Chapter 9

OF THE DEBASED ENGLISH STYLE.

Q. When did this style commence, and how long did it prevail or continue?

A. It may be said to have commenced about the year 1540, and to have continued to about the middle of the seventeenth century; but it is difficult to assign a precise date either for its introduction or discontinuance.

Q. Why is this style called the DEBASED?

A. From the general inferiority of design compared with the style it succeeded, from the meagre and clumsy execution of sculptured and other ornamental work, from the intermixture of detail founded on an entirely different school of art, and the consequent subversion of the purity of style.

Q. What may be considered as one great cause of this falling off?

A. The devastation of the monasteries, religious houses, and chantries, which followed their suppression, discouraged the study of ecclesiastical architecture, (which had been much followed by the members of the conventual foundations, who were now dispersed, in their seclusion,) and gave a fatal blow to that spirit of erecting and enriching churches which this country had for many ages possessed.

Q. How could this be the cause?

A. The expenses of erecting many of our ecclesiastical structures, or different portions of them, from time to time, in the most costly and beautiful manner, according to the style of the age in which such were built, were defrayed, some out of the immense revenues of the monasteries, which at their suppression were granted away by the crown, and others by the private munificence of individuals who frequently built an aisle, with a chantry chapel at the east end, partly inclosed by screen-work, or annexed to a church, a transept, or an additional chapel, endowed as a chantry, in order that remembrance might be specially and continually made of them in the offices of the church, according to the then prevailing usage; which chantries having been abolished, one motive for church-building was gone.

Q. What concurrent causes may also be assigned for this change?

A. The almost imperceptible introduction and advance, about this period, of a fantastic mode of architectural design and decoration, which is very apparent in the costly though in many respects inelegant monuments of this age, and in which details of ancient classic architecture were incorporated with others of fanciful design peculiar to the latter part of the sixteenth and early part of the seventeenth centuries.

Q. What are the characteristics of this style?

A. A general heaviness and inelegance of detail, doorways with pointed-arched heads exceedingly depressed in form, and also plain round-headed doorways, with key stones after the Roman or Italian semi-classic style now beginning to prevail; square-headed windows with plain vertical mullions, and the heads of the lights either round or obtusely arched, and generally without foliations; pointed windows clumsily formed, with plain mullion bars simply intersecting each other in the head, or filled with tracery miserably designed, and an almost total absence of ornamental mouldings. Indications of this style may be found in many country churches which have been repaired or partly rebuilt since the Reformation. In the interior of churches specimens of the wood-work of this style are very common, and may be perceived by the shallow and flat carved panelling, with round arches, arabesques, scroll-work, and other nondescript ornament peculiar to the age, with which the pews, reading-desks, and pulpits are often adorned. The screens of this period are constructed in a semi-classic style of design, with features and details of English growth, and are often surmounted with scroll-work, shields, and other accessories. Of this description of work the screen in the south aisle of Yarnton Church, Oxfordshire, constructed A. D. 1611, may be instanced as a curious specimen.

Q. What peculiarity may be noted in the alterations and additions of this era?

A. A very common practice prevailed, from about the middle of the sixteenth century, when any alteration or addition was made in or to a church, of affixing a stone in the masonry, with the date of such in figures. Thus over the east window of Hillmorton Church, Warwickshire, (which is a pointed window of four lights, formed by three plain mullions curving and intersecting each other in the head, which is filled with nearly lozenge-shaped lights, but all without foliations,) is a stone bearing the date of 1640. In the south wall of the tower of the same church (which is low, heavy, and clumsily built, without any pretension to architectural design) is a stone to denote the period of its erection, which bears the date of 1655. Pulpits, communion-tables, church chests, poor-boxes, and pewing of the latter part of the sixteenth and of the seventeenth century, also very frequently exhibit, in figures carved on them, the precise periods of their construction.

Q. What specimens are there of this style of late or debased and mixed Gothic?

A. Annexed to Sunningwell Church, Berkshire, is a singular porch or building, sexagonal in form, at the angles of which are projecting columns of the Ionic order supporting an entablature. On each side of this building, except that by which it communicates with the church, and that in which the doorway is contained, is a plain window of the Debased Gothic style, of one light, with a square head and hood moulding over. The doorway is nondescript, neither Roman or Gothic. This building is supposed to have been erected by Bishop Jewell. The chapel of St. Peter’s College, Cambridge, finished in 1632, exhibits in the east wall a large pointed window, clumsily designed, in the Debased style, and divided by mullions into five principal lights, round-headed, but trefoiled within; three series of smaller lights, rising one above the other, all of which are round-headed and trefoiled, fill the head of the window, the composition of which, though comparatively rude, is illustrative of the taste of the age. On each side of the window, on the exterior, is a kind of semi-classic niche. In Stowe Church, Northamptonshire, are a number of windows inserted at a general reparation of the church in 1639; these are square-headed, and have a label or hood moulding over, and are mostly divided into three obtusely pointed-arched lights, without foliations. Under the windows of the south aisle is a string-course, more of a semi-classic contour than Gothic. On the south side is a plain round-headed doorway, inserted at the same period. The tower and south aisle of Yarnton Church, Oxfordshire, erected by Sir Thomas Spencer, A. D. 1611, have the same kind of square-headed window, with arched lights without foliations, as those of Stow. Stanton-Harold Church, Leicestershire, erected A. D. 1653, is perhaps the latest complete specimen of the Debased Gothic style. Towards the end of this century Gothic mouldings appear not to have been understood, as in the attempt to reconstruct portions of churches in that style we find mouldings of classic art to prevail. Such is the case with respect to the tower of Eynesbury Church, St. Neot’s, Huntingdonshire, rebuilt in a kind of Debased Gothic and mixed Roman style, in 1687. Other instances of the kind might also be enumerated. At the commencement of the eighteenth century the Roman or Italian mode appears to have prevailed generally in the churches then erected, without any admixture even of the Debased Gothic style.

CONCLUDING CHAPTER.

ON THE INTERNAL ARRANGEMENT AND DECORATIONS OF A CHURCH.

The churches of this country were anciently so constructed as to display, in their internal arrangement, certain appendages designed with architectonic skill, and adapted purposely for the celebration of mass and other religious offices.

At the Reformation, when the ritual was changed and many of the formularies of the church of Rome were discarded, some of such appendages were destroyed; whilst others, though suffered to exist, more or less in a mutilated condition, were no longer appropriated to the particular uses for which they had been originally designed.

On entering a church through the porch on the north or south side, or at the west end, we sometimes perceive on the right hand side of the door, at a convenient height from the ground, often beneath a niche, and partly projecting from the wall, a stone basin: this was the _stoup_, or receptacle for holy water, called also the _aspersorium_, into which each individual dipped his finger and crossed himself when passing the threshold of the sacred edifice. The custom of aspersion at the church door appears to have been derived from an ancient usage of the heathens, amongst whom, according to Sozomen[154-*], the priest was accustomed to sprinkle such as entered into a temple with moist branches of olive. The stoup is sometimes found inside the church, close by the door; but the stone appendage appears to have been by no means general, and probably in most cases a movable vessel of metal was provided for the purpose; and in an inventory of ancient church goods at St. Dunstan’s, Canterbury, taken A. D. 1500, we find mentioned “a stope off lede for the holy wat^r atte the church dore.” We do not often find the stoup of so ancient a date as the twelfth century; one much mutilated, but apparently of that era, may however be met with inside the little Norman church of Beaudesert, Warwickshire, near to the south door.

The porch was often of a considerable size, and had frequently a groined ceiling, with an apartment above; it was anciently used for a variety of religious rites, for before the Reformation considerable portions of the marriage and baptismal services, and also much of that relating to the churching of women, were here performed, being commenced “ante ostium ecclesiæ,” and concluded in the church; and these are set forth in the rubric of the Manual or service-book, according to the use of Sarum, containing those and other occasional offices.

Having entered the church, the font is generally discovered towards the west end of the nave, or north or south aisle, and near the principal door; such, at least, was in most cases its original and appropriate position: this was for the convenience of the sacramental rite there administered; part of the baptismal service (that of making the infant a catechumen) having been performed in the porch or outside the door[156-*], he was introduced by the priest into the church, with the invitation, _Ingredere in templum Dei, ut habeas vitam æternam et vivas in sæcula sæculorum_; and after certain other rites and prayers the infant was carried to the font and immersed therein thrice by the priest, in the names of the three Persons of the Holy Trinity. By an ancient ecclesiastical constitution a font of stone or other durable material, with a fitting cover, was required to be placed in every church in which baptism could be administered[156-†]; and it was, as Lyndwood informs us, to be capacious enough for total immersion. Some ancient fonts are of lead, as that in Dorchester Church, Oxfordshire, and that in Childrey Church, Berkshire; both of these are cylindrical in shape, and of the Norman era, encircled with figures in relief; those on the font at Dorchester representing the twelve apostles, whilst those on that of Childrey are of bishops. Leaden fonts are also to be met with in the churches of Brookland, Kent; Wareham, Dorsetshire; and Walmsford, Northamptonshire. Square and cylindrical or truncated cone-like shaped fonts, of Norman design, supported on a basement by one or more shafts, and either plain or sculptured, are numerous; we sometimes find on them figures of the twelve apostles, sculptured in low relief; the baptism of our Saviour also was no uncommon representation. Fonts subsequent to the Norman era are not so frequently covered with sculptured figures, though such sometimes occur; they are sexagonal, septagonal, or octagonal in shape; and the different styles are easily ascertained by the architectural decorations, mouldings, tracery, and panel-work, with which they are more or less covered. On the sides of rich fonts of the fifteenth century representations of the seven sacraments were not unfrequently sculptured, as on that in Farningham Church, Kent. The covers to some rich fonts, especially to some of those of the fifteenth century, were very splendid, in shape somewhat resembling that of a spire, but the sides were covered with tabernacle-work, and decorated at the angles with small buttresses and crockets. Fonts with rich covers of this description are to be found in the churches of Ewelme, Oxfordshire; of North Walsham and of Worstead, Norfolk; and of Sudbury and of Ufford, Suffolk.[158-*]

The general situation of the tower or campanile is at the west end of the nave; it is sometimes, however, found in a different position, as at the west end of a side aisle, which is the case with respect to the churches of Monkskirby and Withybrooke, Warwickshire; or on one side of the church, as at Eynesbury Church, Huntingdonshire, and Alderbury Church, Salop; and the tower of the latter church is covered with what is called the saddle-back roof, having two gables--a peculiarity to be found in some few other churches. In cross churches the tower was generally, though not always, erected at the intersection of the transept, and between the nave and chancel. In the towers the church bells were hung, with the exception of one; without these no church was accounted complete; they were anciently consecrated with great ceremony, named and inscribed in honour of some saint, and the sound issuing from them was supposed to be of efficacy in averting the influence of evil spirits. Bells appear to have been introduced into this country in the latter part of the seventh century, but comparatively few bells are now remaining in our churches of an earlier date than the seventeenth century, since the commencement of which century most of our present church bells have been cast. Towers were also occasionally used, up to the fourteenth century, as parochial fortresses, to which in time of sudden and unforeseen danger the inhabitants of the parish resorted for awhile. The tower of Rugby Church, Warwickshire, a very singular structure built in the reign of Henry the Third, appears to have been erected for this purpose; it is of a square form, very lofty, and plain in construction, and is without a single buttress to support it; the lower windows are very narrow, and at a considerable distance from the ground; some of them are, in fact, mere loop-holes; the belfry windows are _square-headed_, of two lights, simply trefoiled in the head, and divided by a plain mullion; the only entrance was through the church; it has also a fire-place, the funnel for the conveyance of smoke being carried up through the thickness of the wall to a perforated battlement, and it altogether seems well calculated to resist a sudden attack. Other church towers of early date appear to have been erected for a double purpose: that of a campanile, as well as to afford temporary security. The towers of Newton Arlosh Church, of the Church of Burgh on the Sands, and of Great Salkeld Church, Cumberland, appear to have been constructed with a view to afford protection to the inhabitants of those villages upon any sudden invasion from the borders of Scotland, and for that purpose were strongly fortified[160-*]. Some church towers, especially in the counties of Norfolk and Suffolk, are round and batter, or gradually decrease in diameter as they rise upwards; most of these are of the Norman, though some are in the Early English, style; that at Little Saxham Church, Suffolk, may be adduced as a specimen. Spires in some instances appear to have served as landmarks, to guide travellers through woody districts and over barren downs. The spire of Astley Church, Warwickshire, now destroyed, was so conspicuous an object at a distance, that it was denominated the lantern of Arden. The spires of the churches of Monkskirby and Clifton, in the same county, now also destroyed, were formerly noticed as eminent landmarks.

