cH e: WRERRE G4 RERREEE Te & ©») ett oe a: ON THE v CONTINENT or BUROPE RuiGbings ; ati Rrainng TADS CREENY,M.A.ESA. VICAR OFS ee TAT - fg NORWIGH. (A Boikol Faves a scope Bike Ohe 71 wa Gave a hag ante. notes pried bp. “TARR BN. nie Co Revert ibe pt 9 E SRS tao IEFEUSTRATIONS -O JNGCISE Dr sips ON Wee COWMONIEINT OW IEUIROR IE. R.LB.A. LIBRARY; CANCELLED i tee RDS S80 a FI Tbe ki : fi . oe, REZ PAS => “PNOnye ees AON FHE % CONTINENT o¢ EUROPE po, FROM ae Rubbingg wv Tracing BY W.F. CREENY,M.A.FSA. VICAR OF S-MIGHAEL-AT-THORN, NORWIGH. A Book of Pacgitiiles of Oonnmetital Brags on the. Continen oe Ghe 71 targimile? have been photo lithoorephey kno 2s ao OO. Grinng ad Smny, Lindon 4 auib the. nokes printed bp Hanes Tr. Googe ss. Cle Dorwirh forthe Alor. oe Ci INTRODUCTION: science of Archeology covers so wide a field for intellectual activity, that no one yet knows all it embraces, but while some are giants in the study; others, like myself, are content —! to pursue one line of research, with the hope of letting clearer light shine upon what was known only in mist and shadow. I feel sure that many will be astonished to know that the illustrations in this book are from engravings on stone and not on brass. The subject of incised slabs has not altogether been neglected, for we have the Rev. E. L. Cutts’ Manual, consisting chiefly of a series of illustrations of crosses, all made to look very nice by beautiful modern drawing. Also in Boutell’s Chréstian Monuments we have incised crosses, coffin lids, and very quaint semi-effigies, all in England. In foreign slabs the late Alexander eat interest, as may be seen recorded in volumes of the Nesbitt, Esq., took g Journal of the Archeological Institute. Local slabs have occasionally figured as illustrations in papers read before Archeological Societies, both at home and abroad, but I know of no book of fac-similes of the incised slabs on the Continent, or as they are called in France, Pierres tombales gravées au trait. The sumptuous tombs of kings and princes, in all the rich luxuriance of the sculptors art of the fourteenth and fifteenth centuries, have often afforded illustrations for books, but not till now has any attempt been made to draw from so wide a field examples of the humbler art of the engraver of flat stone tombs. The earliest flat dass engraved Christian monument yet discovered, is that of Bishop Yso Wilpe, at Verden by Bremen, date 1231; but we do not yet know the date of the earliest engraved stone Christian sepulchral monument in Europe. At first they were nothing more than crosses with brief inscriptions, or such symbols as have been found in the Roman Catacombs. After the year a.p. 1000 had passed, and the end of the world had not come, a desire for church building gradually spread, and churches were erected in many places, especially on spots where martyrs died; or, on his estate, a landed gentleman would build and endow a church for the use of the whole neighbourhood. This church would be his family mausoleum, and before its high altar he, as the founder, would be buried. The desire to be buried in a church was very general. Rich people only could erect the costly altar tombs that were denounced by councils for obstructing the floors of the churches. It is not till architecture began to grow into beauty that we shall find effigies on tombs such as we have on these incised flat stones. It would seem that slabs began to appear in church pavements late in the twelfth century, and were very common in the thirteenth. Any one who can compare the illustrations in this book with those in my Book of Fac-similes of Monumental Brasses on the Continent of Europe, will notice the special mark of difference to be in the backgrounds. In the brasses there is almost always a background of a rich diaper. In the slabs this background is wanting : yet occasionally a simple enrichment is introduced, pointing to the fact that the artists of both were the same; the different materials on which they worked compelling them to the different treatment of their subjects. Then it may be noticed that the symbols of the Evangelists are more frequent on the brasses than on the slabs. Again, the right hand of God above the head of the deceased is frequent on slabs, and occurs only once, A.D. 1400, il in my book of eighty brasses. Why this should be so in art creations that were almost contemporaneous is not clear. Again, on the brasses the architecture of the canopies and sides is far more rich than on the slabs, which is accounted for by the greater facility the brass afforded for the execution of a richer design than the stone. And yet we have some exceedingly fine canopies on the slabs here represented. Inscriptions are generally brief. A name, a date, and a prayer. Sometimes the words are thrown into verse. As indications of date, the forms of the letters have frequently been noticed. Mr. Cutts, in his AZanual of Sepulchral Slabs, p. 53, says, ‘‘the runic character was not used after c. a.D. 1000. This cannot be true, as runes were used, certainly in Scandinavia, till the sixteenth century, Then he says, from a.p. 1000 ‘till about 1350, a kind of Roman character, called Lombardic, was commonly used.’”” Then he quotes Gough, vol. iii., p. cclxvi—‘ The latest instance we meet with of Lombardic is on the tomb of Robert de Bures, Acton, 4p. 1367," The true date is 1302, hot 1361. Now, we have Lombardic letters in this book from 1247—No. 6—to 1397—No. 49— and possibly up to 1500, if my conjectural dates of Nos. 58 and 59 be nearly right. On a brass at Nordhausen there are Lombardic letters, a.p. 1395, and 3 Br Toe on one at Brug S, AD. 1410. And as late as 1482, on a brass at Bre u, we have Lombardic letters in use as the capitals to words in Gothic minuscule, or black letter. Again he says, “black letter seems to have been introduced c. ” 50. n this book we have this letter as early as 1296—No. 2 I ASD? i (ay have noticed this to draw attention to the delicacy and difficulty of laying down rules in archeological matters. Mr. Cutts, I am sure, felt this. But when he wrote, the information contained in my book on brasses, and now in this on slabs, was not known, and we must know more before we can make rules. Monsieur Didron in his Axnales, tome premier, pp. 106-7, says, “ The beautiful stone engravings which are being effaced every day under the feet of the faithful, are in some sort open books in which one can study, at leisure, the architecture, the costumes, and the iconography of the middle age. They are among the true chefs-d’ceuvre of an art too long neglected, and of which the authors are unknown. Their names when they shall be found will certainly figure with distinction amongst those of the most eminent engravers.” iil a i q ‘ Having journeyed to churches and museums where many of these engravings are to be found, I brought away rubbings, which had then to undergo a process of clearing. First, the great sheets of paper had to be mounted on cloth. Second, all the numerous little holes and roughnesses on the surface of the stone had to be blotted out with a black brush, so that only the incised lines might appear white. Now, in this restoring process I have carefully avoided creating anything new, and I have also left the edges of the lines in a rough state, as nearly as possible as they came from the rubbing. There is a story of an artist of some foreign land who painted a grand picture of Belshazz ’s feast, and adorned the wrist of the mysterious hand upon the wall with a well-known pattern of Maltese lace! I have not adorned these great en rravings with any modern finery. Some of them had to be copied by tracing, as their lines are still filled flush to the surface with lead or mastich: these have a more modern appearance than the black fac-similes of the rubbings. The book has been arranged so that each illustration shall have its own descriptive notes facing it. To compress the notes into one page much has been omitted that might have been said, and in three instances I had to flow over to the next page. In giving to those interested in such studies the result of my labours, both in this volume and in that on Continental Grasses, already published, I have not been sparing either in the quality of the materials or in the number of the illustrations, so it is not likely I shall ever be repaid the cost of their production. But then, if I had not created both books, all the information obtained by my labour would have been lost, and all my delightful journeys would have remained unrecorded. Yi ss! indeed! I did not think it would be right to wait till the auctioneer waved his hammer over my grave, to scatter my rubbings, and to leave the world at large as ignorant of Continental brasses and slabs as it before. In my prospectus I promised the subscribers ‘between fifty and sixty” illustrations, and now I give them seventy-one. In these there is, I believe, a greater variety in the tumes than there is in the examples in my book on brasses. Of course seventy-one is but a small number of the numerous slabs iv that still exist, but I think we have here a fairly representative series of examples of the stone engravers art from the twelfth till nearly the seventeenth century. Help has been given to me by several friends, but I am especially indebted to the Rev. W. Hudson, M.A., Hon. Sec. to the Norfolk and Norwich Archzo- logical Society, for his scholarly aid; to the Hon. Harold Dillon, F.S.A., Sec. to the Society of Antiquaries; to the Rev. O. W. Tancock, Rev. J. A. Boodle, and to Mr. Herbert W. Birch. To Mr. W. R. Weyer, of Norwich, I am indebted, not only for his clever design of an appropriate title page, but for much other artistic help; to Mons. Jules Helbig, Editor of the Revue de Art Chrétien; and Mons. Fernand Lohest of Liége; to Mons. Lucot, Dean of the Cathedral, Chalons-sur-Marne; and to Mons. Marcel Wilmart of Reims. To all these gentlemen I am grateful for the several ways they have shown interest in my pursuit. Wo PRED VCR EIN? Norwich, November, 189r. ee CONTENTS. As the book is not paged in the usual way, a number is placed at the foot of each page of letterps These numbers are used to refer both to the notes and to the illustrations. DATE TITLE. PLACE, c. 1150 oth Sie LENE oe acc as ae Seclin. 1158 Ae 3p. Barthelemy de Vir Pee eee Laon. 1160 06 Antone de Loncin ... — ae Lié Ce SO) oes St. Helena ree sad ona 560 Forét. ¢, 1200 dad 3ellinghen—Knight and Wife a08 Brussels. 1248 Se Madame Perone oat Boo a Brussels. Cuer2 50) ba aquier Lisain et sa Fille eee abo Chalons-sur-Marne. @ iif) Boo Unknown—Knight... ae AF Rouen. G 1AKe) ee Asscheric van der Couderborch eae Ghent. chn260 aes Thiebauz Rupez te oe Be St. Memmie. c. 1260 wee Unknown—Two Ladies ae we Ghent. 1262 ae Georgius de Nevreleies ae i Niverlée. 1263 ane Tues Libergiers ae ha eae Reims. 1264 se Abbas Alardus abt an ms Hastiere. 1266 oa ierres du Mesnil eon An ae Rouen. 1269 ay .ifranshoms de Hollelhule ... Tae Hognoul. 1271 p20 -ater—Filia ... a0 aos aa Ghent. ne 72 ‘rater Willelmus Boe aaa 88 Ghent. Cu27O) tt 3rocardus de Charpignie ... le Cyprus. 1273 noe Frere Gerars ... not toe as Villers-le-Temple. ce. 1280 oa Unknown ae naa Hen a8 Chalons-sur-Marne. 1280 a Mehus du Chastelier .. ane Bon Rouen. 1284 ibs Jacobus—Staff... ai bee hoe lastiere. c. 1290 sas Unknown—Man and Wife ... “ais Chalons-sur-Marne. 1290 oe ohannes Filius Jacobi as aes Ghent. 1290 = Jehan de Chantelou ... oe na evreux. 1296 coo Nenkinus de Gotheim po5 968 Gothem. 1296 pd Agnes de St. Amant Bac =O Rouen. 1298 B08 Humbier Corbeare ... ae aoa Awans. 1300 Aa ikpertus Drauchpeoh on 305 Ratisbon. c. 1300 2a An Abbot ee nee ae is Ghent. | c. 1300 ix Childrens ee: oe oon in Ghent. vii ' NO. DATE. 33 1307 34 1312 35 1316 30 T07 37 1318 38 1324 39 328 40 c. 1330 41 1338 42 1344 43 1351 14 1358 45 1377 46 1379 47 382 48 1391 49 1397 50 c. 1400 51 1407 | 52 1413 53 c. 1450 54 1452 1457 | 56 1459 | ay) . 1486 | 58 c. 1500 | 59 c. 1500 | 60 1521 1 60 1527 | | 61 1541 | 62 ass 1545 1 63 540 c. 1550 : 64. noe 1570 | 65 pn 1576 66 dao 1588 | 66 SOG 1500 | 67 68 | 69 1304 i | TITLE Arnuldus de Gothem... Olaws de Eikiby Marie de Mondidier Raes de Greis Ystasses Doyssen 3irger Peterson and Wife Renier de Maleve akemins Doxnen Marguerite de Chasteluilan Gerardus de Gothem and Wife Gile de Pegorare Wilheme Wilkar et sa Feme Ystase de Seron et sa Feme 3ishop Nicholaus Marie Eleinwouters Jumieges, An Abbot ... 3astiens Lawair et sa Feme Unknown—Bishop Bartali Katherine van Nethenen Jchan Mengin et sa Feme acobus et Butuidis Laurentius et Filia oos Van Troyes Marie Landry ... ehan Aubelin, &c. Monsieur Pierre Unknown Willem Symoens Jacques and Joosyne Symoens Catelyne van den Haute Jan van den Couteren Sundre Churchyard Stenkyrka Churchyard Ansel Bise Vill cambiers d’Abée et Getrus ... Zudeline Chaubrant et ses Filles ohan et Arnolt de Parfondrieu Jehenne Marguerie et Katherine Boquet Raso de Hollegnoule et Agnes PLACE. | Gothem. Abée. Gotland. Dvreux. | 3russels. yemeppe. Upsala. | Brussels. | Chalons-sur-Marne. 