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" He that hewed timber afore out of the thicf^ trees
was known to bring it to an excellent work.
"But now they breaf^ down all the carded worJ^ thereof
with axes ana hammers" — PSALM LXXIV. 6, 7, P.B.V.
Printed in Great Britain at THE DARIEN PRESS, Edinburgh.
IN MEMORY OF
HERBERT BATSFORD
WHOSE LOYAL, GENEROUS, AND
UNFAILING FRIENDSHIP WAS THE
PRIVILEGE OF THE ILLUSTRATOR,
AND AT WHOSE SUGGESTION THIS
BOOK WAS UNDERTAKEN
First Impression, November 1917
Second Impression, September 1919
LIST OF SUBSCRIBERS
THE ROYAL LIBRARY, WINDSOR CASTLE
H.R.H. PRINCESS LOUISE, DUCHESS OF ARGYLL
THE SOCIETY OF ARCHITECTS, London,
per C. MCARTHUR BUTLER, Esq.,
Secretary.
J. R. DE M. ABBOTT, Esq., London, W.
Miss E. C. ABRAHAM, Liverpool.
I. M. AlNSCOUGH, Esq., J.P., Wigan.
Miss A. M. ALLEN, Putney Hill, S.W.
Messrs E. G. ALLEN & SON, LTD., Book-
sellers, London, W.C.
Mrs J. W. ALLEN, London, N.W.
Lieut.-Colonel OSWALD HENRY AMES,
J.P., Thornham.
Mrs E. B. AMSDEN, Ockley, Surrey.
Messrs ANDREWS & Co., Booksellers,
Durham.
Messrs ANGUS & ROBERTSON, Book-
sellers, Sydney, N.S.W.
G. L. ARCHER, Esq., Ely.
ARMY AND NAVY CO-OPERATIVE
SOCIETY, LTD., London, S.W.
The Rev. W. M. MAURICE ARNOLD,
M.A., Crowhurst Vicarage, Lingfield.
ART AND BOOK COMPANY, LTD., London,
S.W.
Mr ALBERT E. ASH, Bookseller,
Rochester.
Mr GEORGE ASH, Bookseller, Sitting-
bourne.
The Rev. G. E. ASPINALL, M.A., South-
owram, Halifax.
The Rev. WILLIAM BERNARD ATHERTON,
M.A., Coberley Rectory, Cheltenham.
NORMAN ATKINS, Esq., Licentiate,
R.I.B.A., Fareham.
The Rev. A. M. AUDEN, M.A., Church
Broughton, Derby.
The Rev. PREBENDARY THOMAS AUDEN,
M.A., F.S.A., Church Stretton, Salop.
The Right Hon. THE EARL OF BUCKING-
HAMSHIRE, D.L., J.P.
LORD HENRY CAVENDISH BENTINCK,
M.P.
The Right Hon. LORD BOSTON, M.A.,
D.L.
The Hon. MARSHALL BROOKS, M.A.,
J.P.
BELFAST PUBLIC LIBRARY, per T. B.
GOLDSBROUGH, Esq., Acting Chief
Librarian.
OSCOTT COLLEGE, Birmingham, per the
Rev. F. J. SANDY, Librarian.
BLACKBURN FREE LIBRARY, MUSEUM
AND ART GALLERY, per R. ASHTON,
Esq., Curator.
BOLTON PUBLIC LIBRARY, per ARCHI-
BALD SPARKE, Esq., F.R.S.L., Chief
Librarian.
BRIGHTON PUBLIC LIBRARY, per HENRY
D. ROBERTS, Esq., Director.
The Rev. CANON BAGGALLAY, M.A.,
Pulborough, Sussex.
Messrs BAILY & WOODS, Booksellers,
Cirencester.
GEO. W. BAIN, Esq., Sunderland.
Mr JAMES BAIN, Bookseller, London.
Messrs J. BAKER & SON, Booksellers,
Clifton, Bristol. '
KINGTON BAKER, Esq., Keston.
Mrs ALFRED BALDWIN, Wilden House.
Stourport.
W. BANCROFT, Esq., Weaverham.
CHARLES H. BARBER, Esq., Chelford,
Cheshire.
The Rev. H. BARDSLEY, M.A., Dalton-
in-Furness.
S. BARKER, Esq.
E. A. B. BARNARD, Esq., Evesham.
Messrs BARNICOTT & PEARCE, Book-
sellers, Taunton.
Mr WT. H. BARRETT, Bookseller,
Chichester.
F. A. BARSTOW, Esq., Garrow Hill, York.
The Rev. CANON BARTLEET, Gloucester.
J. M. BARWICK, Esq., Yeadon, Leeds.
CHARLES E. BATEMAN, Esq., F.R.I. B.A.,
Birmingham.
FRANCIS R. BATES, Esq., Licentiate,
R.I.B.A., Newport, Mon.
Miss BATSFORD, Finchley, N.W.
Colonel H. GARY BATTEN, J.P., Abbots
Leigh, Bristol.
The Rev. CANON BAXTER, B.A., Chester.
II
LIST OF SUBSCRIBERS
Senor M. BAYKS, Bookseller, Barcelona.
A. R. I1. AVI i v, B.A. Oxon, F.R.Hist.Soc.,
M.ilvern.
Messrs JOHN BKAI. & SON, Booksellers,
Brighton.
F. BKALK, Esq., Weston-super-Mare.
Messrs J. \V. BKAX & SON, Booksellers,
Leeds.
\V. r.KDNEY BEATTY, Esq., New York.
Messrs H. K. BEAZLEY & Co., Book-
sellers, London, S.W.
C. E. BEBBINGTON, Esq., Weaverham.
The Very Rev. H. C. BEKCHING, Dean
of Norwich.
GEORGE LORD BEEFORTH, Esq., F.S.A.,
D.L., J.P., Scarborough.
Messrs J. & H. BELL, LTD., Booksellers,
Nottingham.
ANTHONY BELT, Esq., Hastings.
Messrs BENFIELD & LOXLEY, Oxford.
CHARLES BENNETT, Esq., London, S.W.
The Rev. G. MONTAGU BENTON, M.A.,
Saffron Walden, Essex.
The Rev. RANDOLPH BERENS, M.A.,
T.C.D., London, S.W.
Mrs BERKELEY OF SPETCHLEY, Spetchley
Park, Worcester.
The Rev. EDMUND BEST-DALISON, M.A.,
Boxley, Maidstone.
A. J. BETHELL, Esq., Storrington, Sussex.
EDWARD). BETTINGTON, Esq., Hereford.
ARTHUR T. BEVAN, Esq., f.P.,Chevening,
Kent.
Messrs BICKERS & SON, LTD., Book-
sellers, London, S.W.
JOHN BILSON, Esq., F.S.A., F.R.I.B.A.,
Hull.
Mr JAMES G. BISSET, Bookseller,
Aberdeen.
Mr B. H. BLACKWELL, Bookseller,
Oxford.
The Rev. HERBERT E. D. BLAKISTON,
D.D., President of Trinity College,
Oxford, and Vice-Chancellor of the
University.
J. R. BLAMPIED, Esq., Jersey.
FRANK ED. E. BLANC, Esq., Edinburgh.
Mr E. J. BLANCHARD, Bookseller,
Barrow-in-Furness.
CHAkLKSj.BLOMFIELD,Esq.,F.R.I.B.A.
London, N.W.
GEORGE E. BLOOD, Esq., Clifton, Bristol.
JOHN BOLDERO, Esq., Mark Cross,
Sussex.
KIAVARI, BOND, Esq., M.A., London,
r). \\ .
The Rev. CANON BONNEY, D.Sc., LL.D.,
F.R.S., F.S.A., F.G.S., Cambridge.
Colonel A. C. BORTON, J.P., Yalding.
C. H. BOTHAMLEY, Esq., Weston-super-
Mare.
Messrs R. L. BOULTON & SONS,
Cheltenham.
WILLIAM BOWDEN, Esq., Grappenhall,
Cheshire.
ALFRED E. BOWEN, Esq., Pontypool.
Messrs BOWES & BOWES, Booksellers,
Cambridge.
AMBROSE P. BOYSON, Esq., Tring, Herts.
FREDERICK BRADBURY, Esq., Sheffield.
Messrs BRADS HAW, GASS, £ HOPE,
Bolton.
R. F. BRAIN, Esq., Chatham.
W. R. BRANAGAN, Esq.
R. G. BRANDT, Esq., F.S.A., London,S.W.
F. W. J. BRAY, Esq., Wells, Somerset.
JOHN C. E. BRIDGE, Esq., Aylesbury.
HARRY BRIDSON, Esq., M.A., Bolton.
Messrs BRIGHT'S STORES, LTD., Book-
sellers, Bournemouth.
CHARLES BRINDLEY, Esq., Sheffield.
F. J. BROADBENT, Esq., Mirfield, Yorks.
R. BROCKLEBANK, Esq., Tarporley,
Cheshire.
Mrs G. O. BROMS, Dormans Park, Surrey.
EDWARD BROOKE, Esq., J.P., Ufford
Park, Woodbridge.
W. A. BROOMHALL, Esq., Streatham,
S.W.
Mrs CHARLES J. BROWN, Whithorn,
Wigtownshire.
The Rev. WILLIAM BROWN, Durham.
W. TALBOT BROWN, Esq., F.R.I.B.A.,
Wellingborough.
Messrs BROWN & Co., Booksellers,
Salisbury.
Mr C. E. BRUMWELL, Bookseller,
Hereford.
Mr ALEX. BRUNTON, Bookseller, Edin-
burgh.
The Rev. FREDERICK H. BUCKHAM,
Tiptree Rectory, Essex.
G. GRANVILLE BUCKLEY, Esq., M.D.,
D.P.H., Bury, Lanes.
The Successors of SAMUEL BUCKLEY &
Co., London, W.
The Rev. HERBERT ARTHUR BULL,
M.A., J.P., Westgate-on-Sea.
Messrs J. & E. BUMPUS, LTD., Book-
sellers, London, W.
ALFRED W. N. BURDER, Esq., F.S.A.,
Bradford-on-Avon.
LIST OF SUBSCRIBERS
III
R. J. BURDON, Esq., Chichester.
Mr R. BURLINGTON, Bookseller, White-
haven.
Lieut. H. B. BuRLTON.
Miss BURROWS, S. Hilda's Hall, Oxford,
B. H. BURTON, Esq., Ipswich.
J. E. BUSH, Esq., Melksham.
F. G. BUSSELL, Esq., Blundellsands,
Liverpool.
HERBERT A. BUTLER, Esq., South
Nutfield, Surrey.
J. BUTLER, Esq., London, E.G.-
R. M. BUTLER, Esq., F.R.I.B.A., Dublin.
The Right Hon. ROSALIND, COUNTESS
OF CARLISLE.
The Right Hon. EARL CURZON OF
KEDLESTON, G.C.S.I., G.C.I. E.
His Grace the ARCHBISHOP OF CARDIFF,
O.S.B.
The Right Reverend the LORD BISHOP
OF CLIFTON.
Lady WILLIAM CECIL.
Sir ARCHIBALD CAMPBELL, Bart.
The Hon. Mrs CORFIELD.
Sir CLIFFORD). CORY, Bart., M.P., D.L.
THE FITZWILLIAM MUSEUM, Cambridge.
KING'S COLLEGE LIBRARY, Cambridge,
per S. R. BENTON, Esq., Assistant
Librarian.
ST. JOHN'S COLLEGE BOOK CLUB,
Cambridge.
ST. JOHN'S COLLEGE LIBRARY, Cam-
bridge.
CARDIFF PUBLIC LIBRARIES, per HARRY
FARR, Esq., Chief Librarian.
THE WORSHIPFUL CARPENTERS COM-
PANY, per J. HUTTON FREEMAN, Esq.,
Clerk.
CHARTERHOUSE SCHOOL LIBRARY,
Godalming, per J. L. STOKES, Esq.,
Librarian.
CHELSEA PUBLIC LIBRARIES, per J.
HENRY QUINN, Esq., Chief Librarian.
CHESTER AND NORTH WALES ARCHAEO-
LOGICAL AND HISTORIC SOCIETY.
CROYDON PUBLIC LIBRARIES.
J. T. CACKETT, Esq., F.R.I.B.A., New-
castle-on-Tyne.
The Rev. H. R. CAMPION, M.A., The
College, Ely.
W. D. CAROE, Esq., M.A., F.S.A.,
F.R.I. B.A., Westminster, S.W.
GEORGE WM. CARTER, Esq., Eccleshall
Castle, Staffordshire.
WALTER J. CARTER, Esq., Oxford.
Captain CARTON, 5th Royal Sussex
Regiment.
THOMAS CASE, Esq., President of Corpus
Christi College, Oxford.
H. C. CASLEY, Esq., Claremont, Ipswich.
ARTHUR CAY, Esq., Leigh Woods.
Messrs C. D. CAZENOVE & SON, Book-
sellers, London, W.C.
HUGH EDMUND CHAFY, Esq., F.Z.S.,
Rous Lench Court, Evesham.
Major T. ff. CHAMBERLAIN, Freshwater,
Isle of Wight.
The Rev. G. CHAMPION, Littlemore
Vicarage, Oxford.
JOHN E. CHAMPNEY, Esq., J.P., London,
S.W.
ALLAN CHANDLER, Esq., J.P.,Haslemere,
Surrey.
B. M. CHANDLER, Esq., Evesham.
GEO. V. B. CHARLTON, Esq., Thrapston.
JOHN CHURCHILL, Esq., Shortlands,
Kent.
Mr JOHN CLARK, Bookseller, London,
E.G.
Lieut. - Colonel E. KITSON CLARK,
Leeds.
Mrs STEPHENSON CLARKE, Ardingly,
Sussex.
TREVISA CLARKE, Esq.
Mrs N. G. CLAYTON, Humshaugh, North-
umberland.
Miss C LOUGH, Newnham College,
Cambridge.
Mr EDWARD CLULOW, Bookseller,
Derby.
Messrs COATES&BAIRSTOW, Booksellers,
Huddersfield.
A. F. COLLINS, Esq., Lieut. R.E., Bromley,
Kent.
Messrs COLLINS & GODFREY, Tewkes-
bury.
W. B. COLTHURST, Esq., A.R.I.B.A.,
Bridgvvater.
CHAS. HARVEY COMBE, Esq., Cobham,
Surrey.
COMBRIDGE'S LIBRARY, Hove.
E. WARNER COMLEY, Esq., Coventry.
Mr H. G. COMMIN, Bookseller, Bourne
mouth.
Mr JAMES G. COMMIN, Bookseller,
Exeter.
J. N. COMPER, Esq., West Norwood.
ARTHUR E. COOMBE, Esq., Ightham,
Kent.
The Rev. A. H. COOMBES, M.A., Hurst-
pierpoint College, Sussex.
IV
Messrs J. P. COPLAND & SON, Book-
sellers, London, E.G.
O iRBET, Esq., Boughton Mondial-
sea, Maidstone.
Messrs CORNISH BROS., LTD., Book-
sellers, Birmingham.
Messrs J. E. CORNISH, LTD., Booksellers,
Manchester.
N-ALD CORY, Esq., Duffryn, near
rdiff.
I). CORY-WRIGHT, Esq., M.A., Westcott,
Surrey.
J. A. COSSINS, Esq., Moseley, Birmingham.
\VM. G. COWIK, Esq., Barnstaple.
J. CHARLES Cox, Esq., LL.D., F.S.A.,
Sydenham, S.E.
FRANKLY* A. CRALLAN, Esq., Much
Hadham, Herts.
The Rev. D. H. S. CRANAGE, M.A.,
Litt.D., F.S.A., Cambridge.
G, A. CRAWLEY, Esq., Westminster,
s.\v.
Capt. H. J. P. CREAGH, 8th Suffolks,
Haughley, Suffolk.
ROBERT CROOME, Esq., Cromer.
Miss CROSSE, Caterham Valley, Surrey.
Miss L. M. CULLEY, Blackheath.
Mrs A. W. CUNNINGTON, London, N.
A. O. CURLE, Esq., B.A., F.S.A.Scot.,
Director, National .Museum of Anti-
quities, Edinburgh.
E. P. CURRALL. Esq., Lieut., R.N.V.R.,
Birmingham.
Messrs A. C. CURTIS, LTD., Booksellers,
Guildford.
The Hon. Mrs DAWSON.
The Rev. Canon Sir JOHN N. D ALTON,
K.C.V.O., C.M.G., Cloisters, Windsor.
DOWNSIDE ABBEY, near Bath.
The NATIONAL LIBRARY OF IRELAND,
Dublin.
The ALBERT INSTITUTE OF LITERATURE,
IKNCE AND ART, Dundee, per A. H.
MILLAR, LL.D., Chief Librarian.
DINDKE UNIVERSITY COLLEGE
LIBRARY.
Messrs DART& FRANCIS, LTD., Crediton,
Devon.
ALBERT DAVIDSON, Esq., Norton Wood-
seats, Sheffield.
Messrs DAVIES & SON, Booksellers,
Gloucester.
FRANK A. DAWSON, Esq., London, W.C.
>rs \VM. DAWSON & SONS, LTD.,
Booksellers, London, E.G.
LIST OF SUBSCRIBERS
JOHN GEORGE DEAN, Esq., Helmshore,
near Manchester.
The Rev. Prebendary DEEDES, M.A.,
Chichester.
Messrs DEIGHTON, BELL, & Co., LTD.,
Booksellers, Cambridge.
Miss H. DE LESSERT, Bedford Park, W.
C. P. L. DENNIS, Esq., Huddersfield.
Messrs A. & F. DENNY, Booksellers,
London, W.C.
WALTER DERHAM, Esq., London.
E. H. DESPREZ, Esq., Clifton.
H. NOEL DEVENISH, Esq., Salisbury.
Major CONINGSBY DISRAELI, D.L., J.P.,
Hughenden Manor, Bucks.
The Rev. R. H. DOMENICHETTI, M.A.,
Hove, Sussex.
Messrs AITKEN DOTT & SON, Book-
sellers, Edinburgh.
Messrs DOUGLAS & FOULIS, Booksellers,
Edinburgh.
Mrs EDWARD DOUTY, Clifford Manor,
near Stratford-on-Avon.
Mrs CHARLES DOWNS-BUTCHER, Gray-
stone, Whitstable.
G. C. DRUCE, Esq., F.S.A., Wimbledon,
S.W.
FRANK B. DUNKERLEY, Esq., F.R.L.B.A.,
Hale, Cheshire.
The Rev. REGINALD H. DUTHY, B.A.,
Thorpe Malsor Rectory, Kettering.
HIRAM DYSON, Esq., Salendine Nook,
Huddersfield.
EDINBURGH PUBLIC LIBRARY, per HEW
MORRISON, Esq., LL.D., Chief
Librarian.
EDINBURGH UNIVERSITY LIBRARY, per
F. C. NlCOLSON, Esq., M.A., Librarian.
EXETER PUBLIC LIBRARY, per H.
TAPLEY-SOPER, Esq., City Librarian.
TheECCLESIASTICALlNSURANCEOFFICE,
LTD., London, W.C., per ROBERT LOVE,
Esq.
JOHN EDWIN EDDISON, Esq., M.D.,
Adel, near Leeds.
Mrs EDEN, Kingston, Taunton.
F. C. EDEN, Esq., M.A., London.
The Yen. Archdeacon F. W. EDMONDES,
M.A., Nolton Court, Glamorganshire.
F. E. P. EDWARDS, Esq., A.R.I. B.A.,
Town Hall, Sheffield.
Mr FRANCIS EDWARDS, Bookseller,
London, W.
FRED E. EILOART, Esq., F.S.I., London,
W.C.
LIST OF SUBSCRIBERS
Messrs ELAND BROTHERS, Booksellers,
Exeter.
The Rev. FRANCIS J. ELD, M.A., F.S.A.,
Polstead Rectory, Colchester.
Professor H. ELLERSHAW, Durham.
Colonel W. ELLIOTT, London, S.W.
Messrs SAMUEL ELLIOTT & SONS
(Reading), LTD., per A. S. J. ELLIOTT,
Esq., Managing Director.
Mr W. C. ELLY, Bookseller, Liverpool.
The Rev. WILLIAM C. EMERIS, M.A.,
Burford Vicarage, Oxon.
F. G. EMLER, Esq., Woodford, Essex.
G. EUMORFOPOULOS, Esq., West Clandon,
Surrey.
Mrs AGNES EVANS, Yarnton, Oxford.
ALFRED T. EVERITT, Esq., Portsmouth.
The Right Hon. EARL FORTESCUE.
L. DESMOND FELLOWS, Esq., Berk-
hamsted.
THOMAS FENTEM, Esq., M.D., B.Sc.,
Bakewell, Derbyshire.
Brigadier-General A. F. H. FERGUSON,
2nd Life Guards.
IVOR A. B. FERGUSON, Esq., Runnymede
House, Old Windsor.
ARTHUR FERRIS, Esq., Lydd, Kent.
Mrs EDWARD B. FIELDEN, Condover
Hall, Shrewsbury.
WILLIAM J. FIELDHOUSE, Esq., Wootton
Wawern, Warwickshire.
ALEXANDER FIRTH, Esq., Hudders-
field.
NORMAN K. FIRTH, Esq., Huddersfield.
BANISTER F.FLETCHER, Esq., F.R. I. B.A.,
London, E.G.
The Rev. L. R. FLOOD, M.A., Merrow
Rectory, Guildford.
JOHN W. FORD, Esq., D.L., J.P., F.S.A.,
Shalford, Surrey.
T. E. FORSTER, Esq., Wreay, Water-
millock, Penrith.
Mrs H. WIDINHAM FOSBERY, Beddington,
Surrey.
J. P. T. FOSTER, Esq., Ingatestone,
Essex.
R. LIONEL FOSTER, Esq., Bradford.
HENRY FOUNTAIN, Esq., C.M.G.,
Eynsford, Kent.
HENRY FOWLER, Esq., Spondon, Derby.
WILLIAM Fox, Esq., Wirksworth, Derby-
shire.
W. H. Fox, Esq., F.S.A., London, E.G.
The Rev. T. S. FRAMPTON, B.C.L., M.A.,
F.S.A., Dover.
T. MUSGRAVE FRANCIS, Esq., J.P., Quy
Hall, Cambridge.
Mrs J. FRANKLYN, Botley, Hants.
Colonel E. C. FREEMAN, C.M.G.,
Colchester.
P. B. FREEMAN, Esq., Lic.R.I.B.A.,
London.
Mr C. E. FRITZE, Bookseller, Stock-
holm.
A. W. FROST, Esq., Colchester.
T. W. FRY, Esq., F.S.A., ' Elmgrove,
Darlington.
ALFRED C. FRYER, Esq., Ph.D., M.A.,
F.S.A., Clifton, Bristol.
Mrs ROBERT FULLER, Great Chalfield,
Melksham.
The Right Hon. HENRY NEVILLE GLAD-
STONE, M.P., D.L.
The MITCHELL LIBRARY, Glasgow, per
SEPTIMUS A. PITT, Esq., City Librarian,
GLOUCESTER PUBLIC LIBRARY, per
ROLAND AUSTIN, Esq., Chief Librarian.
Messrs GALLOWAY & PORTER, Book-
sellers, Cambridge.
WALTER GANDY, Esq., London, S.W.
ARTHUR GARDNER, Esq., M.A.. F.S.A.,
Harrow-on-the-Hill.
FRANCIS N. A. GARRY, Esq., London,
S.W.
JOHN GAYMER, Esq., North Walsham.
MM. GEORG ET CIE, Booksellers, Geneva.
W. E. GEORGE, Esq., J.P., Stoke Bishop,
Bristol.
Messrs WM. GEORGE'S SONS, Booksellers,
Bristol.
MAURICE GEPP, Esq., Coton Hill,
Shrewsbury.
H. MARTIN GIBBS, Esq., J.P., Flax
Bourton, Somerset.
Mrss GIBSON, Chislehurst.
JOHN GIBSON, Esq., F.C.S., Hexham.
The Rev. Canon LEWIS GILBERTSON,
M.A., F.S.A., London, W.C.
EDWIN GILL, Esq., Mirfield, Yorkshire.
FRANCIS VICTOR GILL, Esq., Bradford,
Yorks.
Miss J. TAYLOR GILL, Ilminster,
Messrs GILL& REIGATE, LTD., London,W.
Messrs FRANK GILL & SONS, Booksellers,
Weston-super- Mare.
Mr H. GLAISHER, Bookseller, London,
S.W.
Mr H. J. GLAISHER, Bookseller, London,
W.
GEORGE H. GLENDENNING, Esq.,
Newcastle-upon-Tyne.
VI
LIST OF SUBSCRIBERS
The Rev. E. H. GODDARD, M.A., Clyffe
Vicarage, Swindon.
W. BERNARD GODFREY, Esq.,
M.Inst.C.K., Beacon Hill Park, Hind-
head.
:s GOOSE & SON, LTD., Booksellers,
Norwich.
Messrs GORDON & GOTCH, Booksellers,
London, E.G.
J. H. GOUGH, Esq., Ph. Ch., Leeds.
Messrs ROBERT GRANT & SON, Book-
sellers, Edinburgh.
H. ST. GEORGE GRAY, Esq., Taunton
Castle, Somerset.
EVKKARD GREEN, Esq., F.S.A., " Somer-
set Herald -of-Arms," London.
FRANK GRKEX, Esq., F.S.A., Treasurer's
House, York.
Mr H. GREENWOOD, Bookseller, Halifax.
HI-BERT J. GREENWOOD, Esq., J.P.,
^ L.C.C., F.S.A., London, S.W.
Mr GEORGE GREGORY, Bookseller, Bath.
JOHN R. GREGORY, Esq., London, W.
Colonel JOHN GRETTON, M.P., Melton
Mowbray.
E. HYLA GREVES, Esq., M.B., Bourne
mouth.
Mrs GRIBBLE, Kingston Russell House,
Dorchester.
NATHANIEL GRIEVE, Esq., Edinburgh.
Mrs GRIFFIN, Newton Court, Monmouth.
F. L. B. GRIGGS, Esq., Campden, Glos.
FREDERICK JOHN GUTHRIE, Esq.,
Hexham.
Messrs J. & W. GUTHRIE and ANDREW
WELLS, LTD., Glasgow.
The Right Hon. VISCOUNT HALIFAX,
M.A., F.S.A.
The Hon. Mrs HEY WOOD- LONSDALE.
Sir WILLIAM ST. JOHN HOPE, Litt.D.,
D.C.L., M.A.
HAMPSTEAD PUBLIC LIBRARIES, per
WILLIAM E. DOUBLEDAY, Esq., Chief
Librarian.
H.M. COMMISSIONERS OF WORKS AND
PUBLIC BUILDINGS, London.
HULL MUNICIPAL SCHOOL OF ART.
E. NESTON HABERSHON, Esq., The
Holmwood, Surrey.
The Rev. F. C. HAINES, M.A., Blackford
Rectory, Somerset.
CECIL G. HARE, Esq., London, W.C.
JOHN HARLEY, Esq., M.D., Beedings,
Pulborough.
Mrs HARRISON, The Vicarage, Margate.
Mr W. E. HARRISON, Bookseller,
Ipswich.
Messrs HARRISON & SONS, Booksellers,
London, W.
The Rev. H. P. HART, B.A., Exmouth.
ERNEST HARTLAND, Esq., M.A., F.S.A.,
J.P., Hardwick Court, Chepstow, Mon.
ALFRED HARVEY, Esq., M.B., Shipston-
on-Stour.
H. FAIRFAX HARVEY, Esq., Weymouth.
Messrs H ATCHARDS, Booksellers, London,
W.
Messrs W. HEFFER & SONS, LTD., Book-
sellers, Cambridge.
Mrs ISABELLA HELLIER, Kensington, W.
W. HENDERSON, Esq., Lytham.
Mr W. F. HENDERSON, Bookseller,
Edinburgh.
Messrs JOHN HEYWOOD, LTD., Book-
sellers, Manchester,
PERCY J. HIBBERT, Esq., M.A., Grange-
over-Sands.
G. HiGGS, Esq., London, W.C.
The Rev. ARTHUR DU BOULAY HILL,
M.A., East Bridgford Rectory, Notts.
CHARLES H. HILL, Esq., J.P., Wood-
borough Hall, Notts.
W. EGERTON HINE, Esq., Harrow School.
NATHANIEL HITCH, Esq., London, S.E.
The Rev. H. W. HITCHCOCK, M.A.,
Willoughby Hall, Grantham.
GEOFFREY D. HOBSON,' Esq., M.A.,
F.S.A., Storrington, Sussex.
Messrs HODGES, .FIGGIS, & Co., LTD.,
Booksellers, Dublin.
Professor W. R. HODGKINSON, M.A.,
Blackheath, S.E.
VICTOR T. HODGSON, Esq., F.S.A.
Harpenden.
The Rev. W. J. HOLDEN, Upton Snods-
bury Vicarage, Worcester.
J. R HOLLIDAY, Esq., Birmingham.
The Rev. J. L. E. HOOPPELL, F.S.G.,
St. Peter's Vicarage, Hoxton, N.
Mr HUGH HOPKINS, Bookseller, Glas-
gow.
The Rev. HUGH MAUDSLAY HORDERN,
M.A., Brighton.
Mrs A. H. HORE, Whitchurch, Hereford-
shire.
E. J. HORNIMAN, Esq., J.P., Burford
Priory, Oxon.
T. C. HORSFALL, Esq., Swanscoe Park,
near Macclesfield.
Mr BERTRAM HOSIER, Bookseller,
Sheffield.
LIST OF SUBSCRIBERS
VII
H. W. PAGET HOSKYNS, Esq., J.P.,
North Perrott Manor, Crewkerne.
Messrs A. F. HOST & SON, Booksellers,
Copenhagen.
J. H. HOWARTH, Esq., J.P., F.G.S., Holly
Bank, Halifax.
Messrs EDWARD HOWELL, LTD., Book-
sellers, Liverpool.
GEORGE HUBBARD, 'Esq., F.S.A.,
F.R.I.B.A., London, E.G.
H. A. HUBBERSTY, Esq., J.P., Burbage
Hall, Buxton.
The Rev. C H. BICKERTON .HUDSON,
M.A., Holy Rood, St. Giles', Oxford.
The Rev. HENRY A. HUDSON, M.A.,
Holy Trinity Rectory, Manchester.
A. H. HUGHES, Esq., Rochester House,
Llandudno.
CHARLES HUGHES, Esq., Hadlow Grange,
near Uckfield.
JOSEPH D. HUGHES, Esq., Broughton
Park, Manchester.
The Rev. Canon HULTON, M.A., Boreham
Manor, Chelmsford.
Mr THOMAS HUNT, Bookseller, Read-
ing.
JOHN HUNTER, Esq., Assoc.M.I.C.E.,
Belper.
Messrs HUNTER & LONGHURST, LTD.,
Booksellers, London, E.G.
Miss HURST, Oxford.
GEORGE HUTCHINGS, Esq., Chester.
WILLIAM HUTCHINGS, Esq., Frodsham.
Mrs ALFRED ILLINGWORTH, Daisy Bank,
Bradford, Yorks.
W. L. INGLE, Esq., Morley, Leeds.
ERNEST INNES, Esq., London, W.
Sir W. GOSCOMBE JOHN, R.A.
JUNIOR CARLTON CLUB, London.
The Rev. E. JACKSON, M.A., Gilmorton
Rectory, Lutterworth.
Mr RICHARD JACKSON, Bookseller,
Leeds.
Mrs C. H. JAMES, Weston-super-Mare.
Mrs JANSON, Newdigate Place, Newdi-
gate.
Mrs JEDDERE-FISHER, East Grinstead.
Messrs W. £ J. JEFFREY, Chirnside.
Miss D. M. JEMMETT-BROWNE, London.
H. JENNER-FUST, Junr., Esq., M.A.,
London, S.W.
W. J. JESSOP, Esq., Nottingham.
Mr E. JOHNSON, Bookseller, Cam-
bridge.
PHILIP M. JOHNSTON, Esq., F.S.A.,
F.R.I. B.A., Tulse Hill, S.W.
WALTER JOHNSTON, Esq.
C. LAWTON JONES, Esq., London, N.
W. BELL JONES, Esq., Hawarden, Chester.
Messrs JONES & EVANS, LTD., Book-
sellers, London, E.G.
FELIX JOUBERT, Esq., London, S.W.
KNUTSFORD PUBLIC LIBRARY, per
JOSEPH JERVIS, Esq., Librarian.
ARTHUR KAY, Esq., J.P., F.S.A., Edin-
burgh.
Messrs KEEBLE (1914), LTD., London, W.
H. R. KEMPE, Esq., M.lnst.C.E.,
M.I.E.E., Brockham, Betchworth.
A. E. KENNEDY, Esq., J.P., Eastry,
Kent.
The Rev. CANON KING, M.A., The
Rectory, Limavady, Ireland.
HAROLD C. KING, Esq., London, S.W.
Major HENRY KING, F.R.M.S., Uckfield.
JOSEPH KiNG^Esq., M.P.,Witley, Surrey.
The Very Rev. ALEXANDER FRASER
KIRKPATRICK, D.D., Dean of Ely.
GEORGE KRUGER, Esq., London, S.W.
The Right Hon. Lady LECON FIELD.
The Right Hon. Lord LEVERHULME.
The Right Hon. F. LEVERTON HARRIS,
M.P.
Sir ROBERT LORIMER, A.R.S.A.
Sir H. MAXWELL LYTE, K.C.B., F.S.A.
The LANCASHIRE AND CHESHIRE HIS-
TORICAL SOCIETY.
LEEDS CHURCH INSTITUTE, per G.
EUSTACE SUTTON, Esq., Acting
Secretary.
LEEDS PUBLIC REFERENCE LIBRARY.
LEEDS AND WEST YORKSHIRE ARCHI-
TECTURAL SOCIETY, per G. J. COOMBS,
Esq., A.R.C.A., Hon. Librarian.
LEICESTERSHIRE BOOK SOCIETY, per
Major W. J. FREER, V.D., D.L., F.S.A.
THE LIBRARY OF THE DEAN AND
CHAPTER, Lichfield.
LIVERPOOL ATHEN/EUM LIBRARY, per
W. CUNNINGHAM, Esq.
FREDK. W. LANGTON, Esq., London,
W.C.
Mr JOHN LAWRENCE, Bookseller,
Glasgow.
J. R. LEATHART, Esq., London, S.W.
DOUGLAS C. LEIGH, Esq., A. R. I.E. A.,
Swinton, Manchester.
H. W. LEWER, Esq., F.S.A., Priors
Loughton.
VIII
WALTER LEWIS, Esq., Fairfield House,
Redditch.
Messrs LIBERTY & Co., LTD., London,
W
HERBERT LINLEY-HOWLDEN, Esq., The
Old Manor House, Freshford, Somerset.
G. D. LlNNELL, Esq., Leeds.
A. G. LITTLE, Esq., Sevenoaks
F. H. LIVENS, Esq., M.Inst.C.h,.,
Lincoln.
LIVERPOOL BON MARCHE, Book Dept.
I i\ KRPOOL BOOKSELLERS' Co., LTD.
The Rev. CANON G. M. LIVETT, F.S.A.,
Wateringbury Vicarage, Maidstone.
NATHANIEL LLOYD, Esq., Great Dixter,
Northiam.
LONDON LITERARY LOUNGE, London,
W., per JAMES TRUSLOVE, Esq.
E. T. LONG, Esq.
^FREDERICK W. LONG, Esq., Trowbridge.
Miss K. E. LONGRIDGE, Tabley, near
Knutsford.
W. WIGLEY LORD, Esq., Walmer.
G. D. LUMB, Esq., F.S.A., Leeds.
The Rt. Hon. H. D. McLAREN, M.P.
CHEETHAMS LIBRARY, Manchester, per
Miss BRAMHALL, Librarian.
MANCHESTER FREE REFERENCE
LIBRARY, per C. W. SUTTON, Esq.,
M.A., Chief Librarian.
THE JOHN RYLANDS LIBRARY, Man-
chester, per HENRY GUPPY, Esq.,
M.A., Librarian.
JOHN McANDREW, Esq., J.P., Colman's
Hatch, Tunbridge Wells.
WILLIAM C. MACARA, Esq., Lytham.
Mrs McLliRE, London, S.W.
Mrs McEuEN, Hayling Island.
The Rev. MALCOLM MCLEAN, M.A.,
West Raynham, Norfolk.
Messrs JAMES MACLEHOSE & SONS,
Booksellers, Glasgow.
Colonel ALAN F. MACLURE, Manchester.
GEORGE A. MACMILLAN, Esq., D.Litt.,
J.I1., London, S.W.
Messrs MACNIVEN & WALLACE, Book-
sellers, Edinburgh.
LEONARD MACPHERSON, Esq., Culler-
coats, Northumberland.
Major OSWALD C. MAGNIAC, London,
W.
The Rev. G. E. MAHON, Colsterworth
Rectory, Grantham.
W. MAiTLAND,Esq., Newcastle-on-Tyne.
Messrs MAPLE & Co., LTD., London, W.
LIST OF SUBSCRIBERS
ROBERT MARCHANT, Esq., A.R.I.B.A.,
London, W.C.
Mrs Henry W. MARSH, Warwick Castle.
R. T. MARSH, Esq., Kenyon, Lanca-
shire.
Messrs HORACE MARSHALL & SON,
Booksellers, London, E.G.
Messrs H. H. MARTYN & Co., LTD.,
Cheltenham.
T. P. MARWICK, Esq., A.R.I.B.A.,
Edinburgh.
W. A. H. MASTERS, Esq., Swindon.
Messrs MAWSON, SWAN, & MORGAN,
LTD., Booksellers, Newcastle-on-Tyne.
JAMES W. MAY, Esq., Leeds.
MIDLAND EDUCATIONAL COMPANY,
LTD., Birmingham.
Messrs W. H. MiLNES, Ltd., Booksellers,
Wakefield.
Messrs MINCHIN & GIBBS, Booksellers,
Gloucester.
BERNARD J. MITCHELL, Esq., Frome.
HAROLD C. MOFFATT, Esq., M.A., D.L.,
J.P., Hamptworth Lodge, near Salis-
bury.
Mrs L. MOND, London, N.W.
F. C. MONTAGUE, Esq., Oxford.
The Yen. ARCHDEACON MOORE, The
Rectory, Uppingham.
The Rev. CANON KINGSMILL MOORE,
D.D., Dundrum, Co. Dublin.
F. W. MORGAN, Esq., London, N.W.
Mr E. L. MORICE, Bookseller, London,
W.C.
J. MORSON, Esq., Durham.
Mr R. G. MORTON, Bookseller, Birken-
head.
W. J. MOSCROP, Esq., F.R.I.B.A.,
Darlington.
Messrs A. R. MOWBRAY & Co., LTD.,
Booksellers, London and Oxford.
Messrs W. MULLAN & SON, Booksellers,
Belfast.
Messrs MURRAYS, LTD., Booksellers,
Leicester.
The Rev. CANON MYERS, M.A., The
Close, Salisbury.
The Rev. R. S. MYLNE, M.A., B.C.L.,
F.S.A., F.R.S.Edin., Great Amwell,
Herts.
Her Grace The DUCHESS OF NORFOLK.
The Rev. The Most Hon. The MARQUESS
OF NORMANBY, D.L., J.P.
NORTHERN ARCHITECTURAL ASSOCIA-
TION, Newcastle-upon-Tyne.
LIST OF SUBSCRIBERS
IX
NEWCASTLE- UPON -TYKE PUBLIC
LIBRARY, per BASIL ANDERTON, Esq.
M.A., Chief Librarian.
NORTHAMPTON PUBLIC LIBRARY, per
REGINALD W. BROWN, Esq., Chief
Librarian.
NOTTINGHAM MUNICIPAL SCHOOL OF
ART, per JOSEPH HARRISON, Esq.,
A.R.C.A., Principal.
THOMAS NEIL, Esq., Dymchurch,
Kent.
JAMES NELSON, Esq., Carlisle.
PHILIP NELSON, Esq., M.D., F.S.A.,
Beechwood, Calderstones, Liverpool.
W. B. NICHOLS, Esq., Bradfield.
Mr MARTINUS NIJHOFF, Bookseller,
The Hague, Holland.
JAMES NORMAN, Esq., Selborne.
Messrs NORMAN £ BURT, Burgess Hill,
Sussex.
NORTH OF ENGLAND SCHOOL FURNISH-
ING Co., LTD., Darlington.
THOMAS NOTTIDGE, Esq., Ashford,
Kent.
BRASENOSE COLLEGE LIBRARY, Oxford.
MAGDALEN COLLEGE LIBRARY, Oxford,
per H. A. WILSON, Esq., Librarian.
GEORGE H. OATLEY, Esq., F.R.I. B.A.,
Clifton, Bristol.
JOHN A. O'CONNELL, Esq., Cork.
The Rev. J. EDWIN ODGERS, D.D.,
Oxford.
The Rev. E. W. M. OLDRIDGE DE LA
HEY, M.A., North Cerney Rectory,
Cirencester.
Mrs OLDROYD, Gomersal Hall, Leeds.
Capt. H GORDON OLIVER, R.A.M.C.,
Sidmouth, Devon.
Messrs WM. OLIVER & SONS, LTD.,
London, E.G., per JOSEPH E. OLIVER,
Esq.
HANSON ORMEROD, Esq., Greenroyd,
Brighouse.
Mr JOHN ORR, Bookseller, Edinburgh.
A. E. LLOYD OSWELL, Esq., A. R.I. B. A.,
Shrewsbury.
Mr GEORGE E. OVER, Bookseller, Rugby.
C. OWEN, Esq., Manchester.
RUPERT K. W. OWE^, Esq., M.A.,
F.R.Hist.Soc., St. Leonards-on-Sea.
SEGAR OWEN, Esq., F.R.I.B.A.,
Warrington.
PAISLEY LIBRARY AND MUSEUM, per
JOHN RENFREW, Esq., Chief Librarian.
SANDEMAN PUBLIC LIBRARY, Perth, per
J. CRAIGIE, Esq., Chief Librarian.
The HARRIS FREE PUBLIC LIBRARY
AND MUSEUM, Preston, per W. B.
BARTON, Esq., Chief Librarian.
F. C. SHIRECLIFFE PARKER, Esq., M.A.,
Northwood.
Colonel J. W. R. PARKER, C.B., D.L.,
J.P., F.S.A., London, W.
Messrs PARKER £ Co., Booksellers,
Oxford.
Messrs PERCIVAL PEARSE, LTD., Book-
sellers, Warrington.
J M. DICK PEDDIE, Esq., M.S.A.,
Edinburgh.
The Rev. R. W. T. FETCH, M.A., Kersal
Rectory, Manchester.
Messrs PHILIP, SON, £ NEPHEW, Book-
sellers, Liverpool.
Miss B. PHILLIPS.
Messrs PHILLIPSON & COLDER, Book-
sellers, Chester.
ROBERT YOUNG PICKERING, Esq., Con-
heath, Dumfriesshire.
Messrs PICKERING & Co., Booksellers,
York.
H. H. PLEYDELL-BOUVERIE, Esq., D.L.,
J.P., London, W.
T. G. POWELL, Esq., Ipswich.
Mr FRED POWER, Bookseller, Bradford.
Mr G. A. POYNDER, Bookseller, Reading.
ANDREW N. PRENTICE, Esq., F.R.I.B.A.,
London, W.C.
L. L. PRICE, Esq., M.A., Fellow of Oriel
College, Oxford.
B. C. PRICHARD, Esq., Cambridge.
Miss EDITH K. PRIDEAUX, Whinfield,
Devon.
GEO. H. FELLOWES PRYNNE, Esq.,
F.R.I.B.A., Westminster, S.W.
Messrs BERNARD QUARITCH, LTD.,
Booksellers, London, W.
THE REFORM CLUB, London, S.W., per
H. BARLOW, Esq., Acting Librarian.
THE ROYAL INSTITUTE OF BRITISH
ARCHITECTS, per RUDOLF DIRCKS,
Esq., Librarian.
ROYAL SCHOOL OF ART NEEDLEWORK,
South Kensington, London, S.W.
EDWARD RAE, Esq., F.S.A., Birken-
head.
The Rev. CANON RAWNSLEY, The Abbey,
Carlisle.
THOMAS H. RAYSON, Esq., London, N.
LIST OF SUBSCRIBERS
Messrs KKAI> & BARRETT, Booksellers,
Ipswich.
Messrs HUGH REES, LTD., Booksellers,
London, S.W.
The Rev. OSWALD J. REICHEL, M.A.,
Lympston, Devon.
NThe Rev. E. T. S. REID, M.A.,
F.S.A.Scot., Glasgow.
ROBERT RICHARDS, Esq., The Priory,
.
Messrs JAMES RIMELL & SON, Book-
sellers, London, W.
Miss E. RiMiNGTON, Beaufront,
Camberley.
JOHN RITCHIE, Esq., Perth.
Messrs GEORGE ROBERTSON & Co., Pro-
prietary, Ltd., Australia.
Miss ANNE ROBSON, "Allergarth,"
Hexham.
HAROLD S. ROGERS, Esq., M.A., Oxford.
Messrs JAMES ROGERS & SONS, LTD.,
Oxford, per JAMES ROGERS, Esq.,
Managing Director.
Messrs WILSON, Ross & Co., LTD.,
Booksellers, Edinburgh.
Mr WALTER RUCK, Bookseller, Maid-
stone.
CHARLES T. RUTH EN, Esq., Licentiate
R.I.B.A., M.S.A., Swansea.
J. PAUL RYLANDS, Esq., F.S.A., Birken-
head.
The Most Honourable the MARCHIONESS
OF SALISBURY.
The Right Hon. Lord SHEFFIELD.
SALE AND ASHTON-UPON- MERSEY JOINT
PUBLIC LIBRARY, per WALTER
TAYLOR, Esq., Librarian.
SHEFFIELD PUBLIC REFERENCE
LIBRARY, per SAMUEL SMITH Esq.,
Chief Librarian.
SHEFFIELD UNIVERSITY LIBRARY, per
A. P. HUNT, Esq., Librarian.
SHOREDITCH PUBLIC LIBRARIES,
London, N., per WM. C. PLANT, Esq.,
Librarian.
SIGN COLLEGE LIBRARY, London, per
C. EDGAR THOMAS, Esq., Sub-
Librarian.
THE WILLIAM SALT PUBLIC REFERENCE
LIBRARY, Stafford.
MICHAEL T.H.SADLER, Esq., London, W.
The Rev. G. W. SAUNDERS, M.A.,
Martock Vicarage, Somerset.
F. B. DE SAUSMAREZ, Esq., M.A.,
Cheltenham.
The Very Rev. HENRY E. SAVAGE, D.D.,
Dean of Lichfield.
Mr H. B. SAXTON, Bookseller,
Nottingham.
Messrs SCHELTEMA & HOLKEMA, Book-
sellers, Amsterdam.
Monsieur J. SCHEMIT, Bookseller, Paris.
JOHN SCOTT, Esq., Ilkley.
H. GORDON SELFRIDGE, Esq., London,
W.
OLIVER SENIOR, Esq., Dore, nr. Shef-
field.
F. G. SEWELL, Esq., City Walls, Chester.
Messrs SHERRATT £ HUGHES, Book-
sellers, Manchester.
Mr H. SIMMONDS, Bookseller, Salis-
bury.
Messrs SIMPKIN, MARSH ALL, HAMILTON,
KENT, & Co. LTD., Booksellers, London.
ARTHUR W. SIMPSON, Esq., Kendal.
JONATHAN SIMPSON Esq., F.R.I. B. A.,
Grey Gables, Heaton.
J. J. SIMPSON, Esq., Cotham Park,
Bristol.
WILLIAM SIMPSON, Esq., Lieut.,
R.A.M.C., Woodford Green.
Messrs SINCLAIR & WOOLSTON, LTD.,
Booksellers, Nottingham.
EDGAR R. SINGER, Esq., Frome.
Messrs WALTER SKULL & SON, LTD.,
High Wycombe.
Mr W. J. SLADE, Bookseller, North-
ampton.
Messrs S LATTER & ROSE, Booksellers,
Oxford.
Mrs ANDREW SMITH of Whitchester,
Duns, Berwickshire.
Messrs JOHN SMITH & SON (Glasgow),
LTD., Booksellers, Glasgow.
Messrs W. H. SMITH & SON, Booksellers,
Bournemouth.
Messrs W. H. SMITH & SON, Evesham.
Messrs W. H. SMITH & SON, Harro-
gate.
Messrs W. H. SMITH £ SON, London.
Messrs W. H. SMITH & SON, Paris.
Messrs W. H. SMITH & SON, York.
A. G. SNELGROVE, Esq., Forest Gate.
R. G. SOMMERVILLE, Esq., Ruishton
House, Taunton.
Messrs H. SOTHERAN £ Co., Booksellers,
London, W.
The Rev. Canon VERNON STALEY,
Ickford Rectory, Thame.
HENRY STANTON, Esq., J.P., Snelston
Hall, Ashbourne, Derbyshire.
LIST OF SUBSCRIBERS
XI
Messrs G. E. STECHERT £ Co., Book-
sellers, London, W.C.
Mr R. D. STEEDMAN, Bookseller,
Nevvcastle-on-Tyne.
Professor J. E. A. STEGGALL, M.A., J.P.,
Dundee.
A. F. W. STEPHENS, Esq., Chatham.
R. H. STEPHENSON, Esq.
The Rev. FRANCIS STERRY, M.A., Fort
Hill, Barnstaple.
WASEY STERRY, Esq., Fort Hill,
Barnstaple.
The Rev. MARLOW O. STEVENS, Weston-
super-Mare.
Messrs B. F. STEVENS & BROWN, Book-
sellers, London, W.C.
Dr C. BALFOUR STEWART, M.A., Hunt-
spill, near Highbridge, Somerset.
G. H. STILWELL, The Pines, Windlesham,
Surrey.
Mr ELLIOTT STOCK, Bookseller, London.
Messrs W. P. VAN STOCKUM & SON,
Booksellers, The Hague.
HERBERT LUSHINGTON STOREY, Esq.,
D.L., J.P., Bailrigg, Lancaster.
PHILIP SIDNEY STOTT, Esq., Oldham.
JAMES F. SULLIVAN, Esq., Chertsey.
The Rev. Canon SUTTON, M.A., Brant
Broughton, Newark.
THE TRAVELLERS' CLUB, London, S.W.
JAMES TABOR, Esq., D.L., J.P., Roch-
ford.
The Very Rev. ARTHUR TALBOT, M.A.,
Edgmond, Newport, Salop.
Messrs TARAPOREVALA, SONS, & Co.,
Booksellers, Bombay.
Mrs G. C. TAYLER, Trowbridge.
HENRY TAYLOR, Esq., F.S.A., Curzon
Park, Chester.
ISAAC TAYLOR, Esq., F.R.I. B.A.,
Manchester.