Anciently the body of the church appears to have contained no other fixed seats for the congregation than a solid mass of masonry raised against the wall, and forming a long stone bench or seat. A bench of this description runs along great part of the north, west, and south sides of the Norman church of Parranforth, Cornwall. In the Norman conventual church of Romsey plain stone benches of this description occur; they are likewise to be met with in Salisbury and other cathedrals; also in some of our ancient parish churches, as in the south aisle of Kidlington Church, Oxfordshire. Seats for the use of the congregation are noticed in the synod of Exeter, held A. D. 1287. Open wooden benches or pew-work are rarely, if at all, met with of an earlier era than the fifteenth century, when the practice of pewing the body of the church with open wooden seats, if not then introduced, began to prevail. In 1458 we meet with a testamentary bequest of money “to make seats called puying,” and several of our churches still retain considerable remains of the ancient open seats of the fifteenth century. At Finedon, in Northamptonshire, the body of the church and aisles are almost entirely filled with low open seats, with carved tracery at the ends, disposed in four distinct rows; so that the whole of the congregation might sit facing the east. Similar seats occur in Culworth Church, in the same county, and these are likewise of the fifteenth century. The pulpit was anciently disposed towards the eastern part of the body of the church, but not in the centre of the aisle. Pulpits are now rarely to be found of an earlier date than the fifteenth century, when they appear to have been introduced into many churches, though not to have become a general appendage. Ancient pulpits of that era, whether of wood or stone, are covered with panel-work tracery and mouldings; and some exhibit signs of having been once elaborately painted and gilt. Mention, however, is made of pulpits at a much earlier period; for in the year 1187 one was set up in the abbey church, Bury St. Edmund’s, from which, we are told, the abbot was accustomed to preach to the people in the vulgar tongue and provincial dialect[164-*]. The most ancient pulpit, perhaps, existing in this country, is that in the refectory of the abbey (now in ruins) of Beaulieu, Hampshire: it is of stone, and partly projects from the wall, and is ornamented with mouldings, sculptured foliage, and a series of blank trefoiled pointed arches, in the style of the thirteenth century. The church of the Holy Trinity, at Coventry, contains a fine specimen of a stone pulpit of the fifteenth century. In Rowington Church, in the county of Warwick, is a stone pulpit of the same age as that at Coventry, but much plainer in design. At Long Sutton Church, Somersetshire, is a splendid wooden pulpit of the fifteenth century, painted and gilt; and the sides are covered with ogee-headed niches, with angular-shaped buttresses between; but the pulpits of this era may be distinguished without difficulty by the peculiar architectural designs they exhibit.

We now approach the division between the nave or body of the church and the chancel or choir: this was formed by a beautiful and highly decorated screen, sometimes of stone, but generally of wood, panel and open-work tracery, painted and gilt: above this was a cross-beam, which formed a main support to the rood-loft, a gallery in which the crucifix or rood and the accompanying images of the blessed Virgin and St. John were placed so as to be seen by the parishioners in the body of the church, and also in accordance with the traditional belief that the position of our Saviour whilst suspended on the cross was facing the west. The passage to the rood-loft was generally up a flight of stone steps in the north or south wall of the nave; but as the rood-loft frequently extended across the aisles, we sometimes meet with a small turret annexed to the east end of one of the aisles for the approach. Though the introduction of the lattice-work division between the chancel and nave may be traced in the eastern church to the fourth century, we possess in our own churches few remains of screen-work of earlier date than the fifteenth century; and it appears probable that wooden screen-work before that period was not common, and that in most instances a curtain or veil was used for the purpose of division. The rood-loft generally projected in front, so as to form a kind of groined cove, the ribs of which sprang or diverged from the principal uprights of the screen beneath. In Long Sutton Church, Somersetshire, is a splendid wooden rood-loft, elaborately carved, painted, and gilt, which extends across the whole breadth of the church, and is approached by means of a staircase turret on the south side of the church. In the churches of Great Handborough, Enstone, Great Rollwright, and Hook Norton, Oxfordshire, are considerable remains of the ancient rood-loft, and numerous other instances where it is still retained could be adduced. Sometimes this gallery was so small as to admit of the rood and two attendant images only, and had no apparent access to it, as that in Wormleighton Church, Warwickshire. Hardly a rood-loft is, however, remaining of earlier date than the fifteenth century; prior to that period, and in many instances even during it, the crucifix or rood and its attendant images appear to have been affixed to a transverse beam extending horizontally across the chancel arch; this was sometimes richly carved, and a beam of this description still exists in the chancel of Little Malvern Church, Worcestershire. An earlier date than the eleventh century can hardly be assigned for the introduction of the rood, with the figures of St. Mary and St. John, into our churches, though in illuminated manuscripts somewhat before that period we find such figures pourtrayed with the crucifix[167-*]. In the abbey church, Bury St. Edmund’s, the rood and the figures of St. Mary and St. John, which were placed over the high altar, were (as we are informed by Joceline, who wrote his Chronicle in the twelfth century) the gift of Archbishop Stigand[167-†]. Gervase, in describing the work of Lanfranc in Canterbury Cathedral, as it appeared before the fire, A. D. 1174, notices the rood-beam, which sustained a large crucifix and the images of St. Mary and St. John, as extended across the church between the nave and central tower[168-*].

All the carved wooden roods appear to have been destroyed at the Reformation in compliance with the injunctions issued for that purpose. We occasionally meet, however, with bas relief sculptures of our Saviour extended on the cross, with a figure on each side representing the Virgin and St. John, but in a mutilated condition. On the outside of the west wall of the south transept of Romsey Church, Hants, and close to the entrance from the cloisters into the church, is a large stone rood or crucifix sculptured in relief, with a hand above emerging from a cloud[169-*]: this is apparently of the twelfth century. Small sculptured representations of the rood, with the figures of St. Mary and St. John, still exist on one of the buttresses near the west door of Sherborne Church, Dorsetshire; over a south doorway of Burford Church, Oxfordshire; and in the wall of the tower of the church of St. Lawrence, Evesham.

Outside the roof of some churches, on the apex of the eastern gable of the nave, is a small open arch or turret, in which formerly a single bell was suspended: this was the _sanctus_ or _sacringe_ bell, thus placed that, being near the altar, it might be the more readily rung, when, in concluding the ordinary of the mass, the priest pronounced the _Ter-sanctus_, to draw attention to that more solemn office, the canon of the mass, which he was now about to commence; it was also rung at a subsequent part of the service, on the elevation and adoration of the host and chalice, after consecration[171-*]; but though the arch remains on the gable of the nave of many churches, the bell thus suspended is retained in few; amongst which may be mentioned those of Long Compton, Whichford, and Brailes, in Warwickshire, where this bell is still preserved hung in an arch at the apex of the nave, with the rope hanging down between the chancel and nave[171-†]. Mention of this bell is thus made in the Survey of the Priory of Sandwell, in the county of Stafford, taken at the time of the Reformation: “Itm the belframe standyng betw: the chauncell and the church, w^t. a litle _sanct_^m bell in the same.” Generally, however, a small hand-bell was carried and rung at the proper times in the service, by the acolyte; and in inventories of ancient church furniture we find it often noticed as “_a sacringe bell_;” but in an inventory of goods belonging to the chapel of Thorp, Northamptonshire, it is described as “a litle _sanctus bell_.” A small sacringe bell, of bell-metal, with the exception of the clapper, which was of iron, was in 1819 discovered on the removal of some rubbish from the ruins of St. Margaret’s Priory, Barnstable; and within the last few years a small sanctus bell was found on the site of a religious house at Warwick[172-*].

Passing under the rood-loft, we enter the chancel: this was so called from the screen or lattice-work (cancelli) of stone or wood by which it was separated from the nave, and which succeeded the curtain or veil which anciently formed this division of the church[173-*].

We often perceive in the choirs of conventual churches, as in our cathedrals, on either side of the entrance, facing the east, and also on the north and south sides, a range of wooden stalls divided into single seats, peculiarly constructed, the _formulæ_ or forms of which were movable, and carved on the _subselliæ_ or under-sides with grotesque, satirical, and often irreverend devices: these were appropriated to the monks or canons of the monastery or college to which the church was attached. The form of each stall, when turned up so as to exhibit the carved work on the under-part, furnished a small kind of seat or ledge, constructed for the purpose of inclining against rather than sitting on; and this was called the _misericorde_ or _miserere_. The _formulæ_ or forms when down, and the misericordes when the forms were turned up, were used as the season required for penitential inclinations[174-*]. In front of these stalls was a desk, ornamented on the exterior with panelled tracery; and over the stalls, especially of those of cathedral churches, canopies of tabernacle work richly carved were sometimes disposed. In Winchester Cathedral we have perhaps the most early, chaste, and beautiful example of the canons’ stalls, with canopies over, that are to be met with, although a greater excess of minute carved ornament may be found in the canopies which overhang the stalls in other cathedrals. In old conventual churches, now no longer used as such, the stalls have been often removed from their original position to other parts of the church, and they appear to have varied in number according to that of the fraternity.

In the choirs of cathedral and conventual churches, and in the chancels of some other churches, a movable desk, at which the epistle and gospel were read, was placed: this was often called the eagle desk, from its being frequently sustained on a brazen eagle with expanded wings, elevated on a stand, emblematic of St. John the evangelist. Eagle desks are generally found either of the fifteenth or seventeenth century; notices of them occur, however, much earlier. In the Louterell Psalter, written circa A. D. 1300, an eagle desk supported on a cylindrical shaft, banded midway down by an annulated moulding in the style of the thirteenth century, is represented; and in an account of ornaments belonging to Salisbury Cathedral, A. D. 1214, we find mentioned _Tuellia una ad Lectricum Aquilæ_. Besides the brass eagle desks which still remain in use in several of our cathedrals, and in the chapels of some of the colleges at Oxford and Cambridge, fine specimens are preserved in Redcliffe Church, Bristol, of the date 1638; in Croydon Church, Surrey; and in the church of the Holy Trinity at Coventry; other instances might also be enumerated. Sometimes we meet with ancient brass reading-desks which have not the eagle in front, but both the sides are sloped so as to form a double desk: of these, examples of the fifteenth century may be found in Yeovil Church, Somersetshire, and in the chapel of Merton College, Oxford. Ancient wooden reading-desks, either single or double, are also occasionally found; some of these are richly carved, others are comparatively plain, but all partake more or less of the architectonic style of the age in which they were severally constructed, and from which their probable dates may be ascertained. In Bury Church, Huntingdonshire, is a wooden desk with a single slope, and the vertical face presented in front is covered with arches and other carved ornaments: this perhaps may be referable to the latter part of the fourteenth century. A rich double desk, of somewhat later date, with the shaft supported by buttresses of open-work tracery, is preserved in Ramsey Church, Huntingdonshire. In Aldbury Church, Hertfordshire, is an ancient double lecturn or reading desk, of wood, of the fifteenth century, much plainer in design than those at Bury and Ramsey; the shaft is angular, with small buttresses at the angles, and with a plain angular-shaped moulded capital and base, which latter is set on a cross-tree. In Hawstead Church, Suffolk, is a wooden desk with little ornament, supported on an angular shaft with an embattled capital, and moulded base with leaves carved in relief: this is apparently of the latter part of the fourteenth century. The ancient wooden desks found in some of our churches must not, however, be confounded with a more numerous class constructed and used subsequent to the Reformation.

