Part 4

As they entered the church Mr. Acres heard, to his surprise, the clear ring of Mary's happy laugh. She was standing in the south aisle, beside the paper on which she had been vainly attempting to copy a monumental brass. Seeing her father approach with a serious and somewhat reproving countenance, she at once guessed the cause, and anticipated the reprimand he was about to utter. "You must not be angry with me, Papa," she said, in a very subdued tone, "for indeed I could not help laughing, though I know it is very wrong to laugh in church; but, you know, I had just finished my rubbing of the brass here, and thought I had done it so well, when all of a sudden the paper slipped, and the consequence was that my poor knight had two faces instead of one; and he looked so queer that I could not help laughing at him very much."

"No doubt, my dear child," said her father, "there was something in your misfortune to provoke a laugh, but I think you must have forgotten for a moment the sacredness of this place, when you gave vent to the merry shout I heard just now. You should always remember that in God's house you are standing on _holy ground_, and though it may be permissible for us to go there for the purpose of copying those works of art, which in their richest beauty are rightly dedicated to God and His service, and these curious monuments which you and Ernest have been tracing, yet we should ever bear with us a deep sense of the sanctity of the building as the 'place where His honour dwelleth,' and avoid whatever may give occasion to levity; or should the feeling force itself upon us, we ought, by a strong effort, to resist it."

Although the words were spoken in a kind and gentle voice, many tears had already fallen upon Mary's spoilt tracing, so her father said no more on the subject; but, taking her hand, led her quietly away to a chapel at the north-east corner of the church, round which was placed a beautifully carved open screen. It was the burial-place of the family that formerly tenanted the Hall, and there were many brass figures and inscriptions laid in the floor to their memory. Here, attentively watched by old Matthew the sexton, Ernest was busily engaged tracing the figure of a knight in armour, represented as standing under a handsome canopy. He had already completed his copy of the canopy, and of the inscription round the stone, and was now engaged at the figure. Two sheets of paper were spread over the stone, and he had guarded against Mary's accident by placing on the paper several large kneeling hassocks, which were used by the old people. He was himself half reclining on a long cushion laid on the pavement, and having before marked out with his finger on the paper the outlines of the brass underneath it, was now rubbing away vigorously with his heel-ball[40], and at every stroke a little bit more of the knight came out upon the paper, till, like a large black drawing, the complete figure appeared before them. They had all watched Ernest's labours with the greatest interest, and, this being the last, they assisted in rolling up the papers, that they might be taken home for more careful examination in the evening.

"I wish Master Ernest could take a picture of good old Sir John, as we call him, Mr. Acres," said Matthew; "I mean him as lies in the chancel, right in front of the altar; but he's cut out in the flat stone, and not in the metal, so I suppose Master Ernest can't do it. I remember the time, sir, when people as were sick and diseased used to come for miles round to lie upon that stone, and they believed it made them much better[41]; and if they believed it, I dare say it did, sir. And 'tisn't but a very few years back when it would have been thought very unlucky indeed if a corpse had not rested over good Sir John all night before its burial. We still place the coffins just in the same place at the funerals, but of course nobody any longer believes that good Sir John can do good or ill to those inside them."

"I must bring some stronger paper than that I use for the brasses, to copy the stone figure, Matthew," said Ernest; "so that must be done another day."

All said good-bye to the old sexton, and as he wended his way up the narrow stone stairs to his little chamber, Mr. Acres and his family returned to Oakfield Hall.

The dining-room was soon decorated with the trophies of Ernest's four days' labour, and other rubbing's which he had before taken; and when Mr. Ambrose arrived he was met by several eager petitioners, praying him to give some explanation of the strange-looking black and white figures that hung upon the walls.

"It would take me a whole day to tell you all that might be said about them," said he; "but I shall be very glad to give you a short description of each, and I will follow the course which Ernest has evidently intended me to adopt, for I see he has arranged all the bishops and priests together, and the knights, the civilians, and the ladies, each class by itself. But first I must tell you something of the general history of these brass memorials. There are an immense number of them in this country--it is supposed about 4000--and they are chiefly to be found in Norfolk, Suffolk, Essex, and Kent; but indeed there are comparatively few old churches in England in which you cannot find upon the pavement some traces of these interesting memorials. Though, however, so many remain, probably not less than 20,000 have been either stolen or lost. You will see on the pavement at St. Catherine's, marks of the force which has been used in tearing many from the stones in which they had been firmly fixed."

"But who could have been so fearless and wicked as to take them away?" exclaimed Constance, who already had begun to feel a real interest in the subject.