JOSEPH DEAN TAYLOR, Esq., Sheffield.
V. T. TAYLOR, Esq., Chippenham.
A. H: RYAN TENISON, Esq., F.R.I. B.A.,
Westminster, S.W.
The Rev. G. F. TERRY, L.Th., F.S.A.,
St. John's Rectory, Edinburgh.
Mr JAMES THIN, Bookseller, Edinburgh.
P. A. THOMAS, Esq., M.A., Graham Lea,
Malvern.
Mrs A. H. THOMPSON, Endcliffs,
Henbury, Bristol.
W. STUART THOMPSON, Esq., Peter-
borough.
H. W. THOMSON, Esq , London, E.G.
Messrs THORNTON-SMITH, LTD , London
W.C.
TIMES BOOK CLUB, London, W.
Captain J. B. L. ToLHURST, Becken-
ham.
Miss GERTRUDE TONGE, The Croft,
Detling.
HENRY TOOTH, Esq., Woodville, near
Burton-on-Trent.
Jos. J. TOUGH, Esq., I. A., .Licentiate
R.I.B.A., Greenock.
GEORGE G. T. TREHERNE, Esq., London,
W.C.
The Rev. HERBERT TRUNDLE, B.A.,
Golders Green, N.W.
Messrs TRUSLOVE & HANSON, LTD.,
Booksellers, London.
FRANK TUGWELL, A.R.I.B.A., Scar-
borough.
Miss HANNAH TURNER, Hexham.
LAURENCE A. TURNER, Esq., London,
W.C.
Mr G. H. TYNDALL, Bookseller, Ely.
Messrs WILLIAM TYRRELL & Co., LTD.,
Booksellers, Toronto.
UPPINGHAM SCHOOL LIBRARY, per the
Rev. J. A. C. LANE, Librarian.
Messrs UNSWORTH &TRIGGS, Petersfield,
Hunts.
Sir RICHARD VASSAR-SMITH, D.L., J.P.,
Charlton Park, Gloucestershire.
AYMER VALLANCE, Esq., M.A., F.S.A.,
The Grange, Crawley.
HENRY VASSALL, Esq., MA., F.S.A.,
Repton, Derby.
Lieut. VAUGHAN-WILLIAMS R.E.
ROWLAND G. VENABLES, Esq., J.P.,
Oakhurst, Oswestry.
WYNDHAM T. VINT, Esq., M.A., Bradford.
The Right Hon. The EARL OF WINCHIL-
SEA AND NOTTINGHAM.
WALASEY PUBLIC LIBRARIES, per the
Rev. A. ERNEST PARRY, Acting
Librarian.
WESTMINSTER PUBLIC LIBRARIES, per
FRANK PACY, Esq., Chief Librarian.
WORCESTER CATHEDRAL LIBRARY, per
the Rev. CANON WILSON, Librarian.
A. W. HINSLEY WALKER, Esq., M.D.,
J.P., Harrogate.
H. WALKER, Esq., Chapeltown Road,
Leeds.
Mr HENRY WALKER, Bookseller, Leeds.
XII
LIST OF SUBSCRIBERS
J. W. WALKER, Esq., M.R.C.S., F.S.A.,
Chapelthorpe, Wakefield.
R. HOWARD WALL, Esq., Chigwell.
Miss WALTER, Goldwell, Newbury.
WILLIAM CHAPMAN WALLER, Esq.,
M.A., F.S.A., J.P., Loughton.
Mrs WARDE-ALDAM, Hooton Pagnell
Hall, Doncaster.
S. J. WARING, Esq., London, W.
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CHARLES SCRIBNER'S SONS
FIFTH AVENUE, NEW YORK
PREFACE
MR HERBERT BATSFORD has asked me to explain in a foreword the
genesis of this book. For over twenty years it has been my habit to
spend six weeks of each year in studying and measuring up the
mediaeval church woodwork of England. During the earlier years
this was accomplished with the aid of a sketchbook, but the
impossibility of purchasing photographs of detail, and the over-
whelming mass of material found, compelled me to resort to the aid of
the camera. The negatives mounted up by stages into thousands, and
Mr Batsford, overhauling the accumulated result, was anxious it should
take some permanent form, and proposed a book on the subject. Two
points became accentuated as the evidences were brought together :
the superiority of the fifteenth century over all other periods, and the
differences of type in construction and detail in the different parts of
England. This, as far as my knowledge extends, has never been
understood, or if so, it has been ignored by our restoring architects and
commercial furnishing firms, and it is largely owing to this ignorance
that the modern attempts to copy mediaeval woodwork have produced
only dry bones, mechanical and dull, for the true spirit of Gothic art
has not been breathed into them. This spirit cannot be understood by
studying textbooks or copying a few standard examples ; no living art
is hidebound, but works out its own salvation in innumerable channels
of independent thought and methods of craftsmanship. One never
tires of examining the fragments of carved woodwork yet remaining in
our now furbished and smartened churches, for there is always some-
thing to learn, some fresh idea to register.
But how to filter all this material into classified order was the
rub. I only knew one man capable of adequately dealing with it,
and to him I turned. Mr Howard is responsible for the text, and
by his own investigations and the evidences placed before him has
PREFACE
produced a volume of original research in which the whole subject
has been re-weighed, re-classified, and dealt with from a fresh point
of view.
The difficulty of selecting about 380 illustrations from over io,ooc
at our disposal has been a heavy task. The guiding principle has
been to select the lesser known examples where they illustrated the
point required, using the better known subjects only where necessary.
I am indebted to many friends for their ever ready generosity and
kindness, especially Dr G. Granville Buckley, F.S.A., who placed the
whole of his collection of photographs at our disposal, also to Mr G. C.
Druce, F.S.A., and Mr W. Maitland for similar favours, and to
many others whose names are recorded elsewhere. It only remains
for me to thank Mr Herbert and Mr Harry Batsford for their con-
tinuous counsel, advice, and help, and for the liberal way they have
produced the book.
FRED. H. CROSSLEY
19 SHAVINGTON AVENUE,
CHESTER, January 1917.
Since the above was written, and as this volume is going through
the press, we have to record the death of Mr Herbert Batsford. Not
only have we thereby lost a national asset, but his personal friends
mourn a gap in their friendships which cannot be replaced.
Vivacious, energetic, witty, keen at work, unerring in his instinct
for the right touch, indifferent to the amount of work entailed in pro-
ducing it, he was withal generous, helpful, and sympathetic to the
various needs of those who came under his influence, generating the
best from the authors who wrote for him, supplementing and enlarging
their knowledge by the stores of material he accumulated at his hand.
WRITER'S PREFACE
OF late years there has been a distinct revival of interest in
Gothic art. Several factors have brought about this result, notably
the advent of the cycle and motor, making it an easy matter to visit
remote places which were formerly almost inaccessible, while the
increasing popularity of the camera has enabled many to obtain really
valuable records of the wonderful work of the past. Moreover, the
improvement in processes of reproduction affords the opportunity of
spreading the results of their labours far and wide. In fact, modern
science has, to a certain degree, become the handmaid of mediaeval art.
This aftermath of the Gothic revival is concerned chiefly with the
decorative side of ancient architecture, with rood-screens, parcloses,
pulpits, benches, and font-covers ; all the delightful things without
which even the most beautiful buildings seem comparatively dull
and lifeless.
Among the modern books dealing with this aspect of mediaeval
craftsmanship, there has been no book covering the whole range of
English Gothic Woodwork. This is the purpose of the present
volume, which is analytical rather than topographical in treatment.
It makes a real attempt to explain what were the motives of the
mediaeval wood-worker ; to ascertain why benches were arranged in a
certain manner, and what principles actuated him in planning stalls.
Again, an effort has been made to give a practical analysis of the
various methods in which various problems, constructional or artistic,
were solved by these inspired craftsmen. Yet another point, which
the authors have consistently kept in view, is the existence and the
great importance of the various local styles and provincialities which
exist in various parts of the country, a subject generally glossed over
or ignored. How little this important subject is as yet understood
WRITER'S PREFACE
-x 1 1
by even comparatively enlightened architects or antiquaries may be
gauged by the self-complacency with which they place reproductions
of Midland woodwork into Devonshire churches, or carry out work,
inspired by the art of East Anglia, in the ancient buildings of the
Midlands. To lay stress on the necessity for consistency in this
matter is not fussy antiquarianism. It must be obvious that the wood-
work of a district was evolved to harmonise, however different the
style of its ornament, with the local type of parish church, and that
a screen of the Devon type, however beautiful in itself, looks dumpy
and " busy " in so lofty and austere a building as an East Anglian
church, while to introduce a lofty screen of the Norfolk type into a
low West-country church would not only be an artistic failure, but a
matter of physical impossibility.
The illustrations, chosen from a vast collection from all parts of
the country, give a good general idea of the extraordinary wealth of
material in the country. Very many examples, some of them of great
beauty and importance, have never been illustrated before. Others,
better known, have been included on account of their exceptional
beauty and interest, or because of their great rarity. Besides the
photographic illustrations, a number of measured drawings has been
introduced. With a few exceptions they are of entirely fresh subjects.
Their purpose is to give an idea of the scale of the examples illustrated
photographically, and to throw light on the methods of mediaeval
design.
It is the hope of the authors that this book may be of real service
to fellow enthusiasts ; that it may lead many to whom mediaeval art is
but a name to love and appreciate it ; that the craftsman of to-day may
pore over the illustrations and be humble ; and that it may serve as a
check to the unnatural lust for destruction, or the more reasonable,
but almost equally harmful, passion for over-restoration.
F. E. HOWARD
24 POLSTEAD ROAD,
( ) x FO R I ), January 1917.
NOTE OF ACKNOWLEDGMENT
FOR photographs to complete our survey of " Church Woodwork,"
we are indebted to many kind friends who placed their work at our
disposal, and to others who, although we have never met, gave us
permission to use certain of their prints.
We are indebted to Dr G. Granville Buckley, F.S.A., for numbers
28.1 ; 46.1 ; 47.2 ; 48.2 ; 62.1 ; 81.1 ; 82.1 ; 84.2 ; 122.2 ; 164 ; 177.1 ;
180.1; 186.2; 187.2; 221.2; 224.1; 249.1, 2; 252.2; 264.1; 266.2;
286.1, 2; 287.1; 292.2; 314.1, 3; 318.2; 320; 330.3; 332.1, 2;
348.2, 3. Mr G. C. Druce, F.S.A., 62.2, 3, 4; 67.1; 70.1; 79.3;
122.2; 188.3; 190.1; 207.1,3; 209.2,3; 348.1. Mr W. Maitland,
11.2; 32.2; 72; 174.1; 176.1,3; 222.1; 334.1,3; 337.2; 340.1;
351.2. Mr John East, no. i ; 130.1; 183; 47.1. Mr Geoffrey Webb,
31.1; 84.1; 313.3. Dr A. C. Fryer, F.S.A., 359.1, 2. Mr G. H.
Tyndall, 196. MrW. Bell-Jones, 176.2. Mr P. Mainwaring Johnston,
F.S.A., 145.2. The late W. Galsworthy Davie, 70.2; 85.1. The Rev.
T. Romans, 291.2. The late C. F. Nunneley, 207.2. The Director,
Victoria County Histories, 273.1. Also to Messrs F. Frith & Co., 34;
269.2. Mr D. Weller, 144.2; 352. Mr F. R. P. Sumner, 133.2;
145.1 ; 193.2. Mr J. Gale, 71.2. Mr S. Smith, 130.2. Mr C. C.
Hodges, per Mr Gibson, 349.2. Mr Geo. Hepworth, 143. Mr
A. E. Walsham, n.i. Mr Montague Cooper, 2.2. Mr F. E.
Howard has contributed 12.1, 2; 28.2; 60. i ; 68.2; 69.2; 83.2;
110.2; 119.2; 122.1; 126.2; 128.1,2; 190.3; 208.2; 249.4; 253;
265.1; 266.1,3; 273.2; 287.2; 329.2; 349.1. The remainder are
from the negatives of Mr Fred. H. Crossley. The majority of the
drawings are by Mr F. E. Howard, but in cases where subjects
are contributed by other draughtsmen their names will usually be
found attached to the respective illustrations.
F. H. C.
F. E. H.
CONTENTS
ALPHABETICAL LIST OF ILLUSTRATIONS ™n
LIST OF ILLUSTRATIONS ARRANGED UNDER COUNTIES xxxi
I. INTRODUCTION 3
RISE AND DEVELOPMENT OF THE CRAFT OF WOODWORKING 13
LOCAL VARIATIONS OF TYPE 35
COLOUR DECORATION 49
II. STRUCTURAL WOODWORK-
TIMBER PORCHES 63
DOORS 73
ROOFS 87
TIMBER VAULTS 131
III. FITTINGS OF THE SANCTUARY-
THE ALTAR 135
THE REREDOS- 136
PIX CANOPIES - 138
TESTERS - 138
SEDILIA - 139
EASTER SEPULCHRE 140
IV. QUIRE FITTINGS-
STALLS - 147
BISHOPS' THRONES 191
LECTERNS *97
V. SCREENS, ROODS, AND LOFTS-
ORIGIN AND HISTORY OF SCREEN AND LOFT 211
CONSTRUCTION AND DESIGN 225
VI. FITTINGS OF THE NAVE-
PULPITS - 275
BENCHING AND PEWING - 297
FONT-COVERS - - 32 1
x-vi CONTENTS
VII. TOMBS AND MOVABLE FITTINGS-
PAGE
ALMS BOXES 341
CHESTS 342
COPE CHESTS - 346
CUPBOARDS AND HUTCHES 346
TOMBS _ 353
SHRINES AND RELIQUARIES 356
INDEX OF SUBJECTS IN THE TEXT 36l
INDEX OF PLACE-NAMES IN THE TEXT .
ALPHABETICAL LIST OF ILLUSTRATIONS
NAME OF PLACE.
ADDERBURY -
ADDLETHORPE
ALMONDBURY
ASBOCKING -
ASHBOURNE -
LSHBY ST LEDGERS
5) )J
HTON, HIGHER
ASTON UPTHORPE
ATHERINGTON
ATTLEBOROUGH
AVEBURY
AYMESTREY -
b
SUBJECT.
Nave roof -
„ section
Door
Nave roof
„ section
Main screen
„ tracery, head of
Tower screen
Tracery of chantry screen -
Font-cover
jj
Door to rood-loft
Rood screen
Pewing
Bench-end
Panelling of screen
Screen to Lady chapel
Benches -
Nave roof, section
Screen
Lectern
Poupee head
N. door
S. transept roof, section
Nave roof, section
Rood screen, east and west
Benches
Rood screen and loft
?» j»
Vaulting of screen
Gallery front
Vaulting of rood screen
PAGE
28
107
80
124
107
234
261
255
254
335
33i
79
258
3"
4i
61
61
307
98
239
208
186
78
97
1 06
271
319
246
273
266
245
264
XV111
ALPHABETICAL LIST OF ILLUSTRATIONS
NAME OF PLACE.
BACKWELL
BACTON
BADINGHAM -
BALDON, MARSH -
„ TOOT
BARKING, SUFFOLK
BARKSTONE -
BEAFORD
BEAUMARIS -
BEVERLEY MINSTER
ST MARY
BISHOP'S LYDEARD
BLAKENEY
j,
BLEWBURY
BLORE RAY
BLOXHAM
11
BLYTH ABBEY
BLYTHBURGH
BOVEY, NORTH
BRADFORD ABBAS
B RAM FIELD -
BRATOFT
BRAUNTON
BRIDFORD
BRINGTON, GREAT
BROOMFIELD
BRUTON
SUBJECT.
Rood screen
Nave roof, section
55
Porch
N. aisle roof, section -
Vestry door
Nave roof
Font cover
Stall end -
S. aisle roof, section -
Stall seating
Stalls
„ detail
Sedilia
„ detail
Parclose
,, tracery -
Nave roof
N. quire, aisle roof, section
Stall fronts
„ backs
Head of parclose screen
Bench
Nave roof -
,, section
Door to rood-loft
N. aisle chantry screen
,, roof, section -
Chest
Alms box -
Nave rqof -
S. aisle roof, section -
Lectern
J5
Alms box -
Parclose screen -
Nave roof, section
Vaulting of screen
Stall-end
Pewing
Panelling of screen
Bench
Pewing
Nave roof
PAGE
250
100
29
96
90
77
116
332
177
98
169
166
Frontispiece
144
134
220
26
112
94
170
170
25
316
122
IOO
79
25i
94
348
340
iijj
9o
202
2O9
340
230
96
266
I78
319
45
4i
44
3*7
3T7
126
ALPHABETICAL LIST OF ILLUSTRATIONS
NAME OF PLACE.
BRYMPTON DEVERCEY -
BUNBURY
BURFORD
BURGH -
BURNHAM NORTON
BURRINGTON
BURSTALL
BURWELL
BURY
BYFIELD
CANTERBURY CATHEDRAL
CARLISLE CATHEDRAL -
CARTMEL PRIORY-
>5 »
CASSINGTON -
CASTLE ACRE
5> »
CHALLOW, WEST -
» »>
CHARLTON-ON-OTMOOR -
» »>
CHESTER CATHEDRAL -
J5 5)
55 55
55 55
55 55
55 5'
„ ST MARY
CHICHESTER, ST MARY'S HOSPITAL
CHINNOR
CHIPPING .CAMPDEN
CHIVELSTONE
CHRISTCHURCH PRIORY, HANTS -
CHRISTIAN MALFORD -
CHULMLEIGH
CHURCH HANDBOROUGH
SUBJECT.
Priest's house, roof, section
S. door
Chantry chapel -
Tracery of screen
Pulpit
S. aisle roof
S. porch
Nave roof section
Lectern
Bench
Tomb, Henry IV.
Stalls
Misericord
Screen to St Catherine's chapel -
Misericord
Seat elbow
Benches -
Font-cover
Pulpit
Porch
Roof of N. porch, section -
Detail of screen -
N. aisle roof, section -
Stalls
„ detail
55 55
Canopy of pulpitum -
Stall seating
Misericord
Stall elbow
» )5
„ end -
Tracery heads of destroyed screen
Nave roof
Misericord
Screen
Roof of hall, section -
Pulpit
Stall-end -
)>
Misericord
S. aisle screen -
General interior of church -
N. aisle screen -
xix
PAGE
98
77
224
254
287
117
69
90
196
355
184
189
32
189
187
3Ji
329
279
69
96
32
94
165, 166
27
27
163
168
189
187
187
174
22
114
188
226
97
294
179
179
190
250
259
228
39
ALPHABETICAL LIST OF ILLUSTRATIONS
NAME OF PLACE.
CHURCH HANDBOROUGH
ClRENCESTER
CLUN •
COCKINGTON
COGGS -
COLEBKOOKE
COMBE -
COPDOCK
n
COTES-BY-STOW
COWTHORPE -
COXWELL, LITTLE
CRAWLEY, NORTH
CREAKE, SOUTH
CREDITON
CREWKERNE
n
CROWCOMBE
»
CULLOMPTON
CUMNOR
SUBJECT.
S. aisle screen
Pulpit
Nave roof, section
Chantry
Altar tester
Pulpit
S. aisle roof, section -
„ nave „
Chancel
Chantry screen -
Nave roof, section
Font-cover
Door
Benches
Easter sepulchre
Nave roof, section
Benches
S, aisle roof, section -
Chest
N. transept roof, section
Nave
Benches
Pewing
Nave roof -
N. aisle roof, section -
S. transept „
PAGE
39
40
94
221
I42
295
94
94
97
3i
94
331
81
3J3
143
106
3H
90
350
90
90
303
3i8
117
90
96
DARESBURY -
DAVID'S, ST, CATHEDRAL
DECUMANS, ST
DENNINGTON
DERBY ALL SAINTS
DERWEN
DETLING
u
DOWN, WEST
DUNSTER
n
DURHAM UNIVERSITY CHAPEL
Coving of screen
Tower vault
Sedilia
Bishop's throne
Wall plate
Chantry screen and loft
„ ,, detail
Gallery front
Nave roof -
Bench
Tomb of Robert Johnson
Rood screen and loft ,
Lectern
.,, detail
Roof, section
Screen to choir -
Vault of rood screen, east
Stall-end -
248
128
272
272
243
359
268
209
207
97
253
265
176
ALPHABETICAL LIST OF ILLUSTRATIONS
SUBJECT.
NAME OF PLACE.
EARL STONHAM
EAST HAGBOURNE
5) 5)
,, HARLING
,, HENDRED
,, WINCH
j» j>
» »
EDINGTON
»
EDLESBOROUGH -
ELSING-
ELY CATHEDRAL -
EWELME
EWHURST
EXETER CATHEDRAL
EYE
EYNSHAM
Wall plate -
Chest
S. porch
Pulpit
))
Panelling of screen
Lectern
Aisle roof -
„ section
Benches -
j>
Pulpitum -
Nave roof, section
Stall fronts
Pulpit, general -
„ canopy -
Vault of canopy
Font-cover
Stalls
Nave roof -
„ section
Chantry roof
School roof, section
S. porch -
Font-cover, general
„ detail
„ angel finial
Porch
Bishop's throne, general
„ detail
Screen to St James's chapel
Head of screen -
Panelling of screen
Benches -
xxi
PAGE
127
348
67
291
201
48
207
no
90
301
3i3
222
100
I72
-; 288
288
288
46
183
112
94
"5
98
67
333
333
333
7°
193
194, 195
255
262
60
299
FERRY HINKSEY
j> »
FlNNINGHAM
FlSHTOFT
)>
FLAMBOROUGH
rOREST HILL
rRAML!NGHAM
Nave roof, section
Chancel „
Font-cover
Tracery of rood screen
Pulpit detail
Rood screen and loft -
Enrichment of loft
S. chantry screen
Chancel roof, section
Nave roof -
1 06
106
332
254'
289
223
267
257
96
119
x x i
ALPHABETICAL LIST OF ILLUSTRATIONS
NAME OF PLACE.
FRESSINGFIELD
FRIESTON
FRITWELL
»
FROSTENDEN
FULBOURNE
SUBJECT.
Benches
Bench
Pewing
Font-cover
Benches
S. aisle roof, section -
Font-cover
Benches
Pulpit
PAGE
296
315
315
334
299
90
33i
309
286
GAWSWORTH
GLOUCESTER CATHEDRAL
GREAT BRINGTON
„ HASELEY -
., MILTON
„ WALTHAM
GRESFORD -
GRINSTEAD, WEST
GRINTON
GRUNDISBURGH -
GUILDEN MORDEN
Nave roof -
Stalls
Benches
Porch roof, section
Benches
ii
View of chancel
Stall seating
„ end
Poupee head
Roof
Porch
Lectern
Nave roof -
„ section
Tracery of screen
Screen
114
164
4i
97
299
299
167
169
175
186
TI3
70
201
123
IOO
26
249
HACCOMBE -
HAGBOURNE, EAST
>) »
HALIFAX
H
HALBERTON -
HANDBOROUGH, CHURCH
HARLING, EAST
HARWELL
ii
it
HASELEY, GREAT -
Roof section
Porch
Pulpit
Font-cover
detail
Pulpit
Nave roof section
N. aisle screen -
»> »
S. aisle screen
Pulpit
Lectern
Panelling of screen
S. aisle roof, section -
Nave
N. transept roof, section
S. porch -
97
67
291
329
33,5
294
94
228
39
39
40
2OI
48
90
96
106
97
ALPHABETICAL LIST OF ILLUSTRATIONS
xxin
NAME OF PLACE.
HAWARDEN -
HAWSTEAD
HEADINGTON
HEIGHINGTON
HEMINGBOROUGH
)>
HELMINGHAM
HENDRED, EAST
HENNOCK -
REMINGTON -
HEPWORTH -
»
HEREFORD -
?>
5)
HEXHAM
»
HIGHER ASHTON -
HIGH HALDEN
HIGH HAM -
HICHAM FERRERS
HlLLESDEN -
riiNKSEY, v. FERRY HINKSEY.
HINTON ST GEORGE
HlTCHIN
HORNINGSEA
HORSLEY, WEST
HUBBERHOLME
HUDDINGTON
HULL, HOLY TRINITY -
5J 5>
HUNSTANTON
HUTTOFT
SUBJECT.
Stall-end •
Lectern
Chancel roof, section
Pulpit
Bench
Misericord
Wall plate -
Lectern
Screen tester
Termination of stalls -
Font-cover, general
, „ detail
All Saints, stall canopies
„ „ backs
Chest
Sedilia
Pulpitum -
Screen panels
Lady chapel screen
Roof detail
Benches -
Porch
Enrichment of screen
Stall end
Standard masking seat
Rood screen
Stall fronts
Nave roof, section
Head of screen -
Benches
Porch
Rood screen and loft
Porch
Stall-end •
N. aisle screen -
Screen panels
Chest
PAGE
176
201
98
29I
3I2
1 88
127
207
142
1 80
336
337
182
182
348
141
222
6l
61
98
306, 307
67
43
177
180
25i
172
96
252
309
62
269
7i
177
2S7
60
350
ILMINSTER
IPPLEPEN
3>
IRON ACTON
ISLIP -
IVINGHOE
Chancel roof, section
5) "
Pulpit
Benches -
N. aisle roof, section
Lectern -
107
98
295
299
106
200
ALPHABETICAL LIST OF ILLUSTRATIONS
xxiv
NAME OF PLACE.
JARROW
KENTISBERE
n
KENTON
KEYNSHAM
KlLMERSDEN
KING'S LYNN, ST MARGARET'S
>» »
„ ST NICOLAS
>i »
KIRK ELLA „
» >»
„ SANDALL
LANCASTER -
»
LANDBEACH
LAPFORD
LEIGH
LEIGH-ON-MENDIP
LEIGHTON BUZZARD
n >J
LENHAM
LINCOLN CATHEDRAL
LITTLE COXWELL -
LlTTLEBURY -
LlTTLEHAM-CUM-BlDEFORD
Ll-ANANNO -
LLANEILIAN -
LLANRHAIADR, D.C.
N
LLANRWST
»
LLANWNOG
LLANYNYS, D.C. -
n
LONDON, see WESTMINSTER AEI.I v.
LONG WlTTENHAM
LOVERSALL -
LOWICK
LUDHAM
LUDLOW
SUBJECT.
Stall-end
Rood screen
Enrichment of screen
Pulpit
S. aisle screen
Benches
Screen
Stalls
* j>
Door
Screen detail
„ tracery -
Chantry screen -
Stalls
Stall canopy
Pulpit
Benches
Gallery front
Benches
Stalls
Lectern
55
Cloister roof
Nave roof, section
Lectern
Bench
Rood screen and loft, east side
„ „ west side
„ detail
Panelling of soffit
Rood screen and loft
Porch
Chancel roof
Rood screen and loft
Enrichment of screen
Rood screen and loft -
Door
Nave roof
Porch
Misericord
Bench
Panelling of screen
Tower vault
PAGE
174
210
43
274
256
313
231
IS*
158
84
249
25
256
181
181
286
3i9
245
3°4
167
208
209
130
106
204
33
42
42
3°
264
268
7i
118
270
267
269
81
120
68
188
4i
48
ALPHABETICAL LIST OF ILLUSTRATIONS
NAME OF PLACE, SUBJECT.
LUDLOW Stall canopies
55 55 end •
„ Poupee head
,, Misericord
Screen
Nave roof, section
Screen
-- - - Stalls
LULLINGSTONE
LYMPENHOE -
LYNN ST MARGARET'S -
j» )>
„ ST NICHOLAS
MAIDSTONE PALACE STABLES
MANCHESTER CATHEDRAL
55 5?
MARBURY
MARK -
MARSH BALDON
55 55
MARSTON, NORTH
„ OXON. -
MIDDLETON CHENEY
55 55
„ NORFOLK -
MlLDENHALL
MILTON, GREAT
MlLVERTON -
MINSTER LOVELL -
MOBBERLEY -
MONKLEIGH -
MONKSILVER
35
MONTGOMERY
MORETON, NORTH
MULLION
NANTWICH -
NEEDHAM MARKET
55 55
NEWARK-ON-TRENT
NEWCASTLE-ON-TYNE
35 )5
„ ST JOHN
Door
Roof, section
Stall-end -
Stalls
Pulpit
N. aisle roof
Benches
Porch
„ roof, section
Misericord
S. aisle roof, section -
55 33
Nave „
„ roof -
Aisle roof -
Benches
Bench
Pewing
Benches
Rood screen
Bench
Pulpit
Font-cover
Stall canopy
Rood screen and loft -
South aisle roof, section
S. chapel „ „
Interior of church
Stalls
Nave roof -
„ detail
Vaulting of parclose -
St Nicholas, font-cover
33 35
Font-cover
detail
XXV
PAGE
186
189
97
231
158
158
84
96
173
184
290
in
68
96
190
1 06
94
107
119
no
299
44
312
263
33
292
330
185
270
90
94
34
146
129
129
266
334
337
334
XXVI
ALPHABETICAL LIST OF ILLUSTRATIONS
NAME OF PLACE.
NEWNHAM MURREN
» »»
NOKE -
NORBURY
NORTH BOVEY
„ CRAWLEY -
„ MARSTON -
„ MORETON-
>i »
„ STOKE
NORWICH CATHEDRAL -
„ ST GILES
„ ST JOHN TIMBERHILL
„ ST LAWRENCE
„ ST MICHAEL AT PLEA
ST PETER HUNGATE
SUBJECT.
- Chancel roof, section
Nave ,,
- Termination of stalls -
Parclose
Benches -
Misericord
,S. aisle roof, section -
S. chapel „
N. porch -
Misericord
Nave roof, section
N. aisle, section
Door
Nave roof -
section
PAGE
96
106
106
1 80
230
3n
190
90
94
96
190
100
90
2
IOO
122
IOO
OAK HAM
OAKLEY
OLD COCKINGTON
OLD SHOREHAM
OTTERY ST MARY
OXFORD, ST FRIDESWIDE'S
ST MARY MAGDALEN
N. chapel roof, section
N. aisle screen and loft
Pulpit
Nave roof, section
Lectern
Nave roof -
Stall front -
„ desk -
Chantry -
Chest
90
273
295
96
208
126
171
178
224
349
PATRICIO
PILTON
)»
PINCHBECK -
PITCHFORD -
PlXLEY
PLYMTREE
n
POLTIMORE -
POTTERNE
QUEEN CAMEL
Gallery front
Font-cover
„ detail
Door
„ detail
Font-cover
Tomb of Sir John Pitchford
Screen
Interior of church
Bench
Vaulting of rood screen
Pulpit
Rood screen
Pulpit
243
338
339
82
84
330
358
249
259
33
265
292
258
293
ALPHABETICAL LIST OF ILLUSTRATIONS
XXVll
NAME OF PLACE.
RANWORTH -
RATTLESDEN-
RODMERSHAM
ROSSINGTON -
RYCOTE
ST DAVID'S CATHEDRAL
ST DECUMAN'S
SALFORD, BEDS.
SCOLE -
SELWORTHY -
SENNEN
SHEPTON MALLET
SHIPDHAM -
SHIPLEY
SHOREHAM, OLD -
SHOTWICK -
SIBTON -
SOHAM -
)>
SOUTHACRE -
SOUTH CREAKE
SOUTHWOLD -
SOUTH WRAXALL -
STAMFORD ST JOHN
»> j>
STANTON HARCOURT
STOGUMBER -
STOKE, NORTH
STONHAM, EARL
j> »
STOW - -
STRATTON-ON-THE-FOSS
STUSTON
SUBJECT.
Lectern
Poupee head
Sedilia
Pulpit
Font-cover
Tower vault
Sedilia
Bishop's throne
Wall plate -
Porch
Lectern
Wall plate -
Chancel roof, section
Nave roof -
Lectern
Porch
Nave roof, section
Door
Tracery head of screen
Screen
Benches
Tower screen
Nave roof, section
Aisle roof -
S. aisle roof, section -
Nave
Stall seating
Misericord
Stall fronts
Parclose screen -
Rood screen
Detail of parclose
Pulpit
Hall roof, section
Chancel „
Rood screen
Nave roof, section
Rood door
N. porch roof, section
Wall plate -
Chest
Benches
S. door
S. porch roof, section
PAGE
207
186
'45
290
33°
'33
'45
J93
128
62
2OI
128
98
118
204
62
96
78
261
47
309
249
100
12
12
90
100
1 68
190
171
236
262
260
287
98
94
47
107
79
47
127
348
312
2
97
xxviii ALPHABETICAL LIST OF ILLUSTRATIONS
NAME OF PLACE.
SUTTON-AT-HONE -
SUTTON COURTNEY
»> »
SWAFFHAM BULBECK
SWANCOMBE -
SWINBROOK -
SWYMBRIDGE
SUBJECT.
Chapel roof, section -
Chancel ,, „
Nave ,, „
Benches
Lectern
Chancel roof, section
Panelling of screen
Font-cover
detail
PAGE
96
97
107
3°9
204
97
45
338
339
TADMARTON
TATTERSHALL
TAWSTOCK
TEDBURN ST MARY
TERRINGTON ST CLEMENT
THAME
THORNHAM -
THORNHILL -
TILNEY ALL SAINTS
TlVERTON
TONG
TOOT BALDON
TOTNES
TRULL
TRUNCH
Benches
Door
Choir roof
Pulpit
„ detail
Roof, section
".-V "
Font-cover
Screen
Nave roof, section
Tracery of screen
Door
Tomb of Sir John Saville
Nave roof, section
Chantry chapel door -
Stall elbow
N. aisle roof, section -
Door
Pulpit
Chancel roof, section
Font-cover
299
82
121
289
289
97
97
336
32
107
25
33
358
100
85
187
90
85
293
96
320
UFFORD
»
N
»
UPTHORPE, ASTON
» M
UPWEI.L
WALPOLE ST PETER
WALSHAM-LE-WILLOWS -
WALSOKEN -
Nave roof, section
»
Font-cover
,, detail
S. transept roof, section
Nave roof, section
Roof angel
,, hammer-beam -
N. aisle roof, section -
Nave
Nave
S, aisle screen -
107
I25
46
324
97
106
127, 128
127
90
107
125
252
ALPHABETICAL LIST OF ILLUSTRATIONS
XXIX
NAME OF PLACE.
WALTHAM, GREAT
WARBLINGTON
WARFIELD
WARKWORTH
WARMINGTON
WATH -
WELL, YORKS.
WELLOW
WELLS CATHEDRAL
„ VICAR'S CLOSE -
„ CHAPEL
,, Sr CUTHBERT'S
WENDON
WENSLEY
WEST CHALLOW
>5 55
„ DOWN
,, GRINSTEAD
WEST HORSLEY
WESTHALL -
WESTMINSTER ABBEY
»5 55
55 5)
WHISSENDINE
WHITCHURCH, DENBIGH
WlGGENHALL ST MARY V.
WINCH, EAST
WINCHESTER CATHEDRAL
WlNGFIELD -
WlNTHORPE -
WlTTENHAM, LONG
WlTTON, NORTHWICH
WOOLPIT
55
55
SUBJECT.
PAGE
Benches
299
Porch
62
Screen and loft -
241
Bench
316
Nave vault
130
Chest
349
Font-cover
335
Door
80
Nave roof -
in
Benches
3l8
Misericord
188
Cope chest
351
Roof, section
98
55 55
98
Nave roof -
124
Pulpit
277
Stall-end -
176
Alms box -
340
Porch
69
,, roof, diagram -
96
Roof, section
97
Porch
70
)J
62
S. aisle roof, section -
98
55 55
121
Wall plate -
127
Sedilia
144
Tomb of Edward III.
352
Canopy over ditto
II
Roof-
28
Nave roof -
120
Bench
3*4
S. aisle roof, section -
90
Aisle roof -
no
Benches
301
55
3'3
Stalls
151
Parclose screen -
260
Door
83
Stall-end
175
Chantry screen -
221
Porch
68
Nave roof -
113
Roof
86
Benches
3*4
Bench
314
XXX
ALPHABETICAL- LIST OF ILLUSTRATIONS
NAME OF PLACE.
WORLINGWORTH -
VVORSBOROUGH
WRAXALL, SOUTH -
YARNTON
YORK CATHEDRAL
„ ST CRUX
SUBJECT.
Nave roof, section
»
Font-cover
Tomb of Sir Roger Rockley
Hall roof, section
S. aisle „ „
S. transept doors
Chest
Cope chest
Lectern -
PAGE
100
123
336
359
98
94
72
ii
204
COUNTY INDEX OF ILLUSTRATIONS
(The numbers refer to the pages of the book)
ANGLESEA. — Beaumaris, 169. Llaneilian, 268.
BEDFORDSHIRE. — Leigh ton Buzzard, 167, 208. Oakley, 273. Salford, 62.
BERKSHIRE. — Aston Upthorpe, 97, 106. Blewbury, 79. Cumnor, 90, 96. East
Hendred, 207. East Hagbourne, 67, 291. Ferry Hinksey, 106. Harwell, 90,
96, 1 06. Little Coxwell, 106. Long Wittenham, 68. North Moreton, 90, 94.
Sutton Courtney, 97, 107. Warfield, 241. West Challow, 69, 96.
BRECON. — Patricio, 243.
BUCKINGHAMSHIRE. — Edlesborough, 172, 288. Hillesden, 172. Ivinghoe, 200. North
Crawley, 311. North Marston, 190.
CAMBRIDGE. — Burwell, 90. Ely, 183. Fulbourne, 286, 309. Guilden Morden, 249.
Horningsea, 309. Landbeach, 286. Soham, 47, 309. Swaffham Bulbeck, 309.
CHESHIRE. — Astbury, 78, 186, 208, 239. Bunbury, 77. Chester, 22, 27, 163, 165, 166,
1 68, 174, 187, 189. Chester St Mary, 114. Daresbury, 248. Gawsworth, 114.
Marbury, 290. Mobberley, 263. Nantwich, 146. Shotwick, 78. Witton, 113.
CORNWALL. — Mullion, 34. Sennen, 98.
CUMBERLAND. — Carlisle, 32, 184, 189.
DENBIGHSHIRE. — Derwen, 268. Gresford, 113, 167, 169, 175, 186. Llanrhaiadr,
D.C., 71, 118. Llanrwst, 267, 270. Llanynys, B.C., 81, 120. Whitchurch, 120.
•ERBYSHIRE. — Ashbourne, 79. Derby All Saints, 359. Norbury, 180.
DEVON.— Ashton, Higher, 61, 98, 306, 307. Atherington, 271, 319. Beaford, 98.
Braunton, 319. Bridford, 45. Burrington, 117. Bovey, North, 230. Chivelstone,
294. Chulmleigh, '259. Colebrook, 31. Cockington, 295. Crediton, 350.
Cullompton, 117. Down, West, 97. Exeter, 193, 194, 195, 255. Haccombe, 97.
Hennock, 142. Halberton, 294. Ipplepen, 98, 295. Kenton, 274. Kentisbere,
43, 210. Lapford, 319. Littleham-cum-Bideford, 33. Monkleigh, 33. Ottery
St Mary, 208. Pilton, 338, 339. Plymtree, 33, 259. Poltimore, 265. Swymbridge,
45> 338, 339- Tawstock, 97. Tedburn St Mary, 97. Tiverton, 85. Totnes, 85.
DORSET. — Bradford Abbas, 96.
DURHAM.— Durham University, 176. Heighington, 291. Jarrow, 174.
ESSEX. — Littlebury, 204. Waltham, Great, 299. Wendon, 277.
FLINT.— Hawarden, 176.
XXX11
COUNTY INDEX OF ILLUSTRATIONS
GLOUCESTER. -Chipping Camden, 97. Cirencester, 221. Gloucester, 164. Iron
Acton, 299.
•HAMPSHIRE.— Christchurch Priory, 179, 19°- Warblington, 62. Winchester, 151.
HEREFORD.-Aymestrey, 264. Hereford All Saints, 182, 348. Pixley, 249.
HERTFORDSHIRE.— Hitchin, 252.
HUNTINGDON.— Ramsey, 196.
KENT.— Detling, 207, 209. Canterbury, 355. High Halden, 67. Lenham, 209.
Lullingstone, 31. Maidstone, 96. Rodmersham, 145. Sutton-at-Hone, 96.
Swanscombe, 204.
LANCASHIRE.— Cartmel, 187, 189. Lancaster, 181. Manchester, 173, 184.
LEICESTERSHIRE. — Barkstone, 177.
LINCOLNSHIRE.— Addlethorpe, 80, 107, 124, 234, 254, 255, 261. Bratoft, 178. Burgh,
254. Cotes-by-Stow, 313. Fishtoft, 254, 289. Freiston, 334. Huttoft, 350.
Lincoln, 130. Pinchbeck, 82, 84/330. Stamford St John, 47, 94. Stow, 312.
Tattershall, 82, 121, 289. Winthorpe, 83, 175, 221.
LONDON. — Westminster Abbey, n, 144, 352.
MONTGOMERY. — Llanwnog, 269. Montgomery, 185, 270.
NORFOLK. — Attleboruugh, 246, 266, 273. Blakeney, 100, 122. Burnham Norton, 287.
Castle Acre, 279, 329. East Hailing, 48, 201. East Winch, 90, no, 301, 313.
Elsing, 46. Hunstanton, 60. King's Lynn, 158, 231, 84. Lympenhoe, 97.
Ludham, 48. Middleton, 119. Norwich Cathedral, 190. NORWICH: St
Lawrence, 2, St Giles, 100, St Peter Hungate, 100, 122, St Michael at Plea, 100,
St John Timberhill, 90. Ranworth, 207. Scole, 201. Shipdham, 204. Southacre, 12,
100, 249. South Creake, 90. Terrington St Clement, 336. Thornham, 83. Tilney
All Saints, 100. Trunch, 96, 320. Upwell, 127, 128. Wiggenhall St Mary V., 314.
Walpole St Peter, 90, 107. Walsoken, 252.
NORTHAMPTONSHIRE.— Ashby St Ledgers, 41, 258, 311. Byfield, 41. Brington, Great, 41.
Hemington, 180. Higham Ferrers, 177, 180, 251. Lowick, 41. Middleton
Cheney, 94, 107. Warkworth, 316. Warmington, 130.
NORTHUMBERLAND.— Hexham, 141, 222. Newcastle: St Nicholas, 334, 337, St John,
334-
NOTTINGHAMSHIRE.— Blyth Abbey, 340. Newark-on-Trent, 266.
OXFORDSHIRE.— Adderbury, 28, 107. Bloxham, 94, 348. Burford, 224. Cassington,
311. Charlton-on-Otmoor, 32, 94. Church Handborough, 39, 40, 94, 228.
Chinnor, 226. Coggs, 94, 97. Combe, 94. Ewelme, 67, 94, 98, 112, 115, 333.
Eynsham, 299. Fritwell, 90, 299. Forest Hill, 96. Great Haseley, 97. Headington,
98. Islip, 106. Marston, 106. Marsh Baldon, 68, 96. Milton, Great, 299. Minster
Lovell, 312. Newnham Murren, 96, 106. Noke, 106. North Stoke, 96. Oxford
Cathedral, 126, 171, 178, 224. Oxford St Mary Magdalen, 349. Rycote, 330.
Stanton Harcourt, 107. Swinbrook, 97. Tadmarton, 299. Thame, 25,. 32, 107.
Toot Baldon, 90. Yarnton, 94.
PEMBROKE.— St David's, 133, 145, 193.
COUNTY INDEX OF ILLUSTRATIONS xxxiii
RADNOR. — Llananno, 30, 42, 264.
RUTLAND.— Oakham, 90. Whissendine, 28.
SHROPSHIRE.— Clun, 142. Ludlow, 133, 174, 185, 186, 189. Pitchford, 358. Tong,
187.
SOMERSET.— Backwell, 250. Bishop's Lydeard, 316. Broomfield, 44, 317. Bruton, 126.
Brympton Devercey, 98. Crewkerne, 90. Crowcombe, 303, 318. Dunster, 253, 265.
High Ham, 43. Hinton St George, 96. Ilminster, 107. Keynsham, 256.
Kilmersden, 313. Leigh-on-Mendip, 304. Mark, in, 311. Milverton, 44, 316.
Monksilver, 292, 330. Queen Camel, 258, 293. St Decuman's, 128. Sheptori
Mallet, 1 1 8. Selworthy, 128. South Wraxall, 98. Stogumber, 79. Stratton-on-
the-Foss, 2. Trull, 293. Wellow, 80, in, 318. Wells, 98, 188, 351. St
Cuthbert's, 124.
STAFFORDSHIRE. — Blore Ray, 251.
SUFFOLK. — Asbocking, 331. Bacton, 100. Badingham, 29. Barking, 77, 116, 332.
Bramfield, 266. Burstall, 69. Blythburgh, 90, 115, 202, 209,340. Copdock, 81,
331. Dennington, 116, 243, 272, 315. Earl Stonham, 127, 348. Eye, 60, 262.
Finningham, 332. Framlingham, 119. Fressingfield, 296, 315. Frostenden, 331.
Grundisburgh, 26, 100, 123. Hawstead, 201. Helmingham, 127. Hepworth,
336> 337- Mildenhall, no. Needham Market, 129. Rattlesden, 186. Sibton, 261.
Southwold, 100, 168, 171, 190, 236, 260, 262, 287. Stuston, 97. Ufford, 46, 107,
125, 324.. Walsham-le-Willows, 125. Westhall, 98, 121, 127. Wingfield, 260.
Woolpit, 86, 314. Worlingworth, 100, 123, 336.
SURREY. — Ewhurst, 70.
SUSSEX. — Chichester St Mary's, 188. Old Shoreham, 96. Shipley, 62. West
Grinstead, 70. West Horsley, 62.
WILTSHIRE. — Avebury, 245. Christian Malford, 250. Edington, 100, 222. Potterne, 292.
WORCESTERSHIRE. — Huddington, 71. Leigh, 245.
YORKSHIRE. — Almondbury, 335. Beverley : Minster, Frontispiece, 26, 134, 144, 166,
220, St Mary, 25, 94, 112, 170. Cowthorpe, 143. Flamborough, 223, 257, 267.
Grinton, 201. Halifax, 329, 335. Hemingborough, 188, 312. Hubberholme,
269. Hull, Holy Trinity, 177, 257. Kirk Ella, 25, 249. Kirk Sandall, 256.
Loversall, 188. Rossington, 290. Thornhill, 358. Wath, 349. Wensley, 176,
340. Well, 335. Worsborough, 359. York: Cathedral, 11, 72, 351, St Crux, 204.
C
J
G
Z
ENGLISH CHURCH
WOODWORK
I
INTRODUCTION
THE mediaeval woodwork of England is one of the most magnificent
legacies of our forefathers. It is extraordinarily difficult to realise
that our race, now enthralled in the wonders of mechanical science,
and one of the least artistic in the world, was once equally devoted
to the delights of beautiful craftsmanship. Yet this is the case.
The Middle Ages, and above all the fifteenth century, produced in
vast quantities the most wonderful woodwork the world has ever
seen ; and that of England, though its superiority or inferiority to
that of the Continent is a matter for dispute, is of the greatest
importance. It has been particularly fortunate in escaping destruction,
though it is pitiful to reflect that not more than a tenth part of the
lovely church fittings of pre- Reformation days remains for our
admiration, and that much of this work has suffered so grievously
from time, neglect, and mutilation as to be almost unrecognisable
by its designers. Of the hundreds of fine reredoses which are
known from documents to have once existed, only a few scanty
and unimportant fragments remain ; while rood-lofts, once the most
magnificent adornment of every parish church, are now so rare that
when, by exception, one has survived, latter-day antiquaries have
been at the pains of inventing absurd legends to the effect that
these purely parochial ornaments of the church have been brought
from an abbey at the Dissolution.
3
4 WIDESPREAD RICHNESS OF WOODWORK
In the face of this widespread destruction it is marvellous that
so much is left for the delight of those who care to seek for it, not
only in those well-known architectural districts, the west country
and East Anglia, but in practically every county. There are few
parts of the country which do not possess interesting and beautiful
local types of medieval woodwork. The 'lovely group of timber
porches in the south-eastern counties (62-67), the grand roofs of
Cheshire (113, 114), the stately screens of Yorkshire (223, 257), are
instances, and the enthusiastic student will find similar remains of
beautiful and strongly constructed woodwork almost everywhere.
Nevertheless, until recent years it has passed almost unnoticed.
The astounding richness of the Devonshire churches in elaborately
carved woodwork appears to be known to comparatively few. Vast
numbers of visitors see the magnificent screen at Dartmouth, but
they are left with the impression that it is an isolated phenomenon,
or a relic of some monastery, whereas, beautiful as it is, practically
every west country church once had a screen rivalling, or even
surpassing it in beauty, and several hundred still retain one. Again,
thousands of visitors to the East Coast are entirely unaware that
they are in a district where scores of fine churches are still glorious
with mediaeval carving and painting, and that this work is one of
the highest achievements in art that the English race has attained.
In Wales the churches are humble, and certainly not calculated to
catch the eye of the tourist. They are indeed utterly insignificant
amid their solemn surroundings of great hills. Very few visitors ever
enter them, but, if by chance they do so, they cannot fail to be
impressed with the skill and devotion of those mediaeval wood-carvers
who could make even these mean structures glorious with rood-lofts
such as those of Llananno (42), or Llanrwst (270).
It cannot be too strongly emphasised that fine woodwork, though
now found in comparatively few churches, was once possessed by all.
Every church had its pews, its rood-loft, its font-cover ; and there is
no reason to suppose that those which have survived have escaped
destruction because of their exceptional beauty. Indeed the reverse
is far more likely.
THE CAUSES OF ITS ATTRACTION 5
What is the secret of the charm of mediaeval woodwork? In the
first place, the ancient craftsmen were gifted with an eye for proportion
and a sense of scale which can only be properly appreciated by
comparing a work of the Middle Ages with some effort of a modern
craftsman, whose artistic senses are blunted by the countless hideous
things he sees daily, while his brain is jaded with the conflicting
teaching of dozens of false prophets. In the second place, the elements
with which they had to deal — shafts, pinnacles, tracery, canopies, trails,
and crestings — were exceedingly beautiful in themselves. No one but
a modern genius could fail to combine them into harmonious com-
positions. Then again the methods of the mediaeval craftsman were
so human, so full of energy, so devoid of effort. Never having seen
the results of slave or machine labour, he had no desire to emulate it.
Minute accuracy and exact symmetry were not esteemed as virtues,
nor was smoothness and regularity of surface regarded as an end in
itself. If one cares to examine a bit of mediaeval tracery, one will
generally find the remains of the setting out lines deeply scored into
the wood, and a glimpse will be obtained into the actual processes
employed. The carving is a true product of the chisel and the gouge,
not a reproduction in wood of a clay original model.
