CHAPTER VIII
CHAIRS IN CHURCHES
Hardly anything in a cathedral has so venerable a history as the throne and chair of the Bishop, of wood or ivory. The origin of this type of Bishop's chair goes back to Pagan Rome. There the greater officials had two official chairs, both portable; one, the "_sella curulis_" in which they sat while administering justice; the other, the "_sella gestatoria_" in which they were carried in procession. The "_sella curulis_" was a folding chair with crossed legs like the chair of Dagobert in the Hotel Cluny, Paris: chairs of this form are still in use in many Continental cathedrals.
The "_sella gestatoria_" was a kind of sedan chair, shaped like a settle; with high back and usually without arms; it was provided with rings through which were passed staves when it was borne in procession. Similar is the Pope's chair in St Peter's, Rome, last shewn in 1867 (112). It is said to have belonged to the Senator Pudens and to have been used by St Peter. Whether that be so or not, it is undoubtedly very ancient, and its legs may be of the Apostolic age; they are of yellow oak, worm-eaten, and chipped by pilgrims who carried away bits as relics; the seat and back are of acacia wood and are of a later period. This back is ornamented with ivory panels carved to represent the Labours of Hercules; the panels are probably of the ninth century, for among the decorations is a bust with a crown bearing _fleurs de lis_, and what seems to be a portrait of Charles the Bald.[66] Very similar is the chair in which St Silvester is represented as seated in the dome of the apse of St John Lateran, where the mosaics are those of 1291, copied probably from the original ones executed in 428. Similar chairs also appear in the mosaics of Sta. Pudentiana and other Roman basilicas, and in those of Santa Sophia, Constantinople. {112}
{113}
In the Archbishop's chapel at Ravenna is preserved a chair made for Maximian who was Archbishop of Ravenna from 546 to 556. It is in wood entirely covered with plaques of ivory, arranged in panels, with Scriptural subjects--among others the story of Joseph--and figures of saints richly carved in high relief. The plaques have borders with foliated ornaments, birds and animals, flowers and fruit, filling the spandrels.
At Lincoln is a wooden chair, which appears to be _c._ 1300; it has recently been placed in the Chapter House and is now used by the bishop at diocesan synods (114). It is possible that since several Parliaments met at Lincoln, between 1265 and 1327, that this may be the royal chair: it may well have been used also at the great trial of the Knights Templars, which was held in the Chapter House in 1310. It is only original up to the level of the arms; the lions, the back and the canopy are modern. {114}
{115} In Hereford cathedral is an ancient wooden chair, once coloured in red and gold; it is composed of fifty-three pieces; not counting the seat of two boards and the two circular heads in front; it has been variously ascribed to the twelfth or fourteenth century; but no doubt is Jacobean, belonging to the same class of chairs as those enumerated in the following paragraph (114).[67] At Stanford Bishop church, Hereford, is a rude chair or settle, of oak without nails. It is said to have been traditionally called "Old Horstin's chair," and therefore has been supposed, very improbably, to be the identical chair seated on which St Augustine received the British bishops in Herefordshire _c._ 600 A.D., greatly exciting the ire of the irascible Celts by not rising from his seat to receive them. In the Canterbury Museum Dr Cox has recently deposited a mediæval chair believed to be of great antiquity.[68]
A few examples remain of what are supposed to have been abbots' chairs. In the Bishop's Palace at Wells is preserved a chair of remarkable type, said to have been used by the Abbot {116} of Glastonbury. In the College, Manchester, is or was an ancient chair of the same baluster shape; and a very similar one formerly was to be seen in Agecroft Hall, Manchester. In the cottage at Zaandam, Holland, is a baluster chair, formerly used by Peter the Great. Another chair of this type, but of simpler form, is that once used by John Bunyan, and now preserved, together with his pulpit, in the meeting house of the Independent Congregation at Bedford. In the Victoria and Albert Museum is an arm-chair with balusters of turned ash. All these chairs are of seventeenth century date; no abbot of Glastonbury can have sat in the chair in the Bishop's Palace at Wells (115, on the left).
A chair from Glastonbury, bearing an inscription, and in date _c._ 1530, is now in the chapel of the Bishop's Palace at Wells; modern copies of it may be seen in hundreds of churches. It is inscribed _Monachus Glastonie_ and _Johannes Arthurus_; a similar chair was formerly in Southwick Priory, Hampshire (115). An abbot's chair, reputed to have belonged originally to Peterborough cathedral, stands in the south chapel of Connington church, Hunts, where it is said to have been brought from the collegiate church of Fotheringhay, and is said to have been the last chair in which Mary, Queen of Scots, sat previous to her execution. From Little Dunmow priory came the chair now in Great Dunmow church, Essex; its trefoiled arcading shews that it was made in the thirteenth century. In it, up to 1907, were chaired the married couple "who had not repented them, sleeping or waking, of their marriage in a year and a day." The first recorded claim for the happy-marriage prize was made at the Priory in 1445 (116). {117}
{118}
{119}
A magnificent and well-preserved seat is to be seen in St Mary's Hall, Coventry, and is assigned to the middle of the fifteenth century: it is of oak. From the mortices at one end and the discontinuance of the lower pattern it would seem to have been attached to a set of stalls, and to have belonged therefore originally to some church or chapel (117).[69]
In Bishop's Cannings church, Wiltshire, is a remarkable seat believed to be a "carrel," or desk and seat, such as used to be employed by monks when at study in their cloister; it may have been brought from some monastic house. "It consists of an upright panel, with some fifteenth century moldings at the {120} top and sides; against this panel is constructed a seat, facing sideways, with a flooring, a back the ordinary height of a pew, a door facing the panel, and a sloping desk facing the seat." With this description may be compared that of the monastic carrels given in the _Rites of Durham_;
"In the north side of the cloister from the Corner over against the Church Door to the corner over against the Dorter door was all finely glazed from the height to the sole within a little of the ground into the cloister garth, and in every window three pews or carrels where every one of the old monks had his Carrel, several by himself, that when they had dined they did resort to that place of cloister, and there studied upon their books, every one in his carrel, all the afternoon unto evensong time; this was their exercise every day. All their pews or Carrels was all finely wainscotted and very close, all but the forepart, which had carved work that gave light in at the carrel doors of wain scot. And in every Carrel was a desk to lie their books on; and the Carrels was no greater than from one stanchion of the window to another."