Proceeding up the chancel or choir, we ascend by three steps to the platform, on which the high altar anciently stood: this was so called to distinguish it from other altars, of which there were often several, in the same church; high mass was celebrated at it, whereas the other altars were chiefly used for the performance of low or private masses. The most ancient altars were of wood, afterwards they were constructed of stone; those of the primitive British churches are spoken of by St. Chrysostom. By a decree of the council of Paris, held A. D. 509, no altar was to be built but of stone. Amongst the excerptions of Ecgbert, archbishop of York A. D. 750, was one that no altars should be consecrated with chrism but such as were made of stone; and by the council of Winchester, held under Lanfranc A. D. 1076, altars were enjoined to be of stone. The customary form of such was a mass of stone supporting an altar table or slab, and resembling the tombs of the martyrs, at which the primitive Christians held their meetings; from which circumstance it became customary to enclose in every altar relics of some saint, and without such relics an altar was esteemed incomplete.

Pertaining to the high altar, which was covered with a frontal and cloths, and anciently enclosed at the sides with curtains suspended on rods of iron projecting from the wall, was a crucifix, which succeeded to the simple cross placed on the altars of the Anglo-Saxon churches; a pair[180-*] of candlesticks, generally with spikes instead of sockets, on which lights or tapers were fixed; a pix, in which the host was kept reserved for the sick; a pair of cruets, of metal, in which were contained the wine and water preparatory to their admixture in the eucharistic cup; a sacring bell; a pax table, of silver or other metal, for the kiss of peace, which took place shortly before the host was received in communion; a stoup or stok, of metal, with a sprinkle for holy water; a censer or thurible[181-*], and a ship, (a vessel so called,) to hold frankincense; a chrismatory[181-†], an offering basin, a basin which was used when the priest washed his hands, and a chalice and paten. Costly specimens of the ancient pix, containing small patens for the reception of the host, are preserved amongst the plate belonging to New College and Corpus Christi College, Oxford. A pix of a much plainer description, but without its cover, of the metal called latten, was until recently preserved in the church of Enstone, Oxfordshire: the body of this was of a semi-globular form, supported on an angular stem, with a knob in the midst, and in appearance not unlike a chalice. The monstrance, in which the host was exhibited to the people, and which has been sometimes confounded with the pix[182-*], does not appear to have been introduced into our churches before the fifteenth century; on the suppression of the monasteries and chantries we find it noticed in the inventories then taken of church furniture, as in that of the Priory of Ely, where it is called “a stonding monstral for the sacrament;” and in that of St. Augustine’s Monastery, Canterbury, where it is described as “one monstrance, silver gilt, with four glasses.”

Near the high altar we frequently find, in the south wall of the chancel, a series of stone seats, sometimes without but generally beneath plain or enriched arched canopies, often supported by slender piers which serve to divide the seats. In most instances these seats are three in number, but they vary from one to five, and are the _sedilia_ or seats formerly appropriated during high mass to the use of the officiating priest and his attendant ministers, the deacon and sub-deacon, who retired thither during the chanting of the _Gloria in excelsis_, and some other parts of the service[183-*]. The sedilia sometimes preserve the same level, but generally they graduate or rise one above another, and that nearest the altar, being the highest, was occupied by the priest; the other two by the deacon and sub-deacon in succession[183-†]. We do not often meet with sedilia of so early an era as the twelfth century; there are, however, instances of such, as in the church of St. Mary, at Leicester, where is a fine Norman triple sedile, divided into graduating seats by double cylindrical piers with sculptured capitals, and the recessed arches they support are enriched on the face with a profusion of the zigzag moulding. In the south wall of the choir of Broadwater Church, Sussex, is a stone bench beneath a large semicircular Norman arch, the face of which is enriched with the chevron or zigzag moulding. In Avington Church, Berkshire, is a stone beneath a plain segmental arch. Norman sedilia also occur in the churches of Earls Barton, Northamptonshire, and of Wellingore, Lincolnshire. From the commencement of the thirteenth century up to the Reformation sedilia became a common appendage to a church, and the styles are easily distinguished by their peculiar architectonic features. Some are without canopies, and are excessively plain. On the south side of the chancel of Minster Lovel Church, Oxfordshire, is a stone bench without a canopy or division, and plain stone benches thus disposed are found in the chancel of Bloxham Church, Oxfordshire, and of Rowington Church, Warwickshire. In Sedgeberrow Church, Gloucestershire, are two sedilia without canopies; and in Standlake Church, Oxfordshire, the sedilia, three in number, are without canopies or ornament. In Spratten Church, Northamptonshire, is a stone bench for three persons under a plain recessed pointed arch. In Priors Hardwick Church, Warwickshire, is a sedile for the priest, and below that one double the size for the deacon and sub-deacon; both are under recessed arched canopies. Quadruple sedilia occur in the churches of Turvey and Luton, Bedfordshire; in the Mayor’s Chapel, Bristol; in Gloucester Cathedral; in the church of Stratford-upon-Avon, Warwickshire; and in Rothwell Church, Northamptonshire: these are beneath canopies, and most of them are highly enriched. Quintuple sedilia sometimes occur, but are very rare; in the conventual church of Southwell, Nottinghamshire, are, however, five sedilia beneath ogee-headed canopies richly ornamented. A single sedile for one person only is occasionally met with, but not often.

Eastward of the sedilia, in the same wall, is a _fenestella_ or niche, sometimes plain, but often enriched with a crocketed ogee or pedimental hood moulding in front, over the arch, which is trefoiled or cinquefoiled in the head. This niche contains a hollow perforated basin or stone drain, called the _piscina_ or _lavacrum_[186-*], into which it appears that after the priest had washed his hands, which he was accustomed to do before the consecration of the elements and again after the communion, the water was poured, as also that with which the chalice was rinsed. The usage of washing the hands before the communion is one of very high antiquity, and is expressly noticed in the Clementine Liturgy, and by St. Cyril in his mystical Catechesis[187-*]; we do not, however, find the piscina in our churches of an era earlier than the twelfth century, and even then it was of uncommon occurrence; but in the thirteenth century the general introduction is observable. In Romsey Church, Hampshire, is the shaft and basin (the latter cushion-shaped) of a curious Norman piscina: this is now lying loose, in a dilapidated state. In the south apsis of the same church is another Norman piscina, consisting of a quadrangular-shaped basin projecting from the south wall; and on the south side of the chancel of Avington Church, Berkshire, is a plain Norman piscina within a simple semicircular arched recess. The churches of Kilpeck, Herefordshire, Keelby, Lincolnshire, and Bapchild, Kent, also contain Norman piscinæ. Those of all the various styles of later date are common; they exhibit, however, an interesting variety in design and ornamental detail. The drain of the piscina communicated with a perforated stone shaft, commonly enclosed in the wall, through which the water was lost in the earth; as in the case of the piscina with its shaft taken out of the south wall of the chancel of the now destroyed church of Newnham Regis, Warwickshire. Sometimes a piscina was a subsequent addition to a structure of early date, as in the old and now demolished church of Stretton-upon-Dunsmore, Warwickshire, in the south wall of the Norman chancel of which a piscina of the latter part of the thirteenth century had been inserted.

The piscina is very common in churches even where the sedilia or stone seats are wanting, and not only in the chancel, but also in the south walls at the east end of the north and south aisles, and in mortuary chapels, as will be presently noticed; it appears, in short, to have been an indispensable appendage to an altar.

Sometimes the piscina is double, and contains two basins with drains, the one for receiving the water in which the hands had been washed, the other for the reception of the water with which the chalice was rinsed after the communion[189-*]. In Rothwell Church, Northamptonshire, on the south side of the chancel, are the vestiges of a triple piscina; the fenestella has been destroyed, but the three basins with their drains remain.

Across the _fenestella_, or niche which contains the piscina, a shelf of stone or wood may be frequently found: this was the _credence_[190-*], or table on which the chalice, paten, ampullæ, and other things necessary for the celebration of mass were, before consecration, placed in a state of readiness on a clean linen cloth; and this originated from the πρόθεσις, or side table of preparation, used in the early church; a recurrence to which ancient and primitive custom by some of the divines of the Anglican church, after the Reformation, occasioned great offence to be taken by the Puritan seceders. In some instances a side table of stone or wood was used for this purpose; and a fine credence table of stone, the sides of which are covered with panelled compartments, is still remaining on the south side of the choir, St. Cross Church, near Winchester[190-†].

The credence table, or shelf above the piscina, must not be confounded with the _ambrie_ or _locker_, a small square and plain recess usually contained in the east or north wall, near the altar. In this the chalice, paten, and other articles pertaining to the altar were kept when not in use. The wooden doors formerly affixed to these ambries have for the most part either fallen into decay or been removed, but traces of the hinges may be frequently perceived; and a locker in the north wall of the chancel of Aston Church, Northamptonshire, still retains the two-leaved wooden door. Sometimes shelves are set across the lockers. In the east wall of Earls Barton Church, Northamptonshire, is a large locker divided into two unequal parts by a stone shelf inserted in it; and in the north aisle of Salisbury Cathedral are two large triangular-headed lockers or ambries, each which[TN-6] contains two shelves.

Within the north wall of the chancel, near the altar, a large arch, like that of a tomb, may often be perceived; within this the _holy sepulchre_, generally a wooden and movable structure, was set up at Easter, when certain rites commemorative of the burial and resurrection of our Lord were anciently performed with great solemnity; for on Good Friday the crucifix and host were here deposited, and watched the following day and nights; and early on Easter morning they were removed from thence with great ceremony, and replaced on the altar by the priest. In the accounts of churchwardens of the fifteenth and early part of the sixteenth century we meet with frequent notices of payments made for watching the sepulchre at Easter[192-*]. Sometimes the sepulchre was altogether of stone, and a fixture, and enriched with architectural and sculptured detail, as in the well-known specimen at Heckington, Lincolnshire, and the fine specimen of tabernacle-work in Stanton Harcourt Church, Oxfordshire.

At the back of the high altar was affixed a reredos, or screen of tabernacle-work, costly specimens of which contained small images set on brackets under projecting canopies; an alabaster table or sculptured bas relief, placed just over the altar, was also common. The high altar reredos is still remaining, though in a mutilated condition, in the Abbey Church, St. Alban’s; it was erected A. D. 1480, and is perhaps the most splendid specimen we have; and in Bristol Cathedral a portion of the high altar reredos is also left. The chantry altar reredos is more frequently remaining, even where the altar and alabaster table[193-*] above have been destroyed; rarely, however, in a perfect state. In the seventeenth century the rich tabernacle-work was sometimes plastered over, probably to preserve it from iconoclastic violence. In many of our cathedrals, as at Gloucester, Bristol, Wells, and Worcester, and in some of the chantries attached to Henry the Seventh’s Chapel, Westminster, specimens of the chantry reredos screen, which appear to have abounded more or less with sculptured and architectural detail, are to be met with; and remains of the painting and gilding with which they were anciently covered may in some instances be traced. In a Survey of the Priory Church, Bridlington, taken at the suppression, we find noticed, “The Reredose at the highe alter representyng Criste at the assumpcyon of our Lady and the XII. appostells, w^t. dyvers other great imagys, beyng of a great heyght, ys excellently well wrought, and as well gylted.” Five small chapels are also mentioned, “w^t. fyve alters and small tables of alleblaster and imag’s.” Sometimes, however, the space behind the altar was occupied by a painted altar-piece, on wood or panel; a curious but mutilated specimen of which, of the latter part of the fifteenth century, is still preserved in the conventual church, Romsey.