Though the wood-worker of the fifteenth century appreciated the
value of repetition, and was aware of the rich effects which can be
produced by the reduplication of the same element, his duplicates are
scarcely ever exact. Here he has run against a bad knot, around
which the moulding is made to curve ; there his tool has slipped, and
he has been obliged to modify the design to hide the defect. When
variety is the motive of the design, as in some of the Welsh rood-lofts
(268, 269), or the later bench-ends of Somerset (316, 317), or Suffolk
(314, 315), the fertility of the design is astonishing. The effect is
very rarely restless or incongruous, nor does it leave the impression
that the craftsman is trying to make a display of his skill. Though
figure sculpture was not a strong point of the English wood-worker,
he excelled in the comic element, without which much mediaeval
carving would be almost too pretty. The value of the grotesque
:an only be appreciated fully when one contemplates examples of
6 DESTRUCTION AND RESTORATION
Victorian restorations in which mediaeval grotesques, thought by
those supersensitive souls to be too coarse for a place of worship,
have been superseded by innocuous angels. There is no contrast,
and just as it appears to take good and bad men to make a world,
so the beautiful and the grotesque must be combined to produce
woodwork with the charm of that of the Middle Ages. Not that
medieval grotesques symbolise evil. Many of them are the most
engaging beasties and devils, possessing in a high degree the beauty
of extreme ugliness, while many of the most hideous were employed
to teach the most moral stories.
It is a matter for great thankfulness that the passion for the
destruction of mediaeval woodwork has abated within the last few
years, a result largely due to the reawakening interest on the part
of the public, educated by the numerous well-illustrated books on
the subject which have lately made their appearance. Nowadays a
screen or a font-cover cannot disappear without a hue and cry being
raised, and considerable unenviable publicity. A few years ago many
splendid examples of mediaeval art in out-of-the-way places were
absolutely at the mercy of the local authorities, often ignorant and
fanatical ; now, with the aid of the cycle and motor, they can be kept
under surveillance by ardent antiquaries. The great danger is that
of over-restoration, which has already deprived many gems of mediaeval
art of their interest and authenticity. But there is a lesser danger,
one which has already wrought untold damage. Periodically at the
great festivals of the Church, and more particularly at that still more
popular festival, the Harvest Thanksgiving, the most exquisitely
wrought ornaments of the church are shrouded and hidden by trails
of untidy greenery, or absurdly adorned with vegetables. Could
anything be more ridiculous than this attempted ''decoration" of that
which is already supremely decorative ? But there is cause here for
tears as well as laughter, for this greenery cannot be artistically disposed
without the aid of stout nails, driven into the old oak, while sharp
wires or dirty wisps of string are often left permanently clinging to the
screen ready for the next festival. On every hidden ledge, above all,
on the top of the screen, or in the upper niches of the font-cover, there
THE POPULARITY OF WOODWORK 7
may be found lumps of decaying moss or dead ivy leaves, attracting
all kinds of filth and setting up decay. The clergy are gradually
awaking to the mischievousness of these orgies of floral decoration,
but it is difficult to reach or to influence their lady parishioners. In
time, perhaps, even they will realise that every fragment of mediaeval
art is irreplaceable and precious, and that until we are capable of
producing better work (and this is unlikely to happen for many years)
it is our duty to do all we can to pass it on intact to the next genera-
tion, who may be better able than we to understand its excellence.
Under normal conditions it was inevitable that the art of wood-
working should flourish during the later Middle Ages, but while some
districts are very rich in mediaeval woodwork, in others it has been
almost entirely destroyed in the various social and religious dis-
turbances which have arisen since the Reformation. It may also be
noted that in some parts of the country the woodwork reaches a very
high level of design, while in others it is somewhat mediocre. v
There was great enthusiasm for religion among all classes,
particularly among those of comparatively humble birth, for the
horrors of the Black Death of 1349 had driven them to seek
consolation in the ministrations of the Church. Beauty and religion
(were inseparable to the mind of the mediaeval Englishman, whose
way of showing his love towards God was to worship Him with
beautiful ceremonies in beautiful places. Money was plentiful,
partly because of the enterprise and industry of the Englishman of
that date, particularly in all the branches of the wool trade, and
partly because of the simplicity of the wants of the average citizen.
The standard of comfort was not high, sumptuary laws prevented
much needless extravagance, and expensive sports had not yet been
invented. The churchman, therefore, had both the will and the
means to provide good woodwork for his parish church, in which
he took a great delight. He would even have done so had the work
been costly, which it was not. Timber was very plentiful and good in
almost all districts, and the methods of the mediaeval craftsman were
conducive to cheapness. He hated tiring, time-wasting labour, and
mechanical perfection of finish was unknown to him ; he studied how
8 METHOD OF MEDIAEVAL WORKING
he could obtain the most delightful effect with the minimum of trouble.
The usually accepted idea that in these far-off days the wood-carver
took infinite care and pains over his work, while the modern worker
is slapdash and inclined to jerry-build, is absolutely at variance with
the facts. The mediaeval worker always had an eye to the general
effect, and cared very little for open joints, twisted timbers, irregular
setting out, and rough surface, provided the complete work was strong
in construction and beautiful in design. The average modern crafts-
man, working blindly from the design of the architect, gives his whole
mind to producing a perfect regularity both of setting out and surface.
His curves are perfect segments of circles, and his mitres are worked
with meticulous care. He wastes hours in minute corrections and
adjustments, and in tedious rubbing down with sandpaper. For
these reasons, in spite of the greater efficiency of modern tools, which
should make for greater rapidity and cheapness of production, wood-
work was much cheaper in the Middle Ages than at the present day.
Besides all this, there was a healthy state of competition.
Parishes vied with one another as to who should make their church
the most beautiful, while between craftsman and craftsman the com-
petition must have been strenuous, and certainly tended to raise the
standard of design. Difficulties of communication rendered the
employment of local workmen very advantageous, and as a con-
sequence the parishioners took a far greater interest in the work,
which they could see growing in the wood-carver's shop, in their
own village, or in the market town, than if it had suddenly arrived
in the church from some far-off manufactory.
And if mediaeval woodwork is remarkable for its quantity, it is
even more notable for its quality. The general high level of design
may be attributed to the system of apprenticeship, by which the
apprentice learnt all that the master knew, and was taught to improve
upon and develop his knowledge, not to be original or to branch off on
his 'own account upon new and profitless experiments. Nor was he
hampered and confused like the modern craftsmen by a slight know-
ledge of all the architectural styles of all periods and countries. He
knew no art save that of his own land and that of his own immediate
DISTRIBUTION IN DIFFERENT COUNTIES 9
ancestors, and cared for none but that of his contemporaries. This
simplicity of aim was lost in the sixteenth century, owing to the influx
of foreign craftsmen with different traditions, and to the changes of
the Renaissance, and it can never be recovered.
It is probable, then, that woodwork would have flourished equally
strongly in every part of the country but for various adverse influences.
In some counties there were important manufactories of tombs and
effigies. In the Midlands these were freely patronised, and the com-
petition of the tomb maker adversely affected the wood-worker. The
best woodwork counties are generally poor in monumental remains,
while those where the tomb makers flourished are comparatively weak
in. woodwork. In Somerset, where wood-working reached a very high
level indeed, still better work would have been done if so great a
proportion of the wealth of the county had not been devoted to the
abnormal development of the tower.
Some counties, particularly those in the extreme north, had no
natural advantages in wealth or materials. They were poor in soil
and their populations were small ; they were constantly subject to raids
and invasion. It is not surprising that Cumberland, Westmorland,
Northumberland, and Durham are about the poorest counties in
England for mediaeval woodwork. Indeed, the wonder is that what
they do possess is so good and refined in design. Wales presents
a very interesting problem. Although possessing few natural resources,
and at no time particularly prosperous, it produced much work which
surpasses that of many of the wealthy English counties.
The evil effects of war and rebellion probably account for the
comparative unimportance of the woodwork of the Midland and Home
counties. These were most affected by the various popular risings
of the fourteenth, fifteenth, and sixteenth centuries, and by the long
Wars of the Roses, though the latter were waged with comparative
humanity with very small forces, and appear to have interfered with
the crafts very little. The churches were generally spared, and when,
by exception, they were destroyed, as at Stamford, they were rebuilt
on the conclusion of peace, far more beautifully than before, with
splendid woodwork, judging from what has escaped the iconoclasts.
io INFLUENCES ON THE CRAFT
But the Home counties were perpetually undergoing political dis-
turbances and uprisings, and in this country politics and the arts
cannot flourish side by side.
The precise effects of pestilence upon mediaeval crafts, has only
just begun to be recognised and studied. It may be that the compara-
tive freedom of the maritime counties from the terrible epidemics
which broke out from time to time, as compared with the severity
of the outbreaks in the Midlands, may account for the excellence
of most of the counties on the sea coast from the point of view of
wood-working.
WESTMINSTER ABBEY, TESTER TO TOMB OF EDWARD III.
YORK MINSTER, CHEST
II
THE ROOFING SYSTEM OF AN EAST ANGLIAN CHURCH
SOUTHACRE, NORFOLK, HAMMER-BEAM ROOF OF NAVE
JTHACRK, NORFOLK, FLYING BUTTRESS ROOF OF AISLE
12
THE RISE AND DEVELOPMENT OF
THE CRAFT OF WOOD-WORKING
ENGLAND produced scarcely any woodwork of artistic importance until
the latter part of the thirteenth century. All the ablest designers
and workers appear to have been engaged in masonry, which
dominated all the other crafts at this period, with the exception of
that of the smith. Such meagre fragments of twelfth and early
thirteenth century woodwork as remain are of primitive and rather
illogical construction, and possess very little beauty of proportion or
charm of detail. It is obvious that the craftsmen in wood had not
yet appreciated the qualities and possibilities of wood as a medium of
artistic expression, for they drew their ideas, both of design and
construction, directly from stonework.
For instance, until the second half of the thirteenth century the
generally accepted method of making a chest was to hew it, with
infinite labour and great waste of material, from the solid trunk of a
tree, just as the stone coffins of the period were cut from a single block
of stone. Similarly, a chest tomb was built up of great slabs of oak
in the manner of the mason, while the openings in the framework of
screens were filled in with arcades, of which the various members
were dowelled together like stonework, instead of being properly
framed together with mortice and tenon joints.
Again, if we examine such well-known examples of early wood-
work as the wooden railing at Compton, Surrey ; the desks at
Rochester ; the reredos at Adisham, Kent ; the tombs at Salisbury and
Pitchford, Salop (358) ; and the screens at Thurcaston, Leicestershire ;
Gilston, Herts. ; and Stanton Harcourt, Oxon., we find that in every
instance the only motive of the decoration is the arcade, taken directly
from stonework. It is true that the proportions of the parts are
slightly modified ; the members are more slender and the mouldings
13
I4 THE RISE AND DEVELOPMENT
are more delicate ; but the fact remains that the wood-worker was
regarding his material .as an inferior substitute for stone, and was
copying the work of the mason as closely as his material would admit ;
indeed^he probably hoped that when coloured his work would pass
for stone.
Other branches of wood-working were taken over by the smith.
For instance, all the early doors and a large and important group of
chests consisted only of plain oak boards, fixed together with wrought-
iron nails, and almost entirely covered with elaborate straps and
hinges of iron scrollwork. These are, perhaps, the most striking
examples that can be given to show the humble position of the wood-
worker in the early days of Gothic art.
A certain community of motive between the mason and the
carpenter is very desirable from the artistic point of view, but it is
inexpedient to translate forms so directly from one material to the
other, for the natures of stone and wood are entirely different. Stone
is of granular structure, and must be dealt with in more or less cubical
blocks, while wood is fibrous, and is best when employed in long and
comparatively slender pieces, or in thin boards. If stone were used
in such thin and delicate pieces it would inevitably fracture, while
if wood were used in great cubical blocks it would be certain to shrink,
twist, and crack, owing to the imperfect seasoning of the heart.
Again, stone is very heavy, and the various parts of a masonry
structure remain in position by their own weight, assisted by dowels
to prevent one block sliding upon the other. On the other hand,
wood is so light that the different members must be framed together
with mortice and tenon joints, and pegged to prevent displacement.
No great progress was possible while the carpenter clung to the
constructional methods of the mason and the smith, and depended so
entirely on the decorative motives of stonework. But thirteenth-
century woodwork is not without its beauties. The delicacy and
refinement of the mouldings, particularly those of the turned shafts,
and the boldness and vigour of the foliage carving, when it occurs,
are very striking. The misericords of Exeter and Hemingborough,
Yorks. (188), have vigorous foliage and figure work of this period, and
<
OF THE CRAFT OF WOOD-WORKING 15
there are one or two examples among the series at Christchurch,
Hants, and Henry the Seventh's chapel at Westminster. The design
is somewhat incoherent, and the various motives give one the im-
pression that they are applied haphazard to the little brackets. They
were probably cut by stone masons, and it is easy to see how delighted
they were to find that wood would bear undercutting to an extent
almost impossible in stone, but it is evident that they did not yet
appreciate its fibrous nature.
The earliest English woodwork of real importance in the history
of art is the stallwork of the quire of Winchester cathedral church
151), which dates from the latter part of the thirteenth century,
and exhibits all the great faults and excellences of the period. '
The design of the canopies appears to have been borrowed directly
from such canopied tombs as that of Bishop Acquablanca at Hereford.
The tall traceried gables and slender turned shafts are built up in the
mason's manner, and the cutting of the elaborately moulded tracery
of rigidly geometrical pattern must have entailed great, and mono-
tonous labour, which is hardly justified by the general effect, though
these stalls are wonderfully dignified. The detail of the carving,
however, is splendid. The foliage is of several different types, some
f pronounced Early English style, some rather advanced and of
naturalistic design. It is remarkable for its bold cutting and perfection
f modelling.
These stall canopies afford one of the first instances of the
mployment of tracery in woodwork. It was an invention of the
mason, but happened to suit wood even better than stone. The
wood-carvers soon found that finer results could be obtained in their
own material, with far less labour. The arcade as a motive of
decoration gave place to bands of tracery, which as yet were supported
n turned shafts (25). At first the tracery was cut out of a thick plank,
and was elaborately moulded, but it was soon found that an equally
good effect could be obtained with less intricate mouldings, while the
tracery itself amply repaid the time spent in elaborating its lines.
This naturally led to the reduction of the thickness of the tracery,
since an elaborate design meant many piercings, and it is less laborious
,6 THE RISE AND DEVELOPMENT
to pierce a thin than a thick board. Towards the close of the fourteenth
century the mechanical and tedious part of the work was practically
eliminated, and the carver was free to devote his chief attention to
the design.
The abandonment of stiff-stalked foliage, essentially a stone
motive, in favour of natural forms, which took place at this period,
also tended to encourage the wood-carver. The natural foliage was
far better suited to the nature of wood, and was particularly inspiring
to the carvers of misericords. There are several lovely sets, but that at
Wells (188) is much the finest. These are remarkable for their well-
ordered design, their reasonable undercutting, and the extraordinary
fineness of their modelling. The figure work is full of grace and
action. Natural foliage is rare, except in misericords and stall elbows.
By the second decade of the fourteenth century the masons dis-
continued the use of geometrical tracery and natural foliage, and
began to employ curvilinear tracery, in conjunction with a more con-
ventional bulbous leafage. The wood- workers naturally followed suit,
and again the change of fashion, started by the mason for his own pur-
poses, proved to be a real source of inspiration to the wood-worker, by
whom it was carried to an extraordinary development. While most
parochial woodwork of this period was of little importance, the sedilia of
Beverley minster ( 1 34, 1 44), the Bishop's Throne at Exeter ( 1 93-95), and
the stalls of Lancaster _(i_8i), with their bewilderingly elaborate traceries
and masterly foliage carving, show what skill the wood-worker had now
acquired, and how he could now beat the mason when he cared to try.
But all these lovely works are backward as regards construction.
The wood-worker was still building up his design in great blocks,
slabs and shafts, pinnacles and gables, as if it were stonework, and
did not yet understand that it was possible to obtain results of
supremely artistic character with the reasonable method of construction
with posts and beams, framed together with the mortice and tenon,
which he invariably employed in works of a purely utilitarian character,
such as roofs. The screens of the Chichester almshouse chapel, King's
Lynn St Margaret's (231), and Lavenham, Suffolk, are examples of
compromise between the pinnacle and gable design and the more
OF THE CRAFT OF WOOD-WORKING
reasonable method. The pinnacles are framed into a head beanv
and thus become members of a rectangular framework.
The admission of framed construction into works of real artistic
importance was furthered by the revolution in style which took
place about the middle of the fourteenth century. In this, the last
and most beautiful phase of Gothic art, horizontal and vertical lines
played a very important part in the design, and these suited the
fibrous nature of the wood to perfection. The wood-worker rose
from one triumph to another, and after the year 1400 the mason
was no longer predominant. It was the wood-worker who intro-
duced new ideas and motives, and who influenced the mason, thus
completely turning the tables.
The finest late fourteenth-century woodwork is to be found in
the North. The parclose screens of_Beverley minster (frontispiece)
(rather incoherent as regards construction, but perfect miracles of grace
and beauty), and the splendid tabernacled stalls of Lincoln and
Chester (165), are the best examples of their date, combining with the
fine proportion and delicacy of the new style the wonderful finish
and subtlety of modelling which we find in the earlier work.
It is curious to note that while these magnificent works were
being carried out in the greater churches, contemporary parochial work
did not as yet reach so high a level. Simplicity of line, large timbers,
deeply cut mouldings, and severely rectilinear tracery are its main
characteristics. The screens of Halberton, Devon, Edlesborough,
Bucks., and Leighton Buzzard, Beds., are examples of this phase.
In the fifteenth century, however, the woodwork of the parish
churches began to challenge comparison with that of the cathedrals
and abbeys. All over England it grew to be the custom to provide
even the humblest village churches with admirable fittings of oak,
particularly in the eastern counties and in the south-west. Most work
was lavished upon the screens and font-covers, but the benches,
pulpits, stalls, and lecterns of the period were also of excellent design
and sensible construction-.
While the few really splendid examples of fourteenth-century
woodwork can be counted upon the fingers, and the majority are
I8 THE RISE AND DEVELOPMENT
here illustrated, the fifteenth century was responsible for the
production of so much magnificent craftsmanship in wood, that ten
volumes of this size would scarcely suffice to do it justice.
It was at this time that woodwork first became localised
Hitherto there had been little difference in style between the wood-
work of Oxon. and that of York, or between that of Kent and that
of Cheshire, but henceforward the wood-workers of different districts
developed distinct styles, which tended to become more and more
diverse as time went on. This may be partly explained by the
fact that until the middle of the fourteenth century the cathedrals
had set a standard for the parish churches, and led the way in design
but after this date churchmen appear to have transferred theii
affections and their alms to the parish churches, and an altogether
different state of affairs arose. Instead of the parish church dimly
following an unapproachable ideal (which, indeed, it would no
have been profitable for it to attain), and falling lamentably shor
of it, there arose a spirit of friendly competition between one parish
and another. Each parish strove to make its church better and more
beautiful than that of its neighbour, and to fit it up with more seemly
or even more magnificent furniture. If one parish church was
beautified by the erection of a new and finer screen than it hac
possessed before, the neighbouring parish immediately set abou
getting a new screen for their own church, inserting in the contrac
a clause to the effect that the new work was to be like that of th<
first parish, but better in all respects, for they not only wished to
surpass the efforts of the first parish, but to beat them on their own
ground. Possibly this lively competition was not very spiritual, bu
it is to the system of improved copying that the great excellence o
fifteenth-century woodwork and the extreme interest of its loca
styles were chiefly due.
By this time the propriety of framing up most articles of wood
work was frankly recognised. Posts and beams, rails and panels
did not pretend to be other than they really were, and their character
was charmingly emphasised by ornament. In the fifteenth century
this is often cut out of separate thin pieces of wood, and applied to
OF THE CRAFT OF WOOD-WORKING 19
the framing. This application of delicate ornamentation to a sturdy
main structure is very characteristic. Instances are the tabernacle
work of the stall and font canopies, and of the rood-loft fronts. These
are often composed of hundreds of delicate pinnacles, archlets, flying
buttresses, and traceried panels applied to the strong main framework
(frontispiece). There is a wide distinction between this building up of
secondary features and the building up of the main structure, which
was the rule in the early woodwork. The former is a process which
is extremely suitable to the material, and the liveliness of effect and
depth of shadow justifies the fragility of the work. Of course, much
of this flimsy work has disappeared in the course of four or five
hundred years of brutal misusage and neglect, but the wonder is
rather that the work has proved to be so enduring.
In addition to their pre-eminence in the making of furniture and
church fittings generally, the wood-workers of the fifteenth. century also
won great triumphs in structural woodwork, particularly in roof building.
The main constructional difficulties had been solved long before
In the thirteenth century, or perhaps even earlier, but the problem of
turning the roof into a fitting crown for their churches yet remained
unsolved. In the fourteenth century there was some attempt at the
beautifying of the constructional timbers of a roof on rather mis-
directed lines. The arched members were sometimes elaborately
moulded, and the other members of the principals were often cusped,
as at ^Adderbury-^^), with a rather heavy effect, and clumsy figure
sculpture is employed at Whissendine (28). The fifteenth-century roof
carpenters improved the construction by a clever use of wall posts,
reducing the thrust considerably ; and by making the arched braces
thinner and deeper, filling the spandrels with thin and delicate tracery,
they produced an effect of lightness and grace absolutely unknown
in the earlier work. The magnificent roof of .Badmgham (29) shows
the fifteenth-century carpenters at their best. They were the first to
attempt the decorative treatment of the roof surface, by means of
which very beautiful results were obtained. The successful com-
bination of the roofs of aisle and clerestory into an organic structure
was also due to the genius of the fifteenth-century carpenters.
20 THE RISE AND DEVELOPMENT
They also excelled in the design of the rood-lofts, which came
into general use in parish churches at the end of the fifteenth century ;
of these .Fkmborough (223) is typical. In spite of organised
destruction, examples remain to show how well the mediaeval wood-
workers could solve the difficult problem of poising upon a light
screen a strong and serviceable gallery that was often capable of
carrying singers, an organ, and sometimes an altar. In many cases
the design of the screen and the loft were connected by the use of
wooden vaulting, a translation from stone building, but one which it
is unreasonable to condemn on constructional grounds, for though
stone vaults are of earlier origin, it is much easier to build vaults in
wood than in stone. Wood vaulting was also employed in a few roof
cornices with admirable results, as at Framlingham (119).
Beautiful wood vaults were built on a large scale at Winchester
and St David's Tower in the fifteenth century, and were it not that
most vaults are of stone, it would not have occurred to anyone to abuse
hem as unconstitutional.
It is difficult to understand why so many hard things have been
said of fifteenth-century carving. One reads of its conventionality,
)f its squareness and angularity, of its shallow cutting and monotonous
•egularity. These faults exist only in the imagination of nineteenth-
century archaeologists, and are sufficiently refuted by the examples here
illustrated. It is true that the wonderful subtlety of modelling, which
marks the work of the fourteenth century, is no longer found, though
the vine trails of the south-west do not fall far short of this. Instead
we find a certain impressionism, and an . extraordinary sense of
calculating for distant effects, as in the tabernacle work at Beverley
(frontispiece). Looked at leaf by leaf the fourteenth-century work
may be finer, but in general effect and in the proportion and
distribution of the ornament the fifteenth-century work is incomparably
more beautiful. Very little fourteenth-century work outside the
cathedral and abbey churches is fit to compare with the glorious
trails of the western art of the fifteenth century, which may still be
seen in many little parish churches, even in the most humble.
The motives of the decoration are also more human and
OF THE CRAFT OF WOOD-WORKING 21
interesting. Heraldry, very rarely found in woodwork of the fourteenth
century, though so freely employed by the other crafts, was given a
more prominent position, and was treated with a charming freedom.
The carving of helms with crest, mantling, and supporters afforded
a splendid opportunity to the carver, as in the bench at Monkleigh
(33), and he also delighted in the quaint use of rebuses and
emblems worked into the foliage of trails or crestings. Mottoes and
inscriptions were also introduced towards the end of the fifteenth
century, particularly in the North, and the results obtained were'
extremely decorative, for the lovely black letter of the period was
admirably suited for carving in wood (290, 291).
The figure carving of this period was often as good as any of
an earlier date, but that of the misericords can only be described as
decadent. The wood-carver of the fifteenth century liked his work
to be seen, and probably thought that it was thrown away in such
an obscure position.
It is in the management of tracery, whether pierced or carved
in the solid, that the later wood-workers chiefly distinguished them-
selves. They appear to have taken a real delight in this form of
ornament. All the preceding styles were drawn upon for ideas.
Geometrical, curvilinear, rectilinear, and flamboyant motives were used
indifferently all through the century, as at Llananno (30) and Chester
(22). The designs tended to become more and more elaborate and
delicate ; floral spandrels, crockets, and cusp finials were introduced,
more and more freely, until finally the branching bars of the tracery
became stalks, breaking out into foliage instead of cusping, as at
Llanrwst (270).
"Until the last quarter of the fifteenth century English woodwork
practically independent of all foreign influence. The importation of
landers chests, such as that of Wath (349), in the fourteenth century,
seems to have had little effect upon the native style. But from this
time onwards the influence of Continental woodwork began to make
itself felt in the southern counties. There are several screens in
Devon, namely, Colebrooke (31), Coleridge, and Brushford, with a
curious type of flamboyant tracery, used in conjunction with linen-
VARIETY IN FIFTEENTH-CENTURY TRACERY DESIGN
F.HCROSSLEY.I9I6. i i
TESTER CATHEDRAL, FRAGMENTS OF SCREENWORK
22
FOREIGN INFLUENCE 23
fold panels and quaint shafts carved into scale or honeycomb patterns.
This is a common type in Brittany. These honeycomb shafts were
a popular type for bedposts, and they also occur in two Oxfordshire
screens, Thame (32) and Charlton-on-Otmoor (32), which also
have flamboyant tracery and linen-fold panels. There is a lovely
series of these shafts, with splendid knops carved with emblems, at
Dunstable, though the screen to which they belonged has been
destroyed. There are many works of flamboyant character in the
North, as at Hexham (222) and Carlisle (32).
^Lullingstone, Kent (31), has a very beautiful - screen which is
absolutely alien in type. It is of Flemish design, evidently the work
of foreign wood-workers, for • its strange intersecting tracery and
peculiar moulding are found nowhere else in England. The mag-
nificent stalls of St George's chapel, Windsor, and Henry the Seventh's
chapel at Westminster are also of distinctly Flemish design, though
they appear to have been made in London by Englishmen. The
two fine chantry chapel screens at Lavenham are also examples of
the influence of the art of the Low Countries.
Foreign influence in a design may be due to several causes.
The work may have been imported ready made from the Continent,
as in the case of the Flanders chests, or it may have been made in
England by foreign artificers, who would naturally be forced tp employ:
a certain amount of native labour ; it may have been the work of
English wood-workers familiar with the work that was being done on|
the Continent at the time, or the foreign influence may be simply due
to the wood-worker having seen and admired, or having been instructed
copy, one of these alien works. Much of the flamboyant work so
reely used in the south-western counties, though absolutely un-English
n feeling, cannot have been carved by aliens, since the technical details
f the cusping are worked in a manner essentially English and
nknown on the Continent. There can be no doubt that in these cases
the native carvers took their ideas from the imported Flemish chests.
The fertility of design in the late fifteenth and early sixteenth
century was astonishing, and at the same time a new motive, once
invented, was rarely discarded. It was the Golden Age of English
24 RENAISSANCE INFLUENCE
woodwork. It has been the custom to consider this as a period
of decadence, arid to consign all poor woodwork to a late (date.
Fortunately, the custom of dating screens and other important
church furniture which came into use about this time enables us to
prove the falsity of this theory. The dated screens of Ludham (1493),
Wensley, Mobberley ( 1 500), Trunch (1502), Aylsham (1507), Marsham
(1507), are incomparably finer than any of an earlier date. Yet
the whole art of woodwork was about to undergo almost complete
extinction.
Was this due to the " foul torrent of the Renaissance " ? It does
not seem likely. There is very little pre- Reformation woodwork in
England showing any signs of Renaissance influence save in the
south-western counties, where it arrived by way of France in the
first decade of the sixteenth century. Only the carving was affected.
The foliage began to assume the characteristics of the classical
acanthus, and was mingled with arabesques and dolphins, while
amorini of a rather insular solidity sported on the bench-ends and
screen panels. This early Renaissance carving is often of masterly
design, and splendidly worked, as at Littleham (33). The designs
are well balanced and remarkably effective, however much we may
regret the more natural foliage and stiff but pious angels of earlier
days as at Plymtree (33). Certainly these artless efforts at originality
can have had little to do with the overthrow of Gothic art, which
was due to social and religious causes, rather than the influence of
any artistic movement.
FOURTEENTH-CENTURY CONSTRUCTION AND DESIGN
i.
KIRK ELLA, YORKS., SCREEN, EARLY FOURTEENTH CENTURY
BEVERLEY ST MARY, SCREEN, MID-FOURTEENTH CENTURY
THAME, OXON., SCREEN, LATE FOURTEENTH CENTURY
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FIFTEKNTH-CENTURY DESIGN IN FOLIAGE AND TRACERY
LLANANNO, RADNOR, COVING OF ROOD SCREEN
30
THE INTRODUCTION OF FOREIGN DETAIL IN THE
SIXTEENTH CENTURY
LULLINGSTONE, KENT, ROOD SCREEN
COLEBROOKE, DEVON, PARCLOSE SCREEN
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LOCAL VARIATIONS OF TYPE
LEAVING the consideration of the rise and development of the
woodwork of mediaeval England, we turn to the more complex
subject of the individuality of the various types and schools.
Primarily. England can be divided into three almost vertical strips,
representing the areas of the three main schools, the Midland, the
Eastern, and the Western, by means of lines drawn from Dorset to
Cumberland, and from London to the Tyne.
Differences of race and history probably account for the existence
of these three schools. The Midland is the style of the normal
English race, the Western is leavened by the Celts, and the Eastern
by the Danes. Naturally, they merge into one another in the counties
near the border lines, and for this reason the woodwork of Herts.,
Cambs., Beds., Northants, Derby, and that of Dorset, East Somerset,
Hereford, Salop, and Cheshire, is of the greatest interest and variety.
It is delightful to study the effect of the various influences, blending
or conflicting, in the same composition.
In nearly every district it was the screen that led the way, and
influenced the design of the rest of the woodwork. In Devon and
Cornwall, for instance, and in the Midlands, the screen, benches,
and pulpit are composed of the same elements, and their design is
co-ordinated. On the other hand, in East Anglia the benches, the
font-covers, and the pulpits are designed on independent lines, and
are almost entirely free from the influence of the screen. They
harmonise, not because they are composed of the same features, but
because they are inspired by the same feeling for proportion and line.
The MIDLAND SCHOOL (39, 40, 41) may be regarded as the typical
English type. It is restrame37~and sometimes a little ordinary, but
35
36 LOCAL VARIATIONS OF TYPE
it charms because of its quiet simplicity, and its suitability for its
purpose, and because of its absolutely sound and reasonable con-
struction. It is likely that a very great deal of the Midland work
was produced locally by village carpenters, who were in no way
specialists in church fittings and furniture. Though the works
generally conform to the local types, it is very rare to find that
the same hand has been at work on more than two or three
items. Artistic tours-de-force must not be sought in the Midlands
but the lover of mediaeval craftsmanship will meet with much gooc
woodwork. Such interiors as those of Fairford, Ashby St Ledgers
and Higham Ferrers show how satisfactory was the quiet beauty anc
dignity of the Midland parish church when it still retained its mediaeva
fittings. The construction is generally of extreme simplicity. Archec
work, building up, and carving in the solid are rarely employed
Most of the work is framed up in rectangular panels, which are
often decorated with tracery heads, cut out of thin boards, and groovec
into the frame. Foliaged ornament, whether in crestings, trails, or
paterae, is used almost parsimoniously, and the material is of moderate
scantling. Indeed, the types of church furniture adopted in the
Midland district are of a very modest character, and very economica
compared with the costly types which are found in the rest o
England.
The WESTERN SCHOOL is remarkable for its sense of surface anc
texture. It produced immense quantities of work of extraordinar)
beauty ; a beauty due to the excellence of the carving and to th(
fertility of ideas in the ornament, rather than to the general design
Not that beauty of proportion is in any way lacking, but it sinks intc
insignificance beside the richness and quantity of the carving anc
ornamentation (43-45). The woodwork of the West is certainly th<
creation of specialists/ None but a carefully trained craftsman witl
years of tradition behind him could hope to excel in the manifol
design of the ornament, whether the intricate traceries of Wales (30
or the luxuriant foliage of the west country (43). Moreover, it i
possible to trace various types of screens or benches to a commoi
origin in the same workshop. These types are usually found ii
DIFFERENT SCHOOLS CONTRASTED 37
adjoining churches, showing that the work was produced at a number
of local centres, having only a local celebrity. There are two distinct
schools in the West, namely, that of the west country and that of
Wales. The former is distinguished by a free use of the arch
form and a lavish employment of foliage carving, the latter employs
beam construction, and excels in the elaboration of tracery and tendril
work. In the West, timber was very plentiful, and the great size of
the members of the framing and the thickness of the planks out of
which the benches are constructed is remarkable. The general solidity
of the construction is the more noticeable because most of the west
country woodwork is small in scale; the churches are low (210), the
roofs are of narrow span, and the screens are of no great height. The
carving is altogether bolder and more generous than that of the rest
of the country. The foliage is usually extremely naturalistic, and
birds, snails, spiders, and other creatures are seen among its con-
volutions. The great size of the leaves and their beautiful modelling,
the admirable variety of the crestings, and the paterae are very striking
(43). Ashton (61), Swymbridge (45, 338-9), and Monksilver (292, 330),
are good examples of west country churches retaining most of the
ancient fittings.
The EASTERN SCHOOL (46-47) is distinguished by a fine sense of
proportion, and by the beauty and free invention of the general design.
Texture is altogether subordinate to line, and ornament is rather
sparingly used. It is usually small and delicate in scale and very
carefully studied. There is not the slightest doubt that the bulk of
the eastern woodwork was made by skilled craftsmen, who devoted
themselves chiefly to the needs of the Church. It was probably
made at town centres, such as Norwich or York, under conditions
very nearly approaching those of the present day. It is possible
to trace the work of certain shops in churches widely scattered
about the probable wood-working centre. While benches fall into
local groups, as in the West, screens of the same type may occur
in parishes many miles apart, suggesting that the centres were
few in number, with a wide reputation. The churches of the
eastern district are mostly on a much larger scale than those of the
38 LOCAL TYPES
rest of England, and needed a stately, dignified, and restrained type of
woodwork. The lovable little screens of the West, for instance, with
their barbaric splendour of carving and their low proportions, would
be altogether out of place in the wide and lofty churches of East
Anglia and the neighbouring counties. The system of ornament,
also, is almost entirely different. Instead of foliage, motives of
purely architectural form, such as pinnacles, buttresses, battlements,
and turrets, are the chief source of ornament. Foliage is, as a rule,
confined to crockets, spandrels, and cusp finials ; trails and crestings,
though they often occur, play a comparatively small part in the
general composition. The wide surfaces, such as panels, are usually
decorated in colour only, instead of being encrusted with carved
ornament. Southwold, Blythburgh, and Barking are typical churches
of this district, in which most of the mediaeval fittings can be seen in
conjunction.
THE MIDLAND TYPE OF PULPIT
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THE MIDLAND TYPE OF BENCHES (NORTHAMPTONSHIRE)
GREAT BRINGTON, NORTHANTS
LOWICK, NORTHANTS
ASHBY ST LEDGERS, NORTHANTS
BYFIELD, NORTHANTS
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COLOUR DECORATION
General Principles. — Few lovers of mediaeval woodwork realise the
important part played by colour decoration in pre- Reformation days.
Nearly every screen, font-cover, and pulpit once glowed with pure
bright colour, and gleamed with gold leaf, while even stalls, pews, and
lecterns were sometimes painted. There are also very many examples
of roofs, beautifully decorated in colour, with gilded bosses ; and even
when funds would not permit of a complete scheme of colour
decoration throughout, the eastern bay of the nave roof was often
painted to form a canopy over the rood on the screen below ; or the
roof over the high altar was similarly decorated.
Comparatively little mediaeval woodwork retains its original
colour. Its gaiety was offensive to Puritans, and it was very fre-
quently concealed beneath a coat of drab paint, or worse still, by
graining in imitation of the fashionable woods of the day. In the
nineteenth century the restorers, not content with removing the
later paint, pickled off mediaeval and Georgian paint together. In case
after case it is recorded that " beneath the modern paint, traces of
mediaeval colouring were discovered, but it was not considered desir-
able to preserve it." Some otherwise admirable restorations, particu-
larly those of Devon screens, have been marred by the light-hearted
destruction of the old colour, whole series of painted saints having
been swept into oblivion. In the majority of cases the earnest
student, peering into the recesses of the mouldings, can often dis-
cover traces of red or green, while flakes of gold leaf sometimes
lurk in the interstices of the carving.
A considerable amount of lovely mediaeval painting and gilding
escaped the barbarous treatment of post -Reformation days, notably
4 49
50 METHODS AND DETAILS
in East Anglia and the west country, where the finest work is found.
In the Midlands and the North, and in Wales, examples are rarer
and of less beauty, and in many cases the work has been recoloured
in modern times with disastrous effects, bringing the whole system of
colour decoration into disrepute.
The mediaeval system of colour was to use each tint (save
white, which is usually the colour of parchment) in its purest and
brightest form, avoiding large expanses of any one colour, and work-
ing more or less strictly in accordance with the rules of heraldry.
Thus a green moulding is separated from a red one by a fillet of white
or gold, a coloured ground may be powdered with gold or white
devices, while the gilded carving stands out against a background of
blue. Counterchange of colours is very popular. For instance, in
most parts of the country panels of red and green alternate, the
former with green hollows to the tracery, and the latter with red ;
or less frequently red and blue are counterchanged in the same
manner, as in the stained glass of the day. Exceptions to the heraldic
rule against putting colour on colour or metal on metal are sometimes
found. For instance, black devices or patterns are sometimes
employed on a red or green ground, a case of colour on colour ; and
some vault ribs are white, with gold fillets, an instance of metal on
metal. Generally, however, the rules of heraldry are observed, for
these were evolved in order to display the devices on shields to the
best advantage. They are a sure guide to the successful combination
of colours, and are not due to mere caprice.
In most works the colours chiefly used are red and green, with
a good proportion of white and gold, while deep hollows and the
undersides of covings or vaults are usually painted blue, a colour
very rarely employed on a vertical surface. Carving is practically
always gilded, though the interstices, difficult to reach with the gold
leaf, are generally coloured, and the berries of a trail of foliage are
sometimes painted red or purple, shading to green. Black is used in
moderate quantities, usually twisted with gold round a bead, after the
manner of a barber's pole ; it is invaluable for throwing up the purity
of the colours. That mediaeval colour decoration, provided it has not
OF DECORATION IN COLOUR 51
been retouched, does not impress one as gaudy or unpleasant, as is
the case with most modern efforts, is due to the use of..clear4 bright!
colours, which do not clash, as dingy tints, in attempted imitation pf
the old faded colours, are bound to do ; and also to the avoidance
of broad surfaces of any one colour. The effect is to divide and mix
the various colours, so that they blend in a harmonious composition,
just as the crudely brilliant red, blue, and yellow spots of a three-
colour block combine to form subdued and mellow colouring.
(It was, then, the ideal of the mediaeval wood-worker that his
work should eventually be painted and gilded, unlike that of the
modern craftsman, who has a touching faith in the merits of good
plain oak. Those who disapprove of the colour decoration of wood-
work have altogether failed to appreciate the spirit of mediaeval design,
though they have some excuse for their heresy, since the clumsy efforts
of some restorers have made colour decoration a laughing-stock.
Nothing can be more painful than the sight of some lovely screen,
such as Cullompton, Devon ; Great Rollright, Oxoh. ; or Dennington,
Suffolk (272), hatefully disfigured by poor paint, unskilfully applied
in a wretched travesty of the original colour scheme.
As to the method in general use, it is pretty certain that oil was
the usual medium, carefully flatted, and applied very thinly. There
is, however, some reason to suppose that a kind of tempera, made
not from egg, but from fish glue, was in occasional use in East
Anglia. The usual process seems to have been to apply several
coats of white paint as a ground on which to colour. The paint \
as apparently very fluid, and was applied in the smallest possible ,
quantities, and a fine even surface was produced, absolutely free from
_prush marks, and without obscuring the finer contours of the mould-
ings. The colour was also laid on very thinly, probably in two coats,
and the surface had a wonderful bloom, which has been destroyed
in many cases by the disastrous application of varnish in modern
times. The gilding appears to have been laid on a red ground.
In most English work great economy was observed in the use I
of gold. For instance, it is rarely found on the back of a screen, 1
where yellow takes its place, and it is not often used in roofs, except
52 DISTRIBUTION AND STANDARD
in the enrichment of bosses. The eastern side of a screen is seldom
so elaborately painted as the west. The colours are often less
brilliant, and perhaps were of inferior quality. Often it is left quite
plain, but at Ashton the figure paintings at the back of the screens
are much finer than those of the front, though the colour scheme is
very simple, while pretty tapestry patterns occur in the rear of the
screen at Ranworth.
Colour Decoration in the Midlands.— In work of the Midlands the
colour decoration usually stopped at the picking-out of each mould-
ing in a separate colour, generally according to the rules of counter-
change. Enrichment of the surface was not often attempted, and,
save for the common use of a black and gold barber's pole pattern
on the larger beads of the mouldings, two colours are not often used
on a single member. Two Oxfordshire screens may be cited as
good examples of Midland colour decoration at its best. Those at
Handborough (39) are simply decorated in green and red on a white
ground. No gold is used on the lower parts of the screen, for white
takes its place on the fillets and other parts usually gilded. The
trail along the head of the screen, however, is gilded and runs in a
blue hollow ; it is bounded by gold and black beads. The coving
is blue, crossed by moulded ribs of red and white, while the bosses
are gilded. At Charlton-on-Otmoor (32) the linen panels of the
base are picked out in red and dark blue with a complete disregard
of heraldic propriety. The vaulting panels, of a deep blue, are masked
by a network of delicate gilded tracery, while the ribs have red hollows,
white fillets, and a gold bead.
A few Midland screens received the traditional adornment of
painted saints in their panels. These are generally of rather mediocre
design. Such paintings as those of prophets on Monks Risborough
screen possess no merit beyond quaintness and the charm of colour,
and the almost defaced doctors of the Church and evangelistic symbols
at Bloxham, though of exceptionally good design for the district, are
of but moderate importance.
Besides screens, very little painted decoration has been preserved
in the Midlands. There are a good number of roofs decorated in very
OF DECORATION IN COLOUR 53
subdued tints — white with black roses, as at Bledington, Gloucester-
shire, or with stars and wreaths of a brownish-red, as at Minster Lovell,
Oxon. In the south aisle of the little church at Shilton, Oxon., there
is a wall plate painted cream with a very effective painted trail of
feathery foliage in dark red, and similar remains are not uncommon.
A number of roofs were painted blue, studded with gold stars, like
the repainted roofs of Holy Trinity, Coventry, where the sides of the
deep cambered beams are decorated with kneeling figures of angels
holding shields. Similar angel painting, happily unrestored, remains
in the roof of Gawsworth (114), Cheshire. The pulpits of the district
are almost all masquerading in coats of gaudy modern colour, while
most of the font-covers have been scraped. The unusual survival of
colour decoration on the interesting benches at Great Brington,
Northants, deserves notice.
Colour Decoration in East Anglia. — East Anglian colour decora-
tion is of a far higher order. Here the same love for red and
green is found, but practically every available surface is enriched
in some way with stencilling or brushwork. The coloured panels
of the pulpits and screens are decorated with exquisitely designed
powderings of gold devices, or with finely painted figures. The
stencilled devices are of infinite variety, and include five-petalled
flowers, roses, fleur-de-lys, sprays of foliage, monograms, eagles,
pelicans, and other symbolic devices. Some of the more elaborate
golden floral stencillings sprout out into black stalks, bearing little
white flowers, as at Ranworth, while in some cases gold and
black stencils are used alternately. The screens are specially
noticeable for the beauty of the skilful brushwork foliage which
decorates the white hollows of the mouldings and the sides of the
buttresses. The flowers which these bear are usually stencilled
in red, but the stalks and leaves are generally applied freehand
with a brush, in a thick brownish-green paint, so that they are in
slight relief. A cornflower, with a blue bloom, having a square gold
centre, and foliage of red-brown, is also common. Rather coarsely
executed versions of the dog rose and the speedwell are found at
Tunstead, where the flower-painting, though rough, is in great variety.
54 CHIEF ATTAINMENTS OF COLOUR
At Southwold, green sprays with gilded pomegranates of gesso are
found. At Ranworth the lovely device of the over-and-over leaf trail
in dark green and red is employed in connection with little gilded
wooden patera? or stencilled poppies of scarlet. The ogee mouldings
are generally treated with a wave of red or green on white. Each
lobe of the colour has its little golden flower, while the white lobes
have sprays of foliage, or red flowers with green leaves. A blue
ogee with alternate roses and fleurs-de-lys of gold is employed in the
screen at Bramfield (266). In East Anglia the fillets are usually gold,
except those of the tracery, which are commonly painted red and
green in alternate panels, the cusps springing from a cream hollow,
and having red or green eyes, counterchanged. The delicate hanging
foliation of the arches of Cawston and similar screens is entirely
gilded. Black letter inscriptions, charmingly written and enriched
with flourishes and dainty flowerwork in the spaces, are a usual
feature occurring in the Burlingham pulpit, and in the hollow of the
rail of the screen at Attleborough. At Long Melford a large twisted
parchment, inscribed with an original devotional poem of extra-
ordinary length, is the somewhat uncommon ornament of the roof
cornice. The sides of the little buttresses of the standards of eastern
screens are often painted with sprays of foliage of even greater
elaboration than those which occur in the mouldings. At Marsham
and Trimingham these are of a purple colour, without flowers, while
those of the screen at Bramfield (266) are really wonderful instances of
floral decoration. The fronts of the buttresses in the earlier screens
are usually gold, while the later examples are often decorated with
delicate patterns in the raised plasterwork, known as gesso, which is
invariably gilded. Vaulting panels are generally blue, with the usual
powdering of gold stars, but at Bramfield each blue panel has a little
golden angel, outlined in black. In the exceptionally elaborate
painting of the • vault at Ranworth, the panels are white, with
wonderful sprays of foliage. The beams supporting the lofts generally
have the beads of their mouldings decorated with a barber's pole
of black and gold, with the usual wave treatment on the ogees.
In most cases there is also a gold cresting running in a blue hollow.
DECORATION IN THE EASTERN COUNTIES 55
Gold is much more lavishly used in East Anglia than in other
parts of the country, and the general effect is far richer. Although
the same series of colours is used in practically every example, they
are blended in different proportions. For instance, Ludham is a
pre-eminently gold-and-red screen, while at Ranworth lovely soft
reen and vermilions are about equally balanced.
The saints painted in the panels of the screens and pulpits of
his wonderful district are, many of them, real works of genius, very
ar in advance of the quaint daubing of the Midlands or the artless
fforts of Devon. The level of attainment is by no means equal.
The figures on the Suffolk screens ofJY^^^y-aJ^d-£ye_(^P) are °f verv
indifferent workmanship, though they fit well enough into the general
scheme of decoration, but those of Ranworth, HujLstantQn^ (60), and
Thor.nham, mannered as they are, are works of real skill. The faces
are delicately drawn, the figures are well proportioned and supremely
decorative, while their golden robes are exquisitely diapered with the
finest damask patterns, evidently copied from real fabrics. The
decorative accessories, including the symbols carried by the figures —
swords, keys, boats, crowns, crosiers — are charmingly conventionalised.
The nine orders of angels, painted in the blue panels of the north
aisle screen at Southwold, are even more decorative. Their huge
gold wings and delicious garments, decorated with jewels, bells, and
pomegranates, and the symbols by which the various orders are
distinguished, are wonderfully effective, and the faces are refined
and beautiful. Barton Turf has a similar series, with beautiful and
a mysteriously vested figures, marred only by the extraordinary size
;; of their bare feet. These paintings are intentionally fiat and con-
a| ventional in treatment, but in many screens, notably at Cawston and
IP on the main screen at Southwold, the figures are treated more or less
te naturalistically, very much in the style of Durer, with heavily modelled
{\ drapery and easy, though sometimes exaggerated, poses, and very
expressive faces. These figures are only kept in their place in the
)f colour scheme by their heavily gessoed backgrounds. At Cawston
the flower painting behind the figures is exceptionally fine and varied.
Besides all this fine work there is a good deal of very poor stuff
56 EAST ANGLIAN COLOUR DECORATION
indeed, such as the laughable kings on the screen in the aisle of
Barton Turf. The screen paintings at Loddon deserve special notice,
for they consist of scenes comprising several figures. The technique
is also different, for, instead of being treated as an oil painting pure
and simple, these scenes are drawn in a strong black outline, very
firmly and decidedly, evidently by a hand used to the design of
stained glass.
Besides screens, many pulpits, font-covers, and other articles of
church furniture in the East Anglian churches have escaped scraping
or restoration. The lovely pulpit of South Creake is now ruined with
drab paint, but one side once fixed against a pier has escaped the
muddy coating, and glows with blue panels and white and gold
tracery. The famous Burlingham pulpit is a lovely example of red and
green counterchange, and its black-lettered scroll is a good example
of the decorative use of lettering. The seated doctors of the Church
on the Burnham north pulpit (287) are only fair specimens of
mediaeval figure work, but the decorative powderings at Castle Acre
(279) are of dainty design. The colour of the font-cover at Castle
Acre is now coming to light as the modern paint flakes off. It
was an extremely fine example of red and green counterchange, with
gilded buttress fronts and powderings. The little vault has the usual
blue panels and ribs with white hollows and gold beads, separated
by red fillets. Ufford font-cover (46) has been much restored, and
the colour is only partly genuine, but the original effect must have
been magnificent.