On the inner side of the large panel are a variety of brief admonitory sentences, painted in Latin black letter on the thumb and four fingers of a rudely outlined hand, inscribed at the cuff _Manus meditationis_; beginning on the thumb with _Nescis quantum, Nescis quoties, Deum offendisit_. Below the hand with its pious sentences on the respective points of each finger, two cocks are painted, the one white and the other black; from their beaks proceed two labels, bearing further ejaculations (118).[70] {121}
{122}
In St Paul's church, Jarrow, is a very rude seat known as the chair of the Venerable Bede; he was a monk of Jarrow, and died in 742; only the sides and seat and the crossbar at the top are original. Mr Mickethwaite was of opinion that it was originally a settle; and it seems hardly likely that the chair can have survived from the eighth century, especially as the monastery of Jarrow was repeatedly burnt by the Danes; but it is of an exceptionally hard oak, and bears marks of fire, and has had its present designation for several centuries.[71] It will be noticed that the standards have been whittled away by relic hunters (119). At Lutterworth is a well-known chair; the tradition is that it was used by John Wyclif, and that he was smitten with paralysis while sitting in it hearing mass, on Holy Innocents' day, 1384, and was carried in it to the rectory hard by, where he died on the last day of that year. A brass plate on it records the tradition; but the chair is plainly Jacobean and of domestic origin; there is another chair in the chancel of exactly the same shape and pattern (120). {123}
{124} At Kidderminster Baxter's chair is preserved; on it is the following inscription:--"Rev. R^d Baxter born n^r Shrewsbury in 1615 and died at London in 1691. Chaplain to King Charles II. Rev. T. Doolittle, M.A. S^r H. Ashurst B^t, Kidderminster, A. 1650 D." Baxter speaks of Mr Thomas Doolittle, born in Kidderminster, as "a good schollar, a godly man, of an upright life and moderate Principles, and a very profitable serious Preacher." To Sir Henry Ashurst, Bart., Sylvester dedicated his _Reliquiae Baxterianae_, 1696. He also stood by Baxter in the day of his trial and distress, paid the fees for his six counsel, and when the trial before Judge Jeffries was over, led Baxter through the crowd, and conveyed him away in his coach. He was also Baxter's executor, and it is possible the chair may originally have belonged to him. At Beeston Regis, Norfolk, is a fine old seat, now used by the parish clerk (119); it would seem to be of the period of the work at Balsham and elsewhere (3). At Winchfield, Hampshire, is another old seat of rude and early design (116).
Stone seats are occasionally found. Where they are placed south of the altar, they are probably sedilia; but not when they are placed in the western bay or bays of the chancel or in the nave. At Barnack the remains of a stone seat were found on the west wall of the Pre-Conquest tower; it had formerly an oak seat and oak slabs on either side: a stone seat occurs also in the west wall of the nave of Old Radnor church. A stone seat is not uncommon in the western bays on the south side of chancels; the object of this is not clear; perhaps it was to provide a seat for the priest while reading his office; in later days, as we have seen, oak stalls were common in parish chancels, and the priest would read his office in one of these. Several examples occur. There is a rude example in the Pre-Conquest church of Corhampton, Hampshire. Others, probably {125} of thirteenth century date, occur at Warlingham, Surrey, and Halsham and Sprotborough, Yorkshire. At Lenham, Kent, is one with solid stone arms, and with a cinquefoiled canopy of later date.
Last, we have the Coronation chair at Westminster,[72] which has a long, if somewhat unreliable history behind it. The stone beneath it is said to have been the one on which Jacob's head rested at Bethel; from whence it travelled to Egypt, and thence to Spain, Ireland and lastly Scotland. King Kenneth of Scotland had the following inscription engraved on it in Latin verse:--
"Ni fallat fatum, Scoti quocunque locatum Invenient lapidem regnare tenentur ibidem";
a prophecy curiously fulfilled on the accession of James I. to the English throne (121). On the upper surface of the stone is a rectangular groove large enough to receive an inscribed plate. Edward I. found the stone in 1296 at Scone abbey, where the Scotch kings had always been crowned on it. He carried it to London, and in 1300 Master Adam, the king's goldsmith, was working at a bronze chair to hold it. But when this was nearly {126} finished, the king altered his mind and had a copy of it made in wood--the present chair--which cost 100s., by Master Walter, the king's painter. The chair has lost the quatrefoils in front, and the lions are of recent date. It originally stood in the same position as a bishop's chair, _i.e._, at the back of the High altar and in front of the shrine of Edward the Confessor, and facing to the west. It is made of oak, fastened together with pins; the surface was first covered over with the usual gesso; then gold was applied by means of white of egg, and burnished; then minute dots, forming diapers of foliage, beasts, birds, &c., were pricked on the surface of the gold, taking care not to penetrate it, with a blunt instrument before the ground and gilding had lost their elasticity; a most tedious and delicate process. A second chair, modelled on the older one, was made on her coronation for Mary II., Queen of William III. It used to stand by the side of the king's chair, but has been moved to the easternmost recess of Henry VII.'s chapel. In Winchester cathedral is the chair which was used by Mary I. on her marriage with Philip of Spain, which was solemnised in the Lady chapel: it is now placed in Bishop Langton's chapel (122). Very similar is a chair preserved in York Minster, which, owing to the shield attached in front, is probably not older than the time of Richard II.:[73] the cushion is stuffed, and covered with green velvet; the shield also is covered with leather, the upper part of which has been torn away, and the lines upon it are but slightly stamped. At Constance is shewn a similar chair of Martin V., who was elected Pope there in 1417.
{127}
In addition to the above, chairs are often placed in the presbytery to the north of the altar. These were occupied by the preacher during morning or evening service, till his turn came to ascend the pulpit and deliver the sermon. Of these the greater number no doubt have been presented by the owner of some manor house or parsonage, or have been picked up in recent years in some second-hand furniture shop. This is probably the case with the interesting chair which is known to have been for nearly a century in the Mainwaring chapel of Higher Peover church, Cheshire; it bears not only the name, but the portrait and initials of the owner. The inscription is DORATHY MAYNWARING; she married Sir Richard Mainwaring of Ightfield, Salop, High Sheriff of that county in 1545. Most of the chair is older than her time; Dorothy seems to have had it put together of old bits of carving, adding her name and portrait, and the raven, the crest of her father, Sir Robert Corbet. She lived at Ightfield, and it was probably when that branch of the family became extinct that the chair was brought to Higher Peover church, and placed in the Mainwaring chapel. At the top are holes for holding sconces in which tapers would be placed (123). {128}
At Penshurst there used to be a chair with a bust on the inner panel of the back; the tradition was that it belonged to Sir Philip Sidney.[74] At Puddletown, Dorset, a chair has been in the chancel for very many years; it is of Elizabethan date, and was probably brought from some hall or manor house. "The tall narrow back, the broadening seat, the vertically straight, but horizontally angled arms are those of the French caqueteure type rarely seen in England. The strap carving of the back is of the best; while the twin greyhounds with averted heads that fit the curved top of the chair no doubt have reference to the original owner" (124).[75] At Upton, near Castor, there {129} are two chairs in the chancel; on one of which is inscribed "A.D. 1700--Joane Browne--Want Not." The other has the initials J. D.; the Doves were Lords of the Manor at that time (130).[76] In Redenhall church, Norfolk, is one of two chairs brought there from Canterbury cathedral by Archbishop Sancroft on his expulsion from the see in 1615; it is of a curious pattern common in the latter part of the seventeenth century, in which the back is hinged and can be turned over to convert the chair into a table. Archbishop Sancroft is buried at Redenhall, which, by the way, possesses perhaps the finest church tower of any village in England and an exceptionally fine ring of ancient bells. The other chair is kept at Gawdy Hall, the seat of the Sancrofts (125).
