarendon, vi. die Feb. 
 
 * Rot. Claus. 34 Hen. III.m. 7; and Walpole, vol. iii. p. 18, quoted in Vet. Mon. vol. vi. p. 20. 
 
 * Rot. Claus. 35 Hen. III. m. 5. ; 
 
 ° Antiquities of Durham, pp. 6-41. 
 
 * Originally eight figures were here delineated—on the south or ambulatory side, St. Peter and King 
 Sebert (see Weever, Fun. Mon.), with St. John Baptist and King Edward Confessor. On the north side, or that 
 towards the Choir, in the first or eastern compartment, King Sebert, it is presumed (see Harding’s Antiquities 
 of Westminster) ; in the third, King Henry III.; the others in the second and fourth compartments uncertain. 
 
 7 Vet. Mon. vol. vi. p. 21, quoting Walpole, p. 14. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 16 
 
 the Tower of London, Winchester, and Guildford’; and again in his saintly form in 
 the Chapel of Abbot John de la Moote, of St. Alban’s, at Tittenhanger, as one among 
 the number of all the Saints who bore the name of John, which this abbot caused to be 
 painted there *. 
 
 To every recorded or existing evidence of the introduction of the Saintly portrait, 
 however, it is hardly necessary, and would be tedious, as involving repetition in many 
 cases, to refer. The tabular list of portraitures generally, given hereafter, will at once 
 collectively and sufficiently exhibit the continued obedience and adherence to the Canon 
 which, in the case of the Church enjoined such representation, as well as the extent, in 
 general practice, of the custom in this respect founded thereon. 
 
 As regards, nevertheless, one or two particular portraits, it is to be observed, that 
 the same appear to have attained an extended prevalence as compared with others, and 
 a common admission irrespective of local tradition or special appropriation, which, as a 
 general rule, regulates the introduction in other and the majority of cases. This is 
 particularly so with relation to that of St. Christopher, which appears in numerous 
 Churches without reference to dedication or other immediate connection. Hutchins, in 
 his “ History of Dorset,” refers to one on the south wall of the parochial Church of St. 
 Winfrith, or Winifrede, and to another in that of West Chickerell. Rudder, in his 
 “ History of Gloucestershire,” p. 286, also notices a St. Christopher on the walls of 
 St. Mary’s Church, Bibury; and the author of “Prolusiones Historice *,” describes 
 one in the Church of Wilsford and Lake, near Amesbury, in Wiltshire, dedicated to St. 
 Michael. Another existed in All Saints, Aldburgh, or Aldeburgh, Norfolk, and some 
 time since made its appearance through the whitewash with which it appears to have 
 been covered since Bloomfield wrote his “‘ History of Norfolk,” who describes it as 
 apparent in his time*. It is here painted on the wall of the north aisle over the north 
 
 door. St. Mary, Bartlow, Cambridgeshire, has another ; and in St. Nicholas Church, 
 
 1 See Vet. Mon. vol. vi. pp. 20-23, and Gentleman’s Mag. vol. xcv. ii. 301, reviewing Harding’s West- 
 minster. 
 
 * Ingram’s Memorials of Oxford, vol. i. p. 20. 
 
 * Vol. ii. p. 266. 
 
 * In this case two paintings of the same subject appear, one executed, apparently, at a later date over 
 the other. In Fosbroke’s Encyclopedia of Antiquities, p. 100, is a plate which shows, by mistake of the 
 artist, a portion of the under painting as part of the upper. See Rev. Edward Duke’s Prolusiones Historicee, 
 p. 561. 
 
 ° Bloomfield’s History of Norfolk, vol. iii, p. 239. (Earsham Hundred.) 
 
Canewdon, Essex, was formerly a similar effigy, painted on the right hand of the door. 
 A portrait of St. Christopher was also painted on the wall of the Chapel of the Holy 
 Trinity at Canterbury*; in St. Peter's Chapel, in the Tower of London, a. p. 1240; 
 and in the west gable of the Queen’s Chapel, at Winchester, in 1248. St. John Baptist, 
 Croydon, Surrey; St. Andrew, Impington, Cambridgeshire ; St. Andrew, Mells, in So- 
 mersetshire ; and Hengrave Church, Suffolk, have all figures of St. Christopher. 
 
 Portraits and figures of St. Nicholas and St. George also occasionally appear in like 
 manner, and under similar circumstances. * St. Nicholas was painted in St. Peter's 
 Chapel, in the Tower of London, tempo Henry III*; St. George on the south wall of 
 the Nave of Mid-Lavant Church, Sussex; in that of All Saints, Hargrave, Northamp- 
 tonshire®; and in the Church of St. Thomas, at Salisbury. 
 
 This prevalence of the portrait of St. Christopher is generally considered to be ac- 
 counted for in connection with the popular belief in a special protection from pestilence, 
 mischief, or other ill, afforded by the immediate presence of his effigies, founded upon a 
 prayer of the Saint to that effect, Browne, in his “ Vulgar Errors,” says that the por- 
 traiture of St. Christopher was, from such circumstance, usually placed in public ways, 
 and at the entrance of churches; hence the distich,— 
 
 “ Christophorum bideags postea tutus erty’ +” 
 
 which, as well as that following— 
 
 “Christophort sancte spectem quigune; tuetur 
 Elo nempe Die, nullo Janquore gravetur.” 
 
 was frequently attached by way of Text or Legend to the same*. Accordingly at Canew- 
 
 * Tt was discovered in 1711, when the church was “ beautified.” See Wright’s History of Essex, vol. ii. 
 p- 624. 
 
 * Winkle’s Cathedrals. 
 
 * Vet. Mon, vol. vi. p. 21, quoting Walpole, p. 14. 
 * Rot. Liberat. 32 Hen. III. m. 6. See also Vet. Mon. vol. vi. p. 23, and Walpole, p. 16. 
 * Vet. Mon. vol. vi. p. 21. 
 
 ° Keclesiologist, vol. iii. p. 106, reviewing “ Architectural Notices of the Churches of the Archdeaconry of 
 Northampton,” No. II, in which latter work a sketch of the painting is given. 
 
 ” See Gage’s History of Hengrave. 
 
 ® The Rev. Edward Duke, in his “ Prolusiones Historice,” has a long argument, intended to establish a 
 less literal reason for the appearance of this portrait, which he considers—and he is borne out by some show of 
 authority—to be a symbolical representation, or rather personification, of the Cross of Christ; hence Christo- 
 pher (Xexoropogos), “ the bearer of Christ.” Viewed in this latter light, the same reference to a protecting 
 
 power is equally, and certainly more correctly applicable. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 18 
 
 don Church, the picture of St. Christopher was on the right hand side of the entrance 
 door. At Aldburgh it is painted in the north aisle over the north door. At Impington 
 on the north wall of the Nave over against the south door. At Croydon on the south 
 wall opposite the north door; in each case immediately within view on entering or 
 leaving the church. In some churches in Norfolk it is even painted on the door itself}. 
 
 The introduction of that of St. Nicholas, it is possible, may have had some reference 
 to his peculiar attribute of Patron of all young persons ; and in the same manner that of 
 St. George may have been considered to have had a similar claim, as Patron generally of 
 England, or perhaps symbollically viewed, as the personation of the Christian fight. 
 
 As respects the second, or the Htnglp and the Gptsropal portrait, itis only necessary 
 to observe that, admitted at the same time, as before noticed, both such were equally 
 general, and appear associated with the saintly, as well as singly, in numerous cases. 
 Portraits of King Sebert as Founder, and of Edward the Confessor and Henry IIT., as 
 Re-founders and Benefactors, joined with those of St. Peter and St. John the Evangelist, 
 were among those painted on the Sedilia at Westminster. Those of the latter King as 
 Founder, and his Queen, were painted on the wall of the Chapel of his Palace at West- 
 minster, A. D. 1245%. Those of Edward III, his Queen and children *, were also depicted 
 in like character on the walls of the Chapel of St. Stephen *. The portrait of Richard II., 
 now preserved in the Jerusalem Chamber, formerly hung as a Benefactor in the Choir 
 of the Abbey Church, At St. Alban’s the likeness of Offa was a noted object®. At 
 Windsor, portraits of Edward IV., Henry VI., Edward V., and Henry VII., were 
 painted on the outside of the Choir Screen in the south aisle’. At Chichester por- 
 
 traits of all the kings of England, from William the Conqueror to Henry VIII., joined 
 
 * Gough’s Sepulchral Monuments, vol. i. part i. cxxvi. n. See also vol. ii. plate xxxvi. of this author for 
 a representation of a St. Christopher from the door of a Chantry in Latton Church, Essex. 
 
 * Vet. Mon. vol. vi. p. 20. 
 
 * Dallaway’s Discourses on Architecture, p. 50. 
 
 * Similar introductions, as respects these family portraits, were exhibited coevally abroad. Portraits of 
 William the Conqueror and his family formerly hung in the Church of Caen. They are engraved in Mont- 
 faucon. In the Cloister of the Carmes, in the Place Maubert, at Paris, were portraits (executed about a. D. 
 1317) of the family of Louis IX. At the Celestines, also, in the Chapelle d’Orleans, founded 1393, by Lewis 
 of Orleans, younger brother of Charles VI, portraits or effigies of all that family were represented. Lenoir’s 
 Museum of French Monuments, vol. 1. p. 151. 
 
 * “Some account of the Abbey Church of St. Alban,” published by the Society of Antiquaries. 
 
 ® See Carter’s Ancient Sculpture and Painting, wherein is a plate of these figures as they appeared in his 
 time. 
 
19 
 
 with all the Bishops of Selsey and Chichester, from Bishop Wilfrid to Bishop Sherburne, 
 now adorn the walls of the south T: ranscept. In the case of the Church, indeed, the 
 introduction of the Royal portrait, either as Saint or reigning King, was long retained, as 
 the latter, so late as the time of Charles I., whose picture was set up in many churches '. 
 
 As the reigning sovereign, the Kingly portrait frequently occurs also in other situa- 
 tions. The portraits of Henry III. and his Queen, seated with their Barons, were 
 painted in Dublin Castle hall, a.p. 12432. Portraits of King Athelstan, and of 
 Richard III., of the age of Henry VIT., were discovered during some alterations made 
 a few years since, painted on the panels of a room in Baston Manor House, Kent’. 
 
 Of the Episcopal and Abbatial, introduced in like manner as Benefactors, or as ruling 
 Bishops and Superiors, &c., there might be produced a correspondingly numerous list. 
 At Ely, as well as those of all the Abbots of the Monastery, and of the Knights associated 
 with them in the government of the Isle of Ely, painted on the celebrated Tabula 
 Elinsis, were portraits also of Wulstan, Archbishop of York; Osmund, a Swedish 
 Bishop; Helfwin, or G@lfwin, and Elfgar, Bishops of Elmham, now Norwich; Ednoth, 
 Abbot of Ramsey, and afterwards Bishop of Lincoln; Athelstan, Bishop of Elmham ; 
 with Brithnoth, Duke of Mercia, all depicted as Benefactors on the north wall of 
 the Choir of the Abbey Church, over their respective places’ of re-interment, tempo 
 Edward IIT +. 
 
 Of the next in order, both on account of prevalence and antiquity of use, viz., 
 
 * Ellis’s Original Letters, note p. 254. The portrait of Queen Elizabeth was put up in several London 
 churches. See Archzeological Journal, quoting the authority of Stow. 
 
 * Vet. Mon. vol. vi. p. 24. 
 
 > Gentleman’s Magazine, vol. c. p. ii. p. 497. 
 
 * Bentham’s History of Ely, p.85. This author says, that these pamtings, with the names over eaeh figure, 
 were visible, though decayed, in his time. Gough, in his Sepulchral Monuments, gives some of the figures, 
 and also the following description, copied by Bentham from an old Manuscript Liber Eliensis, attached, by 
 way of explanation, to the same :—Iste sunt Confessores Christi, quorum corpora jacent ex parte aquilonari 
 chori Ecclesie Hliensis in locellis separatim in pariete lapideo, Wlstanus Eboracensis Archiepiscopus, Osmun- 
 dus Epus in Swetheda regione, Helfwinus Helmanensis Epus, Elfgarus Helmanensis Epus, Ednodus Ab- 
 bas Ramysiensis Epus Lyncolniensis, Adthelstanus Helmanensis Epus, Brithnodus Dux Northanimbrorum 
 Strenuissimus.” 
 
 To these Portraits of Benefactors, and to Books of Benefactions, coevally used as among the ornaments of 
 the altar, and of which that called “The Golden Book of St. Albans,” (Cott. MS. Nero D. vii. Brit. Mus.) con- 
 taining portraits of all the Benefactors to that Abbey, with a list of their donations, is a fair example, suc- 
 
 ceeded the Tablets of Benefactions so common at a later period. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 20 
 
 the Historical subjects, an endless variety, taken collectively, might be enumerated. 
 
 To commence, however, with the 
 
 cripture Histories. These, as before briefly shown, were very early 
 with the Sacred and other portraitures, the usual ornaments of walls, &c., 
 
 
 
 
 
 not alone in religious edifices, but also in domestic erections. The fond- 
 ness for, and general admission of, the Scripture story, or of subjects derived from serip- 
 tural reference, in both cases, is exemplified throughout the whole of the middle age by 
 repeated introduction. Witness those painted in the Chapels and Chambers of Henry 
 III. at Westminster, in the Tower of London, at Winchester, Windsor, Clarendon, 
 Guildford, and Nottingham’. The same is also to an equal, if not even to a greater 
 extent, exhibited in the paintings of Edward III. at Westminster’, while at the later 
 period of the fifteenth century we find described among the decorations of a Lady’s 
 
 chamber,— 
 —— “The Poralppse of ton, 
 
 The Polules Pistoles eberprhon, 
 The paraboles of Salamon.” 
 
 and,—* Che Storp of Absolon*,” 
 
 In Ecclesiastical buildings generally, and in the Church particularly, the illustration 
 
 
 
 of Holy Scripture was always, and appropriately so, a favoured decoration, and is exhi- 
 bited with peculiar fitness, in the latter case, both as respects purpose and position, in a 
 variety of instances. A common ornament of the wall or space over the Chancel arch, was 
 a delineation of The Boom or Judgement Bap, most fittingly depicted on the material 
 Portal of the Church’s Holy place, in inculeation of a practical remembrance of that 
 judgment under which all must pass to the spiritual and undecaying one of Heaven. 
 This was usually painted on the wall itself, and so appears in the Church of the 
 Holy Trinity at Coventry; at Caythorpe Church, in Lincolnshire, and in other 
 Churches. In many, however, it occurs as an independent painting, affixed to the wall. 
 This is the case at Mitchell Dean Church, Gloucestershire, where it hangs in its usual 
 
 position above the Chancel arch, and is painted on panel, or as a tablet*. One closely 
 
 ' For the several stories depicted in these instances, sce General List of Historical Subjects. 
 
 > See Vet. Mon. vol. vi. pp. 27-32, for a particular account of these several paintings. 
 
 ® Romance of Sir Degrevant. See Archeological Journal, Nov. 1844, p. 243. 
 
 ‘ This painting is curious, as containing, in addition, subjects taken from the Life of Our Saviour, 
 
 arranged in panels or compartments beneath the main subject. A full description of it is given in the Gentle- 
 man’s Magazine, vol. ci. ii, 409. 
 
2) 
 
 resembling that at Mitchell Dean formerly existed in Enfield Church, Middlesex, an 
 engraving of which is given in the Gentleman’s Magazine, vol. xciii. i. 621, from a Plate 
 in Robinson’s History of Enfield; and a very elaborate one, probably once similarly 
 used, though now removed from its original situation, is still preserved in Gloucester 
 Cathedral. 
 
 To this, its more usual position, the subject of the Doom, however, does not appear 
 to have been exclusively confined. At St. Mary, Cliffe Church, Kent, a rude repre- 
 sentation of the Last Judgment is delineated on the east wall of the south Transept. 
 The same subject was also depicted on the vaulting of the Choir above the High Altar 
 at Peterborough ', and on the west side of St. Stephen’s Chapel at Westminster, A. D. 
 1250*. There is also over the west door of the north aisle of Great Tew Church, Oxon, 
 a painting which, from Skelton’s description, is probably the Doom *. 
 
 Sometimes the Doom was also used as the subject of an Altar piece, as appears from 
 the following extract, in which the name given to the painting or tablet—* ma table d’or 
 la quele table je appele Domesday ”—has, evidently, allusion to the subject depicted 
 thereon :—* Item jeo devise al monstier de Notre Dame de Nicole, ma table d’or en ma 
 chapele, la quele table je apele Domesday achetez a Amiene.” Will of John of Gaunt, 
 1398. Test. Ebor. p. 228+. 
 
 At Landanwg Church, in Cornwall, an old painting of the Doom is now placed 
 over the Altar. The same subject, also, formed a portion of the “ Mappa Mundi,” at 
 Hereford, which, according to Mr. Smirke*, “intended for an Altar piece, represents 
 the Day of Judgment on its margin.” 
 
 In other cases general scriptural subjects of like tendency, and also scenes from the 
 Life of our Saviour, with illustrations of his Miracles, occupy, with the same view to edi- 
 fication, a similarly prominent position on the Chancel arch. “On the face of the wall 
 immediately over the opening to the semi-circular Chancel” of the Chapel of St. John 
 the Baptist, in St. Mary’s Church, Guildford, in connection with corresponding delinea- 
 
 tions on the roof and walls of the Chancel itself, are subjects described *, as “The good and 
 
 * See Gunton’s History of the Church of Peterborough; and Hierurgia, p. 277, quoting Mercurius Rus- 
 ticus. 
 
 > Vet. Mon. vol. vi. p. 20, quoting Rot. Claus. 34 Hen. III. m. 7, and Walpole, vol. iii. p. 18. 
 
 * See Skelton’s Antiquities of Oxfordshire. 
 4 Oxford Glossary, Art. Table. 
 * See Essay on the Hall of the Royal Palace and the Round Table at Winchester, by Edward Smirke, Esq. 
 
 © Archeologia, vol. xxvii, 413. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 22 
 
 evil actions of a soul weighed by St. Michael,” and “ The Condemnation of the damned ;” 
 while on the Chancel groining are pictures of “ Heavenly and Harthly Judgment,” «The 
 Death of the Wicked,” and “The Death of the Good,” &c., &c. At Preston, Sussex, 
 St. Michael weighing Souls is painted on the south side of the Chancel wall, and the 
 same is repeated at Lenham Church, in Kent, and was exhibited also in Islip Church, 
 Oxfordshire. At Mitchell Dean, the principal events in the Life of our Lord, of 
 which are still preserved, The Betrayal in the Garden of Gethsemane—The Judgment 
 of Pilate—The Mocking and Scourging—The Crucifixion—The Resurrection—The 
 Descent from the Cross—The Entombment—and The Ascension of our Lord, were 
 painted, as already noticed in speaking of the Doom, in immediate connection or con- 
 tinuation of that subject, in the front of the Chancel arch’. Again, “ Scenes from 
 the Life of our Blessed Saviour” were also depicted at St. Mary’s, Bridgham, near 
 Thetford; and in Preston Church, Sussex, St. Mary Magdalene and Christ in the 
 Garden, with the story of The Unbelieving Disciple, are painted on the north side of 
 the Chancel arch?. 
 
 In like manner, upon other parts of the walls of the Church, the Scripture lesson 
 also appears. In the south aisle of Islip Church, Oxfordshire, was a painting of The 
 Nativity*®; above the nave arches of Catfield, Norfolk, The Seven mortal Sins and their 
 punishments ; on the south wall of the Chancel at Hornchurch, Essex, near the Altar, 
 The Raising of Lazarus‘; and in St. Stephen’s Etton, Northamptonshire, The Root of 
 Jesse, or Geneaology of our Lord’. 
 
 Introduced as offering parallel example with the Scripture story were also the— 
 Aygoy esenvare Wistories, or Acts and Passion of the Saints. These 
 
 Bl 
 
 ] 
 x 
 
 
 
 
 
 
 were the common decorations of private and Chantry chapels, agreeably 
 
 
 
 
 
 
 Cy 
 
 y 
 with their dedication, and as a fitting accompaniment to the picture or 
 
 portrait of the Patron Saint, enjoined by the Canon to be placed on their respective 
 
 Altars. Of the numerous evidences which formerly existed, showing the extraordinary 
 
 ‘ These subjects, as they now appear, form part only of the original painting, which it is considered ex- 
 tended to and joined the Roof Loft, as in the case, probably, of the Rood painting at Wincham. 
 
 * Archeeologia, vol. xxiii. 313. 
 
 * Skelton’s Oxfordshire. 
 
 “ Gentleman’s Magazine, vol. xcviii. i. p. 306. 
 
 * Kcclesiologist, vol. iii. p. 56.—The patriarchs or ancestors of our Saviour, according to his genealogy 
 
 in St. Matthew and St. Luke, are also painted on the Chancel Roof of St. Leonard’s, Colchester.—Excursions 
 through Essex, vol. 1. p. 81. 
 
23 
 
 extent to which illustrations of this latter kind were formerly employed, comparatively 
 few examples now remain. Occasionally, a few are discovered to have escaped the objec- 
 tions, or survived the demolitions and the successive whitewashings of the Elizabethan, 
 the Puritan, and succeeding ages ; and remain sufficient, joined to the recorded descrip- 
 tion of others, for authorised account. 
 
 In general practice, as just remarked, the Legendary history is represented in con- 
 nection with the particular Altar or Chapel of the Saint in which such appears. Thus, 
 incidents from the Life of St. John adorned the wall of the Oxenbridge Chantry in 
 St. George’s Chapel, Windsor, dedicated in honour of St. John, the Apostle and Evan- 
 gelist, The Birth or Circumcision of St. John is painted in the Chapel of St. John the 
 Baptist at Canterbury. ‘The story of St. Nicholas, in St. Nicholas Chapel, in the 
 Church of St. Edith, Tamworth, as were the stories of St. Stephen, and St. Edward 
 and the Pilgrim, in those of St. Stephen and St. Edward, at Westminster. 
 
 To this rule, however, exceptions frequently occur; in many instances appa-_ 
 rently from regard and allusion to the patronage of a particular Saint, irrespective of 
 dedication, and connected only with the profession or favourite pursuit of a Founder or 
 Votary. 
 
 Of this kind are probably the paintings of the Vision of St. Hubert, the patron of 
 Hunters, in the Canterbury Chancel, as it is called, at Lenham Church, Kent ; and on 
 the back wall of the monument of Sir Oliver de Ingham, in Ingham Church, Norfolk. 
 Exhibited with a similar non-connection with particular dedication, or accustomed place, 
 are also the Legends of St. Austin and St. Anthony, on the Choir Screens at Carlisle ; 
 and the Miracle of St. Gregory at Beverstone Church, Gloucestershire, to which a long 
 catalogue of others also might be added. 
 
 From the Legendary we proceed to 
 ow Histories, and subjects of miscellaneous nature and purport. 
 