In no other district was colour decoration so commonly applied
to roofs. In most cases the rafters are exposed, and are equal in
width to the spaces between them, and the scheme often employed
is reminiscent of the embroidered altar frontals of the period. Thus,
at Blythburgh (115) the spaces are red with black roses, while the
rafters are white with green foliage springing from red monograms of
the Holy Name, alternated with similar foliage framing the letter /. At
Ufford (125) the spaces are red and the rafters are white, decorated
with the monogram IHC and M alternated and counterchanged. At
Palgrave, on the other hand, both rafters and spaces are white, but
EAST AND WEST COUNTRY COLOUR DECORATION 57
the sides of the rafters are red. The spaces are decorated with red
fiery stars, while the rafters are emphasised by roses and tracery in
grey. There are no devices on the rafters or panels of the fine roof at
Knapton, where the whole undersurface of the roof is painted yellow,
with red sides to the rafters. At Long Melford the blue starry sky
motive is employed, in conjunction with red rafters, having parchment
scrolls with a black letter motto. Sail has white rafters and spaces
with extremely beautiful foliated monograms in red ; the sides of the
rafters are also red. The moulding of the timbers of the principals
and purlins were picked out after the manner of those of the screen,
but gold was very rarely used. Barber's poling, generally of black
and white, and series of chevrons of contrasting tints, are very
freely used. The spandrels are often painted with conventional
foliage, very difficult to distinguish from actual carving, while
ingenious tracery patterns sometimes occur in this position. The
angels, which are so striking a feature of the East Anglian roofs,
are generally in red dresses, with green wings, or vice versa, and have
yellow crowns and white amices ; this use of yellow instead of gold
is very usual in roof painting. The flat panelled roofs must also
be noted, such as that of Bury St Edmund's, where the white
ground is divided into lozenges with green twisted foliage, each
containing a red monogram within a black garter. Every panel is
crossed by an elaborately illuminated scroll, running from corner to
corner. At St John Maddermarket, Norwich, each panel of the south
aisle roof has a finely painted angel, elaborately vested, with delightful
feathery wings, surrounded with a wreath of foliage, which throws off
elaborate and naturalistic sprays of foliage towards each corner. At
St Stephen's the more usual scheme is adopted of a monogram, in
this case a T, within a torse or twisted wreath. The painting is in
green, and appears to be done on the bare oak.
Colour Decoration in the West Country. — In the west country
colour decoration does not often rise to the high standard of the eastern
counties, but it easily surpasses that of the Midlands. Some of the
screens are extraordinarily beautiful in colour. They are usually so
encrusted with carving that there is no painted enrichment. It was
58 DECORATION IN COLOUR
sufficient to pick out the mouldings and the various details of the
carving with colour or gold. Generally the colours are heavier and
not so pure and bright as those employed in East Anglia, and white
is very little used. Blue is very rare, occurring only in the hollows
of the over-and-over trail decorating the framework and behind the
trails. Red and gold, and above all green, are the favourite colours.
The screen at Bridford (45), however, has a lovely colour scheme in
which green, blue, and gold predominate, while that at Kentisbere
(210) is decorated in several shades of red, in conjunction with
gold, silver, and bronze.
The majority of the Devon screens have quaint paintings of
saints in their panels. These never rise to the level of works of art,
though they are most amusing and interesting. The most successful
from the decorative point of view are the series of alternate prophets
and apostles bearing scrolls, which occur in many churches, of which
Chudleigh and Ipplepen are examples, rather different in treatment.
In the former case the scrolls are wide and are at the base of each
panel, while in the latter the scrolls are carried by the figures. The
finest specimens of all, full of charm and drawn with the sure touch of
a master, are those in the lady chapel screen at Ashton (61). These
panels are approximately square, and have figures TrT~white robes,
heavily shaded in grey, on a background of soft vermilion. The
scrolls, which are very skilfully drawn, have black lettering with red
flourishes. The subjects include a charming Annunciation and
Visitation, together with several half-length prophets. The saints at
Kenn are chiefly interesting from the point of view of the archaeologist.
Nowhere else is the selection of saints so interesting. But many of
these west country paintings are mere daubs, in no way worthy of
the magnificent carving of the screen they are intended to decorate,
though they possess a charm, due chiefly to their antiquity. A
particularly unpleasant feature, marring even the charming series
of saints on the west side of the screen at Ashton, is that owing to the
shape of the panels the figures are either unduly short and dumpy, or
are cut off short at the knee.
Beyond the coloured screens there is little original colour decora-
f
tini
IN THE WESTERN COUNTIES 59
tion in this district. Most of the pulpits, for instance, have been
repainted, as at Ipplepen (295), and have consequently been spoilt,
but at Cockington (295) the effect of the blue panels, rent by streaks
of lightning (probably the conceit of a post- Reformation painter
employed to deface paintings of the saints), is really charming.
There is a good deal of gold on the framework and the canopies,
which have their cherubs quaintly tinted in the hues of nature.
Roof decoration was generally confined to the bay over the
rood-loft, where the scheme usually employed is blue panels with gold
stars, and mouldings picked out in gold and red, as at Hennock. A
golden cresting generally fringes the panels. At Cullompton, by 1
exception, this treatment is applied to the whole of the nave roof
with an extremely magnificent result. The flat aisle roofs of this
church have rather unusual colour decoration. Each of the triangular
panels is edged with a painted border, suggesting a carved cresting.
COLOUR DECORATION IN EAST ANGLIA
HUNSTANTON, NORFOLK, SPLENDID CONVENTIONAL DESIGN
EYE, SUFFOLK, RUDE AND PRIMITIVE TYPE
60
COLOUR DECORATION IN THE WEST COUNTRY
iSSi£r |5rv^^ ^nrm i
ASHTON, DEVON, SKILFUL CONVENTIONAL DESIGN
ASHTON, DEVON, CHARMING BUT PRIMITIVE TYPE
6l
EARLY PORCHES
SALFORD, BEDS.,
THIRTEENTH CENTLTRY
WEST HORSLEY, SUSSEX,
FOURTEENTH CENTURY
SHIPLEY, SUSSEX,
FOURTEENTH CENTURY
62
WARBLINGTON, HANTS,
MID-FOURTEENTH CENTURY
II
STRUCTURAL WOODWORK
TIMBER PORCHES
THE great majority of mediaeval porches were built of masonry,
but timber-work was occasionally employed in many parts of the
country, especially where there was no good local building stone.
In the south-eastern counties the common occurrence of timber
porches is a striking peculiarity of the local type of parish church.
Oddly enough, there are no timber porches in the south-western
counties, where it would be reasonable to expect to find good
examples, seeing that the local stone is poor, and that timber is
lavishly used in the rest of the fabric. Naturally, they do not occur
in the Cotswolds, Lincoln, or Yorks., or in other districts where the
walls of the churches are commonly faced with ashlar. Timber
porches are very widely distributed, but the type is remarkably
constant all over the country.
The oldest porches are of the thirteenth century, and may be
distinguished by the great size of their timbers, which are very
roughly hewn and seldom moulded, and by the almost entire absence
of carving. Salford, Beds. (62), is a characteristic example. The
arch is usually formed by two enormously wide timbers, so that the
jamb and half the arch are cut from the same great oak. The side
walls have generally disappeared. It seems likely that they were of
very simple but strong timber framing, with little or no ornament.
63
64 STRUCTURAL WOODWORK
Sometimes, particularly in Sussex, the side walls are now of stone-
work, but it is difficult to tell whether this is the original arrangement,
or whether the original timber-work has perished.
Carved barge-boards add greatly to the beauty and interest
of the fourteenth-century porches. The earliest are very simply
cusped, as at Marsh Baldon (68), but as time went on they were
elaborated. Double foliation occurs at Shipley, Sussex (62). The
foils are traceried at Warblington, Hants (62), an ogee foil is intro-
duced at the apex of the barge-board at Ewhurst, Surrey (70),
and West Horsley, Sussex (62), and all the foils are ogee-shaped
and elaborately cusped at Long Wittenham, Berks. (68). The
carving of the actual surface of the barge-board was not attempted
till the very end of the century, when it is found in the beautiful
porch of High Halden, Kent (67). Greater attention was also
paid to the design of the side framing, which was designed after the
manner of the screens of the period, with bands of tracery grooved
into the head, and supported on a series of turned shafts, or moulded
mullions. In plain examples, however, the tracery was omitted, as at
Long Wittenham, Berks. (68), where the sides are filled in with a series
of closely-spaced square shafts, with moulded caps, bases, and bands
(an arrangement obscured by the insertion of a modern travesty of
tracery), or at North Stoke, Oxon., where there are simple chamfered
uprights. The influence of masonry design is very strongly marked
in the elaborate porch of Boxford, Suffolk, which is perhaps the most
ornate porch of the fourteenth' century now remaining. There are
great two-light windows with acutely-pointed arches and graceful
curvilinear tracery in the sides, the uprights are reinforced with
timber buttresses, those against the front angles being placed
diagonally, and the mouldings of the jambs and arch of the doorway
are entirely masonic in inspiration. Clustered shafts are employed
within to receive the arch braces of the roof timbers and the hood-
moulds of the windows. No more remarkable timber porch can be
found anywhere in England, but a parallel instance of masonic
influence in the fifteenth century occurs at Ewelme (67), where the
doorway and windows are provided with wooden hood-moulds, hewn
out of the solid timber.
TIMBER PORCHES 65
The fifteenth-century porches are mostly of delightful design,
and carving is more freely used in their decoration. By this
time the primitive method of constructing the archway of two
timbers only had gone out of use, and in most cases the arch is formed
by arch braces, framed into the jambs and lintel, as at West Grinstead,
Sussex, but the old method is still found in the Burstall porch (69).
Another type of archway is seen at Huddington, Worcester (71), where
the arch is of a graceful ogee form ; the upper part is cut out of
the lintel, while the lower sections are formed out of the jambs. The
barge-boards are usually finely cusped and traceried, one of the
loveliest, though by no means the most elaborate, being that of the
porch at West Challow, Berks. (69). The treatment of the front gable,
which had been left open, exposing the roof timbers in most of the
older porches, was taken in hand by the fifteenth-century carpenters,
who filled it in with panelling. Elaborate examples may be found at
Llanrhaiadr, Denbigh (71), and Burstall, Suffolk (69). Some of the
later fifteenth-century porches have flat roofs of lead, as at Hagbourne,
Berks., and Dorchester, Oxon. They are not nearly so attractive
as those with pitched roofs. Little Hampden, Bucks., has a very
pretty timber porch with an upper story, very simply worked, and
domestic in feeling ; it is of uncertain date.
There are a few charming pentice porches, in which the roof
is borne on brackets, instead of posts, of which that on the north
side of St Nicholas, King's Lynn, is one of the most carefully designed.
It is of low pitch, covered with lead, and the timbers are well moulded.
The construction of the mediaeval timber porches is very simple.
They are raised on a low plinth of masonry. The front and back
frames are complete in themselves, and the sides are framed in between
them, the head running through the back frame into the wall of the
church, and through the front frame to take the barge-board. In
many cases the sides are entirely of timber, and a rail is introduced
about four feet above the ground. The framing below this rail is
filled with wattle and plaster, with brickwork, or with thin wood panels,
while the upper part is left open in the form of windows. In other
cases the stonework is carried up to the sill of the side windows,
or the sides may be entirely of stone. A curious porch exists at
5
66 STRUCTURAL WOODWORK
Cassington, Oxon., whose front wall is of stone, while the upper
half of the sides is of timber framing. The heads of the front and
back frames are generally very deep, and are notched over the side
frames ; they are usually much cambered. In the south-eastern and
eastern counties the porches are rather wide, and often have openings
on either side of the archway, as at Burstall (69) and West
Horsley (62), but in the Midland counties they are seldom wide
enough to need this treatment. In Oxfordshire and Berks, the front
frame is often made out to the required width by the addition of
outer posts, as at Challow (69) and Marsh Baldon (68). In some
very small examples the archway with its wide jambs occupies the
whole width of the front. The problem of roofing was a very
simple one, since most timber porches are small. Generally a
king-post was framed into the front and back lintels, to carry a
purlin, which was usually arranged to support the collars of the
common rafters. These rarely needed any intermediate support
except in very deep porches, such as that of High Halden (67),
which is planned in two bays, with a principal between them.
Usually the purlin is supported by longitudinal braces, which prevent
the sagging of the purlin and the racking of .the rafters in a
forward or backward direction. The roofs of the porches at Hagbourne
(67) are very simple and well-wrought examples of the firred beam
type. At Ewhurst (70), West Grinstead (70), and other churches in
the south-eastern counties, very flat roofs, covered with thick Horsham
slabs, are common. This is the most striking local peculiarity in
the design of timber porches that has been remarked. Some of the
later porches show a decorative treatment of the front gable. At
Benfleet, Essex, it is filled up with a timber framework of moulded
and buttressed muntins and an embattled rail, while the panels are
filled in with boards and are traceried, and a similar treatment occurs
at West Grinstead. At Burstall the panels are plastered, and the
centre upright has a pretty carved niche, now much decayed. The
treatment at Llanrhaiadr is even more elaborate ; all the timbers are
very richly moulded and the uprights are traceried, while a niche,
flanked with applied buttresses with a projecting canopy, now renewed,
occupies the centre panel.
LATER PORCHES
HIGH HALDEN, KENT,
LATE FOURTEENTH CENTURY
EWELME, OXON.,
MID-FIFTEENTH CENTURY
EAST HAGBOURNE, BERKS., LATE FIFTEENTH CENTURY
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GREAT DOORS OF A CATHEDRAL CHURCH
YORK MINSTEP, SOUTH TRANSEPT
72
DOORS
MEDLEVAL doors were generally built up of two thicknesses of
boarding, the inner layer horizontal and the outer vertical, nailed
together with a profusion of great wrought iron nails with ornamental
heads, whose points were driven right through and turned over on
the inside. An alternative method, not so commonly employed, was
to make an inner frame and cover it on the outside with vertical
boards. These inner frames were often composed of styles, bottom
rail, and shaped head-pieces, strengthened by a series of horizontal
rails, as at Ewelme. Another excellent method was to arrange the
inner frame as a series of vertical and horizontal battens, crossing-
one another, halved at their intersections, and dovetailed into the
surrounding members, as at Cumnor, Berks. Sometimes the system of
battens was arranged diagonally, as at Bunbury (77), or was composed
of vertical and diagonal members crossing one another, as at Magdalen
College, Oxford, giving a more rigid door. No attempt was made
to decorate the inner side of the door. Indeed, the closely spaced
battens, studded with bolts and nails, were extremely decorative in
themselves and needed no further beautification, but in the case of
the boarded doors the absolutely plain inner surface forms a remark-
able contrast to the richly carved outer side.
Until the middle of the fourteenth century the task of decorating
the door was entrusted to the smith, whose skill at that time was
phenomenal. He usually covered the unornamented boarded surface
with the scrollwork of the hinges and straps, and sometimes added
a surrounding border to strengthen the edges. There are many
splendid examples of these ancient iron-bound doors still in existence,
but they scarcely come under the heading of woodwork. In the
73
74 STRUCTURAL WOODWORK
fourteenth century the craft of the wood-worker made great strides,
while that of the blacksmith deteriorated. The hinges were plainer
and smaller, and did not cover the surface of the door so completely.
Finally, the work of door-making passed into the hands of the wood-
worker, but even to the last the influence of the smith can be traced
in the primitive method of building the door up in layers with the
aid of nails and other ironwork, where one would expect to find the
framed construction with mortice and tenon joints which the carpenter
employed in his other works.
The boards ' employed in door construction were always very
wide, and the surface was rough and showed the marks of the tools.
They were grooved and tongued together, and often feather-edged.
The nails were large, with quaintly wrought heads, and were arranged
in seemly rows or patterns. Sometimes the incised lines upon the
boarding which guided the setting out are still visible, as in the door
to the tower stairs at Beckley, Oxon. Such a doo.r is a satisfying
object, even when the hinges are mere straps, as at Barking, Suffolk
(77), particularly when the closing ring is of good design and
provided with a pierced rose.
The first step towards a decorative treatment in wood was the
application of tracery, designed on the lines of a traceried window.
There are some examples in which the whole of the door above
the springing is covered with fine flowing tracery, planted on the
boarding, springing from little mouldings, nailed on to cover the
vertical joints. An admirable door of this kind is to be seen at
Wellow, Somerset (80), where the tracery is cut out of horizontal
boards. This method of construction may be compared with that of
the Devon parclose screens. At Addlethorpe, Lines. (80), there is
a door of similar construction of the end of the fourteenth century,
in which the lines of the tracery are rectilinear and the boards are
vertical. This continued to be the recognised method of decorating
doors in the west country down to the end of the fifteenth century.
In these districts the tracery was cut out of very thick boards, and
was generally richly moulded. Unless the tracery is very thick and
strong it is very liable to be broken off, and in some small doors
DOORS 75
the tracery is cut out of the actual surface of the cloor, as at
Ashbourne, Derby ; Blewbury, Berks. (79), and Stogumber, Somerset.
Little relief is possible with this method, and the effect is rather flat
and tame.
In many doors the decoration is confined to an applied frame
with moulded uprights, dividing the surface of the door into tall
vertical panels, covering the joints of the boarding and helping to
prevent draughts from the crack between the door and the stone
doorway, as at Shotwick, Cheshire (78). The effect is remarkably
satisfactory, and a good deal of variety of design is possible by
modifying the spacing and mouldings of the frame. At Tattershall
(82) the nail heads securing them to the actual door are often
extremely decorative, and sometimes give the appearance of carved
paterae, such as occur in the lovely doors at Astbury, Cheshire (78).
In East Anglia and elsewhere the surrounding frame was often carved
with a series of quatrefoils or other tracery, or even with a running
trail of foliage.
The applied frame tended to become deeper and bolder as time
went on, and in the Midlands little tracery heads, carved out of thin
boards, are grooved into them, after the manner of the screens of that
district, as at Stratton-on-the-Fosse (2, opp. 3), a method also employed
in the eastern counties, as at Norwich, St Lawrence (2, opp. 3),
Tattershall, and in Wales, as at Llanynys (81). The tracery of
each panel need not necessarily spring from the same level, and at
Copdock, Suffolk (81), they are stepped up, in a very charming manner.
The panels were generally left plain, but often they were brought
up to a ridge, giving a pleasant variation of light and shade. Some-
times they were entirely traceried from the plinth upwards, as at
Helmingham. The result is not entirely pleasing, unless the monoton-
ous appearance of the tracery is relieved by little niches with figures
of saints, as in the grand doors of Stoke, Suffolk. This elaborate
treatment is seen at its. best in the magnificent south door of St
Nicholas, King's Lynn (84), where the niches are of extremely fine
design, and are wrought out of the solid.
In some of the later doors curved members are added to the
frame, giving a very fine effect, as in the grand doors, unhappily dis-
;6 DOORS
carded, at Winthorpe (83). In the East the tracery sometimes has a
crocketed ogee arch planted upon it, as at Pinchbeck, Lines. (82),
where the relief is so great that the provision of a little corbel beneath
it converts the panel into a niche for a figure, which is now mi'ssing.
A transom is often introduced in doors of the late fifteenth and
sixteenth centuries, and is rarely satisfactory. Generally the pro-
portions are spoilt, and in the case of an outside door, ledges are
formed which trap the rain and lead to decay. The introduction
of the transom naturally led to the abandonment of the old method
of construction, and to the adoption of framed construction, as in the
vestry door at Ludlow. The sixteenth-century doors of Totnes,
Devon (85), with their framework encrusted with foliage and Italian
arabesques carved in the panels, are good examples of this late
phase in door design.
The larger doors are generally hung in two leaves, partly to
relieve the hinges and partly to allow of the use of half the door
at a time. At Ewelme the north door is hung folding, that is, it is
jointed and hinged down the middle, so that one half folds back
upon the other. This is very exceptional. Often a wicket is pro-
vided, usually on the centre line of the door, as in the case of the
single door at Thornham, Nprfolk (83), and in the double doors of
King's Lynn (84), where the wicket is also in two leaves. In many
cases the wicket is planned to come in one of the leaves, and symmetry
is abandoned, as in the doors of the south transept of York minster.
In these great doors grace and utility are ingeniously combined.
They are jointed vertically and horizontally, and have a wicket in one
of the lower leaves, so that either the wicket one or both lower
leaves may be used, or the entire door may be flung wide open
to admit the fresh air.
The presence of a wicket usually modifies the whole design of
a door, and may throw it entirely out of symmetry. In the latter
case it is remarkable how little the lop-sidedness is noticed. Indeed,
: is rather agreeable than otherwise. However, in some cases no
modification is made. The doors are completed, and the door sawn
out afterwards, as at Pinchbeck (82), where the wicket is practically
concealed.
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DOORS WITH APPLIED TRACERY (EASTERN AND WESTERN TYPES)
ADDLETHORPE, LINCS., EARLY FIFTEENTH CENTURY, EASTERN SCHOOL
WELLOW, SOMERSET, EARLY FIFTEENTH CENTURY, WESTERN SCHOOL
80
DOORS WITH APPLIED MOULDED FRAME AND TRACERIED PANELS
COPDOCK, SUFFOLK, WEST DOOR
LLANYNYS, DENBIGH, SOUTH DOOR
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WOOLPIT, SUFFOLK, "FALSE" DOUBLE HAMMER-BEAM ROOF
86
ROOFS
'HE design and construction of roofs is a branch of mediaeval
church woodwork in which the skill and ingenuity of the mediaeval
craftsman is seen at its best. Of course there are many roofs of
purely utilitarian character, designed according to traditional methods,
with no conscious effort to produce a thing of beauty, but even these
have charm. Indeed the ugly roof is a product of the Renaissance,
developed to the greatest possible degree of hicleousness by the
incomparable genius of the Gothic revival. When the mediaeval
designer was given the opportunity of producing a fine and elaborate
roof his success was remarkable. There are few more beautiful
things in art than such roofs as those at Worlingworth (123),
Baclingham (29), Wellow (in), or Cullompton (117). But few lovers
of ancient woodwork appear to study the roofs of the churches they
visit, and it is strange how many otherwise admirable accounts of
mediaeval buildings either fail to mention the roofs at all, or describe
them in such a dubious and uncertain way that their account is
almost unintelligible. The fact is that the study of roofs has not
progressed in the least since the publication of Brandon's book
in 1849.
A timber roof is really a framework of wood, carrying a layer
of impervious material, protecting the building from the elements.
It has been found after ages of experiment that the best way of
constructing such a frame is to lay timbers, called wall plates, along
the top of the side walls, and to fix inclined timbers, called rafters,
to these plates at intervals of about a foot. When one of the plates
is fixed at a higher level than the other and the rafters are used
singly, a lean-to roof is produced, and when the plates are at the
same level and the rafters are used in pairs, pitching against one
87
88 STRUCTURAL WOODWORK
another, a Cabled roof results. The rafters are finally covered with
battens, boarding-, or both, to receive the roofing, whether of slates,
tiles, or lead. Various methods are employed to prevent the rafters
sagging under the weight of the roofing and the pressure of the wind,
and to counteract, or at least to minimise, the outward thrust upon
the walls. Hence the great variety of design in open timber roofs.
It is a great help to the study of mediaeval roofs to remember
that there are but three main classes, namely, Beam Roofs, Thrusting
Roofs, and Trussed Roofs. All these three types seem to have been
in use from the earliest times.
The simplest possible version of the BEAM ROOF is the flat,
composed of beams laid at intervals across the shortest span, and the
different varieties are due to the attempts to improve upon it by
preventing the sagging of the beams, and by the endeavour to combine
the advantages of the horizontal beam and its absence of thrust with
those of the gabled roof. The beam roof acts as a dead weight,
steadying the walls of the building and helping to keep them upright.
The most elementary form of THRUSTING ROOF is the couple roof,
consisting of pairs of rafters, pitching against each other. The collar
roof is a useful development in which the rafters are strutted apart
by a beam called a collar, fixed about midway between the. plate and
the apex. Such a roof tends to thrust the side walls outwards, and
most of the different species are the result of attempts to reduce the
thrust by bringing it down as low as possible, and as nearly as possible
vertically. Other variations are introduced in order to prevent the
sagging of the rafters and to improve the joint at the apex, which
presents some practical difficulties.
The type of TRUSSED ROOF most in use in mediaeval England is
based upon the couple-close roof, consisting of a couple of rafters
prevented from spreading by a tie-beam. It may be regarded as
a combination of the first two classes. The tie-beam roof combines
the advantages of a gabled roof with the absence of thrust, but is
subject to the drawback of limited head room. The various kinds
are caused by expedients introduced to prevent the rafters and the
tie-beam from sagging under their load. The scissor-beam roof,
ROOFS 89
which may be also considered as a trussed roof, is very rare, indeed,
in this country.
Nearly every kind of roof may be constructed according to two
different systems. The devices for preventing thrust or sagging
may be applied to every pair of rafters, in which case the roof is
inscribed as SINGLE-FRAMED. On the other hand, experience shows
that for roofs of fairly wide span it is more economical and effective
to apply the methods to certain pairs only, transmitting the effect to
the intermediate rafters by means of longitudinal timbers called purlins.
The specially reinforced pairs of rafters are called principals, while
the others are known as common rafters. A roof in which principals
and purlins are employed is described as DOUBLE-FRAMED.
Beam Roofs. — The problem of the prevention of sagging was
solved by the mediaeval carpenters in the case of the beam roof, first
by cambering the beams, that is, by choosing those slightly curved
or bent, and fixing them with the concave side downwards, or by
cutting the beams to this form. Secondly, by strutting them up from
the side walls by means of straight or curved braces. It was dis-
covered at a very early date that it was a good plan to fix a post
against the wall supported on a corbel and framed into the end of the
beam. This carried the weight down to a lower level, and saved
many roofs from disaster when the ends of the beam, resting on the
masonry, decayed and rotted away. It also served to distribute the
thrust of the braces.
The rafters of a beam roof are tilted into gabled or lean-to form
by the fixing of the wall plates and purlins at different levels. The
principal beams of a lean-to roof were generally fixed at the same
angle as the common rafters, but as these inclined beams tended to
push the walls out, the beams were occasionally fixed horizontally, the
purlin was laid on the top, and the inner wall plate was carried at a
higher level on corbels or an offset of the inner wall. When the
pitch is increased it is necessary to prop up the purlin on a block of
wood or a post if the pitch is really steep.
The beams of a gabled roof were usually firred up to the outline
of the gable by means of tapered firring pieces, laid on the top of
ROOFS 9I
the beams, but in later roofs the camber of the beam was often
sufficient to tilt the rafters and to throw the rain off a lead roof. In
the case of a roof of sharper pitch the ridge purlin was propped up
on a post, while the side purlins rested on the beam. When a really
cute pitch was necessary they were all supported on posts of the
quired length. When these were tall it was essential that they
hould be stayed by braces from the common rafters or from the beam
to prevent their collapsing. Excessively tall centre or king-posts
were sometimes avoided by providing each pair of rafters with a
collar-beam, and by fixing the purlin beneath these instead of at the
pex of the rafters, as in the fine roof of Barking (116).
All these varieties of the beam roof were probably in use at the
ime of the Norman Conquest. The problem which the Gothic
craftsmen had to solve was to turn the purely utilitarian arrangement
of rough-hewn beams and posts into a thing of beauty. The braces
were first taken in hand, and an attempt was made to make each
pair form a perfect arch. Generally the fourteenth-century braces
were very sprawling and ungraceful in outline, but towards the end
of the period their shape improved. These early braces were generally
thick and massive, with rich and deeply cut mouldings. The next
step was to fill the spandrels above the braces with thin panels of
pierced tracery, as in the fine roof of the nave at Sparsholt, Berks.
In the fifteenth century the wall posts were elongated, tending
to bring the weight of the roof lower down and to steady the side
walls, which were often reduced to mere piers by the huge size of
the windows. The braces, on the other hand, were reduced in size,
and were usually worked to the outline of a four-centered arch. Some-
times the beam is sufficiently cambered to "form ' the central section
of the arch, while the braces become mere triangular brackets to
reduce the span of the beam.
In the flat or slightly pitched beam roof the chief decorative
possibilities lie in the treatment of the underside of the roof slope.
The principals play a secondary part, though they are sometimes
richly adorned with mouldings and carved enrichments, or with carved
spandrels, above the braces. A perfectly flat type of beam roof is
92 STRUCTURAL WOODWORK
used over the aisles of some of the Devon churches, usually as a
ceiling, covered with an outer lean-to. Braces and wall posts are
never employed in the beam roofs of this county. The oldest
examples have simply moulded timbers, forming large square panels,
which are now generally plastered, concealing the rafters, but the
latter were formerly either boarded over or exposed to view. The
intersections of the timbers are sometimes covered with large round
carved bosses, as at Ugborough, where the subjects of the carving-
are reminiscent of those of misericords. The panels are sometimes
subdivided by diagonal ribs, as in the aisle roofs at Cullompton,
and at Ashburton all the timbers are encrusted with splendid
carved foliage.
In Somerset and Dorset churches of the fifteenth century the
cambered beam roof is very often employed in the aisles, as at Mark.
The beams and purlins are large and well moulded, and subdivide the
underside of the roof into small squares. These are boarded over,
and in some cases diagonal ribs with bosses at their intersections
are introduced, as at Dunster, but the most typical treatment is the
decoration of the panel with tracery. Sometimes the design of the
tracery is the same in every panel, or two designs are alternated,
but there are several gorgeous examples in which the same 'design
is never repeated. The wall posts and braces are omitted in the
south, as at Crewkerne, and in the rest of the county they are
small in size, but richly decorated with foliaged spandrels.
In Wales there are a few very fine firred beam roofs, resembling
the cambered beam roofs of Somerset, but with the usual Welsh
peculiarities of very elaborate filigree tracery on the sides of the
beams, in the mouldings of the timbers, and in the square panels.
Gresford (113) is a rather plain example.
Cheshire can also show a particularly fine group of firred beam
roofs with small braces, deep beams with traceried sides, and richly-
panelled under-surface, as at St Mary's, Chester (114), and Witton
(113), where each panel has diagonal ribs. The traceried treatment
also occurs, for instance, in the aisle roof of Malpas. In the typical
Cheshire roof all the intersections of the timbers are covered with
ROOFS 93
elaborate and delicate bosses, usually composed of delicately fretted
leaves hiding the mitres, covered with a square boss of intricate tracery
or strapwork, often in the form of a wreath enclosing a monogram.
Fragile trails of flamboyant tracery are very freely employed as a
moulding enrichment. The cambering of the common rafters is a
rather uncommon local peculiarity. It is found at Mobberley and
Gawsworth (i 14).
In the north-eastern counties the wall posts and braces are often
omitted. The firred beam roof is preferred, but is very rarely
treated with such elaboration as those of the West. The nave of
Beverley St Mary (i 12) is a good instance. The absence of the braces
and wall posts is a great calamity from both the constructional and
the artistic points of view ; many of them give the effect of mere
lids to the buildings they cover.
The beam roof occurs only occasionally in the eastern counties,
but when it is employed the results are very successful. The
cambered beam roofs of St Neots, Hunts., Burwell, Cambs., and
St Andrew, Norwich, are lovely examples, with arch braces of fine
outline, enormously long wall posts, and gracefully traceried
spandrels. The firred beam roof is scarcer in the East, but Blyth-
burgh, Suffolk (115), has a magnificent roof of- this type, splendidly
decorated in colour. In the eastern counties the panelled treatment
of the roof surface is practically unknown, and the rafters, about
equal in width to the spaces between them, are exposed. The most
striking eastern roofs of the beam type are the inclined beam roofs
of the aisles. These are provided with wall posts and deep arch
braces of somewhat acute two-centered outline, as at East Winch (no),
or of a beautiful ramping curve, and act as flying buttresses to carry
the thrust of the nave roof across to the aisle buttresses. The
t "pandrels are often huge, and are filled in with very charming fretted
racery, and the wall plates, and sometimes the purlins also, are
dged with delicate crestings.
The beam roofs of the Midland and south-eastern districts
re generally of extreme simplicity. Their somewhat elementary
mouldings are their chief ornament ; carved bosses are rarely used,
94
ROOFS 95
and other carved enrichments seldom occur. The post and beam
variety is most characteristic in both lean-to and gabled forms, but
the firred beam roof of Ewelme (115) is very typical. The inclined
beam roof is common in aisles, but it is scarcely ever provided with
wall posts and braces, or treated decoratively (90).
A high-pitched form of post and beam roof occurs all over the
Midland and Eastern district, but is commonest in the south-eastern
counties. All the rafters are provided with collars, and generally
with braces in addition. The beams, well cambered in most instances,
and fitted with braces and wall posts in many of the later examples,
support tall king-posts treated as shafts with moulded capitals and
base§ which carry a collar purlin, the span of which is reduced by
braces rising from the post. Other braces from the pair of rafters
directly over the beam or from the beam itself serve to steady the
king-post. The picturesque type of roof was in use in very early
times, and examples which may be reasonably assigned to -the
thirteenth century are not infrequent. Very ancient examples abound
in Kent and Sussex. An East Anglian version is seen at Barking.
thrusting T^oofs. — While mediaeval beam roofs were generally
double-framed, thrusting roofs are commonly met with in both single
and double framed varieties. There are two main types, the couple
and the collar, both very nearly akin to the arch, and all the
mediaeval improvements tended to bring out their arch character
more and more distinctly.
The single-framed couple roof is not often found, except in very
small buildings such as porches. Even when it does occur, it is
generally found that collars have been added afterwards to prevent
collapse, as in the north porch of North Stoke, Oxon. (96). The
double-framed version is sometimes found in the south of Somerset, as
at Hinton St George (96), and in Dorset, at Bradford Abbas (96),
where the underside of the roof is treated in the usual local manner by
division into square panels with richly moulded beams. Such a roof
exercised great outward thrust, and tended to push the plate off the
wall. The remedy, an invention of the East Anglian carpenters, was to
introduce a wall post and brace at the foot of each principal, clipping
97
ROOFS 99
the roof to the wall and bringing down the thrust to a lower level,
where the abutment was more stable, as at Middleton (119). As time
went on the wall post was elongated, and in the clerestory roof of Sail,
Norfolk, the wall posts are actually tenoned into the ends of the aisle
beams, which protrude through the wall for the purpose, thus ensuring
that the thrust shall be carried across to the aisle buttresses. These
couple roofs with wall post required large braces to keep the posts and
rafters at the same rigid angle with one another, and as timber of such
width was not easy to obtain, it was sometimes necessary to make a
horizontal joint, as at Edington, Wilts. (100). The jointing- was greatly
improved by the introduction of a beam projecting from the wall into
which the rafter, wall post, and the two sections of the brace were
framed, as in the roof of St Michael -at- Plea, Norwich (100). This beam
is now generally known as a hammer-beam. It was soon found that
the upper and lower sections of the brace need not necessarily be of
the same curve. The hammer-beam was allowed to project more and
more, and the braces were brought to the very end of it, so that the
curve of the arch was naturally bent into a trefoiled outline. This
method of construction keeps the rafter and the wall post at an
extremely rigid angle, and ensures that no thrust shall be exercised
I at the wall-plate level. Thus the hammer-beam roof of the Norfolk
type, illustrated by St Peter Hungate, Norwich (122), and Blakeney
(122), was evolved.
So far only the construction at the feet of the rafters has been
considered, but there are a few improvements to the jointing at the
head of the rafters that call for notice. The head of the rafters was
sometimes widened in a curve completing that of the lower braces,
and offering a better opportunity for the tenon joint, as in the roof of
St Peter Hungate, Norwich. Another method, seen in the chancel
roof at Tattershall (121), was to provide a little arched elbow-piece,
framed and pegged to both the rafters. A pendant post was sometimes
ropped from the apex, as at Westhall (121), to assist in making a
-secure joint, and to afford a springing for upper braces, stiffening the
rafters, as at Southacre (12), or for braces supporting the ridge purlin.
At Blakeney and Trunch, Norfolk, a wedge-shaped piece of timber
d,
100
ROOFS I0i
is employed instead of a post, affording excellent shoulders for the
rafters to butt against.
These descendants of the couple roof are by no means common,
except in a few districts, for it is a daring type, requiring great care
in design and construction, and offering few advantages — practical or
irtistic. The couple roofs of Somerset (96), and the wonderful arch-
braced and hammer-beam roofs of Norfolk (100), give a certain
impression of insecurity that is hardly to be commended. One is
astounded at the audacity of poising a roof without any attempt at
trussing upon a wall pierced by numerous closely spaced windows,
carried on a series of slender piers. Were it not for the clever
design of the aisle roofs, which are real flying buttresses • in wood,
such a method of construction would be impossible. However, it is
impossible to deny that the austere grace of such Norfolk roofs of
the couple type as Banningham, Worstead, or St Stephen's, Norwich,
is as attractive as the more ornate beauty of the roofs of the collar
type which abound in Suffolk.
The Collar T^pof in its single-framed form was often used over
timber porches, or in combination with beam and king-post principals,
as in the very ancient roofs at New Shoreham, Sussex. The collar
was intended to prevent the bending of the rafters under the weight
of the roof and the pressure of the wind, and was naturally most
effective when fixed midway between the wall plate and the apex,
dividing the rafter into two equal parts. A series of collars in this
position sensibly reduces the apparent height of the building, so the
collars were generally fixed at least two-thirds of the way up. The
lower span of the rafter was strutted by short inclined braces from the
collar. An alternative solution, not often employed, was to substitute
for the collar and braces a couple of braces crossing one another, called
scissor beams (97). In this form of roof each pair of rafters was
practically supported upon an arch built up of straight timbers, and
the curving of the braces to produce a true arch was a very natural
development. Roofs with straight braces, as at Dennington, which
are generally known as trussed rafter roofs, are better described as
single-framed braced roofs, while those with curved braces should be
I02 STRUCTURAL WOODWORK
called single-framed arch-braced roofs. The treatment of the feet
of the rafters is interesting. They generally pitched on the outer
edge of the wall, either on an outer wall plate or on a series of
transverse plates, called sole pieces, while posts known as ashlar pieces,
in the same plane as the inside of the wall, carried a proportion of
the weight down to the inner wall plate. Thus each of the rafters
was provided with a triangular foot, distributing the strain over the
entire thickness of the wall. In many early roofs a single central
plate was substituted for the pair of plates, and the sole pieces were
notched over it. Both methods are combined in many cases. The
braced roof is common over the whole of the country, except in
the West. In the West Midlands and Wales the arch-braced roof
is more common, while in Devon, Cornwall, and the west of Somerset
an elaborate double-framed version (98) was evolved, apparently long
before the fifteenth century. Every fourth or fifth pair of rafters
was increased in size and strength, and the effect was transmitted
to the lesser rafters by means of little purlins, whose mouldings mitred
with those of the principals. Burrington (117) is a good illustration
of this Devon variety, while Llanrhaiadr (118) is an exceptionally
fine example of the Welsh type.
The great majority of the braced roofs are very plain, and the
wall plates are often the only members to receive even mouldings.
The moulding of the wall plate is often the only criterion of date.
In the fifteenth century the rafters were sometimes boarded over and
panelled out with little applied mouldings, carved bosses covering
their intersections. It often happens that only the bays above the
altar or the rood are so treated, while the rest of the rafters are
left exposed. This treatment can only be regarded as a success
when the boarding, which offers splendid opportunities to the painter,
is decorated in colour. In Somerset, where the braces are generally
of curved outline, the boarded treatment was commonly adopted,
but the applied mouldings were larger, and cut the surface up into
smaller panels. At Banwell there is a very characteristic example,
while at Shepton Mallet (118) there is a wonderful arch-braced roof in
which the local treatment of deep mouldings and traceried panels
ROOFS I03
of different designs, so often found in the flat roofs of the district,
is applied to the curved surface with splendid results. In the double-
framed roofs of Devon the decoration is generally confined to the
bosses, carved out of thick square blocks, clasping the mouldings,
though trails of vine leaves or seaweed are sometimes carved along
the wall plates, as at Burrington, or in some instances along the purlins
and around the chief braces also, but the latter treatment is more
usual in the roofs of Cornwall. The bays of the roof over the rood
or the altar were often boarded over between the main timbers, and
the panels so formed were enriched with diagonal ribs, edged with
dainty crestings, and studded with carved stars, as at Hennock (142).
This treatment is applied to the whole of the magnificent roof of
Cullompton (117).
The collar type of roof was not so commonly used in the double-
framed form. A roof with simple collar-beam principals occurs over
the dormitory of Cleeve abbey, Somerset. Such examples are rare,
for even in the earliest collar roofs the arch form was generally
developed by the addition of arch braces below the collar, forming
a segmental arch. Though this form of roof exercises tremendous
thrust at the very top of the wall, where it is least fitted to resist
the stress, it was in common use in Wales and in the adjoining
counties of England. Besides the great thrust there is another grave
defect. The whole stability of the roof depends upon the connection
of the roof to the wall. In the fourteenth-century roof of the Guest
Hall at Worcester an attempt was made to remedy this by tenoning
a wall post into the rafter and into a stone corbel, built into the wall
a few feet below the plate — a weak solution, since the efficacy of the
post depended entirely upon the tenons. The widening or doubling
of the wall plates was a slight improvement, affording a chance for the
introduction of ashlar pieces or lower braces, or both, and tending to
make the roof arches more acute and thus reduce the thrust. As the
fifteenth century advanced, the brilliant idea was conceived of boldly
projecting the sole piece after the manner of a cantilever and springing
the arch from its extremity, instead of from the plate, as at Whit-
church and Llanynys (120). At the same time the sagging of the
I04 STRUCTURAL WOODWORK
cantilever was prevented, and the roof principals firmly clipped to the
wall, and the thrust brought down much lower by the addition of
a bracket or a wall post and brace. This advance in construction-
the invention of the hammer-beam — appears to have been developed
independently in the East and in the West of England. The hammer-
beam roof is one of the strongest and most beautiful forms of roof
ever invented.1
The system of braced cantilevers was extended in the double
hammer-beam roofs, in which the lower brace supports a second
hammer-beam, tenoned into the rafter, from which another brace
springs to the collar, as at Worlingworth (123) and Grundisburgh.
The effect of this construction is magnificent, and the delights of the
double tiers of hammer-beams sometimes obscured their real purpose,
for there are a number of roofs, of which' Woolpit (86) is one of the
finest, in which full advantage is not taken of the projection of the
upper hammer-beam, which projects uselessly into the empty air,
while the upper brace springs from the rafter. These are simply
single hammer-beam roofs with an upper range of hammer-beams
introduced for effect.
Double-framed collar roofs, whether arch-braCed or hammer-
beam, are very rare in the northern counties, and are uncommon in
the Midlands. In Somerset and the adjoining district they seem to
have been regarded as domestic, for though there are many lovely
examples in halls, they are extremely rare in churches. Some of the
Welsh roofs are very fine ; they are of low pitch, with very massive
timbers, often cusped. The ashlar pieces of the rafters are boarded
1 The hammer-beam is first employed in the roof of Westminster Hall, about 1380,
to meet the extraordinary difficulties of getting large timbers to roof a span of eighty
feet. The roof is exceptional in every way, being a compound roof, divided into a nave
and aisles, supported on great transverse arches instead of longitudinal arcades. In the
Westminster roof the chief member of the principal is a great two-centered arch, divided
into sections by the hammer-beams and the queen posts. The latter are dropped from
a point very near the intersection of the collar and the rafters. These features are
represented in the London group of hall roofs of the hammer-beam type, but do not
occur in the roofs of parish churches. It is therefore certain that the latter are not
inspired by the Westminster roof, but were the inevitable outcome of the development
of the arch-braced roof.
ROOFS 105
over to form a kind of deep panelled cornice, and cusped wind braces,
supporting the purlins, decorate the underside of the rafters. The
majority have neither wall posts nor lower braces, but Whitchurch
( 1 20), Llanynys ( 1 20), and many others are fully equipped with hammer-
beams and their braces. A similar type of roof abounds in some of the
border counties. The East Anglian group includes very many fine
roofs, in which the length of the wall posts and the common use of
the hammer-beam are the most striking features. The timbers are
generally very light, and the curves of the braces are wrought with
much refinement and sense of proportion. The construction is more
daring, the effect lighter and more graceful, than in any other part
of the country, and the architectural details of traceried and foliaged
spandrels, moulded timbers, and battlemented or crested cornices are
usually far more elegant. Moreover, a lovely effect is produced in
very many roofs by poising carved angels with widespread wings upon
every point of vantage. The sober roofs of the Midlands, destitute
of all ornament save mouldings, are a striking contrast to these
splendid triumphs of mediaeval craftsmanship.
trussed T^oofs. — All mediaeval tie-beam roofs are of the double
framed type, and therefore have principals and purlins.
The problem of the sagging of the beam was met by the intro-
duction of arch braces and wall posts, as in the case of beam roofs,
while the settlement of the rafters was prevented by the use of collars
or posts, sometimes in connection with arch braces, or struts, rising
to the rafters in an outward direction. In the earlier work this
framework of timbers was generally cusped, so that the openings were
of a foliated shape, but in work of the fifteenth century they were
generally filled in with tracery, cut out of very thin boards.
Somerset possesses a lovely group of tie-beam roofs, of which
St Cuthbert's, Wells (124), is typical. The timbers are of great size,
especially the king-posts and tie-beams, which are exquisitely moulded
and enriched with carved paterae and deep crestings of elaborate design.
The great king-post is usually flanked by a range of lesser posts on
either side, filling in the triangle above the beam with a kind of grille,
each of the openings having a traceried head. A few mid-Somerset
I08 STRUCTURAL WOODWORK
examples, including Bruton (126), have curved struts rising from the
king-posts to the rafters, and the curious openings thus formed are
filled with rather coarse tracery. At Wellow (i 1 1), the triangles above
the beam are panelled up and carved in the solid with foliage. As
in other Somerset roofs, the wall posts and arch braces are of small
importance, though they are often richly moulded with carved or
traceried spandrels.
In East Anglia there are several tie-beam roofs in which
practically no effort is made to fill in the space between the tie-beam
and the rafter (120), as at Walsham-le-Willows (125) and Ufford (125).
In such a case, the strain on the joint between the foot of the rafter
and the tie-beam is considerable, owing to the thrust of the former.
The strain is sometimes distributed by the introduction of an ashlar
piece and a brace. These tended to be brought nearer and nearer
together, producing the queen-post roof. An important group of these
is found in the Fen district, and occurs in Norfolk, Cambridgeshire,
and Lincolnshire, as at Addlethorpe (124). They are similar in some
ways to the king-post roofs of Somerset, but are altogether lighter and
lacier in effect. The beams, moulded and enriched with crestings,
have angels applied to them "at intervals, and are supported by
great arch braces of four-centered outline, which are often carved
with foliage or grotesques, while the spandrels are filled in with
tracery and are sometimes subdivided by little posts. A pair of light
queen-posts, connected by a pair of arch braces supporting the apex
of the rafters, is a very characteristic feature, while the triangles
remaining on either hand are divided by slender moulded uprights
into vertical panels with lightly traceried heads.
Both king- and queen-post roofs frequently occur in the Midlands,
but in a plainer and simplified form. The ornament is usually reduced
to a minimum, except in a few cases, such as the roof over the present
cathedral church at Oxford (126), which recalls the work of Somerset.
Many of the more important roofs of Bucks, and the adjoining counties
approach those of the Fens in refinement, if not in elaboration.
The climax of English roof construction may be seen in the
astonishing roof of the nave of Needham Market, Suffolk (129).
ROOFS
109
Derived from the single hammer-beam roofs of the district, it contains
in itself all the features of a complete church ; for though in a single
span, it is planned with nave and aisles, the posts which take the
place of the nave piers being supported in mid-air upon the ends of
great hammer-beams. The central section is designed with an almost
flat cambered beam roof, between the principals of which clerestory
windows are ingeniously contrived. The chief feature of the side
sections is the cornice, of enormous projection, which supports
unusually tall ashlar pieces, representing the outer walls of the church.
The whole structure, which is chiefly noticeable for its clever conception,
rather than for its beauty, apparently depends for its stability upon
the lower series of beams. These are actual tensional members', while
the upper beams are in compression. Provided the joints do not fail,
there should be not the slightest thrust from this -remarkable roof,
which is one of the most sensational efforts of the mediaeval carpenter.
no
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FIRRED BEAM ROOFS, CHESHIRE
GAWSWORTH, CHESHIRE
ST MARY'S, CHESTER, NAVE
114
THE DECORATION OF THE ROOF SURFACE— THE CARVER'S AND
PAINTER'S METHODS COMPARED
EWELME, OXON., CARVED ROOF OF SOUTH CHAPEL
BLYTHBURGH, SUFFOLK, PAINTED ROOF OF NAVE
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THE HAMMER-BEAM ROOF— WELSH TYPE
WH1TCHURCH, DENBIGH
LLANYNYS, DENBIGH
120
THE ARCH-BRACED ROOF OF THE EASTERN COUNTIES
.
WESTHALL, SUFFOLK, SOUTH AISLE
TATTERSHALL, LINGS., CHANCEL
121
£
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THE TIE-BEAM ROOF— EASTERN AND WESTERN TYPES
ADDLETHORPE, LINCS., MARSHLAND QUEEN-POST TYPE
5 ST CUTHBERT, SOMERSET AND DORSET KING-POST TYPE
124
THE TIE-BEAM ROOF— EAST ANGLIAN TYPE
WALSHAM-LE-WILLOWS, SUFFOLK, INTERMEDIATE HAMMER-BEAM PRINCIPALS
UFFORD, SUFFOLK, INTERMEDIATE HAMMER-BEAM PRINCIPALS
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127
THE ANGEL AS A ROOF DECORATION
SELWORTHY, SOMERSET, WEST COUNTRY TYPE
J
ST DECUMAN'S, SOMERSET, WEST COUNTRY TYPE
UPWELL, NORFOLK, EAST ANGLIAN TYPE
128
THE COMPOUND ROOF
NEEDHAM MARKET, SUFFOLK, ROOF OF NAVE
NEEDHAM MARKET, SUFFOLK, DETAIL OF ROOF
129
1 1
TIMBER VAULTS
VAULTED ceilings of wood were not often employed in the Middle
Ages, and several important examples have been destroyed, notably
that of York minster. They have been much abused by critics of
the school of Ruskin for insincerity of construction, but it must be
confessed that there is little ground for such criticism. The copying
in a certain material of the architectural forms which arose out of
the nature of some other material is not necessarily wrong. If it were,
then the whole of mediaeval woodwork must be condemned, for there
is scarcely a single feature of design which did not originally make its
appearance in stone.
The only qualities in which the wood vault is inferior to that of
stone are that it is not fire-proof, and it is not so durable. In one
particular it has marked superiority : it exercises but little thrust, and
can therefore be placed with confidence on old or weak walls. Of
course it is true that the vault was originally evolved to suit the
nature of stone, but its forms are easily and reasonably translated
into timber. It is, as a matter of fact, much easier to construct
a vault in wood than in stone, and though the cost is much less, the
effect, to the unprejudiced observer, has good qualities of its own.
But it is necessary to remember that the design must be light and
airy, and that no attempt should be made to emulate the solemnity of
the stone vault. This was appreciated by the later mediaeval designers,
who made their arched ribs slender in proportion and delicately moulded
them, while they gaily decorated the panels with gold and colours,
after the manner of woodwork.
One of the most ancient of wooden vaults is that over the nave of
the parish church at Warmington, Northants (130), which appears to
I31
,32 TIMBER VAULTS
date from the middle of the thirteenth century. Its great chamfered ribs
are heavy and clumsy in section and curve, and the whole design is
of antiquarian, rather than artistic merit. An example, rather later in
date, is the beautiful little vault of the cloisters of Lincoln (130), where
the ribs of obtuse outline are beautifully moulded, while the carved
bosses which cover their intersections are among the most exquisite
works of their early date.