In many cases the chair is a composite product, made up of fragments of screens, bench ends and the like; this seems to be the case with the chairs in the churches of Bridford, Devon, and Othery, Somerset; that at Much Hadham, Hertfordshire, appears to be put together out of the fragments of a screen (126). In the Chapter House of Gloucester cathedral are two chairs, on the inner panels of the back of which are carved "The Last Supper" and "The Ascension" respectively; the panels were presented in the time of Dean Law, and, provided with a framework, now form part of two chairs.
Where, however, the chair has a representation of some ecclesiastical subject, the presumption is that it was made for the church in which it is placed. In Cartmel Priory church is a fine chair on the back of which is represented the Resurrection; below are seen the Roman soldiers; above, Christ shews the wounds in His hands (127). At Sanderstead, Surrey, Abraham {130} with uplifted sword is about to slay Isaac; on the right is shewn the ram, on the left an angel. The same subject appears, better carved, on the back of one of two chairs brought from a church in Suffolk, now pulled down; on the other chair is a representation of what looks like the Temptation (128). In Halsall church, Lancashire, are two beautiful chairs with the initials IHS; beneath them is a scroll on which is inscribed _Ecce quomodo amabat_ (128). In the Victoria and Albert Museum is a similar "winged" chair, which bears the initials IPI and the date 1670. In the chancel of Combmartin church, Devon, is a mahogany chair with wheat and grapes, apparently referring to the sacramental bread and wine; it had been for many years in the family of the present incumbent, Rev. F. W. Jones, and was presented by him to the church; it is possible that it was originally made for a church (129).
{131}
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{133}
INDEX TO PLACES AND ILLUSTRATIONS
_Numbers followed by the name of the Photographer or the Draughtsman refer to Illustrations_
Aberdeen, King's College, 29, 68 Abergavenny Priory, Monmouth, 46, G. G. Buckley. 29, 40, 47 Amiens, 11 Aquileia, 101 Avignon, 104, F. Bond. 104
Balsham, Cambs., 3, G. G. Buckley. 1, 5, 100, 124 Barnack, Northants, 124 Basing, Hants, 79 Bedford, 116 Beeston Regis, Norfolk, 119, C. F. Nunneley. 124 Belgium, 29, 31 Beverley Minster, Yorks., 3, 14, 14; C. Goulding. 7, Alan Potter. 27, 63, 64, and frontispiece; W. E. Wigfall. 64, 65, 106; F. H. Crossley. 5, 7, 26, 29, 40, 51, 65, 66, 68, 74, 106 Beverley St Mary, 2, F. H. Crossley. 1, 5 Bishop Auckland, Durham, 31, 67 Bishop Cannings, Wilts., 118, Wilts. Archæological Society. 119 Blythburgh, Suffolk, 11, S. Gardner. 7 Bologna, St Stefano, 101 Bossal, Yorks., 92 Boston, Lincs., 86, 95 Brancepeth, Durham, 93, F. Bond. 31, 67, 100 Braunton, Devon, 96 Brescia, Sta. Maria dei Miracoli, 82 Bristol Cathedral, 29, 50. St Nicholas, 97 Bruges, 68, 70 Burlingham St Edmund, Norfolk, 85
Cambridge, Great St Mary, 97. King's College Chapel, 78, F. R. Taylor. 5, 29, 75, 77, 79, 82 Canterbury Cathedral, 105, S. Gardner. 23, 31, 36, 53, 84, 104, 115 Carlisle Cathedral, 21, R. Billings. 59, F. Bond. 23, 29, 51, 58, 61, 66, 68, 70, 82, 106 Cartmel, Lancashire, 80, 81, 127; F. H. Crossley. 5, 31, 75, 79, 129 Chaddesden, Derbyshire, 99, G. H. Widdows. 12, 100 Chelsea, 94, 98 Chester Cathedral, 9, W. M. Dodson. 10, 24, 53, 55, 56; F. H. Crossley. 5, 6, 7, 10, 12, 23, 26, 29, 51, 54, 58, 61, 66, 68, 70 Chichester Cathedral, 36, P. M. Johnston. 5, 26, 29, 36, 38, 47, 100 Christchurch, Hants, 2, G. F. Gillham. 76, 77; F. H. Crossley. 1, 5, 29, 75, 77, 79, 82, 105 Cockersand Abbey, Lancs., 43 Combmartin, Devon, 129, W. M. Dodson. 130 Connington, Hunts., 116 Constance, 126 Constantinople, Santa Sophia, 111 Corhampton, Hants, 124 Coventry, St Mary's Hall, 117, Anon. 119 Cyprus, 104
Dalmatia, 16, 101 Dinant, 31 Dunblane, Scotland, 67, W. Maitland. 5, 29, 67 Dunis, Flanders, 68 Dunmow, Essex, 116, F. R. Taylor. 116 {134} Durham Cathedral, 22, 107; R. Billings. 66, F. Bond. 15, 31, 51, 66, 68, 94, 110. Castle, 5
Ely Cathedral, 37, G. H. Tyndall. 13, 20, 29, 36, 37, 38, 40, 43, 47, 49, 51, 61, 66, 68, 91, 106 Etwall, Derbyshire, 13, G. H. Widdows. 8 Exeter, 102, E. K. Prideaux. 103, G. H. Widdows. 12, 15, 23, 107
Faversham, Kent, 97 Flanders, West, 68, 70 Fotheringhay, Northants, 116 France, 31, 67, 68, 92, 105 Fressingfield, Suffolk, 8
Gawdy Hall, Norfolk, 129 Gendron-Celles, 31 Glastonbury, Somerset, 115, 116 Gloucester Cathedral, 38, Oscar Clark. 23, 29, 33, 38, 40, 129 Grado, 101 Great Burstead, Essex, 94