3russels. epernay. Gothem. Reims. Awans. Seron. Link6ping. Tongres. | Rouen, Fooz. | ‘lemalle Grande. Siena, Italy. Rouen. fognoul. Louvain. Chalons-sur-Marne. Stenkyrka, Gotland. Jalhem, Gotland. Ghent. Rouen, Chalons-sur-Marne. Reims. Venice. Ghent. Ghent. Ghent. Melsele. Gotland, Gotland. ave y Boulogne. SAINT PIAJ, C. 1150. SECLIN. to St. Piat or Piatus, who is said to have been a companion of St. Denis of Paris, and came from Beneventum to preach in Gaul. He was there martyred about a.p. 286 by having his scalp cut off, and long.iron nails hammered into his body St. Eligius, the blacksmith, who died .a.p. 665, found the body so pierced with iron. This was at Seclin where he had: been martyred. ~ It is said that the martyred remains were translated to St. Omer’ in the ninth century, thence to Chartres, and thence to Tournay. The relics were shown at Seclin in 1143, and about that date the slab may have been placed over the tomb of the saint. ‘It is a Gaulo-Roman sarcophagus, hewn out of several stones, and covered with a large slab of blue Tournay stone,’ on which the figure of the saint is incised, the whole having the appearance of an altar-tomb. sed The saint holds the crown of his tonsured head in his hands, and is dre: in Eucharistic vestments. St. Denis of Paris is represented as holding his complete head in his hands. Husenbeth in his Ayndblems of the Saints falls into an error when he says the emblem of St. Piat is “carrying his head 5 a cut off. He only carries his scalp. The architecture of the canopy is Norman, or what continental archeologists call Romanesque, and with its slender shafts and simple capitals, is very characteristic of the twelfth century. The right hand of God in the centre of the trifoliated arch comes out of the clouds of heaven to bless the saint. The tomb is in a crypt beneath the altar, and a few feet from the foot of it is a well, the water from which is said to be efficacious in cases of fever. I NIA — | ==5— AN S. Piat, c 1150. SECLIN. IZE 105 INCHES by 41.5 BISHOP BARTHELEMY DE VIR, 1158. LAON. monument is in Laon Cathedral. It is something like an altar-tomb, having perpendicular sides and ends; but the ends not being of equal height, the upper surface is therefore an inclined plane. This inclined plane is a black marble slab on which the efigy is engraved, surrounded by a white marble border which bears the inscription. The perpendicular end at the head is about 3 ft. high, and on it is an inscription in French waich tells us that on the 15th August, 1843, Philip Felix, Comte de Merode, “ presented this faithful copy of the original monument in the ancient Cathedral of Foigny.” On the upright end at the foot, which is about 2 ft. high, we are told that Barthelemy de Vir, Bishop of Laon, in 1113 restored the Cathedral; dedicated it on 11th September, 1114; resigned his See in 1150, after being Bishop thirty-seven years, and retired to Foigny, where he died 0a 26th Junesiars3. On the dexter side is a French translation of the Latin inscription, which gold. is incised on a broad border of white marble in letters of shining g QUI JACET HIC PRGESUL MARIANAM CONDIDIT AZ-DEM LAUDUNI, PARITERQUE DOMOS ANTISTITIS USTAS. TEMPLA DECEM INSTRUXIT, BENEDICTO CONTULIT UNUM, BERNARDO QUATUOR, NORBERTO QUINQUE PIAVIT. DAT DIADEMA GENUS, LAUDUN!I ECCLESiA MITRAM, FUNERA FUSNIACUS, LAUREAM ET ASTRA DEUS. He who lies here. a Bishop. built the church of Mary At Laon, and alsv the houses of the Bishop which hal been burnt; He built ten churches. To Benedict he gave one, To Bernard four, for Norbert he consecrated five His birth gave him a crown, the church of Laon a mitre Foigny his death, and God glory and heaven. The Cathedral and Bishop’s Palace had been burnt during an insurrection against Bishop Waldric, who was dragged from a wine tun in his cellar, and 2 = ——— —— ———— as slain and mutilated by the people, of whom the chronicler says, ‘‘ Le peuple de Laon estoit semblable a son prélat et n’avoit pas plus de crainte de Dieu en ses actions que lui-meme.’’—See Wyard’s //istotre de (Abbaye de Saint Vincent de EGON P22 7. This murder was on 26th April, 1112. Hugues, Dean of the Cathedral of Orleans, was consecrated Waldric’s suc- cessor early in 1113, and died six months after. Barthelemy de Vir, Canon and Treasurer of Reims, became Bishop in the same year, 1113. His father was a Prince of Bourgogne, named Falcon, Seigneur de Vir; his mother was Adeléde, daughter of Hilduin, Count de Roucy, and he numbered among his relations the kings and princes of France, Burgundy, Loraine, and Spain, and_ therefore “dat diadema genus’’ is written on his tomb. He was a zealous Bishop. The Abbey of Foigny for the order of St. Bernard owes its foundation to him, and yi gny during its building the workmen were obstructed by a foul dragon, which the Bishop slew with a thrust of his pastoral staff, an event recorded at his fect. Norbert, a man of noble birth, was his personal friend, and for him he built the Abbey of Prémontré, the first of the Premonstratensian order. The effigy is engraved on a highly-polished black marble slab. The incised lines and sunk parts are left unfilled, and are carefully chisciled so as to present the gray colour of the unpolished stone. The detached broad white marble border, with its golden letters, lends further brightness to an e> vellent example of the power of a modern stone engraver to copy an antique original. The slender shafts of the canopy. out of the perpendicular as they are and converging to the feet, suggest rather the outlines of a coffin in which the Bishop is reposing, than supports of a trifoliated arch, &c. The angel with censer is hardly more than a rude symbol. The mitre is a fine example of an early form. The Eucharistic vestments are represented as being of pliable materials which take graceful folds, and in this are like all the earlier repre- sentations of ecclesiastical vestments. 2a TEMPLA DECEM INSTRUXIT. BENEDICTO CONTULIT UNUM LAUDUNI, PARITERQUE DOMOS ANTISTITIS USTAS. “LIAVId 3NONINO OLYAGAON| “YOALWNO OGUVNYaG waqvig 1vq ) "WV LIN VIS31994_INNGAV7] “SAN39 VI = fe =) 8 E a (=) $ vo = < ‘<= s cc < = a a iS S e g = 5 < < = o VA sn3d Vulsy 1a WV3uNYT SNIVINSN{ VYaNN4 By. Barthelemy de Wir, 1158 LAON. SIZE 84 INCHES by 3s. : = Se = en ee . — . iaiaiaiittaais " —_ — — ANTONE DE LONCIN, C. 1160. LIEGE. AID to be the earliest incised slab found in Belgium. It is now in the open court-yard of the Palais de Justice, Liége. Its original position was in the church of St. Nicolas at Glain, a small parish a few miles from Liége. The church at Glain was founded in 1147 by two brothers, Antoine and Gerard, chevaliers of the house of Warfusée, and consecrated on 22nd July, 1151, by Henry de Leyen, Bishop of Liége. The date of the monument I take to be after 1151. The execution of the work is coarse, but sufficiently artistic to give a picture of the armour of the time. A cylindrical helmet with a flat crown covers the head. The openings in front form a cross at right angles. There is no appearance of a moveable avantaille. Over the hauberk of mail is a sleeveless surcoat with a short skirt that covers the thighs. The legs and feet are encased in mail. The weapons are a lance, a sword, and shield. On the shield he bears Vair, for Loncin, his own family; over which is a Chevron, gules, for de Bolzée, his mother’s family. The inscription over the head was, when complete, ANTONE voveEs, but the second word was lost when the church and its monuments were left to decay in 1825. The slab was rescued from a farmyard by M. Vaust, and presented to the Musée Provincial, Liége. Nore.—We have here an early instance of two families using armoria bearings before 1150, and this was done most probably for many generations before that date. Mr. Boutell says in his Introductory chapter, (ete lan England, heraldry may be considered to have first assumed a definite and systematic character during the reign of Henry IIL, a.p. 1216 to 1272; an at the close of the thirteenth century it may be said to have been recognized as a distinct science.’’ i) Antone de Tioncin, c. 1160. LIEGE. SIZE 7a INCHES by 35-30. sn 9 = a — Fn rat e " ‘ = SAINT HELENA, C. 1180. FORET. N a chapel on the south side of the village church of St. Denis at Forest, about three miles from Brussels, this slab is placed on short Norman columns, so as to be raised about 2 feet from the pavement. As you look beneath the slab through the arches formed by the columns, you see a grave formed of stone sides with a brick floor, having a place made round for the head, then widening at the shoulders, and becoming narrower as the feet are reached. Four channels from the interior corners meet in the middle of the grave floor, where there is a small hole. This form of grave was in use from the eleventh to the fourteenth century. The slab stands east and west, with the feet to the east, so that when you enter the chapel, as you must do, from the west, the head faces you, and some artist more clumsy in his work than the original designer of the effigy, cut, in the very hard stone, the letters + SCA HELENA, + so that the worshipper may see them at once on entering the chapel. Saint Helena is said to have been martyred about 640 a.p., but of her history I can learn nothing, unless that history be represented in the nine small oil paintings that adorn the chapel, from one of which it would appear that men attacked her in the forest which gave name to the village, and tore her arm off as she clung to a tree. In another picture an altar is set up in the forest, and as the priest is celebrating an angel comes flying with the arm in his hand and places it on the re-table above the altar. c, 1180. a; = ORE. S. Belen: A 91 INCHES by 45. SIZE | BELLINGHEN, C. 1200. BRUSSELS. is now preserved in the Port de Hal Museum at Brussels. ght is the flat-topped cylindrical The tilting helmet of the Kni helm of the eleventh and early twelfth centuries, and is probably as fine an illustration of that remarkable and comfortless piece of knightly harness as has yet been pictured. The crown of the helm has a flat ring to which the contoise may have been attached. The occularium, or opening for the eyes, is ornamented with four little rings forming a cross at each end of it, and with the strengthening bar down the front, a large cross is presented to the world, and the Chevalier might have felt conscious that as he was moving to the fight he had ‘the Cross of Jesus going on before.” The hauberk may be best described as a coat of mail in the form of a shirt, with a short slit before and behind for convenience of riding, which gives to the hauberk, in several illustrations in books on costume, the appearance of being a coat and short breeches in one, but it is reaily a coat of mail only; its sleeves ended in mittens of mail, which this knight very properly throws off his hands when engaged in prayer. ,Chauses of mail covered the legs and feet. Over the hauberk he wears a surcoat without sleeves, girded at the waist and falling just below the knees, and open in front to the girdle. Surcoats were usually made of silk of one colour, sometimes richly embroidered, sometimes of cloth of gold or silver, said to have been worn to keep the armour from sun and from rain. The guive of the shield passes over his right shoulder. The costume of the lady is similar to that on the figure of Mehus du Chastelier which I have placed at the end of this century, but as that may be too late, sc I think this may be too early, and might be more accurately dated about 1230. The artist displays considerable skill and freedom in depicting the costumes by simple lines; and his refinement of touch is shown in the hands of both figures. But in the canopy he ought not to have let us see down the chimney tops. on an t 1 Bellingen, ¢. 1200. BRUSSELS. SIZE 93 INCHES by 45. — — — = = ~ = SSS = ————— = MADAME PERONE, 1248. BRUSSELS: |HIS slab is now preserved in the museum at Port de Hal, Brussels. The stone is of a tawny colour, and of very fine hard texture, and its surface is almost as smooth as the day | it left the artist’s hands. A label now attached to the monument gives the following information to the visitor:—‘ Pierre tombale de Petronille, femme du Chevalier Gilles de Lerinnes, Provenant de l’ancien Prieuré de Lerinnes. Don de M. Xavier Gregoire de Jodoigne.”’ From its narrowness and from the arrangement of the inscription it is, I think, evident this slab was in an arched recess, so that the sinister side was next the interior wall of the recess, and a spectator standing at the dexter side could easily read both lines of the inscription. A few letters are broken away from the dexter side. + Cl: GIST: MA: DAME: PERONE : KIFVT : FEME : MON : SAGNOR: GILON : DELIRINES: CHEVAL': ET: NOBLE: HOME: KIFONDA: CESTE: MAISON : EL: HONORDE: LA: SAINT: TRINITET + + SOR: SON: HYRETAGE : ET: TREPASSA : LA: DITE : DAME: EL: AN: DEL: INCARNATION : M: CG: ET: XLVII — X: KL: DE: OCTOBRE : LEN: DEMAIN: DE: SAINT: MAVRISSE : PRIIES : POR: AVS + Here reposes Madame Perone, who was wife of Monseigneur Gilles de Lerinne, Chevalier, and illustrious man, who founded this house to the honour of the Holy Trinity out of his own heritage, and the said Dame died in the year of the incarnation 1248, nine days before the Kalends of October, the day after Saint Maurice. Pray for them. The hood of the mantle is thrown behind the head, and the lines by which the face and wimple are represented are of stone raised up by the cutting down of the other parts—into these sunk parts enamel was inserted which would certainly make the wimple white, and the face may have had a flesh tint. Her hands, and the right hand of God blessing her, are constructed in the same way; and I believe all the sunk lines of the architecture and all the letters were filled with cement, probably tinted red. o SE NY = a ie) sage a aunt Miss ————7 eens) LT im Cy Ty KU Wal Madame Perone, 1247. BRUSSELS. SIZE s2 INCHES by 25 ——— = ao Si a <== = <= == — ee SS oe cuattinateensd — — i = ——— = - Ss _ — on " = tan vd “eed SAQUIER LISAIN ET SA FILLE, C. 1250. CHALONS SUR MARNE. JATER on, under the date 1486, will be found another slab from the church of Notre Dame, Chalons sur Marne, which I suc- ceeded in rubbing in the same way this was done, namely, with the dust that so plentifully covered all the slabs on the floor of the Triforium. The dust gave a brownish tone to the paper, leaving the incised lines white. These lines were eventually made black. I mention this process for the benefit of any who may be similarly surrounded with dust as a mode of obtaining a very good picture. The church of Notre Dame is rich in slabs and fragments of slabs. During the destructive mania of the grand revolution, monuments repre- senting, as they did, the rich, were torn from the churches and cast forth, and heaped together in fragments. Hundreds of slabs that had for centuries made the pavements of their churches glorious with illustrations of the life and style of the most noted citizens, century after century, were broken, and chapters from the history of the city erased. When quieter times arrived a new chapter of local history was written with the fragments with which the churches are now paved. Some few tombs were recovered almost entire. These are now, for the most part, in mural positions; but the south triforium of the church of Notre Dame has its pavement formed entirely of incised slabs in a more or less perfect condition. This is the memorial of a civilian and his daughter. The inscription was incised on the edge of the stone, and is now past finding out. I was able to decipher the following :—+ Ic! - GIST - SIRE - IAQVIER -LISAIN...... ET - IEVLINE - SA - FILLE - QVI - FV - FAIME - HENRI + NVISETTI. I think it may be dated about 1250. Saguier Liisain et sa Hille, c. 1250. CHALONS-SUR-MARNE. 