"We must next come to the monumental brasses of knights and warriors; and that curious brass to Sir Peter Legh, which is taken from Winwick Church, will do well for a connecting link between the clergy and the warriors. He is, you see, in armour, but over the upper part of it is a chasuble, on the front of which is his shield of arms. And this tells his history. He was formerly a soldier, but at the decease of his wife he relinquished his former occupation, and became a priest of the Church. You see before you soldiers in all kinds of armour, and you can easily trace the gradual change from the chain mail to the plated armour, till you find the former almost entirely abandoned, and the latter adopted, in the early part of the fifteenth century. Now I should soon tire you if I were to describe all the curious sorts of armour these soldiers wear, so I must just take one of them, and that will go far to wards explaining others. There hangs Sir Roger de Trumpington47, of Trumpington, Cambridgeshire; his date is 1289. You see he is cross-legged, and so you would put him down for a Knight Templar, and a warrior in the Holy Land. And so he was; but nevertheless you must remember all cross-legged figures are not necessarily Knights Templar. He rests his head upon a bascinet (A), or helmet. His head and neck are protected by chain mail (B), to which is attached his hauberk (D), or shirt of mail. On his shoulders are placed ailettes (C), or little wings, and these are ornamented with the same arms as those borne on his shield. They were worn both for defence and ornament, as soldiers' epaulettes are now. The defence for the knees (G) was made of leather, and sometimes much ornamented. At a later time it was made of plated metal. The legs and feet are covered with chain mail, called the chausse (F), and he wears goads, or 'pryck spurs,' on his heels (H). Over the hauberk he has a surcoat (E) probably of wool or linen. Here you see it is quite plain; but it is frequently decorated with heraldic devices; and such devices on the surcoat or armour are often the only clue left to the name and history of the wearer.

"On the brasses of civilians we find nothing like the present ungraceful and unsightly mode of dress; indeed we can scarcely imagine any thing more ridiculous than the representation of the modern fashionable dress on a monumental brass. But on these memorials, you see, the robes are, with rare exceptions, flowing and graceful. In the sixteenth century there was but slight difference between the male and female attire of persons in private life. Of course the dresses of professional men have always been characteristic. Civilians were, with hardly an exception, always represented on brasses bare-headed. Happily for the good people in those times they did not know the hideous and inconvenient hat which continues to torture those who live in towns, but from which we in the country have presumed to free ourselves.

"The dresses actually worn by the deceased are probably sometimes represented on the brasses of ladies. You have before you every variety of costume, from the simple robe of the time of Edward II. and III., down to the extravagant dresses of Elizabeth's reign. On the early brasses the wimple under the chin marked the rank of the wearer. Till about the year 1550 ladies are not infrequently represented with heraldic devices covering their kirtles and mantles; but I should think such ornamentation was never really worn by them. The different fashions of wearing the hair here represented are most fantastic. St. Paul tells us that 'if a woman have long hair, it is a glory to her;' but these English matrons too often forgot that simplicity which gives to this beauty of nature its chief charm. See, here is the butterfly head-dress, of the fifteenth century, extending two feet at the back of the head; and there is the horn head-dress, spreading a foot on either side of the head. The fashions among women then appear to have been as grotesque as they have been in our own day.

"Children on these tombs are represented either behind or beneath their parents; sometimes they wear the tabard, a short coat, with heraldic figures upon it – as on this brass to John Ansty; you see there are twelve sons below the father, and four daughters below the mother – sometimes they wear a dress which marks their occupation; and in a few instances the name of each child is placed below it. Skeletons and emaciated figures, sometimes in shrouds, were represented on brasses after the fifteenth century. Crosses, with or without figures of the deceased, are very frequently to be met with, and their form is often exceedingly elegant48. You will not fail to notice the canopies of many of these brasses; the beauty of some of these designs it would be impossible to surpass. But I fear you must be tired of my long lecture, so I must hasten to bring it to a close. These memorials I like better than any others for churches; for, first, they are by far the most durable of all; then they are the most convenient, for they take up little space, and are a great ornament to the pavement of the church; moreover they teach their own moral, they occupy a lowly place in God's House, and are all on one common level. I am, therefore, very glad to see them introduced again into many of our cathedrals and parish churches. And, my dear Constance, I must end with a word to you. I fancy by this time you have learnt that monumental brasses are not dull and stupid. To the student of antiquity, history, genealogy, heraldry, and architecture, these pavement monuments are, I assure you, of the greatest interest and value. They help to fix dates to ancient documents, to illustrate various periods of ecclesiastical architecture, and throw much light on the manners and customs of other times. They are, too, a constant protest against that excess in 'wearing of gold and putting on of apparel,' against which St. Paul wrote, and which is one of the great sins of our day; for though we find elaborate and costly robes represented on the brasses of the great and the wealthy, you always see the figures of the humbler classes clothed in neat and simple attire. If people would only follow the good advice of old Polonius to his son,

'Costly thy habit as thy purse can buy,But not express'd in fancy49,'

there would be less sin, and less want, and less misery in the world."