Over the high altar was the great east window of the church, glazed with painted glass; other windows in the church were also thus filled. The subjects pourtrayed on the glass were sometimes scriptural, sometimes legendary. Single figures of saints, distinguished by their peculiar symbols, are common; figures of crowned heads, prelates, and warriors also frequently occur; and on some windows are depicted the arms and sometimes even the portraits of different benefactors to the church, with scrolls bearing inscriptions. We have, perhaps, few remains of ancient stained glass in our churches of a period antecedent to the thirteenth century: of this era, probably, are those curious circular designs which fill the greater portion of the lights at the back of the sedilia in Dorchester Church, Oxfordshire: one representing St. Augustine and St. Birinus, the first bishop of that ancient see; another, a priest and deacon, the former with the host, the latter bearing the ampullæ. Of this period also is some ancient stained glass in Chetwood Church, Bucks, the ground of which is covered with a kind of mosaic pattern, a usual feature in the more ancient stained glass, and the borders partake of a tendril foliage; whilst in pointed oval-shaped compartments, forming the well-known symbol _vesica piscis_, are single figures of saints and crowned heads, each clad in a vest and mantle of two different colours. In the fourteenth century single figures under rich canopies are common, but we begin to lose sight of the mosaic pattern as a back-ground. The stained glass in the windows of the choir of Merton College Chapel, Oxford, is either very early in this, or of a late period in the preceding century, and exhibits single figures under rich canopies: over the head of one of these, (the kneeling figure of a monk in his cowl,) is a scroll inscribed “_Magister Henricus de Mammesfeld me fecit_.” In the windows of Tewkesbury Abbey Church are several single figures of this period, some of knights in armour. In the chancel of Stanford Church, Northamptonshire, are single figures of the apostles in painted glass, each appearing within an ogee-headed canopy, cinquefoiled within the head and crocketed externally, and the sides of the canopy are flanked by pinnacled buttresses in stages. Specimens of stained glass of the fifteenth century are numerous in comparison with those of an earlier period; we find such in the east window of Langport Church, Somersetshire, where single figures occur of St. Clemens, St. Catherine, St. Elizabeth, and of many other saints. Some splendid remains of painted glass of the fifteenth century are likewise preserved in the windows of the choir of Ludlow Church, Salop, mostly in single figures; amongst them is the representation of St. George in armour, of the reign of Henry the Seventh; the figures of the Virgin and infant Christ may also be noticed. Towards the close of this century kneeling figures, not merely disposed single, but also in groups, formally arranged, may be observed. As a composition, wherein a better display of grouping and aerial perspective is evinced, the splendid window in St. Margaret’s Church, Westminster, of the crucifixion between the two thieves, and numerous figures in the foreground, not grouped formally but with artistical feeling, with the figures of St. George and St. Catherine on each side of the principal design, and the portraits of Henry the Seventh and his consort Elizabeth in separate compartments beneath, each kneeling before a faldstool, may be noticed. This window, which in some of the details exhibits an approach to the renaissance style, was presented to Henry the Seventh by the magistrates of Dort in Holland, to adorn his chapel at Westminster. The era of the various specimens of ancient stained glass we meet with in our churches may generally be ascertained by the costume and disposition of the figures, the form of the shields, the mosaic pattern or other back-ground, and architectural designs of the canopies.

The pavement beneath the high altar was frequently composed of small square encaustic bricks or tiles, whereon the arms of founders and benefactors, interspersed with figures, flowers, and emblematic devices, were impressed, painted, and glazed; other parts of the church were also paved with these tiles.

The walls of the church were covered with fresco paintings of the day of judgment, legendary stories, portraits of saints, and scriptural, allegorical, and historical subjects, in the conventional styles of the different ages in which such were executed, the costume and details being according to the fashion then prevailing. These paintings have in most churches been obliterated by repeated coats of whitewash, so that few perfect specimens now remain; traces of such are, however, occasionally brought to light in the alteration and reparation of our ancient churches. The subject of the judgment-day was commonly represented on the west wall of the nave, or over the chancel arch; and in the contract for the erection of the Lady Chapel, St. Mary’s Church, Warwick, A. D. 1454, is a covenant “to paint fine and curiously, to make on the west wall the dome of our Lord God Jesus, and all manner of devises and imagery thereto belonging.” The west front of the wall over the chancel arch, Trinity Chapel, Stratford-upon-Avon, was some years back found to be thus covered; but this painting, with others in the same chapel, was afterwards again obliterated[199-*]. A curious fresco painting of the last judgment, discovered a few years ago on the west face of the wall over the chancel arch, Trinity Church, Coventry, has, however, been very carefully preserved, and the coat of whitewash which tended to conceal it probably ever since the Reformation has been judiciously removed. The legend of St. Christopher, represented by a colossal figure with a beam-like walking-staff, carrying the infant Christ on his shoulders through the water, was generally painted on the north wall of the nave or body of the church. A fresco painting of this subject, half obliterated, is still apparent on the north wall of the nave of Burford Church, Oxfordshire; and other instances might be adduced. The murder of Archbishop Becket was also a very favourite subject: an early pictorial representation of the thirteenth century, of this event, is still visible on one of the walls of Preston Church, Sussex; it formed, likewise, one of the subjects represented on the walls of Trinity Chapel, Stratford-upon-Avon; and a painting of the same subject on panel, executed in the middle of the fifteenth century, was formerly suspended over or near the tomb of Henry the Fourth in Canterbury Cathedral[200-*]. Several vestiges of ancient fresco wall-paintings, more or less obliterated, are still preserved in Winchester Cathedral. The walls of our churches were even in the Anglo-Saxon era embellished with paintings; and such are described as decorating the walls of the church of Hexham in the seventh century. By the synod of Calcuith, held A. D. 816, a representation of the saint to whom a church was dedicated was required to be painted either on the wall of the church or on a tablet suspended in the church.

In most of the large conventual churches, and also in some of the smaller parochial churches, shrines containing relics of the patron or other saints were exhibited; these were either fixed and immovable, of tabernacle-work, of stone or wood, or partly of both, or were small movable feretories, which could be carried on festivals in procession. Of the fixed shrines, that in Hereford Cathedral of Bishop Cantelupe, of the date A. D. 1287, is a fine and early specimen, in very fair preservation. In the north aisle of the abbey church, Shrewsbury, are some remains of a stone shrine, which from the workmanship may be considered as a production of the early part of the fifteenth century: this is much mutilated: but the shrine of St. Frideswide, in Oxford Cathedral, the lower part of which is composed of a stone tomb, the upper part of rich tabernacle-work of wood, is still tolerably perfect: this is also of the fifteenth century. Of the small movable feretories, one apparently of the workmanship of the twelfth century, seven inches long and six high, formed of wood, enamelled and gilt, with figures on the sides representing the crucifixion, is still preserved in Shipley Church, Sussex; and a small stone reliquary or shrine of the fourteenth century was discovered a few years ago, and is now preserved in the church of Brixworth, Northamptonshire.

The organ, as a solemn musical instrument, may claim a very early origin, and has been in use in our churches from the Anglo-Saxon era. The ancient organs were small, and all the pipes were exposed. The phrase “_a pair of organs_,” so frequently met with in old inventories and church accounts, may probably have answered to the great and choir organ of a subsequent period--one instrument in two divisions. The mechanism of the old organs was rude and simple, compared with the improvements of modern times, and the cost was small; they were generally placed in the rood-loft.

The church chest is often an ancient and interesting object: sometimes we find it rudely formed, or hollowed out of the solid trunk of a tree, with a plain or barrel-shaped lid of considerable thickness. The churches of Bradford Abbas, Dorsetshire; Long Sutton, Somersetshire; and Ensham, Oxfordshire; contain chests thus rudely constructed. Sometimes they are strongly banded about with iron. The fronts and sides of these chests are not unfrequently embellished more or less richly with carved tracery, panel-work, and other detail in the style prevalent at the period of their construction. In Clemping Church, Sussex, is an early chest of the thirteenth century, the front of which exhibits a series of plain pointed arches trefoiled in the head, and other carved work. In Haconby Church, Lincolnshire, and in Chevington Church, Suffolk, are very rich chests covered with tracery and detail in the decorated style of the fourteenth century. In Brailes Church, Warwickshire, is an ancient chest of the fifteenth century covered with panel-work compartments, with plain pointed arches foliated in the heads. Panelled chests of this century are numerous. In Shanklin Church, Isle of Wight, is a chest bearing the date of 1519, on which no architectural ornament is displayed, but the initials T. S. (Thomas Selkstead) are fancifully designed, and are separated by the lock, and a coat of arms beneath.

In the south wall of each aisle, near the east end, and also in other parts of the church, we frequently find the same kind of fenestella or niche containing a piscina, and sometimes a credence shelf, as that before described as being in the chancel: this is a plain indication that an altar has been erected in this part of the church; and this end of the aisle was generally separated from the rest of the church by a screen, the lower part of panel, the upper part of open-work tracery, of stone or wood, similar to that forming the division between the chancel and nave; and the space thus enclosed was converted into or became a private chapel or chantry; for it was anciently the custom, especially during the fourteenth and fifteenth centuries, for lords of manors and persons of wealth and local importance to build or annex small chapels or side aisles to their parish churches, and these were endowed by license from the crown with land sufficient for the maintenance, either wholly or in part, of one or more priests, who were to celebrate private masses daily or otherwise, as the endowment expressed, at the altar erected therein, and dedicated to some saint, for the souls of the founder, his ancestors and posterity, for whose remains these chantry chapels frequently served as burial-places. At this service, however, no congregation was required to be present, but merely the priest, and an acolyte to assist him; and it was in allusion to the low or private masses thus performed, that Bishop Jewell, whilst condemning the practice as untenable, observes, “And even suche be their private masses, for the most part sayde in side iles, alone, without companye of people, onely with one boye to make answer.”

The screens by which these chapels were enclosed have in numerous instances been destroyed; still many have been preserved, and chantry chapels parted off the church by screen-work of stone may be found in the churches of Bradford Abbas, Dorsetshire; and Aldbury, Hertfordshire; in which latter church is a very perfect specimen of a mortuary chapel, with a monument and recumbent effigies in the midst of it. Chantry chapels enclosed on two of the sides by wooden screen-work are more common.

Although no ancient high altar of stone is known to exist, some of the ancient chantry altars have been preserved: these are composed either of a solid mass of masonry, covered with a thick slab or table of stone, as in the north aisle of Bengeworth Church, near Evesham, and in the south aisle of Enstone Church, Oxfordshire; or of a thick stone slab or table, with a cross at each angle and in the centre, supported merely on brackets or trusses built into and projecting from the wall, as in a chantry chapel in Warmington Church, Warwickshire; or partly on brackets and partly sustained on shafts or slender piers, as in a chantry chapel, Chipping-Norton Church, Oxfordshire. Sometimes a chamber containing a fire-place was constructed over a chantry, apparently for the residence, either occasional or permanent, of a priest: such a chamber occurs over the chantry chapel containing the altar in Chipping-Norton Church; and such also, with the exception of the flooring, which has decayed or been removed, may be seen in the chantry chapel which contains the altar in Warmington Church. In both of these chambers are windows or apertures in the walls which divide them from the church, through which the priest was enabled to observe unseen any thing passing within the church.

We often find an opening or aperture obliquely disposed, carried through the thickness of the wall at the north-east angle of the south, and the south-east angle of the north aisle: this was the _hagioscope_, through which at high mass the elevation of the host at the high altar, and other ceremonies, might be viewed from the chantry chapel situate at the east end of each aisle. In general, these apertures are mere narrow oblong slits; sometimes, however, they partake of a more ornamental character, as in a chantry chapel on the south side of Irthlingborough Church, Northamptonshire, where the head of an aperture of this kind is arched, cinquefoiled within, and finished above with an embattled moulding. In the north and south transepts of Minster Lovel Church, Oxfordshire, are oblique openings, arched-headed and foliated; and in the north aisle of Chipping-Norton Church, in the same county, is a singular hagioscope, obliquely disposed, not unlike a square-headed window of three foliated arched lights, with a quatrefoil beneath each light.

We sometimes meet with one or more brackets, with plain mouldings or sculptured, projecting from the east wall of a chancel aisle or chantry chapel; and on these, lamps or lights were formerly set, and kept continually burning in honour of the Virgin or of some other saint; and we also meet with rich projecting canopies or recessed niches, with brackets beneath, on which images of saints were formerly placed.

The use of the low side window, common in some districts, near the south-west angle of the chancel, and sometimes, but not so frequently, near the north-west angle, and occasionally even in the aisle, has not been correctly ascertained; it has, however, been conjectured to have served for the purpose of a confessional; and on minute examination indications of its formerly having had a wooden shutter, which opened on the inside, are sometimes visible; and on the south side of Kenilworth Church, Warwickshire, is an iron-barred window of this description, on which the wooden shutter is still retained.[209-*]

The sedilia or stone seats, so frequently found in the south wall of the chancel, are occasionally, though not often, to be met with in the south walls of side aisles or chantry chapels: when this is the case it is presumed the endowment was for more priests than one.