 WZ 
 
 ey) 
 
 aS 
 
 
 
 Of these, numerous varieties are recorded and exemplified, taken from 
 
 
 
 Fabulous, National, and Individual history, from Poetry and Romance, 
 and from the Sports and Pastimes of the age. 
 Among the former occurs The history of Jason and the Golden Fleece’, and as pro- 
 
 perly of this kind, The Combat of King Richard and the Lion *. 
 
 * Gough’s Sepulchral Monuments, vol. i. part i. p. 120. 
 * See Warton’s Observations on the Faerie Queen of Spenser, vol. i. p. 243. 
 
 * Vet. Mon. vol. vi. p. 23. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 24 
 
 Of the #ational, there are many early ! as well as continued and repeated instances. 
 The Gestes of Antioch, or History of the Crusades, were painted in 1250, both at West- 
 minster and at Clarendon, and also in the Tower of London, in 1251. We have also 
 The Coronation, Marriages, Wars, and Funeral of Edward I. at Lichfield, a. p. 1322; 
 The Coronation of Edward the Confessor depicted on the walls of the Painted Chamber, 
 tempo. Edward IIT.; The Murder of Thomas a Beckett, painted at Canterbury, Strat- 
 ford-on-Avon, and Preston; and The Meeting of Henry VIII. and Francis I. on the 
 Field of the Cloth of Gold, with other subjects of English history during the reigns of 
 this King and his successor, at Cowdray, in Sussex. 
 
 Among the itbtaual histories or representations of remarkable events in connec- 
 tion with the acts of eminent persons, those of Henry III. saved by his Dogs, painted 
 in his Wardrobe at Westminster; and the favourite subject of this King, the story of 
 Edward the Confessor and the Pilgrim; for the many instances of which see the list of 
 
 Legendary histories. 
 
 To the prolific source of Portrp and Romane, reference was frequent and extensive. 
 Subjects from the “ Morte n’Arthur ” decorated the walls of Tamworth Castle Hall*. 
 Pictures of 
 
 “ Grete Charles with the Crounne, 
 Spre Godtrap the Soploune, 
 Any Arthur the Bretoune,” 
 
 ‘ The subject of the Bayeux Tapestry was first painted, as a picture, by command of Matilda, and after- 
 wards worked by her. See Archxologia, quoting “ Memoirs de Academie Royale des Sciences, tom, viii.” 
 “ Memoirs de la Monarchie Frangaise, tom. iv.” and “ Ducarel’s Antiquities, Appendix.” 
 
 As offering a parallel example, it may be noted, that part of the ceremony of the Coronation of Knute 
 and his queen, Elfgiva, is painted at the beginning of a very curious coeval MS., formerly belonging to Hyde 
 Abbey, now (1775) in the library of J. Astle Esq. See Archzologia, vol. iii. p. 186. Many parts of English 
 history are also represented in the illuminations of that copy of Matthew Paris, which he presented to Henry 
 III. (now in the British Museum). 
 
 > See Vet. Mon. vol. vi. pp. 20-23. From these being the subjects depicted on the walls of the chamber at 
 Westminster, it became to be called the Antioch Chamber. In like manner, from the nature and character of 
 the decoration, other rooms were correspondingly named. The great room in the Deanery at Westminster 
 was, from a representation of the City of Jerusalem on its walls, called the Jerusalem Chamber— 
 
 “ K. Hen. Doth any name particular belong 
 Unto the lodging where I first did swoon ? 
 
 War. ’Tis called Jerusalem, my noble Lord.”—Shakespeare, Hen. IV. Part II. Act iv. Scene iv. 
 
 See also Act II. Scene I.—* Sitting in my Dolphin chamber,” &c, Again, so also the Star Chamber. 
 
 * Warton’s Observations on the Faerie Queen of Spenser, vol. i. p. 61. 
 
25 
 
 as described in the Romance of Sir Degrevant', with other of the Worthies, and the Seven 
 Champions of Christendom, were painted on the walls of Nether Hall?. The latter 
 were also pourtrayed on the walls of the Cloister of Wenlock Abbey, Shropshire *. 
 
 To exhibitions of the Sports and Pastimes, thus applied, there are many interest- 
 ing allusions. From a very early date such seem to have illustrated the MS. books or 
 treatises on the Sports of the Field, the Feats of the Tourney, and the Amusements of 
 the People. The Cott. MS. Tiberius B. v. of the age of the ninth century, contains 
 several curious paintings, representing the hunting of the Wild Boar or Swine. Ano- 
 ther of the same age (Cott. MS. Tiberius C. vi.), exhibits the sport of Hawking. Tempo 
 Edward ITI. 
 
 “ old portraiture 
 @f horsemen, hawks, and houndis, 
 And hurt dire al ful of wounds,” 
 
 are alluded to as the garnishment of the walls of the poet Chaucer's sleeping room; and 
 at a later period, a common subject of the wall hangings, called from this species of re- 
 presentation by the heraldric term of “ Gerdots,” were the sports of the Chace, and deli- 
 neations of Birds and Beasts of Venery ‘. 
 
 Of the Feats of the Tourney, some curious illustrations are given in a MS. of the 
 latter end of the thirteenth or beginning of the fourteenth century (Royal MS. No. 14. 
 E. ii). Exhibiting more direct example, however, are painted in Tamworth Castle Hall, 
 —* Syr Launcelot du Lac” and “ Syr Tarquin” in the act of jousting’. 
 
 OF Miscellaneous Subjects and Patterns, not included in either of the above, 
 
 » Archeological Journal. 
 
 * Gough, vol. i. p.i. p. 126. n.—The “ Nine Worthies,” according to Harleian MS. No. 2230, fol. 7, were 
 —Duke Jossua, Hector of Troy, Kyng David, Emperour Alexander, Judas Machabyes, Emperour Julyus 
 Cesar, King Arthur, Emperour Charlemagne, and Sir Guy of Warwycke; the place of the latter however, 
 says Strutt, in the Introduction to his Sports and Pastimes, p. xli. being originally supplied by Godefroy of 
 Bologne. 
 
 5 Tbid. 
 
 4 Animals and Beasts of Sport are, in old Treatises on Hunting, divided into three classes. Those of the 
 first class are beasts of Venery or Hunting; the second, beasts of the Chace; the third, Raskalls, from the 
 Saxon word “ parcal,” a lean beast or beast of no worth, (See Strutt, n. p. 18.) or Vermin. See “ Art de Ve- 
 nerie le quel Maistre Guillaume Tuici venour le Roy d’angleterre fist en son temps per aprandre Autres.” War- 
 ton’s Hist. Eng. Poetry, vol. ii. p, 221. and Book of St. Alban’s, by Dame Juliana Berners, 1481. 
 
 ° Warton’s Observations, p. 61. 
 
 H 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 26 
 
 there are also accounts and example to an equal extent. Among the former, in- 
 teresting from their nature as well as from their apparent early adoption and con- 
 nection with allegorical writing’, as a means of conveying moral instruction, were 
 Allegorical figures, or personations. Common subjects of this kind were personifica- 
 tions, and illustrations of the Employments of the Months. Winter, with his proper 
 attributes, was represented on the mantle piece or chimney of the Queen’s chamber at 
 Westminster, A. D. 1240, and in 1259 The Twelve Months’. The Employments of 
 the Twelve Months were also painted on the Choir Ceiling at Salisbury °. Personations 
 of the Virtues and the Vices were also very early and very generally introduced‘, With 
 evident reference to the common appearance of the latter as a decoration in his time, and 
 as a familiar figure, William of Malmesbury styles Godfrey of Bouillon “a brilliant 
 mirror of Chivalry, in which, as in a splendid ceiling, the lustre of every virtue was re- 
 flected.” 
 
 Personations of Bounty and Covetise, or Avarice, and Meekness and Anger, occur 
 
 on the window jambs of the Painted Chamber, tempo Edward III. 
 
 1 Such a use of allegorical writing appears very early. Prudentius, a Christian poet of the fifth century, 
 wrote an allegoric poem, called his Pyscomachia, in which Anger and Patience accompanied by Job, Peace 
 and Fear, Labour and Force, Concord and Discord, are the subjects of illustration textially and pictorially. 
 The British Museum possesses a Psycomachia (MS. Cott. Cleopat. C. viii.), and a Prudentius, written about 
 the middle of the eleventh century (Cott. MS. Titus D. xvi.) 
 
 At a later period, the Confessio Amantis of Gower, and the Romaunt de la Rose, were similar works. 
 Of the former, a vellum MS, written about the fifteenth century, and preserved in the British Museum (Har- 
 leian MS. No. 7184), is considered to be one of the finest copies. (See Shaw’s Dresses, &c.) Of the latter, 
 there is a copy in Harleian MS. No. 4425, executed 1480. 
 
 ® Vet. Mon. vi. pp. 19 and 20.—Paintings representing the Employments of the Twelve Months of the 
 Year, were discovered by Mr. Stothard, in 1819, among the rubbish used as a filling-in material to block up 
 three of the windows of the Painted Chamber; (See Vet. Mon. vol. vi. p. 2) possibly the remains of the paint- 
 ings referred to in the Text. 
 
 * Carter’s Ancient Sculpture and Painting, vol. ii. p. 128.—The “ Hore Sarum,” printed by Pigouchet 
 1498; Kerver’s “Salisbury Primer,” of 1532, and Regnault’s “ Hore Sarum,” of 1539, all contain engraved 
 representations of The Twelve Months, which it is probable are similar to those here alluded to. In the Cott. 
 MSS. Julius A. vi. and Tiberius B. v. the latter of the tenth, the former of the eleventh century, are also draw- 
 ings illustrating The Employments of the Months. 
 
 The Twelve Months were among the personages of a pageant annually celebrated on Shrove Tuesday, at 
 Norwich. Strutt’s Sports and Pastimes, quoting Blomefield’s Hist. Norfolk, vol. ii. p, 3. 
 
 * The subject of the Virtues and the Vices, like many others, appeared also in embroidery applied to wall 
 decoration. Virtue and Vice fighting was depicted on one of Henry VII.’s Tapestries at Richmond. 
 
 * Vetusta Mon. vol. vi. p.35. 
 
27 
 
 Chaucer also says, referring to an undoubtedly established practice in his day,— 
 
 «“ Sorrow twas painted nert Endie, 
 pon that wall of masonrte,” 
 
 with Hate, Covetousness, Old Age, and Poverty ; and again, Pity, Mercy, and Charity, 
 
 were painted on the back wall of Gower’s Tomb, in St Mary’s Overee, Southwark '. 
 Another kind of allegorical picture was that usually called the Dance of Death, at 
 
 other times the Dance of Machaber or Machabree, and the Dawnce of Powlis, painted in 
 
 the Cloister of St. Paul’s, London, and in other places *. 
 
 Properly classible with the Miscellaneous Subjects and Patterns, though commonly 
 introduced and used in connection with all the several descriptions before enumerated, 
 were also Certs anv knsertpttons of various kinds,—in the first instances disposed so as 
 to form an accessory, and in others and later cases,—a primary or sole enrichment. These 
 Texts and Inscriptions, or “ Scriptures,” as they were sometimes called, were very 
 early introduced in the former character, and as applied to Churches and religious edifices 
 in which they most probably first appeared, and from whence they were adopted into 
 other structures, are derived from the practice of the early Church, in which texts and 
 admonitory scriptures were similarly and extensively applied *. 
 
 In English Architecture, the inscribed Scroll or Label, the earlier form in which the 
 
 ‘ Gent’s Mag. vol. c. p. 1. p. 402, quoting Berthelet’s Introduction to the “Confessio Amantis ” of 
 
 Gower, 1552. 
 * Stow’s Survey, and Warton’s Observations, p. 115. 
 Pugin says the earliest representation is not older than the fourteenth century, and that this subject was 
 
 introduced in many Churches on the Continent, and in England. The most celebrated here was that of St. 
 Paul’s, painted tempo Hen. VI. at the cost of Jenkyn, a Carpenter and Citizen of London. This was copied 
 from the one in the Cemetery or Church of the Holy Innocents at Paris. 
 
 The roof of the long wooden bridge at Lucerne has a Dance of Death painted, of the age of the sixteenth 
 century, and very interesting. The Dance was also painted at Minden, Dresden, Lubeck, Basel, &c. The 
 Dance of Death was frequently represented in the margin of early printed Books of Hours. One from the press 
 of Simon Vostre, 1502, has an interesting series. The order of succession in the subject is the same as that at 
 St. Paul’s, and is considered traditional. The order is given in verse at the end of Dugdale’s History of St. 
 Paul’s. See Pugin’s Glossary, p. 107. Douce has catalogued the books in which the subject is incidentally 
 noticed. 
 
 ® Several are noticed in Bingham’s Origines Ecclesi, pp. 458, 498, and 499. Those at p. 498 are 
 repeated in Poole’s “Lectures on the Structure and Decoration of Churches,” with a further reference to a 
 notice, by St. Ambrose, of the practice in the continental Churches of his time. See the first named authority, 
 also, for the inscription written round about the Altar of Santa Sophia, by the Emperor Justinian, and for a 
 
 long inscription from Sidonius, lib. iv. c. xviii. inscribed in the Basilicum of St. Martin. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 28 
 
 elucidatory or other Text appeared here, occurs first about the year 1087. Tempo Hen. 
 III. the introduction of the labelled Text, as well as other forms of Inseriptive decora- 
 tion, is directed in several instances. A mandamus of the twentieth of this King, com- 
 
 mands the scripture or motto,— 
 
 “He ne Dune ke ne tine ne pret ke Desire,” 
 
 to be painted on the gable wall of his Great Chamber at Westminster’. A Latin 
 version of the same motto, as follows,— 
 
 “®ui non Habel, non arrtptt Mle quod optat,” 
 
 was also ordered to be inscribed in the Hall of the Palace of Woodstock, a. p. 1248 °. 
 Inscribed Scrolls of about the same age exist in the south aisle of the Nave at West- 
 minster, and also in Etton Church, Northamptonshire. 
 
 At a little later period, Chaucer refers to their appearance,— 
 
 “Ani sothe to satne mp chambre was 
 Ful wel Depatntey, ———— 
 
 * * * * * 
 nv all the walls with colours fine 
 Were paint, bothe terte and qlose, 
 Any all the Romaunt of the Rose,” 
 
 and subsequently to this, notices and examples are numerous. Indeed, the practice, as 
 originally exhibited, seems to have continued so late as the time of Archbishop Williams, 
 (1639), who caused the Cloisters at Buckden “to be fairly pargetted, and beautified 
 with comely copartments and inscriptions of wise counsels and sentences‘;” and in a 
 
 modified condition to have reached even to the present time *, 
 
 1 Prolusiones Historicee—The Descriptive Label or Scroll occurs in the illuminations of a Saxon MS. 
 of the tenth century. (Cott. MS. Claud. B. iv.) Here the Evil Spirit is represented having a scroll, inscribed 
 with the word ®iabolis. Angels holding scrolls are also delineated in the same MS., and a figure of our Lord, 
 with one bearing the inscription go sum Bins Yeus. The subject where the latter appears represents Jacob’s 
 Dream, according to Genesis, ch. xxviii. 
 
 * Rot. Claus. 20 Hen. m. 12. See ante, note, p. 8. 
 
 * Rot. Liberat. 33 Hen. III. and Walpole, p. 17. 
 
 * Hist. of Pews, C.C.S. p. 24. 
 
 ® Abroad, as well as in England, the practice still prevails. Texts, from Scripture and other religious 
 books, are painted outside the doors of the monks’ cells in the monastery of the Chartreuse, prov. of Isere, in 
 
 France. In Russia it is still the custom to place a bandage on the forehead of the dead, “on which is painted 
 
29 
 
 The nature and purport of these inscriptions varied, according generally with the 
 subject or object represented, the intention sought to be expressed, or the moral incul- 
 cated. In the primitive church they appear as directory or descriptive sentences, appli- 
 cable to the particular appropriation of the part on which they were written : thus, over 
 the “ Secretarium,” as it is called by Paulinus (in his Epist. xii. ad Sever. p. 154, edit. 
 Antwerp, 1622, 8vo.), or the Table of Prothesis, in the Church of Nola, was written— 
 
 “Dic lorus est heneranda penus qua conditur, et qua 
 Promitur alma sacri pompa ministerit.” 
 
 “This is the place where the holy food is reposited, and whence we take provision 
 
 and furniture for the altar.” Again, over the “ Diaconicum Bematio,’”— 
 
 “St quem sancta tenet meditanti in lege holuntas, 
 Hic poterit resivens sanctis intendere Itbras.” 
 
 “If any one, (of the Priests) is minded to meditate in the law of God, here he has room 
 to sit and read the holy books';” and a similar reference appears to have been retained 
 among us, and is exhibited in many of the inscriptions, admonitory sentences, and moral 
 couplets of the later periods. 
 
 In the earlier examples of the text, however, the same appear usually conjoined 
 with, and as elucidatory of a represented subject, or action, &c., either by way of de- 
 scription by simple name,—as in the Scripture Histories painted at Westminster, tempo 
 Hidward III., where, over the persons and places delineated, are the names proper to 
 each,—or as conveying explanation by way of extracted sentences from written account 
 of the same, as in the case of the Birth or Circumcision of St. John at Canterbury, 
 
 where the inscription on the label in the hands of Elizabeth,— 
 Minime « sed « borabitur « Jos « 
 And on that from the hand of Zacharias,— 
 
 Fohs «et «nomen « cjus 
 
 sacred texts and figures of Saints. (Vide J. G. Kohl’s Russia and the Russians in 1842, Colburn.) The 
 Greek Church is almost proverbial for a retention of earlier practices. As an instance, in many of the Greek 
 Monasteries of Servia, the original mode of summoning to prayers during the night by sound of the mallet,— 
 the “ awakening mallet,” and “ night signal,”—is still retained, 
 
 * Vide Bingham’s Orig. Eccl. vol. ii. p, 458. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 30 
 
 being parts of the 60th and 63rd verses of the First Chapter of the Gospel according to 
 
 St. Luke, with that over the painting, from the First Chapter of St. John’s Gospel— 
 {ste « puer « magnus - coram « Bn « et - Spu «sto - replebitur - 
 
 sufficiently refers to and elucidates the representation. 
 
 At a later period Texts and Inscriptions appear otherwise, and under several varied 
 forms of expression and modes of disposition. Applied directly and by itself, or uncon- 
 nected with other subjects, the Inscriptive Text formed a very prevalent and favourite 
 wall decoration ', and thus used, exhibited under various arrangements, following earlier 
 practice as respects purport, extracts from Holy Writ, and from the Office and Service 
 books of the Church, Prayers and Petitions to Almighty God, Our Saviour Jesus Christ, 
 The Blessed Virgin, and the Saints, metrically paraphrased or otherwise, Moral sentences 
 of various kinds, Family Mottos, and Poetical couplets. To these may be added, 
 Nomal abbreviations, with Cyphers and Initials, used as powderings’. 
 
 The first named of these, viz., the Extracts from Holy Writ or Scriptural Texts, were 
 very general. Thomas, Lord Berkeley (about a. D. 1397), “had the apocalypse in ‘Latin 
 
 and French inscribed on the walls of his chapel at Berkeley *.” Prior Sellinge also, about 
 
 1 Tn stained glass and furniture, and even on dress, decoration of this kind was largely indulged in. 
 * Wipnvowes — plwrptten full thicke” 
 
 are referred to in Piers Plowman’s Crede, and, tempo Henry VII., the Family Motto, with other Texts, were 
 the common ornaments of the Hall windows. “ dffevthfully-serbe,” the motto of the Norrey’s family, exists in 
 the Hall windows of Ockwell Manor House, Berks; and “ $e flevay que Virap,” that of the Jefferays, in those 
 of Chiddingly Place, Sussex. 
 
 * An heraldric term, signifying—besprinkled. There are many references in old writers, by this expression, 
 
 to such meaning. Thus, in Spenser,— 
 S Es P 5) 
 
 “He bore a crowned little ermilin, 
 
 That deckt the azure field with her faire powldred skin.’—Fuerie Queen, Book iti. c. it. s. xxv. 
 
 See also Sir Philip Sidney, in Astrophell and Stella, st. vii— 
 
 “ Bordered with buls and swans, powdred 
 With golden raine.” 
 
 And again in Chaucer,— 
 
 “Full gay was all the ground, and queint, 
 
 And powdred as men had it peint.’—Rom. of the Rose, v. 115. 
 
 “The ground was grene, ypoudred with daisye.’—Cuckow and Nightingale, v. 13. 
 
 * Milner’s Church Hist. p. 613. 
 
31 
 
 A.D. 1472, painted the walls of the southern walk of the Cloister at Canterbury, with 
 Texts of Scripture '. The walls of the Clopton Chapel at Long Melford, are also painted 
 with Scriptural Texts, as are those of the Chapel of Moreton Hall, in Cheshire; the 
 latter now nearly defaced. On the cornice of the Screen which now forms part of the 
 Bourchier Monument, in the Chapel of St. Paul, at Westminster, a portion of the 
 “Non Nobis,” or 115th Psalm, is still perfect. The letters gold on a ground of blue, the 
 words being separated by shields and heraldric devices, arranged as follows, on the outer 
 
 side next the aisle-— 
 Pon «nobis « Die « non + nobis « sed ~ ot « fue «Da « glortam - 
 and on the opposite, thus,— 
 Pon nobis « Tne « non « nobis « sed « nomint « tuo «Da « qlort «am: 
 The hollow of the Cornice in the Hall at Croydon Palace has the Scripture— 
 « Hosre te Ipsum,” 
 
 “Know Thyself,” painted in white letters on a blue ground. 
 Another very interesting and earlier example of the Scriptural extract is noticed 
 by Gough*. Under the figures of three of the Apostles, painted on the back wall of the 
 
 Tomb of Bishop Brownscomb of Exeter (obiit 1280), were extracts from their epistles 
 
 thus; 
 Sarob. Johes. gunas, 
 Gita hestra Citam hHabetis Gece be- 
 hapor est ay eternam gut nit dns 
 modicum (parens) rreditis int ROC ati 
 et epterminatibur. note filtt judictum 
 ft. Jarobt 4° Det, f. ranonica Johis 5° be a 
 
 About the time of the first and second Charles, also,— 
 Sear Gov, Bonour the Bing. 
 
 being an extract from the First Epistle General of St. Peter, ch. ii. v. 17, was a common 
 
 inscription on Chancel Screens and arches. The Chancel Screen of Steeple Barton, 
 
 ' Winkle’s Eng. Cathedrals, vol. i. p. 36. 
 * Sepul. Mon. vol. i. p- 1. p. 61. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 32 
 
 Oxon, of the age, according to Skelton, of the former King, had an altered version of this 
 
 text peculiarly suitable to those times, running as follows :— 
 
 “< Mp Son, fear thou the Lord and the King, 
 And medle not with them that are qiben to change |.” 
 