00 INCHES by 5 UNKNOWN, CG. 1250. ROUEN. SLAB of red sandstone, roughly but artistically engraved, presents us with the graceful figure of a knight of Normandy in the costume of the thirteenth century. In what church it was originally I could not learn. It is now mural in the Archeological Museum at Rouen. We here have the deadness of the background enlivened by fleurs-de-lis, an artistic idea that is more elaborately worked out on many examples later on. The costume is simple. The hood of the hauberk rests on the shoulder in a graceful manner round the neck; chauses of mail cover the legs and feet, and over all is a sleeveless surcoat girded at the waist, and falling gracefully to the ankles. The sword seems to be held in its place by the waist girdle. The crosses on the shields may suggest that he was a chevalier of the Temple, as that is the form of the Templars’ red cross. The tomb is some inches broader at the head than at the foot, as so many of the earlier monumental slabs were Only a fragment of the inscription is legible— CHAVALIER : PRIEZ : POUR : LI. Cnknotun, c. 1250. ROUEN. SIZE 72 INCHES by 35. : — a ties soestaitnantldeisn ia SS SSS a = eer samaiadl See = _ ee — ———— — = = - Sane —_ se — = ns a di | | i i ASSCHERIC YAN DER COUDERBORCH, C. 1250. GHENT. this picture had not an inscription we should be at a loss to determine its intention; but we are told in old Flemish, “Here lies Asscheric van der Couderborch, who died in the oy year ...”’ but the date has been ruthlessly broken away. Tt is also stated that his death took place on ‘‘the Eve of St. Jude: pray for him.” In the year 1566 a most deplorable madness urged the Flemish people to rifle the churches and break up every statue and every monument within them. It is very likely this stone was then torn from its resting-place, and cast forth and mingled with other fragments. In course of time more peaceful counsels bore fruit, and commerce called for better foundations for their canals than mud, and monuments were grand stones for the purpose. This slab, as well as forty or fifty others, was discovered at the bottom of a canal, where it had been clamped by iron fastenings to other stones to make a flat bottom to the sluice of a bridge at Cuypgat, a short distance from Ghent. The places where the iron bars were sunk into the stone are marked by breaks on the sinister side. It was rescued from its watery bed, and many more besides, a few years ago, by the zealous and learned secretary of the Municipal Museum at Ghent, Mons. Van Duyse. Perhaps the most interesting point about it is that the material with which its letters were filled has retained its colour, and is also as flush with the surface of, the black marble slab as it was on the day it left the artist’s hands. This copy is from a tracing, and was coloured on the spot by Monsieur Van Duyse. The colours are quite as bright as any colours could be. From the general aspect of the whole, from the costume of the warriors, the architecture and the letters, I am inclined to date it about 1250 A.D., or earlier. The cross-bow might help to date it. It is stated in Planché’s Dictionary of Costume, under Arbalest, Pelowreiat the second Lateran Council in a.p. 1139 prohibited the use of the arbalest, but in 1189 Richard Cceur de Lion brought it into use again—and was slain by an arrow from one. Also there is no cross-bow in the Bayeux tapestry. So the date of this monument is most probably after the re-introduction of the cross-bow, and may be, as I suggest, 1250 or a few years earlier. 9 hier « LEchEG ~ ASSadhec | s' wo RS & S & 2 oO 5 Fe Ss = iy w No) & ko a) w E iss) uns : SLsscheric ban der Coouderborch, c. 1250. GHENT. SIZE 72 INCHES by s7 THIEBAUZ RUPEZ, C. 1260. ST. MEMMIE, sur Marne is the flourishing 5 more than a mile from Chalons hamlet of St. Memmie, where they have a new church, and in it two incised slabs from the old church are preserved by being placed against the walls of the passages to the north and south of the chancel—one a bishop or abbot, bearing a pastoral staff and without mitre, date 1207. I had no desire to copy this, as I have ecclesiastics in abundance, but I longed to copy the horseman, and had not time, so made a note of him and went back the next year (1887) on purpose to make a tracing of this now mural and remarkable monument. A tracing had to be made, as the lines are filled with lead, which is still very flush with the surface of tawny (liais) stone, on which the monument is incised. I take the date to be about 1260. In Barbat’s Hestoire de Chalons there is a drawing of this which is dated thirteenth century. He says nothing of the person commemorated. He is a falconer riding forth to his sylvan sport. The inscription in old French is in rhyme and not easy to translate. + ICl : GIST : DESOZ : CESTE : LAME : SUGGESTED TRANSLATION. THIEBAVZ: RVPEZ: DONT: DEX: AIT: LAME: Here lies beneath this slab SITESMOIGNE : ON : VERAIEMENT : Thiebauz Rupez, whose soul God has. Q'L : SOT : BIEN : SON: DEFINEMENT : Yes, we testify truly That he really died QART : JOUR : DE: ——: CEST: VERITEZ: fos 2 tenet The fourth day of This is verity. PRIONS : POURLI: SIERT: CHARITEZ -: &% Let us pray for him of our charity. There is a remarkable peculiarity about the horse. As he walks he raises the two legs on the near side at the same time. When ambling a steed can do this. There is a graceful simplicity about the drapery of the angels, the archi- tecture, and crocketted foliage, which an artist might do worse than take for a model. I wonder what occult reason the designer had for altogether suppressing the foreground, on which his d and horse might stand and out of which his tree might grow ? aa ina aes 5 tICIG#S G6: DE OZ:C4 I bBId:9 0S: u 1OONBWDB biebauy Rupe3, c. 1260. ST. MEMMIE. SIZE 129 INCHES by 54-45. | UNKNOWN, C. 1260. | | GHENT | BLACK marble slab, now in the Municipal Museum, Ghent, recovered, like so many others, from the bottom of a canal. The breaks rudely cut in the surface shew where the iron fastenings were that secured this stone to others in the pavement or bottom of the canal sluice. The two fair young faces are pleasant to look upon: engraved by a master hand. The costume is similar on each figure. A wimple round each throat, with a close-fitting gown, which is almost totally hidden by the ample mantle that covers the head as a hood, and then falls over the whole person till it covers the feet. The lines by which the folds of the drapery are expressed have an individuality which I have not seen on any other monument. The inscription on the arch over the head of the figure on the sinister side is :— LARGA PVDICA PIA JACET HIG PRVDENSQ MARIA FAB FAB SOLI SIT M---TA POLI. The generous, chaste, and prudent Maria lies here. May the Fab Fab of earth be the..... of heaven, I have no idea what “Fab Fab’’ means. The word of which we have but the letters m and ra may be MARiITA, a married woman Now, if Fab Fab happened to be a pet way of designating a maiden, then the sentence might read, ‘‘May the maiden of earth be the bride of heaven.’’ &. a CEORGIUS DE NEVRELEIES, 1262. NIVERLEE, BELGIUM. | : . \Y the care of the Belgian Government this monument has been placed against the north wall of the chancel of the modest church of Niverlée. The nearest railway station to Niverlée is Doissche, seven miles from the French frontier town of Givet, and about twenty from Dinant on the Meuse. The slab is of red sandstone, with a few thin irregular streaks of hard white stone, that neither feet nor weather could wear. The picture represents a youthful warrior in all the grace of his manhood, harnessed and alert for the conflict. The helm is a good example of the cylindrical and almost flat-crowned head covering, that succeeded the conical helm with nasal, that was in use till the reign of Henry IJ. (1154—1189). After that date the helm assumed something of the form here represented. It does not appear how the avantazlle fad hrough which he breathed was attached. The floral design above may ke the ove token of his Marguerite—her flower, or an early example of a crest. The @ arliest representation of ‘anything approaching to a crest in England,” is on + he second seal of Richard I., about 1195. “It was a fan-shaped ornament, on which was depicted a lion rampant.’ See Planché’s Dictionary, vol. ii. Onesie The single az/ette in front of the right shoulder is very peculiar, unless we on Suppose one on the left hidden by the shield. Ailettes are said to have been first worn in the middle of the thirteenth century, and, if so, this is an early representation of a fashion that prevailed till about 1350. The surcoat, girded at the waist by a narrow belt, is gracefuliy disposed over the hauberk of banded mail. The design upon the shield was the bearing of this family as late as 1580, as represented on a tomb of that date in the church, The delightful animals at his feet are evidence of the artist’s weird poetic fancy. The inscription— + ANNO DOMINI MCC - Lx - SEGUNDO + QVINTO - NONAS - MALI - oOBIIT GEORGIVS - MILES - DE NEVRELEIES SIT - TIBI - PROPICIA -@EORGHL. VIRGO MARIA + MILES PIA In the year of our Lord 1262, on the fifth of the Nones of May died the Knight George of Niverlée. May the blessed Virgin Mary be propitious to thee, O Knight. ar - Georgius de Nebrelie, 1262. Z NI WE Is (LIE IE, SIZE 116 INCHES by 47. HUES LIBERGIER, 1263. REIMS. architect, began the building of the church of St. Nicaise at Reims from his own designs. In 1210 the Cathedral at Reims was destroyed by fire, and it is very probable that the sacred edifice was reconstructed on plans created by Libergier, assisted by his clever pupil, Robert de Coucy, who lived for forty-three years after Libergier died, and carried on the work till his own death in 1311 AD. We know that Libergier was the architect of the beautiful church of St. Nicaise, built on a commanding height, “le noble édifice était bien le diadéme de la cité.’” He may also have been the architect of the grand cathedral still preserved to us, and, if so, we have here the monument of a great master, a memorial probably designed by the artistic hand of de Coucy, his pupil, to perpetuate the memory of his friend. Originally, the slab of white stone, more than 6 inches thick, was on the floor of the nave of St. Nicaise, and when that elegant structure was sold and barbarously broken to pieces in 1798, the monument of Libergier was removed to the cathedral. When I made a tracing of it I found it with the stone carvers outside the cathedral. Permission to make a copy had to be obtained from Monsieur l’Architecte, under whose control the repairs were being carried out. He lived in Paris, and his reply did not return till long after I had left the city—but it did come, and the following summer I went and made the tracing. The lines are filled with lead, and very flush with the surface of the stone, but in a few places they have been worn away. The monument is now against the north wall of the transept of the cathedral. The inscription— + Cl GIT MAISTRE HVES LIBERGIERS QV! COMENSA CESTE EGLISE AN LAN DE LINCARNATION MCC: @ XX-IX-LE MARDI DE PAQVES @ TRESPASSA LAN DE LINCARNATION M -CC - LX -II| LE SEMEDI APRES PAQVES POVR DEV PIEZ POR LVI Here lies Master Hues Libergier, who commenced this church in the year of the Incarnation 1229, on the Thursday after Easter, and died in the year of the Incarnation 1263, the Saturday after Easter. Pray to God for him. They thought it worthy of notice that when the joys of Easter were past he began the church, and when his earthly work was done thirty-four years later, he died in Easter week, to enter into the eternal joys that Easter promised. Symbols of the architect’s craft are on the monument. In his right hand a church, in his left a rule; by the side of his right foot a square, by his left a compass. I need hardly draw attention to the masterly drawing and execution of every line of the picture. I should like to record my sympathy with the citizens of Reims for the loss of their church of St. Nicaise. Celebrated throughout Europe as one of the most refined examples of Gothic architecture, it was turned into a store for forage for the army in 1795. Eventually the church and the abbey attached were sold to a greedy general of the Republic for about 40,000 francs, and he and his partners sold the materials for about 600,000 francs, making a grand profit of about £23,000. Out of this sacred quarry many buildings were erected and streets repaired. The immense cotton mill at Longueaux was entirely built of its stones. The citizens made the most strenuous efforts to save their celebrated church from destruction, but in vain, and I cannot but enter into the sorrowful sentiments they have ever since expressed for that cruel act of Vandalism. ’ ‘Ces regrets n’ont jamais cessé d’étre partagés par tous les amis