"Alas! Constance, that question is easily answered. There was indeed a time, long ago, when people would not have _dared_ to commit these acts of sacrilege. You know among the ancient Romans there was a belief that the manes or spirits of the departed protected their tombs, and so persons were afraid to rob them; but people since then have been deterred by no such fear, indeed by no fear at all. Within the period between 1536 and 1540 somewhere about 900 religious houses were destroyed, and their chapels were dismantled and robbed of their tombs, on which were a great number of brasses. And this spirit of sacrilege extended beyond the monasteries, for at this time, and afterwards, very many of our parish churches were also despoiled of their monumental brasses; indeed the evil spread so much that Queen Elizabeth issued a special proclamation for putting a stop to it. The greatest destruction of brasses, however, took place a hundred years after this, when thousands were removed from the cathedrals and churches to satisfy the rapacity or the fanaticism of the Puritan Dissenters, who were then in power[42]. In later times, I am sorry to say, large numbers have been sold by churchwardens, for the just value of the metal, and many have been removed during the restoration of churches and have not been restored; of course, those whose special duty it was to protect them have been greatly to blame for this. Then not a few have become loose, and been lost through mere carelessness. Some of the most beautiful brasses in our church I discovered a few years since under a heap of rubbish in the wood-house of Daniels, the former sexton[43]. So you see it is no wonder we find so many of those curiously-indented slabs in the pavement of our churches, which mark the places where brasses have formerly been.

A few of these memorials are to be found in Wales, Ireland, and Scotland. Some also exist in France, Germany, Russia, Prussia, Poland, Switzerland, Holland, Denmark, and Sweden. In these countries, however, they have never been numerous.

But now I must say a few words about their origin. The oldest memorials of the dead to be found in our churches are the stone coffin-lids, with plain or floriated crosses carved upon them. The stone coffins were buried just below the level of the pavement, so their lids were even with the floor of the church. Afterwards, similar crosses were graven on slabs of stone above the coffin; then the faces of the deceased were represented; and at length whole figures, and many other devices, were carved on the stone, and around the stone was sometimes an inscription consisting of letters of _brass_ separately inlaid. Then the figures and inscriptions were either altogether made of brass, or were partly graven in stone and partly in brass; specimens of both, I see, Ernest has provided for us. The earliest of these incised slabs are probably of the ninth century, but the faces of the deceased were not carved on them till about 1050. The earliest brass of which we have any account is that of Simon de Beauchamp, 1208; and the most ancient brass figure now remaining is that of Sir John Daubernoun, 1277.

"The form of the brass has evidently been often suggested by the stone and marble effigies we see on altar-tombs. For we find that not only the costume and position of the figures are closely copied, but also the canopies above them, the cushions or helmets on which their heads rest, and the lions, dogs, or other animals on which the feet are placed. I have something more to say on the subject generally, before I come to speak particularly about Ernest's copies; so after the general interval of ten minutes I will resume the subject.

_CHAPTER VIII_

THE PAVEMENT

"They bowed themselves with their faces to the ground upon the pavement, and worshipped, and praised the Lord, saying, For He is good, for His mercy endureth for ever."

2 Chron. vii. 3.

"This is the abode where God doth dwell, This is the gate of Heaven, The shrine of the Invisible, The Priest, the Victim given.

"O holy seat, O holy fane, Where dwells the Omnipotent! Whom the broad world cannot contain, Nor Heaven's high firmament.

"Here, where the unearthly Guest descends To hearts of Innocence, And sacred love her wing extends Of holiest influence;

"Let no unhallow'd thought be here, Within that sacred door; Let nought polluted dare draw near, Nor tread the awful floor; Or, lo! the Avenger is at hand, And at the door doth stand."

_The Child's Christian Year._

Illustration: Heywood Church

THE PAVEMENT

Illustration: Brass of Henry Sever, at Merton College, Oxford

As soon as the short pause was over, all ears were open to learn something more on a subject which had been hitherto entirely without interest to most of the Vicar's little audience.

"We find sometimes upon the pavement of our churches," said Mr. Ambrose, "memorials just like those I have spoken to you about, except that they are made of _iron_ or _lead_ instead of brass, but they are comparatively very rare, and, except in the metal of which they are composed, differ nothing from the _brasses_.