 Of the Prayers to God and our Saviour, the more common forms were short excla- 
 matory sentences, such as that on the middle rail of the Painted Screen at Worstead, 
 Norfolk,— 
 
 “Oram * * * BDeus-Amen-” 
 or the 
 “ Miserere «nobis - thesu » Salbator,” 
 
 formerly to be seen on the back of the Choir Stalls at Canterbury *, arranged diagonally, 
 between rayonated roses, on alternate stripes of white and green, and the “#hu merrt” of 
 the Clopton Chapel, at Long Melford, Suffolk, Husborne Crawley Church, Bedford- 
 shire, and other places. 
 
 Many are, however, of a more extended nature and diversified character. An in- 
 terspersion of the Inscription, with flowers or other patterns, is of frequent occurrence. 
 The old painting of the Murder of Thomas 4 Beckett at Canterbury, has a back ground 
 of scriptures interspersed with flowers, diagonally disposed. The Ceiling of the Dining 
 Hall in the Bishop’s Palace, and that of the Nave of the Cathedral Church, at Chichester, 
 were painted with scrolls and flowers by Bishop Sherburne*. Verses, alternated with 
 fleurs de lis, occur likewise on the back ground of the portrait of Robert, King of Na- 
 ples (1309), in the Royal MS. 6, E. ix. in the British Museum, evidencing, through the 
 medium of a representation of the customary appearances and usages of real life, the same 
 practice. 
 
 The verse-like or metrical arrangement of the scriptural extract alluded to in the 
 above instance, was frequently exhibited in more direct example, both accompanied and 
 unaccompanied with this additional enrichment of the flower, &e. Of both such, as well 
 as of Metriral knseriptions generally, there are several interesting evidences. The fol- 
 
 lowing, taken from one of the Litanies in the Church Service of the time, offers a very 
 
 ‘ Skelton’s Oxfordshire, 
 * See Gough’s Sepul. Mon. plate xxix. vol. ii. 
 * Winkle’s Cathedrals, vol. ii. p. 37. 
 
33 
 
 curious illustration of the latter kind. On the wall at the end of the Monk’s Choir 
 at St. Alban’s was inscribed— 
 
 “Christe Det splendor, supplteo tibi Destrue Gleenvor |.” 
 At Guilden Morden Church, Cambridgeshire, was another, painted on the Screen.— 
 
 “an mortem duram Ehesu de me cape curam: 
 Gitam henturam post mortem revde seruram + 
 Far me contessum rogo te, Beus, ante seressum— 
 Gt post Deressunt raclo mihi Dirige qressum.” 
 
 The common inscription over the image of the Crucifixion on the Rood Screen, 
 still observable, says Pugin’, in many parts of the Continent, 
 “ Efligtem Christ um transts pronus honora 
 Sev non effiqtem sed quem desiqnat adora’’— 
 
 also affords another. 
 Of the same description were those also at St. Mary Overee, Southwark ; where, on 
 
 the scrolls held by the three figures of Charity, Mercy, and Pity, formerly to be seen on 
 
 the back wall of Gower’s Monument, were respectively written—on that held by 
 
 
 
 Charity : 
 “Gn top gui est fits De Dteu le pere, 
 Saube sott qut gist sous rest priere.” 
 
 On that of Mercy :— 
 
 “® hon Jesu fait la merepe, 
 @ la'line Dont Ie corps qtst trp.” 
 
 * Vide Ellis’ Original Letters, vol. i. p. 43, quoting the MS. of the Historia Aurea of John of Tinmouth, 
 in the Library of Corpus Christi Coll. Cambridge. 
 
 * «<The Present State of Ecclesiastical Architecture, in England.” Lond. 1843. 
 
 * Thus rendered in Webb and Neale’s Translation of the 1st Book of Durandus,— 
 
 “ What time thou passest by the Rood, bow humbly evermore, 
 Yet not the Rood, but him that there was crucified adore!” 
 
 There would appear to be something like a connection between this inscription and the recorded prayer of 
 Oswald, King of Northumbria, a.p. 635, on joining battle with Cadwalla, the Mercian—* It is said that be- 
 fore he led his men to this dangerous onset, he planted an ensign of the Cross in front of their ranks, and 
 kneeling with them before it, prayed for deliverance and victory. ‘This sign of the Holy Rood, he said, ‘is 
 our token of blessing: af this Rood let us bow, not to the tree, but to the Almighty Lord that hung upon the 
 rood for us, and pray him to defend the right.’”—Churton’s Early English Church, p. 69. 
 
 K 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 34 
 
 And on that by Pity :— 
 
 “Hour la Pitte Jesu regarde, 
 Gt met rest ale en saube garde.” 
 
 The Moral Sentence and Poetical Couplet, as a similar form of inscriptive decora- 
 
 tion, was also very extensively used, and appears in many cases very appropriately intro- 
 duced. ‘That of Henry IIJ.— 
 
 He ne Dune ke ne tine ne pret ke Vesire”’— 
 
 painted on the wall of his Great Chamber at Westminster, as the place of hospitality, has 
 been already referred to. Many corresponding instances might also be adduced. 
 
 At a late date this proper relation of the Sentence to the appropriation of the room 
 or place, seems to have been a rule duly attended to, and a matter of particular study. 
 In Tusser’s “ Five hundred Pointes of Good Husbandrie,” there is a series of Posies as 
 they were then called, or proverbial rhymes, for various rooms of the house; such as 
 “ Husbandlie Posies for the Hall,”’—*« Posies for the Parlour”—* Posies for the Guest’s 
 Chamber,” and “ Posies for thine own Chamber.” Some of the “ Proverbis” at 
 Leckinfield Manor House, Northumberland, are noticed as extending to thirty-two 
 stanzas 7, 
 
 Of the nature and point of other and more general applications of the Posie, or 
 Moral Sentence, a publication of the date 1601, the commencement of the 17th cen- 
 tury, gives good illustration, saying,— 
 
 “ Read what is written on the painted cloth : 
 Do no man wrong; be good unto the poor; 
 
 Beware the mouse, the maggot, and the moth ; 
 
 And ever have an eye unto the door *.” 
 
 * See Gentleman’s Magazine, vol. c. i. p. 402, quoting Berthelet’s Introduction to the Confessio Amantis 
 of Gower, 1552. 
 
 * See Hunt’s Exemplars of Tudor Architecture. 
 
 In this study of relation to particular destination in the adoption of the Text, viewed as a decoration, the 
 middle age appear to have had reference to the somewhat similar practice of the classic wra. Among the 
 ancients, the decorations employed were often expressive of, or appropriate to the use of the room in which 
 they were introduced ; thus, in asleeping room, a frequent ancient subject was, “ Venus attended by the Graces, 
 or Venus and Adonis; in a Triclinium, or Dining Room, Fish, Poultry, Fruit, &c.’—Fosbroke’s Encyclo- 
 pedia of Antiquities. 
 
 * Hunt’s Exemplars, p. 117. 
 
35 
 
 In aroom in Pengerswick Tower, also, near Sidney Cove, Cornwall, painted on the 
 panels of the wainscotting, are the two following, respectively illustrative, in connec- 
 tion with representations of Water dropping on a Rock, and a laden Ass, of Persever- 
 
 ance and Niggardliness. 
 
 “hat thing ts harder than the rocke? 
 @Ahat softer ts than Water cleere ? 
 et twill the same, with often Droppe, 
 The harde rorke perce, as Doth a spere: 
 Ghen so, nothing so hard fo attapne, 
 Sut map be Hady iwith labour and paine.” 
 
 “Seholdve this asse, twtrhe laden ps 
 GAith riches, plentpe, and toith meat, 
 Anwd pet thereof no pleasure hathe, 
 But thpstells, hard and rough, doth eat: 
 Un like case ps the rich niggarde, 
 CHthich hath inoughe, and Ipbeth full harde '.” 
 
 Other parallel instances, exhibiting at the same time the great extent to which the 
 
 “wise saying” was applied, are likewise offered in the custom, formerly prevalent, of 
 
 
 
 inscribing the City Conduits, on great occasions, with Moral Sentences ; such as 
 
 “Pife ig a Drop, a sparkle, a span, 
 
 4 bubble: pet Hol proud ts man’, 
 
 and in the fruit, and sweetmeat Trenchers, so profusely ornamented, during the period 
 
 above referred to, with this peculiar feature’. 
 
 * See Redding’s Cornwall. 
 
 * History of London, p. 150. 
 
 ? The Archeological Journal for Dec. 1846, has a paper “On Ornamental Fruit Trenchers inscribed 
 with Posies,” illustrated with two curious engravings, of one from a set in the possession of Mrs. Bird, of 
 Upton-on-Severn, and of another from a set belonging to Jervoise Clark Jervoise, Esq., of Idsworth Park, 
 Hants ; in which the kind of inscription usually applied in these cases is fully shown. The Gentleman’s 
 
 Magazine, vol. xcvii. ii. p. 105, contains also some interesting information on the same point. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 36 
 
 Family and other distinctive Mottors thus used were also very numerous. Those 
 adopted by Henry IV. viz. “oberapne',” or “ Soubetqne hous de mop,” and “a tem- 
 peranre,” are painted on the underside of the sperver over his Tomb at Canterbury, alter- 
 nating diagonally with each other. ‘They are also repeated in the hollow moulding of the 
 cornice, the former on the south, and the latter on the north side?. On the Tomb of 
 Thomas Tropenell, and Agnes his wife, in their Chantry Chapel at Corsham Church, 
 Wilts, and in the hollow of the tiebeams and cornice of their Manor-House of Great 
 Chalfield, is painted, in connection with the representation of a Yoke, the words, “Tpra 
 belement,” together, the Motto of the family—the Yoke suits well®. Again, « Gnbpe woll 
 Ipe,” the Motto of the Longs, occurs on scrolls in a Chamber of their Manor-House, 
 at South Wraxall, Wilts *. 
 
 Among the Pamal Abbrebiations, and as having similar character and import, 
 Initials and Cyphers, used as powderings or otherwise, the He as the contracted name 
 of our Lord Jesus*, and the Sa for that of the Blessed Virgin, were the most general. 
 
 These particular Initials appear extensively on the back grounds of niches, and on 
 
 ‘ For several versions and explanations of the word “ Soverayne” as the Motto of Henry IV. see Carter’s 
 Ane. Sculp. and Paint. p. 143, who refers to Anstis. Regist. ii. 117. See also Gent’s Mag. vols. Ixxxiii. Ixxxv. 
 and Ixxxvii. 
 
 Gostling, in his Hist. of Canterbury (Note, p. 163), refers to a book called the Calendar of Shypars, 
 printed in 1559, as containing a long definition of the word “a temperance.” 
 
 * Williment, in describing the painting and armorial emblazonments upon this Tomb, says, “The orna- 
 mental ground of the Soffit appears to have been twice painted, and in different designs. The under one, 
 which is, in parts, very perceptible, consisted of eagles and greyhounds, each surrounded by a garter, and 
 placed alternately in diagonal stripes, between which were written the words ‘soverayne’ and ‘a temperance.’ 
 In the last painting the ground has been blue, with sprigs and flowers of gold and green. Here the words 
 occupy the principal lines, and eagles (with wings expanded and crowned, or) and gennets (sable, collared, 
 chained, and crowned with a large crown, or) are used as stops between the several words.”—Regal Heraldry, 
 p- 32. 
 
 * Walker’s History and Antiquities of the Manor-House of South Wraxhall. 
 
 * Aubrey MSS. 
 
 * For the complete settlement of the question as to the meaning of this Cypher, see “ An Argument for 
 the Greek Origin of the Monogram, I.H.C.” pub. by the Camb. Camden Society; and for the various opinions 
 and readings formerly entertained, “ Prolusiones Historicee,” p.435 ; “ Pegge’s Anonyminiana,” cent. vi. xlix. ; 
 “Nichol’s Bibl. Top. Brit.” No. xvi. p. 19; “The Topographer,” 1789 to 1791 ;. “Gent’s Mag.” vols. lvii. 
 Ix, Ixii. Ixiv. and Ixvi. ; also, Gent.’s Mag. for 1835, vol. vi. p. 631; and in the Minor Correspondence of the 
 numbers for Feb. and Mar. 1836. 
 
37 
 
 walls in general, both connected and disconnected with other representations. On 
 the walls of Ewelme Church, Oxfordshire, the contraction #fe, in gold, oceurs as a 
 powdering on a ground of light blue. The same is also painted on the panels of the 
 nave ceiling at St. Alban’s; and at Gloucester the H¥re, and the letter HL, surmounted 
 of a crown, appear in the painted tiles of the pavement, as does also the double contrac- 
 tion Brg Ppt, a variation of the symbol, repeated, with an alteration in the finals to 
 She rpc. on a painting in the Hungerford Chapel, Salisbury. The letters 9fitt, en- 
 closed within a wreath, and the crowned SRI, are to be seen likewise in the aisle roofs of 
 St. John Maddermarket, Norwich, the former as the general pattern for both, and the 
 latter as a powdering to that portion of the south aisle which originally formed the 
 Chapel of the Blessed Virgin '. 
 
 Of other Initials and Cyphers similarly employed a numerous list might also be 
 given. Derived from an extended use of such as an ornament, or enrichment, on 
 early robes and hangings, they occur constantly in the imitative representations of these 
 features in pictures and in painting. The robe of the figure considered to represent King 
 Athelstan, at Baston Manor House, Kent, is shown powdered with golden @’s. The 
 tunicle, or under garment, of the portrait of Richard II.,in the Jerusalem Chamber, 
 at Westminster, also, is powdered with crowned 4's. 
 
 In addition to Initials, were other varieties of ornaments, applied in like manner as 
 powderings, or used, sometimes according to a form and arrangement which, with similar 
 reference to heraldry, has been termed diaper’, and at others, in several conventional and 
 fanciful patterns. 
 
 A very common wall ornament of the first kind, was a powdering of golden and 
 other colored stars. Many instances of these are found and recorded. On removing a 
 modern Altar-piece during some comparatively late repairs to St. Bartholomew Church, 
 Smithfield, the eastern wall was discovered to have been painted a bright red color, 
 studded with black flaming stars. 
 
 As an indication of the heavens, above a line of imitative tapestry in niches and 
 
 ’ As showing the extended prevalence of these particular Initials, or Symbols, it may be mentioned, that 
 in Ufford Church, Suffolk, the notorious William Dowsing “brake down” “ nigh a hundred Jesus’ Maria” 
 from the roof of the Chancel alone; and at Benacre Church, 18 Jesus’; at Nutford Church, 9; at Dunwich, 
 60; at Cockie, “many”; and at Bramfield, “ divers.’—See Journal of William Dowsing, appended to Well’s 
 Rich Man’s Duty, &c. 
 
 * From “ Diasprus,” a rich sort of stuff Pluviale Diasprum cum Phrygiis.”’—Pugin’s Gloss. p. 108. 
 
 L 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 38 
 
 on the panels of screens, &c., golden stars on a blue ground was the usual powdering, 
 and the same appears in roofs and ceilings in innumerable instances, as an especially 
 appropriate enrichment. Their introduction in the latter cases occurs very early (see 
 Ceilings). As a wall decoration, also, they are noticed at a remote period. A Man- 
 damus of the 22nd Henry III. directs the walls of his chamber at Winchester to be 
 painted green, and starred with gold’. Subsequently to this, applications of the starred 
 enrichment are frequent and continuous. The enclosure to the Holy Water Font at 
 the north door at Durham was “ finely painted with blue and little gilt stars.” A por- 
 tion of the Church also, at this part “was covered above head with wainscot, very 
 finely painted and varnished azure, and set out with stars of gold’.” So late as the 
 date of the parliamentary survey of Wimbledon, the wainscot enclosing, or on the out- 
 side of, the staircase leading from the Parlor to the Great Gallery there, was “all well 
 gilte with fillets and stars of golde*.” 
 
 Of the other varied powderings many examples also are yet to be met with. The 
 walls of the Chapel of St. Erasmus, at Westminster, have been powdered with fleurs-de- 
 lis and clover leaves alternating. At Stanton-Harcourt Church, Oxon, are indications 
 of an arrangement of the Three Nails, as among the implements of the Crucifixion, as a 
 powdering. In the, otherwise, unoccupied field of paintings, delineated as pictured sub- 
 jects on walls, interesting evidences of these different powderings are also exhibited. 
 The back ground of the painting representing the incredulity of St. Thomas at St. 
 Albans, is powdered with Crowns of Thorns; that to the portrait of St. Christopher, on 
 the wall of the Church of Wilsford and Lake, near Ambresbury, Wilts, is covered 
 with a kind of geometric flower, “arranged in equi-distant and quincuncial order *.” 
 
 These geometric flowers are commonly used as powderings on the lower panels of 
 many screens, and as an enrichment to mouldings generally. Some of a very interest- 
 ing character are to be seen on those portions of the chancel and aisle screens which are 
 still preserved at Brandon Church, Suffolk, and also on that in Burlingham St. Edmund, 
 
 Norfolk. On mouldings they are introduced almost universally, in many curious 
 varieties. 
 
 * Rot. Liberat. a°. 22 Hen. III. m. 3. — “ Mandatum est vic’ Southampt. quod cameram apud Winton 
 colorari faciat viridi colore et stellari auro, in quibus depingaritur historiz veteris et novi testamenti.” 
 
 * Rites of Durham, p. 43. 
 
 * Survey of Wimbledon, Archzeologia, vol. xviii. p99. 
 
 * Duke’s Prolusiones Historic. 
 
39 
 
 The heraldric cognizance, as a powdering, was also frequent. The painting of 
 Edward the Confessor, on the Sedilia at Westminster, has a back ground of a dark 
 brown, or chocolate color, charged semee of Lions, passant gardant, Or. The back 
 grounds of the portraits of Edward, Prince of Wales, son of Henry VI., Edward IV., 
 Edward V., and Henry VII., in St. George's Chapel, Windsor, were powdered, or 
 charged, with the heraldric, or family, cognizance of each, respectively !. A small room 
 beneath the “easte stayres”’ at Wimbledon Manor House, called, probably from this 
 decoration, the Den of Lions, was “payntede rounde with lyons and lepards’.” The 
 walls of the Oratory adjoining the Library at Naworth Castle, also, were painted red, 
 and powdered with escallop shells and cross-crosslets—respectively the armorial devices 
 of the Dacres and the Howards. 
 
 Of the Dtapered and Miscellaneous Patterns the varieties are almost innumerable, 
 particularly in the later examples of their adoption in wall decoration. 
 
 The former are in many cases of great beauty. Some of the diapered back grounds 
 to the niches of the Rere-dosse, or Altar screen, in the Lady Chapel at Gloucester, are 
 exceedingly rich. Here, as is often the case also where more minute ornaments are in- 
 troduced on mouldings and general surfaces, the pattern is stamped in relievo in a mastic, 
 or plaster composition. (See Modes of Execution, &c.) The diapers on the back walls 
 of the Sedilia at Tewksbury are interesting examples of a less elaborate and probably 
 earlier character. A diaper of a similar kind is shown on the surcoat of the figure re- 
 presenting Richard Brito, in the painting of the Murder of St.Thomas a Becket, at 
 Canterbury. A very good specimen of the diapered ground exists in the Trinity Chapel, 
 at Aldenham; and there is another in that of St. Nicholas, at Tamworth*. Many of 
 those from Monumental Effigies, as exhibited by Stothard, are also very beautiful +. 
 
 Among the latter, applications of plain colour were frequent during the Norman 
 
 and Early-English periods. Some, generally presumed to be of the former age, yet exist 
 
 ' See Carter’s Ancient Sculpture and Painting for a Plate showing these paintings as they appeared in 
 his time. 
 
 ? Survey of Wimbledon. 
 
 * Some of the carved diapers in Karly English and later work, as formerly painted, might be likewise 
 referred to. The diaper work between the arches of the nave and triforium, at Westminster, for instance ; 
 that of a similar kind, a small portion of which is still preserved, at Canterbury, and the back walls of the 
 sedilia, at Preston Church, near Faversham, Kent. he carved and painted spandrels of the arcade of the 
 Chapter House, Westminster, may be also mentioned. 
 
 * The Monumental Effigies of Great Britain, by James Stothard. 4to. London. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 AO 
 
 in the nave at Rochester, and in the transcept of Winchester. Paintings of the same 
 description, which may, with less uncertainty, be referred to the latter age, yet remain 
 also in the south transcept at Rochester. 
 
 In the instance here named, evidencing, with peculiar distinctiveness, the derivation 
 from hangings of plain silk of various colours ', and showing the early mode in respect 
 to disposition, these applications of plain colour, are arranged in horizontal bands or 
 breadths, alternately red and blue, averaging, according to the depth or layers of the 
 stonework, from 18in. to 22in., carried through the mouldings of the windows, &c., 
 over the whole surface of the south wall of the transcept?; each course, where the 
 same abuts on the arches of the windows, &c., being made to diverge and follow the 
 radiation of the arch lines. 
 
 This band or breadth-like disposition occurs commonly in the earlier applications, 
 not only of simple or plain tints to walls, but also where subjects and varied patterns 
 were introduced, and it appears to have been continued and adopted, more or less, in 
 several of the later. Such an arrangement of plain colour at Rochester and Win- 
 chester has just been noticed; at Westminster the subjects in the painted chamber were 
 disposed in horizontal ranges or breadths*; and at Cliffe Church, Kent, that of a very 
 curious picture of the Doom, apparently of the same age, painted on the east wall of the 
 
 south transcept, is similarly arranged. 
 
 ’ This reference to the hanging as the prototype in early wall painting, has been before remarked upon. 
 In later instances it is still to a great extent observable. Very many of the later wall paintings take the cha- 
 racter of the wall cloth. It appears, more or less, in the majority of the portraits of Saints, as well. as in other 
 subjects. The portrait of St. Christopher, at Impington, Cambridgeshire, is so painted, and is enclosed within 
 the list or border, the usual accompaniment of the hanging, as shown in the Bayeux Tapestry, and in the sub- 
 jects painted in the chapel of St. Stephen, at Westminster.—See Britton and Brayley’s Westminster, pp. 46, 
 
 49, quoting Rot. Claus. 20 Hen. III.m.12. In one case in the latter instance, the border was “ painted of a 
 
 green colour,” and in the other ornamented “with the images of Our Lord and Angels with incense pots.” 
 
 The similar painting of St. Christopher, at Wilsford, Wilts, is also enclosed within the border, and takes the 
 same appearance.—The same is also the case in the portrait of St. Winifred, at Wells Church, Somersetshire. 
 
 * Besides those in the transept, similar bandings, judging from the westernmost one on the north side, 
 on which some faint traces are still discernible, appear to have decorated the arches and walls of the nave. 
 These latter, whether considered as showing the painting of the Norman or a later zra, afford curious illustra- 
 tion of painting applied to Norman detail, particularly in the diaper work beneath the main arches, which en- 
 close the two smaller ones in each bay, of the triforium, 
 
 * Vet. Mon. vol. vi. p. 2. It is noted in the same authority that the paintings on the walls of the Chapel 
 of St. Francis, at Assissi, are disposed in a succession of horizontal bands. 
 