des arts.’ ee, +016 | TOAST SGREPHVES LIb ERGIE S-OVI-COMENSACESTEAGLISEANLANOG-LINCARNAGION OO Teas S AR "Oo At) * io) fe) o9) aX 4 ze) D x = vs Se) = Zz '@) a0) SA THOdZD 1dADONAOd SPAOW SPNdWIODWASPTL I IX IDDONO LOHNUWON 11 5 Riues Libergiers, 1263. REIMS. SIZE 106 INCEES by 52. ———- ABBAS ALARDUS, 1264. HAS TMERE. FEW miles south of Dinant on the Meuse will be found all that remains of the abbey of Hastiére-Lavaux, picturesquely situated close to the left bank of the river. The abbey was founded c. 880 and belonged to the See of Metz till 1227: after that the bishop of Liége possessed it. In 1568 the iconoclasts sacked it In the early part of this century much of the grand church was pulled down as being too large, and sold for building materials. The church was under repair in 1887, and much has been done to preserve what remains. There had been unearthed several sarcophagi of whitish stone, not coffin shaped, but deep oblong boxes This slab is, I should think, in its original position in the middle of the floor of the chancel, to which you have to ascend by steps at the sides, for beneath it is a crypt. Abbas Alardus de Hierges was twenty-second Abbot of Waulsort, near to Hastiére. He died in 1264, as is recorded on this monument. The inscription is in prose and in verse. On the sinister side we read :— ++ ANNO DNI! Mm? cce: Lx: IIe: Ill? : KL’; SEPT : 0’; DOMN’ : ABBAS ALARDUS ANIMA Ely REQVIESCAT IN : PACE AM + On the dexter side :- + ABBAS HOG TEMPLVM =: XPO : CONSTRVXIT : ALARDUS + FLOREAT ANTE: DEUM : REDOLENS : ET : FLORIDA : NARDUS + SCA : MARIA : PRO : EO : ORA +4 + In the year of our Lord 1264, on the 4th of the Kalends of September, died Dominus Abbas Alardus. May his soul rest in peace. Amen. + This temple for Christ built the Abbot Alardus, Before God may he bloom a sweet flowering nardus. Holy Mary pray for him. 14 The vestments are an alb that has no affare/, A chasuble and maniple suspended from the left wrist—its usual position—and gloves with an ornament on the back of each like the flower Marguerite There is no stole. The pastoral staff has its volute turned outwards, This turning away of the staff has been said to be the mark of a bishop whose 5 jurisdiction is away over an extended diocese, while the head of the staff of an abbot is turned inwards to declare that his jurisdiction is narrowed to the limits of his own abbey, Here is an example to the contrary. The right hand of God is above his head blessing him, while angels bring incense from heaven. ‘he canopy is of a form in frequent use on the earlier incised slabs, and may be taken to symbolise the Trinity in Unity, ‘‘ Une arcature trilobée” One supreme arch trifoliated. he crockets are of that simple bud-form that came into use about the middle of the thirteenth century. The slab is of the earlier form, ze., wider at the head than at the foot. + ANMODALM:CC PXMENRE:SEPC-DOMN? > “Ee ABAS NOC CEMPLIM ¥PO:CO a : NSC RY XIGALARDUS:+: FLORERG-ANGE DG ABBAS: ALARDUS:ALUMTEPRE OVIESC AGN: PACE-AM + mae als DH DARDUS:++:SCH MARIN: PRO: EO UM:REDO Lens:dG:FLORI i * eS & & oF =) , 1204. ards Abbas Al HASTIERE. SIZE 92 INCHES by 46 -38.5. PIERRES DU MESNIL, 1266. ROUEN. JUEN Archeological Museum contains many interesting incised slabs, of which this is one. Where it was originally I could not find out. The design of the monument is very similar to that of Libergier at Reims, but not of such chaste simplicity. The costumes in both are almost identical, and present us with good examples of the dress of wealthy civilians. A long close-fitting coat, ungirded at the waist, over which is a cloak that falls below the knee, and has an ample collar. The cap fits close to the head, with a tuft at its crown, and seems to have been woven of one piece. The shoes are pointed, and have a large opening over the instep, above which they are fastened by a single button. The canopy is of a form already noticed, ‘une arcature trilobée.”’ Besides the angels swinging their censers we have two other sacred figures, perched where only angels could stay, on the narrow projection of the capitals, each holding a candle. The inscription begins, not with the usual cross, but with a rose :— ICl - GIST . PIERRES - DU - MESNIL- Ql: TRES : PASSA - LAN - DE: GRACE - M-CC-LX-VI-LA- UIGILLE - SAINT: MARC - PROIEZ - POR - LVI Here lies Pierre du Mesnil, who died in the year of grace 1266, on the Vigil of St. Mark. Pray for him. St. Mark’s Day is 25th of April. The slab is broader at the head than at the foot. Pierres du DMesnil, 1266. ROUEN. SIZE s7 INCHES by 38.5-33.5. ay atin et ne ceeene ere ge eto (i an LIFRANSHOMS DE WHOLLELHULE, 1269. HOGNOULE, xe this monument has suffered much from “the feet of the faithful.’ Even in its decay it is an interesting picture of knightly harness. It is so worn that all indications of mail are lost, but he was a mail-clad warrior with a surcoat having his armorial bearings emblazoned on his breast,—Vair, three lions rampant. His shield is similarly emblazoned. This heraldry is, I must confess, something of a restoration—only by way of making what was found clearer. His lance has a banneret, and above his left shoulder his casque is placed; at his feet a very long dog. The inscription— ANNO -: AB : INCARNATONE - DOMINI - MCCLXNONO OBIIT DOMINVS - EVSTATIVS - MILES DICTVS - LIFRANSHOMS- DE - HOLLELHVLE - ANIMA - | El - REQESCAT -T- PACE + OBIIT - XXQVINTO - OCTOBRIS - In the year from the Incarnation of the Lord 1269 died Dominus Eustatius, the knight called the Frenchman of Hollelhule. May his soul rest in peace. He died the 25th of October. This Eustace was son of Humbert de Lexhy, Lord of Awans, and was related to the powerful family of Raes de Dammartin. He is also related to Humbier Corbeau, whose monument will be found further on, No. 29, A.D. 1298. a Ss Sapa "eis LAX X91 100, BDHd OY bat OS 0 | = ISALDI boms d¢ Rollelbule, 1209. Litirans HOGNOUL. SIZE 105 INCE ES by 52. PATER —— FILIA, 1271. GHENT. HIKE many others, this fine fragment was rescued from the bottom | of a canal sluice, and is now mural in the cloister of the iA ruins of the Abbey of St. Bavo, Ghent. The rude breaks in the canopy are where iron bars fastened this slab to contiguous stones in the bottom of the canal. I need hardly say it is an artistic composition, executed by a master hand. The lines that remain of the heads and hands are all of stone, the surrounding parts having been cut down to let these lines stand up. I fancy that the sunk parts were filled up level with the lines by a white cement, which has long since fallen away. The lady’s pet dog was represented by the same process. The bases of the columns are ornamented by devices, one of which is the fylfot. In the arch above the head of the Pater, we have ANNO-DNI-M-cc LXXI--S = NO + VALENTINI - OBIIT - ISTE © The mantles are both lined with fur and secured by a cord across the breast. The gentleman’s cap is of a simple form, with a band of peculiarly striking ornament, 0 LE AD TOW SUIWOy Bila. ater. P GinEsNiats S by 54. SIZE 112 INCEE: i} 1 | rT tal My — FRAJER WILLELMUS, 1272. GHENT. ‘/ERE is another of those rescued from the watery obscurity of a canal sluice. It shows where the iron bars were rivetted into its surface. When I rubbed it, it was in the now almost unroofed refectory of St. Macarius, in Ghent. Friar William is dressed in the simple costume of the Order of St. Francis, a rare and interesting illustration. Francis, the son of an Italian merchant of Assisi, received, in 1216, the sanction of the Pope Innocent III. to establish an Order of men who should preach the gospel, and live by their own work or by alms, and be called humbly frater, and not pater or dominus like the Monks. Their costume was at first a loose-sleeved tunic of a grey colour with a black hood, which, after two centuries, was changed to a dark brown, such as they wear to-day; and the waist was encircled by a stout white cord with massive knots. ‘This cord symbolized the halter or bridle of a subdued beast, for such it pleased Francis to consider the body in its subjection to the spirit.’—Jameson’s Legends of the Monastic Orders, p. 242. The feet were bare sometimes sandalled. They were best known as Greyfriars; also as Friars Minors, and as Cordeliers, from their conspicuous girdle. Here we see the hood or scapulary thrown back, and appearing as a collar. The girdle is forcibly engraved, and the feet naked. The face, hands, and feet had been inlaid with some material that decayed away. The clouds, out of which the incensing angels come, are rather boldly marked by wavy lines. All that remains of the inscription is :— MCC - LXX SECONDO - IN - CRASTINO ANIMARVM - OBIIT - FRATER - WILLELMVS DE - MV--1- ORATE P’-. EO - , on the morrow of All Souls, died Friar William de Mu—i. Pr. r) << for him. 3) we = Pred ae Se sank: OD ce BOWUO Ban 90 -SAWTD TILA: UB LY UL Alf an De ater Millelmus, 127 Ht GiesNele SIZE 108 INCHES by 40. BROCARDUS DE CHARPIGNIE, C. 1270. CYPRUS. —— N the year 1852 this monument, to a ‘‘ Chevalier Frangais,’’ was found at Larnaca, in the island of Cyprus, by Monsieur Edouard Delesert, who pr sented it to the Museum at the Hotel Cluny at Paris, where it now is in a mural position in the entrance court. The stone is about eight inches thick. I take the date to be well on in the thirteenth century. The Chevalier wears a hauberk of mail, and for his legs and feet, chausses of the same. On his head a coif-de-mail, over which is a chapel-de-fer. The breast may be covered by a sleeveless surcoat, the skirts of which are hidden by the enormous shield; or it may be covered by a_plastron-de-fer. Planché, in his dictionary, says this was ‘‘a breast-plate of iron, introduced in the twelfth century, to prevent the pressure of the hauberk upon the chest. It was sometimes worn under the gambeson, but more frequently between it and the hauberk. In a combat between Richard Coeur de Lion, then Count of Poitou, and a knight named Guillaume de Barre, they are said to have charged each other so furiously, that their lances pierced through their shields, hauberks, and gambesons, and were only prevented by their plastrons from transfixing their bodies.” Now, it is this statement that makes me hesitate to call the conspicuous breast-covering of Brocardus a plastron-de-fer: it is outside the hauberk, and not beneath, to relieve the breast of its pressure. A lance and sword are his weapons of offence. Beneath his feet are two sturdy fish, and, perched on a little column between his legs, is a sorrowful dog. The shield has three fusils in fess. The inscription, now imperfect, is engraved on the columns that support the trifoliated canopy. BROCARDVS : DE : CHARPIGNIE : MILES ; Bee ePEMRien cere PHENTE EPISCOPI : CVIVS : ANIMA : REQVIESCAT : IN: PACE: AM. The top of the monument has been broken off, and so the end of the AMEN and also the beginning of the sentence nic jaceT are lost. An observer of the tomb has said that puen is the end of the complete word Paphen. This has suggested the thought that this Brocardus may have been an officer in the household of, or a relation to, Peter, Bishop of Paphos. C812 70; arpigme, b Brocardus de C CNARIRIUISE SIZE s4 INCHES by 27.5. FRERE GERARS, 1273. VILLERS-LE-TEM PLE. have here the efigy of a Knight Templar in costume not usually associated with men of that knightly brotherhood. It is, therefore, specially interesting as an example of the undress uniform of that order of religicus knighthood. Fairholt says, 2nd edition, p. 122, ‘“‘ The only undoubted effigy of a Knight Templar known to exist, was in 1730 in the church of St. Yved de Braine, near Soissons in France, and was that of Jean de Dreux, who was alive in 1275. He gives a’ picture of that effigy. So that the lustration here presented may be said to be the second undoubted representation of a Knight Templar. As Fairholt says, “ those cross-legged effigies called Templars are by no means proved to be Knights of the Order, including even those in the Temple Church, London.’ There are three garments. An under coat or gown down to the ankles and opening freely in front; over this another coat, represented as being drawn up and tucked under the left arm or under the waist-cord; and over all, the white cloak fastened with a tasselled cord, and on its left shoulder a red cross. The Templars white mantle symbolized purity, and the blood red cross reminded him of his oath to fight unto death for Christianity. The face and hands are very much worn. From the left hand depends a rosary, in the right is a walking stick, from which it may be supposed he was an old man, who valued the support of a staff. The inscription :— CHI : GIST : FRERES : GERARS : : CESTE : MAISON FONDA : PROIES : POR : SARME : SITREPASSA : EN : LAN DEL : INCARNATION : NOSTRE : SIGNOR : IHESV : CRIST MIL : CG : ET : LXXIIl: LE : DERIEN: IOR : DE : FEVRIER. Hllere mieposes sbrovie, (Gerardi. ....., Who founded this house. Pray for his soul. He died in the year of the incarnation of our Lord Jesus Christ 1273, on the last day of February. This Gerard founded in his own castle the ‘‘commandery” at Villers, hence called Villers-le-Temple. The year of its foundation is not certain, but in a document dated 1265 he is called ‘“ Master Gerard del Temple,” so it must have been founded in, or more probably before that year, In 1275 the Templars possessed eight manors in the district of Liége, which were held under the Commander of Villers-le-Temple, who was their Provincial Master; and_thirty- seven years later, in 1312, all their estates were taken from them by the needy and avaricious Philip the Fair, King of France. The story of the suppression of the Templars is a horrible one. It was the old story of Naboth with a vineyard re-enacted on a grand scale. ie O° :BQ!UOT:UPIUBA:D 1:1 X1:29°DD : TTIW: VSTUD-ASH UI :UOUOIS puns ° Hirire Gerars, 1273. TWEIMIPILIE. LE- SIZE 98 INCHES by 48. VILLERS | UNKNOWN, C. 1280. CHALONS-SUR-MARNE. E have here a Priest and his brother and sister. As the inscrip- tion is gone, we cannot tell who is commemorated. Part of the date remains, GRACE-mM-cc., and we may take it to be late in the thirteenth century. It is a fine fragment of a truly artistic work. The drapery is flowingly and richly disposed, and the drawing and arrangement of the brother and sister most clever. As the monument is now mural, the figures seem to be standing on the backs of a lion and a horse, both erect on their four legs, but with their heads bent to the earth. The horse on a monument is very peculiar. Thefe is nothing so pretty as the cap of the lady or so graceful as her robe in any of the illustrations in Planché’s Dictionary. The priest holds a chalice of good form, and is vested in a cassock or albe, over which is a chasuble of very pliable material, as all the early chasubles were. The stole is wanting. The maniple depends from the left wrist, as is usual, Onknaton, c. 1280. MEHUS DU CHASTELIER, C. 1280. ROUEN. |HERE this monument was originally placed I cannot say. Now it is mural in the Musée Archeologique at Rouen. ’Tis a charming composition in its every detail. The costume is similar to that on the effigy of Berengaria, Queen of Richard Coeur de Lion, as represented by Stothard from her tomb in the Abbey of L’Espan near Mans. Berengaria died early in the thirteenth century. The Queen wears a crown, but this lady wears a simple cap, while an angel brings her immortal crown from heaven. Her hair is in a net, probably of golden threads adorned with pearls. A mantle, lined with ermine, has floriated ornaments at the shoulders with ribbons attached to fasten it in front, This gown would be quite open at the breast were it not for the square fermail that closes it at the neck. On such a brooch as this, in the fourteenth century, was found the following inscription :— Je suis fermail pour garder sein, - Que nul villain n’y mette main.—See Fairholt’s Costume. The narrow girdle, after being secured by a buckle at the waist, falls down the front of the gown, and is ornamented with the same. simple device as that on the girdle of Queen Berengaria, and the aulmoniere suspended from it has a somewhat more elegant form than the alms bag of the Queen. The foliated lines of beauty in the background are graceful attendants on a graceful woman, and the angels with censers and candles and a heavenly crown are appropriate to a good woman. There is no date, but I take it to be well on in the thirteenth century. We have a similar head-dress on a slab at Chalons-sur-Marne, on which are two dates, 1263 and 1281. The inscription is in French and in Latin, and is imperfect, but is here printed with suggested emendations. + CHI. GIST - MEHVS - DV - CHASTELIER DIEX - IESVS - CRIST - LIPVIST - AIDIER QVI_- TVMVLVM - GCERNIS - GVR - NON MORTALIA - SPERNIS TALI - NAMQVE DOMO CLAVDITVR - OMNIS - HOMO Here lies Mehus du Chastelier, Lord Jesus Christ the powerful aid her. Why spurn’st thou not the world, who seest the tomb, Since all must lie shut up in such a home. 280. Gu , Debus du Cbastelier ROUEN. CEES by 31-24. SIZE 79 IN SACOBUS, 1284. JeVAS MUS IRIE, B|OOKING back to the illustration No. 14, Abbot Alardus, it will be seen I mentioned that parts of the Abbey Church of Hastitre Lavaux had been pulled down and sold: this slab of Abbot Jacob was very likely then taken away. I found it in a farmyard close to the church, and the farmer told me it had covered a well for many years; now it is lying loose on the ground, out of the way of the carts, along the farmyard wall. Rain and gusty wind joined to hinder my rubbing, but, with a few stones for the wind and an umbrella for the rain, and with the fresh vigour of six o’clock in the morning, I accomplished the simple work. The inscription :— ANNO - DNI- M - CC - LXxxiil - ocTAVO M? - IVNII- OBIIT - JACOB? - ABBAS H? - CENOBII- ANIMA - EI? - REQVIESCAT - I- P? In the year of our Lord 1284, on the 8th of the month of June, died Jacobus, Abbot of this Monastery. May his soul rest in peace. to | OBIS :c@NOBIENDT Facobus, 1284. HASTIERE. SIZE 72 INCHES by 2 | | ) ome, UNKNOWN, C. 1290. CHALONS. HE Cathedral of Chalons-sur-Marne has many slabs, of which this fragment of a monument to a wealthy civilian and his wife is one. The gentleman has two coats or gowns, the under one of which has tight-fitting sleeves, and the over one has full short 2s, rather gracefully covering the forearm, The close-fitting cap and curled hair are characteristic of the thirteenth century. The pose of the lady is ¢ graceful, and it is worth while studying the few bold lines by which the artist has represented her as standing with such firmness and grace. The ornamentation of the trifoliated arches may have had a meaning. Over her head is a bending bough with graceful leaves; fit emblem of the woman who had promised to be bucksome, that is boughsome—obedient to her husband,—and over his head are leaves of the sturdy oak, emblem of the strength with which he would protect his gentle treasure. Cnknown ¢. 1290. CHALONS. SIZE 105 INCHES by 42 em ypc i i HY at ay, Hi 1} i) HI i WAT if ani Hi | ‘| } | iii i| fl i) y oa rh Wi it | | | | | | ! HT tit Hi: i | i| i | | i | | | | i | JOHANNES FILIUS JACOBI, 1290. GHENT. |ARGE slabs are not frequently engraved with only a cross. This great stone was taken from the bottom of a canal sluice, and is now in the refectory of St. Macarius in Ghent. It is of red sandstone. The inscription :— ANNO - DNI- M - CG - LXXXX -1- UIGILIA EPYPHANIE - OBIIT - JOH’ES - FIL? - JACOBI - DCI - LARIWE - In the year of our Lord 1290, on the Vigil of the Epiphany, died John, the son of James, called Lanriwen. te on , 1290. Johannes Hilius Jacobi GinPe Nite. SIZE 103 INCHES by 54. | JEHAN DE CHANTELOU, 1290. EVREUX. HIS monument is now carefully preserved in the Municipal Museum at Evreux. Originally it was in the church of Chanteloup, a church now suppressed. I had to copy it on tracing paper, as the incised lines are filled with black mastic, thus making the surface smooth, and not to be copied by rubbing. The slab is of a coarse texture and a whitish colour, on which the black ines show up with good effect. The architecture of the canopy—trifoliated over the effigy—supported on pillars, the capitals of which have simple trefoil ornaments—the whole crowned by a series of very graceful three-leaved crockets, and a charming finial—is a good example of late thirteenth century art. The rather rudely cut cross near the right arm has suggested the idea that the stone has been used as an altar. The costume is that of a knight in banded ring mail, over which is a sleeveless cyclas ungirded, except by a sword-belt so loose that it could not sustain the sword were it not attached to the surcoat behind. The uncovered head shows how men of his rank wore the hair long and curled at the sides and cropped across the forehead. Men of the lowest rank had to wear short hair. he inscription :— + Cl - GIST - JEHEN - JADIS - SIRE - DE - CHANTELOV - CHEVALIER - QVI - TRSPASSA - EN - LEN - DE - GRACE -M - GC- LXXXX- LE - DIMENCHE - DEVANT - LA SEINT - MATHE - DEX - MERCI -LI FACE - AMEN Here rests John, formerly Lord of Chantelou, knight, who died in the year of grace 1290, the Sunday before St. Matthew’s day. May God grant him mercy. Amen. 1290. Sehen de Chantelon, EAVeRESUexe SIZE s9 INCHES by 39. | fl || 4 a \i | NENKINUS DE GOTHEIM, 1296. GOTHEM. in the little agricultural village of Gothem, in the district of Limbourg in Belgium, there are three large incised slabs, of which this is the earliest, A.D. 1296. | Wi Mi | A remarkable point in the knight’s armour is the diagonal | pose of the ailettes, and their being in /vont of the shoulders. é Hy | f any armorial bearings ever existed on these, or on the shield, they have been I | worn away. I | Aillettes, 2.2, little wings, are said to have been first worn by French | | | knights somewhere in the middle of the eleventh century, and were placed in I front, and large enough to protect the arm-pits, as roundels did in a later age. At the neck we get a glimpse of his hauberk of mail, which is otherwise 56 5 I *) completely hidden by a surcoat of the ample dimensions peculiar to the at i thirteenth century. | It has been said that the first appearance of the surcoat was at the time of the Crusades, when they were worn, probably of different colours to dis- tinguish one knight from another; and also for the purpose of preserving the iron armour from being heated by the sun. Such a covering would also keep ! j off rain, and prevent rust. i This surcoat has sleeves. The surcoat of the effigy of Brian, Lord Fitzalan, Th 1302, in Bedale Church, Yorkshire, has sleeves, which is probably the earliest | : example of this in England. | The mittens of mail are seen depending from the wrists, and are fingerless, \ with a separate covering for the thumbs. The waist girdle is hidden by the ample overlapping folds of the surcoat, and the broad sword belt with its buckle is as usual below the waist. The canopy is trifoliated with crockets of a twig form: the first time I | have met with this peculiarity. The spurs have rowells of numerous points. The first appearance of rowell | spurs on a brass in England is in 1325, on the monument of Sir John de Creke. The head and neck are, I should think, defended by a cap and gorget of mail. The incisions to depict the armour here have been worn away. The inscription :— : ANNO - DNI - M - CC - NONAGESIMO - SEXTO : XIII - KL - FEBRUARII - OBIIT - DOMIN? . NENKINUS - DE - GOTHEIM - MILES - ANIMA - EIUS - PER - MIAM - DEI - REQUIESCAT . IN - PACE - AMEN - In the year of our Lord 1296, on the 13th, the Kalends of February, died Dominus Nenkinus de Gotheim, Knight. May his soul, by the mercy of God, rest in peace. Amen. KL? = Kalendas. MIAM = Misericordiam. rs) x a a (eo) au oa —1:-Cd:-NDONAGEASIA l Q-S GX 6 O:XIII-RE-F am GBR UDI OBNODOMI "ae S 7 em) D = fa AIep ‘S) fa) fo) Oo ICT es) {2 ly G GOTHEM. DNenkinus de Gotbeim, 1296. SIZE 92 INCHES by 36. | ROUEN. AGNES DE SAINT AMANT, 1296. | 235s ee 3 ears monument was originally in the Chapter-house of the Abbey le 4 = x of Bonport: it is now in the Archzeological Museum at Rouen. Decay has been at work on the upper part of the slab, but what remains is in good preservation, presenting a fine ‘ There is no symbol of the soul, but angels may be supposed to be censing it as it passes to heaven. i example of what engravers on stone could do 600 years ago. | The weepers at the sides are bishops with low mitres of that simple form that was worn by the earlier ecclesiastics, and is so much more pleasing to look | | | at than the tall proud shapes of more modern days. The background, diapered alternately with fleurs-de-lis and roses, gives much richness to the picture. ql Two pet dogs are reposing at the lady’s feet. If the artist has been true to nature she must have been a very tall woman. Two angels, one on each side of her head, may be supposed to have ministered consolation to her in her dying moments. The costume is simple, but charmingly graceful. The hood, from beneath which peep little ringlets, is most artistically arranged. The mantle has an ample collar and much plaiting at the shoulders. The tight-fitting sleeves of a the gown have many ornamental buttons at the cuffs. The inscription has been broken away along the top, but a restoration of it may be found in Gaignitre’s Tombeaux des’ Eglises de Normandie, ii. p. 133. [Cy gist Madvame Agnes ve Saint] Amant, fame jadis Guilleaume vit 1 ie heneatt, laquele trespassa lan de grace mil cc quatre bing sese le samedi Hk dapres la thuphaigne, pries que lame dele soit en paradis. Amen. | Here rests Madame Agnes de Saint Amant, formerly wife of Guilleaume called Beneait, who died in the year of grace 1296, the Saturday after the H i Epiphany. Pray that her soul may be in Paradise. Amen. Pat! ; ABBAYE'm BON PORT > =: XIEM sigche . les 7 SR. q <<, LS Al Ds any x “ i a S x % Ds 4 % s » § x “az < 2% AY iT DS C2 SER Ee Re LORE Dy eS SLgnes de Saint-Almant, 1290. ROUEN. SIZE 102 INCHES by 495. 9} diuneanin 22ND VI LV CYIAD UB] \ HUMBIER CORBEARE, 1298. AWANS. ROKEN as this stone is, and partly hidden by the side-step of an altar, still what can be got by rubbing is a fine example of a knightly monument now in the church of Awans, a few miles from Liége The complete inscription is :— CHI - GIST - ME - SIRES - HVMBIER - CORBEARE - CHEVALIER - SIRE - DAWANS Kl. TRES - PASSAT - LE- PRVMIR - IVR - DE - RESALH - LAN - DE - GRASE - M.cc . Ill» VINS - ET - XVIIl . DEV - LARME - DE - LI - AME - Le prumir jur de resalh, is to be translated the first day of June. Humbier Corbeare or Corbeau, Lord of Awans, was grand-nephew to Eustace Lifranshoms de Hognoul, whose monument, A.D. 1269, is No. 16 in this book. He was also related to Antone de Loncin, No. 3, a.p. ¢. 1160. He had a relative and neighbour in William, Lord of Waroux, whom he disliked. In his village of Awans lived a beautiful and rich, but plebeian maiden, named Adoule. In Lord William’s village of Waroux, an esquire named Hanneceaux de Waroux loved her, bore her away and married her. This roused the wrath of Humbier of Awans, as he had intended to marry the beautiful damsel to one of his own retainers. He demanded her return as his vassal. His demand was of course refused. He then sent word to Lord William of Waroux that he would come and destroy him and his, and he had better he ready ; and thus began one of the most bloody family feuds of the days of chivalry. It lasted thirty-eight years. It began in 1297, and Humbier Corbeau, the originator of the war, whose monument is before us, was slain at the battle of Loncin, on the rst of June, 1298; and not till 15th May, 1335, was this most tragic love story closed by a treaty of peace. The figure of the knight is well drawn, and his complete suit of mail is engraved by an able hand. The coif or cap of mail is secured to the hood of mail by an ornamented band. The ailettes and shield are emblazoned, yair. The quilted and padded hacketon is seen at his cuffs, from which depend his mittens. The spurs are single-pointed, and his feet repose on two little dogs. The crockets of the canopy are like those we have seen at Gothem, A.D. 1296, No. 27. It is just possible that the birds in the spandrils of the canopy may have reference to his name, Corbeau. The right hand of God, as well as the face and hands of the knight, were in white marble. 