Halifax, 89 Halsall, Lancashire, 128, G. G. Buckley. 130 Halsham, Yorkshire, 125 Hambleton, Worcester, 98, G. H. Poole. 100 Hampton Court, Middlesex, 75, 77 Hastières, 31 Hemingborough, Yorks., 87, C. de Gruchy. 33, 77, 88 Hereford Cathedral, 43, G. B. Atkinson. 114, A. J. Wilson. 13, 20, 26, 29, 40, 44, 108, 115. All Saints', 44, G. G. Buckley. 45, W. M. Dodson. 5, 29, 40, 47, 100. St Peter, 89, G. G. Buckley. 29, 49, 100 Hexham, Northumberland, 23, 29, 106 Higham Ferrers, Northants, 29 Higher Peover, Cheshire, 123, F. H. Crossley. 127 Huntingfield, Suffolk, 97
Iffley, Oxon., 86 Ightfield, Salop, 128 Ingham, Norfolk, 85 Istria, 16, 101 Ivychurch, Kent, 85
Jarrow, Durham, 119, W. Maitland. 120
Kidderminster, 122 Kildwick, 90 Kilpeck, Herefordshire, 122 Kirkstall, Yorks., 20, 23
Lacock, Wilts., 82 Lancaster, 39, 41, 42; F. H. Crossley. 29, 40, 54 Lapford, Devon, 77 Layer Marney, Essex, 75, 79 Lenham, Kent, 125 Lincoln Minster, 5, 52, 114; S. Smith. 17, Hugh McLachlan. 5, 10, 13, 23, 25, 26, 28, 29, 51, 54, 58, 59, 61, 66, 68, 91, 106, 113 Littlebourne, Kent, 86 London, 70, 79. Christ Church, Newgate Street, 4, F. R. Taylor. 5. Hampton Court, 75, 77. Rolls Chapel, 75. St Botolph, Aldgate, 94. St Mary-at-Hill, 88, 95, 96, 97, 100. St Paul's, 83, F. J. Hall. 28, 31, 82. Old St Paul's, 23. Victoria and Albert Museum, 104, 116, 130. See Westminster Abbey Louth, Lincs., 75 Ludham, Norfolk, 85 Lutterworth, Leicester, 120, E. H. Day. 122
Manchester Cathedral, 6, 62; F. H. Crossley. 5, 7, 29, 51, 61, 65, 66, 68, 70, 74. Agecroft Hall, 116. College, 116 Mantes, 93 Melrose, 68 Milan, St Ambrogio, 16 Much Hadham, Herts., 126, A. W. Anderson. 129
Nantwich, Cheshire, 57, F. H. Crossley. 29, 51, 58, 59, 61, 68 Nevers, 105 Newark, 29 Norbury, Derbyshire, 86 North Cadbury, Somerset, 77 Norton, Suffolk, 85 Norwich, 48, S. Gardner. 13, 19, 25, 26, 29, 40, 43, 47, 104 Notre Dame de la Roche, 31 Nottingham, 90 {135}
Old Radnor, Radnorshire, 124 Ossero, 101 Othery, Somerset, 129 Oulton, Suffolk, 86 Oxford, 29, 79
Parenzo, 101 Paris, Hotel Cluny, 111 Penshurst, Kent, 128 Peterborough, 32, H. Plowman. 15, 33, 116 Poitiers, 31 Puddletown, Dorset, 124, W. Wonnacott. 128
Ratzburg, 31 Ravenna, 113 Reading, St Giles', 97 Redenhall, Norfolk, 125, C. F. Nunneley. 129 Ripon Minster, 8, W. Maitland. 60, J. H. Bayley. 5, 6, 7, 15, 23, 26, 29, 51, 61, 65, 66, 68, 70, 93 Rochester Cathedral, 30, P. M. Johnston. 23, 29, 31 Rome, 16, 19, 23, 101, 105, 111. Baths of Caracalla, 101. S. Clemente, 19, 101. St John Lateran, 101, 111. S. Maria in Cosmedin, 19, 101. St Paul extra Muros, 19. St Peter's, 111. Old, 105. Sta. Pudentiana, 111 Rotherham, Yorks., 94 Rothwell, Northants, 90
St Asaph, 51, 61 St David's, 108, 109; W. M. Dodson. 15, 29, 50, 107, 110 St Gall, 20, 23 St Paul's, 83, F. J. Hall. 28, 31, 82 Salisbury, 92 Sall, Norfolk, 85, F. Bond. 85, 100 Sanderstead, Surrey, 129 Saulieu, 31 Scotland, 67, 68, 91 Sedgefield, Durham, 31, 67 Sees, St Martin, Normandy, 43 Sherborne, Dorset, 49, G. G. Buckley. 29, 49 Sherburn Hospital, Durham, 31, 67 Sion Abbey, Middlesex, 43 Sluys, 70 Snettisham, Norfolk, 40 Southampton, 79 Southwell, Notts., 25, 26, 50 Southwick Priory, Hants, 116 Sprotborough, Yorks., 125 Stanford Bishop, Herefordshire, 115 Stirling, 68 Stowlangtoft, Suffolk, 91, C. F. Nunneley. 5, 7, 29, 49, 85, 100 Suffolk, 128, J. C. Stenning. 49, 85, 130 Sutton Coldfield, Warwickshire, 84 Swine, Yorks., 77
Talland, Cornwall, 77 Theydon Gardon, Essex, 92 Trau, 101 Trunch, Norfolk, 85, F. Bond. 5, 85, 100
Upton, Northants, 130, G. C. Druce. 128
Vaison, Provence, 101 Venice, St Mark's, 16. Sta. Maria dei Miracoli, 82
Walpole St Peter, Norfolk, 12, S. Gardner. 7 Warlingham, Surrey, 125 Wells Cathedral, 115, G. W. Saunders. 7, 11, 13, 20, 26, 28, 29, 110. Bishop's Palace, 115, 116 Westminster Abbey, 31, Sandford. 121, A. Gardner. 21, 23, 25, 29, 31, 33, 51, 77, 125, 73; Henry VII.'s Chapel, A. W. Pugin, 73; D. Weller, 131. 10, 25, 70, 74, 75. Weston in Gordano, Somerset, 85 Winchelsea, Sussex, 36 Winchester Cathedral, 34, 122; C. E. S. Beloe. 35, S. Gardner. 72, J. F. Hamilton. 73, J. Britton. 5, 13, 23, 29, 33, 40, 43, 72, 75, 79, 126. St Cross, 75, 105 Winchfield, Hants, 116, G. C. Druce. 124 Windsor, St George's Chapel, 69, Lysons' _Magna Britannia_. 71, Alan Potter. 12, 29, 51, 70 Wingfield, Suffolk, 46, C. F. Nunneley. 29, 47 Worcester, 23, 84, 91
Yatton, Somerset, 92 York Minster, 18, 58; J. Britton. 23, 58, 126. St Maurice, 88. St Michael Belfry, 92
Zara, 101 Zaandam, Holland, 116
* * * * *
{136}
INDEX RERUM
Abbot, place in choir, 13, 106 Accounts (_see also_ Cost), 95 Arcading, 40, 54, 100 Arms and armour, 36, 48, 54 (_see also_ Heraldry) Arrangements of stalls, 12, 16, 26
Back of Stalls, 5, 10, 15, 26, 28 (_see_ Panelling) Badges, 47 Baluster chairs, 115, 116 Bath, order of the, 74 Battlements, 36, 38, 47, 51, 54, 61 Baxter's chair, 124 Benches, 49, 99 Benefactors, 92 Bishop's chair, 13, 19 ---- throne, 101 Black Death, 40, 47, 58, 110 Boys, 96 (_see_ "Children of the Choir") Brattishing, 47, 63 Busts, 70, 77 Buttresses, 54