Such, not to digress into more minute particulars, may suffice to convey a general idea of the manner in which our churches were internally decorated, and how they were fitted up, with reference to the ceremonial rites of the church of Rome, in and before the year 1535. The walls were covered with fresco paintings, the windows were glazed with stained glass; the rood-loft and the pulpit, where the latter existed, were richly carved, painted, and gilt; and the altars were garnished with plate and sumptuous hangings. Altar-tombs with cumbent effigies were painted so as to correspond in tone with the colours displayed on the walls; the pavement of encaustic tiles, of different devices, was interspersed with sepulchral slabs and inlaid brasses; and screen-work, niches for statuary, mouldings, and sculpture of different degrees of excellence, abounded. Suspended from aloft hung the funeral achievement; at a later period, even more common, the banner, helme, crest, gauntlets, spurs, sword, targe, and cote armour.[210-*] In addition to these were, in some churches, shrines and reliquaries, enriched by the lavish donations of devotees, and wooden images excessively decked out and appareled[211-*]--objects of superstition, to which pilgrimages and offerings were made. And if in the review of the conceptions of a prior age, viz. of the fourteenth century, we find a higher rank of art to be evinced, and the style and combination of architectural and sculptured detail to be more severe and pure, at no period were our churches adorned to greater excess than on the eve of that in which all were about to undergo spoliation, and many of them wanton destruction.

For on the suppression of the monasteries and colleges, to the number of 700 and upwards, and of the chantries, in number more than 2300, effected between the years 1535 and 1540, the abbey churches were not only despoiled of their costly vestments, altar plate and furniture, and shrines enriched with silver, gold, and jewels, but many of them were entirely dismantled, and the sites with the materials granted to individuals by whom they were soon reduced to a state of ruin. Some were even, either then or in after-times, converted into dwelling-houses; and others, or some portion of such, were allowed to be preserved as parochial churches; but the private chantry altars, though left bare and forsaken, were not as yet ordered to be destroyed.

By the royal injunctions exhibited A. D. 1538, such feigned images as were known to be abused of pilgrimages, or offerings of any kind made thereunto, were, for the avoiding of idolatry, to be forthwith taken down without delay, and no candles, tapers, or images of wax were from thenceforth to be set before any image or picture, “but onelie the light that commonlie goeth about the crosse of the church by the rood-loft, the light afore the sacrament of the altar, and the light about the sepulchre;” which, for the adorning of the church and divine service, were for the present suffered to remain. By the same injunctions a Bible of the largest volume, in English, was directed to be set up in some convenient place in every church, that the parishioners might resort to the same and read it; and a register-book was ordered to be kept, for the recording of christenings, marriages, and burials.

But beyond the suppression of the monasteries and chantries, an act the effect of secular rather than religious motives, little alteration was made during the reign of Henry the Eighth in the ceremonies and services of the church, although the minds of many were becoming prepared for the change which afterwards ensued. And in the reign of his successor, Edward the Sixth, a striking difference was effected in the internal appearance of our churches; for many appendages were, not all at once, but by degrees, and under the authority of successive injunctions, discarded. Thus, by the king’s injunctions published in 1547, all images which had been abused with pilgrimage, or offering of any thing made thereunto, were, for the avoiding of the detestable offence of idolatry, by ecclesiastical authority, but not by that of private persons, to be taken down and destroyed; and no torches or candles, tapers or images of wax, were to be thenceforth suffered to be set before any image or picture, “but only two lights upon the high altar before the sacrament, which, for the signification that Christ is the very true light of the world, they shall suffer to remain still.” And as to such images which had not been abused, and which as yet were suffered to remain, the parishioners were to be admonished by the clergy that they served for no other purpose but to be a remembrance. The Bible in English, and the Paraphrases of Erasmus upon the Gospels, also in English, were ordered to be provided and set up in every church for the use of the parishioners. It was also enjoined that at every high mass the gospel and epistle should be read in English, and not in Latin, in the pulpit or in some other convenient place, so that the people might hear the same. Processions about the church and churchyard were now ordered to be disused, and the priests and clerks were to kneel in the midst of the church immediately before high mass, and there sing or read the Litany in English set forth by the authority of King Henry the Eighth. By the same injunctions all shrines, covering of shrines, all tables, candlesticks, trindles or rolls of wax, pictures, paintings, and all other monuments of feigned miracles, pilgrimages, idolatry, and superstition, were directed to be utterly taken away and destroyed; so that there should remain no memory of the same in walls, glass windows, or elsewhere within churches; and in every church “a comely and honest pulpit” was to be provided at the cost of the parishioners, to be set in a convenient place for the preaching of God’s word; and a strong chest, having three keys, with a hole in the upper part thereof, was to be set and fastened near unto the high altar, to the intent the parishioners should put into it their oblation and alms for their poor neighbours[215-*].

Hence the primary introduction of desks with divinity books, the litany stool, and the charity box, yet retained in some of our churches. But as much contention arose respecting the taking down of images, also as to whether they had been idolatrously abused or not, all images without exception were shortly afterwards, by royal authority, ordered to be removed and taken away.

In the ritual the first formal change appears to have been the order of the communion set forth in 1547 as a temporary measure only, until other order should be provided for the true and right manner of administering the sacrament according to the rule of the scriptures of God, and first usage of the primitive church. In this the term _altar_ is alone made use of; but in the first Liturgy of King Edward the Sixth, published in 1549, the altar or table whereupon the Lord’s Supper was ministered is indifferently called _the altar_, _the Lord’s table_, _God’s board_. Ridley, bishop of London, by his diocesan injunctions issued in 1550, after noticing that in divers places some used the Lord’s board after the form of a table, and some as an altar, exhorted the curates, churchwardens, and questmen to erect and set up the Lord’s board after the form of an honest table, decently covered, in such place of the quire or chancel as should be thought most meet, so that the ministers with the communicants might have their place separated from the rest of the people; and to take down and abolish all other by-altars or tables. Soon after this, orders of council were sent to the bishops, in which, after noticing that the altars in most churches of the realm had been taken down, but that there yet remained altars standing in divers other churches, by occasion whereof much variance and contention arose, they were commanded, for the avoiding of all matters of further contention and strife about the standing or taking away of the said altars[216-*], to give substantial order that all the altars in every church should be taken down, and instead of them that a table should be set up in some convenient part of the chancel, to serve for the ministration of the blessed communion; and reasons were at the same time published why the Lord’s board should rather be after the form of a table than of an altar, expressing however in what sense it might be called an altar. In the second Liturgy of King Edward the Sixth, amongst other important changes both of doctrine and discipline, the word _altar_, as denoting the communion-table, was purposely omitted.

The peculiar formation, frequently observable, of the old communion-tables, seems to have originated from the diversity of opinion held by many in the Anglican church, as to whether or not there was in the sacrament of the Lord’s Supper a memorative sacrifice; for by those who held the negative they were so constructed, not merely that they might be moved from one part of the church to another, but the slab, board, or table, properly so called, was purposely not fastened or fixed to the frame-work or stand on which it was supported, but left loose, so as to be set on or taken off; and in 1555, on the accession of Queen Mary, when the stone altars were restored and the communion-tables taken down, we find it recorded of one John Austen, at Adesham Church, Kent, that “he with other tooke up the table, and laid it on a chest in the chancel, and set the tressels by it[218-*].”

It appears that texts of scripture were painted on the walls of some churches in the reign of Edward the Sixth; for Bonner, bishop of London, by a mandate issued to his diocese in 1554, after noticing that some had procured certain scriptures wrongly applied to be painted on church walls, charged that such scriptures should be razed, abolished, and extinguished, so that in no means they could be either read or heard.

In the articles set forth by Cardinal Pole in 1557, to be inquired of in his diocese of Canterbury, were the following: “Whether the churches be sufficiently garnished and adorned with all ornaments and books necessary; and whether they have a rood in their church of a decent stature, with Mary and John, and an image of the patron of the same church?” Also, “Whether the altars of the church be consecrated or no?”

But in 1559, the first year of the reign of Elizabeth, many of the injunctions set forth in the reign of Edward the Sixth, as to the mode of saying the Litany without procession, the removal and destruction of shrines and monuments of superstition, the setting up of a pulpit, and of the poor-box or chest, which latter was however “to be set and fastened in a most convenient place,” were re-established. By these injunctions it appears that in many parts of the realm the altars of the churches had been removed, and tables placed for the administration of the holy sacrament; that in some other places the altars had not yet been removed: in the order whereof, as the injunctions express, save for an uniformity, there seemed to be no matter of great moment, so that the sacrament was duly and reverently ministered; and it was so ordered that no altar should be taken down but by oversight of the curate and churchwardens, or one of them, and that the holy table in every church should be decently made and set in the place where the altar stood, and there commonly covered, and so to stand, saving when the communion of the sacrament was to be distributed; at which time the same was to be so placed within the chancel in such manner that the minister might be the more conveniently heard of the communicants in his prayer and ministration.

Many of the old communion-tables set up in the reign of Elizabeth are yet remaining in our churches, and are sustained by a stand or frame, the bulging pillar-legs of which are often fantastically carved, with arabesque scroll-work and other detail according to the taste of the age. The communion-table in Sunningwell Church, Berkshire, probably set up during the time Bishop Jewell was pastor of that church, is a rich and interesting specimen. Communion-tables of the same era, designed in the same general style, with carved bulging legs, are preserved in the churches of Lapworth, Rowington, and Knowle, Warwickshire; in St. Thomas’s Church, Oxford; and in many other churches. Sometimes the bulging pillar-legs are turned plain, and are not covered with carving: such occur in Broadwas Church, Worcestershire; in the churches of St. Nicholas and St. Helen, at Abingdon; and in the north aisle of Dorchester Church, Oxfordshire. The table or slab of the communion-table in Knowle Church is not fixed or fastened to the frame or stand on which it is placed, but lies loose; and this is also the case with an old communion-table of the sixteenth century, now disused, in Northleigh Church, Oxfordshire. In an inventory of church goods, taken in 1646, occurs the following: “Item, one _short table and frame_, commonly called the communion-table.” On examining the old communion-tables, the movability of the slab from the frame-work is of such frequent occurrence as to corroborate the supposition that some esoteric meaning was attached to its unfixed state, which meaning has been attempted to be explained.

Under the colour of removing monuments of idolatry and false feigned images in the churches, much wanton spoliation and needless injury was effected; and this to such excess that in 1560 a royal proclamation was issued, commanding all persons to forbear the breaking or defacing of any monument or tomb, or any image of kings, princes, or nobles, or the breaking down and defacing of any image in glass windows, in any churches, without consent of the ordinary. And in the same year, in a letter from the queen to the commissioners for causes ecclesiastical, occasion is taken to remark that “in sundry churches and chappells where divine service, as prayer, preaching, and ministration of the sacraments be used, there is such negligence and lacke of convenient reverence used towardes the comelye keeping and order of the said churches, and especially of the upper parte called the chauncels, that it breedeth no small offence and slaunder to see and consider on the one part the curiositie and costes bestowed by all sortes of men upon there private houses, and the other part, the unclean or negligent order or sparekeeping of the house of prayer, by permitting open decaies, and ruines of coveringes, walls, and wyndowes, and by appointing unmeet and unseemly tables, with fowle clothes, for the communion of the sacraments, and generally leavynge the place of prayers desolate of all cleanlynes, and of meet ornaments for such a place, whereby it might be known a place provided for divine service.” And the commissioners were required to consider the same, and in their discretion to determine upon some good and speedy means of reformation; and, amongst other things, to order that the tables of the commandments might be comely set or hung up in the east end of the chancel, to be not only read for edification, but also to give some comely ornament and demonstration that the same was a place of religion and prayer[223-*].

An ancient table, apparently of this period, of the commandments painted on panel, but in language somewhat abbreviated, is still hung up against the east wall of the south transept of Ludlow Church, Salop[224-*].

By the articles issued by royal authority in 1564, for administration of prayer and sacraments, each parish was to provide a decent table, standing on a frame, for the communion-table; this was to be decently covered with carpet, silk, or other decent covering, and with a fair linen cloth (at the time of the ministration); the ten commandments were to be set upon the east wall, over the table; the font was not to be removed, nor was the curate to baptize in parish churches in any basins.

In the Visitation Articles of Archbishop Parker, A. D. 1569, we find inquiries were to be made whether there was in each parish church a convenient pulpit well placed, a comely and decent table for the holy communion, covered decently and set in the place prescribed; and whether the altars had been taken down; also whether images and all other monuments of idolatry and superstition were destroyed and abolished; whether the rood-loft was pulled down, according to the order prescribed; and if the partition between the chancel and church was kept.

