Chapter XIV: Architectural Details

(See special articles on this subject by the author in _The Builder_, vol. CII.)

Brasses frequently contain a considerable amount of architectural detail in their composition. Sometimes they were placed on altar tombs under stone canopies, but it is of those details depicted in the brass itself that the author purposes to write.

Canopies are by far the most important group, and the magnificence of some of these can be but faintly realised from the illustrations.

The earliest follow the Decorated style which was in fashion when they were laid down.

The first type consists of slender shafts supporting a pediment, of which the upper sides are straight, forming a triangle ornamented with crockets and terminated by a bunch of foliage. The arch beneath is trefoil and the cusps are filled with leaves. This form lasted from 1300 to c. 1325, but unfortunately only one example survives--that of Joan de Cobham, Cobham, Kent, 1320 (cf. p. 7). The side shafts were missing, but have, we believe, been restored. This is the second lady to be depicted on a brass, and she leads the fine series of nineteen brasses at Cobham. The slab of Margarete de Camoys, Trotton, Sussex, c. 1310, shows the matrix of a similar canopy. The fragments of the canopy of Sir Hugh Hastings, 1347, Elsing, Norfolk, also appear to belong to this type, but with later variations. In it, as in the canopy of Lawrence de St Maur, the canopies in the shafts are straight-sided.

This low pedimental form was soon superseded by the ogee arch rising to a considerable height. This is supported by equally tall side shafts. Sometimes, in place of a bunch of foliage, figures of saints are seen on the finial, as on several examples at Cobham, Kent, notably Lady Margaret (cf. p. 13). At other times a shield with a coat-of-arms takes its place, as in the brass of Archbishop Waldeby, Westminster Abbey, 1397.

The next development was to widen the shafts, so as to form panels or niches containing canopied saints. Often these are surmounted by a super-canopy. The brass of Lawrence de St Maur, Higham Ferrers, Northants. (cf. fig. 13) shows this type. Canopies over mass priests are very rare and this is by far the finest. The details have been given before, so we will turn to another variation of this type.

Instead of canopy and super-canopy, an embattled canopy with an ogee pediment within is found. A splendid example is to a former Dean of St Asaph’s and rector of Balsham, John Blodwell, 1462 (cf. p. 37). It measures 8 ft. 9 in. × 4 ft. 1 in.

Another development was, in place of a single arch to have double or triple arches. The former type was used almost exclusively where two persons were commemorated. The latter was sometimes used over three figures, but more often over one. Thus in the brass of the Duchess of Gloucester, Westminster Abbey, 1399 (cf. p. 47), we have a truly magnificent brass. Five shields hang from the shafts (the sixth is lost) and between the finials of her triple canopy are two other finials, one of which has been lost since this rubbing was made. A tabernacle with the Holy Trinity is often placed above the ogee arch in place of the central finial, as in the brass of Sir Nicholas Hawberk, Cobham, Kent, 1407. But not only the finest of this group, but of all _English_ brasses now extant is the monument to Thomas Neolond, Cluniac Prior of Lewes, at Cowfold, Sussex, 1433 (cf. p. 45). This has a tabernacle with the Virgin and Child, and, moreover, the finials of the other two arches support St Pancras and St Thomas à Becket. Further, the central arch is also triple, and the shafts are supported by side shafts and connected by flying buttresses, as is likewise the tabernacle. The entire scheme is very graceful and recalls the lantern at Ely in its lightness. It is 10 ft. 2 in. × 4 ft. 3 in. A somewhat similar brass is that to John Sleford at Balsham, 1401.

The earlier canopies were not groined, one of the earliest exceptions being that over Lord Nicholas Burnell, Acton Burnell, Salop, 1382 (cf. p. 11). But during the fifteenth century this became more common (see the canopy of John Bloxham and John Whytton). It is an unsatisfactory feature, and characteristic of the gradual deterioration and coarsening of the engraving. This latter is also shown by the heavy finials and crockets.

In the sixteenth century, these peculiarities became more marked, though canopies still follow the traditional lines. There are two or three early Renaissance canopies, e.g. a large, triple one to Wm. Porter, S.T.P., Hereford Cathedral, 1524, and Dean Frowsetoure, in cope, Hereford Cathedral, 1529.

It is difficult to say whether the classical arches shown in a few of the later brasses can be termed canopies. An example is to be found to Wm. Dunche and wife, Little Wittenham, Berks, (double) engr., c. 1585. (See Appendix.)

_Brackets._

The idea of this group probably originated with the brackets supporting figures of saints, which were common in our churches before the Reformation. The brackets usually projected from a wall or column, and a small pillar helped to support them. Above was a canopy of carved stone or wood.

One would naturally expect that, if this idea were copied, the bracket would hold a saint and the deceased would kneel before it. There are, however, only two examples extant. The brass of John Spycer and wife, Burford, Oxon., 1437, is terribly mutilated. The canopy and Virgin and Child are lost, and only the deceased couple remain, kneeling on either side of the stem. The other example is practically complete and is to John Strete (priest in academics), Upper Hardres, Kent, 1405 (cf. p. 93). St Peter and St Paul stand on the bracket, and there is no canopy.

In all other cases the deceased persons themselves stand on the bracket. The earlier ones are much mutilated, and only one fourteenth century brass is at all perfect. It is to Sir John Foxley and two wives, Bray, Berks., 1378. The canopy is lost. The three figures are on a bracket with a short stem rising from the back of a fox, the family crest. The total length of the composition is just over 5 ft. Though the ladies are standing, the knight rests with his head on his helm and his feet on a lion.