Canons, resident and non-resident, 11, 25, 28 Canopies, construction of, 1, 10, 33, 54 ---- ogee, 10, 33, 36, 43, 45, 47, 50, 53, 54, 59, 65, 68 ---- bowing ogee, 10, 38, 45, 47, 51 ---- compound ogee, 54 ---- "Lincoln" ogee, 54 ---- tiers or stories of, 38 ---- varieties of, 1, 29, 51, 74, 100 Capitals, 10, 61, 82 Capping, 10 Carrel, 119 Carvers, 68, 70, 74, 77 Carving, 5, 33, 38, 53, 54, 61, 68, 70, 77, 79, 82, 108 Centaurs, 68 Chairs, abbots', 115 ---- bishops', 13, 111 ---- church, 111 ---- marble, 101 ---- popes', 111 ---- stone, 101, 124 ---- winged, 130 Chancels, 16, 20 ---- enlargement of, 86 Chantries and Chantry priests, 8 "Children of the Choir," 25, 96 Choir, 13, 16, 20 Choristers, 1, 25, 26, 85, 95 Chronological order of stalls, 29 Churchwardens' accounts, 95 (_see_ Cost) Classical design, 67, 79 Clerk, parish, 97, 124 Construction of stalls and canopies, 1, 8, 10, 33, 54 (_see also_ Canopies) Cornice, 1, 40, 47, 49, 50, 63, 100 Coronation chair, 125 Cost, 11, 79, 84, 88, 107 Costume, 36 Cresting, 29, 36, 45, 65, 72, 79 Crockets, 10, 33, 44, 47, 51 Crossing, 20, 23 Crypts, 23 Cusps, 33, 36, 43, 47, 49, 61
Dagobert, chair of, 111 Dates of stalls, 5, 29 Dean's stall, 13, 50, 54 Design, 10, 38, 68, 70, 74 Desks, 1, 5, 7, 47, 88, 100, 119 Dorothy Mainwaring, 79, 127 Dove, 95, 129 ---- of St Botolph's, Aldgate, 95 ---- of Upton, 129 Dutch carvers, 70
Edmund Crouchback, 33 Edmund, Saint, 7 Elbows of stalls, 1, 5, 10, 77 Ends of stalls, 5, 8 Entablature, 79, 82 Epistle, place of reading, 13 {137}
Finials, 33, 51 Flamboyant, 40 Flemish work, 68, 70 Fleur de lis, 68 Flying buttresses, 10, 54 Foreign design and workmen, 68, 77, 79, 82 Frithstols, 106
Gables, 10, 33, 54, 61, 65 (_see_ Canopies) Galleries, 29 Garter, Knights of Order of, 72 Gilds, 8, 95 Glastonbury chairs, 116 Gospel, desks, and place of reading, 13 Grinling Gibbons, 84
Hawks, 47 Heraldry, 5, 6, 47, 48, 50, 79 Hipknobs, 10 Honeycomb, 77 Honour, place of, 13
Inscriptions, 26, 28, 82 Italian workers, 77, 79, 82
Jacobean chairs, 115, 122
Kemp, Archbishop, 53 Knights of the Bath, 74 Knights of the Garter, 72
Laity, 1, 16, 19, 90 "Lincoln ogee," 54
Mainwaring, Dorothy, 79, 127 Marble chairs, 101, 106 Masks, 5, 44 Mayor's stall, 6, 15, 82, 94 Maximian, chair of, 113 Minstrels, 99 Misericords, 1, 48, 50, 53, 54, 61, 65, 74, 75 Moldings, 40 More, Sir Thomas, 94, 98 Music in churches, 95
Niches, 10, 38, 51, 54, 58, 59, 61, 63, 65 Nobility in chancel, 91 North side, 13, 15 Number of stalls, 25, 26, 50, 75
Oak, 68 Occupants of stalls, 1, 88 Ogee, 10, 33, 36, 43, 45, 47, 51, 53, 54, 59, 65, 68 Orientation, 16, 105 Organs and Organists, 96, 98
Panelling, 5, 50, 68, 74, 100 Parish churches, planning, growth of, 16, 23, 25, 85, 86 (_see_ Chancel) ---- stalls in, 49, 85 Parish clerk, 97, 124 Passion, emblems of, 82 Patrons, in chancels, 91 Pediment, 33, 43, 51 Pews in chancels, 95 Pinnacles, 10, 38, 51, 53, 54, 58, 59, 61, 66, 74, 108 Place of honour, 13 Planning, 16, 20, 23, 25, 85 Plinth, 100 Poppyheads, 6, 7 Portrait busts, 77 ---- panels, 75 Position of stalls, 1, 16 Prebendaries, 25, 28 Processions, 13, 25, 92 Projection of canopies, 47 Psalter, recitation of, 26, 28 Purbeck marble, 105
Removals from other churches, 43 Renaissance, 66, 75 Restorers and restorations, 20, 29, 38, 84 Return stalls, 12, 13, 25, 100, 106 Rochets, 97 Rood loft, 95, 98 Rows of stalls, 25
Sancroft, Archbishop, 129 Screens, 10, 12, 19, 20, 50, 75, 79, 100 Scrollwork, 5, 82 Seats, 1, 10, 48, 77 ---- marble and stone, 111, 124 Sedilia, 124 Sella curulis and gestatoria, 101, 111 Shafts, 10, 33, 51, 59, 77, 82 Shields, 5, 6 Shoulders of stalls, 1, 5, 59 Singers, 1, 16, 95 (_see also_ Boys, "Children of the Choir," Choristers) {138} South side, 13, 15 Spires and spirelets, 1, 11, 38, 40, 49, 51, 53, 54, 58, 61, 63, 66, 72, 106 Stalls in greater churches, 1, 13 ---- in parish churches, 49, 85, 90 ---- object of, 85 Stall-wages, 26 ---- work, earliest, 31 ---- thirteenth century, 31, 88, 90 ---- fourteenth century, 33, 50, 51, 53, 58 ---- fifteenth century, 48, 50 ---- sixteenth century, 79 ---- Renaissance, 66, 75 ---- eighteenth century, 84 Standards, 8 Stanley legend, 61 Statues, 10, 51, 61 Stone chairs and seats, 101, 124 ---- _versus_ wood, 51 Stories of stalls, one, 38, 43, 44, 51, 59, 72, 74 ---- two, 10, 38, 47, 51, 53, 58, 61, 65, 72 String-course, 58, 59, 61, 65, 66 Sudbury hutch, 75 Sunday and other processions, 25, 92 Supermullions, 40, 47 Supports, 5, 77 Surplices, 89, 96
Tabernacled spires and canopies, 1, 10, 51, 53, 66, 106 Tester, coved, 47, 63 Thirteenth century work, 31, 88, 90, 116, 125 Thistle, Scottish, 68 Three-gabled canopies, 38, 51, 54, 59 Throne, bishop's, 13, 16, 19, 101, 105 Tiers of canopies, 38 Tracery, 33, 36, 40, 43, 45, 51, 54, 58, 59, 61, 63, 65, 68, 82
Vicars choral, 26 Ventilation, 100 Vine, 68
Winged chairs, 130 Women in stalls, 92 Wood _versus_ stone, 51 Workmanship, 100 Wyche, Lady, 94 Wiclif, 122
_Printed at_ THE DARIEN PRESS, _Edinburgh_.