20 Rumbiere Corbeare, 1298. AWANS. SIZE 115 INCHES by 44. a ' : i ' i i es EKPERTUS DRAUCHPEOH, 1300. RATISBON. NCISED slabs do not seem to be numerous in Germany. Those in low relief are more plentiful. This simple memorial is in the Museum of Antiquities near the Cathedral of Ratisbon. The building now used as a Museum was formerly the church of St. Ulrich. I do not know where this slab was originally placed. Inscription :— + ANNO - DNI - M- CCC. IN - FESTO - BEATI - VDALRICI - OBIIT - DOMINVS - EKPERTVS - DRAVCHPEOH - The Festival of St. Ulric is 4th July. The style of this monument might well be copied in these modern days. It would not be costly. Its disadvantage would be in its not giving examples of our costumes. h, 1300. 6) pertus Drauchpeo L ak RATISBON. SIZE 80.5 INCHES by 3. 3 OO ee | | AN ABBOT, C. 1300. GHENT. ) HIS fine example of Decorated work is engraved on a blue stone of a slaty texture, and the wonder is it has been so well preserved; the surface in many places is flaking off, and although under cover in the cloister of the ruined Abbey of St. Bavo, it is exposed to all atmospheric changes, and since there have been several frosty winters, so that now it would be impossible to get so good a rubbing as this. It is probable that the figure of the Abbot was in brass, but the lines representing the folds of the albe are of stone, and the surface that has been cut lower to let these lines stand up was, I think, filled with some material, probably of alabaster or white mastich, I don’t know for what purpose the lines of stone should have been left, except to enamel the lower surface up to their level, certainly not to insert slips of brass. Probably a brass fillet with an inscription was round the border. The slab is now against the wall in the cloister of the ancient Abbey of St. Bavo, now called Chateau des Espagnols, Ghent, and may represent one of the abbots. The architecture is of the Decorated period, and great richness is the happy result of the combination of very simple forms—crosses, circles, and graceful foliage. The general aspect is that of a brass with a diapered background. Sen eee fa ae ff foe 60 5) ofa boo ee ee el Se 20] cfr Del] os]60)/sa} et oa sy ix] wes Defoe ne pe Wide del eH eT DTS EE (EES pen aenieri( ><] ell ioe] le] ] oe fpelioe 8 f 08] Ox (oe) loc fae ive eI] 24 (p< }f5<}}(>e| oe a 1300. C o An Abbot GHENT SIZH 116 INCEHHES by 57. | | SIX CHILDREN, C. 1300. GHENT. has hushed the childish voice. What a life-long sorrow in the hearts of the parents who buried six, and placed over them this simple memorial with the simple record, “Here lie Oliver’s children.” My sympathy cannot touch their hearts, but the record of their bereavement touches mine. This fragment is in the refectory of St. Macarius in Ghent, and was rescued from a canal sluice. rs | ee Bp a ei tenner ARNULDUS DE GOJHEM, 1307. GOTHEM. OOKING at this we see a general resemblance to the slab already described from Gothem, and cannot but feel they are by the same engraver. The architecture here is more complete, and therefore more satisfactory to look at. The crockets are more graceful and spray-like. Here again the ailettes are in front of the shoulders, and are charged with a rose, as is also the shield, which is not pointed at the base, but round and broad. The costume is very similar to the knight of Gothem, already noticed. Here there are no spurs, and no covering for the head, and so we see the hair cut straight across the forehead, and long and curled at the sides. This fashion was usual with men for at least a hundred years.—Planché’s Cyclopedia, p. 241. t seems to have begun in the reign of Henry IIL., 1216, or earlier. This IN = DIE BI - VITI MRIS - OBIIT ARNVLDVS .- pes - NENKINVS - ARMIGER - DE GOTHEHE - ANIMA: EIVS: REQVIESCAT: IN: PACE: AM - Hy In the year of our Lord 1307, on the 17th Kalends of June, on the day of the blessed Martyr Vitus, died Arnuldus called Nenkinus, Esquire, of Gothem. May his soul rest in peace. Nore.—The day of St. Vitus is the 15th of June or the 17th Kalends of July. _DH CEAM + ADN Ele dy LS ATED ue OU DSDIAO DSS H HPS BYU:S AT D- ww IVvnit ° In: DIG b T68 VIOI-M Amuldus de Gothem, 1307 GOTHEM. SIZE 101 INCHES by 36. er a tie cha a ieee LAMBIERS D’ABEE ET GETRUS, 1312. ABEE. small and now [LACED on the floor of the chancel of the ver unused chapel of Abée, this very fine monument is still in its original position, The chapel by the roadsid the interior of which is decaying,—solitary about ten miles from Huy in Belgium, in a picturesque hill country, where the undulating fields were smiling upon the farmer with promises of harvest. The faces, the hands, and the two hands of God, are all of white marble, the slab itself being of a hard grey limestone. The knight’s face was more broken than the lady’s, but neither of them past repair. The marble hands are lost from both effi The indent for the lady’s ands is, strangely, a little out of perpendicular. The costume of the knight presents a good example of the origin of the phrases “a coat of arms” and “a shield of arms.” The shield is semée de lys, differenced by a label of five points. On the ailettes the label is of three points. This is an example of the fact that the number of points by which a man might differentiate himself was not determined oy a fixed heraldic law in 1312. : The surcoat is also semée de lys, with a label, seemingly of five points, which are almost completely hidden by the hands, The label is of the earlier form; namely, a thin fillet completely crossing the shield from dexter to sinister, with points depending from it, each point the same thickness throughout its length, and broader than the fillet. ‘ lodern labels are generally couped at both extremities, and their points ’—Boutell. are distorted into a species of dove-tailins I don’t know of a finer example of knightly caparison than this picture gives us. At his cuffs we see the ribbed texture of his quilted habergeon. Over this is the hauberk of mail, with its fingerless gloves thrown off his hands while he prays. The long heraldic surcoat is without sleeves, and falls grace- fully to the ankles. His head is protected by a cap of mail, to which is attached a collar or aventaille, which could be drawn up to protect his face. racefully simple; a hood with wimple covering the The lady’s costume is g throat. She died first, and is represented as in the sleep of death. We may see the tight-fitting sleeves of an under garment, over this a gown with loose sleeves, and outside all a fur-lined mantle, held up under her left arm, and falling in graceful lines. Inscription :— %* CHI: GIST - MESIRES - LAMBIERS - SIRES - DABEIES * IADIS - CHEWALIERS - KI - TREPAS' SAT: EN~ LAN: DEGRASE: M-: CCC: ET: XII * LANUIT - DELLE - SAINT - THOMAS - + ESI - GIST : MADAME * GETRUS - SA - FEME - KI - TRES - PASSA: EN - LAN : DE - GRASE- M- CCC: ET-X- LE: MERKEDI - APRES: LA~ MOIEN - DAWRI: PROIES POR: LES: AME * Here rests Messire Lambert, Lord of Abée, formerly chevallier, who died in the year of grace 1312, on the night of St. Thomas. + Here rests Madame Gertrude his wife, who died in the year of grace 1310, the Wednesday after the middle of April. Pray for their souls. 5X1 LAN CLO D 4 L gs AJNG- GhO NA #€@ SI-GISO-MADA WG y aoe ASS) = \ Ou Cad € S-S Du OD 9-30 DG@€GRAS 4- 9-D CURT US BS SHUI -SaPUO-l-vwD)A-D = | | = we} (} lex ta 1%) is =) wo i—4 A) i (4 in [ox (w=) =} bs ied € fears ero ae A DES ~ el ~ DA Ba iA > ~SIRES ete Tamera] Fs wim {Tk TAO wT: ovonanceee ” Loambiers ¥ Albee ct Getrns, 1312. AGES? SIZH 124 TIVCELES by 64. OLAWS DE EIKIBY, 1316. GOTLAND. HE island of Gotland in the Baltic, was of greater commercial ‘| importance for about 500 years previous to 1361, than any | locality in the north of Europe. Its chief town, Wisby, still : surrounded by its ancient walls, was as important in the north as Venice in the south. The island is about seventy miles ong by twenty-five wide, and contains ninety-three churches, still in use, built between a.p. 1032 and 1361. Their architecture has many interesting local peculiarities, which have been ably explained by Major Alfred Heales, F.S.A., in his book on the Churches of Gotland. The facsimile here presented is of a slab on the chancel floor of the church of Eikiby. The bold and well-formed letters of the inscription is an evidence of the existence of a good stone engraver in this locality in the year 1316. I think he was a native of Scandinavia, whose artistic education had been in- fluenced by representations he had seen of the much entwined sacred serpent of the ages of heathenism so frequently engraved on stones in northern lands. I think there can be no doubt but he intended to remind us of the Crucifixion by the three small cros: at the top, of which the central one is the tallest; and by the sevex heart-shaped forms developed out of the arms of the cross and filled with flowers he may have wished to remind us of the garden of delights the heart of the Christian enjoys in clinging to the cross. It is to be noticed that the forms the floriations take within the hearts at the sides, although similar are different, and may be intended to point to the varied experiences of different Christian hearts: and of the large heart at the top it may be said it is at unity within, filled with a trinity of flowers. It has gotten the victory, and finds repose in saying, holy, holy, holy, Lord God Almighty. By the interlacing of the lines at the crossing of the arms of the cross, is formed the suvastica or fylfot, which we know is not exclusively a Christian symbol. The inscription :— ++ ANNO DOMINI: M - - XVI: KL? : APRILIS : OBIIT : F 2 OLAWS : DE : EIKIBY © CUIVS : AIA: REQESCAT : | : PACE + on p, 1310. GOTLAND. SIZE 94 INCHES by 48. ve Gikib Olatus Pind ANE MARIE GUERANDE DE MONDIDIER, I3I7. EVER Wx. in the cloister of the Abbey of Bonport, this monument is now preserved against a wall in the Museum of Evreux in Normandy. It is a happy composition. The rich architectural side- shafts have tabernacles, in which are the figures of a funeral procession. There are two bishops, each chanting the service from his book. Then two figures, one bearing a processional cross and the other an asperger. The four other figures are hooded, with heads bent in mourning. The angels with their censers are graceful, and the soul of the deceased in the tympanum of the arch, standing on the joined hands of two kneeling figures, who are neither saints nor angels, is evidently a female soul with long hair. The backs aspect of the picture. rround, diapered of fleurs-de-lis and roses, greatly brightens the The costume of the lady is only peculiar in the pointed hood, the veil of which falls behind the neck. The mantle is lined with fur. The inscription has lost a few wo 1s, which are, however, quoted in full from Gaigniére’s Vombeaux des Eglises de Normandie, by Mons. L. T. Corde in his book of Sketches of the Pierres Tombales du Department de [ Eure. Both these gentlemen make the mistake of reading the name Guerlande instead of Guerande. CHI GIST DAME : DE: BONNE: MEMOIRE - MARIE: GVERANDE - DE MODIDIER - FAME - JADIS : SIRE : PIERR - DEHANGEST - ACHE vallier Bailly de Rouen: QVI- TRESPASSA ' EN: LAN : DE: GRACE: M : CCC © XVII - LE: DISWITISME - JOVR : DAVRIL : PRIES + DIEV: QVIL: AIT: MCHI * DELAME * DELI « AMEN, Diswitisme = Dix-huiti¢me. On the arch above the head the following verse is engraved in letters called minuscules gothiques :— Ces tous qui passes pchi Pries dieu que ait de moi mchi Car si come vous estes fui Et tes seres come je sui pehi = parchi = par ici. mchi = merchi = merci, and tes = tels. All ye who pass by here Pray that God may have mercy on me, For as you are so was I, And as I am so will you be. 36 Marie de DMondidier, 1317. EVREUX. INCHES SIZE 100 ny cto tec nne RAES DE GREIS, 1318. | BRUSSELS. in the Port de Hal Museum at Brussels, this monument is now preserved. It was originally at the Abbey de Villers in Brabant. The lines by which the folds of the surcoat are represented and also the bars on the ailettes and on the shield, are of stone, ze, these lines are raised by cutting away the neighbouring parts of the stone, which sunk parts were filled up with either white marble or cement or plates of enamelled metal. The custom of blazoning the surcoat as well as the 4 ailettes and shield is here exemplified. Barry of six—but the tinctures are lost. The same bearing is on a small shield at the dexter top corner, and half- way down the dexter side a similar shield, differenced by a label of five points, interrupts the inscription. The same bearing is on a shield at the dexter bottom corner, with the addition of a bend. The shields on the other side are indistinct. The inscription is in uncial letters of great beauty, and is, unfortunately, not perfect. CHI: GIST: RAES: DE: GREIS: CHLRS:S.GNR: DE: BIERC: KI: FU: Soi Sho DEAS ILH: ALA: OUTE: MEIR: EN: ACRE: ET: PORTA: LE: STANDAR: A: WARONK: AVEK: LE: DUC: JEHAN: ET +, TREPASSA : EN : LAN: DE: GRASCHE: M: CCC: XVIII: LE: VIGILE: SAINT : THOMAS : PIIS: POR: SARME: ET : POR: SON: BOIN: SIGNOVR: LE: DVC: IEHAN : Here rests Raes de Greis, Chevalier, Lord of Bierc, who..................went beyond the sea to Acre, and bore the standard at Waronk with the Duke Jehan, and died in the year of grace 1318, on the Eve of St. Thomas. Pray for his soul and for his good lord the Duke Jehan. He went to Acre, no doubt, as a Crusader, and may have been at the final siege in 1291, when the Moslems made a ruin of the city, and but a few Christians escaped to Cyprus. The battle of Voeringen, or as it is spelled in the inscription Waronk, was fought on 5th June, 1288, when Duke John of Brabant was victorious over Henry, Count of Luxembourg. Of this Duke John LI, called the victorious, it is said, “C’etait l'un des Princes de son tems les plus magnifiques, les plus diserts, les plus braves, et les plus adroits dans le maniemant des armes.’”’