Al 
 
 During the later periods, the vertical, or paned', and the diagonal arrangement, 
 as well as counterchangings of colour, are frequent?. Of the first there are many 
 evidences. At Canterbury the diagonal was shown on the Choir Screens (see ante, 
 p- 82), and a curious specimen of the counter-changing of blue and white, yet remains on 
 
 the walls of the Chapel of Isabella, Countess of Warwick, at Tewkesbury. 
 
 1 The paned and striped arrangement of colour and pattern was always a favorite one. “In dress it occurs 
 from the earliest periods. ‘The Saxon fondness for striped and party coloured garments is noticed by Turner, 
 in his Hist. of the Anglo-Saxons, vol. iii. p. 53, where he refers to this peculiarity in the dresses of the figures 
 of the four Evangelists, painted in the Cott. MS. of the Saxon Gospels, Nero, D. TV. Brits Mus.—Abroad, 
 adopted, probably, at first from the “ dolores, trilores, tetralores,” &c., of the Greeks, the same feature occurs, 
 though perhaps in a more pristine shape. “The ancient Dalmatic,” says Pugin, in his Glossary of Orna- 
 ment, p. 103, “was usually composed of white silk, striped with purple.” Tempo. Louis IX. of France, the 
 monks who accompanied that king from Palestine, and were settled by him in the Monastery of the Carmes, 
 in the Place Maubert, Paris, had cloaks striped with white and brown. See Lenoir’s Mus. of French Monu- 
 ments, vol. i. p. 151. 
 
 In hangings, its appearance is sufficiently indicated in the name “ Panni,”—from whence counterpane, 
 panel, &c.,—commonly applied to such and similar furniture, as per example :— 
 
 “Ttem, 19 panni baudekini, novo de serico puro. 
 
 “Ttem, 47 panni novi baudekini de serico mixto unde 26 panni. 
 
 “Ttem, rubei et 14 panni de Morr, et 3 panni virides,’ &c.—Inventory of Canterbury. Dart’s History of 
 Canterbury, Appendix, xvi. 
 
 Again,— Et solvit Willielmo Payntour, pro pictura novi tabernaculi Eucaristiz et j le creste supra mag- 
 num altare, et pro ij pannis pictis, pro eodem altari, xxvjs. viijd.”—Inventory of Priory of Finchale, 1463, p. 
 cexcij. See Oxford Glossary, p. 117, Art. Creste. 
 
 The “panno pro lectrino” also occurs, see Testamentum Walteri Skirlaw Dunelm. Episc. 1403. Tet. 
 Ebor. 308. As evidencing, likewise, a still more extended exhibition of the peculiarity, it may be 
 observed that, in an illumination in the Cott. MS. Claud. B.-iv., the Tent of Noe, or Noah, is shown, as 
 formed of strips, or breadths, of differently coloured cloths. In one case red, blue, and yellow, alternate ; in 
 another, red, blue, and a kind of grey. Each strip has an edging of a lighter or darker colour, indicating the 
 list or border. 
 
 * On large or extended surfaces, plain colouring and whitening appear still to have been continued. The 
 King’s Great Hall, at Westminster, was whitewashed tempo. Edward I. See Britton and Brayley’s West- 
 minster, p. 194. During the reign of Edward II., a payment, by Robert Bruce, of 8s. for a chalder of lime to 
 whitewash his Hall, is noticed (see Tytler’s History of Scotland); and A.D, 1365, 1366, the thirty-ninth and 
 fortieth Edward III., a “certain cloister,” attached to the palace at Westminster, probably the old cloister of 
 St. Stephen, was apparently plain coloured with “ochre,” 380 bs. of that material having been provided for 
 the purpose, with 24 lbs. of verdigris for some other part of the same cloister. Vide Britton and Brayley’s 
 Westminster, pp. 194 and 436. 
 
 M 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 42 
 
 From the consideration of walls, and the peculiar paintings here applied, we 
 
 proceed to— 
 
 
 
 
 |r etlings. 
 
 
 
 oofs and Cetltwgs are included among the earliest evidences of pic- 
 
 torial and coloured decoration. Roofs of azure, studded with golden stars> 
 
 
 
 
 
 
 
 
 
 were common at a very early period ; and, thus decorated, were considered 
 to have a natural as well as symbolic allusion to the heavens. Stubbs, in his “ Actus 
 Pontificum Eboracensium,” calls the ceiling of York Cathedral “a splendid heaven'.” 
 Malmsbury also describes that of Canterbury, completed by Prior Conrad, as represent- 
 ing heaven. 
 
 The use of this particular decoration in ceilings, like many others of those exhibited 
 during the middle ages, is apparently derived from the classic introduction of the same 
 ornament in like situations’, retained and exhibited generally on the Continent, and 
 
 from this source early adopted here. 
 
 * Bardwell’s Temples, Ancient and Modern. 
 
 * Gilt stars, on a blue ground, occur in the caissons of the ceilings in the Temple of Theseus, and green 
 and red stars on the ceiling of the exterior Propylea of the Temple of Ceres, at Eleusis. See Transactions of 
 the Inst. of British Architects, vol. iIn this the ancients appear only to have continued a still earlier prac- 
 tice. Diodorus Siculus describes a peristyle, belonging to the Tomb of Osymandis, at Thebes, in Egypt, 
 the ceiling of which was decorated with stars on a blue ground, 
 
 The bandings or spiral lines of alternate colours on the beads, and other mouldings of the perpendicular 
 age, appear also to claim the same origin. Beads banded red, white, and blue, occur in the Temple of Me- 
 
 tapontli. 
 
 While on this subject it may be observed, that a talented architect, M. Semper, of Altona, as stated in the 
 
43 
 
 Of such retention and general use, in the former case, direct evidence is 
 offered in the writings of Alcuin. This author, in a letter to Charlemagne, describing 
 the studies taught by him while instructor at Turin, says,—evidently referring, as a 
 ready means of exposition, to a familiar object‘ TI strive to illuminate many, by the 
 arrangement of the stars, as from the roof of a lofty Palace.” Again, in the Saxon 
 Dialogues, the stars are called —“ the paintings of the summit of nature; the ornaments 
 
 of night *.” 
 In England, at a somewhat later period than the date of these notices, the “ starred 
 
 roof” was very prevalent. In addition to those of York and Canterbury before men- 
 tioned, the ceilings of Westminster and Gloucester choirs were originally thus orna- 
 mented, and there are numerous additional instances in other and smaller churches. 
 The panels in the ceiling of the Clopton Chapel, at Long Melford, in Suffolk, are, or 
 rather were, a delicate azure, studded with gilded stars. Some at St. Michael’s, Co- 
 
 ventry, are similarly enriched. At Oxford, the Bodleian Library and Picture Gallery 
 
 Quarterly Review, No. xxxv. p. 172, inclines to the opinion, that the whole system of ornamental colouring in 
 vogue among the artists of the middle ages, was derived from the polychromic works of the ancients. “In 
 both,” he observes, “ we find the same predeliction for blue and red, which were brought into harmony by an 
 intermixture of gold, green, and violet. In both, too, we discover the same principle of colouring the leading 
 architectural forms and members red, and the intermediate spaces blue.” Upon this prevalence of blue and 
 red in the classic examples, another author, M. A. F, Von Quast, see same Review, also remarks, in describing 
 the coloured embellishments of the Temple of Theseus,—“ In this edifice,” he says, “ the prevailing colours 
 were blue and red, both of a full deep tone, yet so applied, that one or other of them formed a darker ground, 
 relieving that placed upon it. The corona was a full blue, and the gutta beneath it of a brownish red tint. 
 The lines of the foliage on the cymatium were alternately red with blue streaks, and blue with red ones, while 
 the intervals between the leaves were filled up with green.” . “Some of the coffers are painted of a 
 brownish red, inclining to violet, against which a green ornament relieves itself; others show red stars on a 
 blue ground. The plain architrave of the portico was a bright red, while the frieze was blue, with figures in 
 relief upon it painted in their natural colours.” 
 
 Of a correspondent practice, as respects several of these peculiarities, in the introduction of colour in 
 the middle age, both in this country and abroad, there are certainly many examples. Bright blue was in pre- 
 valent use as a back ground to figures, and in hollow mouldings. Red appears in juxta-position with the latter, 
 upon the fillets and main lines of panelling and screen work, in a number of cases. Blue and red, with yellow, 
 it may be added, are the prevailing colours in Bajeux Tapestry. 
 
 * Turner’s History of the Anglo-Saxons, vol. iii. book 7, c. 2, pp. 23 and 472.—In the same dialogue, 
 Spring is denominated the “ painter of the earth.” 
 
 * Neale’s Churches, vol. ii. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 44 
 
 had ceilings “ painted blue, and sprinkled with golden stars ;” and Queen Elizabeth’s 
 Chamber, at Woodstock, had a similar one'.” At St. Nicholas, Yarmouth, the panels 
 of the ceiling of the north aisle are sprinkled with “gilded cinquefoils, radiated like 
 stars*.” In the Chapel of the Virgin, or Our Lady Undercroft, at Canterbury, a curious 
 variation appears. ° Here the vaultings were painted “of a bright blue colour, orna- 
 mented with small convex mirrors, rayonated with gilding, and interspersed with gilded 
 quatrefoils*.” At St. Mary’s, Bury, similar mirrors, or convex glasses, were introduced, 
 set in lead, cast to imitate small masses of cloud’. 
 
 The frequent introduction of ornaments of this latter kind, is to be gathered by 
 implication from many of the descriptions of internal decoration in old poetry. ‘Thus 
 in the Romance of Arthur of Little Britain, a roof is described as containing “all the 
 seven planettes, wrought with fyne golde and sylver, and all the sytuacyons of the 
 hevens, wherein were pyght many carbuncles and other precyous stones.” Again, in the 
 
 Romance of Sir Degrevant, it is said,— 
 
 “Ther was a rpal rooffe 
 Zn a chamber of Joffe, 
 Hpt was bushedn above 
 ith besauntes ful brpsth.” 
 
 In the other forms or modes of decoration applied to ceilings, there were very 
 many varieties. In some of the earlier, the mosaic, or inlaid enrichments, coevally 
 exhibited abroad, appear to have been imitated, or chosen as patterns for the paintings. 
 The nave ceiling of Peterborough, of the age of the twelfth century, is “painted in a 
 
 rude mosaic pattern of stiff leaves, divided. into lozenges and flowers of the same descrip- 
 
 tion ’.” The choir and transcept have also flat ceilings of wood, the former “ painted 
 
 in cireles and lozenges,” the latter in a pattern composed of “octagons recurring, and 
 
 * Warton’s Observations on the Faerie Queen, p. 274. 
 * Neale’s Churches, vol. i. 
 * Williment’s “ Heraldric Notices of Canterbury Cathedral.” 
 
 4 ae * i 
 In a number of instances the stars, as well as the other ornaments thus introduced, were cast in lead, 
 
 and in others, carved in wood and affixed to the panels. 
 
 * Dallaway’s Discourses, pp. 36-37.—Some of the ornaments of this ceiling are given in Archzologia, 
 vol. ix. 
 
45 
 
 filled in with subdivisions, the intervening spaces being ornamented with flowers and 
 other devices.” The chancel roof of the Chapel of the Blessed Virgin, at Canterbury, 
 also “ retains vestiges of mosaic patterns ?.” 
 
 During the Norman and immediately succedent era, this mosaic character appears 
 to have prevailed, to equal extent in painted as in other enrichments, as may be 
 observed in the case of many of the pavements and sepulchral memorials of this date. 
 In the paintings of the next and subsequent periods, the peculiarity is more limited, 
 becoming subservient, or giving place to less arbitrary and to natural forms. 
 
 In the first instances, however, approximating, as it would appear in some degree, to 
 the earlier forms, many of the ornaments introduced on ceilings follow the medallic ar- 
 rangement commonly seen in early Norman ornament. Several of the subjects on the 
 groining of St. Mary, Guildford, are medallions. The Sacraments and Services of the 
 Church on the walls at Catfield, Norfolk, are so likewise. At West Walton, in the same 
 county, the paintings between the nave arches also take the medallic appearance; and 
 at St. Albans, those on the groined roof of the choir in a measure retain the same 
 character. 
 
 Later examples show many other arrangements and adoptions. The north tran- 
 sept, in the last mentioned Church, has a flat boarded ceiling, painted to imitate 
 square panels, in the centre of which are represented, alternately, the Holy Name, and 
 angels holding shields of arms, each enclosed within a wreath. The similar ceiling of 
 the nave is painted in like manner in squares, respectively ornamented with flowers and 
 lions, and the Holy Name as before. The ceiling in the Dining Hall of the Bishop's 
 Palace, at Chichester, built by Bishop Sherborne, has its compartments painted with 
 scrolls and armorial bearings. The nave roof of his Cathedral was also enriched by 
 the same prelate with “various scrolls and flowers*.” On the rafters of the Clopton 
 Chapel, Long Melford, before noticed, are painted small scrolls or labels, inscribed 
 
 LHu mercp, and Gra merepe, in connection with shields emblazoned with the bearings of 
 
 1 Winkle’s Cathedrals, p. 77. See also Archeologia, vol. ix. 
 ? Buckler’s Cathedrals. 
 
 * The Painted Chamber at Westminster, had a flat boarded Ceiling, with ornaments of a somewhat 
 similar nature. Beneath flat wooden paterns or bosses, placed at certain distances, were portraits painted 
 within circles. See Vetus. Mon. vol. vi. 
 
 * Winkle’s Cathedrals, vol. ii. p. 37. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 46 
 
 the Clopton’s, beneath which is a larger scroll, continued round the whole extent of the 
 Chapel ’. 
 
 During the Tudor and its antecedent, or Yorkist period, the distinguishing badge 
 or cognizance of the rose was frequently introduced. ‘The roof of the Prior's Lodgings, 
 attached to Castle Acre Monastery, is “boarded above the rafters, and painted with red 
 and white roses*.” One of the rooms in the Deanery at Worcester had also, until 
 lately, a ceiling, on every alternate panel of which was represented the union, or red 
 and white rose conjoined, rayonated en soliel ; the others having each five red and white 
 roses, surrounded by scroll work of foliage, bearing twelve smaller red roses *. 
 
 The exhibition of various forms of the heraldic device and of the armorial bear- 
 ing of particular families and benefactors, was of common occurrence in ceilings as 
 on walls’, throughout all the periods which succeeded the general introduction of coat 
 armour. The armorial shield was a frequent enrichment of the panels and other flat 
 surfaces, as in the instances already cited, and in many others which might be 
 added’. It was also the usual feature, heightened by painting, of the carved or sculp- 
 tured boss, and oceasionally of the flat tabular bosses, which in some ceilings supplied 
 the place of the former, of which example is found in Malvern Abbey Church. The 
 more simple heraldic device, similarly applied, is almost equally common. Those adopted 
 by Abbot John of Wheathamstede, viz., the Holy Lamb and the Hagle, are painted on 
 each face of the spandrels in the groining of the choir at St. Albans. 
 
 Among other and more elaborate introductions, saintly and other portraitures, as in 
 the case of walls and screens, &c., occur frequently as a decoration of the ceiling. At St. 
 Helen’s, Abingdon, the ceiling of the north aisle is formed into long panels or divisions, 
 corresponding with the rafters, canopied and finished with crochets and finials as 
 
 * Neale’s Churches, vol. ii. 
 
 Britton’s Architectural Antiquities, vol. iii p. 10. 
 * On a window jamb at St. Albans is a similar introduction of the rose as an ornament; and it is a 
 singular circumstance, that in this instance the roses, having been first painted white during and in com- 
 pliment to the Yorkist dynasty, were apparently, on the accession of the Tudor family, repainted red. See 
 Archeological Journal. 
 
 “ Some interesting evidences of the painted shield of arms, introduced as a wall decoration, still remain in 
 the spandrils of the Early English arcade, which adorns the aisles of the nave at Westminster. 
 
 * Romsey Abbey Church has a painted ceiling, in the panels of which are painted shields of arms; and a 
 parallel example occurs in the case of the monument of Richard II, at Westminster, on the sperver or roof of 
 
 which are painted shields, charged with the arms of that monarch and his queen, 
 
AT 
 
 niches, on which are painted full length figures of royal and other personages. The 
 chancel roof of St. Leonard's Church, Colchester, is similarly painted, with figures of the 
 “patriarchs or ancestors of our Lord, according to his genealogy in St. Matthew and St. 
 Luke’.” The Patriarchs, with many of the Prophets, and other persons celebrated in 
 Sacred History, were also represented in painting on the ceiling of the Chapel of 
 Naworth Castle, Cumberland. 
 
 In the ceiled roof, ready means was afforded for the richer display noticed in these 
 instances, as well as for a variety of other corresponding adoptions observable in other 
 cases. In those unceiled, or left open to the timbers, greater distance from observa- 
 tion, and a less amount of plain surface, appears to have necessarily offered good reason 
 for, or enforced a less ornate character in, the decorations employed ; and frequently, it 
 would seem, a more limited use of them. In several of the Suffolk and Norfolk roofs of 
 this description, the painting seems confined to the bosses at the intersections, the carved 
 figures on the hammer beams and brackets, and to the principal beads and hollows. 
 This is shown at Tunstead, Trunch, and Knapton, in the latter county, and in the 
 similar roofs of several other Churches and edifices”. 
 
 How far, however, the instances here enumerated may be considered, as exhibiting 
 the application of an admitted and general principle in like cases, it would require much 
 observation to determine, if, indeed, any accurate conclusion could now be arrived at, 
 owing to the alterations which have been effected in most, and the consequently 
 probable departure from their original appearance. In one or two instances, open 
 roofs, within easy reach of the eye, show only an equally simple and moderate admis- 
 sion of colour. Such was apparently the case in the nave roof at Harrow, Middlesex. 
 At St. Mary's, Impington, Cambridgeshire, also, on an open roof of simple and. usual 
 construction, the painting appears to have been restricted to the face and principal 
 moulding of the tie beams, the fillets of the king posts, and to the chief beads and 
 hollows of the cornice. On the other hand, and favouring the former conclusion, in 
 many roofs of corresponding date and character to the two last mentioned, and where 
 the admissions of colour are extended even to the utmost limit, an exclusion of the same 
 
 from all those parts less immediately exposed to the eye is frequently found. This is 
 
 * Excursions through Essex, vol. i. p. 81. 
 
 
 
 * In the roof of the Hall at Croydon Palace, Surrey, the painting appears to have been confined to the 
 
 supporters of the principals, and to the cornice. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 48 
 
 exhibited in the roof of Aldenham Church, where the upper surfaces of many of the 
 mouldings, hidden by their contour from view from below, are left unpainted. There 
 are other occasions, likewise, in which the principle seems to have been admitted even 
 in a greater degree. The Rood screen in 'Tunstead Church, Norfolk, is painted only on 
 the side next the nave, that towards the chancel having been left entirely unadorned. 
 Again, at Trunch, while the side of the screen open to the view of the general con- 
 gregation in the nave, is resplendent with decoration, those applied on the chancel side 
 are of a subdued and less enriched kind, and even then limited to such of the mould- 
 ings and parts as are necessarily included in the view through the larger or main 
 openings of the screen; the whole of the upper portion, and of the tracery, &c., being 
 merely painted in a plain white colour, evidently original. This latter peculiarity also 
 distinguishes the screen at Burlingham, St. Edmund ; and a like example to that at 
 Tunstead occurs at Burlingham St. Andrew, and was formerly exhibited on the aisle 
 screen at Aldenham. 
 
 Returning from this digression, however, it is to be observed, that in the open 
 timber roof, as previously noticed, the applications of painting appear in many cases, in 
 some necessarily, perhaps, from their construction, mainly on the principal timbers and 
 mouldings ; in others the colour is introduced on every member. The roof at Alden- 
 ham, before referred to, is a very interesting and elaborate example of the latter kind. 
 That of Impington, St. Mary’s, Cambridgeshire, is of the former, and shows a simple 
 arrangement of two colours, separated by a waving line, the fillets being white, on 
 the faces of the tie-beams very effective. The cornice, also, which has an imitative 
 battlement, produced by the introduction at equal distances, simply, of spaces of red 
 colour bordered by narrow white edges or fillets, intended to indicate the crenelled 
 portions, on the naked wood of its facia, is equally so. 
 
 In the ceiled and in the groined roof, whether of wood or stone, the panels and 
 spaces between the ribs received generally the principal decoration ; the arch ribs in the 
 one case, and the moulded framework enclosing the panels in the other, being more or 
 less ornamented with colour and gilding to accord. In some of the ceiled roofs, the 
 panelled appearance was given solely by painting. This is exemplified both in the nave 
 and transcept ceilings in the Abbey Church at St. Albans ; and is a peculiarity apparent 
 in some of the earliest examples, viz., those of the transcept and the apse of the choir at 
 Peterborough. In the transcept at St. Albans, the ribs or framework are imitated by 
 
 lines of dark brown and white colour, with yellow flowers as bosses at the intersections 
 
A9 
 
 of the squares, separating the whole ceiling into bays, corresponding with the number of 
 the main arches of the structure, each of these bays being subdivided into spaces, or 
 panels, alternately painted, as before described (see ante, p. 45) with the Holy name, 
 and angels supporting the emblazoned shields of benefactors. The panelling of the nave 
 ceiling is produced in like manner, by lines of red, brown, and white, with a kind of 
 purple flower as a boss ; the square of the panels being cuspated, or enriched, with imita- 
 tive tracery in red colour, and in the centre the monogram Phe, in white, on a 
 ground of dark brown. In the corresponding ceilings at Peterborough, the general 
 pattern of which has been already referred to, a similar practice is apparent’. 
 
 Where the ceiling is not thus imitative, but of the more general description, decora- 
 tions on the mouldings of the framework are in many cases very profusely introduced, as 
 in that of the Deanery at Worcester. In others, however, even under a full enrichment 
 of the panels, the mouldings frequently appear decorated to a lesser extent, and are 
 occasionally found altogether devoid of coloured ornament. Both in the richer one of 
 the choir, and the more simply decorated ceiling of the nave at Great Malvern, the 
 mouldings enclosing the panels, judging from their present appearance, seem never to 
 have been painted, and the same peculiarity is exhibited in some of the ceilings in St. 
 Michael’s Church, Coventry. 
 
 In the groined roof, the rib mouldings usually show the more enriched character. 
 The ribs of the groining in the choir at St. Alban’s are covered with colour, diapered 
 with minute ornaments in gold, &c., on the ogees and hollows, the beads being white, 
 banded alternately red and green; and there are besides many other examples in which 
 similar ornaments are introduced to an equal extent. 
 
 Of the decorations applied on the spaces between the groining in this kind of roof, 
 those exhibited in the choir at St. Albans, already noticed, as well as some remaining in 
 a chapel in St. Mary’s Church, Guildford, offer good example. At Peterborough, the 
 enrichments on the choir groining were of very elaborate character. Among the number 
 was a large painting, representing our Lord in Majesty’, a parallel subject to which still 
 
 appears at Guildford °. 
 
 A minute description of this ceiling, accompanied with illustrative engravings, is given in Archeologia, 
 vol. ix. 
 * See Hierurgia, p. 27, quoting Gunton’s History of the Church of Peterborough. 
 