The fifteenth century brasses are far more complete. (See Appendix.)

The Merton College brass is one of the finest. The stem rises from a tabernacle holding the Lamb with the banner.

In the sixteenth century should be noted the brasses of Sir Roger le Strange, Hunstanton, Norfolk, 1506; John Terry and wife, St John, Maddermarket, Norwich, 1524; John Marsham and wife, St John, Maddermarket, Norwich, 1525; and Robt. Rugge and wife, St John, Maddermarket, Norwich, 1558.

Sir Roger stands on a low bracket without a stem, placed _within_, not supporting, a magnificent canopy with figures of weepers in the side shafts.

The other three evidently come from a local school of engravers. Terry’s bracket resembles a tree, the branches support pedestals for himself, his wife and for his children. The whole is on a single plate. The Marsham bracket has a stem like that of a table and the top is covered with skulls and bones. In the Rugge brass there is only a corbel supporting an inscription.

So far as is known, there are no later bracket brasses.

_Crosses._

These also form a group which may conveniently be dealt with here. At one time they were very numerous, but provoked the wrath of the Reformers more than any other type of brass, hence barely thirty remain. Matrices are still numerous and many might doubtless be restored as has been successfully done at Ely.

They fall into three main divisions: (1) plain crosses, (2) crosses with some saint in the centre, (3) crosses with the deceased in the centre.

This last group may be subdivided into: (_a_) quatrefoil, (_b_) octofoil. (See Appendix.)

(1) These vary considerably in form. At Higham Ferrers, the arms terminate in the Evangelistic symbols. At Royston, a bleeding heart and the four wounds are shown. At Eversley, the whole cross is formed of interlocking bands, or links of a chain. The cross at Floore, Northants., is drawn in perspective.

(2) There are but few examples of the second type. The best is to Robt. de Paris and wife, Hildersham, Cambs., 1379, here shown. The figures kneel on either side of a cross with an octofoil head, in which is the Holy Trinity. Robt. de Paris wears a long cloak, thrown open so as to show his undergarment, which stops short above the knees. A belt holds an anlace and his legs are covered with long hose.

Another example is that of John Mulsho and wife, Newton-by-Geddington, Northants., c. 1400, commemorated by a quatrefoil cross, holding a figure of St Faith. This brass was restored by Messrs Waller, but there seems little reason to doubt that the design is correct.

The brass of Robt. de Brun (priest), Chelsfield, Kent, 1417, is a much mutilated crucifix; the figure of St John is lost, the head of the Virgin and most of the cross. On the ground are Adam’s skull, Jacob’s ladder and the jawbone of an ass. The latter refers to the scriptural legend that from it flowed a stream of water to revive Samson’s spirit (Judges xv. 19).

(3) (_a_) This division includes a small group of much interest. Some of the earliest belong to it, and many others--of the fourteenth century--have perished. They are used to commemorate priests. These are: Rich. de Hakebourne (priest), Merton College, Oxford, c. 1310; A Priest, Chinnor, Oxford, c. 1320; Nichol. de Gore (priest), Woodchurch, Kent, c. 1320; and Britell Avenel (priest), Buxted, Sussex, 1408.

The first three brasses have lost their stems. The Merton and Chinnor crosses hold a demi-figure and a head respectively. Nicholas de Gore is a small, full-length figure, and the composition is very pleasing. The Buxted cross is the only one which is nearly perfect. The priest is a demi-figure, resting on a diapered background. There is a border inscription.

(_b_) Octofoil crosses are more numerous. Those at East Wickham, 1325, and Wimbish, 1347, have already been described.

The East Wickham brass had the missing parts restored in 1887. The Taplow cross (c. 1350) rises from a dolphin, an appropriate emblem for a fishmonger.

The octofoil consists of eight ogee arches, alternately large and small, with finials of foliage.

_Other Architectural Features._

There are several brasses in which architectural features are included which do not come under these headings. Thus, Bishop Wyvil, Salisbury Cathedral, 1375, is shown as a demi-figure within a castle, with his champion at the portcullis below. This commemorates his recovery of the Castle of Sherborne for the See. There are several rabbits at the foot of the castle, and these probably commemorate his recovery of a piece of ground known as “The Warren.”

Bp. Robinson’s brass shows Carlisle Cathedral and Queen’s College, Oxford, and many sixteenth century brasses show walls, pillars, etc.

In an interesting series of three sixteenth century brasses, probably by the same hand, to Robt. Honywode, St George’s Chapel, Windsor, 1522; Robt. Sutton, St Patrick’s, Dublin, 1528; and Geoff. Fyche, St Patrick’s, Dublin, 1537; what is really a view of a side-chapel is shown.

At Windsor, beneath the Tudor arch, Honywode kneels at a _prie-dieu_ before a statue of the Virgin and Child. In the Irish examples, the resemblance to a side-chapel is still more complete. Fyche kneels at a faldstool before an altar with a picture above it of the descent from the Cross. The vaulting of part of the roof is visible, and the walls have linenfold panelling. A shield hangs from a hook at one side bearing a bush with several birds on it and the initials F. G., which evidently refer to and are probably meant as a pun on his name--Finch for Fyche.

The floor is laid with tiles and a Renaissance arch forms a kind of canopy in the foreground. Parts of rooms are often shown in sixteenth century brasses.

In a few cases, brasses were laid down to founders of churches. They usually hold a model of the church in their hands. An example exists at Cobham, to Sir John de Cobham, 1365. The building is in the decorated style, has a small spire and a large porch.