* * * * *
BY THE SAME AUTHOR
SCREENS AND GALLERIES IN ENGLISH CHURCHES
A HANDSOME VOLUME, CONTAINING 204 PP., WITH 152 ILLUSTRATIONS, REPRODUCED FROM PHOTOGRAPHS AND MEASURED DRAWINGS. OCTAVO, STRONGLY BOUND IN CLOTH. PRICE 6S. NET.
LONDON: HENRY FROWDE, Oxford University Press
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_Builder._--"When we look at the detailed photographs we realise the richness of the field which Mr Bond has traversed, and congratulate him on the choice of his subject. His method is one of singular thoroughness from the ecclesiological standpoint."
_Journal of the Architectural Association._--"As a record of the screens remaining in our churches it cannot be valued too highly. No book till now has brought such a number together, or traced their development in so full and interesting a manner.... A most delightful book."
_Builders' Journal._--"The author may be congratulated on the production of a book which, in text as well as in illustrations, is of striking and inexhaustible interest; it is the kind of book to which one returns again and again, in the assurance of renewed and increased pleasure at each reperusal."
_Tablet._--"The numerous excellent illustrations are of the greatest interest, and form a veritable surprise as to the beauty and variety of the treatment which our forefathers lavished upon the rood screen."
_British Weekly._--"The book abounds with admirable illustrations of these beautiful works of art, so perfect even in the minute details that any one interested in the art of woodcarving could reproduce the designs with ease from the excellent photographs which occur on almost every page. There is also a series of 'measured drawings' of great beauty and interest."
_New York Nation._--"It is not easy to praise too highly the simple and effective presentation of the subject and the interest of the book to all persons who care for ecclesiology or for decorative art."
_Bibliophile._--"This excellent book is a sign of the times; of the reawakened interest in the beautiful and historic.... A model of scholarly compression. Of the finely produced illustrations it is difficult to speak in too high terms of praise."
_Daily Graphic._--"Mr Bond has produced a work on our ecclesiastical screens and galleries which, like his larger work on the 'Gothic Architecture of England,' is in the first degree masterly. His knowledge of his subject, exact and comprehensive, is compressed into a minimum amount of space, and illustrated by a series of photographs and measured drawings which render the work of permanent value."
_Bulletin Monumental._--"Après avoir analysé, aussi exactement que possible, l'intéressant étude de M. Bond, nous devons le féliciter de nous avoir donné ce complément si utile à son grand ouvrage."
* * * * *
BY THE SAME AUTHOR
FONTS & FONT COVERS
A HANDSOME VOLUME CONTAINING 364 PAGES, WITH 426 ILLUSTRATIONS REPRODUCED FROM PHOTOGRAPHS AND MEASURED DRAWINGS. OCTAVO, STRONGLY BOUND IN CLOTH. PRICE 12S. NET.
LONDON: HENRY FROWDE, Oxford University Press
SOME PRESS NOTICES
_Guardian._--"Mr Bond is so well known by his monumental work on 'Gothic Architecture in England,' and by his beautiful book on 'Screens and Galleries,' that his name alone is a sufficient guarantee for this new volume on 'Fonts and Font Covers,' the most complete and thorough that has yet appeared."
_Church Times._--"The finest collection of illustrations of fonts and font covers yet attempted.... A real delight to the ecclesiologist."
_Commonwealth._--"A sumptuous monograph on a very interesting subject; complete and thorough."
_Church Quarterly Review._--"It is most delightful, not only to indulge in a serious perusal of this volume, but to turn over its pages again and again, always sure to find within half a minute some beautiful illustration or some illuminating remark."
_Irish Builder._--"This book on 'Fonts and Font Covers' is a most valuable contribution to mediæval study, put together in masterly fashion, with deep knowledge and love of the subject."
_Westminster Gazette._--"Every one interested in church architecture and sculpture will feel almost as much surprise as delight in Mr Bond's attractive volume on 'Fonts and Font Covers.' The wealth of illustrations and variety of interest are truly astonishing."
_Journal of the Society of Architects._--"The book is a monument of painstaking labour and monumental research; its classification is most admirable. The whole subject is treated in a masterly way with perfect sequence and a thorough appreciation of the many sources of development; the illustrations, too, are thoroughly representative. To many the book will come as a revelation. We all recognise that the fonts are essential, and in many cases beautiful and interesting features in our ancient churches, but few can have anticipated the extraordinary wealth of detail which they exhibit when the photographs of all the best of them are collected together in a single volume."
_Outlook._--"Mr Francis Bond's book carefully included in one's luggage enables one, with no specialist's knowledge postulated, to pursue to a most profitable end one of the most interesting, almost, we could say, romantic, branches of ecclesiastical architecture.... This book, owing to its scholarship and thoroughness in letterpress and illustrations, will doubtless be classic; in all its methods it strikes us as admirable. The bibliography and the indexes are beyond praise."
* * * * *
BY THE SAME AUTHOR
VISITORS' GUIDE TO WESTMINSTER ABBEY
93 PAGES OF TEXT, ABRIDGED FROM THE EIGHTEENTH AND NINETEENTH CHAPTERS OF THE AUTHOR'S LARGER WORK ON "WESTMINSTER ABBEY," CONSISTING CHIEFLY OF DESCRIPTION OF THE TOMBS, MONUMENTS, AND CLOISTERS, WITH 15 PLANS AND DRAWINGS AND 32 PHOTOGRAPHIC ILLUSTRATIONS. PRICE 1S. NET.
LONDON: HENRY FROWDE, Oxford University Press
SOME PRESS NOTICES
_Guardian._--"There is probably no better brief handbook. Mr Bond's qualifications for the task are beyond question. By the use of varied type, ingenious arrangement, and excellent tone-blocks and plans, the book attains a high standard of lucidity as well as of accuracy."
_Building News._--"This little work is characterised by its terseness, directness, and practical treatment. A carefully compiled and scholarly guide-book."