The latter inquiry is explanatory of the fact why, when the rood-lofts in many churches were taken down, the screens beneath them, separating the chancel from the nave, were left undisturbed.

By the injunctions of Grindal, archbishop of York, A. D. 1571, all altars were ordered to be pulled down to the ground, and the altar stones to be defaced and bestowed to some common use.

Pulpits of the reign of Edward the Sixth are rare, nor are those of the reign of Elizabeth very common. The pulpit in Fordington Church, Dorsetshire, of the latter period, is of stone, the upper part worked in plain oblong panels; and a kind of escutcheon within one of these bears the date 1592; the lower part or basement of this pulpit is circular in form.

The richly embroidered and costly vestments and antependia or frontals, of a period antecedent to the Reformation, were in some instances converted into coverings for the altar or communion table, or into hangings for the pulpit and reading desk. In Little Dean Church, Gloucestershire, the covering for the reading desk is formed out of an ancient sacerdotal vestment, probably a cope, of velvet, embroidered with portraits of saints. The cushion of the pulpit of East Langdon Church, near Dover, is made out of either an ancient antependium or vestment; the material consists of very thick crimson silk, embroidered with sprigs, and in the centre of the hanging are two figures supposed to represent the salutation of the Virgin, who is kneeling before a faldstool.

We occasionally, though rarely, meet with ancient charity-boxes of a date anterior to the Reformation: the churches of Wickmere, Loddon, and Causton, in Norfolk, still retain such[226-*]. At the Reformation, however, they were first required to be set up in churches. The ancient poor-box in Trinity Church, Coventry, is an excellent specimen of the Elizabethan era, and the shaft which supports it is of stone, covered with arabesque scroll-work and other detail peculiar to that age; but most of the old charity-boxes are of the seventeenth century.

Towards the close of the sixteenth century the practice of preaching by an hour-glass, set in an iron frame affixed to the pulpit or projecting from the wall near it, began to prevail; and in the succeeding century this practice became quite common. In the churchwardens’ accounts for St. Mary’s Church, Lambeth, occurs the following: “A. 1579, Payde to Yorke for the frame on which the hower standeth,--..1..4;” and in the churchwardens’ accounts of St. Helen’s Church, Abingdon, is an item, “Anno MDXCI. payde for an houre glass for the pilpit, 4_d._” In the parochial accounts for St. Mary’s, Shrewsbury, A. D. 1597, is a charge “for removing the desk and other necessaries about the pulpit, and for makeinge a thing for the hower glasse, 9_d._” In Shawell Church, Isle of Wight, the old iron stand for the hour-glass still remains affixed to a pier adjoining the pulpit; it is composed of two flat circular hoops or rings, one at some distance above the other, annexed or attached and kept in position by four vertical bars of iron, and the lower ring has cross-bars to sustain the glass. In Cassington Church, Oxfordshire, projecting from the wall by the side of the pulpit, is an iron stand for the hour-glass, consisting of two circular hoops or rings of iron, connected by four wrought iron bars, worked in the middle; and across the lower ring or hoop is an iron bar or stay. In High Laver Church, Essex, the iron stand for the glass still remains, and is in fashion not unlike a cresset, having only one hoop or ring encircling the top, and supported on four iron bars, which cross in curves at the bottom. Many other churches might be enumerated in which the stand for the hour-glass is still preserved; and the hour-glass itself, together with its frame, is said to be retained in South Burlingham Church, Norfolk. An hour-glass within a rich and peculiar frame, supported on a spiral column, and apparently of the latter part of the seventeenth century, is yet preserved in St. Alban’s Church, Wood Street, London.

To the close of the sixteenth century the mode of pewing with open low-backed seats continued to prevail; the ends of these seats were not covered with tracery or arched panel-work, but were plain, though they sometimes terminated with a finial. In the nave of Stanton St. John Church, Oxfordshire, are some old open pews or seats, apparently of the reign of Henry the Eighth, the backs of which are divided diamond-wise, and form a kind of lattice-work, and the ends terminate in grotesque heads. In Harrington Church, Worcestershire, are some open seats of plain workmanship, bearing the date of 1582. The church of Sunningwell, Berkshire, is fitted up with a range of open seats on each side of the nave, without any ornament, with the exception of a large carved finial at the end of each seat. In Cowley Church, near Oxford, are open seats of the date of 1632, which have at the ends finials carved in the shallow angular designs of that period. All these seats are appropriately placed, or disposed facing the east, and none are turned with the backs towards the altar[230-*]. About the commencement of the seventeenth century our churches began to be disfigured by the introduction of high pews, an innovation which did not escape censure; for, as Weaver observes, “Many monuments of the dead in churches in and about this citie of London, as also in some places in the countrey, are covered with seates or pewes, made high and easie for the parishioners to sit or sleepe in; a fashion of no long continuance, and worthy of reformation[231-*].” The high pews set up in the early part of this century are easily distinguished by the flat and shallow carved scroll and arabesque work with which the sides and doors are covered. In the directions given on the primary visitation of Wren, bishop of Norwich, A. D. 1636, we find an order “that the chancels and alleys in the church be not encroached upon by building of seats; and if any be so built, the same to be removed and taken away; and that no pews be made over high, so that they which be in them cannot be seen how they behave themselves, or the prospect of the church or chancel be hindered; and therefore that all pews which within do much exceed a yard in height be taken down near to that scantling, unless the bishop by his own inspection, or by the view of some special commissioner, shall otherwise allow.”

From a paper found among secretary Cecil’s MSS.[232-*], it appears that in 1564 some ministers performed divine service and prayers in the chancel, others in the body of the church, and some _in a seat made in the church_; and in the parochial accounts of St. Mary’s Church, Shrewsbury, A. D. 1577, is an entry “for coloringe the curate’s pew and dask;” but no public notice of the modern reading desk, or, as it was called, the “reading pew,” occurs till 1603, when, in the ecclesiastical canons then framed, it was enjoined that besides the pulpit a fitting or convenient seat should be constructed for the minister to read service in; and in allusion to the reading desk, Bishop Sparrow, in his Rationale of the Book of Common Prayer, observes, “This was the ancient custom of the church of England, that the priest who did officiate in all those parts of the service which were directed to the people turned himself towards them, as in the absolution; but in those parts of the office which were directed to God immediately, as prayers, hymns, lauds, confessions of faith or sins, he turned from the people; and for that purpose, in many parish churches of late, the reading pew had one desk for the Bible, looking towards the people to the body of the church, another for the prayer-book, looking towards the east or upper end of the chancel. And very reasonable was this usage; for when the people was spoken to it was fit to look towards them, but when God was spoken to it was fit to turn from the people.” And so he goes on to explain the custom of turning to the east in public prayer.

In Bishop Wren’s directions it was enjoined that the minister’s reading desk should not stand with the back towards the chancel, nor too remote or far from it.

The double reading desk is still occasionally met with, as in East Ilsley Church, Berkshire, where is a kind of double reading desk so that the minister can turn himself either towards the west or south. In Priors Salford Church, Warwickshire, is an old carved reading pew bearing the date of its construction, 1616; and in St. Peter’s Church, Dorchester, Dorsetshire, and in Sherbourne Church, in the same county, are reading pews which evidently, from the style and the carved work with which they are covered, were constructed in the early part of the seventeenth century.

The enclosing of the communion table in the church of Stow, in the county of Norfolk, by rails, about the year 1622, is noticed by Weaver, who states that the vicar and churchwardens pulled down a tomb to make room for the rail.

In Bishop Wren’s diocesan directions it was ordered that the communion table in every church should always stand close under the east wall of the chancel, the ends thereof north and south, and that the rail should be made before it, reaching up from the north wall to the south wall, near one yard in height, so thick with pillars that dogs might not get in.

But we find the situation of the altar or communion table, and the reason of its severance by means of rails, more particularly noticed in the canons entertained by the convocation held in 1640. In these (after an allusion to the fact that many had been misled against the rites and ceremonies of the church of England, and had taken offence at the same upon an unjust supposal that they were introductive unto popish superstitions, whereas they had been duly and ordinarily practised by the whole church during a great part of the reign of Queen Elizabeth, and that though since that time they had by subtle practices begun to fall into disuse, and in place thereof other foreign and unfitting usages by little and little to creep in, yet in the royal chapels and many other churches most of them had been ever constantly used and observed) it was declared that the standing of the communion table sideway under the east window of every chancel was in its own nature indifferent[235-*]; yet as it had been ordered by the injunctions of Queen Elizabeth that the holy tables should stand in the places where the altars stood, it was judged fit and convenient that all churches should conform themselves in this particular to the example of the cathedral and mother churches; and it was declared that this situation of the holy table did not imply that it was or ought to be esteemed a true and proper altar, whereon Christ was again really sacrificed; but that it was and might be called an altar, in that sense in which the primitive church called it an altar, and in no other. And because experience had shewn how irreverent the behaviour of many people was in many places, (some leaning, others casting their hats, and some sitting upon, some standing, and others sitting under the communion table, in time of divine service,) for the avoiding of which and like abuses it was thought meet and convenient that the communion tables in all churches should be decently severed with rails, to preserve them from such or worse profanations.

Communion rails carved in the nondescript style, almost peculiar to the reign of Charles the First, are preserved in St. Giles’s Church, Oxford; in the Lady Chapel, Winchester Cathedral; in the Church of St. Cross, near Winchester; in the choir of Worcester Cathedral; and in Andover Church, Hants: in which last instance the rails are composed of open semicircular arches, supported on baluster columns, with pendants similar to hip knobs hanging from the arches; but specimens of altar rails of a period antecedent to the Restoration are not often to be met with, the reason for which will be adduced.

By the canons of 1603 the churchwardens or questmen were to provide in every church a comely and decent pulpit, to be set in a convenient place within the same, and there to be seemly kept for the preaching of God’s word. Carved pulpits set up between the years 1603 and 1640 are numerous, and the sides are more or less embellished with circular-arched panels, flat and shallow scroll-work, and other decorative detail in fashion at that period; and not a few bear the precise date of their construction.

In the nave of Bristol Cathedral is a stone pulpit, ascended to by means of a circular flight of steps; the sides are panelled and ornamented with escutcheons surrounded by scroll-work, and it bears the date of 1624.

In Ashington Church, Somersetshire, is a pulpit with the date 1627.

In Bradford Abbas Church, Dorsetshire, is a fine carved wooden pulpit and sounding-board, and on it appears the date 1632.

The date of 1625 appears on a fine carved wooden pulpit, the sides of which are covered with semicircular-headed panels, in Huish Episcopi Church, Somersetshire.

In one of the churches at Wells is a fine wooden pulpit, of the date 1636; at the angles are columns of semi-classic design, fantastically carved; the panels are curiously ornamented with figures in relief, and it is supported on a stand composed of a square and four detached columns, above which are represented a number of birds with large beaks; the sounding-board over corresponds in design with the pulpit.

A very fine carved wooden pulpit, the sides of which are embellished with circular-arched panel and scroll-work, with the date 1640, and a sounding-board over, is contained in Cerne Abbas Church, Dorsetshire.

Many carved pulpits of this era have, however, no assigned date; they are commonly placed at the north or south-east angle of the nave, but never in the middle of the aisle, so as to obstruct the view of the communion table.

The commandments were again, by the canons of 1603, ordered to be set upon the east end of every church, where the people might best see and read the same; and other chosen sentences were to be written upon the walls of the churches in places convenient.

On the south wall of Rowington Church, Warwickshire, are sentences painted with a border of scroll-work; the like also occur at Astley Church, in the same county; and on the walls of Bradford Abbas Church, Dorsetshire, are sentences of scripture painted in black-lettered characters within panels surrounded by scroll-work.

By the same canons the churchwardens were required to provide, if such had not been already provided, a strong chest, with a hole in the upper part thereof, having three keys, of which one was to remain in the custody of the minister, and the other two in the custody of the churchwardens; which chest was to be set and fastened in the most convenient place, to the intent the parishioners might put into it their alms for their poor neighbours.