 * See Archeologia, vol. xxvii. p. 413. 
 
 10) 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 50 
 
 Next to the examples contained on walls and ceilings, some of the most beautiful 
 
 and valuable evidences of medieval painting are found on 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 7ACLELUS and Aarcloses generally, in common with both the former 
 features, appear to have been for the most part thus adorned. That 
 
 
 
 
 
 usually denominated the Rood, or more distinctively the Chancel screen 
 in the smaller churches’, particularly so; possibly with some retained reference to the 
 similar, and in one or two cases as respects subject, directly corresponding’, applica- 
 
 tions, exhibited on the veils or curtains used to separate the Cancelli from the nase, or 
 
 1 In the larger conventual and other churches it appears to have been customary to introduce more than 
 one representation of the Rood. In the Anchorage, or Anchoritage, at Durham, was “a very elegant Rood, 
 with the most exquisite pictures of Mary and John.” At the entrance of the north aisle of the Quire was 
 another. At the east end of the south aisle of the Quire was also “a beautiful Rood or picture of our Saviour, 
 called the Black Rood of Scotland, with pictures of Mary and John,” And over Jesus altar, opposite 
 the Quire door, was again a “most famous Rood,” . . “with the picture of Mary on the one side of our 
 Saviour, and that of John on the other, with two glittering archangels; one on the side of Mary, and the other 
 on the side of John.”—Rites of Durham, pp. 21-36. 
 
 * Tt would be an interesting subject of enquiry how far the more prevalent decorations of the screen, 
 were really adopted from those of its more ancient prototype. A common ornament of the screen, as noticed 
 hereafter (see p. 51), were figures of our Saviour and the Saints; while a veil or hanging in the Church 
 of Anablatha, in Palestine, referred to by Ephiphanius, had, it may be noted, the figure of “Christ, or some 
 Saint upon it.’ See Bingham, vol. ii, p. 428, quoting Epiphan. Epist. a Johannem Hierosolym, 
 
dl 
 
 Nave, in the early church, the place of which, at a later period, the screen may be con- 
 sidered to have supplied’. 
 
 At the present time nearly all the examples that can be adduced of the painted 
 screen are of Perpendicular, or third pointed date. On those which remain of the Early 
 English, but few traces of their original painting are now visible, or can be identified 
 with certainty. With the Decorated the case is nearly the same’, excepting that we 
 admit and include with their painting, as of this age, the screens at Worstead (with those 
 in one or two of the contiguous churches in Norfolk, such as Tunstead, Trunch, and 
 Burlingham), Guilden-Morden, Cambridgeshire, and Southwold, Suffolk, in virtue 
 of the decorated rather than strictly perpendicular character prevalent in their design. 
 
 On both Early English and Decorated screens, however, there can be little question 
 but that this species of decoration was customarily applied. On the early Perpendicular 
 it appears at once in extreme richness and variety; a circumstance fairly sufficient to 
 prove pre-application. 
 
 On a comparison of the remaining screens, commencing with the earliest upon 
 which painting now appears to any extent, the same general character and arrangement, 
 as respects the decorations, is apparent, variation occurring only in the mode of execu- 
 tion, and the extent of the enrichment. The common ornaments of the lower and other 
 panelled parts of the more highly enriched screens, were portraitures of the Saints, 
 
 with those of Martyrs, Kings, Bishops, and other Holy personages’. The portraits of 
 
 * It seems probable, from the absence of the appearance of any more permanent division in Saxon and 
 Norman ecclesiastical architecture, and the frequent recurrence of representations of the curtain or hanging as 
 a covering to doors and other openings, in coeval MSS., that the veil continued to screen the chancel arch, 
 and form the separation between the nave and chancel, until at least late in the latter period. One of the 
 earliest approaches to the distinctive character of the screen is exhibited in Ashley Church, Hants, where 
 the west wall of the chancel is pierced with three semicircular headed openings, the centre, forming the 
 entrance to the chancel, being larger than the side ones. 
 
 ? There is a decorated screen remaining in Leck Church, Yorkshire, which still retains traces of painting, 
 but whether of this age is uncertain. The shafts and tracery of the upper part are painted with green and 
 vermillion, the panels being diapered with birds and foliage. 
 
 3 The Rev. C. Hart, in a paper entitled “ Observations on the Antiquities of Norfolk,” extracted from an 
 unpublished work on the Topography of Norfolk, by Dawson Turner, E'sq., observes, that the usual panel 
 ornament in the Norfolk screens, was “a Saint with glory over his head, and haying its usual and appropriate 
 emblem—the back ground of diaper, in gold and colour, or a whole colour, extending as high as the Saint’s 
 
 head, and finishing with a gold band—azure above to represent the sky, the screen itself forming the canopy.” 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 52 
 
 Our Saviour and the Apostles’, were usually depicted, as the especially appropriate 
 ornament, on the panels of the chancel screen, that of Our Lord occupying the centre 
 place on the door. At Castle Acre and at Houghton-le-dale Churches, the figure of 
 Our Lord is painted on the door; the Apostles on each side. In some this arrangement 
 is varied by the omission of the actual picture of our Saviour, the opening or door itself, 
 symbolically viewed, being considered a sufficient reference to him, through or by 
 whom the faithful enter the Heavenly Kingdom, or its type on earth, the sanctum sanc- 
 torum of the Church’. In the screens at Trunch, and Tunstead, in Norfolk, with 
 several others elsewhere, this is the arrangement followed. At Worstead, offering 
 exception, however, to the general tule, or it may be by way of addition, the Saviour 
 appears to have been depicted on the extreme panel at the south side’, the figure of 
 St. Edmund, crucified, occupying the corresponding one on the extreme right hand, or 
 north side, of the doorway; other Saints, and some of the Apostles, the intervening 
 panels. 
 
 In the relative position of the accompanying figures of the Apostles on the screen, 
 or the order of their representation as connected with that of our Lord, there seems to 
 have been some variety‘. On the screen at Tunstead, following the rule prescribed 
 
 by Durandus (see note), St. Paul occupies the right, or north, and St. Peter the 
 
 1 Durandus (See Webb and Neale’s Translation) gives, as the reason for this juxta-position, or con- 
 nected representation, of our Saviour and the Apostles, that the latter “were his witnesses by deeds and words 
 to the ends of the earth.” According to the same authority, Paul was usually, and should be, represented on 
 the right, and St. Peter on the left of our Saviour. 
 
 * Vide St. Paul’s Tenth Hpistle to the Hebrews.—“ Having, therefore, brethren, boldness to enter into 
 he holiest by the blood of Jesus, by a new and living way which he has consecrated for us, through the veil, 
 that is to say his flesh; and having an High Priest over the House of God: let us drawn near,” &c. 
 
 * This panel now contains a more modern painting of our Saviour; the label at the foot, however, bears 
 the inscription “Vir. Dolores,” and appears original. 
 
 ct 
 
 *“ The same also occurs occasionally in the determinate. Usually, as before remarked, the figures of the 
 Apostles fill the lower panels of the screen on each side of the doorway, or entrance to the chancel, in imme- 
 diate connection with the pictured representation or symbolic figure of our Lord; but at Mere Church, Wilts, 
 the “images of the Twelve Apostles were peynted on the face of the Rode-lofte ;” in which change of position, 
 however, a similar connection of the apostolic figure, with that of our Lord, is still maintained, and which it is 
 to be observed is frequent where his passion, or the Rood, was exhibited. On the arriere-dos, or screen, 
 behind Jesus altar, at Durham, was “the whole story and passion of our Lord ;’—“ and above the said story 
 
 and passion the whole story and pictures of the twelve Apostles.”—Rites of Durham, p. 35. 
 
 
 
53 
 
 left or south side of the doorway; the other Apostles, with the four Doctors of the 
 
 Church, being represented in the other panels in the order following :— 
 
 On the north, proceeding northward. On the south, proceeding southward. 
 St, Paul, St, Peter. 
 St, Thomas. St. Andreto, 
 St, Fue. St. James pe Great. 
 St, Stinon, St. John. 
 St. Bartholometv, St, Phillip. 
 St. Matthelv. St. James pe Less. 
 St, Ambrose. St. Gregorp. 
 St. Austin, St. Jerome. 
 
 At Trunch, though retaining their position immediately on each side of the door- 
 way, Saints Peter and Paul are reversed from the more correct one exhibited at Tun- 
 stead; the figure of the first named apostle being painted on the north, and that of the 
 latter, on the south side. ‘The same variation is also shown at North Walsham'. At 
 Worstead the order differs altogether from both of the above; the pictures of St. John 
 
 . A particular description of each figure on this screen, the lower part only of which is preserved, is given 
 in the Archeological Journal for September, 1844, being the substance of a communication by Mr. George 
 K. Blyth, of North Walsham, to whom it appears the lovers of medieval art and antiquity are indebted for 
 the recovery of these paintings. The figures here introduced, and the order observed, are as follows :— 
 
 On the north side, proceeding northward. On the south, proceeding southward. 
 1st panel, St. Peter. Ist panel, St. Paul. 
 2. 4, St. James the Great. 2. 4, St. Andrew. 
 3 > St. Thomas. Sy | St. dol, 
 4, ,, St. Phillip. 4. ,, A Saint, with an escallop 
 5. 4, A Saint, with an open Book in shell in left hand. 
 left hand. 5. 5 St. Bartholomew. 
 6. 5, St dude, 6. ,, A Saint, with plain crook. 
 7- 5, St. Michael, apparently from the 7. 4, St. Barbara. 
 description. 8. ,, St. Mary, Magdalene. 
 8. 4, St. Mary, of Kgypt. 9. ,, St. Mary, the Virgin. 
 » St. Catherine. 10. ,, Blank, to correspond with 
 10. ,, Plain red, no figure. the panel on the north. 
 
 P 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 54 
 
 and St. Andrew occupying respectively, in the place of St. Paul and St. Peter, the north 
 
 and south sides of the opening, and next to— 
 
 St, John, (progressing northward.) St, Antrely, (progressing southward.) 
 those of St, Matthias. those of St, Peter. 
 St. Jude. At, James the Great. 
 St, Stmon. St. Austin. 
 St. Phillip. St, Sartholometo. 
 St. James the Legs. St. Jerome. 
 (In the two next panels, St, illian*. 
 modern paintings of St. St, Gymund, (cru- 
 Paul and our Saviour.) cified.) 
 
 There is also a further difference in both these latter screens. In the majority of the 
 chancel screens the Saints represented are, as before observed, usually the Apostles, 
 with occasionally the Evangelists and the four Doctors. Here many other Saints are 
 also introduced in connection with some, and as supplying the place of others of the 
 Apostles. 
 
 This appears to have been a practice adopted in several of the larger screens, or 
 where the same, extending in a line across the aisles, as it does in both these cases, and 
 becoming less distinctively a chancel than a continuous screen, offered the opportunity 
 for further introduction. Many of the lesser screens, nevertheless, show the same inter- 
 
 mixture, as at Walpole, St. Peter’s, Norfolk’; and in some, even of the chancel 
 
 1 Under this figure the name of St. Joseph is at present painted on the screen, but it is evident, from the 
 youthful character of the figure, as well as the nails about the head and in the hand, that St. William is 
 intended. Many of the other figures, it is probable, are also, in a similar manner, incorrectly named. 
 Most of them appear to have suffered renovation within a late period. 
 
 * Representations of the twelve figures on this screen are given in Schnebbelie’s Antiquaries’ Museum. 
 
 On the six panels on the north side of the door are painted respectively,— 
 
 Ist, or extreme north panel, And on the six on the south side, 
 St. Mary Magdalene. 7. St. Peter. 
 2, St. Dorothy. 8. St. Paul. 
 3. St. Barbara. 9. St. Andrew. 
 4, St. Catherine. 10. St. John, Evangelist. 
 5. The Blessed Virgin, holding the 11. St. James ye Great. 
 Infant Saviour. 12, St. Thomas. 
 
 6. St. Helena. 
 
55 
 
 screens, the apostolic figure is omitted altogether. The panels of the chancel screen at 
 Burlingham, St. Andrew, Norfolk, contain interesting representations of several of the 
 
 Saxon Saints, disposed as follows, viz. :— 
 
 On the north side, proceeding northward. On the south side, proceeding southward. 
 
 ' Name hidden, and Ist panel, St. John Baptist. 
 
 Ist panel } Gin: of = : 
 emblem indistinct. Dee ss St. Erith, b, 
 
 Qe, St, Caward, Confessor, 3. ,, &t, William, cr. 
 Sees St, Benedict, Abb, AN ns St, Katherine, & m. 
 Aer St, WMithburga, 6, Dyn = Sef Obliterated. 
 its aie 4 Gites St, Gthelreda, (much 
 ; Painted out. 
 Giaees defaced.) 
 
 In some, again, conjunctions of the saintly with other figures are met with, as at 
 Tavistock, in Devon, where figures representing three of the nine orders of the Angelic 
 hierarchy, and labelled respectively “ Arehangeli,” « Cherubim,” «Potés,” with a crowned 
 and winged figure, conjectured to represent St. Edmund the King, but probably in this 
 case a personation of Dominationes, or Principatus, were joined with those of St. Law- 
 rence and St. Stephen’. Randworth Church, Norfolk, also affords a rich example of the 
 introduction of the saintly with a variety of other figures; as does, likewise, the screen 
 to Bishop Audley’s Chapel, at Hereford, which contains nineteen statues of Saints and 
 Ecclesiasties, &c., disposed in two ranges’. 
 
 Tn addition to the painted image as the panel ornament, many varied subjects and 
 patterns are also found, particularly in the case of closed screens, and those surrounding 
 the choir in the larger churches, where more ample space afforded the opportunity for 
 greater display. On the ambulatory side of the choir screen at Carlisle are represen- 
 tations of the twelve Apostles, ten of the figures nearly perfect; and in an adjoining 
 compartment is contained the legend, or story, of St. Cuthbert, arranged in twenty-four 
 
 smaller compartments, or sub-diyisions, of the first. | Another has the legend of St. 
 
 * See Gentleman’s Magazine, vol. c. p. 1. p.113. The nine orders of the Angelic hierarchy are considered 
 by this authority to have been among the subjects painted on the Altar Screen, formerly, at Romsey Abbey 
 Church. See Ibid, vol. xcix. 11. p. 584. 
 
 * Cooke’s Topography of Herefordshire, 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 56 
 
 Anthony in twenty-four pictures, to correspond; and in another of twenty-four pictures 
 also, is comprised the legend of St. Austin. 
 
 Subjects such as these, and others taken from the Life of our Saviour, as well as 
 from Holy writ generally, thus disposed in series, are met with in several instances 
 among the larger, as well as occasionally in some of the smaller screens. On the Altar 
 Screen at Romsey Abbey Church, in connection with a painted representation of the 
 Doom, or last Judgment, and with a series of painted figures of saints and angels, was a 
 picture of the Resurrection. Beneath the same subject, attached to the smaller Chancel 
 Screen at St. Michael, Mitchel-Dean, Gloucestershire, also, was, if it does not still exist, 
 a painting divided into compartments, in each of which was depicted a passage from the 
 Life of our Lord?. At Durham, one among the more considerable, the Screen behind 
 our Lady’s Altar in the Gallilee, was “devised and furnished with the most heavenly 
 pictures’; and as showing further varieties, those of the nie altars in the same church 
 are described as having been “all varnished over with fine branches and flowers, and 
 other imagery work, most finely and artificially pictured and gilded °.” 
 
 With such as this, or with similar flowered work, several of the smaller screens 
 were frequently ornamented. A screen in Leak Church, Yorkshire, has the panels painted 
 with scroll-work and foliage. The screen at Aldenham had a pattern of leaves and 
 stems. Many of the Norfolk screens are also enriched with arbitrary patterns, formed 
 by leaves and flowers alone, covering the surface of the panelling, or acting as a back 
 ground to figures. The panels of the screen in the south aisle of Brandon Church, 
 Suffolk, have a curious leaf-like ornament or diaper; and flowers are used in the same 
 manner on the Chancel Screen at Burlingham. 
 
 Of the flowered and diapered ground, under the introduction of the figure, whether 
 the latter appears as a mere painting on the panel, ora sculptured image, there are 
 numerous examples. In the Altar Screen of the Chapel of our Lady, at Gloucester, are 
 a series of niches, originally containing statues, the back grounds of which are of the 
 richest description of this kind; while at Tunstead and Trunch, in Norfolk, Dartmouth, 
 in Devon, and in numbers of other screens, the painted figures stand relieved upon 
 
 hardly less elaborate ornament, similarly introduced. 
 
 " Gentleman’s Magazine, vol. ci. 11. p. 408. 
 * Antiquities of Durham, p. 46. 
 * Ibid, pe fe 
 
57 
 
 Above the lower panelling, in the upper and perforated portions, as well as other 
 parts of screen-work, the mouldings were painted in various colours, and in many cases, 
 further enriched with minute ornaments in gold and colour. Counter-changing in the 
 colour of ground and ornament is frequent where this occurs, though the heraldric rule of 
 metal upon colour, and vice versa, is not always followed or abided by. Gold ornaments, 
 such as flowers and stars, on red, blue, and green grounds, are prevalent, as are black 
 and white upon blue and red. On the circular beads of tracery and shafts of columns, 
 spiral bandings of various colours—as at Aldenham, green and white ; Worstead, deep 
 red and black—are very general. An alternate introduction of two or more colours is 
 also frequent on the panelling. In the distribution of the various colours on the mould- 
 ings, care, im many instances, seems to have been taken, to preserve the architectural 
 lines, or those of the construction. The hollows being vermillion, the fillets surrounding 
 are tinted a deep crimson, as at Aldenham; or deep crimson, edged with gold, as at 
 Trunch. White hollows, at Tunstead, are relieved by gilt fillets. At Burlingham, all 
 the hollows in the upper tracery being white, the main lines of the same are preserved 
 entirely by the fillets, which are painted bright red. On the pulpit at Burlingham 
 green hollows are surrounded by fillets of vermillion, and hollows tinted vermillion 
 by fillets of green. Flower ornaments in the spandrels, as well as the crocketting and 
 finials, are usually gilt ; as are the crest ornaments. Gold is, also, sometimes very pro- 
 fusely applied on the buttresses and such like prominent parts, as in the Trunch and 
 Tunstead screens. A very general decoration of the ogees in the Norfolk and Suffolk 
 screens, is a waved division of two colours, charged with small fanciful flowers of gold, 
 or counter-changed colour ; and it is a singular feature in many, that the arrangement of 
 the colour and ornament on each side of the centre is frequently entirely different. 
 In that of the two sides of the screen there is usually a distinction. Both peculiarities 
 are clearly and curiously exhibited at Tunstead. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 58 
 
 (h 
 
 os 
 
 és N 
 
 
 
 
 
 5 
 
 
 
 onumients. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 Wonwbs and Sepulchral Atowuments, as the recipients of painted 
 
 and other coloured enrichments to a large extent, and from a very early 
 
 
 
 period, claim the next consideration. 
 
 The coloured embellishments applied to Tombs in the first instances, appear to 
 have consisted, as in the case of early glass, and pavements, &c., of mosaic work, 
 arranged in fanciful and geometrical patterns upon the construction or otherwise ; the 
 same occasionally being also set to the shape of the human figure. In France, the latter 
 practice is considered to be evidenced so early as the commencement of the seventh cen- 
 tury. The Tomb erected to the memory of Fredegonde by her son, Clothaire, A.D. 
 600. was “ composed of small pieces of enamel, set in a mastic, prepared and melted to 
 the contour of a figure sculptured in free stone'.” The monumental tablet of Geoffry 
 Plantagenet, formerly, according to Stothard’, in the Church of St. Julian, at Mans, and 
 considered by that author to be as old as 1150, the period of his death, was also an 
 enamelled or mosaic effigy. 
 
 In England, the use of mosaic work and enamelling, thus or in like manner applied, 
 
 is evidenced in the thirteenth century, on the shrine of Edward the Confessor, and on 
 
 * See Lenoir’s Museum of French Monuments. 
 “The Monumental effigies of Great Britain,” by Charles Stothard.—This author also notices another 
 similar Tablet, representing Ulger, Bishop of Angers, who died in 1149, and which, suspended over his tomb 
 in the Church of St. Maurice, at Angers, was destroyed at the Revolution. 
 
59 
 
 the tombs of Henry III. and his children, erected respectively about 1267 and 1272, 
 as well as on the wooden bier and effigies of William de Valence, at Westminster,.of a 
 corresponding age '. 
 
 In the sedilia, also, of the same Church, more generally known as Sebert’s 
 Monument, re-edified in 1307, mosaic, or more correctly speaking, imitations of 
 mosaic-work are likewise introduced’; a peculiarity apparent, likewise, in two or three 
 other instances, as in the pediment of the Canopy to the Abbot's Seat, in the Chapter 
 House at Canterbury, and in the tabula for the High Altar still preserved at West- 
 minster. 
 
 In the case of altar tabula, such as that just adverted to, indeed, as may be 
 gathered from the description of several of those presented to the Church in early times, 
 and for the purposes of altar decoration generally, mosaic decoration had, it is to be 
 observed, long antecedently prevailed ; and hence, descending, may have been considered 
 a peculiarly fitting ornamentation, primararily of the saintly shrine, and afterwards of a 
 less venerated sepulchral memorial *. 
 
 Of the earlier tombs, ornamented simply with colour, and so distinguished from the 
 mosaic,—separating the structural, or strictly architectural portion of the same, from the 
 effigies thereon,—remaining specimens are not numerous compared with such as exist of 
 a later date. Those of Aveline, Countess of Lancaster, and her husband, Edmund 
 Crouchback, at Westminster, may be considered as among the most ancient, perhaps, 
 that we now possess of this kind, retaining, in any very extended degree, their former or 
 original decorations*. That of William de Longespee, at Salisbury, is possibly, also, to 
 
 be included as of coeval age. 
 
 * A wooden effigy, similarly enamelled, represented the eldest son of Louis IX. of France, on his tomb in 
 the Abbey Church of Royaumont.—Lenoir’s Museum of French Monuments. 
 
 * The ground of the trefoils in the canopies of the Westminster sedilia, was originally covered with a thick 
 red glass, laid on a gold foil, evidently to imitate the porphyry, and other coloured stones of the more legitimate 
 mosaics ; while the external face or ground of the canopies themselves, was plated with glass of a fine blue 
 colour, put on silver foil, designed to represent, in like manner, the similar applications of lapis lazuliimSee 
 Sir John Ayloffe’s Description in Vet. Mon. vol. ii. 
 
 * The early Christians are recorded to have worshipped at the tombs of the Saints, using the same as 
 altars ; and later ages still associated with the latter its appropriate reliquary. 
 