_Architect._--"This book will excellently and admirably fulfil its purpose.... A splendid itinerary, in which almost every inch of the way is made to speak of its historical connections."
_Birmingham Daily Post._--"Concise, informative, reliable, and admirably illustrated."
_Western Morning News._--"By his key plan and very clear directions as to where to find the numerous side chapels, historic monuments, and other objects of interest, Mr Bond makes it possible for a visitor to find his way round the building at his leisure. It refreshes one's knowledge of English history, and is supplemented by thirty-two excellent plates, which by themselves are worth the shilling charged for it."
_Scotsman._--"A more complete and dependable guide to the National Pantheon could not be desired."
_Architectural Review._--"This is an excellent little text-book. Mr Bond is to be congratulated in having introduced into it an interesting element of history. The notes in small print should make the visit to the Abbey both more profitable and more interesting. The key plan and the numerous small plans are extremely clear and easily read. The information given is concise and to the point, and a word of special praise must be given to the plates at the end; the subjects of these are well chosen and are illustrated by very good photographs."
_Antiquary._--"This little book, strongly bound in linen boards, gives concisely and clearly all the information the ordinary visitor is likely to require. Cheap, well arranged, well printed, abundantly illustrated and well indexed, this handy book, which is light and 'pocketable,' is the best possible companion for which a visitor to our noble Abbey can wish; it is an ideal guide."
* * * * *
BY THE SAME AUTHOR
WESTMINSTER ABBEY
A HANDSOME VOLUME, CONTAINING 348 PAGES, WITH 270 PHOTOGRAPHS, PLANS, SECTIONS, SKETCHES, AND MEASURED DRAWINGS. OCTAVO, STRONGLY BOUND IN CLOTH. PRICE 10S. NET.
LONDON: HENRY FROWDE, Oxford University Press
SOME PRESS NOTICES
_Oxford Magazine._--"All who love the Abbey will be grateful for the skill and affection bestowed on this admirable work."
_Birmingham Post._--"With the history of the Abbey the author interweaves the life of the Benedictines, peopling the building with its occupants in the centuries when England was a Catholic country, and does it with such skill than one can almost imagine oneself at the services."
_Englishman._--"The writer handles his subject with consummate skill, and his reward will lie in the unmeasured praise of his many readers."
_Guardian._--"A book which brings fresh enthusiasm, and will impart a new impetus to the study of the Abbey and its history."
_Scotsman._--"At once instructive and delightful, it more than justifies its existence by its historical and architectural learning."
_Liverpool Daily Courier._--"We found the earlier parts of the book most fascinating, and have read them over and over again."
_Architectural Association Journal._--"Bright and interesting; evincing the author's invariable enthusiasm and characteristic industry."
_Western Morning News._--"To say that the book is interesting is to say little; it is a monument of patient and loving industry and extreme thoroughness, an inexhaustible mine of delight to the reader, general or technical."
_Outlook._--"The author discusses the architecture with a minuteness that might terrify the inexpert if it were not for the sustained ease and interest of his style; great is the fascination of the expert hand when its touch is light."
_Saturday Review._--"Mr Bond leaves us more than ever proud of what is left to us of the stately Benedictine house of God, which is to the entire English-speaking world a common bond and home."
_Antiquary._--"It has a wealth of capital illustrations, is preceded by a bibliography, and is supplied with good indexes to both illustrations and text."
_Journal des Savants._--"Certains clichés, comme ceux des voûtes, des tombeaux et de quelques détails de sculpture sont de véritables tours de force. Le choix des illustrations est très heureux, comme d'ailleurs dans les autres ouvrages de M. Bond."
* * * * *
BY THE SAME AUTHOR
WOOD CARVINGS IN ENGLISH CHURCHES
I. MISERICORDS
A HANDSOME VOLUME, CONTAINING 257 PAGES, WITH 241 ILLUSTRATIONS. OCTAVO, STRONGLY BOUND IN CLOTH. PRICE 7S. 6D. NET.
LONDON: HENRY FROWDE, Oxford University Press
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_Morning Post._--"The subject is one of the first importance to mediæval popular history, and we welcome this very admirable and thorough monograph with special gratitude."
_Athenæum._--"Mr Bond has put his rare industry in all that pertains to ecclesiology to excellent service in his latest book on Misericords."
_Antiquary._--"An authoritative and, at the same time, delightful and instructive volume. Really the first attempt to deal comprehensively with the great variety of carvings on misericords."
_New York Herald._--"One of the quaintest, most fascinating, and at the same time most learned volumes that a reader would happen upon in a lifetime."
_Church Times._--"An indispensable guide to the subject. The illustrations are worthy of all praise."
_Architectural Association Journal._--"The blocks, taken from photographs, are of an excellence really amazing, when the difficulties such subjects present to the camera are considered. A most delightful book."
_Yorkshire Post._--"Another of the valuable series of monographs on Church Art in England, and the most entertaining of all."
_Architects' and Builders' Journal._--"An exceedingly interesting volume both in illustrations and subject-matter, and full of curious information."
_Glasgow Herald._--"Mr Bond's scholarly and most interesting book brings us very near to popular life in the Middle Ages."
_Liverpool Courier._--"Another of the admirably written and illustrated art handbooks for which the author is famous."
_Birmingham Post._--"This well illustrated volume is not only a valuable technical monograph, but also an important contribution to the history of social life and thought in the Middle Ages. Mr Bond's treatment of the subject is exceptionally charming and successful. The general excellence of the book is great."
_Outlook._--"Many there must be to whom Mr Bond's new book will be welcome. Into all the details of this varied and most puzzling subject he goes with thoroughness and a pleasant humour. The bibliography and indexes, as usual in Mr Bond's work, are admirable."
* * * * *
Notes
[1] Harry Sirr in _Art Journal_, 1883, 329.
[2] Wickenden, _Archæological Journal_, 1881, pp. 43-61.
[3] Canon Church in _Archæologia_, lv. 326.
[4] _Dictionnaire raisonné_, viii. 464.
[5] C. R. Peers in _Victoria County History of Northants_, ii. 445.
[6] Illustrated in the writer's _Screens and Galleries_, 2.
[7] Faber's _Poems_, pp. 227-229.
[8] See the writer's _Westminster Abbey_, 48.
[9] For plans of St Gall, Kirkstall, Westminster, Canterbury, Exeter, York, see the writer's _Gothic Architecture in England_.
[10] For an account of the working of the system of Secular Canons in the English cathedrals see Canon Church's paper in _Archæologia_, lv.; Professor Freeman's _Cathedral Church of Wells_; Mr A. F. Leach on _Beverley Minster_ in vols. 98 and 100 of the Surtees Society, and on _Southwell Minster_ in the 1891 volume of the Camden Society; and Rev. J. T. Fowler, D.C.L., on _Ripon Minster_ in vols. 64, 74, 78, 81 of the Surtees Society.