— L Art de Vérifier les Dates, vol. xiv. p. 98. On the occasion of the marriage of Henry, Count de Bar, there was a tournament, and Duke John being passionately fond of military exercises, entered the lists against Pierre de Beaufremont, who wounded him so that he ai died the next night, 4th May, 1294. The duke’s standard bearer, Raes de Greis, did not die till twenty-four years after, in 1318, but he had such a kindly remembrance of his brave leader that on his tomb he requests prayers for his good master, the Duke John. PaaS, iby SOS SEA IN “te = F = Se >. Seas oe SF Soe 18, 1318. Baes ve Gre BRUSSELS. SIZH 123 INCHES by 61. eS = YSJASSES DOYSSEN, 1324. GEMEPPE. HIS pretty little monument was copied in the church of Gemeppe in Belgium, by Monsieur Fernand Lohest, who kindly sent me the rubbing. Monuments to children are not frequently met with, although they must have been often laid down. This is a very charming witness to the tenderness and sorrow of a parent for the loss of, probably, an only son. | The inscription tells us all I have been able to learn of the family— CHI - GIST -YSTASSES - FIS - MON - SANGNOUR - JEHAN - DOYSSEN CHEUALIER - SANGNEUR - DE - GEMEPPE KI - TREPASSAT - EN - LAN - DEGRASCE -M - CCC - ET - XXIIll - LE: SEZIME- |OUR - DE - MOIS - DAOUST - Here reposes Ystasses, son of Monseigneur Jehan Doyssen, Knight, Lord of Gemeppe, who died in the year of grace 1324, on the 16th day of the month of August. 4 — = ~ N foo) Lal GieMiE Pies SIZH 56 INCHES by 27. ‘YVstasses Dopssen, ie — ee Se SS — = — —_ ——— ee — = 5 SSS SSS * — BIRGER PETERSON AND WIFE, 1328. UPSALA. (aS) |HE sun had set, and the gloom of night filled the Cathedral of c Upsala, when by the light of candles I rubbed this fine monument on the floor of a side chapel. It commemorates Birger Peterson Brahe and Ing wife, and their seven children. It is a fine example of the stone engravers art, and in design and execution may fairly compete with similar works in brass. It may be said to have every characteristic of a Flemish brass, except the diapered background. The “weepers” at the sides are the children of the deceased. Three boys yy the father, four girls by the mother. A name was engraved over the head ef each child, and though now almost illegible, are known to have been—boys : 1, Petrus; 2, Benedictus; 3, Israel, figure defaced. Girlise a, ibnysraiehiss 2, largareta; 3, Katharina; 4, Birghitta. Of these children Birghitta was the most’ famous. She was born in 1302, and married when fourteen. She lived a holy life, was esteemed a prophetess, founded the Cloister of Vadstena, died at Rome in 1373, was canonized in 1391 by Boniface IX., and is the famed Saint Briget of Sweden, whose day is gth October. The lady Ingibv here commemorated was daughter of Sigrid the Fair, and Bengt, brother of Birger Jarl, the founder of Stockholm, and whose son became King of Sweden. The secret marriage of Bengt with Sigrid, a damse of no pedigree, roused the wrath of his proud brother Birger Jarl, who, to express his scorn of the unequal union, sent to his brother a robe, one half of which was of costly cloth of gold, and the other of coarse woollen material. Bengt then had the coarse half embroidered with gold, pearls, and gems, and made it richer and far more valuable than the cloth of gold half, and returned it to the haughty Birger, ‘to remind him that beauty and virtue are of greater value than noble birth.’’ At this the jarl was enraged, and sent a scornfu message that he would pay his brother a visit. Bengt was absent when the angry jarl arrived, but the fair Sigrid receivec him with such sweetness and dignity, that he forgot his wrath, and told his brother, when he came in, that if he had not married her he might have done it himself. The shield is rounded at the base, and not pointed like a French or Belgian. The device upon it is two eagles’ wings, the bearing of the Brahe family. One wing is gone, but we can only be glad so much of this fine work remains to us. The inscription begins at his feet— iburg his + HIG JACET NOB......S - DOMINVS - BIRGIRVS - PETRI FILIVS - LEGIFER - VPLANDI... <-PRO NOBIS - + ET - EIVS-- VXOR- DOMINA - INGIBVRGIS - CVM - FILIIS - EORVM - QVORVM : ANIME - REQVIESCANT - IN PACE - + - Here lies the noble Lord Birger Peterson. Pray for us. And his wife the Lady Ingiburg with their children. May their souls rest in peace. Peterson is Latanized by Petri Filius, but why his family name of Brahe is omitted would be hard to say. Ingeburg died in 1314; her husband in 1328. Birger Petersen and Mite, 1328. UPSALA. RENIER DE MALEVE, BRUSSELS. HIS fine monument was originally SS ( gave us so fine an example of | Greis;.b 1316, imetie same! ic Port de Hal Musée, Brussels. The inscription seems to have been in a arch of the canopy; and the tympanum above marble seated figure, either of God with the soul Haines at p. x. vol 1, speaks of this slab as close incised slab and ““connection between the boldly says the hollowed out parts in the figure v copper enamelled.” with this happy idea of the combination of the enameller and And Mr. Haines may be correct when he says t and monumental brasses were often identical.” He says this ‘‘ canopy is quite unrivalled of Raes de Greis, which is less florid, but equa parts in the architecture of both these canopies w coloured cement, presenting a bright contrast to In the graceful ornaments of the border we of vegetable into animal life: better illustrations seen on a lantern slide of a speculative lecturer. mutes into an ornithological creature, having the The shield, barry of six and a bend, has t the Raes de Greis. shields on monument to related. ic C. 1330. in the abbey church of Villers in Brabant, and appears to be a creation of the artist who his skill in the slab of Raes de hurch. It is now mural at the fillet, probably of brass, on the has the indent of a brass, or in His arms, or of a Saint. an exemplification of the very brass,” and the monumental were “inlaid with thin plates of I hope he is right, and till we can prove the contrary we must rest content the stone engraver. he “artists of the incised slabs te evident ly vere filled with a white or other y had not seen that artistic. I believe the sunk he more gloomy stone. aave examples of the transition I The living oak twig trans- of this than any have ever head of an unknown quadruped. he same bearing as one of the They may have been nearly CHgaO: alebe, BRUSSELS. SIZE 1215 INCHES by 545. BRenier ve DO EUDELINE CHAUBRANT EJ SA FILLES, 1338. CHALONS-SUR-MARNE. E have here a very fine example of the stone engraver’s art, commemorating a mother and her two daughters. The Cathedral of Chalons-sur-Marne is rich in slabs : its floor is almost paved with fragments. The position of this monument is mural on the outside of the wall or screen enclosing the high altar. From the costumes it would appear that Marguerite, the daughter on the dexter side, belonged to a religious order: her head-dress and her book hanging from her girdle suggests this. The mother, in the middle, and the other 5) fel aughter, are costumed in the fashionable head-dress and robes of that age. he religious has no ornamental buttons at her wrists—the others have many. She has no mantle—the others have mantles lined with fur, and rings on their fingers, which the religious has not. The canopy is an architectural design of much merit, the tympanum of each arch being pierced with rich tracery as beautiful as in any window. Above, we have God and attendant angels, all as if resting on the clouds of heaven. His arms uphold a sheet, in which are the three souls of the ’ deceased. This is an unusual arrangement; and an angel holds, ready for them, three crowns of immortality, while two other angels attend with censers. Beneath, we see a coffin in a church, covered by a funeral pall richly emblazoned with lions and spread eagles, alternately. At the head and feet are tall candles, and in the middle a cross. To the right and left are six priests chanting the burial office. The inscription gives us three dates, 1313, 1328, and 1338. We will begin with the mother’s at the spring of the arch on the dexter side, although she died at the second date. & IC] GIST - DAME - EVDELINE - FAME - RANSIN - DE - CHANBRANT QVI_- TRESPASSA - LAN - DE - GRACE - M - CCC - ET - XXVIII - LE MESCREDI - APRES - LA - NOSTRE - DAME - EN: MI - AVOVST » + ICl - GIST IEHENETE - FILLE - RANSIN - DE - CHAVBRANT - FEME ROBERT - DE - AVERGINI - QVI - TRESPASSA - LAN - DE - GRACE M - CCC ET XIII - LE - DIMAGE - DEVANT - QVARESME - PRENA...T #8 Cl - GIST - MARGVERITE - IADIS- FILLE RANSIN - DE - CHAVBRANT QVI - TRESPASSA - LAN: M- CCG - XXXVIII»LA + VIGILLE - S » GREGOIRE PRIEZ - POVR - LI Norr.—The name is written Chanbrant once and Chaubrant twice. The mother died on the Wednesday after Lady-day in August, zc, after the Assumption of the B. V. M.; Jehenete died on the Sunday before Lent ; and Marguerite on the Vigil of St. Gregory, but which of the Saints of that name is not mentioned. E Ae Bit iB B t=} iB ied f=) iB rat Ue i fay iS =) fel PUSSUHAD-QUEAD 0-39 1338. Gudeline de Chaubrant ct filles, CHALONS-SUR-MARNE. SIZE 126 IINCH ES by 64. = — == SSS —— eee = = = S——————=———— ———————— a — ————— ——— rere = oe See JAKEMINS DOXNEN, 1344. BRUSSELS. and beautiful things of great antiquarian interest. Among them are several monumental brasses and slabs. This is one of the slabs, but where it was placed originally I do not know. The triple-arched canopy is like a peculiar class of dejected human beings, it has no visible means of support. Its arches with their pendents are supported by trefoiled capitals that rest upon nothing. So we may no longer say ex nihilo nihil fit. The inscription is evidently meant to apply only to the central figure, the father, who died first,—of his widow and of the priest his son the executors forgot to have their names, &c., recorded on the blank spaces above them. CHI - GIST - IAKEMINS - DOXNEN - BORIOIS - DEHUY - KI - TRESPASSAT - LAN - DE GRASCE - M - CCC - XLIIII - XVIII - IORS ELMOIS - DE - FENAS - PROIES - POVR = LI BORIOIS is probably for Bourgeois. ELMOIS - DE - FENAS = In the month of June, or hay season. “FENASSE = Un de noms vulgaires du Sainfoin.” Here rests Jacquemin Doxnen, burgess of Huy, who died in the year of grace 1344, on the 18th day of the month of June. Pray for him. The faces and hands and chalice, and also the right hand of God issuing from a cloud over the head of each figure, were of white marble, now lost. The priest’s chasuble is ornamented with that mysterious symbol the fylfot, or swastica, which the late Professor Stephens says was a runic monogram for Thor, and was also used by some Christians as a monogram for Christ. Sakenins Dorben, 1344. BRUSSELS. Sa ee MARGUERITE DE CHASTELUILAIN, 1351. EPERNAY. OR very good reasons, I have no doubt, the train from Reims to Meux halted for an hour and more at Epernay, so I walked into the town, visited the principal church, and against the south wall of the nave was delighted to discover this fine slab, looking as fresh as if it had just left the artist's studio. I had to return to the train and go on to Meux, where I knew a slab existed, but my journey there was in vain, as the church was under repair, and the slab could not be got at. Disappointed at Meux, I returned at once to Epernay, and during the evening vainly sought an interview with the curé to ask permission to rub. Early next morning I succeeded: he most courteously came to the church with me, and ordered ladders for my use. As soon as I began to rub, I found that the surface of the monument was not as perfect as it looked. The fresh appearance had been accomplished by painting the incised lines and sunk parts a dull red, and the raised parts, that were broken, of a stone colour, in slight contrast to the red. I soon discovered many fragmentary lines, especially in the tympanum of the arch above the head of the figure. The whole composition is as delicate and artistic as if engraved on brass. The ivy leaf diapering is delightfully graceful. The shields are of brass, and are raised above the surface about a quarter of an inch. The lions are politely, if not heraldically, made to turn their faces towards the lady. This arrangement I have noticed on other foreign monuments. As on the slab of Marie Guerande de Mondidier at Evreux (No. 36), a.p. 1317, so here the weepers are not saints, and two figures on that monument are repeated here. That at the top of the dexter side bears a processional cross, and that at the sinister top bears an asperger and a vase of holy water. The eight figures are probably intended to represent the more prominent persons of a funeral procession. The inscription tells us all I know of this abbess— Tei - gist - noble - veligteuse - dame - fMlargquerite - de - Chasteluilatn, Albesse - de - Valbane - D’argengolles - qui - trepassa - lam - am ceclt - I am not certain of the name, whether it be Chasteluilain or Chastelinlain. I think it is more likely to be as reproduced in the inscription here, and also as it is at the heading of this note. ite lam, 135 astelin b te de O EPERNAY. SiZe 118 INCHES by 54. _—_ ceed a a. = J =z —ih pas = zB . q =i pan ae —#§ 1-9: Cee | & es A a EE SS A A a GARARDUS DE GOJHEM AND WIFE, 1358. GOTHEM. SSE have two dates on this stone, 1358 and 1403. The knight Gerardus de Gothem died first, and he is represented as having his eyes closed in death, while the eyes of his widow are open. She must have had a long widowhood, as she did not die till 1403, forty-five years after her husband. The expectation was she would die in 1300 and something, but she survived till the next century. This is evident by the space left for her date, and by the clumsiness of the added figures. The inscription begins beneath his feet. ANNO - DNI - M - CGC - LVIII - VICESIMAQVARTA - DIE - MENSIS OCTOBRIS - OBIIT - GERARDVS - PRI... - DE - GOTHEM - ARMIGER ORATE - PRO. EO + ANNO - DNI- M - Cécciit - DIE - MENSIS octoly - XXII - OBIIT - DOMICELLA - ELISABET - HEN - BOLLEN VXOR - DICT] - GERARDI - ORATE - PRO - EA Nore.