 * Stothard says that painting appears on the bier, or feretrum, of Henry II. at Fontevraud; and also on 
 
 that of Richard I. (obiit 1109) at the same place.—Monumental Effigies of Great Britain, 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 60 
 
 The similar tombs of the succeeding, or fourteenth century, evidence in greater 
 number, and at the same time in a more diversified manner, the application of painting 
 and colour to their architectural features. Those of Aymer de Valence, at Westminster, 
 Lady Montacute, in Christ Church, Oxford, and Edward the Black Prince, at Canter- 
 bury, all exhibit it is considered, on good grounds, the painting of this period ; and that 
 of Bishop Hatfield, at Durham, erected by that prelate between 1345 and 1381, may be 
 adduced, also, as another example. 
 
 In the subsequent erections of the fifteenth and sixteenth centuries, painting was 
 almost universal. The tombs of Henry IV. at Canterbury, and Richard II. at West- 
 minster, offer fine examples of the early part of the first of these periods ; and a most 
 elaborate one, of only a few years later date, occurs in that usually known as the Bour- 
 chier monument, forming a portion of the screen to the Chapel of St. Paul, at West- 
 minster. 
 
 To other like evidences, either of this or the next century, it is unnecessary to refer 
 particularly, there being hardly a tomb of this period, upon which the traces of painted 
 decoration are not to be discovered to a greater or less extent. Indeed the practice, as 
 here applied, appears to have largely characterized the monuments, not only of the Hli- 
 zabethan, but of a still later date. 
 
 In the nature of the painted decorations introduced on tombs, the same general 
 resemblance, and the same numerous varieties in subject and pattern, observable in the 
 applications of painted ornament to other features, are, for the most part, apparent. The 
 saintly, as well as other figures, histories, and a number of similar representations to 
 those exhibited on the walls and screens, and other architectural fittings, are equally 
 shown in these cases. ‘The saintly figure is represented on the tomb of Bishop Brown- 
 scomb, of Exeter (see ante, p. 31), with scriptural extracts having very pertinent refe- 
 rence’. The figures of Pity, Mercy, and Charity, were painted on the back’ wall of 
 Gower’s Monument, in the Church of St. Mary Overee, Southwark. Under the arch of 
 a tomb in Weston Baggard Church, Herefordshire, was a figure of the Blessed Virgin 
 with a kneeling Angel on each side censing her’. Figures, indeed, both painted and 
 
 sculptured, particularly the latter, were the common accompaniment of the table, or 
 
 * See Gough’s Sepulchral Monuments, vol. i. p. 1. p. 61. 
 * Ibid. p. 166. 
 
61 
 
 altar tomb, and also of the sepulchral brass!, Of histories on tombs, some on those of 
 the Waytes in Hants, on that of Dean Borew, at Hereford, and of Sir John Arderne, at 
 Latton, with others at Durham and Hexham, are referred to by Gough*. Of a similar 
 kind are the paintings on the back wall of the Wootton Monument at Maidstone, as 
 were also those on the tomb of the foundress in the Lady Chapel of Hereford®, and in 
 the chantry chapel of Robert Fitzhamon, at Tewkesbury. On the Suffolk monument, 
 also, in Ewelme Church, Oxfordshire, is painted “The Assumption of the Virgin +,” 
 
 The subjects and patterns properly describable as miscellaneous are very numerous. 
 Of decorations derived from heraldry, the Bourchier tomb at Westminster, and the 
 sperver of that of Henry IV. at Canterbury, are exceedingly rich examples. Of a mix- 
 ture of the same with other ornaments, that of Richard IT. at Westminster, is an equally 
 interesting evidence. A very curious pattern of the diaper kind is still discernible on 
 the arch of the tomb of Lawrence Seymour, Rector of Higham Ferrers, in Higham 
 Ferrars Church, Northamptonshire’. That of William de Longespee, at Salisbury, also 
 shows some very beautiful diapers. ‘The testere of the monument of Edward the Black 
 Prince exhibits an introduction of the inscriptive with other ornament; and a scroll pat- 
 tern of early date is yet nearly perfect on the back wall beneath the arch of the tomb of 
 St. William at Rochester. 
 
 To the minuter architecture of tombs, the similarity before alluded to, in like 
 
 manner, extends; and as shown in the panelling, and in the tracery and other portions 
 
 * The introduction of the sculptured figure on tombs dates from a very early period. Flaxman, in his 
 Lectures on Sculpture, says, “In the reign of Charlemagne, who was contemporary with our King Edgar, the 
 French began to decorate the outside of their tombs with statues.”—See Gentleman’s Mag. vol. c, p. ii. p. 47. 
 
 * Sepulchral Monuments, vol. i. n. p. 7.—The painting described by Dart (Westmonasterium), as for- 
 merly existing on the basement of Queen Eleanor’s tomb, was possibly of this class. ‘Though the painting 
 is now worn out,” says this author, “ there yet appears a sepulchre, at the feet of which are two monks: at the 
 head a knight armed, and a woman with a child in her arms,”— probably the Blessed Virgin and St. George. 
 
 * Gough, vol. i. p. ii. p. 194, thus describes this painting :—* Within the arch on the wall is a seated 
 figure of the Virgin, crowned with a nimbus,—a lady, habited in a mantle and wimple, kneeling on an embroi- 
 dered cushion, offers a church formed ‘en croix,’ with a central spire; and behind her kneel eleven or twelve 
 religious, chaunting a gorge deployée after the foremost, who holds up a book with musical notes and Salbe 
 sta parens.”—Fleurs de lys are painted as a powdering about and within the arch. 
 
 * See Skelton’s Oxon. 
 
 * See a plate of the tomb, and description of the painting, in Gentleman’s Magazine, vol. ci. p- i. p. 497. 
 
 R 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 62 
 
 enriching the general construction, exhibits, for the most part, but a repetition of cor- 
 respondent applications. Into further consideration of these, therefore, it is perhaps 
 unnecessary to enter. As respects many of the subjects, or more elaborate designs of 
 such kind, however, ornamenting tombs, it is to be observed, though the same remark 
 applies with almost equal force to those introduced generally, there is often an especial 
 fitness and aptness of reference. ‘This is shown particularly in the inscriptive legends 
 attached to the figures of the three Apostles, St. James, St. John, and St. Jude, which 
 decorate the tomb of Bishop Branscomb, at Exeter,and to those of Pity, Mercy, and 
 Charity, on the wall of Gower's Monument in St. Mary Overee’s, Southwark; and 
 also in a number of other instances. 
 
 Among other features in architecture on which colour was very largely employed, 
 
 and with which it appears, to a certain extent, identical, were the 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 “ppabed with popntpl ith point after other.” 
 
 Pier’s Plowman’s Crede. 
 
 appears to have been derived from, and originally an imitation of, the mosaic and other 
 coloured pavements of the Continent, which, known as the “ Pavimenti Gracanici” of 
 
 Pliny, and the “Opus Grecum” of the Byzantine period, were early introduced by 
 continental artists into this country '. 
 
 1 . : 
 The mosaics before and at the sides of Beckett’s shrine at Canterbury, are considered by Gough, 
 
63 
 
 In a few of the earlier pavements this origin is very clearly indicated. At Canter- 
 bury, a portion of the floor of Beckett’s crown is literally a mosaic of glazed tile; and at 
 Rochester, also, are other examples of the same character’. The pavement in the Guard 
 Chamber in the Palace, near the Abbey aux Hommes at Caen, adduced as evidencing 
 a contemporaneous use of such characters abroad, is, according to Ducarel’, of a similar 
 description in its main design, He says that “eight rows of tiles running from east 
 to west, are charged with different coats of arms. The intervals between each of these 
 rows were filled up with a kind of tesselated pavement, the middle whereof represents a 
 maze, or labyrinth, about ten feet in diameter’. The remainder of the floor is inlaid 
 with small squares of different colours, placed alternately.” At Ely, the same peculiarity 
 is found in pavements of a later date. The floor of the chapel in the Prior's lodgings, 
 built by John Crauden, or Crowden, Prior from 1321 to 1341, is strictly a mosaic, 
 executed in red and yellow tile. The subject is taken from the Book of Genesis, and 
 represents the Fall of Man. That which composed originally the pavement of the 
 approach to the Lady Chapel, built 1350, is similarly formed*. An example of the 
 
 (see Archzologia, vol. x.) to have been laid down after the great fire in 1174. That before the High Altar, 
 at Westminster, by Abbot Ware, in 1268 (see Britton’s Hdifices, vol. ii. p. 71), or according to Gough, by 
 Pietro Cavellini. Of the Canterbury pavement a large plate was published by Mr. William Fowler, of Win- 
 terton, in 1807. That at Westminister is represented in Malcolm’s Londinium Redivivum, vol. i. p. 89. 
 
 ’ In both these instances the several pieces of baked clay with which the mosaic is formed have all the 
 character of ancient tesserae, and are evidently imitations of the older models in a ruder and local material. 
 At Canterbury, the varied colours in which the mosaic originally appeared, are yet to be traced in many places. 
 Green, and red, and yellow, are very distinct. é 
 
 * Vide Anglo-Norman Antiquities. Fo. Lond. 1707, pp. 59-60.—Ducarel considers this pavement to have 
 been executed tempo John. 
 
 ® A labyrinth also occurs in the pavements of Chartres and Amiens Cathedrals; and also in that of the 
 Chapter House of Bayeux. See Archeological Journal, December, 1845, p. 408, reporting the proceedings of 
 a meeting of the French Society for the Preservation of Historical Monuments. At this meeting a drawing 
 was presented of a brick mosaic, from a French mansion of the middle ages. 
 
 * The mode of construction of both these pavements is minutely described in Nichols’ Decorative Tiles. 
 In the former, says this author, “the tiles are of great variety of form and size, corresponding with the 
 figures required to be represented, which include a representation of the Temptation of Adam and Eve, trees, 
 lions, &c. The patterns are, in fact, principally made by the outlines of the tiles, though other lines, to com- 
 plete the minuter parts of the picture, or add to its ornamental features, are either incised or impressed upon 
 
 them.” It is engraved in the Archeologia, vol. xiv. pl. xxviii., and in a coloured plate of tiles at Harrington 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 64 
 
 same kind, also, formerly existed at Louth'; and Inwood Church, Essex, is stated to 
 have some remains of a kind of mosaic pavement’. 
 
 The course of this imitative character, or the extent, as respects period, to which it 
 was shown, in pavements strictly English, or of native production, cannot now be exactly 
 ascertained or established. Pavements of “ goodlye tyle,” of the more usual description, 
 are found of nearly equal age with the earliest evidence of the mosaic character offered 
 at Rochester, and they occur, as the common form for those exhibited coevally with 
 the instances of its retention, exemplified at Ely. The tile floor of the Chapter 
 
 House at Westminster, dates from the early part of the reign of Henry III.°; and of 
 
 oe 
 the same age there are several others still existing. Many tiles, also, of the more com- 
 mon or square shape, now found singly among, and forming portions of, later pavements, 
 bear representations of ornaments peculiar to Norman Architecture and the Norman 
 period, and are perhaps of this age. The Zigzag, or Chevron, occurs on some tiles in 
 Westwell Church, Kent. Tiles marked with the signs of the zodiac, seen in the Nor- 
 man pavement at Canterbury, have been found among the ruins of Ulverscroft Priory, 
 Leicestershire. The altar steps at Bredon Church, Worcestershire, also, have tiles much 
 
 worn, and of very early date, on which are figured the zodaical signs 4. 
 
 Northamptonshire, St. Nicholas Chapel, York, &c., published in 1801, by Mr. William Fowler, of Winterton. 
 The latter is described as “composed of tiles, a few of which fit into one another, very effectively arranged in 
 geometrical patterns, nearly approaching the effect of a tessellated pavement. These tiles were originally 
 glazed, and appear to have been of various colours, red, black, yellow, or green; and a considerable portion of 
 them were stamped with ornaments, such as the rose, fleurs de lys, &c.:” in both of the former respects 
 resembling those before noticed at Rochester and Canterbury. 
 
 * See Gentleman’s Magazine (vol. Ixxi. p. ii. p. 1161).—In stained glass, and in MSS., as well as in wall 
 paintings, the mosaic character in the pavement is frequently exhibited. A window in the aisle at St. 
 Michael’s, Doddiscombleigh, Devon, contains a figure of St. James the Greater, standing on a pavement, 
 of a pattern similar to one of the mosaics at Rochester. (See Transactions of the Exeter Architectural Society, 
 vol. ii). The represented pavement in the painting on the wall at Aldenham bears the same resemblance ; 
 
 andon the walls of St. Stephen’s Chapel, at Westminster, were painted figures of Edward III. and the 
 Black Prince, kneeling on pavements of similar character. 
 
 * Excursions through Essex, p. 42. n. 
 
 * See Archzologia, vol. xxix. for full description of this pavement. The story of St. Edward and the 
 Pilgrim is among the subjects represented. The tile containing this is given in “Examples of Decorative 
 Tiles,” by J. G. Nichols, F.S.A. 
 
 * See Archeological Journal, March, 1845, and Hierologus, p. 304. 
 
65 
 
 Of the introduction of this latter, or the more general kind of pavement, at and from 
 this period, that of Henry III., we have historic notice in abundance. In 1238, the 
 chapel in the palace at Westminster was paved with “painted tile,” « tegula picta de- 
 cent’, paveari faciatis’.” In 1250, the king’s chapel at Winchester was directed to be 
 paved in like manner’. Tempo Edward III. Chaucer refers, in his Triolus and 
 Cresside, to the use of the tile floor in inner rooms,— 
 
 “any found too other ladies sit, anv she 
 CHithin a pabed parlor,” 
 
 The accounts of the manor of the Savoy, tempo Richard II. refer to similar applica- 
 tions of tile for flooring’. Of about this period also is the existing pavement of the 
 library in the small quadrangle of Merton College, Oxford *. 
 
 During the fifteenth and the next succeeding century, the historical references to 
 the tile pavement are equally, if not still more numerous. On such, however, observa- 
 tion has been already so far extended by others’, as to render detailed or particular 
 notice of each here unnecessary. To the same extent, as generally known, does existing 
 example of these periods, render unnecessary a detailed mention of every remaining 
 evidence. On a few special peculiarities, shown both in these as well as in earlier 
 pavements, however, and less commented upon, further remark is perhaps called for or 
 allowable. 
 
 As respects colour, it is to be observed, that in the majority of the remaining exam- 
 ples, “painted tyle” exhibits but two colours, most frequently a dark red and yellow. In 
 some cases other hues are met with; grey, or dark slate colour, and yellow, occurs in the 
 Fitzhamon and the Warwick * Chapels at Tewkesbury ; dark blue and yellow at Etching- 
 
 ham, Sussex’; and in an illumination in a missal preserved in the Bodleian Library, a 
 
 * Rot. Claus. 22 Hen. III. m. 19, quoted in Vet. Mon, vol. vi. p. 9. 
 
 * Vet. Mon. quoting Rot. Canc. 35 Hen. III. Southampton. 
 
 * Archzologia, vol. xxiv. 
 
 * Built by William Rede, Bishop of Chichester, between 1349 and 1385.—Ingram’s “ Memorials of 
 Oxford.” 
 
 * See the Oxford “ Glossary of Architecture,” third edition. Oldham’s “Irish Pavement Tiles.” Nichols’ 
 “Decorative Tiles.” Dallaway’s “ Inquiries into the Origin and Progress of the Science of Heraldry in Eng- 
 land,” &c., &c. Much information on this subject is also given in sundry papers of the Gentleman’s Magazine. 
 
 5 See Nichols’ “ Decorative Tiles.” 
 
 * Ecclesiologist, vol. iii. N.S. p. 71.—Tiles of these two colours are also found in Malvern Abbey Church. 
 Ss 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 66 
 
 pavement is shown, composed of green and white tiles. Christ Church Refectory, 
 Oxford, tempo Henry VIII. was paved with green and yellow tiles!; and the Shrews- 
 bury Book, Royal MS.15 E. vi. shows a floor of the same colours. In the portraits of 
 Arthur, Prince of Wales, and Sir Reginald Bray, at Malvern, are pavements painted 
 saltierwise black and yellow, with a small circle at the intersections of the points in the 
 centre counter-changed’. The tile pavement was sometimes, however, of one colour 
 only, glazed ; and at others of several, and occasionally of many colours. In the accounts 
 of Little Saxham Hall, 20 Hen. VIII. green, yellow, and black tiles are mentioned’. 
 Red, blue, and white appear in the pavement of Mavesyn-Ridware Church (see plate) ; 
 and in an illuminated MS. of the age of Hen. V. in the library of Corpus Christi Col- 
 lege, Cambridge, is one shown chequered with green and yellow, black and white *. 
 To tiles, 
 
 —— of mante nibers hue.” 
 
 Chaucer also refers. A variety of colour, however, appears more particularly in the 
 earlier pavements, or those which may be considered to resemble more directly the 
 older mosaics. At Canterbury, in connection with some of the latter kind, red, green, 
 and yellow, and other colours are intermingled; those formerly in the entrance to the 
 Lady Chapel, at Ely, have been before noticed (see ante, p. 63, note). But of more 
 than two or three colours there are now not many existing, the former being by far the 
 more prevalent. 
 
 The usual arrangement of the colours chosen, and the general nature of the patterns 
 employed in single tiles of a perfect pattern, or where the design is spread over more 
 than one tile, is now sufficiently well known, from the many specimens which have been 
 at various times discovered, and are yet to be seen in our ancient edifices, ecclesiastical 
 and domestic. But of the more diversified arrangements of both, under their introduc- 
 tion into perfect pavements, as originally exhibited, example is not so frequent, or notice 
 so full. Several tile pavements, showing the general or whole design upon an extended 
 
 scale, nevertheless, yet remain, and in a comparatively perfect condition. 
 
 Hunt’s “ Exemplars of Tudor Architecture,” p. 11. 
 
 See the plates of these paintings in Carter’s “ Ancient Sculpture and Painting.” 
 * Oxford Glossary, p. 374. 
 
 Archzologia, vol. ii. p. 196. 
 
67 
 
 Mr. Nichols! has described two very interesting pavements, showing the entire 
 design, in the chapels of Isabella, Countess of Warwick, and of the Founder, in Tew- 
 kesbury Abbey Church’, the last of which was built in 1397, and the former 
 dedicated in 1438. He has also given a vignette, showing an equally effective pattern, 
 from the Abbey House at Malmesbury. The splendid pavement before the high altar, 
 at Gloucester, of which a large plate is given in Carter’, is also alluded to, and described 
 by him. 
 
 To these may be added other specimens of corresponding character and equal 
 richness, still preserved. The Chapter House at Westminster retains its original floor ; 
 some of its subservient patterns are given in Nichols, and a portion shown in Caveler. 
 At Salisbury, also, an original floor remains. ‘The Cathedral Church of St. David’s has, 
 also, some handsome patterns, particularly before the high altar and the entrance screen 
 to the choir. In the hall at Crowle Court, in Worcestershire, the tile pavement is still 
 comparatively perfect, and shows a beautiful scroll pattern, in portions on each tile, run- 
 ning over the whole surface of the floor®. At Malvern, the altar steps, and the foot-pace 
 before it, are ornamented with a very beautiful and perfect pattern. The same is the 
 case at Higham Ferrars, Northamptonshire*. At St. Ethelbert’s, Canterbury, a large 
 
 part of a magnificent design has lately been discovered. Two very handsome, from 
 
 1 See Introductory remarks to “ Examples of Decorative Tiles,” by John Gough Nichols, F.S.A. 
 
 * On the former pavement Mr. Nichols observes,—* Panels or compartments, formed of sets of sixteen 
 pieces (the four centre armorial, Beauchamp, with a crescent on the cross, repeated four times), were arranged 
 in the lozengy fashion, or fretté, which was so much in vogue at the period, and surrounded by a single row 
 of plain tiles, separating each panel from those adjoining. The angles alone were connected by a single orna- 
 mental tile, on which appears a circle, like a collar, fashioned in imitation of the ragged staff of the Beau- 
 champs.” The latter is thus described :—“ In a ground of black, or very dark tiles, are inserted lozengewise 
 compartments, formed of four tiles, charged (in combination) with a scutcheon of the arms of the abbey, laid 
 upon a pastoral staff. These compartments extend lengthwise of the pavement, connected only by their 
 upper and lower angles, whilst their side angles are separated by a row of similar lozenges, composed of single 
 tiles, which are ornamented by 4 fine fleur de lys.” 
 
 * Ancient Sculpture and Painting, pl. xvii. 
 
 4 Buckler’s Cathedrals. 
 
 * At Jervaulx Abbey was a pavement, extending, in like manner, over the whole room in a continuous 
 pattern of singular character. In this case the design was composed of a series of concentric circles, of which 
 each tile contained the appropriate segments. 
 
 ° The pattern on the altar steps here is described as being “ laid in various patterns, one of these being a 
 
 lozenge, formed by a square black tile, scored in squares, as a centre, surrounded by four narrow yellow bor- 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 68 
 
 Neath Abbey Church, are given in the Archeological Journal for September, 1846, from 
 an unpublished work on the History of Neath and its Abbey’. One is armorial in 
 character, being formed by tiles charged with various shields of arms placed lozengewise, 
 each tile separated by a narrow plain, or band, tile. The other is of an arbitrary flower 
 pattern, perfect on each tile. Border tiles, ornamented with quatrefoils, two in each tile, 
 originally appear to have enclosed the former. The latter had in the same way a border 
 of tiles, charged with a hunted stag, the hunter winding his horn, appearing, occasionally, 
 on an intermediate one. 
 
 In connection with the subject of pattern, it may be remarked that, among the 
 many varieties, tiles are occasionally found marked with one or more of the letters of 
 the alphabet, and sometimes with the entire alphabet, on one tile. At Chertsey were 
 tiles of a wedge shape, each containing a single letter. Of the latter kind, specimens 
 are noticed in the chapel of Launds Abbey, Leicestershire?; in St. Nicholas Chapel, 
 York Minster ; and among those of the pavement in the Chapter House at Hereford *. 
 In the Lady Chapel, or Presbytery, at Worcester, are the letters 38 & on one of the 
 smaller tiles, used in making up a disjointed portion of the original pavement. 
 
 In this latter case, and it is a circumstance to be noted, as frequent where no more 
 than two are represented, the letters are consecutive, and are placed, in reversed, or more 
 correctly adverse, position *. 
 
 The particular import or reference of letters so arranged, distinguishing the same 
 from those forming scattered portions of inscriptions, of which there are many remains, 
 
 is not as yet clearly ascertained. It may, therefore, be hazarded, perhaps, that this 
 
 dering tiles, having a small black one at each angle.” On the risers of the steps “a lion passant and two 
 antelopes are used with two other kinds, in a regular alternation, as follows :—A painted tile”? (that is, lion or 
 antelope) ; “a square black tile, divided with indented lines into nine squares, the centre one being yellow; 
 a yellow bordering tile, with two indented flowers ; the black tile as before; and lastly a painted tile.’—See 
 Archeological Journal, March, 1846, reviewing “ The Churches of the Archdeaconry of Northampton.” 
 
 * By George Grant Francis, Esq. F.S.A., Honorary Secretary for South Wales to the Archeological In- 
 stitute. 
 