The fourteenth century is represented by the vault of the quire of
St Albans abbey. It is of particularly beautiful outline, the curves
of the ribs are carefully set out, and the mouldings, though excessively
undercut, well express the material of which it is constructed. It is
provided with intermediate ribs, and retains elaborate colour decoration
of the fifteenth century, the chief motive of which is the circular
medallion in each panel, bearing an Agnus Dei and an eagle alter-
nately, framed in a border, which bursts into foliage, practically covering
the triangular panel.
The fifteenth-century vault of the quire of Winchester is of true
late Gothic type, with lierne ribs. It is of intricate design, and is a
translation into wood of the stone vault of the nave, with the details
modified to suit its timber construction. Another .splendid wooden
vault of the same period is that beneath the tower of St David's (133),
of the lierne type, with a central aperture for the passage of the bells.
It is decorated with modern colour, and is not improved by the beams
which have been inserted in recent times to support it. Wooden
vaults are far from common in lesser churches, but they sometimes
occur, for instance beneath the central tower of Ludlow (133). The
design of this example is much influenced by contemporary fan vaults.
But the most magnificent of all mediaeval wooden vaults, daring
in conception and sublime in effect, is the celebrated fourteenth-century
central octagon at Ely. This is a real triumph of mediaeval carpentry,
almost baffling description. Bold as is its conception, it is essentially
a timber construction. It has, of course, suffered severely from
restoration, and its modern colour decoration is a catastrophe, but it
remains one of the most impressive things in mediaeval art.
THE WOODEN VAULT— LATE TYPES
LUDLOW, SALOP, VAULT OF TOWER
ST DAVID'S CATHEDRAL, VAULT OF TOWER
133
DETAIL OF THE FOURTEENTH-CENTURY SEDILIA
BEVERLEY MINSTER, YORKS.
134
Ill
FITTINGS OF THE SANCTUARY
IN mediaeval days it was the custom to make most of the fittings of the
sanctuary of stone, but a few examples of wooden altars, reredoses,
and sedilia remain scattered in various English churches.
THE ALTAR
There is no doubt that the earliest altars were of wood, but at a
very early date stone was introduced, as being more worthy and
permanent. Thus it is stated on doubtful authority that wood altars
were forbidden by Pope Evaristus in the second, and by Pope Sylvester
in the fourth century. However this may be, it is certain that St
Athanasius and St Augustine refer in their writings to altars of wood,
and that mediaeval Church Councils and bishops ordered again and
again that no altar of wood should be consecrated, while many pro-
hibited their use altogether. Nevertheless, wood altars continued to
be erected occasionally right through the Middle Ages. A wooden
altar at Aldwark is mentioned in a will of 1432, another existed at
St Christopher-le-Stocks, London, in 1483, and another in Canterbury
cathedral is mentioned by Erasmus.
The only existing wooden altar appears to be that at Tawstock,
Devon, which may be post- Reformation, but is of early sixteenth-
century date. The sides and front are of linen panelling. The altar
table at North Walsham, Norfolk, is also assigned to a date just before
135
i36 FITTINGS OF THE SANCTUARY
the Reformation by some authorities, and is of more or less Gothic
design.
It may be gathered from numerous mediaeval illumirfations that
the foot-pace or platform in front of the altar was very often of wood,
but none has survived.
THE REREDOS
The great majority of English altars were arranged with an altar
piece or reredos of about the same dimensions as the front of the altar
itself, and curtains called riddels, hung on brackets, parallel to the ends
of the altar, projected from the wall on either side. The altar piece
was usually a curtain of tapestry or embroidery, called a dorsal, such
as that, which is still preserved at Chipping Campden, Gloucester, but
a reredos of wood, stone, or alabaster was sometimes used when the
parish could afford to do so. The wooden reredoses were generally
oblong, surrounded with a frame. The panel was painted or carved
in relief. Sometimes it served as a background to a series of images,
standing on the sill. In many cases it was divided by pinnacled
uprights into a number of little niches, each with its own canopy and
base, enshrining figures of the saints. The central niche often broke
up above the general level of the top of the frame. A rood with
figures of Our Lady and St John, or other images, such as St Gabriel
and Our Lady, forming an Annunciation, was sometimes poised on the
top of the frame.
Remains of reredoses are very rare indeed, and most of our
knowledge is derived from mediaeval illuminations, inventories, and
other documents.
One of the earliest and most important is the wonderful reredos,
believed to be that of the high altar of the abbey church, now in the
Jerusalem Chamber at Westminster.' It is a splendid work of the
thirteenth century, richly decorated with gesso and the most beautiful
paintings imaginable. There is another thirteenth-century reredos of
less importance in the church at Adisham, Kent, said to have been
THE REREDOS I37
brought from Canterbury. It is a rectangular frame, composed of
two large columns with top, bottom, and middle rails, forming two
rectangular panels. The lower panel was probably hidden behind
the altar, but is decorated with four quatrefoiled circles, while the
upper, the reredos proper, had an arcade with saints painted in the
panels, on a diapered background. There are mortices and grooves
in the front of each column, showing that in this case the riddels were
of similar wood panelling, instead of curtains. This arrangement may
be compared with that of the fifteenth-century reredoses against the
screen at Ranworth.
There seem to be no remains of wooden reredoses of the
fourteenth century, though there are a number of examples in stone.
At Norwich, in the cathedral, there is preserved a very fine
painted wooden reredos of the early fifteenth century, with scenes
from the Passion, within a richly decorated frame of gilt gessowork.
It is very simply constructed of horizontal boards, pegged to the
frame, and is imperfect at the top, having been mutilated to form the
top of a table. It appears that the central panel was slightly higher
than the others, as in so many other cases. Perhaps the only
fragment of a wooden reredos remaining in sit^l is that of the north
chapel at Worstead, Norfolk. It consists of a delicately moulded
frame, painted and decorated with flowerwork, with a plinth con-
sisting of very delightfully traceried squares.
A good many reredoses of wood with alabaster figure work are
still to be found on the Continent, and it has been proved beyond
doubt that a number of these are of English work. In the earlier
examples the woodwork is subordinate to the alabaster. The frame
is chamfered and decorated with square patches of gilded gesso, and
the carving is confined to the cresting, which usually occurs on either
side of the tall central panel. Most of these reredoses are made to
fold up after the manner of a triptych, probably for convenience of
export. Some were provided with wooden shutters to close in Lent.
As time went on there was a tendency to do more and more of the
work in oak instead of alabaster. Traceried bases were introduced,
and finally the canopies over the alabaster groups were made of wood.
138 FITTINGS OF THE SANCTUARY
FIX CANOPIES
Before the Reformation the Blessed Sacrament was reserved
in a silver box or pix, veiled in a cloth of cypress, and was hung
beneath a canopy of embroidery or metalwork over the high altar.
But it appears from documentary evidence that the pix canopy was
sometimes a wooden spirelet, like a little font-cover, coloured and
gilt. Three objects, about which there has been endless controversy,
have been regarded as pix canopies of this type. That at Wells is
a cylindrical drum of pierced tracery of thirteenth-century design,
divided into two light windows by turned shafts with caps and bases.
There are moulded rings at the top and the bottom, the former with
a coarse cresting of foliage. It is possible, if not probable, that this
interesting example of early decorative woodwork was intended for
a pix canopy, but the little spire which stands on a corbel in the quire
of Tewkesbury abbey, though often described as a pix, appears more
likely to be a miniature steeple for a sanctus bell. The similar spire
at Milton Abbas, however, is almost certainly a pix canopy. It is
very delicate and charming work of the fifteenth century.
TESTERS
That part of the roof above the high altar was frequently more
richly decorated than the other bays. The rafters were often boarded
over and painted, and were generally divided into panels by applied
mouldings, as at East Hendred, Berks., and Minster Lovell, Oxon.
An attractive treatment was to suspend a tester from the roof. Such
testers are extremely rare, but two lovely fifteenth-century examples
are still in existence.
At Ludlow, Salop, the tester is curved to fit around the arch
of the window above the altar. A moulded curb with a carved trail
and cresting decorates the edge, and there are carved angels holding
shields at the angles. The underside is divided into panels with
moulded ribs, having bosses at their intersections. At Clun (142), in the
same county, there is a similar tester, but the design is not so striking.
SEDILIA i39
Instead of being curved it is obtusely gabled. It seems probable
that neither of these examples can be regarded as typical. The
more usual form was probably flat, like those over the tombs of the
Black Prince and Henry the Fourth at Canterbury (355).
SEDILIA
The seats for the celebrant and his assistants, known as sedilia,
and placed on the south side of. the altar, were almost always of stone,
but there are a few interesting instances of the use of timber. These
generally occur in churches completely aisled, with arcades continued
right to the east wall, leaving no wall space into which sedilia of
masonry could be recessed.
At Upchurch, Kent, there is a sedilia bench of masonry with a
panelled back of timber, which may have had some form of canopy,
since the top is mutilated. The panelling is divided by a moulded
rail into two long horizontal divisions. The upper one has a fine band
of continuous tracery of fourteenth-century style, while the lower is
pierced with several trefoil-headed lancets, very unequally spaced.
The earliest sedilia of real importance are those of the abbey
church at Westminster (144). They are four in number, without any
division between the seats, though the canopy is planned with four
vaulted bays, masked by gabled hanging arches, crocketed and
foliated. The pendants terminate in beautifully carved human
busts. The pinnacles between the gables have been destroyed.
The panelling at the back of the seats exhibits some of the best
figure painting of the date in England. Each of the four divisions
has a magnificent saint, drawn with a fine simplicity, on a diapered
background.
The fourteenth-century sedilia at Beverley minster (134, 144)
are magnificent. There are four seats, canopied with a vaulted
structure supported on ten pinnacled and traceried shafts, connected
with lovely ogee arches with straight-sided gables above, richly
crocketed after the manner of the Percy tomb which it faces. It is
interesting to compare this fine work with that of the bishop's throne
1 40 FITTINGS OF THE SANCTUARY
at Exeter, which it resembles in style, though the detail of the carving
hardly reaches the high standard of that triumph of mediaeval art.
Rodmersham, Kent (145), still preserves wooden sedilia of the
fifteenth century, very successfully combined with the parclose screen
between the chancel and south aisle. , The seats are separated by
shaped elbows, and the panelled back supports a handsome coving
with a moulded cornice and deep carved cresting. It is a simple
and dignified piece of work.
In the cathedral at St David's (145) there are charming sedilia
of the fifteenth century, more elaborate in design. There are three
seats, and the panelled back is pierced with rectilinear tracery.
Beneath the coved canopy there is an elaborate vaulted niche head
to each seat, with very delicate and beautiful crocketed ogee
arches and pinnacles.
The sedilia at Hexham abbey church (141), four of which are
ancient though much restored, are also of the fifteenth century. The
seats are separated by shaped and pierced standards of elaborate
design, and are canopied by intricate vaults, semi-octagonal on plan.
These served as a base for elaborate spires of tabernacle work, now
almost wholly renewed.
EASTER SEPULCHRE
The Easter sepulchre, of which so much has been written, appears
to have been frequently constructed of wood. Naturally, the vast
majority have been destroyed, but a few examples of mediaeval
woodwork still exist which may possibly be Easter sepulchres. Of
these the most authentic is that at Cowthorpe, Yorks. (143). It
consists of a wooden chest, decorated with traceried panels, with posts
at the angles, carrying a gabled roof with a fine cresting running along
the ridge and eaves, and crocketed gables. Arched braces spring
from the posts to the eaves of the roof.
THE SEDILTA, HEXHAM ABBEY
141
THE TESTER OF THE ALTAR AND THE CELURE OF THE ROOD
CLUN, SALOP, ALTAR TESTER
HENNOCK, DEVON, ROOD CELURE
142
THE EASTER SEPULCHRE
COWTHORPE, W.R., YORKS., THE EASTER SEPULCHRE
143
Q
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144
10
145
TABERNACLED STALLS WITH TRIPLE NICHES
NANTWICH, CHESHIRE
i'46
IV
QUIRE FITTINGS
STALLS
THE quires of most mediaeval churches were fitted up with seemly
ranges of stalls for those taking part in the services. The seats were
arranged against the screen so that the occupants faced the altar, and
were returned eastwards, backing against the side walls. The same
general plan was adopted in churches of all ranks. Those of the
cathedral and abbey churches were, in most cases, naturally the most
beautiful and ornate, but returned stalls, vieing with those of the
greater churches, occur in the collegiate church of Stratford-on-Avon,
the parish church of Southwold (168), at Nantwich (146) (a chapel
of ease to the parish church of Acton), in the chapel of the Arch-
bishop's palace at Croydon, the Vicar's chapel at Wells, the almshouse
chapel at Chichester, and in the college chapels of the Universities.
They also occur in chantry chapels, as in the case of the Beauchamp
chapel at Warwick, in Lady chapels, as at Winchester, and in mere
parcloses at the ends of aisles, as at Winthorpe.
Yet it used to be maintained by the antiquaries that the presence
of stalls in a parish church was a sure sign that the church was
once collegiate or " in some way monastic." When diligent research
has failed to establish any such connection, absurd traditions have
been invented to the effect that the stalls have been brought from
some destroyed abbey. Occasionally these surmises have been
correct, as in the case of the stalls at Whalley and Richmond, but
more often they are absolutely false, being based on the failure of
147
,48 QUIRE FITTINGS
the nineteenth-century antiquary to appreciate the grandeur of parochial
services before the Reformation in even the minor parish churches.
Medieval Consuetudinaries give minute directions as to the order
of precedence to be observed in the assignment of quire stalls. That
in use in the cathedrals was to be followed as closely as possible by
the churches of lesser rank. At Salisbury the terminal seats ranked
first. That on the south side of the quire entrance was allotted to
the Dean, that on the north to the Precentor ; of the eastern terminal
seats, that on the south was assigned to the Chancellor, that on
the north' to the Treasurer. The fifth in order of precedence sat
in the stall on the right of the Dean, the sixth on the left of the
Precentor, and so on. The same principles were observed in the
monastic churches, but in other places the eastern terminal seats
were not of high rank, the third seat in order of precedence being the
second stall on the south side of the quire entrance ; otherwise the
arrangement was the same. The greater cathedral and abbey churches
had so many attached to the foundation that a second row of stalls
was introduced on either side of the quire for novices or minor clergy.
These are never found in parish churches. In mediaeval days it was
the custom for the singing-boys to stand or kneel in front of the stalls.
No seats were provided for them, except in a very few instances,
while desks for the boys are absolutely unknown. They have often
been introduced in modern times, crowding the quire and making the
seemly conduct of Divine service a matter of impossibility. •
The stalls of a quire arranged in the stately mediaeval manner
are grouped about the altar like the seats around the apse of an early
Christian church. Indeed the relative positions of the altar, the
celebrant, and the stalls in a fifteenth-century quire are unchanged from
that of an Italian church of the third century, save for the transference
of the congregation from the eastern to the western portion of the
church, an alteration which necessitated two minor changes, namely
the squaring of the apsidal arrangement of the seats and the moving of
the bishops' throne from the centre (where, under the new conditions,
it would have blocked the quire doorway) to a position on the south
side, east of the stalls.
STALLS 149
The general plan of mediaeval stalls is therefore remarkably
constant, and it has altered very little from that in use in the early
days of Christianity. The persistence of the traditional form of stall
with shaped arms, semicircular back, and tip-up seat is also striking.
There is no stallwork of an earlier date than the first half of the
thirteenth century. To this period belong the very plain stalls at
Kidlington, Oxon. ; Great Budworth, Cheshire ; Weston-in-Gordano,
Bristol ; and Hemingborough, Yorks. (188) ; the misericords at Exeter,
and a few in the later series of Christchurch, Hants, and Henry the
Seventh's chapel at Westminster, and some simple arcaded desks
at Rochester. These examples show that the traditional form of
stall now so familiar had even then been invented and was in general
use all over the country. Canopies of an advanced type were also
employed in the greater churches. A few shafts still exist at
Peterborough which appear to have come from the quire stalls, and
the design of the original stalls in the quire of Westminster abbey
is known, since they appear in a drawing of the seventeenth century
by Sandford. These canopies took the form of a double arcade of
acutely pointed arches, supported on slender turned shafts ; the space
between the two screens, was vaulted.
The stalls of Winchester are the earliest which have survived
in a perfect state, and even in this instance the desks are of later
workmanship. They appear to date from the last decade of the
thirteenth century. Two stalls are grouped beneath each of the
canopies, which consist of two screens carrying a vault ; the back
screen is panelled up and decorated with fine geometrical tracery,
while the front screen consists of alternate standards and turned
shafts, rising from the elbows of the stalls and carrying a series of
two-light windows with a crocketted gable over each, so steep as
to foreshadow the tabernacled stalls of the fifteenth century.
The stalls of Chichester are typical work of the early fourteenth
century. The canopies are of the double screen type, but a coving
is substituted for the vault, and the pinnacles and arches of the
front screen are framed into a horizontal beam. At Ely, twenty or
thirty years later, this motive is developed by the addition of another
I5o QUIRE FITTINGS
story, consisting of a series of spired niches, but the fine stalls of
Lancaster (181), of about the same date, are simply a single bay
version of the Winchester design. For some reason stalls of the first
half of the fourteenth century are very rare outside the greater
churches. The stalls of the almshouse chapel at Chichester, which
have survived in an almost perfect state, are the principal exception.
Many lovely sets of stalls date from the late fourteenth century.
Some of these have canopies of rather unusual design. At Gloucester
the stalls are backed by a lofty panelling, the upper portion of which
is of open-work, while the canopies take the form of mere niche heads
attached to the main framework. At Hereford (182) the Chichester
type is carried forward a step further by making the arches of the
front screen bow forward in the manner of a niche. In these examples
the genesis of the design of the Lincoln stalls may be traced. The
double screen, the front one supported on turned shafts, the double
storied design, and the idea of treating each of the canopies as a niche,
were no novelties. Nevertheless, the appearance of the tabernacled
type of stall canopy at Lincoln about 1370 is a great surprise. These
grand stalls influenced all subsequent work of importance. They
were copied with various improvements at Chester. (163, 165, 166),
about ten years later, and with elaborated architectural detail, but
simplified carving, at Nantwich (146) and Whalley and York.
A great deal of parochial stallwork belongs to the fifteenth
century. Most stalls are, of course, without canopies of any kind,
owing to lack of means, though some have high panelling behind
them, or the screen against which they are fixed is designed to provide
a vaulted canopy, as at Wingfield (260), Southwold, Suffolk (260),
and Stamford St John, Lines. Fifteenth-century stalls are generally
distinguished by the excellence of their proportions and the telling
use of the carved ornament, which is applied with such skill that,
though it is rarely used lavishly, an admirable effect is produced with
a very little expenditure of money or labour. Some of the East
Anglian stalls, such as those of South Creake, Westhall, or Ludham,
are almost destitute of ornament, but they are perfectly satisfactory
owing to their good proportions. When there were ample funds the
GENERAL ELEVATION.
SCALE OF L
PLAN.
r^x : ^ !ii ^-.,. • ^f |
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WINCHESTER CATHEDRAL
LATE THIRTEENTH-CENTURY STALLS
J. K. COLLING, del.
I52 QUIRE FITTINGS
fifteenth-century craftsman knew well how to produce a really rich
effect, as in the fine stalls of Southwold, Suffolk (168); Beverley
St Mary, Yorks. (170); and Gresford, Denbigh (167, 175), Ludlow
(185), and Montgomery (185), with their rich panelled backings, and
the stalls of the chapels of All Souls and New College at Oxford, are
also notable examples.
Much fine work was also carried out in the greater churches.
Sometimes the earlier and simpler types of canopies were adopted,
as at Sherborne and Norwich, which are versions of the double screen
type, or Christchurch, Hants, which has coved panelling. In the north
the tabernacled type was preferred, as at Carlisle (184). Tabernacled
stalls of a rather different kind were put up in the chapel of St George
at Windsor, and Henry the Seventh's chapel at Westminster, in the
last quarter of the fifteenth century. They are only distantly related
to the tabernacled canopies of northern England, and display strong
foreign influence. At Windsor the canopies took the form of fantastic
barbicaned towers of almost incredible intricacy, alternated with
equally elaborate spires of ecclesiastical appearance. The knights of
the Order of the Garter sat under the towered canopies, and the
canons under the spires. However, all the canopies - were converted
into towers when the Order was enlarged in the eighteenth century,
and the spires were stored away as useless lumber. Some have found
their way into private possession. At Westminster all the canopies
end in little crocketted ogee domes. The tracery is varied and of
extreme originality and beauty. The Lincoln tradition was perpetu-
ated in the early sixteenth century by the fine tabernacled stalls of
Ripon, Manchester (173, 184), and Beverley minster (166). These
are of pure English design, but the stalls of Christchurch, Hants,
although they incorporate canopies of the mid-fifteenth century and a
few misericords of the thirteenth, are very strongly influenced by the
Renaissance. Finally there are the splendid stalls of King's College,
Cambridge, in which the only trace of the Gothic tradition is to be
found in the stately planning, and the form of the misericord seats.
All the carving is Renaissance in feeling.
When the original arrangement of the stalls has not been altered
STALLS I53
in modern times it is invariably found that they are raised some inches
above the floor of the chancel upon a platform of boards and joists,
resting on a low stone wall. This is generally pierced with little
traceried openings, either for ventilation or for acoustic reasons. At
Trunch these openings are regular rose windows, while at Southwold
(168) the stone plinth is of continuous pierced tracery. At Beverley
St Mary (170), on the other hand, the curb is of wood, very delicately
moulded, but without piercings of any kind. When there are two
rows of stalls the back row is raised considerably above the front one.
The actual setting out of the plan was often a matter requiring
some ingenuity. When there is no chancel arch, and the screen runs
from wall to wall, and when there are no aisles to the chancel, the
problem is very simple. The chief difficulty is the setting out of the
corner seats. These look best when fixed as close as possible to
the angle and arranged symmetrically, but in this case there is little
room for the feet of the occupants when sitting, a state of affairs which
is intensified when they kneel at the desk. To avoid this one of the
angle seats was sometimes fixed about a foot further from the angle
to allow room for the feet. At Gresford this correction is made in
the stalls facing east, while at Fairford it is made in the side ranges.
When there is a chancel arch the question arises as to whether the
stalls should be set back under the arch or whether they should follow
the line of the wall face. In the first case it is not possible to work
in so many stalls, but more clear space is left in the chancel, while in
the second case a waste space is left between the back of the stalls and
the screen, as at Leighton Buzzard (167), which must be boarded over
or cased up in some way. The same problem occurs when there are
arches in the side walls, opening on to the chancel aisles. In parish
churches the most usual arrangement is for the main stalls to be set
back under the chancel arch against the screen, and for the side
ranges to be independent, stopping against the respond of the chancel
arch ; it is not unusual for the side ranges to be mere benches, as at
North Marston, and sometimes as at Winthorpe (175) ; not even the
main stalls are of the time-honoured form with misericords.
An ample space is allowed between the seat and the desk. Gaps
I54 QUIRE FITTINGS
are left in the latter at convenient intervals to serve as gangways by
means of which the occupants of the back row of stalls could reach their
seats without disturbing the dignitaries in the terminal seats, for in
medieval days those taking part in the service did not make a
ceremonial entrance in procession, but made their way to their seats
as soon as they reached the church. These gangways were also useful
for the leaders of the singing to make their way from their stalls to
the quire lectern. In the greater churches, where there were two rows
of stalls, the lower ranges were stopped a couple of feet short of the
main ranges facing east. The lower seats were sometimes mere
benches, as at Chester (165), but occasionally they were provided with
seats of equal importance to those of the main stalls, as at Beverley
minster (166).
In a number of parish churches the edge of the platform is
allowed to project to form a little ledge for the singing-boys to sit
upon, as at Trunch, or a low and narrow bench is provided in a very
few instances, as at Winthorpe (175). At Sefton the fronts of the desks
are planned as a series of niche-like recesses to form seats for the
quire boys, but in the great majority of cases no provision whatever
is made for them beyond a sort of projection from the front edge of
the desk standards, keeping them from encroaching upon the
gangways. This absence of seats for the boys has led some antiquaries,
ignorant of the mediaeval service books and the evidence of church-
wardens' accounts, to maintain that the surpliced quire of singing-
boys is a modern invention, but there is not the slightest doubt that
it is a survival of a mediaeval custom. The modern mistake which
has brought the surpliced quire into disrepute is to have more boys
than can be properly trained, and to cumber the chancel with
unnecessary seats and desks for them.
So much for the general plan. The sections were very
conveniently proportioned, and are generally comfortable for kneeling,
standing, or sitting. In the true misericord stall the seats when turned
down are about seventeen inches above the ground, and the back
panelling is sloped, while knobbed elbows are provided on which the
hands may rest. When standing the misericord is tipped up, allowing
STALLS i55
ample room for those passing along the gangway to their stalls, and
its ledge affords a slight support to the body, while the elbows can be
rested on the arms of the stalls. The desks are not intended for
singing from, but for use when kneeling.
The construction of a misericord stall is very peculiar. The
shaped standards or elbows are cut out of wide planks. They are
notched over a deep and massive bottom rail (to which the
misericords are hinged in many cases), and are housed into the
massive capping, which is very wide and hollowed out with semi-
circular recesses to form curved backs for the stalls. The space
between this capping and the bottom rail is filled in with thin wide
boards, forming a sloping back. The capping is often fixed square
with the back and is consequently tilted up in front. In most cases
the back of the stalls is hidden by the screen against which they are
fixed, but in a few cases it is concealed by special panelling, as at
Beverley St Mary (170), or it is exposed as at Higham Ferrers (177),
where the parclose screen is built on the top of the stalls.
The misericords (188-190) are generally carved in the solid with a
typical disregard for wasted material. They are sometimes pivoted to
the standards by a pin worked in the solid, and they rest on the lower
edge of a quadrant -shaped sinking in the standards. An alternative
method is to hinge them to the upper edge of the bottom rail. The
shape of the standards is therefore governed very largely by the
misericord and the position of its pivots and sinkings. The front
edge below the seat is usually vertical, and is wrought into a little
shaft, above which the moulded edge follows the path of the front edge
of the misericord, finally turning upwards and outwards to support
the arms. These are worked out of the solid capping, and are
generally very deeply and elaborately moulded, but these mouldings
almost always die out against the back, probably for practical reasons
of comfort. The front of the arm is usually semicircular on plan,
giving the effect of a little capital when seen from the front ; sometimes
a cluster of capitals is attempted, as at Southwold (190), where the
plan is a trefoil.
The standards of the terminal seats are sometimes left to tell
I56 QUIRE FITTINGS
their own tale, but in more important instances they are hidden by
specially treated end standards, as at Norbury (180) and Higham
Ferrers (180), where they are shaped. At Southwold they are
rectangular, and are finished with a cresting. In the canopied stalls
projecting panelled wings are necessarily provided to support the
overhanging canopies, and these have a very stately effect. At
Hemington (180) and Wantage the end standards themselves are
continued above the top rail, and are elaborately shaped and carved.
The desks were seldom less than a foot wide, and were sloped
at a decided angle. They are often moulded on the front edge, and
are frequently of wedge-shaped section. They are housed into the
end standards at a height seldom more than thirty inches above
the floor. The space between the front edge of the desk and the
sill is filled in with boarding or panelling, which afforded a good
opportunity for decorative treatment. At South Creake the boarding
is strengthened with an occasional moulded muntin, while at Winthorpe
(175) it is stiffened with a band of tracery and mullions, planted upon
the surface of the boarding. Generally real panelled construction was
adopted, as at Edlesborough (172), where the desk fronts have rails
and styles of their own, instead of the desk acting as top rail and the
standards as styles. In this case each panel has a traceried head,
grooved into the frame, like those of the Midland type of screen.
At Oxford cathedral (171) the tracery of each panel is designed on
the lines of a two-light window, with a little central mullion, now
lost. At Beverley minster a band of tracery is introduced as a sort
of plinth, while at Southwold (171) the panels are completely traceried
from top to bottom. Linen panels are sometimes employed, as at
Thame and Hillesiien (172) ; in these cases a middle rail is introduced,
giving two rows of panels. The muntins were sometimes emphasised
by the addition of a small buttress or pinnacle, as at Oxford (171)
and Southwold. In the latter instance the panels are grouped in pairs
by this means, the alternate muntins being left unbuttressed (171).
The desk standards were shaped in the majority of instances,
and ended in a carved poupee head, but there are a few instances in
which the standards are stopped under the desks, as at Hillesden,
STALLS I57
or are cut off at an angle an inch or two above the desks, as at
Christchurch, Hants (179). In the West they are sometimes of
rectangular outline, and are carried up above the desks, ending in
carved and pierced figures, as at St Ives. The edges of the standards
are moulded, and occasionally enriched with a trail of foliage, as at
Southwold (171). In two of the Chester desk ends the trail takes the
form of a tree of Jesse (174). In a few instances the shaped standards
are crocketted, as at Ilsington, Devon, and King's Lynn, Norfolk
(158). The face of the standard was sometimes left plain, as at
Higham Ferrers (177), but when funds would permit it was traceried,
sometimes very elegantly, as at Jarrow (174) and Ludlow (174).
Heraldry is often introduced, particularly in the later work, as at
Wensley (176), Durham University College (176), Hawarden (176),
and Manchester (173), where the tracery is very deeply sunk in two
orders. An interesting treatment occurs at Bratoft, Lines. (178),
where the ends are plain save for a sunk, diamond-shaped panel with
a shield and foliaged spandrels. The richest stalls had niches with
carved figures of saints sunk in their desk standards, as at Barkestone,
Leicestershire (177), where the niches, with canopies of elaborate
architectural design, contain magnificent figures of apostles. These are
certainly not parochial, but must have been brought from some great
abbey church. Very simple stall ends with figures of St George
exist at Hull (177). A pretty feature in some of the more important
stalls is the carving of a little scene, such as the Annunciation, on the
inner side of the standard above the desk, as at Chester. The ogee
shaping of the top of the standards gives much character to the
design. In some instances the ogee is symmetrical, but in other cases
it is distorted to suit the slope of the desk, as at Norbury (180), a
reasonable but not very beautiful treatment. Some start with a very
easy curve, as at Hull and Gresford (175), while in other instances
the lower curve is of very short radius, as at Oxford (178) and
Bratoft, or the lower curve is omitted altogether, as at Fairford.
These differences of design are all to be found in the stalls from
King's Lynn (158).
One of the most striking characteristics of the fifteenth- century
KING'S LYNN STALLS
desk standards is the buttress-like projection attached to the front
edge. This is sometimes a mere shaped buttress with moulded
offsets, as at Leighton Buzzard (167), but sometimes the mouldings
158
STALLS 159
are returned and die into the moulded edge of the standard, and
the buttress is sometimes thick enough to be decorated with
sunk panels, as at Beverley St Mary (170) and Oxford cathedral
(171). At Southwold (171) the buttresses are great octagonal shafts
with elaborately decorated sides, terminating in moulded capitals which
now carry turned balls, but may have been for the support of carved
figures. In very many cases the buttresses carry little platforms on
which heraldic beasts disport themselves. These are a characteristic
of the East Anglian work (158).
A peculiar and elaborate form of buttress is employed in the more
important stalls in the North of England, as at Wensley (176) and
Manchester (173). It is built up of a little gabled canopy standing on
a plinth, through the windows of which a square shaft may be seen.
This penetrates the roof and carries a platform with a beast in the
usual manner. Other standards have curved elbows attached to mask
the ends of the boys' ledges, as at Winthorpe (175). These usually
ramp up in an ogee curve, and are finished with a carved finial.
Sometimes a carved animal sits upon them.
The simplest version of the canopy consists of panelling fixed
against the wall above the back of the stalls. The muntins are
generally spaced out to suit the stall, and are decorated with buttresses
or pinnacles. The panels may be left plain, as at St Mary's, Oxford, or
they may be traceried, as at Sudbury and New College, Oxford. Little
canopied niches are worked into the tracery of the panelling of the
stalls at Ludlow and Montgomery (185), a moulded cornice runs along
the top, and may have considerable projection. In many examples this
cornice takes the form of an overhanging coving, as at Abergavenny
and Christchurch, and hanging tracery may depend from the upper
beam, as at St Peter's, Hereford. At St David's the panelling is
vaulted instead of being coved, and the upper beam carries a kind
of rood-loft front. The whole composition is founded upon the arched
screen of the period. At Gloucester (164) and Hexham the overhang
is obtained by fixing elaborate open-work niche heads to the surface
of the back panelling.
The next group of canopies in order of complication is that in
which a light screen stands on the arms of the stalls, about eighteen
I6o QUIRE FITTINGS
inches in front of the back panelling, and the space is roofed over with
a vault or coving. Winchester (151) is the earliest surviving example,
but others once existed at Peterborough and Westminster. In the
latter the front screen consisted of an acutely pointed arcade, supported
on slender turned shafts. At Winchester and Lancaster (181) a series
of tracery heads beneath tall straight-sided gables takes the place
of the arcade. Chichester is a fourteenth-century version of the
Westminster stalls, in which crocketted ogee arches, separated by
carved pinnacles, are used instead of lancet arches. There are a
few fifteenth-century examples of this motive, as at Sherborne, where
the arches are almost semicircular, and are richly cusped, while the
spandrels are carved in relief. In at least two instances a double storied
version is found: at Ely (183), in the fourteenth century, the upper
story consists of a series of pinnacled niches for sculpture, while at
Norwich, in the fifteenth century, jt takes the form of a pair of rather
meaningless panels with ogee-arched tracery. At the cathedral and
All Saints, Hereford (182), the arches of the front arcade break forward
on plan like the head of a niche. In the fine series of tabernacled
canopies this motive is elaborated. At Lincoln the niches are three-
sided (half-hexagon) on plan, with a pinnacle at each angle, and a bow-
ing ogee with a gable behind attached to each face. Within the little
forest of gables and pinnacles a traceried polygonal tower rises, and
upon its summit there is a delicate spired niche, flanked by flying
buttresses, which once sheltered a figure of a saint. At Chester (165)
the bowing ogees of the lower stage are trefoiled, and in the lovely
tabernacle- work which is carried round the pulpitum (163) three-spired
niches are crowded in over each canopy, a motive which was followed
at Nantwich (146), York, arid Carlisle (184). Another elaboration is
the attaching of a niche canopy to each face of the main niche, giving
an effect of extreme complication. At Ripon and Manchester (184)
these are triangular on plan, with two ogee arches to each, but in
the destroyed stalls of York they were half-hexagon and had three
ogee arches.
The carving of the misericords is a very interesting feature of
English stall work. The subjects of the carvings were gathered from
many and various sources — from the Old and New Testaments,
MISERICORDS l6i
from mythology, from the Bestiaries, and from the popular tales and
romances of the day. Every-day life was also reproduced or satirised,
and heraldry was freely used, particularly in the later work. It is
impossible to do more than deal with the subject of their design in
these pages. Even the earliest misericords conform to the same
general type — a little corbel with a moulded edge supported on carving,
either of foliage, as at Hemingborough (188) and Ludlow (189) ; figure
work, as at Wells (188) and Carlisle (189) ; grotesque, as at Loversall
(188); or architectural motives, as at North Marston and Southwold
(190). The mouldings of the corbel do not die into the under
surface of the seat, but meander downwards along its surface, and
terminate in a bunch of foliage or other carving. This same
motive of central corbel in high relief, flanked by side subjects
in rather lower relief, hanging from stems, is found nearly every-
where and at all dates. The chief exceptions are the misericords
at Gloucester, in which the moulding of the corbel is continued round
the underside of the seat as a kind of cusped border, and those of
Sherborne, where the side subjects are merged into the central group.
The actual corbel in the earliest examples is approximately
rectangular on plan, with canted or rounded angles, as at Heming-
borough and Chichester ; but as time went on a semi-polygonal plan
was adopted, with slightly hollowed sides, as at Southwold and North
Marston. This shape is more effective, and rather more practical than
the earlier plan. In many examples the corbel is a mere overhanging
shelf, beneath which the carving, which is marvellously undercut, is
very artlessly disposed, as at Carlisle (189), but sometimes the corbel
is more like a capital, round the hollow bell of which the carvings
are applied, as at Ludlow (189). In other cases a rounded lump of
wood is left below the corbel, and the figures are carved in com-
paratively low relief upon its surface, as at Cartmel (189).
The problem of designing the figure subjects was obviously to
give them the true character of supporters, while allowing them to tell
their tale clearly. Usually the figures are so intent upon their own
business that they have no time to attend to their proper function,
and the result is amusing rather than admirable, but when both ends
are attained the result is excellent; there are few finer mediaeval
TI
l62 QUIRE FITTINGS
carvings than the King Alexander corbel at Wells (188), the Mermen at
Chichester (188) and Carlisle, or the Birds and Owl at Norwich (190).
The side subjects are often charming examples of mediaeval
design. The stems of the earlier misericords usually burst into foliage
very shortly after they get clear of the corbel, as at Chichester, but in
later work they attain some length before they sprout into leaves or
roses. In many cases these do not grow out of the stem, but are
regarded as a means of stopping it. The stem is very often curved round
as a frame to a figure subject, or grotesques, as at Southwold (190), a
treatment which is usually very charming. The example from Christ-
church shows the same motives clothed in Renaissance detail (190).
In the oldest examples the elbows usually take the form of a
human portrait or grotesque head, a contortionist or a grotesque beast,
cleverly disposed to a circular form, as at Cartmel (187). They are
generally splendidly carved with a few sure strokes of the tool, as at
Chester (168, 187) and Southwold (168). After the middle of the
fifteenth century these gave place, in the North of England, to little
figures of angels, standing on the shaft of the standard, with their
bodies thrown back against the curved moulding. One of the earliest
examples is the six-winged cherub in the Chester series (187). They
may be clothed in albs, as at Beverley, or in their feathers, as at Tong
(187) and Gresford (169). Demi-angels are found in the rather
unusual design of the stalls at Beaumaris (169).
The poppy heads are of three main types. The commonest is
the familiar trefoiled sha.pe, a tall spike, flanked by two large crockets,
which generally hang down, as at Oxford (178), but occasionally grow
upwards. Sometimes circular balls of foliage, as at Ludlow (174, 186),
or roses, as at Astbury (186), take the place of the crockets. In the
second type the crockets are omitted, leaving only the central spike, as
in the Beauchamp chapel at Warwick. In the third type the finial
takes the form of a moulded capital on which a beast may stand or sit,
as at Lavenham. Normally a poppy head is composed of foliage, but
figure work is often introduced. The central spike is often carved
into a saint, as at Gresford (186), or bishop, or two back to back,
while the crockets are often demi-angels or dragons, or occasionally
grotesque heads, as at Rattlesden (186).
THE TABERNACLE WORK OF THE PULPITUM
CHESTER CATHEDRAL
163
164
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165
THE ABBEY OR COLLEGIATE QUIRE AND ITS STALLS
CHESTER CATHEDRAL, MONASTIC, LATE FOURTEENTH CENTURY
BEVERLEY MINSTER, COLLEGIATE, EARLY SIXTEENTH CENTURY
1 66
THE PAROCHIAL CHANCEL AND ITS STALLS
.SFORD, DENBIGH, LATE FIFTEENTH CENTURY
LEIGHTON BUZZARD, BEDS., FIFTEENTH CENTURY
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THE PANELLING OF THE DESK FRONTS AND BACKS
BEVERLEY ST MARY, TWIN PANELS WITH TRACERIED HEAD, MID-FIFTEENTH CENTURY
BEVERLEY ST MARY, PANELLING BEHIND SEATS
170
THE PANELLING OF THE DESK FRONTS
OXFORD CATHEDRAL, LATIN CHAPEL, EARLY FIFTEENTH CENTURY
SOUTHWOLD, SUFFOLK, PANELS COMPLETELY TRACERIED, LATE FIFTEENTH CENTURY
171
THE PANELLING OF THE DESK FRONTS
EDLESBOROUGH, BUCKS., TRACERIED HEADS, EARLY FIFTEENTH CENTURY
HILLESDEN, BUCKS., LINEN PANELS, EARLY SIXTEENTH CENTURY
172
HERALDIC DESK ENDS— NORTH OF ENGLAND TYPE
MANCHESTER CATHEDRAL
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ARCADED AND TABERNACLED TYPES COMBINED
HEREFORD ALL SAINTS, LATE FOURTEENTH CENTURY
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HEREFORD ALL SAINTS, DETAIL OF PANELLED BACKS
182
THE STALLS, ELY CATHEDRAL
183
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POUPEE HEADS
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190
BISHOPS' THRONES
MEDIAEVAL bishops' thrones are naturally very rare. Their number
was always limited, and though they survived the changes of the
Reformation, it was only to meet with destruction as an outward
symbol of the hated episcopate by the fanatics of the rebellion. It is
indeed a matter for thankfulness that three grand examples of wood
are left for our admiration at Exeter, Hereford, and St David's,
besides a few in stone.
In the early Christian churches of cathedral rank the seat of the
bishop was behind the altar, in the centre of the western apse. When
the change of plan, discussed in the section dealing with stalls, came
about, the throne could no longer occupy the same position with
regard to the altar, as it would have blocked the main entrance to the
quire, namely, that in the screen. An entire break with tradition
took place, and the new position chosen for the bishop's throne was on
the south side, just east of the stalls. Exceptions to this rule may be
noted at Norwich, where the twelfth-century seat of the bishop was
behind the altar, facing west, and at Ely, where the bishop has
always occupied the seat usually assigned to the dean, on the south
side of the quire entrance.
When the bishop was present in quire he was generally
accompanied by two chaplains, who. stood or sat on either side of him.
Consequently it was necessary to provide three stalls with a long
desk in front. These were canopied with a gorgeous spire of
tabernacle work, a glorified version of those over the stalls.
At Exeter (193-94-95) the bishop's throne, which is the earliest and
finest in existence, has a canopy approximately square on plan, supported
on four posts, covering both the seats and the desk. The posts are
disguised as pinnacled buttresses, and end in tall pinnacles. They
are connected with bowing ogee arches of trefoiled outline with tall
gables behind them, all magnificently crocketted. The second stage
191
I92 BISHOPS' THRONES
also has four posts, but they are much closer together, and form a
square lantern with traceried windows, on each face of which an
open tabernacle, triangular on plan, with bowing ogee arches and a
slender spire, is attached. The third stage consists of a similar
tabernacle, square on plan, culminating in a lofty spire of open tracery
which nearly touches the vault. The proportions are rather heavy,
but the effect is rich and impressive, while the details of the carving,
of infinite variety and cut with masterly skill, are finer than anything
else of the period. The foliage is of the bulbous character usual at
its date, 1312 ; it is wonderfully pierced and undercut (195).
The bishop's throne at St David's (193) must have been inspired by
that at Exeter, but it is of the fifteenth century, and is rather different
in plan. Instead of a single canopy covering everything, each seat
has a canopy of its own, those of the chaplains' stalls being lower and
less elaborate than that of the bishop. The central canopy is
supported on four legs, like that at Exeter, but it changes to an
octagon in the second stage. From the angle pinnacles flying but-
tresses rise to a two-storied square tabernacle, terminating in a tall
spire. The chaplains' canopies are half hexagon on plan, and have
triangular spires. Though the carving is very simple, it has something
of the wonderful skill in modelling which is found at Exeter, and is
cleanly and beautifully cut. The whole structure, though less open
than Exeter, has a lighter and more graceful effect, due to its fine
proportions.
BISHOPS' THRONES
EXETER CATHEDRAL
ST DAVID'S CATHEDRAL
193
DETAIL OF BISHOP'S THRONE
EXETER, DETAIL OF CROCKETS
194
DETAILS OF EXETER THRONES
I / ^ ^
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FIGURE TERMINALS AND FINIALS
195
THE QUIRE LECTERN
BURY, HUNTS., EARLY FIFTEENTH CENTURY
196
LECTERNS
IN the greater churches there were at least two lecterns. One, the
gospel lectern, stood in the sanctuary, to the north and rather in
front of the altar. It was from this that the deacon, facing north,
attended by the sub-deacon, taperers, and thurifer, read the gospel at
high mass on lesser days. A brass eagle is plainly shown in this
position in the well-known drawing of the high altar of Westminster
abbey church, which forms part of the I slip Roll, and in the " Rites
of Durham " it is recorded that a lectern of brass stood at the north
end of the high altar, having a gilt pelican on the top, "whereon did
lie the book that they did sing the Epistle and Gospel." On the
greater festivals the gospel appears from the Consuetudinaries to
have been read from the pulpitum, where a similar lectern must have
been provided.
The other necessary lectern was the quire lectern, standing in
the middle of the space between the stalls. It supported the books
from which the two conductors or rulers of the quire sang at the
divine office and at mass.
Besides these there were other lecterns for the singers in the
rood-loft or pulpitum, and little desks were used on the altars for the
missal at low masses. It is also probable that they were occasionally
used to support chained books for the use of the parishioners, in the
manner common in post- Reformation days.
Mediaeval documents, service books, churchwardens' accounts, and
inventories clearly show that similar customs prevailed in the parish
churches, which copied the cathedral uses as closely as their resources
would allow. Thus at Thame, Oxon., in 1447. there were " 2
lecternes standyng in ye chauncel." In 1448 there was also a " lettryne
197
,98 QUIRE FITTINGS
for a mass-book/' probably a small one for the altar. At St Chris-
topher-le-Stocks, London, there were "two lecternes of tree standing
in the quire." Besides these there were "a standing lectern of iron
and 2 standing lecterns of tree in the rood-loft, and a great desk lectern
for the great book and 2 smaller desk lecterns for the quire, and 3
lecterns of tree for the 3 altars." Probably only the first three of
these were what we now call lecterns, the last being mere desks
without stems.
The existing specimens of wooden lecterns are of two distinct
types, those with a one-, two-, or four-sided desk, and those with an
eagle, pelican, or other symbolic bird with outstretched wings.
Now, as a rule, the gospel lectern was used for a single book only,
the gospel book or text, while the quire lectern was used for several
Very few churches possessed really comprehensive antiphoners and
graduates, so tropers, sequencers, and hymnals were often needed
to supplement them. It is, therefore, reasonable to assume that most
lecterns with single desks are gospel lecterns, while those with two or
more desks were most probably used for quire purposes. There are
exceptions to this rule ; for instance, an illumination in an epistle book
in Trinity College library at Oxford shows the sub-deacon reading the
epistle from a brass double desk, and, on the other hand, at Durham
" there was low down in the quire another lectern of brass, not so
curiously wrought, standing in the midst against the Stalls/a marvellous
fair one, with an eagle in the height of it> and her wings spread abroad,
wheron the Monks did lay their books when they sung their Legends
at Mattins and other times."
Though they are by no means common, there are a fair number
of old wooden lecterns remaining in England. They are very widely
distributed, and show few local peculiarities. The oldest lecterns are
usually of the bird type, and that at Leighton Buzzard (208) is certainly
not later than the beginning of the fourteenth century — the mouldings
of the stem are not inconsistent with a thirteenth-century date. It is of
octagonal section with moulded base, band, and capital, standing on a
square plinth and terminating in a ball. The eagle which stands upon
it may be original, but it is not a very pleasing composition. It is
LECTERNS 199
excessively stout, and the poise of its head is unsuccessful. The wings
and feathers are of rounded, sleepy outline. There are fragments of a
chain for a book. The eagle lectern at Ottery St Mary, Devon (208), is
of the first half of the fourteenth century, and now stands in the Lady
chapel. The shaft, very different from that at Leighton Buzzard, is
square on plan with diagonal buttresses, and two crocketted trefoiled
ogee arches on each face. The base consists of three modern steps,
and the weathered capping is also of recent date, but the eagle, standing
on a ball decorated with shields, has the appearance of genuine work
of the fourteenth century. Its pose is more pert and determined, its
body more shapely, its feathers more crisply carved. The eagle at
Astbury, Cheshire (208), is a fifteenth-century example of rather unusual
design. The stem is square on plan, beaded at the angles, and tapers
from the extremities to a large ball a little above the centre point,
which is ornamented with small uncarved shields. The base is
composed of two timbers crossing one another, shaped and chamfered,
and four triangular traceried boards serve to keep the stem rigid.
The eagle has a remarkably globular body, covered with scale-like
feathers of a regularity most uncommon in mediaeval work, and its legs
are short and stout, with absurdly long claws firmly clasping the
usual ball.
The desk lecterns are generally charming examples of mediaeval
art, much more attractive than the eagles. The earliest are of the
fourteenth century. The single desk at Bury, Hunts. (196), is no
later than the first quarter. The octagonal shaft has moulded capital
and base, the latter brought out to the original square by an ingenious
system of chamfers. The desk has evidently been reduced in width,
for the arcade carved on the upright front panel is cut short at each
end. The spandrels of these arches and the triangular end panels
are carved with foliage of the naturalistic type. The stem of a lectern
still in use at East Hendred, Berks. (207), is about the same age, and
is an extraordinary composition. It is remarkable for having provision
for two desks, the upper for use when standing and the other for
use when kneeling. It is therefore evident that it was a cantors
or quire lectern, though the church was never anything but parochial.
200
QUIRE FITTINGS
IVINGHOE, BUCKS., FIFTEENTH CENTURY
The base is formed by three crocodile-like monsters, and the stem,
of square section with trefoil-headed sunk panels and moulded band, is
shaped into a human foot as a base. The desks were mere boards sup-
ported on two curious brackets of reversed ogee outline, carved in the
manner of contemporary chests, with conventionalised foliage of spiral
pattern. A lectern stem of the fourteenth century of less barbaric
design remains at Peakirk, Northants. It has eight slender filleted
shafts with moulded capital and base, and has an original stone plinth.
Fifteenth-century lecterns are far more beautiful in design. The
LECTERNS
201
* DRAWN $1
BLYTHBURGH, SUFFOLK
FIFTEENTH-CENTURY OAK QUIRE LECTERN
202
LECTERNS 203
simplest form of stem is square on plan, as at Grinton, Yorks. (201),
where the stem is simply a grooved post, and the cap and base
rectangular blocks, the former quaintly carved with a kind of "Tudor
flower." The stolen lectern at East Marling (201) had a curious
lozenge-shaped stem, grooved and beaded. A polygonal shaft is more
usual. Scole is an example with a moulded base only, Ranworth (209)
has both cap and base, while the stems at Edlesborough and Ivinghoe
(200) have a moulded band as well. The section of the shaft varies
greatly: at Lingfield it is square; at Swanscombe (204) hexagonal;
at Scole (201) octagonal ; at Aldbury it is an irregular octagon. The
sides were sometimes ornamented with sunk panels ; these occur at
Detling, Kent (207, 209), but the shafts are rarely stout enough to
need this treatment. More often they are adorned with little
buttresses. The origin may perhaps be seen at Hawstead (201),
though the actual example is a late one. Here the buttresses are
formed by the stops of the chamfer reducing the shaft from the square
to the octagon. At Aldbury there is a lectern with broad buttresses
carved out of the solid on alternate sides, and at Swanscombe another
with little buttresses applied to every side. At Littlebury (204) they
are placed against the angles ; in this instance they are planted on.