—The artist first engraved EO and then changed the O into A. Hitherto the knights presented to us have been completely clad in mail covered by a surcoat. Here is an illustration of the change that was arrived at in the second half of the fourteenth century. The loose surcoat is gone, and the hauberk of mail is covered by a garment without sleeves, laced tightly to the body at the sides, having the edge of its shirt cut into a pattern. This garment is known as a jupon. On it the armorial bearings of the knight were sometimes embroidered. This was his “Coat of Arms.” It is known that beneath this jupon, and over the breast of the hauberk, a metal plate was occasionally worn. Plates of metal or epauliéres protect the shoulders. The plates of the rerebras are fastened over and partly cover the short sleeve of the hauberk. Coudieres guard the elbows, and vambraces completely encircle the forearms. Cuissards of metal cover the thighs; genuillieres protect the knees; jambes of plate are fastened to the legs by buckles, and laminated sollerets incase the feet. Holes are cut in the breast of the jupon, through which chains pass and are fixed to the breast-plate beneath the jupon, one chain being attached to the misericorde, and the other to the sword. A metal bascinet covers the head, to which the mail covering for the neck or camail is fastened by a cord, passing through loops along the cheeks of the bascinet. The lady’s costume needs no particular mention. She wears a wimple and hood, which have been frequently said to be the badge of a widow, but as nuns were similarly dressed, this cannot be completely true. ifm -DE-GOGNEM-ARMIGER-OnA Isl 3 = {ee} 2 faa) 2 a fa 2 any ° ch tva) = ews =) x IR s c 5 nm (se) S ai Se-DRO-€0 =A“ Diem Cuca € daah OA Ne ASE WD -OUd-BIOWVO “10 Gerardus de Gothem and twife, 1358. GOTHEM. SIZE 110 INCHES by 58. UW upO-19DIC- VORA UB MOT-UPU- SDAWSNID- WMPDIGOC ONTO wi ating SISUDD | | eee nemteeenent serene CGILE DE PEGORARE, 1377. RI 1e9] IMS. soul of the deceased are also in white marble. The shields may have of the same, but are lost. The architecture of the upper part of the design is specially noticeab the massive central turret, strengthened by flying buttresses. As there background beneath the flying buttres filled with a white cement. In this instance indications of but of white marble, and the face of the Father and the little symbol of N the north side of the high altar, in its original position in the 5S 5 pavement, this monument is preserved in the Cathedral of Reims. Many other monuments have been executed in a hard stone that now looks gray, and have had their incised parts the white cement remain, but the hands and face of the effigy are not of cement the been e for is no s, the figure of the Father and the swinging censers seem to be in the open air. The Father is seated on the finial of the principal arch of the canopy, and over His head the trifoliated arch of the turret protects Him as a baldechino. & Cp - gist - noble - et - digeret - Home - megsive - gile - De - peqovare . de - plaigance - fadig - chanoine - et - gowbehantre - de - ceste - elise - gui - trespassa - De - te - ciecle - fan - mil - troig - cong - goivante - ect - dix - sept - le - axnittt - jour - du - mois - Doctobre - pour - Ddieus - pries - pour - lame - de - ut - Here lies the noble and discreet man, Master Gile de Pegorare de Plaisance, formerly Canon and Soubchantre of this church, who died in this century one thousand, three hundred, sixty, and seventeen = 1377. The 24th day of the month of October. Pray to God for his soul. a on ee ee b= 2 = UT fs Ls 2Ft. i » 1377 REIMS. SIZE 114 INCHES by 57. peeeeess yp E ae ie : rg haath : - - = =e g “if = , ve = ae a Gra ; . : ‘ ake ’ ! : oe Ss = Neieont : : : ri Sass = = = ete p ae a a 3 ary ang os = are te SS @ws ¥ CD) -< | ener ar aa i a= Gls ____ 1 i ae | M_3Q sy] nod sad snata aod d1goj00 Siow NQ+ 1MO1+ WNIy+ Gile de Pegorare gut Om es WILHEME WILKAR EJ SA FEME, 1379. AWANS. JHIS fine slab is on the floor of a chapel in the Church of | Awans in Belgium. 4] Pillars to support iron railings have been fastened into the slab, and so the costume of the knight has been defaced, and a restoration is attempted by a few lines. It is a very peculiar costume. In the latter part of this century, sleeves dagged and plain and wide and long, &c., &c., much perplexed the fashionable mind of Europe. This knight wears a surcoat laced up the front from the girdle, and with large sleeves turned back to show the lining. His hauberk of mail appears as a stand-up collar. Two other examples of this will be seen at No. 51, a.p. 1413. I have no doubt his arms are protected by plate armour, as we see his legs to be. On his feet are laminated sollerets, over which are fastened rowell spurs. But his most peculiar defence is the plastron-de-fer outside his surcoat, attached by points over the breast. The lady’s costume is simple, but it was probably costly. A coverchief or hood on the head falls gracefully to the shoulders, and a wimple covers the throat. ” Her mantle seems to be “ gathered”? at the shoulders, giving the appear- ance of an ornamented band. Over the head of each figure the right hand of God issues from the clouds to bless them. The inscription is now very illegible, but it is known to be :— Chi - gist - WHilheme - Wilkar - WAmans - Ki - trespassat - Ian - De - grase - m- eee - ffi et voit - le - dievin - jour - Wauoust - Chi - gist - yamoiselle - Avelhe - de - Wierset - feme - audit Wilheme - Wilkar - ki - tvespassat - lan - de - grease - m ~ cee + Ix et xix - Te xh™ four d’aury. Here rests Wilheme Wilkar of Awans, who died in the year of grace 1300 + (3 x 20) + 17, Ze. 1377, on the last day of August. Here rests damoiselle Adelhe de Bierset, wife of the said Wilheme Wilkar, who died in the year of grace 1379, on the 15th day of April. 379: I @ilbeme ilhar et sa Heme, eee =) area eee ee SS Ss ee pe ae mee AWANS. SIZE 112 INCHES by 65 YSTASE DE SERON SER ET SA FEME, 1382. ON. @RAY, Sir, where is Seron?”? “QO! don’t know; Or die” Forville. through a picturesque country. I went to Monsieur le Curé, and obtai never heard I found that Seron was a hamlet of the parish of From Liege to Andenne by train at six in the morning, thence to Forville by Chemin-de-fer Vicinal, z.e., rails laid down on the common road, a most delightful way of getting The train stopped opposite a public-house, its usual place, at Forville, and ned permission to copy the monument in the Chapel of Ease at Seron, about a mile and a half away. The monument is actually the floor of a little lumber-room at the south- west end of the chapel. I had to clear the room of debris of decorations, dried up flower pots, broken angels, and Broken as it is, it was wort reluctance with which knights gave up c The bascinet of steel is a good sha round its lower edge behind. cord at the sides of the face and general rubbish. copying. The armour reminds us of the hain armour. pe; to it is attached the camail by a Whether he wears a hauberk of mail beneath his jupon or not, I cannot say, but we see a dentate fringe of armour below the esca o be the lower edge of the hauberk. I patterns of all sorts. This is ornamental form of these belts. To a plates or blocks that were often brilliant misericorde are suspended. curiously differ in form, The legs aminated sollerets, sharply pointed. scribed as a bend between six birds, quarter. Notr.—In early heraldry the canton was called a ‘ quarter.” is about an eighth of the shield. The lady’s costume is simple. hands of the effigies were of white mar and the spurs of the knight. The inscription begins beneath the The belt of knig astened to the jupon, otherwise it would slip off &c. Cuissards of plate protect the thig loped edge of the jupon, and this may was then fashionable to cut edges into hthood encircles the hips, and must be ff. From this belt the sword and a good example of the massive and band of leather are fixed a series of with floriated work done in gems, &c., hs. At the knees are genuillitres which are encased in plate, and the feet in The bearing on the shield may be de- differenced by a horse barnacle in a The canton The right hand of God, the faces and ble, as were also the chape of the sword knight’s feet— + CHI. GIST. MESIRES - YSTASE - DE - SERON . CHEVLIRS - KI. TREPASAT - LAN . DE - GRASCE -M - CCC LXXXI - Vill . IOVR . EN - AVRY --+ - CHI GIST - DAME MAROIS - SAFEME .- KI TREPASAT - LAN - DE - GRASCE M - CCC LXXXII + XIl . IOVR - EN - OCTEMBRE - PRIIES - POR - YAS + AVRY = AvrI = April; and OCTEMBRE = October. 47 EQS) Ooi - SHR Ss xv I AN ie XX DDD-O- BOSH EME Ri GREPASAG -UMN-Da- ORASCE-O- COC UXXXI-XM- LOT EN-0CoE IS ‘Vostase de Seron et sa Fleme, 1382 SERON. SIZE 99 INCHES by 54. PP se }, a OO BISHOP NICHOLAUS, 1391. LINKOPING. IT ANDING in an open space adorned with picturesque trees the Dom kyrka of Linképing is a fine building. It is Romanesque with a pointed choir, begun in 1150 and finished in 1499; but the tower and spire were not completed till 1886. Against the wall of a chapel in the south-west of the Cathedral this slab of a slaty, softish stone is now placed. We may read the inscription and then see what may be learnt of the Bishop— & $ie : osgotorum : presul : Micbolaus : Humatus : {ens : pla : bas : morum : eelesti : Docmate : qvatus : Annam : Birghitam : sollempniter : hystoriabit Ansgarit : bitam : celebrique : stile : decorabit : Here is buried Nicholaus, Bishop of the Osgots, his pious mind was a vessel of virtues, and for his heavenly doctrine delightful; hymns to the glory of Anna and Bridget he solemnly wrote, and the life of Ansgar he adorned with his brilliant pen. The learned Dr. E. W. Planck of Linképing has courteously furnished me with the following note:—‘ Bishop Nicholaus had acquired great learning by foreign travel, and was praised for his piety. For some time he was chaplain to the holy Birghitta, whose revelations he sought to explain, and on her account composed several hymns, of which the one, ‘Rosa rorans bonitatem,’ is the best known. He was zealous in his bishopric, and charged the clergy to teach the people the Lord’s Prayer, the Apostles’ Creed, the Ten Commandments, and about the seven deadly sins, &c. Jpon the humble entreaty of four Swedish Bishops to the Pope, and supported by King Eric XIII., he was declared a Saint, and his name was registered in the Book of the Saints in the year 1414. He died in 1391.” I do not think the date of his death given by Dr. Planck, 1391, agrees with the inscription, which makes 1400. Anna and Birghitta are Swedish Saints. Birghitta was the youngest daughter of Birger Peterson Brahe, whose beautiful slab is No. 39 in this book, A.D. 1328. Ansgar or Anscharius is patron saint of Sweden, who first preached Christianity there, a.p. 829.—See Lives of the Saints, Feb. 3. The imperfect inscription on the arch contains the date, and it forms, as the Rev. W. Hudson has cleverly suggested, a rhyming couplet. Hunc annus tulit m. c. ter & c. monos crucis integer. Him the year of the cross one thousand, thrice one hundred, and one whole hundred, carried off. The angels welcome him to heaven with a couplet— Euge serve bone e[t fidelis] Intra in gaudium dfomini tui]. The “‘e”’ in the first line rhymes with the “d” in the second. Well done, good and faithful servant Enter into the joy of Thy Lord. 48 Te THe Meu Ee) WINE (34 We 'e, V -~, >, | ea iz i= hot Hl Ss = E |e E <= IN = 4 E a = o% a ¥y ues ——ae = WIV Q Bishop Nitholaus, 1301. LINKOPING, SIZE ss INCEES by 52 (Mr caarccrmmcaani | | MARIE ELEINWOUTRES, 1397. TONGRES. EN I had rubbed this slab in the cloister of the Church of Notre Dame at Tongres, I said to the sacristan, ‘“‘I wish to go to the Chapel at Offelkem, as there is a monument there. Can you tell me where I can get a voiture?” He smiled the smile of superior knowledge, and replied: ‘There is no monument at Offelkem. Twenty years ago I brought the monument from that chapel, and you have just copied it.’ So I referred to my notes, and found the name and date of the slab in my book as being at Offelkem was the name and date of the slab before us in this illustration. The inscription is in Flemish :— INDEN - JORE - DAT - MEN - SCREIF - M~ CCC: EN - LXXXXVII - WERSCIET - ENSTARF » MARIE - ELEINWOVTERS - VANTONSERN ~ XX ° DACHE : IN: SPROCHKILLE - BEID - VER - SINSEILE - & + SINXHOVDVRVND - AME The architecture of the canopy is somewhat peculiar, inasmuch as we have an inner arch with slender columns, and an outer the columns of which are hidden by the inscription, and thus appears to be on a different plane to that of the inner columns and arch. The costume is wanting in refinement of drawing, and the fore-shortening of the foot is not a success, but the draping of the hood is an evidence of better work. E a . = INS a S 3 a ae @ Stan ce 2 2a) Ke oy ht R | 86, wv DE: 6 re. a a 3 5 | {Q & = SWE OUAUAGAOURUIG =D BSUS WBA - OT DTU ONS: ure ABBOT, JUMIEGES, C. 1400. ROUEN. A\IIKE many an abbey in France, that of Jumidéges suffered | tribulation, and of the many monuments to its abbots, one has found a resting-place against the wall facing you as you enter the Musée Archeologique at Rouen.