CHAPTER X

THE PAVEMENT

"Behold, I will lay thy stones with fair colours."Isa. liv. 11"How all things glow with life and thought,Where'er our faithful fathers trod!The very ground with speech is fraught,The air is eloquent of God.In vain would doubt or mockery hideThe buried echoes of the past;A voice of strength – a voice of pride —Here dwells amid the stones and blast!"Still points the tower, and pleads the bell,The solemn arches breathe in stone,Window and wall have lips to tellThe mighty faith of days unknown; —Yea! flood, and breeze, and battle shockShall beat upon this Church in vain,She stands a daughter of the rock —The changeless God's eternal fane!"R. S. Hawker.

Mr. Acres and his family attended Morning Prayer at St. Catherine's the day following the Vicar's lecture; and after service they examined with greater interest than ever they had done before the floor of the church – indeed Mr. Acres confessed that till that morning he had never had the curiosity to walk up either of the aisles of the church with the view of finding any object of interest on the pavement. In the course of their search they now discovered a large flat stone, hitherto unknown even to the Vicar; the stone, when cleansed from the dust which had accumulated upon it (for it was placed in a remote corner of the church), was very white; it was engraved with the figure of a priest, and the incised lines were filled with a black resinous substance, so that it almost looked like a large engraving on paper, or still more like one of the copies of brasses which Ernest had exhibited the night before50

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In some parts of Devonshire and Cornwall, Lich-Gates are called "Trim-Trams." The origin of this word is not easy to determine; it is probably only a nickname.

Anglo-Saxon, lic, – a dead body. In Germany the word leiche has doubtless the same original; it is still used to signify a corpse or funeral. The German leichengang has precisely the same meaning as our Lich-Gate.

It is stated in Britton's Antiquities that there was formerly a Lych-Gate in a lane called Lych-lane in Gloucester, where the body of Edward II. rested on its way to burial in the Cathedral.

A Lyke-wake dirge: —

"This ae nighte, this ae nighte,Every nighte and alle;Fire and sleete, and candle lighte,And Christe receive theye saule."(Scott's "Minstrelsy of the Scottish Border.")

On the Lich-Gate at Bray, Berks, is the date 1448; but there are very few examples so early.

The following are among the most interesting of the ancient Lich-Gates still remaining: – Beckenham, Lincolnshire; Berry-Harbor, Devonshire; Birstal, York; Bromsgrove, Worcestershire; Burnside, Westmoreland; Compton, Berkshire; Garsington, Oxon; Tawstock, Devonshire; West Wickham, Kent; and Worth, Sussex. The construction of the gate at Burnside is very curious, and Tawstock Lich-Gate possesses peculiar features of interest, which are noticed in the next Chapter. One of the finest Lich-Gates was at Arundel, in Surrey, but it has been removed, and is now the Church Porch.

St. John xi. 25. The first words of the Burial Office, said by the Priest at the entrance to the Churchyard.

A very interesting paper on Lich-Gates, in the "Clerical Journal," affords much information on this subject. Over the gate at Bray are "two chambers, connected with an ancient charitable bequest."

This chamber was formerly called the Chapel of the Holy Rood.

The custom of distributing "cakes and ale" at the churchyard on the occasion of funerals in Scotland, has been but very recently given up. Dean Ramsey, in his interesting "anecdotes," has informed us that at the burial of the Chief of a clan, many thousands would sometimes assemble, and not unfrequently the funeral would end in a disgraceful riot.

In Cornwall the now common practice of placing a wreath of white flowers on the coffin is a very ancient and still prevailing usage.

Consecrated Bishop of Exeter A.D. 1598.

These crosses were erected at the following places: – Lincoln, Northampton, Dunstable, St. Alban's, Waltham, Stratford, Cheapside, Blackfriars, and Charing; those at Waltham and Northampton alone remain. The statue of King Charles now stands where the Charing ("Chère Reine") Cross formerly stood.

In a churchyard in Oxfordshire, a large altar-tomb, surrounded by iron railings, occupying a space of ground in which at least thirty persons might be buried, covers the grave of an infant of three months.

The erection of these masses of stone without restraint would make our churchyards only the burial-places of the rich, and would soon entirely exclude the poor from a place in them; whereas the poor have an equal claim with the rich to be buried there, and when buried, the same title to respect and protection.