"Sepulchral brasses must have been a great ornament to our churches before they were despoiled of their beauty by the hand of Time, and the still less sparing hand of man. The vivid colours of the enamel with which they were inlaid, and the silvery brightness of the yet untarnished lead which was employed to represent the ermine and other parts of official costume, must have added greatly to the splendour of these monuments. At first they were no doubt very costly, for there appear to have been but few places where they were made in this country, and, in addition to the cost of the brasses themselves, the expense of their carriage in those times must have been considerable. A great many of these monuments, however, are of foreign manufacture, and were chiefly imported from Flanders. It is easy to distinguish between the English and the Flemish brasses, for whereas the former are composed of separate pieces of metal laid in different parts of the stone, and giving the distinct outline of the figure, canopy, inscription, &c., the latter are composed of several plates of brass placed closely together and engraved all over with figures, canopies, and other designs. The later English brasses are, however, very similar to the Flemish. You see that little copy of a brass about three feet long by one foot deep which Ernest has somehow obtained from the church at Walton-on-Thames? Now that is a square piece of metal just like those they made in Flanders, but it was evidently engraved in England. It is dated 1587, and is in memory of John Selwyn, keeper of Queen Elizabeth's park at Oatlands, near Walton. It represents, as you see, a stag hunt, and is said to refer to this incident:--'The old keeper, in the heat of the chase, suddenly leaped from his horse upon the back of the stag (both running at that time with their utmost speed), and not only kept his seat gracefully, in spite of every effort of the affrighted beast, but, drawing his sword, with it guided him to wards the Queen, and coming near her presence, plunged it in his throat, so that the animal fell dead at her feet[44].'"

"But, my friend," said Mr. Acres, "it seems to me that the record of such an event, even if it ever happened--which I must take the liberty to doubt--is quite as objectionable as any of those epitaphs in our churchyard which you once so strongly and justly condemned."

"I quite agree with you. But this was made at a time when sepulchral monuments were frequently of a very debased character. At this period the brasses underwent a great change. They began to rise from their humble position on the pavement, and the figures were occasionally made without their devotional posture, which up to this date had been almost universal. They were then placed on the church walls, on tablets, or on the top and at the back of altar-tombs, and this led the way for the erection of a large number of monuments in stone of similar design, but more cumbrous and inconvenient. Inferior workmen also were evidently employed at this time to engrave the brasses, and they became more and more debased, till they reached the lowest point of all, a hundred years ago, and soon after their manufacture altogether ceased. It was near the time when this brass was put up to the old park-keeper, that that ugly monument in memory of Sir John York, with its four heathen obelisks, and its four disconsolate Cupids, was put up in our chancel, covering so much of the floor as to deprive at least twenty persons of their right to a place in God's House. About this time, too, that uncomfortable looking effigy of Lady Lancaster was put upon its massive altar-tomb. To judge from the position of her Ladyship, and hundreds of other similar monuments, represented as reclining and resting the face upon the hand, we might imagine that a large proportion of the population in those days died of the toothache. However, the attitude of prayer was that most commonly adopted, as well in stone as brass effigies, till long after this period.

"If any thing more than the figure, canopy, inscription, and shield is represented on a brass, it is commonly a sacred symbol, a trade mark, or some badge of rank or profession. To this there are but a few exceptions, besides the brass of John Selwyn. At Lynn, in Norfolk, on one brass is a hunting scene, on another a harvest-home, such as it was in the year 1349, and on another a peacock feast, the date of which is 1364. Founders of churches frequently hold in their hands the model of a church. The emblem of undying love we find in the heart, either alone or held by both hands of the effigy. A long epitaph was often avoided by the simple representation of a chalice, a sword, an ink-horn, a wool-sack, a barrel, shears, or some such trade or professional emblem. Some--comparatively few--of the inscriptions on brasses are, however, profusely long, and sometimes, but very rarely, ridiculous.

In very early times the epitaphs were always written in Latin or Norman French; and if that practice had continued, it would not much matter to persons generally even if they were absurd, as few could read them: but about the year 1400 they began to be written in English, and then of course these foolish inscriptions must have been distracting to the thoughts of those who attended the church. But it very often happened that persons had their brasses put down some time before their decease, as is evident from the circumstance that in many cases the dates have never been filled in. This custom would much tend to prevent foolish and flattering inscriptions.

"I have noticed that there is in nearly all brasses a solemn or serious expression in the countenance suitable to their presence in God's House. They were frequently _portraits_ of the persons commemorated[45]. This was no doubt the case in later brasses, and I think in the earlier also. Latterly the faces were sometimes coloured, no doubt to represent the originals more exactly. It seldom happens that the age of the person is otherwise than pretty faithfully portrayed.

"I must next tell you something of the dresses of the clergy, the soldiers, and the civilians, as we see them engraved upon the pavements of our churches."

_CHAPTER IX_

THE PAVEMENT

"It was a cave, and a stone lay upon it."

John xi. 38.

"On the floor beneath Sepulchral stones appear'd, with emblems graven And footworn epitaphs, and some with small And shining effigies of brass inlaid."

Wordsworth's _Excursion_.

"The warrior from his armed tent, The seaman from the tide-- Far as the Sabbath chimes are sent, In Christian nations wide,-- Thousands and tens of thousands bring Their sorrows to His shrine, And taste the never-failing spring Of Jesus' love Divine.

