Графични страници
PDF файл
ePub

"The last and most interesting of these brasses, is the magnificent one of Archbishop Harsnett, at Chigwell, in Essex, 1631; with that veneration for antiquity, with which he was so strongly imbued, he gave in his will ample instructions for his tomb, which has been strictly followed; the inscription on a slip of the brass surrounding the effigy, bearing the evangelists, with their symbols at the angles, is exactly in accordance with the ancient examples; the representation of the archbishop is clad in his rochet, covered with a splendidly embroidered cope, bearing his staff in his left hand, and his right holding a small book; on his head, which is rendered patriarchal by the length of the beard, is the mitre. Such was the attire of a bishop at that period, such was the dress which dignified a Laud; it has since then ceased to be the episcopal costume of the church of England."*

Hartshorne's "Monuments," &c. states, that the brasses to the Wynn's, at Llanwryst, are in several respects worthy of attention. They are among the latest of importance, and they are cut with a degree of delicacy, that no line engraver, at present, need feel ashamed to own. It is singular, that the name of this engraver was Sylvanus Crewe, (an artist whose works are equal to those of Marshall and Fairthorne,) should have entirely escaped the notice of the biographers of the fine

arts."

So that it appears, that although the plates were principally imported from Flanders, yet, some of the embellishments and illustrations were added by English artists.

I have been informed that Mr. Thomas King, an antiquarian of Chichester, now provides brasses with proper designs.

A curious work has been published by Signeur Raffalo Caruana, on the knights of Malta, wherein is 400 specimens of their tombs, monuments, heraldry, &c.

HATCHMENTS

I presume the original of this name was achievements. Those persons, either male or female, who are entitled to use heraldry at their deaths, have their arms fully emblazoned on prepared canvass or silk, in a frame of wood, in the shape of the ace of diamonds; they are first placed for one year over the entrance to their mansions, and then removed into the church where the corpse is buried; beautifully reminding us by that hope-inspiring motto, often attached to them: "IN CELA QUIES." In heaven there is rest.

* Waller's Series of Monumental Brasses.

In Hurley church, Berkshire, there was one in 1834, which was put up to the memory of one of the Lovelace family, who died in 1579; this was one of the oldest hatchments perhaps in England, scarcely any of it remained but the frame. No part of those sorrowful memorials should be removed, even in a tattered state; though mute, they proclaim a meaning. It is their age which greatly enhances their value, as forcibly reminding us of an eternity. When intelligible, they are sometimes the only records of important facts; and when defaced, their tattered form and feature are not inapt objects for impressing on our minds (and where so proper as in a church,)" the pomps and vanities of this wicked world." At the period when that hatchment was mounted, pennons, banners, and real coats or tabards, were the usual family memorials placed about the tombs of the nobility or gentry.

When the body of Lord Byron was brought from Greece to England, in the brig Florida, the mourning ensign was of black silk, with a broad blue streak, charged with a Baron's coronet hoisted half mast. 1824.

This little incident may be interesting to the American people, whom Byron always liked; he said, "I would rather have a nod from an American, than a snuff box from an emperor ;" and how extraordinary it appears, that by mere accident, the vessel which brought his mortal remains home to be laid by the side of his ancestors, should be named after one of the States of those people whom he thus so pleasingly complimented.

EMBROIDERED HERALDRY.

This pleasing and instructive science, may be practised by females, and is a very proper subject for the needle. Heraldry, when it is tricked or portrayed in sculpture, has its distinguishing lines which express the colours.

If the reader will notice the notched or indented shield attached to this paragraph, he will perceive it tricked, parted per bend, dovetailed; the lines at top, are cut perpendicular down to the dovetailing, this part represents gules or red; below the dovetailing, the lines are cut diagonally, which represent vert or green; the lines of the cross, which is a passion cross portate, are cut diagonally the contrary way, this represents purpure, or purple.

An embroiderer would, therefore, fill up the shield with the above colours, and place the threads in the same directions.

[graphic]

And if neatly done, none but a cold hearted cynic, would accuse her of vanity.

If, "to her guests, she show'd with all her pelf,
Thus far my maids; but this I did myself."

The writer knows a gentleman who has all his clothes em+ broidered with his arms, as his distinguishing mark; he was obliged to adopt this method, to prevent confusion by his laundress.

In the seventeenth century, the art of embroidery was declining, partly in consequence of the persecution of the Catholics, and partly arising from the success of the art of silk weaving, which began in James I.'s reign. In 1661, about 40,000 persons were employed in it. Silks, and other fabrics, which were formerly ornamented with the needle, were then ornamented with the shuttle.

Although "The threaded steel

Flies swiftly, and unfelt the tack proceeds." Cowper. Yet the shuttle flies faster, and produces patterns in much more rapid succession.