Planted buttresses may project more boldly than those worked in the
solid without undue waste of material, as at Bury, Hunts. (196),
where the shaft has four broad pierced and traceried " flying
buttresses" crocketted and pinnacled like those of the font-covers.
At Blythburgh (202, 209) they only rise half-way up the shaft; at
Littlebury, Essex, they occupy all the space from base to desk,
almost hiding the shaft. At Shipdham (204) the stem is composed
of three buttresses with angular fillets between, decorated with
quatrefoils, and the shaft is suppressed.
The richest treatment of all is found in the lectern at All Saints'
Pavement, York (204), where the stem is square with angle buttresses,
between each of which is a niche with proper canopy and base for
a statue. This is the final development of the design found in the
stem of the fourteenth-century lectern of Ottery St Mary (208).
The less elaborate bases are formed by two pieces of timber
204
LECTERNS 205
forming a cross. Grinton and East Harling are examples. At
East Hendred (207) and Shipdham (204) the base is composed of
three pieces radiating from a central block. The cross-pieces are
generally shaped and chamfered more or less elaborately. Those at
Hendred are grotesquely carved, while those at Shipdham support lions.
In a few cases the stem may have been fixed directly into the floor,
as at Bury. The most usual base is a moulded polygonal block,
sometimes battlemented, like that of the Blythburgh lectern (209),
sometimes relieved with carved paterae, as at Scole (201). An octagon
brought out to the square is a common form, but the htexagonal stems
needed hexagonal bases ; Swanscombe (204) is a good instance with
hollow sides. Littlebury (204) has a really magnificent stand ; it is a
hollow-sided octagon, and has a .plinth decorated with quatrefoiled
squares. It is worthy of note that the shaft generally has a base of
its own, in addition to that forming the base of the whole composition.
Buttresses are usually stopped by the top member of the base, but at
St Crux (All Saints', Pavement), York (204), the base-mould runs
round them. Detling (209) has buttresses with returned mouldings
around its base. The stem of the Lenham lectern (209) is very
unusual in England, and consists of a cupboard-like arrangement of
linen panelling.
Many lecterns have lost their original desks ; they were very lightly
constructed of a base-board and two sloping boards forming the
desks, with triangular pieces at the gable ends to stiffen them. Scole,
Edlesborough, and Grinton (201) have been fitted with desks of lower
slope to fit them for reading the lessons. At Littlebury and Cheddar
only the stem remains. The mediaeval desks were very acutely
pitched for singing from. They were often charmingly treated, the
gable ends receiving most of the ornamentation, as the desks were
normally hidden by the great service books. The verges are generally
moulded, or even decorated with paterae, as at York and Swanscombe
(204). At Bury the gables are crocketted, while at Hawstead and
Harling (201) there are cusped barge-boards. The gable ends are
usually pierced with small windows, as at Lingfield, which has a
little arched opening at each end, or Swanscombe, where the windows
206 QUIRE FITTINGS
have crocketted hood-mouldings. Sometimes a quatrefoil or circle
is pierced and the spandrels are carved, as in the Blythburgh lectern.
The sloping sides of the desks are occasionally decorated with tracery,
as at Detling (207), where very elaborate and deeply moulded rose
windows are pierced in each of the four desks, and the spandrels and
remainder of the surfaces are carved in low relief. The elaborate desk
at Shipdham (204) also has traceried circles carved in this position.
The ridge of the desk is sometimes plain, probably because it was
the custom to cover the desk with a lectern cloth of tapestry or
embroidery, but some are enriched with a moulded ridge, frequently
battlemented. Carved crestings were not unusual, as at St Michael
at Thorn, Norwich, and Blythburgh (202), where the greater part
of the cresting has been broken off. The four-sided desks were
commonly crowned with a little figure of some saint.
The lectern at Ran worth (207) deserves special notice. It has
two single desks sloping in opposite directions, one above the other.
The back of the upper desk has a plain-song hymn melody painted
upon it, while that of the lower desk is decorated with a representation
of St John's eagle holding a lettered scroll.
EXAMPLES OF UNUSUAL DESIGNS
EAST HENDRED, BERKS.
RANWORTH, NORFOLK
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THE DEVON TYPE OF ROOD SCREEN
KENTISBERE, DEVON, LATE FIFTEENTH CENTURY
210
V
SCREENS, ROODS, AND LOFTS
ORIGIN AND HISTORY OF SCREEN AND LOFT
Chancel Screen. — A chancel screen is an indispensable part
of a Catholic church, and its history can be traced back to remote
antiquity. The earliest form of religious building was undoubtedly
a little sanctuary, sheltering some holy thing, such as an image of
the god, an altar, or both. Such a sanctuary was entered only by
the priesthood or the initiated, while the worshippers grouped them-
selves about the door of access. The next development was the
addition of a somewhat larger chamber to protect the worshippers
from the elements, so that the door of access became what we should
now call a chancel arch. The final step was to combine the two
chambers into a single structure to shelter both priest and con-
gregation, the traditional seclusion of the sanctuary being maintained
by a screen of wood or stone, occupying the same position as the west
door of the first type of building, or the wall separating nave and
chancel in the second. Thus the custom arose of setting aside
different portions of a building for various purposes, more or less
holy, or for various classes of worshippers, and the practice is common
to nearly all religions. The experience of ages proves that it induces
order and reverence, while its abandonment by the reformers of the
sixteenth century produced the opposite effect.
All three types are represented in Christian churches. Naturally
the fully developed plan, with nave and sanctuary under a single
roof, was adopted by the Christian converts made among the civilised
nations around the Mediterranean Sea, and this type was even
introduced into Roman Britain, if the theory is to be received that
212 SCREENS, ROODS, AND LOFTS
the building excavated at Silchester is a church. However, in the
remoter parts of the Roman empire the more primitive plans were
generally adopted, both in the East and in the West. In the British
Isles the little sanctuary chamber, built by the efforts of the missioner
himself, is represented by the little chapels at Gallarus and Kilmachedar
in Ireland, and St Piran's Oratory in Cornwall. These are orientated,
and the entrance is a small archway at the west end, formerly closed by
a door. The second type, in which a nave for the accommodation of
the converts is added at their expense to the west end of the sanctuary,
is represented by the Saxon churches of the type of Escomb, Durham,
and Bradford-on-Avon, Wilts., where the narrow and low chancel
arch, probably closed by some form of grille, is evidently the successor
of the western door of the oratory. This is the normal mediaeval
parish church plan all over England, with the exception of the west
country, Wales, and north-western counties. During the later
mediaeval period it gradually developed into the third type of plan
in two distinct ways. By one course of development the doorway
was enlarged and the west wall of the chancel pared away, while
the door became transparent and expanded into a screen, generally
of timber. The process is very easily traced. First there are the
Saxon churches with their narrow chancel arches ; by the twelfth
century the arch had lost its character of doorway, and had become
wider, but it was often richly decorated, while the screens, although
there is no existing evidence to show what they actually were, must
certainly have been subordinate. This continued in the Midland
parish churches at least until the middle of the thirteenth century,
when the arches began to be built higher and wider and were less
elaborately treated, while the screen began to gain in importance.
By the fourteenth -century all attempt at a decorative treatment of
the chancel arch was abandoned, and the screen reached a very high
point of development, and in the fifteenth century the arch was
reduced to a mere stone rib, carrying the gable wall, utterly insignifi-
cant in comparison with the elaborate screen and rood-loft below.
The last step, the abandonment of the chancel arch, was taken at
North Walsham, Norfolk, as early as 1380, but did not come into
ORIGIN AND HISTORY 213
general use until the end of the fifteenth century. In this case the
screen forms the only division between the people's nave and the
rector's chancel, and the plan resembles that of the early basilican
churches of Italy.
The other course of development can also be clearly traced, but
examples are much rarer. Instead of enlarging the chancel arch,
the same purpose, namely, the exposing of the sanctuary to the view
of the faithful, was attained by piercing openings or squints in the
walls on each side of the chancel arch. The larger these were made
the more effectual they were, and at length they grew into two or
three light openings, so that practically nothing of the lower portion
of the chancel wall remained. The final step was to combine the
arch and the squints into a single design, founded on that of the
contemporary wooden screens.
Thus, in the greater part of England, the screen seems to have
been derived from the west wall of the chancel, rather than directly
from the low walls or colonnades of the early churches of Rome or
Byzantium. Of course solid chancel walls, low barriers, and colonnades
are merely different forms of the same thing, a division between
the people and the sanctuary. It is only natural to find that in the
highly civilised parts of the Roman empire the barrier was low and
insignificant, while in remoter districts the barrier was emphasised in
order to impress the necessity for awe and reverence upon the
half-barbarous converts.
In Devon and Cornwall, and in Wales, there are actual remains
of the little sanctuaries of the first type, traditionally believed to have
been erected by saintly missioners from Ireland. When the time
came for the erection of a nave by the converts, it was made the
same width as the chancel ; the two chambers appear to have been
thrown into one, save for a partition of timber producing the third
type of plan, omitting the intermediate step found in the Saxon nave
and chancel churches. Whatever may be its origin, it is a striking
fact that in the extreme west of England the chancel arch is practically
unknown, while screens have an extraordinary importance.
The omission of the chancel arch is occasionally found in the
2i4 SCREENS, ROODS, AND LOFTS
south-eastern counties ; here it is reasonable to derive the screens
directly from those of Italy, through the influence of the mission of
St Augustine. At St Pancras', Canterbury, and other churches
traditionally supposed to have been built by the saint or his successors,
the nave and chancel are practically continuous, but there are distinct
traces of a triple arcade or colonnade. It is not unreasonable to
suppose that this was directly introduced from Italy, particularly as
the triple arcades are used in conjunction with the purely Italian
apsidal sanctuary. The triple arcade continued to be used from time
to time right down to the fifteenth century, and it strongly influenced
the design of the wood screenwork. Evidently there were sentimental
reasons for its survival.
It has been shown that the chief liturgical use of the chancel
screen is to guard the high altar, and still more the Blessed Sacrament
hanging in the pix above it, from possible profanation. Nevertheless,
it is extraordinary how few mediaeval screens were ever provided
with doors, while still fewer had locks. Obviously the likelihood of
sacrilege was very remote in those times of simple faith and devotion,
and the division was symbolic rather than practical.
Besides its liturgical use, the screen has a legal signification. It
has been suggested that the earliest Christian buildings in these islands
were sanctuaries built by the efforts of the first missionaries, and that
the nave was probably added at the cost of the converts. This tradition
has never died out, for even at the present day the rector is responsible
for the upkeep of the chancel, while the duty of repairing the nave
rests with the parishioners, and the screen, the property of the parish,
forms the boundary between their respective domains.
It is not difficult to understand the popularity of screens in the
later Middle Ages, for they offer exceptional opportunities to the
designer. They give a wonderful effect of dignity and reserve to
a church, and convey an impression of vast length and size, while
the charm of delicately pierced carving and tracery, silhouetted against
the light or shade of the chancel beyond and contrasted with the more
vigorous lines of the structure, naturally made an irresistible appeal
to the mediaeval lover of beautiful craftsmanship.
PARCLOSE SCREENS 215
Minor Screens. — Besides the chancel screen there were other
lesser barriers. In early Christian buildings the people's part of
the church was sometimes divided by a screen, or structural division
into a western narthex for the unbaptized, and a nave for those who
had been received into the Church. Signs of such a division are
evident in some early Saxon plans, but the necessity for it dis-
appeared with the complete conversion of the country, and it was
soon discarded. The screens which sometimes remain in the tower
arches at the west end of a few eastern county churches, as at Addle-
thorpe (255), are the only mediaeval representatives of the narthex
screen. They generally support western galleries for ringers, organ,
or singers.
Similarly the chancel was sometimes divided into quire and
sanctuary. In the former the priest and clerks sang their offices,
while the latter was set aside for the altar and the celebration of
the Mass. It was found sufficient in later times to mark this division
by a mere difference in level, and by the use of a veil shutting off
all view of the sanctuary in Lent, for only those were admitted to
the quire who could also be reasonably expected to behave with
reverence towards the sanctuary. At the Reformation the illegal
destruction of screens led to the invasion of the chancel by the
laity, and rendered necessary the erection of altar rails, which had
been hitherto unknown. Screens were also necessary to enclose
the quire when there were aisles to the chancel, as at Beverley
minster.
Side altars in honour of various saints were a very early
introduction into the Christian Church. The exact date is a matter
of dispute, but it is probable that even the earliest English churches
had at least two side altars, and in later days their number increased.
It was obviously desirable to protect them by enclosing them with
screenwork, like the high altar. These were known in the Middle
Ages as parclose screens. Winthorpe, Lincolnshire (221), is a typical
example of a parclose about a side altar in a parish church, while
Exeter has several lovely screens enclosing chapels.
The side altars were of two kinds, those maintained by the
2i6 SCREENS, ROODS, AND LOFTS
parishioners in general, and those maintained by guilds or by private
individuals in order that masses for their souls should be said in
perpetuity. The latter were called chantry altars, and separate
chapels were often attached to the parish church to contain them,
in order to avoid encroaching on the rights of the parishioners.
These generally remained the property of the donor or his heirs,
and were not made over to the parish. These chapels were screened
off from the rest of the church to preserve the legal rights of the
founder. Private chantry chapels do not seem to have been in use
before the middle of the thirteenth century, but towards the end
of the fifteenth they were extremely numerous. At the Reformation
the chantries were suppressed and their endowments confiscated,
but while the guild chapels were thrown open to the church by
the destruction of their screens, the heirs of the founder of a private
chantry chapel usually insisted on their rights to the fabric, and used
the chapel as a private pew. On this account a number of beautiful
examples have survived, such as those at Burford and Cirencester.
Another fine chapel built over a stone tomb is in Oxford cathedral,
and is known as the "Watching Chamber."
^he T^pod. — It is uncertain at what date the custom arose of
displaying a figure of Our Lord upon the cross over the chancel
barrier for the devotion of the people, but it is certain that the practice
was general before the date of the earliest Saxon churches. The very
name "Rood," applied to such a figure, is Saxon. In churches of the
Bradford-on-Avon type there was a vast expanse of blank wall over
the little chancel arch, and it is reasonable to suppose that the rood
was of stone, built into the wall, since two figures of adoring angels,
ancestors of the "splendid and glistening archangels" of which we
read in the sixteenth century " Rites of Durham," still remain in their
original place above the chancel arch, though the rood has disappeared.
A stone rood of very early date, now cut back flush with the wall,
remains in the church of Headbourne Worthy, Hants, above the
west door. That at Langford, Oxon., now built into the side wall of
the porch, might well have been built into the wall over the existing
late Saxon chancel arch.
THE ROOD 217
When wider and higher chancel arches came into use in the
thirteenth century the upper part of the arch was very frequently
blocked up by a boarded or plastered partition to form a background
to the rood, which was often supported directly on the head of the
screen, as at Harwell, Berks., and Chinnor, Oxon. (226), where the
three mortices for the rood, Mary and John, still remain. However, in
lofty churches, the rood was occasionally supported on a rood beam, a
practice which was introduced at a very early period, when the con-
ditions of the case demanded this arrangement, particularly in monastic
or cathedral churches. Examples of the thirteenth century exist on
the Continent, and even at this date the figure of Our Lord is accom-
panied by images of Our Lady and St John the Evangelist, and also by
winged cherubim, such as are found at Saxon Bradford. The realism
of later mediaeval times added figures of the two thieves struggling
in cruel torment in contrast to the calm dignity in suffering of the
central figure. The mortices in the curious portion of a rood beam
preserved at Cullompton, Devon, furnish evidence that this arrange-
ment was not unknown in England. The latest stage in the develop-
ment of the rood was the addition of St Mary Magdalene, clutching
the base of the cross in passionate grief, which appears to have been
an entirely Continental conception. In smaller churches the rood
usually stood on the front parapet of the loft, but it is by no means
unusual to find the outline of the rood on Doom paintings, showing
that in these cases at least the rood was fixed over the eastern
parapet.
These blank silhouettes are found at Wenhaston, Northleigh,
Ludham, and other places, and show that the cross in common
use in fifteenth-century England was either ragule or crocheted,
and that the arms often terminated in medallions, sprouting into
fleur-de-lys, as in those of the Continent.
A great deal of devotion was paid to the rood in the Middle Ages ;
a hanging lamp was generally suspended in front of it, maintained
perpetually, as at Burford, Oxon., or lighted at certain hours of the
day, as at Henley in the same county. At festivals multitudes of
tapers, usually placed on the rood beam, were lighted in its honour.
2i8 SCREENS, ROODS, AND LOFTS
This led to an almost complete destruction of roods at
Reformation.
There appear to be but two surviving examples of wooden roods,
namely that in the chapel at Cartmell Fell, Lanes., and in the Powysland
Museum. An image of Our Lady, from a crucifixion group which
may have stood upon a screen, is curiously placed upon a hammer-beam
at Cawston, Norfolk.
'Uhe T^ood-Loft. — In a large building it is impossible for the
reader of scriptures to make himself audible unless he is provided with
a raised pulpit or platform. In the oldest of the larger churches of
Italy these took the form of a pair of pulpits, placed on either side
of the quire, one of which was for the reading of the epistle and the
other for the gospel. As time went on these were moved further
and further away from the altar, until in the twelfth century they
were generally put on either side of the screen door. In the West the
further step was taken of joining the two ambos into a single stage or
loft at the west end of the quire, bridging over the quire doorway.
Gradually the custom was introduced of singing not only the epistle
and gospel, but also the gradual and alleluia, and at last the loft
developed into a singing gallery and organ loft, which was known as
the pulpitum. There is a fine wooden pulpitum at Hexham (222), and
there is another in the collegiate church of Edington (222). In the
greater churches this structure was generally entirely distinct from the
rood screen, which was situated some distance further west, dividing
the people's nave from the monastic or capitular portion of the building.
The latter screen, against which the nave altar was placed, supported
the rood and its attendant images and lights, and it was necessary in
great churches to provide a stage called the rood-loft from which these
figures could be cleaned, veiled in Lent, and their lights attended to.
It is possible that the very plain and much altered screen in Little
Malvern Priory church is a modest example of a monastic rood
screen of wood. In some monastic churches the rood screen and the
pulpitum seem to have been combined, a process requiring some
ingenuity, since, while the rood screen had a single altar in the middle
of the western side, with a doorway on either side, the pulpitum
THE ROOD-LOFT 219
necessarily had a central doorway, owing to the traditional arrangement
of the stalls in the quire.
In the early years of the fourteenth century the parish churches
which were already provided with chancel screens and roods began
to perceive the beauty and convenience of this arrangement, and built
lofts, chiefly for convenience of access to the rood, but also for use
as music galleries, either on their existing chancel screens or renewing
the whole structure. The liturgical use of the parochial rood-loft
requires confirmation. As the fifteenth century advanced, rood-lofts
were erected all over the country, until at the Reformation there was
probably no church, however small, which did not possess one. One
of the finest, though not the most perfect, is the lovely rood-loft of
Flamborough (223).
They were condemned by the reformers on the ground that they
had been used for superstitious purposes. In some dioceses their
destruction was ordered, while in others it appears that their use
as music galleries was not objected to, provided they were removed
to the west end. The destruction or removal of the loft frequently
led to the removal of the chancel screen itself, though at no time has
this been legal.
There is some evidence for the use of the loft as a chapel, chiefly
in the West, where the lofts were of great width. The piscinae of these
rood-loft altars may sometimes be observed in the, east wall of the
nave, high above the floor. This practice does not seem to have
been at all general, and was unknown in the eastern counties, where
the screens are of a very light and airy description, and the lofts are
extremely narrow.
LATE FOURTEENTH-CENTURY SCREEN
BEVERLEY MINSTER, YORKS., PARCLOSE SCREEN ENCLOSING QUIRE
220
AISLE PARCLOSE SCREENS
WINTHORPE, LINCS., PARCLOSE IN NORTH AISLE
CIRENCESTER, GLOUCESTERSHIRE, PARCLOSE IN SOUTH AISLE
221
THE PULPITUM IN MONASTIC AND COLLEGIATE CHURCHES
HEXHAM ABBEY CHURCH, WITH SOLID PANELS
EDINGTON COLLEGIATE CHURCH, WILTS., DOUBLE SCREEN
222
THE PAROCHIAL ROOD-LOFT— YORKSHIRE TYPE
FLAMBOROUGH, YORKS., LATE FIFTEENTH CENTURY
223
ffi
u
224
SCREENS, ROODS, AND LOFTS (Contd.)
CONSTRUCTION AND DESIGN
Square-Framed Screens. — The earliest form of parochial screen of
which there are existing remains consisted of a rectangular frame-
work, composed of a head, sill, two styles, and a pair of jambs, forming
a central doorway and two side bays. The latter were divided
horizontally by rail about 3 feet 6 inches, or even 4 feet 6 inches,
above the floor level. The lower divisions were filled in with
boarding, while the upper divisions were subdivided by vertical
members framed into the head and the rail, known as muntins. There
is a screen of this very primitive type at Pixley, in Herefordshire (249),
probably little later in date than the thirteenth-century fabric in which
it stands. The design is absolutely reasonable and constructional,
but it is severely plain and unattractive.
The wood-workers of the late thirteenth and fourteenth centuries
made great efforts to improve upon, or rather to disguise, this simple
post and beam construction. They branched out on two false tracks,
which eventually led them back to their starting-point.
The first of these was to treat the muntins as little shafts with
turned capitals, bases, and annulets, a motive directly inspired by
stonework, and one not likely to prove a permanent inspiration to
the carpenter. At first the shafts were probably tenoned straight into
the head, as in the late thirteenth-century screens across the quire
aisles at Exeter cathedral, which are of very backward design for
their date ; but after the middle of the century the incongruous effect
of the row of shafts supporting the head beam was generally avoided
by framing a thick board, carved into the form of a series of arches,
into the head of each side opening. In this case the shafts were
i5 225
O
X
o
226
SCREEN CONSTRUCTION 227
dowelled to the board, and appeared to support an arcade. This
method of construction is employed in the curious wood parapet of
the late twelfth century at Compton, Surrey, and was probably an
early invention. Here the arches are semicircular, but in the thirteenth-
century screens of Gilston, Herts. ; Thurcaston, Leicestershire ; and
Stanton Harcourt, Oxon., they are trefoiled and richly moulded. In
the latter instance a two-centered hood-mould is applied to each of
the arches. Influenced by contemporary stonework the arcade
developed naturally into a band of tracery. Thus, in the late
thirteenth-century screen at Northfleet, Kent, the arches are traceried
arid the spandrels are pierced, while the early fourteenth-century
example at Chinnor, Oxon. (226), has regular geometrical tracery, and a
few years later curvilinear tracery was evolved, as in the parclose screens
of Beverley St Mary (25) and Kirk Ella (25). In the early shafted
screens the tracery was very thick and elaborately moulded, and the
capitals and bases projected boldly ; but as time went on the tracery
became deeper, thinner, and less elaborately moulded, while the
shaft mouldings were of less projection, as in the mid-fourteenth-
century screen of Guilden Morden, Cambs. (249). About this time
turned shafts began to go out of fashion. The art of turning declined,
judging from the feeble design of the shafts at Cropredy, Oxon., and
other mid-fourteenth-century screens, and octagonal cutting was
sometimes used instead, as at Thame, Oxon. (25). Eventually turned
shafts were discarded in favour of moulded mullions, as in the screens
of Wardington, Oxon., and Merton, Norfolk. The next step was to
reduce the thickness of the tracery still further, and to increase that
of the mullion, forking the latter over the tracery, and tenoning it into
the head of the screen like a muntin, as at Handborough (228), to the
great advantage of the construction, for the dowelled joint between
the shafts and the tracery was a very weak point.
This type of screen with its strong main framing, its closely
spaced muntins, and its thin tracery, often so elaborately fretted as
to produce the effect of filigree work, may be regarded as the normal
English parish church screen of the fifteenth century. It is common
"all over the country, with the exception of East Anglia and the
Q
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228
SCREEN TYPES AND DEVELOPMENT 229
adjoining counties — Somerset, Devon, and Cornwall — where examples
are very scarce.
A development of the type, less common but very widely
distributed, is represented by a beautiful group of screens in the
north of Somerset and neighbourhood, of which Backwell (250) is
the type. In this variety, the origin of which may be traced from the
curious design of Thame (25), the muntins are not forked over the
tracery, but run through, cutting it into sections. As a consequence
the design of the tracery is not limited by the width of the board, as
before, since it is carved out of a series of tall panels, instead of a
single horizontal band. In the lovely parclose screens at Dunster,
Somerset (253), and Walsoken, Norfolk (252), the tracery is actually
continued down to the rail. In some late screens of this type there is
a tendency to return to the thick moulded tracery of earlier fashion, as
in the parclose screen at Marston Morteigne, Bucks., and Kirk Sandall,
Yorks. (256). In the latter case the tracery is illogically but very
picturesquely decorated with applied canopy work, a treatment also
seen at Hitchin, Herts. (252).
In the counties of Devon and Cornwall, and in the adjoining
parts of Somerset, the influence of the shafted screens proved to be
more enduring. In the early years of the fifteenth century the turned
shafts were abandoned, and for a few years moulded mullions were em-
ployed, as at Keynsham (256) and Halberton ; but although turning and
annulets disappeared for good, the capitals and bases were soon reintro-
duced in Devon in connection with the moulded mullions, and were
retained until the overthrow of mediaeval art, as at North Bovey (230).
The other course of development may be traced in the eastern
counties. Late in the thirteenth century there was a tendency in
that district for the shafts to take upon themselves the form of
pinnacles, an equally unsuitable motive, also of masonic origin. At
St Mary's Hospital, Chichester, every fourth shaft terminates in
a large pinnacle, framed into the head of the screen and cutting the
tracery into four light sections. Each bay of the tracery has an
applied crocketted pediment, and the spandrels are left open, a curious
design, the origin of which is not easily traced, but may be due to the
230
SCREENS, ROODS, AND LOFTS
NORTH
BOVEY
DEVON
PARC LOSE.
SQUARE PANEL SCREEN, DEVON TYPE, MID-FIFTEENTH CENTURY
influence of stall canopies. The same motive is employed in the lovely
parclose screens of St Margaret's, King's Lynn (c. 1310) (231), where
the pinnacles run from head to rail, dividing the screens into three-
light shafted windows. In one section of this fine screenwork the
bays are not subdivided by shafts. A rather more fully developed
example of this design is seen in the parclose screens of Dorchester
abbey, Oxon. (c. 1320), where the vertical members are cut into the
form of buttresses without pinnacles, and run right through from sill
to head. This was a very important step, since hitherto the rail had
run through, cutting the uprights in two, and rendering the screen
unfit for carrying a loft without ~aid from props or from the side walls.
There is a screen at Southacre (c. 1330) (249) which helps to connect the
pinnacled buttress type of screen with the normal East Anglian screen
of the fifteenth century. Here the straight-sided gable becomes an
ogee arch, while the spandrels are filled in with pierced tracery, but in
EAST ANGLIAN SCREEN DEVELOPMENT
231
Scale f\ in. = i ft.
ST MARGARET'S, KING'S LYNN, NORFOLK, THE PINNACLE MOTIVE (c. 1340)
J. K. COLLING, Del.
other respects the screen is backward, the pinnacles rising from turned
shafts, like those of the thirteenth-century Chichester screen. The
rood screen at Lavenham, Suffolk (c. 1340), marks a further advance.
The spandrels indeed are left open, but the true character of the uprights
is 'expressed by vertical mouldings, and the buttress and pinnacle are
232 SCREENS, ROODS, AND LOFTS
reduced to a mere appendage of the muntin. The familiar Norfolk
type is almost fully developed in the mid-fourteenth-century screen
at Grundisburgh, Suffolk (26). It has boldly spaced standards, rising
from sill to head, decorated with little pinnacled buttresses and deep
tracery, with an applied crocketted ogee arch to each bay, but the
details are those of the earlier period. The lines of the tracery
are flowing, the cusps are sharply pointed, the foliage is naturalistic,
and the mouldings are deeply undercut in a manner better suited to
stonework. Towards the end of the century these peculiarities died
out, and the normal fifteenth-century type was achieved ; Dennington
(272) and Burgh (254) are good examples.
Two fifteenth-century varieties of this type may be noted. In
Yorkshire it is occasionally found that the crocketted ogee arches are
traceried, instead of cusped, as at Flamborough (223). The other
variation is the grouping of the bays into pairs, either by making
the alternate standards thicker, or by omitting alternate standards, as
at Dennington (272).
The two-light version of the normal eastern county type, of
which Soham (47) is a good example, can be traced- from the
three-light pinnacle screens at St Margaret's, King's Lynn (231).
At Watlington, Norfolk, a few years later, where the 'pinnacles
are true standards, rising from sill to the head, each bay is divided
into two lights by a single turned shaft, and the chief member of
the tracery is a pair of pointed arches grouped under an ogee,
while the spandrels above are traceried. It is a short step from this
example to the beautiful early fifteenth-century screen at Soham (47),
where the shaft becomes a mullion and the detail is of the period.
This motive is very general in the screens of Lincolnshire. In York-
shire it was sometimes elaborated, as in the beautiful parclose screen
at Hull (257), where the sub-arches are traceried, and in the still richer
screenwork at Wensley each sub-arch has a little crocketted ogee of
its own, planted on the tracery beneath it. The elaboration of tracery,
both in line and in subordination, could go no further.
Yet one more effect of the pinnacled screen remains to be noted.
In a few isolated instances the vertical members are treated with such
TYPES OF SCREEN 233
elaboration that the head of the screen loses its importance, and is
sometimes abandoned altogether. Examples of this curious develop-
ment are the grand late fourteenth-century screens enclosing the quire
of Beverley minster (220) and the early sixteenth-century enclosures
of the Lavenham chantry chapels.
While there was a tendency towards elaboration in the north-
eastern counties, the normal East Anglian screen was usually simplified
in the adjoining counties of Lincoln, Northants, Cambs., Herts., and
Essex ; the wide and deep tracery was retained, but the crocketted
ogee was often omitted, as at Teversham, Cambs., and Addlethorpe,
Lines. On the other hand, the Midland type with vertical tracery
panels was sometimes affected by East Anglian influence ; at Higham
Ferrers (251), Northants, Fairford and Cirencester, Glos., and in St
George's chapel at Windsor, ogee arches are applied to the tracery
of the narrow bays usual in those districts.
In Wales and the eastern counties the shafted and the pinnacled
types of screen never found favour. The Pixley (249) screen appears
to have developed directly into a modified form of Midland type, in
which the muntins are rather more widely spaced, and the tracery
somewhat elaborate, as at Llananno (42) and Llanwnog (269), and
Blore Ray, Staffs. (251). Though both methods 'of constructing the
tracery were employed, separate panels were preferred to a continuous
board. In the course of time standards were introduced, dividing the
screen into bays, and towards the end of the fifteenth century the
muntins between the standards were omitted, as in the very typical
Welsh screen at Llanegryn, Merionethshire.
j4rcheJ ^ypes— There are no examples of arched or vaulted
screens of an earlier date than the end of the fourteenth century.
The use of the arch in the framework was probably derived from
stone sources, but it is not unsuited for woodwork. Curved timbers
were as easily obtained as straight in the Middle Ages, and the arches
served as braces to prevent the racking and deformation to which
the rectangular framework was prone. Practically all arcaded screens
were intended to carry lofts, so it is possible that the introduction
of the device was not altogether due to artistic reasons.
234
SCREENS, ETC.
The gradual change
from the square-framed to
the arcaded type can be
easily traced in most parts
of the country. First the
arcaded motive is intro-
duced into the tracery, then
the spandrels over the arch
are left solid and decorated
with carving, and in some
cases the arch is emphasised
by the addition of a moulded
member. The next step is
the bringing down of the~
rood-loft coving so as to hide
the spandrels, so that the
former takes the shape of a
groined vault. This results
in the linking up of the
design of the loft and the
screen, which had been prac-
tically independent hitherto.
In the case of a vaulted
screen the arch was fre-
quently a real • member of
the framing, instead of a
mere applied moulding,
particularly in the West of
England.
It is a very striking fact
that every square - framed
type has its corresponding
arcaded version. Though
arcaded screens are a later
development from square-
framed screens, both types
may be found side by side
12 9 6 3
ADDLETHORPE, LINCS., TWO-LIGHT LINCOLN
II. VAUGHAN
EET
TYPE
, Del.
LATE SCREEN DEVELOPMENTS 235
in practically all districts. Arcaded screens are rarer than square-
framed screens in most counties. Devon and Cornwall are striking
exceptions, for in these counties practically all rood screens are of the
arcaded type. They are uncommon in the Midland district, but very
widely distributed ; practically every county retains a few examples.
In the eastern counties square-framed and arched screens occur in
nearly equal numbers, but there is reason to suppose that the arched
screen was gradually ousting the earlier type. The arched form was
very rarely « extended to parclose screens. The chief exceptions are
the lovely screens enclosing the quires at South wold (260) and Wing-
field, Suffolk (260), and St John's, Stamford.
The invention of the arcaded screen, and the consequent
elaboration of the rood-loft soffit, led to a very startling result towards
the end of the fifteenth century, for the beauty of the vaulting was so
striking as to throw that of the tracery entirely in the shade, and the
latter was consequently omitted. While the tracery of the square-
framed parclose screens tended to grow deeper and more and more
intricate, that of the arched rood screens grew less and less important.
In a large group of East Anglian screens, of which South wold may
be regarded as the type, the tracery is wholly omitted, save for a
mere fringe of cusping around the arches. Similarly in Cornwall all
the tracery and mullions were sometimes left out, and the vaulting-
was even allowed to hide the arched framework, as at Mawgan.
The same process may be noted at Mobberley (263), in Cheshire, where
even the fringe of cusps is only represented by a band of tracery carved
on the framing. There are other examples of the same character
at Campsall and Hatfield, Yorks. The step was occasionally taken
in the conservative Midlands, as at Monk's Risborough, Bucks.
On the other hand, there is a tendency to replace the tracery in
the early years of the sixteenth century. For instance, the group of
Norfolk screens, of which Cawston may be regarded as the type, is
distinguished by a free-standing trefoiled ogee arch in each light, very
beautifully cusped and crocketted. And Yaxley and Sibton, Suffolk
(261),, are late versions of the normal^ arched East Anglian screen in
which the tracery is of exceptional depth and elaboration. Lincolnshire
SUFFOLK TYPE OF ARCHED SCREEN, EARLY XVITH CENTURY
SOUTHWOLD, SUFFOLK, SCREEN BETWEEN QUIRE AND SOUTH AISLE
Measured and Drawn by F. E. Howard
also abounds in arcaded screens with very deep and elaborate tracery,
some in single-light bays, like Fishtoft, others in two-lights, as at
Addlethorpe. The latter type is usual in Yorkshire.
236
THE WAINSCOT AND LOFT 237
The Wainscot. — The design of the wainscot below the rail alters
the general effect very little. When the rail ran through, as in most
of the earlier screens, the treatment was generally entirely distinct
from that of the openings. In the oldest examples the framework
below the rail was simply filled in with boarding. The boards were
always very wide and roughly cut, slightly feather-edged, and jointed
with a curious V-shaped tongue. In the mid-fourteenth century the
panelling was sometimes decorated with applied tracery like that of
the openings, as in the screenwork at Guilden Morden, Cambs.
In the later screens, muntins were usually introduced to strengthen the
panels, which were sometimes traceried at the head, or carved with
foliage or tracery, or linen-fold patterns. The muntins do not always
correspond exactly with the upper range.
When the vertical 'members of the framing run right through to
the sill, the wainscot is naturally divided into bays corresponding with
the openings. In this case each panel was generally subdivided by
an applied mullion or a muntin, and was treated in any of the ways
already enumerated.
The panels of the wainscot are often provided with a traceried
plinth. This is rarely omitted in the south-western counties and in
East Anglia, but it is not often used elsewhere, save in the south-
eastern counties, where a deep moulded plinth, without tracery, is also
commonly found. Much ornament was lavished upon the wainscot in
East Anglia, where admirable painted decoration is employed, and
in Devon. The wainscots of the later screens of Devon and Cornwall
are often covered with relief carving.
The Loft.— The oldest lofts were supported partly on the head of
the screen and partly by a second beam, usually known as the
bressummer, fixed at the same level, but a few feet westward. The
joists carrying the floor were framed in between these two beams, and
the horizontal soffit was generally boarded and panelled out with
moulded ribs and bosses. The effect of this arrangement is rather
heavy and unattractive; Derwen (268) is one of the most perfect
examples. A lighter and more graceful appearance was produced by
constructing the loft floor at a higher level than the head of the screen,
238 SCREENS, ROODS, AND LOFTS
linking up the loft and screen by a panelled or vaulted coving. In this
case it was necessary to fix a beam over the head of the screen, from
which it was sometimes supported by a series of puncheons. The main
standards were often run through to this beam, as at Handborough
(39), cutting the real head of the screen into sections. In the late
arched screens of East Anglia the horizontal member is far above the
apex of the arches. Naturally, when a very wide loft was required,
these methods were sometimes applied on both sides of the screen, but
when the loft projected eastward as well as westward, the joists were
more often notched over the head of the screen and acted as cantilevers,
while the bressummers became mere curbs or trimmers, hiding their
end, as at Astbury (239). In the first type the loft is chiefly carried
by the bressummers, in the second it is supported by the screen. As
a consequence it is found that in Devon and East Anglia, where
the second method was preferred, the framework of the screen is
generally very massive, while in the rest of the country other methods
were adopted to guard against the sagging of the bressummers. For
instance, brackets were framed into the main uprights of the screen,
tongued into the joists, which were tenoned into the bressummer, thus
relieving it of a certain proportion of the load. The ends of the
bressummer were generally built into the side wall or carried on posts.
In either case the span of the beam was sometimes reduced by the
use of arched braces, as at Christian Malford (250) and Edington (222),
or in some instances the span is divided into sections by the use of posts,
as at Llanwnog (269). The latter is a very beautiful and picturesque
arrangement, for the posts, which were often decorated with tabernacle
work, together with the panelled soffit of the rood-loft, formed delight-
ful canopies for the two side altars that were so often placed against
the screen on each side of the chancel doorway. Occasionally this
principle appears to have been extended, and a second screen was con-
structed under the bressummer, an arrangement, however, of which
there is no existing example, if the Guilden Morden screen (249) be ex-
cepted. In this remarkable instance it is doubtful whether the double
screen was intended primarily to enclose the side altars or to carry a loft.
The beautiful vaultings of the later screens were a development
I
F H C^OiMFY 1916
CHESHIRE TYPE OF ARCHED SCREEN, ASTBURY (c. 1500)
239
24o SCREENS, ROODS, AND LOFTS
of the simple boarded and panelled soffits of the early rood-lofts.
The building of the loft at a higher level than the screen, an almost
invariable feature of the rood-loft screens of the second half of the
fifteenth century, seems to have been devised for the better display
of this charming work. When this method of construction was
employed the boarding was carried on a series of ribs, sometimes
straight, but more often shaped to a curve struck from one or two
centres. The curve is generally rather flat, as at Handborough (228), but
in some examples it is ve'ry pronounced, as at Llaneilian (268) ; generally
the flat curve has the best effect. This type of continuous coving
continued to be used to the end, and was often greatly elaborated.
At Keynsham, Somerset, each of the panels is decorated with a great
rayed star, while in Wales and Cheshire a gorgeous effect was some-
times obtained by fretting the panels into tracery, as at Llananno,
Radnorshire (30), (42), (264).
The vaulted covings seem to have been devised to suit the
arcaded screens, and to connect and dovetail the design of the screen
and loft into one harmonious composition. They include some of
the most fascinating work in the whole of Gothic art. The oldest
examples have rather stout moulded ribs with plain panels, and are
designed on the simple lines of a stone vault with intermediate ribs.'
The decoration of the panels with sunk tracery, as at Ashby St Ledgers
(258), Plymtree (259), and Dunster (265), giving the effect of a fan
vault, was an early improvement, almost unknown in the eastern
counties, while the carving of foliage in this position is also a western
characteristic, exemplified by the screens of Poltimore (265), Lapford,
and Atherington (271). Lierne ribs were often employed in all
parts of the country, and many charming patterns were produced, as at
Attleborough (266). In some East Anglian screens charming results
were obtained by cusping the star-like panels at the crown of the
vault, as at Newark (266) and Bramfield (266). Similar vaults occur
in the Welsh district, as at Gresford, Astbury (239), and Aymestrey
(264). True fan vaults are employed at Edlesborough, Bucks., and at
Dilwyn and Bosbury, Herefordshire. The effect is not very good,
as there is no tilt ; Fitzhead, Somerset, has tilted fans.
In the majority of cases the vault was a series of half bays, but
i6
241
242 SCREENS, ROODS, AND LOFTS
towards the end of the fifteenth century whole bays were often
employed, especially in East Anglia. In this case the vault was
tilted up in front and hung down in a series of pendants. The effect
is remarkably beautiful. In a number of East Anglian screens this
motive was still further developed. At Attleborough (246) a further
series of half bays of vaulting was applied to the west side of the
rood-loft panels, so that each bay of the screen corresponds with a
bay and a half of the vault, and at Ranworth there was a similar
arrangement under the rood-loft soffit.
There was no necessity to apply the same treatment to the
coving on both sides of the screen. At Gresford (167) and Astbury
(239) the west side is vaulted and the eastern side has coving. At
Happisburgh the west side of the screen was prepared for vaulting,
while the eastern half of the loft seems to have had a flat soffit. In
East Anglian screens with the remarkable pendant vaulting, described
above, the eastern vault is usually in a series of very steeply tilted
half bays.
The mortices into which the rood with the figures of Our Lady
and St John were fixed sometimes remain in the hand-rail, together
with a series of circular holes into which tapers were once fitted.
When they do not occur the rood was probably supported on a
special rood beam, spanning the church about six feet above the floor
of the loft. Occasionally the mortices can be traced in the head of
the screen or the front bressummer of the loft.
A few lofts have pulpit-like projections over the quire doorways,
either facing west, as at Cotes-by-Stow, and Sleaford, or facing east,
as at Montgomery, Newark, and Dunster (265). At Cotes the pro-
jection is external only, and appears to have been a mere base for the
rood, but when the eastward pulpit occurs in churches of cathedral or
monastic rank, or even in collegiate churches, it seems likely that
it was used for the reading of the gospel, etc., on festivals. Splendid
examples may be seen at Chester and in most of the other northern
quires with tabernacled stalls. In some cases the projection may have
been intended to provide additional space in the loft for an altar
or an organ.
The panellings forming the front and back parapets of the loft
THE DESIGN OF THE ROOD-LOFT FRONT
243
DENNINGTON, SUFFOLK,
EAST PARAPET OF AISLE SCREENS
have only
survived in
comparatively
few cases, but
there is suffi-
cient evidence
to show how
charming and
varied was
their design.
The sim-
plest of all are
those with
moulded up-
rights and
plain panels,
as at Edington
(222). This
method was
frequently
employed in
the eastern
parapet, as at
Llananno(42).
At Llanwnog
(269) the
panels are
pierced with
the typical
Welsh grat-
ings, while at
Patricio (243),
L 1 a n g w m,
Hubberholme,
and Bettws Newydd the whole of each panel is elaborately pierced and
traceried. At Marwood and Llanengan the eastern parapets are
PATRICIO, BRECON
244 SCREENS, ROODS, AND LOFTS
decorated with foliage and scrolls carved in relief. A curious treat-
ment occurs in two Worcestershire rood-lofts, Besford and Leigh,
which have very low parapets, with horizontal panels pierced with
quatrefoils. The eastern front of the loft at Atherington is constructed
in true Devonshire fashion with horizontal boarding instead of panelling,
decorated with applied mullions and tracery. Sometimes the panels are
open, as at Llaneilian (268), where the loft front consists of a series of
moulded uprights supporting a hand-rail, and at Derwen (268) and the
eastern parapet of Dennington (272), where there are traceried heads to
the openings. An elaborate version occurs in the Lady chapel screen
at Winchester, where each head is enriched with a pair of crocketted
ogee arches and a pinnacle, giving the effect of tabernacle work, while
the uprights are reinforced with elaborate pierced buttresses. Another
ornate variety is seen in the west parapet at Dennington and Oakley
(273), where each bay is divided into two lights, grouped under a
crocketted ogee arch. The front of the loft at Warfield, Berks. (241), is
of the same general design as that of Derwen, but it is panelled.
The most elaborate lofts were decorated with gorgeous nichework,
as at Hexham (222), Flamborough (223), Llanrwst (270), and
Atherington (271). There are two main varieties, those with a series
of equal niches separated by narrow uprights, as at Llananno (42),
or with wide and narrow niches alternately, as at Atherington (271),
and those with large niches in the panels, and one or two small niches
on the muntins, as at Flamborough and Llanrwst.
These are the different varieties of the types of loft common to
most parts of the country. Naturally there is infinite variation in the
character of the detail, which follows the local mannerisms.
The kind of loft front adopted in many of the arched screens of
East Anglia was rather different. The evidence for the design of the
rood-loft front in this district is rather scanty. The mutilated screens
of Southwold, Eye, and Stamford St John retain puzzling fragments of
their destroyed lofts, and the fortunate survival of the admirable front
of Attleborough (273) throws light upon this perplexing problem. The
majority of the arched screens of Norfolk, Suffolk, and the neighbour-
ing counties were vaulted in complete instead of half bays, rising from
THE DESIGN OF THE ROOD-LOFT
245
the standards
and falling
down in pen-
dants. Such a
vaulting, seen
from the
front, presents
a series of
arches, which
cannot be
masked by the
usual bres-
summer. The
panels, there-
fore, pass
down in front
of the bres-
summer, and
their lower
ends are
arched, and
sometimes
cusped at the
bottom to suit
the front
arches of the
vault. These
panels were
generally
pierced and
traceried, at
least in the
upper part.
At South-
wol d (262)
AVEBURY, WILTS. (WEST)
LEIGH, WORCS. (WEST)
•'
*
s
Q
1
C/3
i— I
Q
£
<
<
O
X
-
O
CJ
C/3
U
246
ROODS AND LOFTS 247
and Eye (262) the valuable fragments now attached to the head
of the screens suggest that the loft front was itself vaulted, two bays
corresponding with each bay of the screen below, forming a lovely
cornice to the whole composition. At Attleborough (246) there are
distinct traces of a series of half bays of vaulting attached to the
arches at the base of the panels of the front, which were probably
masked by elaborate crocketted ogee tracery, similar to that of the
magnificent side screens of Southwold (236, 260). This pendant con-
struction was not adopted in the eastern side of the loft, but there is
practically no evidence to show what was the character of the eastern
parapets. It occurs in Wales in the fine screen of Montgomery (270),
where the design is not dictated by practical considerations, since the
soffit of the loft, which is lost, has never been more than a flat coving.
Aymestrey (264) illustrates the west country method of meeting the
problem of masking the pendant arches of the vault. Here the usual
bressummer has a series of pendant posts with arches between them
hanging down to support the vault, a treatment also found in the fan-
vaulted screen of Conway. Sometimes in Wales these pendant arches
are used for their own sake, even when the vault simply rises straight
to the bressummer in half bays, as at Llanrwst (270).
248
C/3
W
E
u
249
THE SQUARE-FRAMED SCREEN— NORMAL TYPES, WEST MIDLANDS
CHRISTIAN MALFORD, WILTS., MULLIONS FORKED OVER TRACERY
BACKWELL, SOMERSET, MULLIONS RUN THROUGH TO HEAD
25o
THE SQUARE-FRAMED SCREEN— ELABORATED VERSIONS, MIDLANDS
HICHAM FERRERS, NORTHANTS, WITH APPLIED OGEES
BLORE RAY, STAFFS., HEADS WIDE AND DEEP AS IN WALES
251
THE SQUARE-FRAMED SCREEN— ELABORATED VERSIONS,
EASTERN SCHOOL
WALSOKEN, NORFOLK, WITH TRANSOM OPENINGS COMPLETELY TRACERIED
HITCHIN, HERTS., TRACERY WITH APPLIED TABERNACLE WORK
252
THE SQUARE-FRAMED SCREEN— ELABORATED VERSION, SOMERSET
DUNSTER, SOMERSET, OPENINGS COMPLETELY TRACERIE1
253
LINCOLNSHIRE SCREENS— THE SQUARE-FRAMED AND
ARCHED TYPES
FISHTOFT, LINCS., ARCHED SCREEN, LATE FOURTEENTH CENTURY
ADDLETHORPE, LINCS., WIDE & DEEP TRACERY, EARLY FIFTEENTH CENTURY
BURGH, LINCS., WITH APPLIED OGEE, LATE FIFTEENTH CENTURY
254
THE SQUARE-FRAMED SCREEN-LINCOLN AND DEVON
TYPES COMPARED
ADDLETHORPE, LINCS., WIDE AND DEEP TRACERY, WITH APPLIED OGEE
EXETER CATHEDRAL, THICK MOULDED TRACERY, WITH DOWELLED MULLIONS
255
i -J
256
C/2
257
THE ARCHED SCREEN— MIDLAND TYPE
ASHBY ST LEDGERS (EXCEPTIONAL TRACERY)
QUEEN CAMEL, SOMERSET, MULLIONS RUN THROUGH
258
THE ARCHED SCREEN— DEVON TYPE
PLYMTREE, DEVON, WITH DOWELLED MULLIONS
CHULMLEIGH, DEVON, LATE FIFTEENTH CENTURY
259
W
c
U
w
ffi
u
260
261
THE ARCHED SCREEN— EAST ANGLIAN TYPE
SOUTHWOLD, SUFFOLK, WITH VALUABLE REMAINS OF DESTROYED ROOD-LOFT,
LATE FIFTEENTH CENTURY
EYE, SUFFOLK, FRAGMENTS OF DESTROYED ROOD-LOFT, EARLY SIXTEENTH CENTURY
262
THE ARCHED SCREEN— A NORTH COUNTRY TYPE
•I
MOBBERLEY, CHESHIRE, DATED 1 5OO
263
VAULTING AND COVING COMPARED— WEST OF ENGLAND
AYMESTREY, HEREFORD, WITH PENDANT VAULTING
LLANANNO, RADNOR, COVING WITH PIERCED PANELS
264
VAULTING— SOMERSET AND LATE DEVON TYPES
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DUNSTER, SOMERSET, TRACER1ED PANELS
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POLTIMORE, DEVON, FOLIAGED PANELS
265
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267
THE ROOD-LOFT- OPEN PANELLED TYPES, WELSH
LLANEILIAN, ANGLESEY, OPEN PANELS WITHOUT TRACERY
DERWEN, DENBIGH, OPEN PANELS, TRACERY HEADS
268
THE ROOD-LOFT— PIERCED PANEL TYPES
LLANWNOG, MONTGOMERY, PIERCED GRATINGS IN PANELS
HUBBERHOLME, YORKS., PIERCED PANELS
269
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THE DEVON STYLE
KENTON, DEVON, LATE FIFTEENTH CENTURY
274
VI
NAVE •
PULPITS
THERE is documentary evidence of the use of pulpits in English
churches as early as the twelfth century, and there are refectory
pulpits of the thirteenth century at Chester and Beaulieu, but no
wooden church pulpit of an earlier date than c. 1330 is known to
exist. There is an interesting example of this period at Fulbourne,
Cambs. (286), but fourteenth-century pulpits are extremely rare ; other
examples of the end of the century occur at Upper Winchendon,
Bucks. ; Stanton, Glos. ; and Evenlode, Glos. Most of those formerly
assigned to this period by archaeologists really date from the fifteenth
century, when the use of pulpits became more general, though it is
probable that they were provided in only a quarter of the churches.