"If at the earthly chime, the tread Of million million feet Approach whene'er the Gospel's read In God's own temple-seat; How blest the sight, from death's dark sleep To see God's saints arise, And countless hosts of angels keep The Sabbath of the skies!"

_Lyra Sacra._

Illustration: Chancel of Whippingham Church

THE PAVEMENT

Illustration: Brass of Sir Roger de Trumpington

"That costumes are pretty accurately represented on brasses," continued Mr. Ambrose, "we are sure, from the fact that many different artists have made the dresses of each particular period so much alike; and this circumstance adds much interest and importance to these monuments. I will now describe some of these dresses, and you must try to find out, as I go on, the several parts of the dress I am describing on Ernest's rubbing's which hang upon the wall. But I shall only be able to say a little about each. First there come the persons holding sacred office in the Church. The priests are usually, you see, dressed in the robes worn at Holy Communion, and they commonly hold the chalice and wafer in their hands. The robe which is most conspicuous is the _chasuble_. It is usually richly embroidered in gold and silk. This robe is one of the ornaments of the minister referred to in the rubric at the commencement of the Prayer Book. At the top of it you see the _amice_. This too is worked in various colours and patterns. The academic _hood_, some suppose, now represents this part of the priest's dress. You must remember we are looking at the dresses worn five hundred years ago, and which had been in use long before that time, and we cannot be surprised if some of them, as now worn, are a little changed in shape and appearance. The narrow band which hangs from the shoulders nearly to the feet, embroidered at the ends, is called the _stole_. This, you know, is still worn by us just as it was then. It is one of the most ancient vestments of the Church, and is intended to represent the _yoke of Christ_. The small embroidered strip hanging on the left arm is the _maniple_. It is used for cleaning the sacred vessels. Beneath the chasuble is the _albe_, a white robe which--changed somewhat in form--we still wear. It is derived from the linen ephod of the Jews. Sometimes on brasses, as on that beautiful one to the memory of Henry Sever[46], the _cope_ is represented. This is a very rich and costly robe, and is still always worn at the coronations of our Kings and Queens; it is also ordered to be worn on other occasions. Then the bishops wore, you see, other robes besides those I have mentioned:--the _mitre_, like the albe, handed down from the time of the Jews to our own period; the _tunic_, a close-fitting linen vestment; the _dalmatic_, so called because it was once the regal dress of Dalmatia; the gloves, often jewelled. They hold the _crozier_, or _cross staff_, or else the _crooked_, or _pastoral staff_, in their hand. As bishops and priests were then, as now, very often buried in their ecclesiastical vestments, the brass probably in such cases represented, as near as could be, the robed body of the person beneath. The earliest brasses of ecclesiastics are at Oulton, Suffolk, and Merton College, Oxford. The date of both is about 1310.

"We must next come to the monumental brasses of _knights_ and warriors; and that curious brass to Sir Peter Legh, which is taken from Winwick Church, will do well for a connecting link between the clergy and the warriors. He is, you see, in armour, but over the upper part of it is a chasuble, on the front of which is his shield of arms. And this tells his history. He was formerly a soldier, but at the decease of his wife he relinquished his former occupation, and became a priest of the Church. You see before you soldiers in all kinds of armour, and you can easily trace the gradual change from the _chain mail_ to the _plated armour_, till you find the former almost entirely abandoned, and the latter adopted, in the early part of the fifteenth century. Now I should soon tire you if I were to describe all the curious sorts of armour these soldiers wear, so I must just take one of them, and that will go far to wards explaining others. There hangs Sir Roger de Trumpington[47], of Trumpington, Cambridgeshire; his date is 1289. You see he is cross-legged, and so you would put him down for a Knight Templar, and a warrior in the Holy Land. And so he was; but nevertheless you must remember all cross-legged figures are not necessarily Knights Templar. He rests his head upon a _bascinet_ (A), or helmet. His head and neck are protected by chain mail (B), to which is attached his _hauberk_ (D), or shirt of mail. On his shoulders are placed _ailettes_ (C), or little wings, and these are ornamented with the same arms as those borne on his shield. They were worn both for defence and ornament, as soldiers' epaulettes are now. The defence for the knees (G) was made of leather, and sometimes much ornamented. At a later time it was made of plated metal. The legs and feet are covered with chain mail, called the _chausse_ (F), and he wears _goads_, or 'pryck spurs,' on his heels (H). Over the hauberk he has a _surcoat_ (E) probably of wool or linen. Here you see it is quite plain; but it is frequently decorated with heraldic devices; and such devices on the surcoat or armour are often the only clue left to the name and history of the wearer.