At this time, the French excel in embroidery; but in the reign of Henry III. (who began his reign 1216,) it was in such high repute, that the pope forwarded bulls to England, enjoining them to send embroidered vestments to Rome, for the use of the clergy.

There has been republished in this city, "The Hand Book of Needle Work, by Miss Lambert," containing much information on this elegant accomplishment; its motto is

"And though our country everywhere is filled,
With ladies, and with gentlewomen skilled,

In this rare art, yet here we may discern,

Some things to teach them, if they wish to learne."

TAYLOR, the Water Poet, (died 1654.)

[blocks in formation]

The English never had a school of design, yet this must be taken only in a limited sense, for the arts there have never died. It has been well observed by one, who is both a traveller and a scholar; that "the paintings and other objects of art dispers

ed throughout the three kingdoms, probably exceed what most other nations possess; but they fall not under the eye with condensed power and cumulative influence, as we experience in the Louvre, or other continental galleries."

So important have foreigners thought of their works of art, that the learned Jahn, in his interesting work on Germany, has truly said: "The English would revive from Shakspeare alone, even if London was a prey to its neighbour, and the Thames choked up." In this sense we may say:

"Verse ceases to be airy thought,

And sculpture to be dumb."

Those islands have been more or less covered with works of genius and art, for perhaps twenty centuries. There are a few noble remains not much injured, either by the storms of heaven, or the storms of man; in the embattled gate-way, which are the works of the Roman race, where perhaps the imperial eagle floated in majestic strength, before it took its last receding flight.*

There are now remaining, soaring in majesty and grandeur, the massive Norman baronial castles, with their war-worn pennons, and piles of gorgeous, warlike armour. And in not a few of them, the artist, the philosopher, and the statesman, may find days for study and contemplation in one single apartment.

"There is an old and costly room of state,

With roof deep groin'd of blazon'd shields and flowers;
And arras rich with gold and silver bright

Hang round the walls, and show green forest bowers.

And figures blent of giant, dwarf, and knight,
Of lady fair, and palfrey, hawk, and hound,

Amid these leafy cells the gaze invite :

Invite, yet mock-for leaves half close them round.

In order set are works of regal price;
Quaint carven chair and table, chest and lute
And web of scarlet, black and gold device,
Spread o'er the floor, makes every footstep mute.
The window shafts and loops of branching stone
Are gemm'd with panes of each imperial hue;
Where saints and angels, from the stars new flown

With streams of crystal splendour flood the view," &c.

STERLING.†

*The reader, familiar with Sir Walter Scott's works, will probably recollect the following lines:

"On Bocastle the mouldering lines,
Where Rome the mistress of the world,

Of yore her eagle's wings unfurl'd."

Lady of the Lake.

The number of castles now known to exist: in England 461, Wales

107, Scotland 155, Ireland 120; total 843.

There are also the noble cathedrals of the Norman age, girt with grand and massive walls, yet with the most exquisite, symmetrical proportions. And also those of the more airy and light, built at the period of the Plantagenets, with its rich assemblage of clustered columns; crossing and receding in opposite directions, supporting the beautiful pointed arch placed "high in air ;" and bearing its "heaven suspended roof," with all its varied train of delicate yet expressive carving, tracery, and mouldings; giving so lace-like an appearance to the stone work, that the casual observer might suppose that so much lightness and grace were more the work of fairy hands, than those of the ordinary mason.

"And then the stain'd dark narrow window threw,

Strange partial beams, on pulpit, desk and pew." CRABBE. Having given some lines, which detail with the most graphic beauty, an apartment in an old castle, I am irresistibly compelled to give the following verses, from "Ecclesia, a volume of Poems," by the Rev. R. S. Hawker, which describes, in the sweetest measure, the beauties of Morwenstow. They serve to show, with far greater powers of description, than I am master of, the effect, which these places have, as schools of instruction, and design, and far superior to any academic institution which now could be formed.

MORWENNÆ STATIO HODIE NORWENSTOW.

"My Saxon shrine! the only ground
Wherein this heavy heart hath rest;
What years the birds of God have found
Along thy walls their sacred nest.
The storm-the blast--the tempest shock
Have beat upon these walls in vain;
She stands a daughter of the rock
The changeless God's eternal fane.

Firm was their faith-the ancient bands
The wise of heart in wood and stone,

Who rear'd with wise and trusty hands
These dark gray towers of days unknown.
They filled these aisles with many a thought;
They bade each nook some truth recall,
The pillar'd arch its legend brought,
Or doctrine came with roof and wall.

Huge, mighty, massive, hard, and strong,
Were the choice stones they lifted then;
The vision of their hope was long,

They knew their God those faithful, men:
They pitch'd no tent for change or death,
No home to last man's shadowy day;
There, there, the everlasting breath
Would breathe whole centuries away..

« ПредишнаНапред »