At the present day the county is fortunate that can boast of more
than ten examples.
Position. — The restorers usually found the pulpit fixed against
the first pier west of the screen, sometimes on the north side,
sometimes on the south. This position is undoubtedly the most
convenient, and has centuries of usage behind it ; but, obsessed by
ecclesiological theories now known to be erroneous, they insisted
on moving the pulpit a bay further east, fixing it against the screen,
generally on the north or gospel side. At the present time one
rarely finds an ancient timber pulpit in its original place; stone
pulpits are not so easily moved, and are more often found in situ.
Size.— Old pulpits are beautifully proportioned to the buildings
in which they are placed. In a small church they are frequently
no more than 2 feet in diameter inside ; in the great church of
St Michael at Coventry the pulpit, now discarded, was no less than
3 feet 4£ inches.1 The floor is seldom less than 4 feet above
275
2;6 FITTINGS OF THE NAVE
floor level, and is frequently more ; at Coventry it was actually
7 feet 6 inches. The sides vary from 3 feet 3 inches to 3 feet 6 inches
in height. It is to these tall and slender proportions that the
mediaeval pulpits owe much of their charm ; indeed it is quite
impossible to design a beautiful pulpit of the absurdly bulky
dimensions considered correct nowadays.
fplan. — Judging from ancient manuscripts, square pulpits were
in general use in the Middle Ages, but this shape, though convenient
and constructional, gave way to the polygon, which is certainly
a more beautiful form. The hexagon is the most common shape,
but the octagon is almost equally popular, and gives a taller and better
proportion to the panels of the sides. The dodecagon gives long
and graceful panels, and occurs at Selworthy, Somerset ; while at
Long Sutton the wood pulpit is a sixteen-sided polygon, standing
upon an octagonal stone base. In a few instances the sill and rail
are hollow-sided polygons on plan ; this gives a fine effect, as at
Cockington, Devon (295). The polygon is often incomplete ; for
instance, five sides of an octagon form a serviceable and economical
pulpit, and sometimes the pier or wall against which the pulpit is
placed serves as one of the sides. Again, the polygon may be
irregular; at Wenden, Essex (277), the pulpit has seven large and
two small sides, and at East Hagbourne, Berks. (291), narrow and
wide sides alternate.
As a rule mediaeval pulpits were provided with doors, produced
by hinging one or two of the sides. These have often been removed,
and may occasionally be found lying in belfries or vestries, as at
South Creake, Norfolk.
The stairs by which the pulpit was reached have almost invariably
been destroyed. It is probable that in most cases they were mere
ladders, though in the case of the well-known stone pulpit of St Peter's,
Wolverhampton, the stairs are very elaborate, and similar fine stairs
in wood may possibly have existed at one time. Charming post-
Reformation stairs have sometimes escaped the restorers ; those at
Ipplepen, Devon (295), dating from the early eighteenth century, are
especially good.
ANGLE-POSTS PROLONGED INTO LEGS
WENDEN, ESSEX
277
F. T. DOLLMAN, Del.
2;8 FITTINGS OF THE NAVE
Construction. — There are three distinct ways of constructing the
actual pulpit. A few, like Mellor and Chivelstone (294), are carved out
of a solid log of oak. This primitive method of construction is by no
means a 'sign of early date; Chivelstone has shields decorated with
linen-fold pattern, an almost infallible proof of late fifteenth or sixteenth
century origin. In some cases the sides are each worked out of a
separate slab ; this method is used in a fine group of Somerset pulpits,
of which Queen Camel (293) is the type. But the most general way of
making a pulpit is to frame it up with sill, rail, and angle-posts. It
is no easy matter to joint up such a polygonal framework, and several
varieties of construction may be found. There are a few instances in
which the angle-posts run through, and the sill and rail are tenoned
into them, but more often the angle-posts are tenoned into the
horizontal members. A modern joiner would joint the rail and sill at
each angle ; the mediaeval craftsman preferred to get at least two sides
out of the same plank, and arranged the joints in the middle of the
sides, which was more laborious but stronger. The panels of some
old pulpits have been removed to suit modern ideas. There is,
however, no doubt that in mediaeval times the close-panels were
always panelled.
In the illuminations the pulpits generally stand upon legs formed
by prolonging the angle-posts ; an example of this type exists at
Wenden, having nine legs. Another at St Mary de Lode, Gloucester,
has six legs panelled up. An early method in use at all times is to
support the pulpit on an octagonal base of solid masonry; the Burling-
ham pulpit is a good instance of this. It is a safe but unimaginative
solution of the problem. But the final and most beautiful form of
base is that in which the pulpit is supported upon a slender stem,
branching out as a spreading capital or a polygonal coving, as at
Castleacre. The capital is in most cases a solid affair into which
the shaft is housed. The coving is of more elaborate construction ;
the stem runs right through the coving and supports the floor joists,
while arched ribs, springing from a capital half-way up, radiate to
the sill or curb of the pulpit. These ribs usually go to the angles,
but an intermediate rib sometimes springs to the middle of each side.
EAST ANGLIAN STYLE WITH SLENDER STEM
4.
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STENCILLING
OP To
SHAFJ
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CASTLEACRE, NORFOLK
279
280 FITTINGS OF THE NAVE
The space between the ribs is often filled in with a thin panel,
or may be left open. The shaft generally has a moulded base worked
in the solid to give stability, and is probably let into the floor of the
church. The beautiful but almost wholly restored pulpit, now in the
nave of Westminster Abbey church, has a spreading base built up like
the coving. In Devon it is not unusual to find the coving springing
directly from a moulded stone base; it is likely that these pulpits
once possessed shafts, but their loss has not altogether spoilt their
outline.
Testers, now often regarded as seventeenth-century inventions, were
often used, and a few examples have survived, notably Edlesborough,
Bucks. (288), which is octagonal on plan, in the form of a tabernacled
spire, suspended above the pulpit. At Fotheringhay the pulpit has
retained its panelled back, from which a richly vaulted canopy projects.
This was evidently the foundation of a spire like that of Edlesborough,
but unfortunately this part of the work has been destroyed. At Cold
Ashton, Glos., where the pulpit is of wood on a stone base, and is
partly recessed into the wall, the canopy is of stone elaborately carved
in the manner of a pinnacle, projecting from the wall. Radley, Berks.,
has a beautiful tester with flamboyant panels, but this is said to have
come from the old houses of Parliament, where it formed part of the
Speaker's chair.
Decoration. — When the pulpit stands upon a stone base the
lower member is a sill, and is treated as such, with the upper surface
weathered. It is usually moulded only, but at Halberton (294) paterae
are carved upon it. If the base is a slender stem with a spreading
capital the lower member forms the upper part of it, and is moulded
as an abacus, as at Queen Camel (293). In the numerous class with
coved stems this member is a curb, and the mouldings resemble those
of the bressummers of screens, and like them may be decorated with
trails, crestings, or battlements. At Edlesborough it is kept very flat,
and designed as a little parapet with string and coping.
The frame is generally moulded, though in some instances a
more or less elaborate trail runs round each panel ; this is very
common in the West. At Halberton a broad splay frames the panel,
PULPIT TREATMENT 281
and is decorated with large square flowers at intervals. There is a
tendency to reduce the frame to the smallest possible dimensions in
the eastern counties, while in the west it is strongly emphasised.
Thus at Ipplepen (295) the pulpit is a version in wood of the local
type of stone pulpit, and has a very massive frame encrusted with a
delightful vine trail carved in the solid.
The angles are often ornamented with small buttresses, having
moulded bases and offsets. These sometimes die on to the curb, as at
Handborough (40), while at Cockington (295) it is actually curved out
to receive them, but in many cases no attempt to stop them is made,
and they are simply corbelled off, as at Edlesborough. These little
buttresses are used in the fourteenth-century Fulbourne (286) pulpit
and continued to be used to the last, except in Devon and Cornwall.
They are most general in the Midland and eastern counties, and are
sometimes very delicate, as at Burnham Norton (287) ; sometimes of
massive proportions, as at Edlesborough. Handborough is an instance
of a simple treatment with only one offset, not returned, and a simple
moulded and returned base, while at Rossington, Yorks. (290), the
buttresses are most ornate, with base and offsets returned, and slender
pinnacles rising from the gablets midway. The Cockington (295)
angle buttresses are square in plan, covered with surface decoration of
the honeycomb variety, terminating in large pinnacles. In a few
pulpits a middle rail is introduced ; Halberton (294) is perhaps the
earliest instance ; Fotheringhay and the Westminster pulpit are much
later.
In East Anglia the cornice is kept very plain and small, but in
the West it is frequently ornamented with trails and crestings.
Chivelstone has no fewer than four decorative bands in this position.
An inscription in raised black-letter round the top of the pulpit is
not unusual. In the North, at Rossington, Yorks., and Heighington,
Durham (291), it is a request for prayers for the souls of the donors.
The treatment of the panels is perhaps the most important part
of pulpit design. The plainest examples have traceried heads to their
panels. At Castleacre (279) the tracery takes the form of cinquefoiled
arches with foliaged spandrels ; at East Hagbourne, Berks. (291), the
282 FITTINGS OF THE NAVE
spandrels are traceried. Fishtoft (289) has tracery in two orders with
a crocketted ogee, while that at Tattershall (289) is delightfully foliaged,
and has stiff rectilinear tracery in the spandrels. If the panels are
wide they may be divided by a muntin into two divisions ; the tracery
then follows the design of a two-light window, as at Potterne (292).
At Rossington and in other examples a traceried band is introduced
at the base of the panel, forming a kind of plinth. Some pulpits have
their panels completely covered with tracery, either planted on, as at
Landbeach (286), Southwold (287), and Handborough (40), or worked
in the solid, as at Bridgwater. There is something not wholly pleasing
about this treatment, though in some cases the effect is very rich. It
is characteristic of a group of West Somerset pulpits, of which
Monksilver (292) is a good example.
The most elaborate treatment of all is to form a niche in each
panel. This is most common in the West. At Cockington the canopy
is carved out of a solid block, and fixed to the head of the panel,
but at Ipplepen vault, archlets, and pinnacles are all separate and
pegged together ; Edlesborough is an eastern version of this method.
The Coleridge niches are like those of the Devon rood-lofts and
pier casings, formed by two pierced and traceried boards, fixed
at an angle with one another, with a planted ogee arch, delicately
crocketted. The Queen Camel canopies bow forward and are
segmental on plan ; those at Halberton are caught back in a manner
peculiar to Devon.
The images which once peopled the niches rarely survive. The
pulpit at Trull, Somerset (293), is exceptionally fortunate in retaining
statuettes of St John the Evangelist and the four Latin doctors
in its principal niches, and twelve other little figures, intended perhaps
for the twelve apostles, in those of the angle-posts. Moreover, angels
are worked into the canopies. It must be confessed that these
are not very favourable specimens of mediaeval figure sculpture, but
they are very successful as decoration. It is interesting to compare
this pulpit with the East Anglian examples at Castleacre and Burnham
Norton, which have the four Doctors painted in their panels. At
Halberton the niches are purely decorative, and there are no pedestals.
PULPIT SHAFTS AND BASES
283
seem
The stone bases are generally of doubtful antiquity. They
to have been treated in most cases as a high plinth with a moulding
or chamfer round the upper edge, and were rather larger in diameter
than the pulpits they supported. Burford, Oxon., has a modern stone
base to its pulpit, which takes the form of a short octagonal pier
with cap and base. The effect is fairly satisfactory, and there seems
to be no reason to doubt that this was occasionally done in the
Middle Ages. Long Sutton is a very slender example influenced
by the wood stems.
The design of the wood shafts is far more interesting. The
actual shaft may be of six or eight sided section, according to the
shape of the pulpit. In the eastern counties it is not infrequently
circular, though the capitals and bases are invariably angular. A
gorgeous circular pulpit stem was discovered during a restoration
at Diss, Norfolk. The circular shaft stands on a square base with
pinnacles rilling up the angles, and is flanked by four buttresses
of bold projection supporting small carved beasts. These are much
damaged, but were probably intended for the evangelistic symbols.
The capital is moulded and embattled, and leaves decorate the bell.
A simpler treatment is more usual. In the eastern counties the
shafts are very slender, and leave no room for decoration ; in the
West they are stouter, and are sometimes traceried, as at Queen
Camel (293), where the capital expands to serve as a base to the pulpit.
The base of the fine pulpit at Wooten Wawen, Warwickshire, is a
plain octagonal shaft of large proportions, with very simply moulded
capital and base. Here again there is no coving, and the pulpit
stands directly on the shaft capital. The beautiful destroyed pulpit
of Wolvercote, Oxon., also had a stem of this description, most
elaborately moulded.
However, a slender shaft supporting a spreading coving is the
most common, and also the most beautiful form of base. There are
generally as many radiating ribs as there are sides to the pulpit, but
sometimes intermediate ribs are introduced. Curiously enough there
do not appear to be any examples of lierne ribs. The ribs vary in
size. In East Anglia and most of the Midland counties they are small
284 FITTINGS OF THE NAVE
and insignificant, while in the West they are massive. Some ribs
have only a hollow moulding, but an additional bead or ogee is often
used. The ribs at Rossington (290) are exceptionally elaborate and
deeply undercut. In most cases they mitre with each other at the
springing, and abut against the lower member of the curb which is
moulded to receive them. The panels are frequently left plain, but
in very rich pulpits they may be traceried. This treatment does not
appear to be a characteristic of any particular local school. It is rarely
found in the Midlands, but occurs at Southwold, Suffolk (287), and at
Ipplepen, in Devon. It is usual for the lines of the tracery to be
based on the radiating lines of the ribs, but at Kenton, Devon (274),
the design is wildly flamboyant and extremely elaborate. The outline
of the rib is an important point. In Devon they are sharply pitched,
though the curve is well marked. In the Midlands the pitch is rarely
so acute and the curve more pronounced. The same is true of most
East Anglian pulpits, though at Burnham Norton (287) and Tattershall
(289) the ribs, of very flat curve, are sharply pitched.
Mediaeval pulpits have usually passed through many vicissitudes
since their erection. They were sometimes incorporated into the
three-deckers of the Georgian era, many losing their stems in the
process. In the early nineteenth century a few were enormously
stilted to meet the requirements of galleries, like that of All Saints,
Sudbury, Suffolk, as shown in D oilman's book. A great deal of
damage was done during the nineteenth century, though there were a
few creditable restorations. When we find a pulpit almost entirely
renewed, it must be remembered that it was probably extricated from
the ruins of the three-decker, and may have been mutilated long
before the much abused nineteenth century ; moreover, casing an old
oak pulpit up in deal panelling induces rot, and some were in a dreadful
condition when found. On the other hand, what has become of the
lovely pulpit at Wolvercote, Oxon., with its graceful tracery and
linen panels, an engraving of which appears in the " Glossary of
Architecture " ? And why do so few of those illustrated in Dollman's
work exist at the present day ? When galleries came into disrepute
and were removed, numbers of pulpits were reduced in height.
PULPIT PAINTINGS 285
Again, modern methods of preaching demand room for dramatic
gesture, for which the old pulpits were quite unsuited, being of the
smallest possible dimensions. Consequently one often finds that
they have been enlarged, with the result that the Only ancient work
left is the traceried panel heads, as at Steeple Aston, Oxon., and
Padbury, Bucks.
It may be safely assumed that the majority of ancient pulpits
were painted. Kenton and Cockington in the West, and Castleacre
and Burlingham in the East, are charming specimens of mediaeval
colour decoration. It was the custom to grain them in imitation of
mahogany or other fashionable woods in the Georgian period. Sail and
Cawston, in Norfolk, still remain in this melancholy state. At South
Creake, in the same county, the pulpit is grained with the exception
of one panel, which evidently came against the pier when it was in
its original position ; the colours are delightful and most harmoniously
arranged. Burnham Norton and Castleacre are examples of the
decoration of the panels with figure painting ; the former pulpit has
had its colour work retouched in recent years. This is generally
fatal to the beauty and interest of the work, as at Southwold, Burford,
Cropredy, and Ipplepen. Most pulpits now show the bare wood ;
this is generally due to the colour having been pickled off together
with eighteenth-century graining at a restoration.
P
o
H
—
Pu
286
287
PULPIT AND TESTER
DETAIL OF TESTER
EDLESBOROUGH, BUCKS.
288
UNDERSIDE OF TESTER
LINCOLNSHIRE PULPITS— FIFTEENTH AND SIXTEENTH CENTURY TYPES
TATTERSHALL, LINCS.,
EARLY SIXTEENTH CENTURY
FISHTOFT, LINCS.
EARLY FIFTEENTH CENTURY
TATTERSHALL, LINCS.
289
5
O
290
291
O
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293
294
295
296
BENCHES
History. — While seats have been provided for the priests and clerks
in the chancel, or for the monks and canons in the choir, from
the earliest years of Christianity, the provision of benches for the
people seems to be of comparatively late introduction. In many
churches of the thirteenth and fourteenth centuries stone seats are
found, either against the side walls, as at Tunstead, Norfolk, or around
the piers of the arcade, as at Great Brington. In the first case there
is nothing to show that the rest of the space was not pewed, but
the latter instance is clear proof that no wood seating was originally
intended, even in a great church like Snettisham, where such stone
benches occur. It was because of the difficulty of making a way
through the kneeling or standing congregation that a mediaeval
procession was headed by two vergers with verges or wands to clear
its pathway.
The oldest benches now in existence appear to be work of the
thirteenth century. They are extremely solid and rude, and chamfers,
as at Cassington (311), or a clumsy shaping, as at Mark (311), are
their only ornament. Examples of definite fourteenth-century style
are almost unknown, but hundreds of churches retain seating of the
fifteenth century. The finest and most elaborate examples appear to
have been made in the seventy years preceding the Reformation.
There is clear documentary evidence to prove that the practice of
the appropriation of pews was in vogue from the first introduction
of fixed seating, though it was never approved by, ecclesiastical
authority. The late benches of the West are often carved with the
arms or merchants' marks of their occupants, or with the implements
of their trade.
Planning.— The blocks of seating were always so arranged as
to leave ample passage ways, particularly at the east end of the nave,
where it was often necessary to leave a clear space of 7 to 10 feet
297
298 FITTINGS OF THE NAVE
to allow room for the side altars against the rood-screen. The
western cross passage was also wide, particularly in the greater
churches of East Anglia, where the entrances were generally in the
western bay of the nave. At Blythburgh, for instance, the whole
of the west end was left clear of seating. In most parts of the
country, however, the doorways were generally planned in the second
bay from the west, and there are blocks of seating west as well as
east of the cross passage. In this case the central passage of the
nave has often to be widened out around the font, as at Minster
Lovell (312) and Idbury, Oxon. When there are no aisles this passage
has to be made wide enough for the procession to make its way
to the font and to pass itself in returning, as at Strensham, Worcester-
shire. In the case of an aisled nave there are sometimes three
passages running east and west, giving four blocks of seating. Those
in the aisle are seldom central. In East Anglia there are often
but two blocks, and the wide aisle passages are against the side walls,
as at Woolpit.
A raised platform with a wood floor and a stout oak curb was
usually formed under the blocks of seating, and the bench-ends were
framed into the curb, which served to link each block of seating
into a coherent design. The seats and backs were made good to the
piers, and continuous panelling, ranging in height with the bench-ends,
was often fixed against the side walls, as at Minster Lovell, so the
benches are felt to be a part of the church, and not mere loose fittings.
It is curious that there is apparently no evidence for the arrange-
ment of the seats in the transepts of a cruciform church ; possibly
these were never encumbered with benches.
Construction and Design. — The seats were generally too narrow
for modern ideas of comfort. Twelve inches appears to have been
considered sufficient. On the other hand, they were very thick ; two
and a half inches or more is not unusual, though in the Midlands they
are seldom more than one and a half inches thick. In the eastern
counties the seat was often so low as to be exceedingly uncomfortable,
and hundreds have been re-made in the nineteenth century. The
devices commonly employed by the restorers were the removal of
3oo FITTINGS OF THE NAVE
the boarded floor of the platform, leaving the curb, as at East Winch,
Norfolk (313), or the mounting of each bench-end upon a plinth, as
at Woolpit, Suffolk (314). In the Midlands (41) the benches were
not at all badly proportioned for comfort, and they have more often
escaped the attentions of the restorers, while in the West (316) it
would not be easy to improve upon the dimensions adopted.
A book ledge was generally provided, about five or six inches
wide, and of the same thickness as the seat ; they are never sloped
as in the post- Reformation pews. Sometimes the seat and the ledge
are at the same level, but more often the ledge is a little higher than
the seat, about two feet above the floor. It is sometimes maintained
that these ledges could not have been intended for books, because of
the illiteracy of mediaeval churchgoers, and a theory has even been
propounded that they were intended for kneeling upon, the feet of
the worshipper resting on the seat. It is probable, however, that
many people had their primers or mass books, for even those who
were unable to read, and these were probably fewer in number than
is generally believed, would find the illuminations and woodcuts an
aid to devotion. The ledge would also be useful for rosaries, crucifixes,
and other objects of piety, when they were not being used.
In East Anglia the older seats were often backless, but very few
have been allowed to remain in their original condition. The most
perfect remaining example is the seating in the north aisle of Cawston,
Norfolk. At Blythburgh and Ranworth clumsy backs of hideous
design have been added to suit modern ideas of comfort. When
backs were provided in this district they were generally uncommonly
low, compared with those of other parts of England. At East Winch,
Norfolk, there is a stout embattled back rail with a thin panel below,
consisting of a single wide board. In the similar example at South
Creake, muntins are employed to divide the long panel. The
decoration of the seat back by piercing it with tracery is a favourite
Norfolk device, well seen at Wiggenhall St Mary (314) and St German.
In Suffolk the backs were often cut from a single wide and thick
board, moulded and carved with charming running patterns of tracery
and foliage, all worked from the solid. The east side of the board
BENCH BACKS
301
EAST WINCH, NORFOLK
was very reasonably left entirely plain. At Dennington (315) the
space below the seat is left open, which is more convenient for
cleaning, but at Wiggenhall and Fressingfield (315) it is boarded up.
In the eastern district the back seats and front desks of a block
differed very little in design from the other seating, except that the
boarding below the seat was generally carved, as at Fressingfield.
By exception at Cawston, in the north aisle, where the rest of the
benches are low and have no backs, the western seat has a very high
back to keep off draughts from the doorway.
In the Midland counties the backs were generally a little higher,
and were composed of a rail with a single thin horizontal panel,
grooved into the seat or nailed to its back edge, or of a rail with wide
vertical feather-edged boards running down to the floor, as at Iron
Acton. The fronts and backs of each range were usually panelled
out with moulded muntins ; the heads of the panels were often prettily
traceried, as at Ashby St Ledgers (311), or carved into linen-fold
patterns, while the muntins sometimes had little shaped buttresses
302 FITTINGS OF THE NAVE
applied to them. The bench-backs of the west country resemble
those of the Midlands in their general construction. The boarding is
almost always vertical, and runs right down to the floor. The fronts
and backs, however, were treated rather differently. In Somerset the
muntins were often very wide, and were carved with sunk tracery
or foliage, as at Crowcombe (303) and Broomfield (317), while the
panels were also treated in the same way. In Devon and Cornwall
the backs were boarded, not framed up, and were decorated with
applied tracery, consisting of a band of tracery at the top, a plinth,
and a series of little mullions between, as at Braunton (319).
{Bench-finds. — It is the design of the bench-ends that appears to
affect the whole composition more than anything else. There are two
distinct types, the rectangular and the shaped. They are of equal
antiquity, and were used side by side in the central district, but in
East Anglia the shaped type is general, while in the south-west almost
all the bench-ends are rectangular.
Rectangular fBench- finds. — The most obvious form of bench-end is
a wide rectangular slab, and the simplest attempt at ornament a chamfer
or moulding along the top edge, or around the whole bench-end.
Such a bench-end is liable to twist as the timber drys, a defect painfully
apparent in a long series of ends, some twisting one way and some
the other. This was avoided in three ways. In the south-west, where
timber was exceptionally plentiful, the bench-ends were made extra-
ordinarily thick. In the Midlands the ends were either tenoned into
a stout top rail, as at Tadmarton, or the ends were framed up with
styles, rail, and panel. The benches at Cassington (311) are probably
among the earliest examples of this treatment, and may be assigned
to the late thirteenth century with some confidence.
The solid bench-ends were almost invariably carved, generally
with sunk tracery. There are good examples in the North, as at
Hemingborough and Stow (312). The carving of the Midland work is
rarely elaborate. Tracery of a rigid gridiron type is sometimes found,
as at Dray ton and Steventon, Berks., but frequently the design is very-
free and attractive, as at Great Tew and Steeple Aston, Oxon., while
symbolic devices, such as the Lily, the Holy Name, and the Aspido,
w
CO
CQ
8
O
(^
U
303
304
NORTH-EAST SOMERSET TYPE
5EAT AM DESK
ELEVATIONS
'SECTIONS
LEIGH-ON-MENDIP, SOMERSET
occur at Kidlington, Oxon., and charming little figure panels, represent-
ing the Annunciation and donors, are found at Warkworth, Northants
(316). Little buttresses are sometimes applied ; at Edlesborough there
are three to each bench-end, while at Kidlington there are two, placed
diagonally. In Somerset the early fifteenth-century bench-ends are
carved with simple but graceful rectilinear tracery, as at Cheddar and
Leigh-on-Mendip. A rather later Somerset type shows a square
top panel with rectilinear tracery below. In the Quantock district
a very fine late type was evolved, in which the entire surface is
covered with free foliage carving, chiefly of the vine order, as at
WEST COUNTRY FORMS OF BENCH-END 305
Broomfield (317) and at Crowcombe (303), where the variety of design
is wonderful. A curious late development of this type is represented
by the fine bench-ends of Broomfield, where the foliage is of an
uncommon type, neither Gothic nor Renaissance. Tracery of marked
flamboyant type is common, as at Milverton'(3i6). In the early six-
teenth-century bench-ends of Somerset details of Italian inspiration
are very general, especially in the foliage, which in some cases might
be the work of alien carvers, and in the curious human heads of classic
type which are sometimes introduced, as at Milverton. Another
late practice very common in the county is the carving of devices of
purely human interest, such as the windmill and ship at Bishop's
Lydeard (316), the fuller's tools at Spaxton, the holy water stock and
sprinkle at Milverton, the figures composing a procession at Trull,
and kneeling donors at Milverton.
In Devon and Cornwall the same course of development may be
noticed, but the carving is generally bolder and deeper, and the
design is more skilful. A charming feature, peculiar to the extreme
south-west, is the trail of foliage around each bench-end. The oldest
benches do not possess this feature. For instance, the early fifteenth -
century benches at Kenn have a simple moulding, but towards the
middle of the century a twisted leaf scroll was commonly employed, as
at Ashton, where the arrangement of the benches is completely
mediaeval. At the end of the century the design of the carved leafage
is varied in each bench-end, as at Dunchideock, where there are many
charming designs, mostly based upon seaweed. The seaweedy foliage
found in Cornwall and north-west Devon is generally very bold and
deeply cut. The carving of the actual bench-ends is of various types.
In South Devon the favourite form of tracery is severely rectilinear,
while that of the north is usually of two lights, with a kind of plinth of
quatrefoils and peculiar tracery of almost flamboyant type in the head,
as at Lapford (319). Shields are inserted in the panels bearing
heraldry, arabesques, or emblems of the Passion, as at Braunton.
The framed-up ends are peculiar to the Midlands and the adjoining
counties. One of the chief sources of ornament are the little buttresses
applied to each upright. These are sometimes hewn out of the solid.
20
306
DEVON TYPE
ASHTON, DEVON
F. E. H.
The effect is remarkably good, and this type even invaded Cambridge-
shire and East Anglia. The panels are sometimes left plain, but were
often decorated with applied tracery heads, particularly in Gloucester,
Worcester, and Northants. Byfield (41) and Ashby St Ledgers (41)
are good examples. Sometimes the panel was subdivided by a central
muntin, and the tracery was duplicated, as at Eynsham (299). The
use of the linen panel was not infrequent in the late fifteenth and
early sixteenth century, as at North Crawley (311) and at Hillesden,
Bucks., where each bench-end has two panels of excellent design.
Shaped (Bench-Ends. — The earliest attempt at shaping was prob-
ably made to disguise the bad effect of the twisting and warping to
FORMS OF DEVELOPMENT
which the solid
307
HORIZONTAL
SECTION ,THRO' ENDS
.MEASURED AMD PIQTTED ON SP0T.
TR/WSOM
LOWER PART
END
ends are so sub-
ject. The thir-
teenth-century ends
at Dunsfold, Sur-
rey, are good ex-
amples, in which the
general rectangular
shape is retained,
but the top edge is
shaped intoahollow
curve between two
scrolls. At Kil-
mersdon, Somerset
(313), there are
some benches of
another early type
in which almost
all the bench-end
above the seat is
cut away, exposng
the end of the seat
back, but leaving a sort of shaped elbow. Mark (311), in the same
county, has a few benches of a very early type, in which the genesis
of the poppy head may be seen. The elbows sweep up to a circular
knob. The next step was to mask the junction between the shaping
and the knob with a moulded necking, and to carve the circular knob
into a, rose, which soon developed into a leaf, as at Cotes-by-Stow
(312), a finial of fleur-de-lys outline, as at Great Brington (41), or a
bunch of grotesque heads, as at Lowick (41). In some of the late
poppy heads heraldry and figure work are freely introduced.
There is an important factor in the design which is frequently
overlooked. The seat is necessarily wider than the desk, so the back
panelling does not come in the centre of the bench-end, and as a result
the shaped end is rarely symmetrical. At Wellow, Somerset (318), and
ASHTON, DEVON]
F. E. H.
3o8 FITTINGS OF THE NAVE
Atherington, Devon (319), are examples of the use of shaped ends in the
west country ; no devices are employed to mask this irregularity, and
the effect is not altogether pleasant. In the Lowick (41) benches the
difficulty is avoided by not commencing the shaping until the level of
the top of the back is passed, and the benches are unduly tall. The
most ingenious and satisfactory solutions are to be found in the benches
of the eastern counties. In the district around the Wash a type of
bench-end is commonly found in which the upper part is planned to
come central with the back, while the lower part is widened out to stop
the seat in a sweeping elbow, which was sometimes twisted up into a
knob, as at Cotes-by-Stow (313). In Norfolk a grotesque or heraldic
beast sliding down the elbow is a common ornament, giving a charming
effect. Another device was also employed with magnificent results.
The bench-end and its finial was planned to suit the back as before,
and a kind of buttress was applied to the eastern side to take the end
of the seat. The buttress was provided with a coping and plinth, and
a delightful beast sat upon each. The type is very common in East
Anglia, and also occurs in Cambridge, as at Swaffham Bulbeck (309),
where particularly attractive beasts decorate the finials as well as the
elbows. In the magnificent bench-ends of the Wiggenhalls (314),
where the ends are heightened, as at Lowick, buttresses are applied to
both sides of the bench-ends, the rigid symmetry is not nearly so
pleasing as the unsymmetrical design of Woolpit (314) or Dennington
(3X5)- These shaped ends were often carved, particularly towards the
end of the fifteenth century, and the design tended to become more
and more intricate. Fressingfield, Woolpit (314), and Dennington are
among the best examples, showing great fertility of invention, and
introducing symbols and heraldry. The most elaborate treatment of
all is seen at Wiggenhall St Mary, where a niche, containing the well-
carved figure of a saint, adorns each bench-end, a treatment which also
occurs in the rectangular bench-ends of Combe-in-Teignhead, Devon.
The destruction of benches in the last few centuries has been
almost as grievous as that of the screens. They fell victim, not to
religious fanaticism, but to the dictates of fashion. Towards the end
of the seventeenth century enclosed pews with high backs gradually
3C9
3io DESTRUCTION OF BENCHES
ousted the low mediaeval benches. They tended to become higher
and higher. It was not unusual for the new panelling to be fixed to
the original benches, enclosing and hiding them. This has often
preserved them from destruction. During the last century the
treatment meted out to the mediaeval seating has often been
disgraceful. Very often only the bench-ends have been retained, the
seats and backs having been entirely renewed, not faithfully, with wide
boards in the panels, but with the " V-jointed match-boarding in narrow
widths," beloved by the restoring architects. These new backs with
their confusing lines effectually ruin the effect of the old work.
It is amusing to note how, when an almost complete clearance of
the old benches has been made, the few survivors have been relegated
to the rear for the use of the poorer parishioners, while the aristocracy
of the village use the new and hideous seats, or naked chairs, which
have taken their place.
THE SQUARE BENCH-END
HEMINGEOROUGH, YORKS., SOLID
MINSTER LOVELL, OXON., FRAMED UP
STOW, LINCS., CARVED IN SOLID
312
THE SHAPED BENCH-END
KILMERSDEN, SOMERSET,
EXCEPTIONAL
COTES-BY-STOW, L1NCS.,
SHAPED ELBOW, "WASH" TYPE
EAST WINCH. NORFOLK TYPE, BUTTRESS
313
THE EAST ANGLIAN TYPE
WOOLPIT, SUFFOLK
______
WIGGENHALL ST MARY V., NORFOLK
••••I
u ^1
Iff
WOOLPIT, SUFFOLK, BENCH-BACKS
THE EAST ANGLIAN TYPE-LATE FIFTEENTH CENTURY
FRESSINGFIELD, SUFFOLK
DENNINGTON, SUFFOLK
FRESSINGFIELD, SUFFOLK, BENCH-BACKS
315
THE PERSONAL ELEMENT IN BENCH DESIGN
BISHOP'S LYDEARD, SOMERSET, SHIP
WARKWORTH, NORTHANTS, DONORS
MILVERTON, SOMERSET, BENCH-BACK WITH KNEELING DONORS
316
THE DAWN OF THE RENAISSANCE IN WEST SOMERSET
BROOMFIELD, SOMERSET, BENCH-END
*l ^<**N
\13&£-*&J " '
Bi^HBlH
BROOMFIELD, SOMERSET, BENCH-END
BROOMFIELD, SOMERSET, BENCH-BACK
SOMERSET TYPES OF BENCHES
iii
"
WELLOW, SOMERSET, SHAPED ENDS, EXCEPTIONAL
CROWCOMBE, SOMERSET, NORMAL WEST SOMERSET STYLE, DATED 1534
318
DEVONSHIRE STYLE OF BENCHES
ATHERINGTON, DEVON, EXCEPTIONAL
LAPFORD, DEVON, RENAISSANCE
BRAUNTON, DEVON, NORMAL WEST DEVON STYLI
319
THE FONT CANOPY
TRUNCH, NORFOLK, EARLY SIXTEENTH CENTURY
320
FONT-COVERS
IT was the custom in mediaeval England to consecrate the baptismal
water at certain seasons only, of which Easter Eve was the chief.
Consequently it was necessary to keep the font covered and locked
up. Nowadays, when the water is renewed at each baptism, the
necessity for this is not so great, but the use of the locked font-
cover is decent and reasonable, and saves the font from much
irreverent treatment.
The flat lid is the simplest possible form of font-cover, but there
does not appear to be any existing mediaeval example. A short spire
is an early type, which has continued to be used down to the pre-
sent day. At Charlton-on-Otmoor, Oxon., the circular tub of the
thirteenth century has a plain conical cover, terminating in a rudely
carved crown, which may be contemporary with the font. Certainly it
bears no resemblance to anything of a later date. There is a font-
cover at Ashby St Ledgers, dating from the fifteenth century, in the
form of a pyramid, with moulded ribs strengthening the angles, and at
Monksilver, Somerset (330), is a similar cover with crocketted angle
ribs. At Frindsbury, Kent, the triangular side panels are traceried ; at
Pilton, Devon, they are carved with foliage ; while at St Mary's Steps,
Exeter, they are carved and pierced. The last example, though
Gothic in conception, is probably post- Reformation. The hollow-
sided pyramid is a graceful variety, occurring at Pinchbeck, Lines.
(330). Another type is the ogee dome, identical in construction but
producing a very different effect. Rycote, Oxon. (330), has a cover
of this description with moulded angle ribs and plain panels. Old
Cleeve, Somerset, is similar, but has traceried panels of varied design.
The next step in the elaboration of the font-cover appears to
have been the raising of the pyramid or dome upon a drum ; this
21 321
322 FITTINGS OF THE NAVE
may be merely a deep-moulded plinth, as at Aldenham, Herts., or
each side of the drum may be panelled and traceried, as at Asbocking,
Suffolk (331), or carved, as at Pilton, Devon (338). A further
development is found in a series of covers, mostly of late date, and
scattered over the eastern and southern counties. In this group the
drum is so lofty that it is possible to open the sides like the wings of
a triptych when access to the font is desired, instead of lifting the
cover bodily, as at Swymbridge, Devon (338). There is a font-cover
of this class at Sedlescombe, Sussex, with linen-panelled sides and
pyramid spire ; the design of this example reminds one of the
domestic furniture of its date, the early years of the sixteenth century.
Ticehurst, in the same county, shows foreign influence in the design of
its flamboyant tracery which decorates the interior of the cover ; such
a treatment of the interior is, of course, a necessity in this type of
font-cover, for the inside is as much in evidence as the outside.
Bramford, Suffolk, has a lovely triptych cover with niches decorating-
the sides of its drum, and an ogee dome with crocketted angle ribs ;
and at Shaugh Prior, Devon, is another in two stories, terminating
in a spire like that of St Mary's Steps, Exeter.
Side by side with these types of font-cover we find the tabernacled
variety, in which solid panels are discarded in favour of pierced tracery
and nichework, and the simple straight or curved angle ribs are
replaced by elaborate pierced, crocketted, and pinnacled buttresses,
radiating from a central post. Frostenden, Suffolk (331), has a cover
intermediate between these two classes, with a drum of much smaller
diameter than the font, standing on a base-board which fits the font
accurately. The drum is linked up to the base by angle buttresses, and
the spire is unusually lofty. The Finningham font-cover (332) is about
the simplest of the tabernacled class, consisting of a base-board round
which a moulding with a cresting runs, supporting eight radiating
standards, cut out of thin boards, designed after the manner of flying
buttresses, crocketted along the upper edge, and pierced with tracery.
These are fixed to a central post, terminating in a moulded and
embattled capital, and their outer edges are fashioned into pinnacles,
standing at each angle of the font. Between these pinnacles are fixed
FONT-COVER CONSTRUCTION 323
other pierced and traceried boards, gabled and crocketted, forming a
species of drum. Barking, Suffolk (332), is almost identical in con-
struction, but there is no central post, and the radiating standards do
not meet in the centre ; they support a spire built up like the pyramid
covers with eight curved and crocketted ribs, into which as many plain
curved panels are grooved. The base-board too has a charming little
parapet, minute niches are formed on the front edges of the buttresses,
and the windows in the sides of the drum have ogee hood-moulds with
crockets. The Elsing (46) font-cover, once erroneously ascribed to the
fourteenth century, has the panels of its drum treated in a rather
different manner. They are left rather solid, and serve as the
background to little niches, formed by planting on small bases and
canopies. The latter, as in many other cases, are triangular on plan,
and are built up, a triangular block, carved on the underside into
the semblance of a vault, forming the core, to which two archlets
and a pinnacle are fixed. In this case the canopies are a restoration,
but there is ample precedent for such an arrangement. The charming
little font-cover at Copdock, Suffolk (331), is a two-storied version of
Barking, with two traceried drums, the upper of much smaller
diameter than the lower. Frieston, Lines. (334), of exceptionally
beautiful outline, is also of two stages ; the lower has a niche with
open back and triangular canopy on each side, while the upper has
windows with ogee canopies. It is possible that in this case there
were eight small images of saints in the niches, but at Newcastle (334)
there are three font-covers of very similar type, though of late date,
in which this was certainly not the case, for the canopies project
beyond the base-board, leaving no room for them to stand upon.
These tabernacled covers were suspended and were raised and
lowered by means of winches or balance weights, but the finest
examples are almost invariably of the telescopic construction. In
mediaeval font-cover design there was a tendency to make the cover
a canopy rather than a lid. In the telescopic type of cover the upper
portion is suspended as a permanent canopy over the font, and the
lower part, which acts as the lid, is hung to it by a system of ropes,
pulleys, and balance weights, so that it can be raised and pushed
UFFORD, SUFFOLK, TELESCOPIC FONT-COVER
J. K. CALLING, Dei.
324
TYPES OF FONT-COVER 325
up over the upper section. A splendid six-sided telescopic cover of
the first half of the fifteenth century exists at Castleacre, Norfolk (329).
The lower stage is open and has a beautiful vault. It has been
suggested that a figure of Our Lady once stood beneath this vault,
but this can never have been the case, for when the cover is raised
the base-board is close under the little ceiling. Ufford (46, 324) has
the finest font-cover in England, octagonal on plan, adorned with a
wealth of nichework. The rich vaulting and cresting of the base,
forming a cornice to the font, the forked standards with minute niches
in the angular recesses, and the corbelled-out top stage are striking
features of this wonderful triumph of mediaeval art. At Worlingworth
(336), not far away, there is another cover of similar design, though
the workmanship is not nearly so good. As in many other instances
the ingenious telescopic device has failed, and the cover has been
altered into the triptych form. A similar fate has overtaken the
once magnificent telescopic covers of Hepworth, Suffolk (336), and
Terrington St Clement, Norfolk (336). The North Walsham cover,
an exceptionally fine piece of work, has lost its lower stage, and that
of the Brancaster font is permanently telescoped. The last example
is perhaps the most modest specimen of a telescopic cover. The
detail, compared with that of Ufford, is extremely sketchy, but the
general effect remarkably good.
At Trunch (320) and St Peter Mancroft, Norwich, a grand develop-
ment of the telescopic font-cover is found. The upper stage is much
enlarged, and stands on legs upon the floor instead of being suspended
from the roof. The lower stage, forming the actual lid, originally
telescoped up 'into the canopy. It is unfortunate that in both cases
this portion has been destroyed, but at Norwich it has been well
restored, and there is no doubt as to the general arrangement of
the device.
The St Peter Mancroft cover is apparently the earlier of the
two. It is octagonal on plan, and stands on four legs. The drum,
with an elaborate niche in each side and an ogee dome, is a restoration,
but the legs and the flat canopy on which it stands are genuine work
of typical late fifteenth-century East Anglian making. Each leg is
326 FITTINGS OF THE NAVE
composed of four small circular shafts with niches and crocketted
tracery between, terminating in an ornate arched and battlemented
pedestal, now supporting an angel of modern date. The edge of
the flat canopy is decorated with exquisite foliated arches and a
beautiful cresting, and the soffit is elaborately vaulted.
Trunch is practically unrestored, and retains traces of colour.
Hexagonal on plan, it stands on six legs, beaded at the angles and
decorated with delightful trails of seaweedy foliage, vine leaves, and
bare twigs. The arches and cresting forming the curb of the canopy
are not so satisfactory in design as those of the Norwich cover. The
arches are uncusped and follow a broken line on plan, for they are
pinched out to meet the legs, and have foliaged spandrels, while the
cresting is of the pomegranate type. The drum retains fragments
of finely carved radiating buttress standards, and is decorated with
niches. The main vault of these niches is nearly a semicircle on
plan, and there are three secondary vaults, also semicircular, adhering
to each. The canopy fronts, worked in the solid, are quaintly
battlemented. The dome is composed of six radiating ogee ribs
gorgeously crocketted, crowned by a very inadequate post- Reformation
ball.
Mediaeval font-covers were generally suspended from a beam
in the roof, but in some cases a special font beam is found. At
Sheringham, Norfolk, where the font-cover has disappeared, the
font is placed centrally, and the beam spans the nave some feet above
it. At North Walsham, Norfolk, it stands under the west arch of
the south arcade, and the beam runs from pier to pier. Sail, Norfolk,
has retained a lovely font crane, fixed to the front of the tower
gallery and projecting eastwards over the font. The arched rib
forming the gib of this crane is finely cusped, and the spandrel is
delightfully traceried. At Merton, Norfolk, where the font is not
placed on the centre line of the roof, a similar but plainer crane
projects from the south wall of the nave.
These font cranes were sometimes glorified into gorgeous testers,
as at Pilton, Devon (338), where the wall piece of the crane becomes
rich cinquecento panelling, and the arched jib a beautiful coving, while
FONT-COVER FINIALS
327
the horizontal beam develops into a tester. The font-cover is sus-
pended from this canopy, and is a pyramid standing on a drum with
pinnacles at the angles, crocketted ribs, and charmingly foliaged panels.
Several recent writers have relegated this fine cover to the post-
Reformation period, deceived by the ugly scrollwork which disfigures
the top, but this is plainly a later addition, the rest of the cover
dating from the early years of the sixteenth century.
At Swymbridge, Devon (338), the tester, which does not act as a
crane, is certainly earlier than the cinquecento back panelling, and
the font-cover is of the triptych type, with the font completely enclosed
with panelling. Here again Jacobean alterations, to the top of the
cover in this case, have given the composition a post- Reformation
aspect, but, save for the Italian detail of the panel carving, the design
is still mediaeval in conception, though it is certainly later than Pilton.
An interesting detail of the design of font-covers is the finial
which crowns the composition. The simplest is a moulded capital,
as at Finningham, the most usual a bunch of crockets. Sometimes a
pelican upon its nest, feeding its young with the blood from its breast,
is used as a finial. That of the Ufford (46, 324) cover is a splendid
composition, and there is another at North Walsham which is even
better. There is a dove at Castleacre (329), possibly of post- Reforma-
tion date. An angel forms the finial at Colebrook and Ewelme (333).
Of like character are the bosses which occasionally decorate the
vaulted lower stages. The font-cover at St Nicholas, Newcastle (337),
has a particularly beautiful example, representing the Coronation of
Our Lady, surrounded with an aureole of rays with a border of the
usual mediaeval cloud ornament.
There is something especially fascinating about pre- Reformation
font-covers ; they are so varied in form, and so full of fancy, the details
so delicate and quaintly pretentious. Every feature of a large church,
buttresses, pinnacles, windows, turrets, parapets, and spires, are to
be found on a minute scale. At Hepworth (337) the carver has even
peopled the little turrets which form the bases of the niches with
tiny figures of men opening and shutting the doors.
Unfortunately very little of this beautiful work remains, in com-
328 FITTINGS OF THE NAVE
parison with the extraordinary wealth of screenwork. East Anglia
affords the finest and most numerous group. Yorkshire can also
show a local group, not so finely wrought but of great merit, as at
Well (335), Almondbury (335), and Halifax (335). The font-covers
of the eastern half of England are mostly of the tabernacled variety,
while in the West the types with solid panels are more numerous.
Devon has a few striking font-covers ; those of Somerset are more
modest ; while the Midland counties have only three or four examples
apiece. Triptych covers are a feature of the counties around London,
but it cannot be said that they are numerous.
It is generally believed that the greatest amount of destruction
was done during the great Rebellion. Certainly no order for the
removal of the font-cover is known to exist ; indeed, one constantly
finds post- Reformation bishops ordering the font to be provided
with a cover with a secure lock. The notorious iconoclast, Dowsing,
is known to have visited Ufford, but evidently the task of destroying
it was too heavy for him. Certainly all the work of destruction has
not been due to iconoclasm. Font-covers are very lightly constructed
of thin material, and are sadly liable to the attacks of worms and
rot, and to breakage by carelessness or misuse.
YORKSHIRE AND NORFOLK TYPES COMPARED
HALIFAX, YORKS., COUNTER-WEIGHTED
CASTLEACRE, NORFOLK, TELESCOPIC
329
330
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VII
TOMBS AND
MOVABLE FITTINGS
ALMS BOXES
THE earliest orders for the placing of alms boxes in churches suggest
that a trunk of a tree, suitably hollowed, would be a convenient
form of box, presumably because of the difficulty of carrying off so
ponderous an object. Several such alms boxes exist. At Clynnog,
Carnarvonshire, the trunk is roughly squared and lies on its side. It
has a small rectangular hollow in the middle of one side, closed by a
hinged lid with locks. Similar examples are not uncommon, but their
interest as works of art is not very great. The ancient alms box at
Ludham, Norfolk, possibly of the thirteenth century, represents a
different type, in which the trunk stands on end, and the receptacle is
bored out of the top. This is a more convenient form, and offers
distinct possibilities to the designer. At Steeple Bumstead, Essex,
the lower part is shaped into an octagonal shaft with roughly traceried
sides, a chamfered base, and a moulded and battlemented capital,
supporting a plain iron-bound box. Apparently the whole is carved out
of a solid log, and the lower end is embedded into the floor. Blyth-
burgh, Suffolk (340), has an alms box of more refined workmanship.
It is designed to stand against a wall, and is half octagon on plan.
The sides are decorated with very simple and beautiful tracery, deeply
sunk.
Another type of alms box is represented by the charming example
341
342 MOVABLE FITTINGS
at Wensley (340), Yorks., which is usually described as a reliquary.
The actual box is designed on the lines of a corbel piscina, affixed to
the front of a cupboard with doors at the side. The piscina motive
is carried on by the arched and traceried panel in the front, above the
corbel. The cupboard may possibly have contained relics, and the
box may have been intended for the alms of those paying their
devotions, but this is by no means certain. It is more reasonable to
regard the cupboard simply as a convenient heavy object to which the
alms box was fixed to prevent removal. The latest development of
the alms box was a small iron-bound box, secured to a stone corbel,
such as occurs at Blyth (340). The decoration of such a small object,
almost entirely hidden by the numerous iron straps, hasps, and locks,
was a matter for the blacksmith rather than the wood-carver.
CHESTS
The number of ornaments of metal-work and embroidery which
even the smallest and most insignificant churches possessed in the
days before the Reformation is clearly revealed by the evidence of
churchwardens' accounts and inventories of church goods. These
were often very valuable and fragile, and their safe-keeping must
have given trouble and cause for anxiety to the churchwardens. Only
a small number of churches had vestries or treasuries where these
goods could be stored, and there is, evidence to prove that many of
them were kept in the houses of the priest, the wardens, or other
responsible parishioners, often the donors. There is no doubt,
however, that many of the parish goods were stored in chests, generally
near the high altar, while the ornaments pertaining to the various
chantries were placed near the chantry altars. It is likely that they
stood, as a rule, on the north side of the sanctuary, against the wall,
and when low must have been useful as seats for the acolytes.