In the retro-choir, Sherbourne Church, Dorsetshire, is a poor-box with three locks; and a carved poor-box, of the early part of the seventeenth century, is preserved in Harlow Church, Essex. In Elstow Church, Bedfordshire, are the remains of a poor-box of the same period. In Clapham Church, in the same county, is an old poor-box, the cover of which is gone, on which are the initials I. W., and the date 1626: this is fixed on a plain wooden pillar near the south door; and in the south aisle of Bletchley Church, Buckinghamshire, is an oak pillar or shaft surmounted by a poor-box, with an inscription carved on it of “Remember the Pore,” and the date 1637[240-*].

The communion tables of the early part of this century were not so richly carved as those of the reign of Elizabeth, and in general the pillar-legs were plain and not so bulging; but the frieze or upper part of the frame-work, on which the table rested, was often covered with shallow and flat carved panel and scroll-work, and sometimes with the date of its construction.

In the church of St. Lawrence, at Evesham, the communion table bears the date of 1610; and round the frieze is carved an inscription, stating by whom it was given. In Cerne Abbas Church, Dorsetshire, is a carved communion table, bearing the date of 1638. The communion table in Godshill Church, Isle of Wight, is supported on four carved bulging pillar-legs; and round the frieze, below the ledge of the table, is the following inscription:

“Lancelot Coleman & Edward Britwel, Churchwardens, Anno Dom. 1631.”

In Whitwell Church, Isle of Wight, the communion table stands on plain bulging pillar-legs; and on the frieze round the ledge is carved in relief an arm holding a chalice, with the following inscription:

“I will take the cup of salvation, and call upon the name of the Lord. Psa. 116. v. 53. Anno Dom. 1632.”

As the rubric of the church enjoined that at the communion the priest should himself place the elements upon the holy table, the custom of having a side table, called the credence table, for the elements to be set on previous to their removal by the priest to the communion table for consecration, was observed in some churches in the latter part of the sixteenth and early part of the seventeenth century. Such table appears to have been introduced in the reign of Elizabeth, by Andrews, bishop of Norwich, whose model Archbishop Laud is said to have followed[242-*]; and it originated from the πρόθεσις, or side table of preparation, used in the early church; it was likewise, as we have seen, used at the sacramentals of the church of Rome, and on that account was strongly objected to by the Puritans.

In the chancel of Chipping-Warden Church, Northamptonshire, on the north side of the communion table, is a semicircular oak table, apparently of the reign of Charles the First, standing on a frame supported by three plain pillar-legs, like those of the communion tables of the same period, and enriched with carved arched frieze-work similar to the arched panel-work on pulpits of the same period.

A plain credence table of black oak, which from the style and make was evidently set up after the Restoration, still continues to be used as such in St. Michael’s Church, Oxford, being placed on the north side of the communion table.

The objections of the Puritans against many of the usages of the Anglican church, and their refusal to conform to such under the pretence of their being superstitious, had no slight effect in altering the internal appearance of our churches in the middle of the seventeenth century, and during the period their party had obtained the ascendancy, and had succeeded for a while in abolishing in this country episcopal church government; for among the “innovations in discipline,” as they were called by the Puritan committee of the House of Lords in 1641, we find the following usages complained of: the turning of the holy table altarwise, and most commonly calling it an altar; the bowing towards it or towards the east many times; advancing candlesticks in many churches upon the altar, so called; the making of canopies over the altar, so called, with traverses and curtains on each side and before it; the compelling all communicants to come up to the rails, and there to receive; the advancing crucifixes and images upon the parafront or altar cloth, so called; the reading some part of the morning prayer at the holy table, when there was no communion celebrated; the minister’s turning his back to the west, and his face to the east, when he pronounced the Creed or read prayers; the reading the Litany in the midst of the body of the church in many of the parochial churches; the having a _credentia_ or side table, besides the Lord’s table, for divers uses in the Lord’s Supper; and the taking down galleries in churches, or restraining the building of galleries where the parishes were very populous[244-*].

In August, 1643, an Ordinance of the Lords and Commons was published, for the taking away and demolishing of all altars and tables of stone, and for the removal of all communion tables from the east end of every church and chancel; and it was prescribed that such should be placed in some other fit and convenient place in the body of the church or in the body of the chancel; and that all rails whatsoever which had been erected near to, before, or about any altar or communion table, should be likewise taken away; and that the chancel-ground which had been raised within twenty years then last past, for any altar or communion table to stand on, should be laid down and levelled, as the same had formerly been; and that all tapers, candlesticks, and basins should be removed and taken away from the communion table, and not again used about the same; and that all crucifixes, crosses, and all images and pictures of any one or more Persons of the Trinity, or of the Virgin Mary, and all other images and pictures of saints, or superstitious inscriptions belonging to any churches, should be taken away and defaced before the first day of November, 1643: but it was provided that such ordinances should not extend to any image, picture, or coat of arms, in glass, stone, or otherwise, set up or graven only for a monument of any dead person not reputed for a saint, but that all such might stand and continue.

By a subsequent ordinance, passed in May, 1644, it was prescribed that no rood-loft or holy water fonts should be any more used in any church; and that all organs, and the frames or cases in which they stood, in all churches, should be taken away and utterly defaced.

Under colour of these ordinances the beauty of the cathedrals and churches was injured to an extent hardly credible; the monuments of the dead were defaced, and brasses torn away, in the iconoclastic fury which then raged; the very tombs were violated; and the havoc made of church ornaments, and destruction of the fine painted glass with which most church windows then abounded, may in some degree be estimated from the account given by one Dowsing, a parliamentary visitor appointed under a warrant from the Earl of Manchester for demolishing the so called superstitious pictures and ornaments of churches within the county of Suffolk, who kept a journal, with the particulars of his transactions, in the years 1643 and 1644: these were chiefly comprised in the demolition of numerous windows filled with painted glass, in the breaking down of altar rails and organ cases, in levelling the steps in the chancels, in removing crucifixes, in taking down the stone crosses from the exterior of the churches, in defacing crosses on the fonts, and in the taking up (under the pretence of their being superstitious) of numerous sepulchral inscriptions in brass. Nor did the churches in other parts of the country, with some exceptions, escape from a like fanatical warfare; and, in this, many of our cathedrals suffered most. But this was not enough: our sacred edifices were profaned and polluted in the most irreverent and disgraceful manner; and with the exception of the destruction which took place on the dissolution of the monastic establishments in the previous century, more devastation was committed at this time by the party hostile to the Anglican church than had ever before been effected since the ravages of the ancient Danish invaders.

But as to other alterations at this time effected. In January, 1644, an ordinance of parliament was published for the taking away of the Book of Common Prayer, which was forbid to be used any longer in any church, chapel, or place of public worship. In lieu of this the “Directory for the Publike Worship of God” was established: this contained no stated forms of prayer, but general instructions only for extemporaneous praying and preaching, and for the administration of the sacraments of Baptism and the Lord’s Supper; the former of which was to be administered in the place of public worship and in the face of the congregation, but “not,” as the Directory expresses, “in the places where fonts in the time of popery were unfitly and superstitiously placed.” And at the administration of the Lord’s Supper the table was to be so placed that the communicants might sit orderly about it or at it; but all liturgical form was abolished, and the prayers even at this sacrament were such as the minister might spontaneously offer.

At Brill Church, in Buckinghamshire, the communion table, on an elevation of one step, is inclosed with rails, within an area of eight feet by six feet and a half, and a bench is fixed to the wall on each side; an innovation made at this period, in order that the communicants might receive the sacrament sitting. The communion table in Wooten Wawen Church, Warwickshire, though perfectly plain in construction, is unusually long and large, and appears to have been set up by the Puritans at this period, so that they might sit round or at it.

To the removal of the communion table from the east end of the chancel may be attributed the usage which, in the middle of the seventeenth century, began to prevail of constructing close and high seats or pews, without regard to that uniformity of arrangement which had hitherto been observed; and many seats were now so constructed that those who occupied them necessarily turned their backs on the east during the ministration of prayer and public service. The erection of unseemly galleries, which have greatly tended to disfigure our churches, was another consequence of the innovation on the ancient arrangement of pewing.

After the Restoration the communion tables were again restored to their former position at the east end of the chancel; and in Evelyn’s Diary for 1661-2, we find the change of position in his parish church thus noticed: “6 April. Being of the vestry in the afternoone, we order’d that the communion table should be set as usual altarwise, with a decent raile in front, as before the rebellion.”

The altar rails were now generally restored, and in most instances we find those in our churches to be of a period subsequent to the Restoration, as the details in the workmanship evince. In the church accounts of St. Mary’s, Shrewsbury, for 1662, we find a “memorandum that this year the rayles about the communion table wer new sett up, and the surplice was made.” In Wormleighton Church, Warwickshire, the altar rails have on them the date of 1664; and the communion table, which is quite plain, is of the same character and era.

But a return, after the Restoration, to the former usages of the Anglican church was not made without great opposition; and accordingly we find objections stated to the bowing to the altar and to the east, to the preaching by book, to the railing in of the altar, to the candles, cushion, and book thereon, to the bowing at the name of Jesus, and to the organs as “popish-like music, and too much superstition[250-*].”

When the rood was taken down at the Reformation, a custom began to prevail of fixing up in its stead or place, against the arch leading into the chancel, the upper part of which was in consequence blocked up by it, and facing the congregation, so as to be seen by them, the royal arms, with proper heraldic supporters; but it does not clearly appear that this was done in consequence of any express law or injunction to that effect, though it may perhaps have served to denote the king’s supremacy. We seldom, however, find the royal arms of earlier date than the Restoration, in the twenty years previous to which they appear to have been generally taken down. In Brixton Church, Isle of Wight, on some plain wooden panelling between the tower and a gallery at the west end are the remains of the royal arms, which, from the style in which they have been painted with the rose and thistle, appear coeval with the reign of James the First; they are surmounted by a crown, below which is an open six-barred helme. These arms appear to have been removed from their original position against the chancel-arch, and are now much mutilated. In the church accounts, St. Mary’s, Shrewsbury, for 1651, is a charge of 1_l._ 8_s._ “for making the states armes.” In Anstey Church, Warwickshire, the arms of the commonwealth, put up during the inter-regnum, were taken down not many years back. The little church of St. Lawrence, in the Isle of Wight, still retains the royal arms put up at the Restoration in 1660.

Excepting the rood-loft galleries, we have few galleries in our churches of a period antecedent to the latter part of the seventeenth century. At the west end of Worstead Church, Norfolk, over the west door, is a gallery erected in 1550, at the cost of the candle called the Bachelor’s Light. At the west end of the nave in Leighton Buzzard Church is a gallery erected in 1634; and at the west end of Piddletown Church, Dorsetshire, is a gallery with the date of its erection, 1635.

From about the period of the Revolution, in 1688, we may trace the commencement of a custom, still partially prevailing, of setting up the pulpit and reading-pew in the middle aisle, in front of the communion table; so that during the whole of the service the back of the minister was turned to the east, and the view of the communion table obstructed; but we have not found any pulpit thus placed of an earlier period.

We still retain, in the Anglican church, the usage of placing two candlesticks and candles upon the communion table, in compliance with the injunctions of King Edward the Sixth, together also with an offertory dish; of reading the lessons from the eagle desk, and of saying the Litany at the litany-stool. These practices are, however, more particularly observed in our cathedrals and college chapels than in our parochial churches, in most of which they have fallen into desuetude.

To conclude, in the language of the synod held in 1640: “Whereas the church is the house of God, dedicated to his holy worship, and therefore ought to remind us both of the greatness and goodness of his Divine Majesty; certain it is that the acknowledgment thereof, not only inwardly in our hearts, but also outwardly with our bodies, must needs be pious in itself, profitable unto us, and edifying unto others: we therefore think it meet and behoveful, and heartily commend it to all good and well-affected people, members of this church, that they be ready to tender unto the Lord the said acknowledgment, by doing reverence and obeisance, both at their coming in and going out of the said churches, chancels, or chapels, according to the most ancient custom of the primitive church in the purest times, and of this church also for many years of the reign of Queen Elizabeth.

“The reviving, therefore, of this ancient and laudable custom we heartily recommend to the serious consideration of all good people, not with any intention to exhibit any religious worship to the communion table, the east, or church, or any thing therein contained, in so doing; or to perform the said gesture in the celebration of the holy eucharist, upon any opinion of a corporal presence of the body of Jesus Christ on the holy table or in the mystical elements, but only for the advancement of God’s majesty, and to give him alone that honour and glory that is due unto him, and no otherwise; and in the practice or omission of this rite we desire that the rule of charity prescribed by the apostle may be observed, which is, that they which use this rite despise not them who use it not, and that they who use it not condemn not those that use it.”