 * See Nichols’ “ History of Leicestershire,” vol. ii. p. xiv. 
 
 * Nichols’ “ Decorative Tiles.” 
 
 “ The reversed arrangement of the letter occurs in the Laund’s Abbey Tile, which is divided into twenty- 
 five compartments, each containing a letter. On that in York the letters read backwards (see plate published 
 
 by Fowler), and on the Hereford tile they were arranged in a circle running from A to M. 
 
69 
 
 peculiar ornament has some connection with the ceremonies used at the dedication of a 
 church, referred to by Durandus, in the same way that crosses were painted or sculptured 
 on the like occasions, on the spots where the Holy Chrism was applied’. Among these, 
 ceremonies, says this author 2, was one, in which the Bishop wrote the Alphabet on the 
 pavement, with the end of his pastoral staff. Now, though the exact form observed in 
 his description is not at this time to be traced, it may be, that the symbolic allusion con- 
 tained in this rite, was retained and is exhibited in the alphabetical tiles, as at present 
 possessed, as well as in those showing a lesser number of letters; the separated parts, 
 
 possibly, of a form originally more in accordance therewith. 
 
 
 
 
 
 
 
 
 
 ie 
 Naat /® ae 
 ole 
 : 
 i D iseellancous 5 
 
 Saw Miscellaneous Hurwitwre, and articles of a like character, paint- 
 ing, as an accessory decoration, embraces a very extended range. Of its 
 
 
 
 
 
 
 appearance in that appropriated to the uses of the church, there are a 
 variety of recorded and existing instances; and the same is the case with respect to its 
 
 employment on other occasions. 
 
 * A painted cross of this description was discovered during some late repairs, on the wall of the south 
 aisle, against the revestry, door of All Saints, Maidstone, 
 
 * See Webb and Neale’s Translation, pp. 122-123.—The exact form of proceeding is thus described :— 
 “A cross,” (says Durandus) “made with ashes and sand, is described athwart the church, upon which cross of 
 dust the alphabet is written in the shape of a cross, in letters of Greek and Latin.” . . “ First,” says the 
 same authority, in continuation, “from east to west, then from north to south, the choir singing the Psalm 
 32 
 
 ‘ Fundamenta ejus ; 
 from the right of the east to the left of the west.” 
 
 or, as it appears elsewhere, “from the left corner of the east to the right of the west, and 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 70 
 
 On the high and inferior altars of our ancient churches, painting with coloured ena- 
 mels, and mosaics of glass and other substances, were the common enrichments from a 
 very early date, not only of their construction, but also of the portable tabulze! or frontals 
 and superfrontals, attached, on high festivals and other occasions, to the same. Of such 
 altars with their constructive ornament, none now remain; and of the earlier tabule, 
 only very general descriptions are contained in the accounts of gifts of such to the 
 churches and religious establishments of the tenth, eleventh, and twelfth centuries. The 
 tabula given to the Abbey Church of Ramsey, by Alwyn, Earl of the East Saxons, 
 A.D. 969, is simply described as being “richly jewelled.” That presented to Glaston- 
 bury, by Abbot Brithwy, A.D. 1017, was similarly ornamented *. The one given to the 
 Abbey of Ely, by Abbot Theodewyn (obiit 1074), as « formed of gold, and enriched with 
 the representations of sacred personages ‘;” and that by Gaufrid, Abbot of St. Albans 
 about 1119, for the altar of St. Alban, in his Abbey Church, as enriched with “ gold and 
 silver, and gems®.” 
 
 Of the later tabula, however, commencing with those of the thirteenth or succeed- 
 ing century, we have, in addition to the existing evidence before observed upon at West- 
 minster", in which combined introductions of mosaic, as a retained, and painting, as 
 an advancing form, appear as the prevalent characteristics, fuller and more detailed 
 
 accounts. Referring to these, we find painting very largely introduced, and, in many 
 
 * The tabula, according to its primeval acceptation, may be considered to be, properly, that part of the 
 altar decoration affixed to the wall above the altar, to which the terms frontal and super-frontal were afterwards 
 more generally and correctly applied. See Lyndwoode and Oxf. Gloss. Art. Table-—Above the high altar at 
 Winchester was “a table (tabula) of images of silver and gilt, garnished with stones.” Archieologia, vol. vi. 
 p. 127.—In later times the term frontal seems to have been generally understood to refer, more strictly, to the 
 
 antependium, or embroidered hanging (see Lyndwoode), hung over the front of the altar. 
 
 * Ibid, quoting Anglia Sacra, i. 610. 
 
 * Ibid, quoting Joh. Glaston. Hist. i. 151; Gul. Malmesb. de Antiqu. Glast. Eccl. ed. Hearne, i. 87. 
 
 * Archeologia, vol. xxx. p. 147, quoting M. Paris Vite S. Albani Abbatum, 63 ed. 1640. 
 
 * This tabula is now enclosed within a glass case, attached to the back or ambulatory side of the sedilia. It 
 is minutely described by Vertue, in Archzologia, vol. i. p. 37; and a drawing of it in outline is among the col- 
 lections of the Society of Antiquaries. Vet. Mon. vol. vi. p. 26.—A rich tabula, of a similar description, was 
 preserved at Winchester until the time of Hen. VIII. See Archzologia, vol. vi. quoting Strype’s Memorials 
 
 of Archbishop Cranmer, App. 24.—Since the above was written another has been discovered at Norwich. 
 
71 
 
 instances, the subject matter of particular or specific mention. In 1235, the 19th Hen. 
 III. two tablets, or tabulee, executed for the King’s Chapel in his Castle of Guildford, 
 were painted, the one with “ the Crucifixion and Mary and John,” and the other with 
 “the Lord in Majesty and the Four Evangelists ’.” A.D, 1272, two tablets for the altar 
 of the Blessed Virgin, in St. Peter's Church, Westminster, are described as “ decet’. 
 depictis,” richly, or excellently, painted’. A tabula, or table, painted for an altar—« Item, 
 j table de fuist-depeynt pur un auter,’—is also mentioned among the effects of Hum- 
 phrey de Bohun, Earl of Hereford and Essex, 1319-1322". 
 
 From the date of these notices, indeed, painting appears to have become the pre- 
 vailing ornament, not only in the tabula, but in the various other forms progressively 
 introduced in the decoration of the altar*; and at a later period, extending from the 
 construction and its fixed adjuncts, to less permanent fittings, occurs as the common 
 enrichment of much of its subordinate and temporary furniture. Thus the canopy 
 anciently placed in many churches over the high altar, and subsequently admitted in 
 many modified forms to other altars, as well as to shrines and tombs, was often enriched 
 with painting’. Nichols’ “ Records of Antient Times,” p. 187, contains a notice of a 
 charge “for freshynge the canopy of the High Awter,” at St. Mary-at-Hill, London, so 
 
 late as the sixteenth century. 
 To the like canopies to shrines °, omitting the shrine or feretory itself, originally rather 
 
 1 See Vet. Mon. vol. vi. p. 23, quoting Rot. Canc. 19 Hen. III. Surrey. 
 ® Rot. Canc. 56 Hen. III. Compot. Will. de Glouc. London.—* Et magro Peto de Ispannia pro ij tabulis 
 
 x 
 
 3 See Archmological Journal, December, 1845.—* Such tabula,” says this authority, “ formed part of the 
 moveable chapel furniture of this age, usually taken with them by persons of distinction on journeys ; licenses 
 to use such, are numerous in the older episcopal registers. 
 
 4 On the Arriere-dos of the altar, and on Tryphtychs, painting was always largely found; indeed, as 
 before noticed (see note, p. 5), both these features appear to have been but modified forms, or media, for the 
 exhibition of the saintly picture originally enjoined. Of the painted rere-dosse, an elaborate example yet exists 
 in that of the Lady Chapel, at Gloucester, and of ancient tryphtychs a few are still preserved. In the Alms’- 
 house at Sherborne, Dorset, there is an old tryphtych. Another exists at the Hospital of St. Cross; and 
 tryphtychs are still to be seen, says the Ecclesiologist, in two churches in Worcestershire. 
 
 > On the canopy of the high altar, the Dove, emblematical of the Holy Spirit, was a frequent subject. 
 See Pugin Gloss. p. 103, quoting Bocquillot. Our Lord in Majesty, just noticed as the subject painted on 
 the tabula at Guildford, was another. 
 
 ° The canopy over shrines, was sometimes called by the names of “ mandualis,” “ requies,” “ripa,” &c. 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 72 
 
 an article of furniture than a fixed erection, and on which such decorations, as before 
 observed, were extensively employed }, similar applications’ of painting were extended. 
 The canopy or cover to St. Cuthbert’s shrine, at Durham, was richly painted and gilt. 
 “On the east end was painted the picture of our Saviour sitting on the rainbow to give 
 judgment,” and “on the west end of the said cover was the picture of our Lady, and the 
 picture of Christ on her knee ;” the inside being “varnished and coloured with a most 
 
 ” 
 
 fine sanguine colour’.” The cover of the processional shrine given by Sir William 
 
 Bruges to the chapel of the Virgin, at Stamford, in 1449, was “ peynted with gold and 
 azure, with sterres of gold*.” 
 
 Upon Fonts, Pulpits, Lecturns, Organs, Sedilia, and other general furniture of the 
 church, we find the like introductions. 
 
 Of the painted font, with its cover or otherwise, examples are yet, or were lately, 
 to be found in St. Gregory’s Church, Sudbury, in Suffolk; in Ufford and Blyth- 
 borough Churches‘, in the same county ; at Cothelstone*, in Somersetshire; and at 
 Chevening Church, near Sevenoaks, in Kent. Of that at St. Gregory’s, Sudbury, a view 
 is given in Neale’s Churches, and it is also engraved, with that of Ufford, in the Vetusta 
 Monumenta. Others existed also, formerly, at Hast Winch, in Norfolk*; and in Bovey 
 Tracey Church, Devonshire’. 
 
 On the Pulpit at Burlingham, St. Edmund, Norfolk, the original painting isin an 
 exceedingly perfect state, and is of a very elaborate nature. (See Plate.) That in Castle 
 Acre Church, in the same county, still retains much of its old painting, including the 
 pictures of the Four Doctors, on its panels. The pulpits of Harburton and Dart- 
 
 mouth Churches, Devonshire, also, show traces of the painting with which they were 
 
 from the Saxon “ reefa,” cloths, originally used for this purpose. See Stuart’s Architectural Dictionary, Art. 
 Shrine.—Canopies of the latter kind were long prevalent used in processions, as they are even to the present 
 day in our coronations. The canopy formerly carried over the host in procession on Easter day, at Durham, 
 was “of purple velvet, tasseled round about with red silk and a gold fringe.”—Rites of Durham. 
 
 * On two small shrines, at Croyland, traces of their original painting are still visible. 
 
 * Antiquities of Durham, pp. 7-8. 
 
 * Nichols’ “ Illustrations of Ancient Times.” 
 
 * Paley’s Preface to “ Ancient Baptismal Fonts.” 
 
 * Keclesiologist, No. 8. 
 
 * See Weever’s “ Funeral Monuments,” for a view of this font as it appeared in his time (1631). 
 
 ” Lyson’s Devon, p. 329. 
 
73 
 
 formerly covered. That of Mitchel-Dean Church, Gloucestershire, was anciently 
 painted in like manner'; and Holne Church, Devon, appears to have exhibited another 
 example’. 
 
 A Lerturn, at Eton College, shows remains of coloured decoration, as does also the 
 stand, or lower portion, of one still preserved in Littlebury Church, Essex. 
 
 The @rgans erected by Archbishop Williams in his Chapel, at Buckden, about 
 A.D. 1639, were “ curiously coloured, gilded and enamelled °.” 
 
 Schilia, fixed or moveable, were commonly painted. In addition to the instances 
 already alluded to in speaking of painting applied to walls, it may be mentioned, that the 
 backs of the sedilia, at Rochester, had the effigies of three Bishops painted thereon ‘. 
 There were pictures, also, in the sedilia of the parish church of Pocklington, Somerset- 
 shire’; and on those of Exeter Cathedral. The sedilia at St. Mary’s, Reading, Berks, 
 had their back walls decorated with painting®’. On those in Preston Church, near 
 Feversham, Kent, faint indications of similar enrichments, are yet to be traced. The 
 sedilia and piscina in the south aisle of St. Nicholas Church, Yarmouth, have also been 
 painted with alternate bands of green and red. 
 
 In the Almeries, or Closets, and on the Coffers and Cope-chests’, used for the 
 safe keeping of the utensils and vestments of service, the same occurs. 
 
 The Almertes, or Aumbrpes, of wainscot, attached to St. Cuthbert’s shrine, at Dur- 
 
 ham, were “ varnished and finely painted, and gilt over with fine little images *. 
 
 See Gentleman’s Magazine, vol. ci. p. ii. p. 410.—This authority describes this pulpit as of oak, of the 
 age of Hen. VII. or beginning of Hen, VIII. and says, that on removing sundry coats of white paint which 
 had been successively applied, the original painting was discovered, “the ground being blue, the edges of the 
 panels scarlet, and the buttresses and crocketted pinnacles green.” 
 
 ® Thid, vol. xeviii. p. ii. p. 115. 
 
 5 History of Pews, p. 24. 
 
 4 Archeologia, vol. x. 320.—These pictures, though damaged, were not defaced, says this authority, 
 before the painting of the choir in 1743. 
 
 > Gentleman’s Magazine, vol. lvii. p. 755.—One of the figures represented the Prophet Elias. 
 
 ° English Churchman, July, 1843. 
 
 7 Some interesting specimens of the Cope-chest remain, says Pugin (Glossary, p. 67), in the vestries of 
 York Minster, Wells, and Salisbury Cathedrals. 
 
 8 Antiquities of Durham, p. 8.—These almeries appear to have been used as reliquaries, or rather as the 
 receptacles for the exhibition, of St. Cuthbert’s relics. On the more costly reliquaries, and such like furniture, 
 
 U 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 74 
 
 The inside of a Closet, or cupboard, is shown painted, in an illumination in the 
 Cott. MS. Nero, C. iv. executed about the middle of the twelfth century. ‘The spaces 
 between the shelves are severally red, blue, and green. The inside of the door, which is 
 represented open, is white, studded with green stars. In the same MS. the inside of a 
 door, intended to represent the open gate of Hell, is painted red. An angel holds the 
 ring handle with one hand, and has put the key into the lock with the other. 
 
 Of painted Coffers and Chests, some are described as preserved in the Chapter 
 House at Westminster’. «A black chest, painted with gold birds,” was included in the 
 Inventory of St. Paul’s?; and “a blue chest, bound with copper and gilt, in that of Lin- 
 coln Minster. “A long painted chest,” containing fifteen corporasses, is also referred to 
 in the latter *. 
 
 Apart from that of the Church, in furniture applied to general and to domestic uses, 
 corresponding exhibitions of painting were equally prevalent. 
 
 As a decoration of the Senstean, painting appears at an early date. The “ taber- 
 nacle,” probably the cornice or canopy round Henry ITI.’s bed, in his chamber at West- 
 minster, was painted A.D. 12724. In the romance of Sir Degrevant (written during 
 the fifteenth century *), the bed of “« Myldore the bryzth "— 
 
 
 
 “tas of asure, 
 GAith tester anv relure (canopy), 
 GAith a brpst bordure, 
 Compasypy ful clene 3?— 
 
 * * * * 
 
 painting and coloured enrichments were universal. Of a reliquary of this latter description, still preserved at 
 Shipley Church, Sussex, a description and coloured engraving is given in Cartwright’s “History of the Rape 
 of Bramber.’ See Gentleman’s Magazine, April, 1831.—As of a similar nature, it may be noticed, that the 
 Pyx, for the preservation of the altar bread, was also frequently painted—“ Item, a painted Pyx for the altar 
 breads.”—Inventory of St. Paul’s. See Dugdale. 
 
 * Hand Book to Westminster Abbey, referring to Sir F. Palgrave’s “Ancient Calendars and Inyento- 
 ries,” in the Treasury of Her Majesty’s Exchequer. 
 
 * See Dugdale. 
 
 * Pugin’s Glossary of Ornament, p. 81. 
 
 “Et magistro Willo pictori monacho Westm. pro tabernaculo depicto circa lectum R. in camera sua 
 apud Westin.”—Rot. Canc. 56 Hen. III. Compot. Will. de Glouc. 
 
 * Archeological Journal, Sept. 1844, p. 244, 
 
Later, Henry VIII.’s “ bedstede,” at Hampton Court had the “ postes and head curiouslie 
 
 wrought, painted and gilt.” 
 
 On Tables and Chairs, &c., it appears almost equally early. 
 
 The old Cable preserved in the Chapter-House at Salisbury, was originally richly 
 painted and gilt”. 
 
 The Chatr used as the coronation chair at Westminster, still retains many evidences 
 of its ancient painting*®. A low chair, or seat, is shown painted, much after the fashion 
 of similar furniture at the present time, in the Royal MS. 15 D. 1. Brit. Mus. written 
 
 tempo Edward IV. 
 
 To Lanthorns, painting was also applied. “One great lanterne, with glass, sett in 
 joyners’ worke, paynted,” is mentioned among the furniture of Sir Henry Fermor’s Great 
 Chamber, at Hengrave*. A lantern, painted chequerwise in squares, red and white, 
 is represented in a painting of St. Christopher lately discovered at Croydon. 
 
 Of Platters, or wooden CTrenthers, it was also the common ornament throughout 
 the middle age*: indeed, applied almost universally during the later periods, painting 
 is exhibited indiscriminately, not only upon most minuter articles of furniture, but also 
 
 on many other objects not strictly of such a kind. For his labour bestowed on Can- 
 
 1 Hunt’s Exemplars, p. 157.—This author says “ ginger colour, hatched with gold,” was a favourite colour 
 at this time. 
 
 * Winkle’s Cathedrals, and Gentleman’s Magazine, vol. ciii. p. i. p. 297. 
 
 ® Planche’s “ Regal Records.” The whole chair,” says this author, “has been completely covered with 
 gilding and ornamental work, much of which may be distinguished on close inspection. On the inside of the 
 back are some faint traces of a male figure in a royal robe, a small portion of the bottom of which, together 
 with a foot and shoe (the latter somewhat sharp pointed) are still visible. Below the elbow on the left side is 
 distinguishable a running pattern of oak leaves and worms, with redbreasts and falcons on the oaken sprays in 
 alternate order; a different pattern of diapered work is shown on the right side, as well as within the tiers of 
 panelled niches which adorn the outer side and back of the chair. Within the spandrils connected with the 
 upper tier of niches at the back, small sprigs were formerly depicted on a metallic ground, either gilt or sil- 
 vered, and covered with plain or coloured glass, as may yet be seen in three or four places. The diapering 
 within the panels, as far as can now be traced, was formed of running patterns of vine and oak branches.” 
 
 * Hunt’s Exemplars, p. 142. 
 
 5 Fosbroke’s “Encyclopedia of Antiquities.’—See note at p. 35, referring to the painted ornaments on 
 
 some fruit trenchers described in Archeological Journal for December, 1846. 
 
 
 
 
 
76 
 
 
 
 
 
 terbury Cross, in 1521, for instance, “Floraunce, the paynter,” was paid 58s. 8d‘. 
 
 Coventry Cross, also, appears to have been painted?. Again,— 
 
 
 
 a rpall condupte hede, 
 Made of fine gold, enamelled with rene.” 
 
 
 
 
 
 is referred to in Hawe’s Tower of Doctrine, in Percy’s Reliques; and as a parallel 
 
 
 
 example, the “Conduit” in “ Gratious Street,” was “ finely painted,” on the occasion of 
 
 the entry into London, of Phillip, King of Spain, with his Consort, Queen Mary ®. 
 
 ' See Proceedings of the Society of Antiquaries, November, 1844. 
 * See Contract for Coventry Cross, quoted in Oxford Glossary, p. 205. 
 * See Holinshed, vol. iii. pp. 1091-1120, and Strutt’s Sports and Pastimes, Intro. p. xliii. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
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 @HAall Paintings. 
 
 From Westminster. rom Ceivkesburp. from Rochester. 
 
 (Date, about 1500.) (Date, 1438.) (Date, Fifteenth Century.) 
 
 Tux first, or principal, subject here given, and numbered 1, shows a portion of the panelling of 
 the west wall of the entrance to the Chapel of St. Erasmus, at Westminster, with its painted 
 decorations, restored from the remaining indications. The adjoining part of the wall, which is 
 not panelled, has been painted with a leaf, or flowered diaper, of which faint traces are still 
 discernable ; and the same pattern, it is probable, was continued on the plain surface of the 
 panels, left uncoloured in the plate, from the absence of sufficient existing authority for such a 
 restoration on this part. Another portion of the wall forming the southern extremity of the 
 entrance, which contains a niche and a bracket for the statue of the Saint, the painted nimbus or 
 aureole of which is yet to be seen, has been powdered with the same flower and fleurs-de-lys, 
 alternating. 
 
 That numbered 2, exhibits the counter-changed pattern used as the general ground to the 
 walls of the Chapel of Isabella, Countess of Warwick, otherwise the Warwick Chapel, in the 
 Choir of Tewkesbury Abbey Church. 
 
 The diaper pattern numbered 3, is taken from the south east pier of the Nave at Rochester, 
 towards the south aisle. It is continued, and breaks round the main pier and its attached shafts 
 in the original, but is here shown spread out, that the design may be more clearly seen. It is 
 finished at the top, as will be perceived, by a narrow red list or border. This painting is pro- 
 bably of the age of the chapel attached to the end of the aisle at this point, and communicating 
 with the transept, through the arch on the jaumb of which the painting appears. 
 
 xX 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
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 RE RT 
 
 
 
 78 
 
 From the Lap Chapel, Gloucester. 
 
 (Date 1457-1499.) 
 
 Tu example selected for this plate is taken from one of the niches of the Arriere-dos, or altar 
 screen, in the Lady Chapel, at Gloucester. The screen itself contains many of these niches, each 
 containing a different pattern, executed or stamped,—as are, indeed, all the ornaments and pat- 
 terns with which the shafts and buttresses, and other parts of the screen, are likewise enriched— 
 in low relief, in a mastic, or such like composition. ‘The back ground in each niche is varied in 
 colour, and finishes at the springing of the canopy of the same, with a band, or border, of gold, 
 
 studded with imitative jewels, also in relief. 
 
 From the Sentlia, Tetvkesburp. 
 
 (Date about 1470.) 
 
 ‘THE three patterns here given, ornament respectively, and in the order shown, the backs of the 
 Sedilia, three in number, on the south of the altar at Tewkesbury ; that formed by the fleurs-de- 
 lys being exhibited on the easternmost. In addition to the back walls of the recesses forming the 
 seats, the whole of the moulded jaumbs, arches, and canopies, &c., at the sides, and over the 
 same, have been likewise painted ; the prevailing colours being red and green, intermixed with 
 gold. The upper parts, however, are so much mutilated, and the nature of the plan or splay of 
 the arch mouldings is such, as to prevent, except when drawn to a very large scale, a satisfac- 
 tory geometrical view being given of these portions. The painting appears to have been done in 
 size or distemper, and from the introduction of the white rose in the westernmost seat, may pro- 
 bably be referred to the time of Edward IV. 
 