The earliest chests are of extraordinarily primitive construction,
and obviously date from a period anterior to the rise of the joiner's art
in the late thirteenth century. The methods employed are those of
a mason making a stone coffin. A great log is roughly squared,
I DEVELOPMENT OF THE CHEST 343
a slice was sawn off the top to act as a lid, while the lower portion
was hollowed out. The process of making such a chest must have
been infinitely laborious, and the result is clumsy and not particularly
durable. These dug-out chests were often strengthened with bands
of iron in addition to the strap hinges and hasps, but they do not
appear to have been decorated by the carver.
Another early type of chest is constructed in a more reasonable
manner with boards, fastened together with great wrought-iron nails.
The ends were generally of considerable thickness, the front and
back were fixed to them, and the bottom was grooved into them and
additionally secured with nails. These box chests were often almost
covered by wrought-iron hinges, straps, and scrollwork by the black-
smiths of the thirteenth century. Yet another early 'kind of chest,
which continued in use for many years, is distinguished by a curved
top. These are generally known as trunks, and are rarely decorated
in any way.
In the thirteenth, century a type of chest of more skilful con-
struction came into use. The front and back were made of two or
more wide boards, carefully jointed and tongued or tenoned into two
fairly wide styles or clamps, which projected below the boards, forming
legs to raise the chest above the damp floor. The ends were
dovetail-housed into the front and back, and were often sloped inwards
towards the top to admit of a curious hinge device. The boards
forming the lid were clamped together with rather stout but narrow
battens at each end, which were slot-tenoned to the front and back
styles. The back tenons were pinned, the pin forming the pivot on
which the lid turned. These clamped chests are almost devoid of
ironwork, save for the hasps of the locks, but they are sometimes
bound with wrought-iron straps, passing round the bottom, to prevent
its giving way under the weight of the contents. When the ironwork
is unimportant the front of the chest is often more or less richly
adorned with roundels of sunk chip carving of a sort unknown in any
other church furniture, and strongly reminiscent of Norman stone
carving, as at Earl Stonham (348). These roundels are sometimes
small and rather tame in design, but in many cases they are large, of
344 MOVABLE FITTINGS
varied patterns and extremely decorative. The projecting horns of
the styles which form the feet of the chest are sometimes shaped, or
even carved, into the form of a little arch, turned so that the springing
is horizontal, as at Bloxham (348). This is very quaint and unreason-
able. As the thirteenth century advanced, the logical idea of treating
the styles differently from the horizontal boards came into being.
Thus, at Clymping there is a fine chest with chip-carving roundels and
rectangular panels on the styles, while the boards have a little trefoiled
arcade, carved in the solid. This treatment occurs elsewhere, but
generally the shafts of the arcade, which were planted on, have long
disappeared.
As in all other branches of thirteenth-century wood-working the
arcade finally developed into a band of tracery, as at All Saints, Here-
ford (348). St Mary Magdalen, Oxford (349), has a fine chest of the end
of the thirteenth century, with a band of geometrical two-light windows
carved in the solid on the upper board, while the mullions which were
planted on the lower have been lost. The . ends of the chest are
reinforced with battens, crossing one another in the manner of a
portcullis, and iron straps bind them to the front and back styles,
dividing them into rectangular spaces, each of which is carved with
a dragon and foliage, all of the same pattern. The lid, by exception,
is decorated with trefoiled arcading, which has almost perished. This
chest is one of the oldest of a lovely series, in which the dragon
carvings of the styles are developed into the most varied and engaging
beasts imaginable, while the traceries are grouped into two- or three-
light windows beneath steep crocketted gables, often with splendid
grotesques in the spandrels, as at Wath, Yorks. (349). The tracery is
much allied to continental work of the fourteenth century. It is carved
somewhat after the manner of the chip carver ; that is to say, there
are no fillets to the tracery, simply sharp arrises, and the sinkings
are scooped out instead of being properly sunk and moulded. The
fertility of invention displayed is astonishing, but the intersections of
the straight lines, so freely used in the tracery with the circles, are
not exactly pleasing.
The rather exceptional chest at Dersingham has little windows,
LATER CHESTS 345
flanked by pinnacled buttresses sunk in each of the styles, and the
centre portion is decorated with the evangelistic symbols, very rudely
carved in four square panels with borders of birds and rosettes
above and below.
Another common fourteenth-century type has a sunk niche, with
a saint in each style and a military or chivalrous subject between,
generally the history of St George and the dragon, as at York
minster (i i), or more often a mere tilting scene. Occasionally a con-
ventional representation of an actual battle occurs, as in a chest now
in the Victoria and Albert Museum, which is believed to portray the
battle of Courtrai.
Huttoft, Lincolnshire (350), has a fine fourteenth-century chest
which marks an important change in construction and ornament. It
is framed up with corner posts and top and bottom rails. The front
is adorned with a continuous range of three-light windows between
applied buttresses, which serve to stiffen the construction, like the
styles of the earlier type. The tracery is applied, and is worked
according to the traditions of the screen-maker, with proper mouldings
and cusping. From this example it is a short step to the panelled con-
struction of the glorious flamboyant chests of Crediton, Devon (350),
or North Frodingham, Yorks., which have wide moulded muntins and
rails with exquisitely traceried panels and richly fretted iron lock
plates. These were known in the Middle Ages as Flemish chests,
and great numbers were undoubtedly imported from the Continent,
but many, though of foreign design, are of native workmanship,
judging from the technical details of the tracery and cusping, and
probably hailed from the great carving centres of York, Norwich,
or Exeter.
The almost total absence of rectilinear tracery on chests is very
remarkable.
Towards the end of the fifteenth century linen-fold panels were
often used instead of tracery. These are generally found in con-
junction with honeycomb shafts applied to the muntins, as at Dinton,
Bucks., which is of doubtful antiquity.
346 MOVABLE FITTINGS
COPE CHESTS
In monastic or cathedral churches large chests of semicircular or
quadrant shape have sometimes survived. The semicircular shape
allowed of each cope being laid flat on the top of the other without
folding, but occupied a tremendous amount of floor space. With the
quadrant form each cope had to be folded. Two folds were necessary,
namely at each side to avoid creasing the hood, so that the orphreys
lay side by side. Neither arrangement was very satisfactory, for
if one of the lower copes was required, those above it were necessarily
removed from the chest. Indeed it seems likely that these chests
were used for the plain quire copes which were worn over the surplice
in many conventual and cathedral establishments, rather than for the
richly embroidered vestments used by the celebrant at mass or the
executor of the office. They went out of use in most places towards
the end of the thirteenth century, and very few are left.
They are very simple in construction. There are stout corner
posts into which the top and bottom rails of the sides are tenoned.
The space between these rails is filled in with thin panels. In the
quadrant-shaped chest at Wells (351) the sides are adorned with the
remains of an arcade, the trefoil-headed arches of which are cut out of
the top rails, the bases out of the bottom rails, while the shafts, all of
which have disappeared, were affixed to the panels. The workmanship
is not particularly good. That at Gloucester, which is semicircular,
and the quadrant chests at York (351) are even more severely simple,
save for their wrought-iron hinges. No chest of a late date exists, for
in later years the greater convenience of the hanging cupboard entirely
superseded the earlier form, which, though it may have been suitable
for the thin limp vestments of the thirteenth century, must have been
intolerable when the stiff tapestries and rich embroideries of the
fifteenth century were in vogue.
CUPBOARDS AND HUTCHES
A great many of the mediaeval cupboards were recesses in the
walls of the church, closed by a ledged door of oak, hinged to a
CUPBOARDS AND HUTCHES 347
rebated stone frame. At Dray ton, Berks., there is a good example
of the thirteenth century with ornamental iron hinges, but in hundreds
of cases the door has disappeared. The splendid thirteenth-century
cupboard in the canons' vestry at Chester is a glorified version of
this type, with doors of various sizes hung to an oak frame.
Free-standing cupboards are uncommon, but a few are still in
existence, as at York and Carlisle, where the cupboards are divided
into compartments — tall narrow ones for the pastoral staff, or perhaps
for cross and banner poles, hanging cupboards for chasubles and
surplices, and square cupboards for small objects, such as corporals
and burses, or even objects of metal-work. The massive cupboard at
Aylesbury is fitted with cranes, hinged to the side. These were
intended for copes, which were hung over them, and could be removed
one at a time without disturbing the rest by swinging out the cranes.
The well-appointed vestry of St Peter Mancroft, Norwich, was formerly
fitted with cope cranes of this sort, and traces of the arrangement
still exist. The lower stage of the watching loft at St Albans is
fitted with massive and well-wrought cupboards of various sizes, and
at Selby, before the fire, there was a lovely range of cupboards on
the north side of the sanctuary, with beautifully traceried doors which
were made to slide up and down like a sash window.
A third variety of cupboard was the hutch, a chest usually mounted
on short legs and opening at the front instead of at the top. These are
not often met with in churches, and most appear to be of domestic
origin, and of late date. The most notable instances are the chest
at Boston with a single door and relief medallions of heads of a king
and queen, and the fine Minehead hutch which is fitted with a cupboard
and drawers, and is beautifully decorated with flamboyant tracery.
It may be well to mention under this heading the remarkable
works at Coity and Hambleden, Bucks. The Coity chest is usually
called a shrine, but not all the work is authentic. The low relief
carvings of the panels are of admirable design. The Hambleden
woodwork consists of eight panels of the Italian type of Renaissance
work prevalent at the time of Henry VIII. It is of domestic type,
and in its present form it is impossible to ascertain what was its
original purpose.
EARLY CHESTS
BLOXHAM, OXON., WITH CARVED FEET, THIRTEENTH-CENTURY TYPE
EARL STONHAM, SUFFOLK, CHIP-CARVED ROUNDELS, LATE THIRTEENTH CENTURY
ALL SAINTS, HEREFORD, C. 1300
348
THE "FLANDERS CHEST
OXFORD ST MAR
Y MAGDALEN, LATE THIRTEENTH CENTURY
WATH, YORKS., EARLY FOURTEENTH CENTURY
349
THE PANELLED CHEST
HUTTOFT, LINCS., EARLY FOURTEENTH CENTURY
CREDITON, DEVON, FLAMBOYANT, EARLY SIXTEENTH CENTURY
350
THE COPE CHEST
WELLS CATHEDRAL, WITH ARCADED SIDES
I
VORK M.NSTER, TWO COPE CHESTS WITH ,ROK SCROLL HI,
351
—
o
o
£=3
C/3
352
TOMBS
THERE are still a number of wooden tombs of various dates, and
hundreds more must have been destroyed. The idea of a wooden
tomb seems a little strange, but the effect when they were decorated
in colour must have been almost indistinguishable from that of a
stone monument.
One of the earliest is that now bearing the stone effigy ascribed
to William Longespee, in the cathedral church at Salisbury. It is
a low chest decorated with a simple trefoil-headed arcade, with
two-centered hood-moulds and turned shafts, applied to the sides
of the chest. The tomb is rather later in style than the effigy it
supports.
The effigy of Sir John Pitchford, 1285, at Pitchford, Salop (358),
which is also of wood, rests on a simple wooden chest ornamented with
a trefoiled arcade cut out of the solid, less elegant in proportion than
Longespee's, but springing from clustered shafts. Shields carved
in each bay, represented as hanging from hooks by means of a curved
strap, give interest to an otherwise commonplace design.
The tomb of William de Valence, who died in 1296, in the
abbey church of Westminster, is also of wood, though the base upon
which it stands is of stone. Both tomb and effigy were once covered
with enamelled metal plates. Though almost -all the decoration of
the tomb is lost the remains of a similar arcade to that of the Salisbury
example are still visible.
There do not appear to be any remains of fourteenth-century
tombs of wood, but there are several well-carved wooden effigies of
this date, placed on tombs of stone.
23 353
354 MOVABLE FITTINGS
By the fifteenth century the low chest tomb had developed into
the high tomb. The wooden high tombs were framed up in true
joiner's fashion. That supporting the effigy of Robert, Duke of
Normandy, in Gloucester cathedral, is an admirable plain example with
a deeply moulded framework, and a cornice decorated with a running
trail. The fine effigy of the late thirteenth century is also of wood.
At Brancepeth, Durham, there are the remains of a very elaborate
and beautiful tomb, but the sides have been removed and the top
now rests directly on the plinth, which still retains a series of bases
for figures and pinnacles, showing that the missing sides were of rich
tabernacle work with angels or weepers.
The very plain tomb at Burford, Salop, dating from £.1508, is
a striking contrast to this once gorgeous work. There is no other
decoration than a chamfered sill and slab and a series of painted
shields.
Two fine Yorkshire tombs of joiner's work are of the early
sixteenth century. That of Sir Roger Rockley, 1522, at Wors-
borough (359), has the chest framed up into square panels, each of
which is fringed with cusping and contained a large carved shield. A
cadaver lies on this chest. Four square corner posts, ornamented with
tracery panels and nichework, support a shelf with the living effigy of
the knight, and a tester with a traceried cornice. The effect is neat
but not very artistic.
The tomb of Sir John Saville and his two wives, at Thornhill (358),
dated 1529, is of the same workshop, but infinitely more attractive,
though the canopy or tester has been sawn away. The main framing
is traceried, and the square panels have cusped circles enclosing
-shields, while a charmingly cut inscription in elaborate Gothic letters
runs round the edge of the slab.
The ingeniously reconstructed tomb, ascribed to Robert Johnson,
who died in 1527, now restored to the church of All Saints, Derby (359),
is another two-storied example with a cadaver beneath. The living
effigy rests on an elaborate chest, carved in the solid with a series
of weepers, standing under canopies supported on twisted shafts.
Wooden testers were very commonly suspended over tombs of
TOMBS
355
CANTERBURY CATHEDRAL, TOMB OF HENRY IV.
E. BLORE, Del.
other materials to protect the effigies from falling dust and debris.
The testers of the royal tombs at Westminster are absolutely simple,
with the exception of that of Edward the Third (n, 352). Those of
Henry the Third, Philippa, and Richard the Second are mere roofs
supported on moulded beams, with pendant posts and arched braces
with pierced spandrels, but that of Edward the Third is vaulted, and
has a series of lovely pendant arches along the sides. This beautiful
piece of work is executed with unusual perfection of setting out and
356 MOVABLE FITTINGS
cutting, but the effect is not mechanical, owing to the perfect design
of every detail.
At Canterbury there is another tester over the tomb of the
Black Prince. This is a simple flat lid with a moulded curb, battle-
mented and carved with paterae. The underside is decorated with
a painting representing the Holy Trinity.
The finest tester in England is that over the tomb of Henry
the Fourth at Canterbury (355). The well-moulded curb is decorated
with a fine cresting and delicate pendant tracery. There are angels
at the corners and two on each of the longer sides, supporting
pinnacled buttresses. The whole is splendidly decorated in colour,
the underside having diagonal mottoes and three large shields
within wreaths.
Occasionally a tomb is arranged to come directly under a
screen, and the latter is arched over it. This occurs in work of
the late fourteenth century at Bottisham, in Cambridgeshire, and
there is another example of -the early sixteenth century at Fairford,
Gloucestershire.
Wood sometimes plays a subsidiary part in tombs of stone.
The wooden curb to the alabaster tomb at Thornhill, and the lovely
figures of angels on the pinnacles of the tomb of the Duchess of
Suffolk at Ewelme, may be cited as examples.
SHRINES AND RELIQUARIES
The people of the Middle Ages had an extraordinary veneration
for relics. These were usually kept in gabled chests of painted wood
or enamelled metal, or both combined. Strange as it may seem, a
few of these have escaped destruction, notably those of various Saxon
kings at Winchester, which are decorated in the style of the early
Renaissance, and date from the first quarter of the sixteenth century.
It has been ascertained that within these chests there are earlier
painted wooden coffers. The age of the actual woodwork is uncertain,
but the painted scrolls with black-letter inscriptions on a ground
decorated with feathery foliage are of the fifteenth century. These
SHRINES AND RELIQUARIES 357
interesting reliquaries are placed on the top of the stone screens
enclosing the quire. Smaller reliquaries were sometimes placed on
the top of the reredos. More important relics were often placed in
an elaborate shrine, consisting of a stone base, generally very richly
ornamented, on which the actual coffer containing the relics was laid,
beneath a gorgeous canopy of tabernacle work, usually of gilded and
painted woodwork. The only surviving example of a shrine canopy
is that of the shrine of Edward the Confessor at Westminster, which
is a rather mean specimen of the early Renaissance, dating from
Marian days. It is certain, however, that even the glorious niche-
work of the mediaeval font-covers and stall canopies was surpassed
by these exquisite works of art.
THE WOODEN ALTAR TOMBS
THORNHILL, YORKSHIRE, SIR JOHN SAVILLE, 1529 (CANOPY DESTROYED)
PITCHFORD, SALOP, SIR JOHN PITCHFORD, 1285
358
THE WOODEN TOMB OF TWO STAGES
DERBY ALL SAINTS, ROBERT JOHNSON, 1527
WORSBOROUGH, YORKS., SIR ROGER ROCKLEY, 1522
359
INDEX OF SUBJECTS IN THE TEXT
ALABASTER work, 137
Alms boxes, 341
Altar, 135; side, 215; rails, 215; tester,
138
Ambo, 218
Apprenticeship, 8
Arcade motive, 13
BARGE-BOARDS, 64
Bases of pulpits, 278, 283 ; stone bases, 283
Beam roofs, 88, 89
Benches, 297 ; planning, 297 ; construction
and design, 298 ; backless, 300 ; backs,
300 ; square ends, 302 ; shaped ends, 306 ;
destruction, 309
Bestiaries, 161
Bishops' thrones, 148, 191
Black Death, 7
Blessed Sacrament, 214
Bressummer, 237
CAMBERED beam roofs, 92
Canopies, altar, 138; pix, 138; stall, 149,
159 ; font, 325, 326 ; pulpit, 280
Chapels, side, 215; chantry, 216; on lofts,
219
Chancel arch, 212 ; omission of, 213-214
Chancel screen, origin of, 211
Chantry chapels, 216
Chests, 342 ; dug-out, 342 ; iron-bound, 343 ;
clamped, 343 ; tilting, 345 ; framed, 345 ;
Flanders chests, 345 ; linen-panelled, 345
Collar roof, 101, 103
Colour decoration, 49; system, 50; materials
and methods, 5 1
Competition, 8
Cope chests, 346
Corbels, 161
Couple roof, 95
Coving of screen, 240
Cranes, font, 326
Cupboards, 346
Cusps, 21
DATES, 23
Decoration, 6
Desks, 156
Desk lecterns, 199
Desk standards, 157
Destruction of woodwork, 3 ; its abatement, 6
„ of colour decoration, 49
„ of lofts, 219
„ of pulpits, 284
„ of benches, 309
„ of font-covers, 328
Dissolution of the monasteries, 3
Doors, 73 ; construction, 73 ; decoration and
design, 74 ; wickets, 76
Double-framed roofs, 89
EAGLE lectern, 198
Early Christian churches, planning of, 211
Easter sepulchre, 140
Eastern school, 37 ; colour decoration, 53
Effigies, 353 et scq.
Elbows of stalls, 162
Epistle, reading of, 198
FAN-VAULTED screens, 240
Figure carving, 16, 21, 157, 161, 282, 327
Figure painting, 52, 55, 58
Finials, of stalls, 159 ; of bench-ends, 308 ;
of font-covers, 327
Firred beam roofs, 80, 92
Foliage carving, 15, 16, 20
Font-covers, 321 ; flat, 321 ; pyramid, 321 ;
domed, 321 ; triptych, 322 ; tabernacled,
counterpoised, 322 ; telescopic, 323 ;
canopies, 325 ; cranes, 326 ; beams, 326 ;
testers, 327
Foot-pace, 136
Foreign influence, 21 et seq., 345
Framed construction, 17
362
INDEX OF SUBJECTS IN THE TEXT
GESSOWORK, 54, 55, 136, 137
Gospel, reading of, 197, 242
\ Grotesque carving, 5
HAMMER-BEAM roof, 99, 104
Harvest Thanksgiving, 6
Heraldry, 20, 50
Holy Name, 56
Honeycomb shafts, 21, 345, 281
Hutches, 347
INSCRIPTIONS, carved, 21, 281 ; painted, 54,
56,58
Ironwork on doors, 73, 74, 14; on chests,
343
KING-POST roofs, 108
LECTERNS, 197 ; use of, 197 ; gospel and
quire lecterns, 198 ; eagle lecterns, 198 ;
desk lectern, 199 ; stems, 203 ; bases, 203 ;
desks, 205
Lettering as ornament, 20, 54, 56, 57, 281
Lent, 137
Lierne ribs, 240
Linen panels, 21, 135, 156, 237, 306, 322
Local peculiarities, 4 ; origin of, 18 ; classi-
fication, 35
Loft, rood, 218 ; construction and design,
237 ; coving, 237 ; vaulting, 238 ; pro-
jections in, 242 ; parapets or fronts, 242
MASON, influence of, 13, 17, 225
Methods of mediaeval wood-working, 5, 7 ;
colour decoration, 51
Midland school, 35 ; colour decoration, 52
Minor screens, 215
Misericords, 14, 16, 21, 155, 160-162
Muntins, 225
NARTHEX screens, 215
Nichework of rood-lofts, 244 ; of pulpits, 282 ;
of stalls, 1 60 ; of chests, 345
ORlGiNofwood-workers'craft, 13; ofhammer-
beam, 99, 104; of screen, 211 ; of loft, 218
PARAPETS of rood-lofts, 243
Parclose screen, 215
Pentice porches, 65
Pestilence, 10
Pinnacle and gable methods, 16
Pix, 214, 138 ; canopy, 138
Plainsong, 206
Porches, 63 ; thirteenth-century, 63 ; four-
teenth-century, 64 ; fifteenth-century, 65 ;
pentice, 65 ; construction, 65
Poupee head, of stalls, 162 ; of benches, 307
Precedence, order of, in stalls, 148
Projection of rood-loft, 242
Pulpit, 275 ; position, 275 ; plan, 276 ; stairs,
276; construction, 278; design, 280; tester,
280 ; bases, 282 ; stems, 283 ; destruction,
284
Pulpitum, 218
QUEEN-POST roofs, 108
Quire fittings, 147
Quire screens, 215
REBELLION, 9, 191
Reliquaries, 356
Renaissance, 9, 24, 152, 76, 305
Restoration of woodwork, 6 ; of colour
decoration, 49
Reredos, 136 et seq.
Rood, 216 ; beam, 217 ; light, 217 ; loft, 218
Roofs, 87 ; definition, 87 ; classification, 88 ;
systems of construction, 89 ; beam roofs,
89 ; inclined, 89 ; firred, 80 ; cambered,
91 ; post and beam, 91 ; thrusting roofs,
95 ; couple and collar, 95 ; arch-braced, 99 ;
hammer-beam, 99 ; collar roof, braced,
1 01 ; scissor-beam, 101 ; arch-braced, 101 ;
hammer-beam roof, 104 ; trussed roofs, 105 ;
king-post, queen-post, 108 ; compound
roofs, 1 08
Rulers of the quire, 197
SAINTS, painted, 52, 55, 58, 137, 285 ; carved,
157, 282, 308
Sanctuary, fittings of, 135
Sanctus bell, 138
Screen, origin and history, 211 ; legal signifi-
cance, 214 ; construction and design, 225 ;
primitive type, 225 ; shafted screens, 225 ;
pinnacled type, 229 ; square-framed screens,
225 ; arched screens, 233
INDEX OF SUBJECTS IN THE TEXT 363
Seaweed foliage, 305
Sedilia, 139
Sepulchre, Easter, 140
Service books, 197, 300
Shafts of pulpits, 283
Shrines, 356
Single framed roofs, 89
Smith, influence of, 14, 73
Square-framed screens, 225
Stairs to pulpits, 276
Stalls, 147 ; history, 148 ; development, 149 ;
planning, 153 ; platform, 153 ; boys' seats,
154; dimensions, 154; seats, 155 ; miseri-
cords, 155; arms, 155; standards, 155;
desks, 156; standards, 156; fronts, 157;
canopies, 159 ; carving of misericords, 160 ;
elbows, 162 ; poupee heads, 162
Stone, its nature contrasted with wood, 14
Structural woodwork, 63
Sumptuary laws, 7
Symbolic devices, 302
TABERNACLE work, of stalls, 159; of font-
covers, 321
Testaments, Old and New, 161
Tester of altar, 138 ; pulpit, 280 ; font, 327 ;
tomb, 354
Three-decker pulpits, 284
Thrones, bishops', 148, 191
Thrusting roofs, 88, 95
Tie-beam roofs, 108
Tombs, 353
Tracery, origin, 1 5 ; supremacy of fifteenth
century, 21
Transom, 76
Triple chancel arch, 214
Triptych font-covers, 322, 325, 328
Trussed roofs, 88, 105
Turned shafts, 225
Tympanum, 217
VAULTING, 131; of roof cornice, 20; of
screen, 20, 234, 240
WAINSCOT of screen, 237
War, 9 ; of Roses, 9
Wales, characteristics of woodwork in, 37
Western school, 36 ; of colour decoration, 57
Wickets in doors, 76
Winches, 323
Wood, its nature, 14
Wood-working, mediaeval, 3; rise and de-
velopment of, 13
INDEX OF PLACE-NAMES IN THE TEXT
Abergavenny, Brecon, stalls, 1 59
Adderbury, Oxon., roof, 19
Addlethorpe, Lincoln, door, 74 ; roof, 108 ;
tower screen, 215 ; screen, 233, 236
Adisham, Kent, reredos, 13
Aldbury, Herts., lectern, 203
Aldenham, Herts., font-cover, 322
Almondbury, Yorks., font-cover, 328
Asbocking, Suffolk, font-cover, 322
Ashbourne, Derby, door, 75
Ashburton, Devon, roof, 92
Ashby St Ledgers, 36 ; screen vault, 240 ;
benches, 301, 306 ; font-cover, 321
Ashton, Devon, 37 ; colour decoration, 52, 58;
benches, 305
Astbury, Cheshire, door, 75 ; poupee head,
162 ; lectern, 199 ; rood-loft construction,
238 ; screen, 240, 242
Atherington, Devon, screen vault, 240 ; loft
front, 244
Attleborough, Norfolk, colour decoration, 54 ;
screen vault, 240, 242 ; loft front, 244, 247
Aylesbury, Bucks., cupboard, 347
Aylsham, Norfolk, date of screen, 24
Aymestrey, Hereford, screen vault, 240 ;
bressummer, 247
B
Backwell, Somerset, screen, 229
Badingham, Suffolk, roof, 19
Banningham, Norfolk, roof, 101
Banwell, Somerset, roof, 102
Barkestone, Leics., stall, 157
Barking, Suffolk, 38 ; door, 74 ; font-cover,
323
Barton Turf, Norfolk, colour decoration, 55
Beaulieu, Hants, stone pulpit, 275
Beaumaris, Anglesey, stalls, 162
Beckley, Oxon., door, 74
Besford, Worcs., rood-loft, 244
Bettws Nevvydd, Monmouthshire, rood-loft,
24-3
Beverley Minster, Yorks., sedilia, 16 ; par-
close screen, 17 ; nichework, 20;
stalls, 152 ; screen, 233
„ St Mary, Yorks., roof, 93 ; stalls,
152, 153, 155, 159,162; screen, 227
Bishop's Lydeard, Somerset, benches, 305
Blakeney, Norfolk, roof, 99
Blewbury, Berks., door, 75
Bloxham, Oxon., colour decoration, 52 ;
chest, 344
Blore Ray, Staffs., screen, 233
Blyth, Notts., alms box, 342
Blythburgh, Suffolk, 38 ; colour decoration,
56 ; roof, 93 ; lectern, 203, 205, 206 ; benches,
298, 300 ; alms box, 341
Bosbury, Hereford, screen vault, 240
Boston, Lines., hutch, 347
Bottisham, Cambs., screen, 356
Bradford Abbas, Dorset, roof, 95
Bradford-on-Avon, Saxon church, 212, 217
Bramfield, Suffolk, colour decoration, 54 ;
screen vaulting, 240
Bramford, Suffolk, font-cover, 322
Brancaster, Norfolk, font-cover, 325
Brancepeth, Durham, tomb, 354
Bratoft, Lines., stalls, 157
Braunton, Devon, benches, 302, 305
Bridford, Devon, colour decoration, 58
Bridgwater, Somerset, pulpit, 282
Brittany, 23
Broomfield, Somerset, benches, 302, 305
Brushford, Devon, screen, 21
Bruton, Somerset, roof, 108
Bunbury, Cheshire, door, 73
Burford, Oxon. 'chantry chapel, 216; rood
light, 217 ; pulpit, 283, 285
Burford, Salop, tomb, 354
Burgh, Lines., screen, 232
Burnham Norton, Norfolk, colour decoration,
56 ; pulpit, 281, 284, 285
Burrington, Devon, roof, 102
365
366 INDEX OF PLACE-NAMES IN THE TEXT
Burstall, Suffolk, porch, 65, 66
Burwell, Cambs., roof, 93
Bury, Herts., lectern, 205
Bury, Hunts., lectern, 199, 203
Bury St Edmunds, Suffolk, colour decora-
tion, 57
Byfield, Northants, benches, 306
Cambridge, King's College, stalls, 152
Campsall, Yorks., screen, 235
Canterbury Cathedral, tomb testers, 356 ; St
Martin, Kent, 214
Carlisle Cathedral, Cumberland, foreign influ-
ence, 23 ; misericord, 161, 162 ; stalls, 152,
1 60 ; cupboard, 347
Cartmel Fell Chapel, Lanes., rood, 218.
„ Priory, Lanes., misericord, 161 ;
stall elbow, 162
Cassington, Oxon., benches, 297, 302
Castleacre, Norfolk, colour decoration, 56 ;
pulpit, 278, 280, 282, 285 ; font-cover, 325 ;
finial, 327
Cawston, Norfolk, colour decoration, 54, 55 ;
image of Our Lady, 218 ; screen, 235 ; pulpit,
285 ; benches, 300, 301
Charlton-on- Otmoor, Oxon., foreign influence,
23; colour decoration, 52 ; font-cover, 321
Cheddar, Somerset, lectern, 205 ; seating, 304
Chester Cathedral, stalls, 17 ; tracery, 21 ;
misericord, 162; stalls, 150, 154,
157, 1 60; cupboard, 347
„ St Mary, roof, 92
Chichester, St Mary's Hospital, screen, 16,
229, 231 ; misericord, 161, 162 ;
stalls, 147, 150
„ Cathedral, Sussex, stalls, 149, 160
Chinnor, Oxon., screen, 227 ; mortices for
rood, 217
Chivelstone, Devon, pulpit, 278, 281
Christchurch Priory, Hants, misericords, 15,
162; stalls, 149, 152, 157, 159
Christian Malford, Wilts., screen, 238
Chudleigh, Devon, colour decoration, 58
Cirencester, Glos., chantry chapel, 216 ;
screen, 233
Cleeve Abbey, Somerset, roof, 103
Clymping, Sussex, chest, 344
Cockington, Devon, colour decoration, 59 ;
pulpit, 276, 281, 282, 285
Coity, Glamorgan, chest, 347
Cold Ashton, Glos., pulpit, 280
Colebrooke, Devon, foreign influence, 21 ;
finial, 327
Coleridge, Devon, foreign influence, 21 ;
pulpit, 282
Combe-in-Teignhead, Devon, bench, 308
Compton, Surrey, railing, 13, 227
Conway, Carnarvonshire, loft, 247
Copdock, Suffolk, door, 75 ; font-cover, 323
Cotes-by-Stow, Lines., loft, 242 ; benches,
307, 3°8
Coventry, Warwick, Holy Trinity, colour
decoration, 53 ; St Michael, pulpit, 276
Crediton, Devon, chest, 345
Crewkerne, Somerset, roof, 92
Cropredy, Northants, screen, 227 ; pulpit, 285
Crowcombe, Somerset, benches, 302, 305
Croydon,Surrey,stalls in Archbishop's Chapel,
M7
Cullompton, Devon, screen, 51 ; colour
decoration, 59 ; roof, 92, 103 ; rood balk,
217
Cumnor, Berks., door, 73
Dartmouth, Devon, screen, 4
Dennington, Suffolk, screen, 51 ; roof, 101 ;
screen, 232 ; loft, 244 ; benches, 301, 308
Derby All Saints, tomb, 354
Dersingham, Norfolk, chest, 344
Derwen, Denbigh, loft, 237, 244
Detling, Kent, lectern, 203, 205, 206
Dilwyn, Hereford, screen vault, 240
Dinton, Bucks., chest, 345
Diss, Norfolk, pulpit, 283
Dorchester Abbey, Oxon., porch, 65 ; screen,
230
Drayton, Berks., benches, 302 ; aumbry door,
347
Dunchideock, Devon, benches, 305
Dunsfold, Surrey, benches, 307
Dunstable, Beds., foreign influence, 23
Dunster, Somerset, screen, 229 ; projection
in loft, 242 ; screen vault, 240
Durham Castle Chapel, stalls, 157
Earl Stonham, Suffolk, chest, 343
East Hagbourne, Berks., porch, 65-66 ; pulpit,
276, 281
East Harling, Norfolk, lectern, 203, 205
East Hendred, Berks., lectern, 199, 205
East Winch, Norfolk, 93 ; benches, 300
INDEX OF PLACE-NAMES IN THE TEXT 367
Edington, Wilts., roof, 99; pulpitum, 218;
rood-loft construction, 238 ; loft front, 243
Edlesborough, Bucks., screen, 17 ; lectern,
205 ; pulpit, 280, 281 ; stalls, 156; benches,
304
Elsing, Norfolk, font-cover, 323
Ely Cathedral, Cambs., stalls, 149-150, 160
Escomb, Durham, Saxon church, 212
Evenlode, Glos., pulpit, 275
Ewelme, Oxon., door, 76 ; roof, 95 ; figures
on tomb, 356
Ewhurst, Surrey, porch, 64, 66
Exeter Cathedral, Devon, misericords, 14 ;
bishop's throne, 16, 191-192 ; aisle screen,
225 ; misericords, 149 ; St Mary's Steps,
font-cover, 321
Eye, Suffolk, colour decoration, 55 ; remains
of loft, 244, 247
Eynsham, Oxon., benches, 306
Fairford, Glos., 36 ; screen, 233 ; stalls, 153 ;
screen over tomb, 356
Finningham, Suffolk, font-cover, 322 ; finial,
327
Fishtofr, Lines., screen, 236 ; pulpit, 282
Flamborough, Yorks., loft, 20, 219; screen,
232 ; loft front, 244
Fotheringhay, Northants, pulpit, 280, 281
Framlingham, Suffolk, roof vaulting, 20
Fressingfield, Suffolk, benches, 301, 308
Frieston, Lines., font-cover, 323
Frindsbury, Kent, font-cover, 321
Frostenden, Suffolk, font-cover, 322
Fulbourne, Cambs., pulpit, 275, 281
Gallarus, Ireland, oratory, 212
Gawsworth, Cheshire, colour decoration, 53 ;
roof, 93
Gilston, Herts., screen, 13, 227
Gloucester Cathedral, stalls, 150, 159; miseri-
cords, 161 ; tomb, 354 ; cope
chest, 346
„ St Mary-de-Lode, pulpit, 278
Great Brington, Northants, colour decora-
tion, 53 ; stone seats, 297 ; benches, 307
Great Bud worth, Cheshire, stalls, 149
Great Rollright, Oxon., screen, 51
Great Tew, Oxon., benches, 302
Gresford, Denbigh, roof, 92 ; stalls, 152, 153,
157, 162 ; screen, 240, 242
Grinton, Yorks., lectern, 203, 205
Grundisburgh, Suffolk, roof, 104 ; screen, 232
Guilden Morden, Cambs., screen, 227, 237-
238
H
Halberton, Devon, screen, 17, 229; pulpit.
280-282
Halifax, Yorks., font-cover, 328
Hambledon, Bucks., chest, 347
Handborough, Oxon., colour decoration, 52 ;
loft coving, 238, 240 ; pulpit, 281
Happisburgh, Norfolk, vault of screen, 242
Hatfield, Yorks., screen, 235
Hawarden, Flint, stall, 157
Hawstead, Suffolk, lectern, 203
Headbourne Worthy, Hants, Saxon rood, 216
Heighington, Durham, pulpit, 281
Helmingham, Suffolk, door, 75
Hemingborough, Yorks., stalls, 149 ; miseri-
cords, 14, 161 ; benches, 302
Hemington, Northants, stalls, 156
Hennock, colour decoration, 59 ; roof, 103
Hepworth, Suffolk, font-cover, 325, 327
Hereford Cathedral, tomb, 15 ; stalls, 150;
bishop's throne, 191
Hereford All Saints, stalls, 160 ; chest, 344
„ St Peter, stalls, 159
Hexham Abbey, Northumberland, foreign
influence, 23; stalls, 159; pulpitum, 218;
loft front, 244
Higham Ferrers, Northants, 36; stalls, 155-
156; screen, 233
High Halden, Kent, porch, 64, 66
Hillesden, Bucks., stalls, 156 ; benches, 306
Hinton St George, Somerset, roof, 95
Hitchin, Herts., screen, 229
Hubberholme, Yorks., loft front, 243
Huddington, Worcs., porch, 65
Hull, Yorks., stalls, 157 ; screen, 232
Hunstanton, Norfolk, colour decoration, 55
Huttoft, Lines., chest, 345
I
Idbury, Oxon., benches, 298
Ipplepen, Devon, colour decoration, 58 ;
pulpit, 276, 281, 282, 284, 285
Iron Acton, Glos., benches, 301
Jarrow, Northumberland, stalls, 1 57
368 INDEX OF PLACE-NAMES IN THE TEXT
K
Kenn, Devon, colour decoration, 58 ; benches,
305
Kenton, Devon, pulpit, 284-285
Keynsham, Somerset, screen, 239 ; coving, 240
Kidlington, Oxon., stalls, 149 J benches, 302,
304
Kilmachedar, Ireland, oratory, 212
Kilmersdon, Somerset, benches, 307
King's Lynn, St Margaret, screen, 16 ; stalls,
157 ; screen, 230
„ „ St Nicholas, porch, 65 ; doors,
75 ; stalls, 157
Kirk Sandall, Yorks., screen, 229
Lancaster, Lanes., stalls, 16, 150
Landbeach, Cambs., pulpit, 282
Langford, Oxon., Saxon rood, 216
Lapford, Devon, screen vault, 240 ; benches,
305
Lavenham, Suffolk, screen, 16 ; foreign in-
fluence, 23 ; poupee head, 162 ; screen,
231, 233
Leigh, Worcs., loft front, 244
Leigh-on-Mendip, Somerset, benches, 304
Leighton Buzzard, Beds., screens, 17 ; stalls,
I53> J58; lectern, 198
Lenham, Kent, lectern, 205
Lincoln Cathedral, stalls, 17, 150, 160 ;
vaulting, 132
Lingfield, Surrey, lectern, 203, 205
Littlebury, Essex, lectern, 203, 205
Littleham, Devon, Renaissance influence, 24
Little Hampden, Bucks., porch, 65
Little Malvern Priory, Worcs., rood screen,
218
Llananno, Radnor, screen, 4, 21, 233 ; coving,
240 ; loft front, 243, 244
Llanegryn, Merioneth, screen, 233
Llaneilian, Anglesey, rood-loft, 244 ; coving,
240
Llanengan, Carnarvonshire, rood-loft, 243
Llangwm, Monmouth, rood-loft, 243
Llanrhaiadr, Denbigh, porch, 65, 66 ; roof, 102
Llanrwst, Denbigh, rood-loft, 4, 244, 247
Llanwnog, Montgomery, rood-loft, 233, 238,
245
Llanynys, Denbigh, door, 75 ; roof, 103, 105
Loddon, Norfolk, colour decoration, 56
London, St Christopher-le-Stocks, inventory,
398
Long Melford, Suffolk, colour decoration, 54
Long Sutton, Somerset, pulpit, 276, 283
Long Wittenham, Berks., porch, 64
Loversall, Yorks., misericord, 161
Lowick, Northants, benches, 307-308
Ludham, Norfolk, colour decoration, 55 ;
date of screen, 24; marks of rood, 217;
alms box, 341
Ludlow, Salop, door, 76; misericord, 161 ;
stalls, 159
Lullingstone, Kent, foreign influence, 23
M
Malpas, Cheshire, roof, 92
Manchester Cathedral, Lanes., stalls, 152,
157, 159, 1 60
Mark, Somerset, roof, 92 ; benches, 297, 307
Marsham, Norfolk, date of screen, 24 ; colour
decoration, 54
Marsh Baldon, Oxon., porch, 64, 66
Marston Morteigne, Beds., screen, 229
Marwood, Devon, rood-loft, 243
Mawgan, Cornwall, screen, 235
Mellor, Derbyshire, pulpit, 278
Merton, Norfolk, screen, 227 ; font crane,
326
Middleton, Norfolk, roof, 99
Minehead, Somerset, Hutch, 347
Minster Lovell, Oxon., benches, 298
Mobberley, Cheshire, screen date, 24 ; roof,
93 ; screen, 235
Monkleigh, Devon, heraldry, 2 1
Monksilver, Somerset, 37 ; pulpit, 282 ; font-
cover, 321
Monks Risborough, Bucks., colour decora-
tion, 52 ; screen, 235
Montgomery, rood-loft, 242, 247 ; stalls, 1 52,
159
N
Nantwich, Cheshire, stalls, 147, 150, 160
Needham Market, Suffolk, roof, 108
Newark, Notts., screen vault, 240 ; projec-
tion in loft, 242
Newcastle, Northumberland, font-covers,
323, 327
Norbury, Derby, stalls, 156
North Bovey, Devon, screen, 229
North Crawley, Bucks., benches, 306
Northfleet, Kent, screen, 227
North Frodingham, Yorks., chest, 345
Northleigh, Oxon., marks of rood, 217
INDEX OF PLACE-NAMES IN THE TEXT
North Marston, Bucks., stalls, 153; miseri-
cord, 161
North Stoke, Oxon., porch, 64 ; roof, 95
North Walsham, Norfolk, 212; font beam
326 ; finial, 327
Norwich, Norfolk. Cathedral, stalls, 152, 160;
bishop's throne, 191 ;
misericord, 162
» » St Andrew, roof, 93
» » St John Maddermarket,
colour decoration, 57
» 51 St Lawrence, door, 75
» » St Michael-at-Plea, roof,
99
» " St Michael - at - Thorn,
lectern, 206
» » St Peter Hungate, roof, 99
» » St Peter Mancroft, font-
cover, 32 5; vestry, 347
» » St Stephen, colour de-
coration, 57 ; roof, 101
o
Old Cleeve, Somerset, font-cover, 321
Ottery St Mary, Devon, lectern, 199, 203
Oxford Cathedral, stalls, 156, 159; poupee
head, 162
Oxford, All Souls College, stalls, 152
„ Magdalen College, door, 73
„ New College, stalls, 152, 159
„ Trinity College, epistle-book, 198
„ St Mary the Virgin, stalls, 159
„ St Mary Magdalen, chest, 344
Padbury, Bucks., remains of pulpit, 285
Patricio, Brecon, rood-loft, 243
Peakirk, Northants, lectern, 200
Peterborough Cathedral, remains of stalls, 160
Pilton, Devon, font-cover, 321, 322; font-
tester, 326
Pinchbeck, Lines., door, 76; font-cover, 321
Pitchford, Salop, tomb, 13, 353
Pixley, Hereford, screen, 225, 233
Plymtree, Devon, bench, 24 ; screen vault, 240
Potterne, Wilts., pulpit, 282
Queen Camel, Somerset, pulpit, 278, 280, 282,
283
R
Radley, Berks., tester of pulpit, 280
24
369
Ramvorth, Norfolk, colour decoration, 53.55 -
lectern, 206; screen vault, 242; benches,'
Rattlesden, Suffolk, poupee head i6->
Richmond, Yorks., 147
Ripon Minster, Yorks., stalls, 152 160
Rochester Cathedral, Kent, stalls, 13, 149
Rossmgton, Yorks., pulpit, 281, 284
Rycote, Oxon., font-cover, 32 1
St Albans Abbey, Herts., cupboard, 347
St David's Cathedral, Pembroke, vault, 20 ;
stalls, 159; bishop's throne, 191-2
St Neots, Hunts., roof, 93
St Piran's Oratory, Cornwall, 212
Salford, Beds., porch, 63
Salisbury Cathedral, Wilts., order of stalls,
148 ; tomb, 353
Sail, Norfolk, colour decoration, 57 ; roof, 99
Scole, Norfolk, lectern, 203, 205
Sedlescombe, Sussex, font-cover, 322
Selby Abbey, Yorks., cupboard, 347
Selworthy, Somerset, pulpit, 276
Shaugh Prior, Devon, font-cover, 322
Shepton Mallet, Somerset, roof, 102
Sherborne Abbey, Dorset, misericords, 161 ;
stalls, 152, 1 60
Sheringham, Norfolk, font beam, 326
Shilton, Oxon., colour decoration, 53
Shipdham, Norfolk, lectern, 203, 205, 206
Shipley, Sussex, porch, 64
Shotwick, Cheshire, door, 75
Sibton, Suffolk, screen, 235
Silchester, Hants, Romano-British church,
212
Sleaford, Lines., projection in loft, 242
Snettisham, Norfolk, stone seats, 297
Soham, Cambs., screen, 232
Southacre, Norfolk, roof, 99 ; screen, 230
South Creake, Norfolk, colour decoration,
56 ; stalls, 156 ; pulpit, 276, 285
Southwold, Suffolk, 38 ; colour decoration,
54, 55 ; misericord, 161 ; elbow, 162 ; stalls,
147, 150, 152, 156-157, 159; screen, 235; re-
mains of loft, 244-245 ; pulpit, 282, 284, 285
Sparsholt, Berks., roof, 91
Spaxton, Somerset, benches, 305
Stamford, Lines., 9 ; St John, screen, 235 ;
remains of loft, 244; screen, 150
Stanton, Glos., pulpit, 275
Stanton Harcourt, Oxon., screen, 227, 13
37°
INDEX OF PLACE-NAMES IN THE TEXT
Steeple Aston, Oxon., remains of pulpit, 285 ;
benches, 302
Steeple Bumstead, Essex, alms box, 341
Steventon, Berks., benches, 302
Stog umber, Somerset, door, 75
Stoke, Suffolk, doors, 75
Stow, Lines., benches, 302
Stratford-on-Avon, Warwickshire, stalls, 147
Stratton-on-the-Fosse, Somerset, door, 75
Strensham, Worcs., benches, 298
Sudbury, Suffolk, St Gregory, stalls, 159
„ „ St Peter, pulpit, 284
Swaffham Bulbeck, Cambs., benches, 308
Swanscombe, Kent, lectern, 203, 205
Swymbridge, Devon, 37 ; font-cover, 322 ;
font-tester, 327
Tadmarton, Oxon., benches, 302
Tattershall, Lines., roof, 99 ; pulpit, 282, 284
Terrington St Clement, Norfolk, font-cover,
325
Teversham, Cambs., screen, 233
Thame, Oxon., foreign influence, 23
Thornham, Norfolk, door, 76
Thornhill, Yorks., tomb, 354 ; curb to tomb,
356
Thurcaston, Leics., screen, 13, 227
Tong, Salop, elbow, 162
Totnes, Devon, doors, 76
Trimingham, Norfolk, colour decoration, 54
Trull, Somerset, pulpit, 282 ; benches, 305
Trunch, date of screen, 24 ; roof, 99 ; stalls,
153 ; font canopy, 325-326
Tunstead, Norfolk, colour decoration, 53
u
Ufford, Suffolk, colour decoration, 56 ; roof,
1 08 ; font-cover, 325, 328 ; finial, 327
Ugborough, Devon, roof, 92
Upper Winchendon, Bucks., pulpit, 275
w
Walsham-le- Willows, Suffolk, roof, 108
Walsoken, Norfolk, screen, 229
Wantage, Berks., stalls, 156
Warblington, Hants, porch, 64
Wardington, Oxon., screen, 227
Warfield, Berks., rood-loft, 244
Warkworth, Northants, benches, 304
Warwick, stalls, 147 ; poupee head, 162
Wath, Yorks., foreign chest, 21, 344
Watlington, Norfolk, screen, 232
Well, Yorks., font-cover, 328
Wellow, Somerset, roof, 108 ; benches, 307
Wells Cathedral, Somerset, misericords, 16,
161-162 ; cope chest, 346
„ St Cuthbert, roof, 105
„ Vicars' Chapel, stalls, 147
Wenden, Essex, pulpit, 276, 278
Wenhaston, Suffolk, marks of rood, 217
Wensley, Yorks., stalls, 157, 159 ; screen, 232 ;
alms box, 342
West Challow, Berks., porch, 65, 66
West Grinstead, Sussex, porch, 65, 66
Westhall, Suffolk, roof, 99
West Horsley, Sussex, porch, 64, 66
Westminster Abbey, reredos, 197 ; pulpit,
280, 281 ; stalls, 149; tomb, 353 ; tester, 355 ;
Henry VII. chapel, misericords, 15 ; foreign
influence, 23 ; stalls, 152
Westminster Hall, roof, 104
Weston-in-Gordano, Somerset, stalls, 149
Whissendine, Rutland, roof, 19
Whitchurch, Denbigh, roof, 103-105
Whalley, Lanes., stalls, 147, 150
Winchester Cathedral, Hants, stalls, 15 ;
vault, 20; stalls, 147, 149-150
Windsor, St George's Chapel, foreign in-
fluence, 23 ; stalls, 152 ; screen, 233
Wingfield, Suffolk, stalls, 150 ; screen, 235
Winthorpe, Lines., doors, 75-76 ; stalls, 147,
153, 156, 159
Witton, Cheshire, roof, 92
Wolvercote, Oxon., pulpit, 283-284
Wolverhampton, Staffs., stone pulpit stairs,
276
Woolpit, Suffolk, roof, 104 ; benches, 298,
300, 308
Wooten Wawen, Warwick, pulpit, 283
Worcester, Guest Hall roof, 103
Worlmgworth, Suffolk, roof, 104 ; font-cover,
325
Worsborough, Yorks., tomb, 354
Worstead, Norfolk, roof, 101
Yaxley, Suffolk, colour decoration, 55 ;
screen, 235
York, school of craftsmanship, 37 ; York
Minster, door, 76 ; stalls, 150, 160; chest,
345 ; cope chest, 346 ; cupboard, 347
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BINDING SECT. FEB 6 1974
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