[11] See Mr A. F. Leach's _Memorials of Beverley Minster_, Surtees Society, vols. 98 and 108.
[12] Views of galleried choirs may be seen in Britton's _Cathedral Antiquities_; Norwich, ii. 13, Oxford, ii. 10.
[13] Illustrated in Maeterlinck, _La genre satirique dans la sculpture flamande et wallonne_, page 12.
[14] See Viollet-le-Duc's _Dictionnaire_, viii. 464.
[15] See C. R. B. King in _Index_ to _Spring Gardens Sketch Book_, ii. 46, and Plate XLVI.
[16] Hope's _Rochester Cathedral_, pp. 110, 111.
[17] It is illustrated in Professor Lethaby's _Westminster Abbey_, p. 23, from Sandford's _Coronation of James II._, and is reproduced above.
[18] Illustrated in _Gothic Architecture in England_, 481.
[19] See _John O'Gaunt's Sketch Book_, vol. i.
[20] Here, as always, one has to recognise the technical and artistic excellence of Mr Crossley's photography; he has even reproduced the cobwebs.
[21] They are ascribed to the fourteenth century by Mr Octavius Morgan in _Monuments of Abergavenny Church_.
[22] My attention was directed to these arms by Mr W. H. St John Hope.
[23] Jones and Freeman's _St David's_, pp. 87 and 91.
[24] Illustrated in Dart's _Canterbury Cathedral_, 145 and 160.
[25] E. Mansel Sympson's _Lincoln_, 277.
[26] Illustrated in the writer's _Gothic Architecture in England_, p. 269.
[27] A photograph of the north range of the Chester stalls forms the frontispiece of the writer's _Misericords_.
[28] Mr C. H. Purday.
[29] Illustrated in Murray's _Welsh Cathedrals_, page 267.
[30] Illustrated in the writer's _Fonts and Font Covers_, 296.
[31] _Ecclesiastical Architecture of Scotland_, ii. 105. Drawings by Mr J. B. Fulton appeared in the _Builder_, 1st Oct. 1898 and 2nd Dec. 1893; and by Mr A. S. Robertson in the _Builders' Journal_, 14th Jan. 1903.
[32] Macgibbon and Ross. _Castellated and Domestic Architecture of Scotland_, v. 543; and _Builder_, lxxv. 293, in which are measured drawings by Mr J. B. Fulton.
[33] _Proceedings of the Society of Antiquaries_, i. 112.
[34] For information relating to the Windsor stalls I am indebted to Mr W. H. St John Hope: see his paper "On a remarkable series of Wooden Busts surmounting the stall-canopies in St George's chapel, Windsor," in _Archæologia_, liv. 115, and the building accounts to be published in his forthcoming work on _Windsor Castle_.
[35] See the writer's _Westminster Abbey_, 146.
[36] _Sacristy_, i. 266.
[37] The Hampton Court busts are by Giovanni de Majano, who in 1521 demanded payment for ten "medallions of terra cotta." They cost £2. 6s. 8d. each. R. Blomfield's _History of Renaissance Architecture in England_, 3.
[38] Illustrated in the writer's _Westminster Abbey_, 197.
[39] See also the illustration of the chair made _c._ 1545 for Dorothy Mainwaring, page 123.
[40] See Willis and Clark, i. 516-522.
[41] Gotch's _Early English Renaissance_, 29, 254.
[42] _Annales Caermoclenses_, by James Stockdale; Ulverston, 1872, p. 76.
[43] _Early Renaissance Architecture in England_, 38.
[44] _Annals of St Paul's_, 447.
[45] Measured drawings of the stalls of St Paul's by Mr C. W. Baker appeared in the _Building News_, 1891, pages 108 and 358.
[46] The Renaissance woodwork ousted from Worcester cathedral by Sir Gilbert Scott found a resting-place in the church of Sutton Coldfield (R. A. D.).
[47] Willis' _Canterbury Cathedral_, 107.
[48] These are illustrated in _Archæologia Cantiana_, vol. xiii.
[49] _York Fabric Rolls_, 35, 248.
[50] Canon Savage's pamphlet, 369.
[51] Cutts' _Parish Priests_, 466.
[52] Gasquet's _Parish Life in Mediæval England_, 96.
[53] Gasquet, _Parish Life in Mediæval England_, 45.
[54] It is of course possible that both Alan de Alnewyk and Robert Constable sat in the chancel in surplice either as a member of a gild or of the choir.
[55] This, however, may have been for one of the choirmen or choristers.
[56] Reproduced in Gasquet, _ibid._, 47, from Didron.
[57] Wordsworth's _Salisbury Ceremonies and Processions_, 20.
[58] Inhibitions of Archbishop William of York in 1308 and 1312 in Rev. Dr Fowler's _Memorials of Ripon Minster_, Surtees Society, vol. 78.
[59] "South chancel" may mean "the chapel south of the chancel."
[60] Admirably edited by Mr Littlehales for the Early English Text Society; vols. 20 and 24.
[61] At Hambleton (98) the chancel was remodelled, and the simple desks with linen pattern may be of that date. But the seats behind were never more than rough movable benches.--G. H. P.
[62] R. H. Murray on _Ancient Church Fittings_, 12.
[63] Mr T. Graham Jackson's _Dalmatia_: iii. 319, 427, 105: i. 272 and ii. 123.
[64] Stewart in _Archæological Journal_, xxxii. 18.
[65] Jones and Freeman's _St David's_, 90-93.
[66] Padre Garrucci in _Proceedings of Society of Antiquaries_, iv. 40, and illustrations in _Vetusta Monumenta_, vol. vi. The perspective sketch is by Carlo Fontana and is in the Royal Library at Windsor; the measured drawing is by Signor S. A. Scardonelli, and was made in 1784.
[67] Measured drawings of the Hereford chair by Mr W. H. Brierley appeared in the _British Architect_, xxiii. 114.
[68] Described by Dr Cox in _English Church Furniture_, p. 250.
[69] Shaw's _Ancient Furniture_, 31.
[70] _Wiltshire Archæological Society's Magazine_, vi. 147-149, quoted in _English Church Furniture_, 253.
[71] _Archæologia Æliana_, xvii. 47, and _Proceedings of the Society of Antiquaries_, xvii. 238. There are four similar chairs at Kilpeck.
[72] For descriptions and illustrations see Mr J. Hunter's "Edward the First's Spoliations in Scotland, A.D. 1296" in _Arch. Journal_, vol. xiii.; Mr W. Burges' paper in "Gleanings from Westminster Abbey," p. 121; and Mr Lethaby's _Westminster_, pp. 18, 265, 297.
[73] Henry Shaw's _Ancient Furniture_, Plate VI.
[74] Illustrated in Hone's _Year Book_, 143.
[75] Rev. Arthur Helps from _Country Life_, 12th March 1910.
[76] Communicated by Rev. R. M. Serjeantson