The urns which are placed upon so many tombs in our cemeteries and churchyards, unless they have reference to the heathen custom of burning the dead, and placing the ashes in funeral urns, can have no meaning at all. We moreover not unfrequently see a gilded flame issuing from these urns, and here of course the reference is most clearly marked. The Christian custom of burying the dead, which we practise in imitation of the entombment of Christ, dates from the earliest history of man; and as well from the Old as the New Testament we learn that it has ever been followed by those who professed to obey the Divine will. The first grave of which we have any account was the grave of Sarah, Abraham's wife (Gen. xxiii. 19), and the first grave-stone was that over the burial-place of Rachel, Jacob's wife (Gen. xlix. 31).

There are comparatively but few churchyard grave-stones more than 250 years old, and probably there are very few of an earlier date but have engraved upon them the sign of the Cross. There are two very ancient grave-stones of this character, having also heads carved upon them, in the churchyard of Silchester. It is likely that the old churchyard crosses were often mortuary memorials. Probably there is hardly an old churchyard but has, at some time, been adorned with its churchyard cross; in most cases, some remains of this most appropriate and beautiful ornament still exist, and doubtless is often older than the churchyard as a place of Christian burial. In many places this cross has been lately restored to its proper place, near to the Lich-Gate. "Let a handsome churchyard cross be erected in every churchyard." – Institutions of the Bishop of Winchester, A.D. 1229.

The interesting custom of placing natural flowers and wreaths upon graves, is in every respect preferable to that which we see practised in Continental burial-grounds, where the graves are often covered with immortelles, vases of gaudy artificial flowers, images, &c. We have seen as many as fifty wreaths of artificial flowers and tinselled paper, in every stage of decomposition, over one grave in the cemetery of Père la Chaise, in Paris. In Wales it is a more general practice than in England, to adorn the graves with fresh flowers on Easter Day.

This story is true of a parish in Monmouthshire.

It is comparatively seldom that any other than the funerals of the poor take place on Sunday, and the reason commonly assigned is – that it is the only day on which their friends can attend. In one, at least, of the large metropolitan cemeteries, exclusively used as a burial-place for the rich, no funerals ever take place on a Sunday.

Let us hope that the time is near when this objectionable and unsightly appendage will be banished from our funeral processions. The late Mr. Charles Dickens, in his will, forbad the wearing of hat-bands at his funeral.

"In several parts of the north of England, when a funeral takes place, a basin full of sprigs of boxwood is placed at the door of the house from which the coffin is taken up, and each person who attends the funeral ordinarily takes a sprig of the boxwood and throws it into the grave of the deceased." —Wordsworth (Notes, Excursion, p. 87).

Great care was taken by the medieval architects to make the porches of their churches as beautiful as possible. During some periods, especially the Norman, they seem to have bestowed more labour upon them than upon any other portion of the building. Both externally and internally they were richly decorated, and often abounded in emblematic tracery.

"The custom formerly was for the couple, who were to enter upon this holy state, to be placed at the church door, where the priest was used to join their hands, and perform the greater part of the matrimonial office. It was here the husband endowed his wife with the dowry before contracted for." —Wheatley. In a few church porches there are, or have been, galleries, which seem to have been intended to accommodate a choir for these and other festive occasions.

"The porch of the church was anciently used for the performance of several religious ceremonies appertaining to Baptism, Matrimony, and the solemn commemoration of Christ's Passion in Holy Week," &c. —Brandon's Gothic Architecture. The Office for the Churching of Women also used to be said at the church porch.

As our Commination Service declares, persons who stood convicted of notorious sins were formerly put to open penance. The punishment frequently inflicted was – that they should stand at the church door, clothed in a white sheet, and holding a candle in each hand, during the assembling and departure of the congregation on a Sunday morning. The old parish clerk of Walton-on-Thames, Surrey, remembers, when a boy, seeing a Jew perform this penance in Walton church.

"Formerly persons used to assemble in the church porch for civil purposes." —Brandon.

"At a very early period, persons of rank or of eminent piety were allowed to be buried in the porch. Subsequently, interments were permitted within the church, but by the Canons of King Edgar it was ordered that this privilege should be granted to none but good and religious men." —Parker's Glossary.

The parvise is to be found over church porches in all parts of England. It is more common in early English than in Norman architecture, and very frequently to be found in churches of the Decorated and Perpendicular periods. Probably the largest parvise in England is at Bishop's-Cleeve, near Cheltenham. There are interesting specimens at Bridport, Bishop's Auckland, Ampthill, Finedon, Cirencester, Grantham, Martley, Fotheringay, Sherborne, St. Mary Redcliffe, Bristol, Stanwick, Outwell, and St. Peter's-in-the-East, Oxford. In a few instances there are two parvises, one over the north and one over the south porch, as at Wellingborough. In some cases, as at Martley, Worcestershire, the upper moulding of the original Norman doorway has been concealed by the parvise of later architecture.

"The name was formerly given to a favourite apartment, as at Leckingfield, Yorkshire. 'A little studying chamber, caullid paradise.' (Leland's Itinerary.)" —Glossary of Architecture.