“... a bloodie crosse he bore, The deare remembrance of his dying Lord, For whose sweete sake that glorious badge he wore, And dead, as living, ever him ador’d: Upon his shield the like was also scor’d.”

FOOTNOTES:

[154-*] Hist. Eccles. lib. vi. c. 6. Durantus, however, assigns a different origin. “In veteri testamento non nisi lotus templum ingrediebatur.” De Labro, seu Vase Aquæ Benedictæ, c. 21.

[156-*] “Ad valvas ecclesiæ,”--Ordo ad Faciendum Catechumenum, Manuale.

[156-†] Constitutions of Edmund Archbishop of Canterbury, A. D. 1236. [TN-7]De Baptismo et eius Effectu.”

[158-*] It is much to be regretted that of late years many ancient fonts have been cast out of our churches, and earthenware and pewter basins substituted in their stead for the administration of the holy sacrament of baptism: a practice not authorized by the Anglican church, but rather condemned; for in the canons set forth by authority, A. D. 1571, it is provided that “Curabunt (Œditui) ut in singulis ecclesiis sit sacer fons, _non pelvis_, in quo baptismus ministretur, isque ut decenter et munde conservetur.” And in the canons of 1603, after alluding to the foregoing constitution, and observing that it was too much neglected in many places, it is appointed “That there shall be a font of stone in every church and chapel where baptism is to be ministered; the same to be set in the _ancient usual places_.” In the orders and directions given by Bishop Wren, A. D. 1636, to be observed in his diocese of Norwich, we find it enjoined, “That the font at baptism be filled with clear water, and no dishes, pails, or basins be used in it or instead of it.”

[160-*] The 28th decree of a foreign council, that of Wirtzburgh, held A. D. 1278, prohibits the fortifying of churches in order to make use of them as castles.

[164-*] Anglice sermocinari solebat (Abbas Samson) populo, sed secundum Linguam Norfolchie ... unde et pulpitum jussit fieri in ecclesia et ad utilitatem audiencium et ad decorem ecclesie.--Cronica Jocelini de Brakelonda, sub anno 1187.

[167-*] Cottonian MS. Titus D. xxvii. 10th sæc.

[167-†] “Crux que erat super magnum altare, et Mariola, et Johannes, quas imagines Stigandus archiepiscopus magno pondere auri et argenti ornaverat, et sancto Ædmundo dederat.”--Cronica Jocelini de Brakelonda, p. 4.

[168-*] “Supra pulpitum trabes erat, per tranversum ecclesiæ posita, quæ crucem grandem et duo cherubin et imagines Sanctæ _Mariæ_ et Sancti _Johannis_ apostoli sustentabat.”--Gervasius de Combustione, &c.

[169-*] “Superest exponere, quod manus illa e nubibus erumpens indicet: Quæ procul dubio omnipotentis Dei dexteram designat.”--Ciampini Vetera Monimenta, vol. ii. pp. 22, 81.

[171-*] “In elevatione atque utriusque squilla pulsatur.”--Durandi Rationale, lib. iv.

[171-†] In Yeovil Church Accounts, A. D. 1457, is an item, “_In una cordul empt p le salsyngbelle ijd_.”--Collectanea Topographica, vol. iii. p. 130.

[172-*] It is now in the possession of William Staunton, esq., of Longbridge House, near Warwick.

[173-*] Durandus, in his description of a church, makes no mention of screen-work, but observes, “Notandum est quod triplex genus _veli_ suspenditur in ecclesia videlicet quod sacra operit, quod sanctuarium a clero dividit, _et quod clerum a populo secernit_;” evidently alluding in the latter to the curtain extended across the chancel arch.

[174-*] “Item tunc stent in sedibus suis versa facie ad altare donec ad _misericordias_ vel super _formulas_ prout tempus postulat inclinent.”--Monasticon, 1st ed. vol. i. p. 951.

[180-*] The placing of more than two lights on the altar seems never to have been practised in the churches of this country; at least I have not met with any ancient illumination in which more than two are represented.

[181-*] The cover of an ancient thurible of latten was lately discovered in the chest of Ashbury Church, Berkshire: the lower part is of a semi-globular or domical form, from which issues an embattled turret or lantern in the form of a pentagon, which is finished by a quadrangular spire; the sides both of the lantern and spire are partly of open work, and round the domical part is inscribed _Gloria Tibi Domine_.

[181-†] A small ampulla of brass or latten, supposed to have been an ancient chrismatory for the consecrated oil used in the sacrament of extreme unction, has been within the last few years discovered in the castle ditch, Pulford, Cheshire: this curious little relic is not more than two inches high; the body is semi-globular, or bulges in front, with a plain Greek cross engraved on it, and is flattened at the back; and at the neck are two bowed handles, by chains attached to which it appears to have hung suspended from the shoulders.

[182-*] Harding, in his controversy with Bishop Jewell, mentions “the monstrance or pixe” as if one and the same article.--Defence of the Apology, &c., p. 343.

[183-*] Quo finito sacerdos cum suis ministris in sedibus ad hos paratis se recipiant et expectent usque ad orationem dicendam vel alio tempore usque ad _Gloria in excelsis_.--MS. Rituale pen. Auc.

[183-†] This arrangement was different to that directed by the rubrical orders of the Roman missals, on their revision after the council of Trent, by which the celebrant was to be seated between the deacon and sub-deacon: “In missa item solemni celebrans medius inter diaconum et sub-diaconum sedere potest a cornu epistolæ juxta altare cum cantatur _Kyrie eleison, Gloria in excelsis_, et _Credo_.”--Missale Romanum, Antverpiæ, MDCXXXI.; Rubricæ Generales, &c. One of the queries published by Le Brun, whilst composing his liturgical work, was, “Si le prêtre s’assied au dessus du diacre et du soudiacre, ou au milieu d’eux.”

[186-*] Prope altare collocatur Piscina seu Lavacrum in quo manus lavantur.--Durandi Rat. de Ecclesia, &c. In ancient church contracts the term _Lavatorie_ was sometimes used for the Piscina, as in that for Catterick Church. In the Roman Missal subsequent to the Tridentine council the word _Sacrarium_ is used.

[187-*] At Alvechurch, Worcestershire, the custom prevails of the priest washing his hands in the vestry before the administration of the sacrament, and napkins are brought to dry his hands.

[189-*] “Il y avoit pour cet effet en chaque piscine, comme en peut voir encore à une infinité d’autels, deux conduits, ou canaux, pour faire écouler l’eau, l’un pour recevoir l’eau qui avoit servi au lavement des mains, l’autre pour celle qui avoit servi au purification ou perfusion du chalice.”--De Vert, Explication des Cérémonies de l’Eglise, vol. iii. p. 193.

[190-*] In “Le Parfaict Ecclesiastique, par M. Claude de la Croix,” (a curious work published A. D. 1666, and containing full instructions for the clergy of the Gallican church, and an exposition of the rites and ceremonies,) amongst appendages to an altar is enumerated “une credance ou niche dans le mur a poser les burettes et le bassin,” p. 536. And in another place, “au costé de l’Autel il y faut une petite niche à poser les burettes et le bassin, et y faire un trou en facon de piscine a fin que l’eau se perde en terre.” p. 568.

[190-†] “In cornu Epistolæ ... ampullæ vitreæ vini et aquæ cum pelvicula et manutergio mundo in fenestella seu in parva mensa ad hæc praeparata”--Missale Romanum ex Decreto, &c. 1631.

“Calix vero et alia necessaria praeparentur in credentia cooperta linteo, antequam sacerdos veniat ad altare.”--Ibid.

[192-*] The earliest account of the sepulchre thus set up that I have yet met with occurs in an inventory of church furniture, A. D. 1214, in which is mentioned “_velum unum de serico supra sepulchrum_.”

[193-*] “Table” was a word used to express any sculptured basso relievo, more especially that inserted in the wall over an altar.

[199-*] A series of coloured engravings from the paintings on the walls of this chapel, which were evidently executed at the close of the fifteenth century, was published in 1807 by the late Mr. Thomas Fisher.

[200-*] By an injunction set forth by royal authority, A. D. 1539, it was ordered, “That from henceforth the said Thomas Becket shall not be esteemed, named, reputed, and called a saint, but Bishop Becket; and that his images and pictures thorow the whole realme shal be pluckt downe and avoided out of all churches, chapel, and other places.”--Fox’s Martyrology.

[209-*] The locality, character, and construction of the confessional in our ancient churches are not yet clearly elucidated. Du Cange described the confessional, “_confessio_,” simply as “cellula in qua presbyteri fidelium confessiones excipiebant;” whilst according to De la Croix, in his remarks on those of the Gallican churches in the middle of the seventeenth century, “Les confessionaux doiuent estre à l’entrée des Eglises, et non pas auprés des Autels, ny dans le Chœur, ny en lieu caché, et tousieurs vne ouuerture pour écouter le Penitent, avec vn treillis de bois ou autre estoffe, et vn volet pour le fermer, quand on écoute de l’vn des costez ouuert.”

[210-*] The tabard or heraldic coat worn over the body armour, and still worn by the heralds on state occasions.

[211-*] “Our churches stand full of such great puppets, wondrously decked and adorned; garlands and coronets be set on their heads, precious pearls hanging about their necks; their fingers shine with rings set with precious stones; their dead and stiff bodies are clothed with garments stiff with gold.”--Homily against Peril of Idolatry.

[215-*] In the injunctions given by Bishop Ridley, in the visitation of his diocese A. D. 1550, occurs the following: “Item that the minister in the time of the communion, immediately after the offertory, shall monish the communicants, saying these words, or such like, ‘Now is the time, if it please you, to remember the poor men’s chest with your charitable alms.’”

[216-*] Dr. Cardwell, in his editorial preface to the reprint of the two Books of Common Prayer set forth in the reign of Edward the Sixth, observes, “The communion service of the first liturgy contained a prayer for the descent of the Holy Spirit upon the bread and wine, and a following prayer of oblation, which, together with the form of words addressed to the communicants, were designed to represent a sacrifice, and appeared to undiscriminating minds to denote the sacrifice of the mass. Numerous, therefore, and urgent were the objections against this portion of the service. Combined with a large class of objectors, whose theology consisted merely in an undefined dread of Romanism, were all those, however differing among themselves, who believed the holy communion to be a feast and not a sacrifice, and that larger class of persons who, placing the solemn duty upon its proper religious basis, were contented to worship without waiting to refine.”

[218-*] Fox’s Martyrology.

[223-*] In compliance with the queen’s letter, the following directions were sent by the commissioners to the dean and chapter of Bristol:

“After our hartie comendaco̅n̅s.--Whereas we are credibly informed that there are divers tabernacles for Images, as well in the fronture of the roodeloft of the cath^l church of Bristol, as also in the frontures, back, and ends of the walles wheare the com̅n̅ table standeth, for asmoch as the same churche shoulde be a light and good example to th’ ole citie and dioc. we have thought good to direct these our lr̅e̅s unto you, and to require youe to cause the said tabernacles to be defaced & hewen downe, and afterwards to be made a playne walle, w^th morter, plast^r, or otherways, & some scriptures to be written in the places, & namely that upon the walle on the east end of the quier wheare the com̅n̅ table usually doth stande, the table of the co̅m̅and^ts to be painted in large caracters, with convenient speed, and furniture according to the orders latly set furthe by vertue of the quenes ma^ts co̅m̅ission for causes ecclesiasticall, at the coste and chardges of the said churche; whereof we require you not to faile. And so we bed you farewell. From London, the xxi. of December, 1561.”--Britton’s Bristol Cath. p. 52.

[224-*] In the chancel of Bengeworth Church, Gloucestershire, is a table of the commandments, with the letters cut in box-wood. This has the date of 1591 upon it.

[226-*] These are engraved in vol. xx. of the Archæologia, and, from the general style and mouldings, appear to have been constructed in the latter part of the fifteenth century.

[230-*] The symbolical turning towards the east whilst pronouncing the Creed is adverted to by St. Cyril. In the Apostolical Constitutions,