 From Tamworth Church. From Aldenham Church, 
 
 (Date, Fourteenth Century.) (Date, Fifteenth Century.) 
 
 THE specimen numbered 1, in this plate, is a portion of what formed originally the decoration 
 of a considerable part of the eastern wall of St. Nicholas Chapel, in the south aisle of the Church 
 of St. Edith, at Tamworth. It appears, when perfect, to have acted as the superfrontal of the 
 altar of St. Nicholas. In the upper part is a blank space, corresponding with the outline of the 
 figure of the Saint, which formerly stood against the wall over the altar; and on one side of 
 this space is a representation of his usual emblem or accompaniment, the three children in a 
 tub; and on the other, traces of three female figures in attitudes of adoration. The design has 
 been painted at once on the stonework of the wall in oil, or colour fixed with gum. From the 
 
 style of execution, the painting is of about the age of the fourteenth century. 
 
aS 
 
 To the left of this painting are the imperfect remains of a more elaborate subject, arranged 
 in connected compartments, having the depressed ogee arch. In one a nimbed female figure is 
 traceable, kneeling, apparently, before an altar, near which is part of the figure of a Bishop, hold- 
 ing in his left hand a closed book, and in his right a pastoral staff. 
 
 Those numbered 2 and 3, are from the eastern wall of the north aisle of Aldenham Church, 
 Herts. The former is merely a subservient portion of the larger pattern, marked 3, which has, 
 like the painting at Tamworth, formed the general ground of a superfrontal, of which the centre, 
 or main subject, was a representation of the Holy Trinity, surrounded by the symbols of the 
 Four Evangelists. In this case, the ground appears to have covered the whole extent of the east 
 wall, above the altar, up to the sill of the window over the same; the principal subject being de- 
 picted in the centre, above the altar table. In both instances these paintings have been white- 
 
 washed over, and still further hidden by Elizabethan “scriptures,” painted thereon. 
 
 Roofs and Ceilings. 
 
 
 
 Ceilings. Malvern Ghbep Church. 
 
 (Date about 1450.) 
 
 Tue Ceilings here represented, form respectively, those of the Choir and Nave of what was ori- 
 ginally, the Abbey Church of Great Malvern. They are each constructed in oak, framed in bays, 
 subdivided into panels, ornamented, at the intersection of the main and smaller ribs, with flat 
 bosses of the same material; those to the choir being square, and those to the nave of a circular 
 shape. The ribs in each case are plain, without colour ; the painting, excepting the smaller ribs 
 of the choir, the lower faces of which have a small sunk panel tinted red, being confined to the 
 panels and the bosses. In the panels of the choir ceiling, the ornament is painted on a ground 
 of a light grey, covering the general surface. In those of the nave, the pattern is executed at 
 once on the naked oak. The former appear to have been originally done, or have been since 
 
 re-touched, in oil ;* the latter in distemper colour. 
 
 * This roof was, it is stated, subjected to some repair about thirty years since, which it is possible may 
 
 have extended thus far. 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 80 
 
 Rook. Alvenhanr Church, Herts. 
 
 (Date, Fifteenth Century.) 
 
 OF the ancient colouring of the Nave roof at Aldenham, shown in this plate, considerable 
 remains yet exist in a tolerably perfect state. The same design, or pattern, appears to have 
 been repeated on every principal, and in each bay. The whole is produced simply by colour ; 
 the carved ornaments being limited to the angels on the faces, and to the heads in the angles 
 formed by the junction of the principals with the cornice. The painting on the sides of the 
 rafters, and on the purlins, has perished ; these are, therefore, left uncoloured in the plate. The 
 upper surfaces of the mouldings, E and D, appear, as hidden from sight from below, never to 
 have been coloured. From the prevalence of the red rose in the decoration, and the general 
 character of the roof itself, this example may probably be referred to the time of Henry VI.— 
 the middle of the fifteenth century. 
 
 Ceiling in the Beanerp, Worrester, 
 
 (Date, sixteenth Century, tempo. Hen. VII or VIII.) 
 
 Or the Ceiling shown in this plate no remains now exist, the same having been destroyed in 
 alterations, some short time since, to the house in which it was contained, and which formed 
 originally part of the residential buildings attached to Worcester Cathedral. When perfect, the 
 ceiling contained fifty-six panels, alternately of the two patterns shown in the plate, the length 
 of the room being divided into three bays, by brackets, springing from circular shafts, with caps 
 and bases, attached to the longitudinal walls of the room. These brackets and shafts, &c., 
 together with the rib mouldings and cornice, were all of oak. The under surface of the panels 
 was plastered, and upon the plaster, the roses, &c. were painted in distemper. The ornaments, 
 
 &c., on the ribs were in oil, or colour tempered with a resinous preparation. 
 
 Sereeng. 
 
 Roorv-Srreen. Trunch, Portolk, 
 
 (Date, latter part of the Fourteenth Century.) 
 Tue Rood or Chancel Screen of Trunch Church, Norfolk, of which the plate here given shows 
 
 the upper part of one bay, is one of the most interesting examples of painted decoration now 
 
 remaining. It is formed in seven compartments, or divisions, three on each side of a centre one 
 
81 
 
 one, acting as the doorway, or entrance, to the chancel. The lower part of each compartment 
 is divided into two smaller divisions, or panels, making in all twelve of these panels, six on each 
 side of the door, on each of which, on the western side, or that towards the church, is the 
 painted effigies of an Apostle. The middle rail is carved with an interlaced vine branch and 
 label, or scroll, bearing an inscription, the leaves and fruit, &c., heightened with colour and gold. 
 The whole of the mouldings, both of the upper and lower portions, are profusely enriched with 
 colour, the principal beads, &c., and the faces of the buttresses being gilt. The screen has pos- 
 sessed a projecting rood loft, a small part of the fan groining of which only, however, now 
 exists. It is to be remarked that, in this screen,—and the same peculiarity occurs in those of 
 Burlingham and Tunstead, as well as one or two others in Norfolk,—that the tracery is double, 
 or repeated on each side, and also different in the design, as respects the crochets, finials, &c., 
 on the two faces. The colour employed as the ground of the mouldings, right and left of the 
 centre, as well as on the church and chancel sides of the screen, is also different. The bays on 
 the south side of the doorway are painted green, with gold flowers, as shown in the plate. The 
 painting has been done in oil at once on the oak, and some of the diapered ornaments on the 
 
 grounds of the panels are stamped in low relief. 
 
 
 
 
 
 Chancel Screen, Burlingham, Porfolk, 
 
 (Date, Fifteenth Century.) 
 
 Or this Screen, the plate exhibits the pierced tracery of the upper part above the springing, and 
 the two panels comprised in the lower part of one bay. The screen perfected is a very simple 
 and effective one, and forms the separation between the chancel and the body of the church. 
 The painting appears to have been limited to the western face, and is of the same general cha- 
 acter, prevalent in many of the smaller Norfolk screens. The lower panels are grounded alter- 
 nately red and green, powdered with flowers of gold. The main tracery of the upper panels, as 
 noticed when describing the Trunch screen, is double, and is of a different detail on each side. 
 The screen does not appear to have had a rood loft, and finishes with a battlement and crest 
 ornament, the latter gilt, and relieved on a plain back ground of blue. The whole of the hollows 
 are painted white, relieved in the upper tracery by red fillets. 
 
 Srreen, Aldenham, PHerts. 
 
 (Date, latter part of the Fifteenth Century.) 
 
 Tue Screen, a part of which is represented in this plate, formed, in continuation of the line of 
 
 the Rood-screen, the western enclosure of a small chapel at the east end of the south aisle, at 
 
 Aldenham. When the original sketch was taken, this screen, with a corresponding one,—(not 
 Xe 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 82 
 
 however, painted)—enclosing in the same way, the end of the north aisle, still existed. Now 
 (1847) the latter alone remains; the former, beautifully painted, as shown, having been taken 
 down and removed during some late alterations, the fragments, with the painting cleaned off, 
 being deposited in the vestry. 
 
 As will be seen on reference to the drawing, this screen had originally a groined projecting 
 loft, or canopy. The staircase by which access was gained to this loft, as well as to that which 
 probably existed over the chancel screen, long since destroyed, is contained in the south east 
 pier of the nave, against which both screens abutted. It was of three bays, or divisions, the 
 centre one forming the entrance to the chapel from the aisle; the upper panels were pierced, 
 the lower close, and coloured, apparently at a more recent period, a deep crimson, mottled with 
 a dead white, in an irregular pattern, too indistinct and problematical to be given. The whole 
 of the screen appeared to have been covered, previously to painting, with a thin coating, or 
 ground, of fine plaster. Oil appeared to have been the medium employed. 
 
 Tombs and Sepulchral Atonwments. 
 
 Tomb of Apmer de Walence, Earl of Pembroke, Westminster, 
 
 (Date, about 1325.) 
 
 Or this Tomb, so generally and so well known, but little description is necessary. Forming 
 one of three, on the north side of the altar at Westminster, it exhibits, like those of Crouchback, 
 Earl, and Aveline, Countess, of Lancaster its companions, the remains of the most elaborate 
 painted decoration. The lower part, or table, of the monument, a portion of which is shown in 
 the plate, contains on each side canopied niches, Decorated in character, beneath and between 
 the pediments of which are spandrils, respectively filled with circles and tracery, trefoiled and 
 quatrefoiled. A cornice moulding, filled with a leaf-like ornament, runs round at the level of 
 the finials of these pediments, and supports the ledger of the tomb, on which lies the effigy of the 
 knight, beneath an elevated herse, or canopy, profusely ornamented with painting and gilding, 
 in like manner with the lower portions. The grounds of the niches are painted, as will be per- 
 ceived on referring to the plate, blue and red, in alternate order, diapered with small gold 
 flowers. Each niche is occupied by a carved statue, omitted in the plate as much decayed, 
 
 and devoid of colour, at least so far as can be accurately made out. The grounds of the trefoils 
 

 
 83 
 
 are red; those of the quatrefoils, &c., appear to have been green, powdered with gold flowers, and 
 the latter are further ornamented with emblazoned shields of arms. One of those shown bears 
 the arms of De Valence, another the ancient coat of France, and another empales the latter, 
 with one, the emblazonment of which, with the exception of a file of two points in chief, on the 
 sinister half, is illegible. The whole of the main lines, or fillets, and the hollows of the tracery, 
 with the shafts and capitals, crocketting and finials, are gilt. The painting appears to have been 
 executed in colours tempered with oil; some of the mouldings in the upper part, or canopy, 
 
 being stamped in diapered patterns. 
 
 Tomb of Richard FE, Westminster, 
 
 (Date, 1399-1414.) 
 
 THE specimen here given shows a portion of the Sperver, or canopy, over the Tomb of Richard 
 II. and Anne of Bohemia, his Wife, in St. Edmund’s Chapel, Westminster. It is of oak, painted 
 on the face, as shown, of a deep blue; the upper hollow, and the lower ogee moulding, red ; 
 the fillets and beads gold. The fleurs-de-lys, and the leaf ornament in the large hollow of the 
 cornice, are carved and gilt. The other flowers which enrich the mouldings are simply sten- 
 cilled thereon in gold. The under surface, or soffit, of the canopy, contains three painted sub- 
 jects drawn on a stamped mastic ground, a portion of which is shown full size in the plate. 
 The centre subject represents our Lord seated, and at his feet a kneeling figure of the Blessed 
 Virgin. The two others are shields of arms, each supported by winged angels: the whole exe- 
 
 cuted in a very superior manner. 
 
 Tomb of Lory Sourrhier, Westminster; 
 
 (Date, 1431.) 
 
 Tuts Tomb, included in, and forming a part of, the screen to the Chapel of St. Paul, at West- 
 minster, must have been, originally, one of the richest examples of its kind. The painting has 
 been much damaged by sundry repairs to the monument, but still exhibits, in many parts, 
 its anciént enrichments. It will be perceived, on reference to the plate, that the face of the 
 buttress at the end, and sundry other portions, are left uncoloured, for the reason that no suffi- 
 cient authority for restoration of these portions now remains on the original. The whole of the 
 tracery and pierced work of the upper part, forming the screen, has been painted a deep blue ; 
 the hollows studded with Catherine wheels of gold. On the face of each battlement in the cor- 
 nice the same ornament is also repeated. The main hollow of the cornice is also a deep blue, 
 
 and is enriched alternately with emblazoned shields of arms and water-boujets,—the cognizance 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 84 
 
 of the Bourchiers,—between which is inscribed, in letters of gold, part of the Non Nobis, or 
 115th Psalm. Immediately under the cornice is a broad band of stone, ornamented with various 
 shields of arms, above which originally ran an inscribed scroll; and beneath this, again, just 
 above the shields in the spandrils, shown in the upper of the plate, is another similar band, 
 enriched in like manner; forming together a mass of heraldic decoration almost unparalleled. 
 On each side of the table, or body of the tomb, are the Bourchier supporters, the golden lion 
 and the white, or silver, falcon, holding banners charged with the Bourchier arms and alliances. 
 
 Tomb, Al Saints, Maiystone, 
 
 (Date, latter part of the Fourteenth, or beginning of the Fifteenth, Century.) 
 
 THE monument here represented, usually called the Wootton, or Wotton, Tomb, stands against 
 the chancel in the south aisle of All Saints’ Church, Maidstone. he original painting of the 
 upper part is still very perfect. Altogether, the tomb contains a series of seven canopied arches, 
 arranged in three divisions; two on each side, which spring from buttressed piers and hanging 
 pendants, standing slightly relieved from the wall; the three centre overhanging the recess for 
 the reception of the table portion of the tomb. The wall in these side divisions is painted red, 
 and has been apparently powdered with some ornament now indistinct. The ground of the 
 centre and its returned ends is a deep blue, on which are painted several figures. On the wall 
 of the east side of the recess is a figure, shown in the plate, bearing an Archiepiscopal cross, still 
 very perfect; and on the west side a corresponding figure, less perfect, similarly clad in pontifi- 
 calibus, and holding a pastoral staff or crook: The former has been considered to represent 
 Archbishop Chichely, the patron of one of the Woottons, who was master of the adjoining col- 
 lege ; but as both of these figures bear the saintly nimbus, it is probable the first is intended for 
 St. Thomas of Canterbury, the latter, perhaps, for St. William, Bishop of Rochester. On the 
 back wall of the recess are figures of the Blessed Virgin, St. Catherine, and, apparently, St. Ann ; 
 to the former of whom, represented enthroned, an angel, the wings and part of the robes of 
 which only remain, is presenting a minute and very indistinct figure. Of the arrangement of 
 the colour, and the nature of the enrichments on the upper parts of the tomb, the plate is suffi- 
 ciently explanatory. On the lower part, no remains of colour are discernible. 
 

 
 85 
 
 Pabentents. 
 
 Pabement. Malvern Abbep Church, 
 
 (Date, about 1450.) 
 
 Tur Pavement, of which a portion is here represented, forms that of the “haut pas,” or foot 
 pace, as well as that of a great part of the remainder of the floor, with the « grees,” or steps 
 thereto, before the altar in the church of Great Malvern. As will be perceived, the pattern is 
 simply a succession of quatrefoils, the spaces between which are filled in with shields, charged 
 with the ancient arms of England, and those of the Abbey of Westminster ; the shields forming 
 the centre ornament of each tile; and one-fourth of the quatrefoil that of each angle of the 
 same. On the steps the arrangement of the pattern is very effective; the treads comprise in 
 width two tiles, or two-thirds of the pattern drawn on the plate. The remaining tile in vertical 
 position forms the riser, the nature of the ornament upon it having the appearance of a hanging 
 fringe to the total design. The tiles average about 5} in. Square, and are formed of the usual red 
 
 earth, the pattern painted or stencilled on the surface, preparatory to glazing. 
 
 Cile Pabement. Fits-Hamon Chapel, Tewkesbury, 
 
 (Date, about 1500.) 
 
 Tus plate exhibits a portion of the pavement in the chantry, or monumental Chapel, erected 
 by Abbot Parker, to enclose the tomb of Robert Fitz-Hamon, Lord of Corbeille and Thorigny, in 
 Normandy, and of Tewkesbury, founder of the Abbey; who, dying of wounds received in the 
 battle of Falaise, A.D. 1107, was shortly after buried, in the Chapter-house, from whence his 
 body was removed into the Church of his foundation, in 1241. Mr. Nichols in his “ Deco- 
 rative Tiles,” describes another part of the same pavement as showing a similar pattern; the 
 four centre tiles, however, bearing the arms of Abbot Parker, impaling those of the abbey. In 
 the example here selected, those of Fitz-Hamon are represented. The tiles are of a dark grey 
 colour, the devices impressed and filled with a white clay, to which the glaze applied has given 
 
 a yellow hue. They are each about 5 in. square. 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 86 
 
 Pabenent, Chertsep Abbep, 
 
 (Date, about —_.) 
 
 Tue portion of an old pavement from Chertsey Abbey, from which the subject of this plate is 
 taken, is preserved among the collections of the late Sir John Soane. The tiles, it is observable, 
 are of not a very usual shape or dimension, nor is the pattern of a common kind. They are 
 here represented of the full size of the originals, the circular tiles being 1zin. in diameter ; the 
 others measuring diagonally 23 in. by 21in. The date of this pavement is unrecorded. Some 
 tiles of a circular shape have been discovered at the same place, ornamented with portraits con- 
 sidered to represent Hen. III. and his Queen; as have others of a wedge shape, both of which 
 
 forms may be considered as indicative, generally, and particularly the latter, of early age. 
 
 Pabement, Bumstall-Rinware Churrh. 
 
 (Date, about ) 
 
 Tus Pavement shows a curious and unique arrangement of three colours on each tile—red as 
 the general ground, with blue and white for the other portions of the pattern,—of which existing 
 specimens are by no means frequent. The tiles are about 4} in. square, and four of them, at 
 least, are necessary to show the whole, or perfected design. As will be perceived, the plate 
 exhibits a conjoined representation of six, with a view to complete development of the same. 
 
 Miscellaneous Furniture, Xe. 
 
 Pulpit, Burlingham. (Two Plates.) 
 
 (Date, early part of the Fifteenth Century.) 
 
 Tue Pulpit at St. Edmund’s, or South, Burlingham, a geometrical view of which is shown in 
 the first of the two plates of this subject, affords a very perfect and rich example of the painted 
 decorations applied to this feature in our ancient churches. By good fortune it has been pre- 
 served with comparatively a slight amount of damage. It is of oak, and raised on a stone base, 
 
87 
 
 stands against the north wall of the nave, a short distance in advance of the chancel screen 
 given in a former plate. The plan is that of a polygonal figure, 2 ft. 10 in. in clear diameter, 
 whose total number of sides, or faces, if completed, would be 16; of which 10 show themselves 
 in projection from the wall against which it abuts, and are so placed with reference to a centre 
 line, drawn through opposite points of the polygon, that the latter forms an acute angle with the 
 former. Of the arrangement of the colouring on this interesting specimen the plate will be 
 sufficiently explanatory. Following a very common practice, the colour is the same in every 
 alternate panel, the grounds being red and green, diapered with gold flowers, and black stars. 
 In the smaller panelling of the lower parts, it will be seen that where the ground is green, the 
 fillets are red, and vice vers’. The ground of the upper and middle parts of each main pahel is 
 in like manner varied, green appearing in the upper portion, where red occurs in the inter- 
 mediate. The upper half of the face of the buttresses is gilt and stamped with a diaper in 
 relief; the lower half with the whole of the sides, are painted white, and decorated with red 
 and green flowered sprigs. The ogees have a waved pattern of two colours, powdered with 
 flowers, red and gold. The fillets and spandril ornaments, &c., are gilt. The hollow of the 
 cornice appears to have had stamped ornaments, of which, however, a few small four leaved 
 flowers only remain. Across the midst of the pulpit is the inscription, taken from Matthew 
 xi. v. ii. (in the Vulgate):—inter + natog + mulfertt + fon + Surrepit + major + Jo- 
 bane + Saptista. 
 
 Lerturn, Ltttleburp, 
 
 (Date, Fifteenth Century.) 
 
 Tue portion of the Lecturn, from Littlebury, Essex, here represented, lay, uncared for, at the 
 time the sketch was made, in a room, or loft, of the church, used as a depository for lumber. It 
 is of oak, and has been “ beautified” with successive coats of whitewash ; on clearing away which, 
 to ascertain the material, indications of its original painting, as respects those parts coloured in 
 the plate, were discovered ; on those tinted oak colour, no traces remained. The plan of the 
 shaft and base is octagonal, the angles of the former finishing against a corresponding number 
 of buttresses of three stages, the faces of which have been painted white, with an imitative panel 
 on each face in blue; the space between, and the adjoining sides of every two buttresses being 
 
 alternately green and red. The upper part, or rest for the bool, no longer exists. 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 88 
 
 Pirhe. Barrow Churrh. 
 
 (Date, Sixteenth Century.) 
 
 Tue Niche, the subject of this plate, is contained in the east wall of the small room, or parvise, 
 over the porch of Harrow Church, Middlesex. It is placed close to the north east angle of 
 the room, the level of the top of the bracket, or shelf, of the niche, being about 3ft. from the 
 floor. The painting, except on the back wall of the recess and the spandrils of the groining 
 under the canopy, is very distinct, having escaped whitewashing with the contiguous walls. It 
 is stated to have retained, within memory, a Saintly figure, now, however, removed. 
 
 In the same room is an oak panelled ceiling, on which much of the old painting remains. 
 It is framed in four panels, rising slightly to a ridge, with a kind of half principal, with hanging 
 brackets at each end, against the north and south walls. The panels are painted blue, and 
 have been studded with stars, carved and gilt. The ribs have red hollows ; and gold fillets and 
 gilt bosses ornament the intersections of the panels. The half principals and brackets are 
 curiously painted, and are crowned with a carved crest, or brattishing, above a fillet and hollow 
 moulding, filled with four leaved flowers as a cornice, continued on the two other sides of the 
 
 room, also, all gilt. 
 
re see crease 
 
 Errata. 
 
 
 
 Page 7, line 18, for Literat, read Liberat. 
 
 » 7% » 28; » Miliere, » Milicie. 
 
 by 105) es) 285) ay Note, py Lo, » Note, p. 5. 
 
 wot Sees » St.John Baptist, ,, St. John Evangelist. 
 
 m UG) on » Bloomfield. », Blomefield. 
 
 lOn " ib. . ib. 
 
 A eh. on y» vocaviter, » yocabiter. 
 
 eee, » South Wraxall, ,, Great Chalfield. 
 
 mar Chea » heraldic, y_heraldrie. 
 
 Resor ee eee 
 
 By, CE i » characters, » character. 
 Lonvon :—DRURY, 
 
 PRINTER, XXXI, BARTLETT'S BUILDINGS, HOLBORN. 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
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