The room may have been the residence of one or more of the ordinary priests of the church, or perhaps only a study for them (see previous note), or it may have been occupied by an anchorite or hermit, or by a chantry priest. Rooms for these several purposes are also not unfrequently to be found over the vestry, as at Cropredy, near Banbury, and at Staindrop, Durham.

Fire-places are of frequent occurrence in these chambers; many of them are coeval with the porch, but others appear to have been erected at a later date.

At Hawkhurst, Kent, the porch-chamber is called the treasury. At St. Mary Redcliffe, Bristol, the room over the grand north porch, in which are the remains of the chests in which Chatterton professed to find the manuscripts attributed to Rowley, was at one time known as the treasury house.

"The chamber over the porch was generally used for the keeping of books and records belonging to the church. Such an appendage was added to many churches in the fourteenth and fifteenth centuries; and some of these old libraries still remain with their books fastened to shelves or desks by small chains." —Brandon's Gothic Architecture.

Over the porch at Finedon (of which we give an engraving) is a parvise in which is contained a valuable library of about 1000 volumes, placed there by Sir John English Dolben, Bart., A.D. 1788. At St. Peter's-in-the-East, Oxford, and many other places, are similar libraries.

These were probably small chantries. It is comparatively seldom that any vestige of the altar remains; but the credence and piscina – certain proofs of the previous existence of the altar – are very commonly found.

"The custom of teaching children in the porch is of very early origin; it is distinctly mentioned by Matthew Paris in the time of Henry III." —Glossary of Architecture.

After the reigns of Henry VIII. and Edward VI., in which reigns all chantries were suppressed, the children were promoted from the porch to the parvise.

"Above the groining of the porch is a parvise, accessible by a turret-stair, having two Norman window-openings, unglazed, and a straight-gabled niche between them on the outside. In former days this chamber was constantly inhabited by one of the sextons, who acted as a watchman, but since the restoration of the church it has been disused." —Harston's Handbook of Sherborne Abbey.

In the church accounts of St. Peter's-in-the-East, Oxford, A.D. 1488, there is a charge for a "key to clerk's chamber." This no doubt referred to the parvise.

As, a few years ago, at Headcorn in Kent.

There was frequently, but not always, a window or opening from the room into the church; and it would seem that it was so placed to enable the occupant of the room to keep a watchful eye over the interior of the church, and not for any devotional exercise connected with the altar, as we never find this window directed obliquely to wards the altar, as is commonly the case with windows opening from the vestry, or chamber above the vestry, into the church.

Many porches seem originally not to have had doors, but marks exist which indicate that barriers to keep out cattle were used.

It is composed of lamp-black, bees'-wax, and tallow, and is commonly used by shoemakers to give a black polish to the heels of boots.

These superstitions existed a few years since in connexion with an old incised slab in the chancel of Christ Church, Caerleon.

"In the year 1657, the adherents of a Preacher of the name of Cam obtained the grant of the chancel of the Holy Trinity Church, Hull, from the council of state under the Protectorate, and whilst the mob without were burning the surplice and the Prayer Book, those within were tearing the brasses from the grave-stones." —History of Kingston-upon-Hull.

s. d.

"1644, April 8th, paid to Master Dowson, that came with the troopers to our church, about the taking down of images and brasses off stones

"1644, paid, that day, to others, for taking up the brasses of grave-stones before the Officer Dowson came

– Churchwarden's accounts; Walberswich, Suffolk.

"This William Dowing (Dowson), it appears, kept a journal of his ecclesiastical exploits. With reference to the Church of St. Edward's, Cambridge, he says, —

"'1643, Jan. 1, Edward's Parish, we digged up the steps, and broke down 40 pictures, and took off ten superstitious inscriptions.'

"Mr. Cole, in his MSS., observes, —

"'From this last entry we may clearly see to whom we are obliged for the dismantling of almost all the grave-stones that had brasses on them, both in town and country; a sacrilegious, sanctified rascal, that was afraid, or too proud, to call it St. Edward's Church, but not ashamed to rob the dead of their honours, and the church of its ornaments. – W. C.'" —Burn's Parish Registers.

The very interesting brasses in Chartham Church, Kent, were found a few years since as here described, by the present rector, and replaced by him on the chancel pavement.

"Manual of Monumental Brasses," vol. i. p. 34.

"If any one will lay the portrait of Lord Bristol (in Mr. Gage Rokewode's Thingoe Hundred) by the side of the sepulchral brass of the Abbess of Elstow (from whom he is collaterally descended) figured in Fisher's Bedfordshire Antiquities, he cannot but be struck by the strong likeness between the two faces. This is valuable evidence on the disputed point whether portraits were attempted in sepulchral brasses." —Notes and Queries.

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