A monumental brass is a type of engraved sepulchral memorial once found through Western Europe, which in the 13th century began to partially take the place of three-dimensional monuments and effigies carved in stone or wood. Made of hard latten or sheet brass, let into the pavement, and thus forming no obstruction in the space required for the services of the church, they speedily came into general use, and continued to be a favourite style of sepulchral memorial for three centuries. [1]
Besides their great value as historical monuments, monumental brasses are interesting as authentic contemporary evidence of the varieties of armour and costume, or the peculiarities of palaeography and heraldic designs, and they are often the only authoritative records of the intricate details of family history. Although the intrinsic value of the metal has unfortunately contributed to the wholesale spoliation of these interesting monuments, they are still found in remarkable profusion in England, and they were at one time equally common in France, Germany and the Low Countries. In France, however, those that survived the troubles of the 16th century were totally swept away during the Reign of Terror, and almost the only evidence of their existence is now supplied by the collection of drawings bequeathed by Richard Gough to the Bodleian Library. [1]
Only two or three examples, and these of late date, are known in Scotland, among which are the memorials of Alexander Cockburn (1564) at Ormiston, east of Edinburgh; of the regent Murray (1569) in the collegiate church of St Giles, Edinburgh; and of the Minto family (1605) in the south aisle of the nave of Glasgow Cathedral. [1] The Earl of Moray had been assassinated, and his monumental brass carries the Moray arms and figures representing Religion and Justice. [2]
The fine memorials of the royal house of Saxony in the cathedrals of Meissen and Freiberg are the most artistic and striking brasses in Germany. Among the 13th-century examples existing in German churches are the full-length memorials of Yso von Welpe, Prince-Bishop of Verden (1231), and of Bernard, bishop of Paderborn (1340). Many fine Flemish specimens exist in Belgium, especially at Bruges. [1]
The majority of extant memorial brasses are now found in England, where it is calculated that there may be about 4,000 still remaining in various churches. They are most abundant in the eastern counties, and this fact has been frequently adduced in support of the opinion that they were of Flemish manufacture. But at the time sepulchral brasses were most often fashioned, the eastern counties of England were a centre of commercial activity and wealth, and there are numerous engraved memorials of civilians and prosperous merchants in the churches of Ipswich, Norwich, Lynn and Lincoln. Flemish brasses can be found in England, but they are not common, and they are readily distinguished from English workmanship. The Flemish examples have the figures engraved in the centre of a large plate, the background filled in with diapered or scroll work, and the inscription placed round the edge of the plate. The English examples have the figures cut out to the outline and inserted in corresponding cavities in the slab, the darker colour of the stone serving as a background. This is not an invariable distinction, however, as figure-brasses of Flemish origin are found both at Bruges and in England. But the character of the engraving is constant, the Flemish work being more florid in design, the lines shallower, and the broad lines cut with a chisel-pointed tool instead of the lozenge-shaped burin. The brass of Robert Hallum, bishop of Salisbury, the envoy of King Henry V to the Council of Constance, who died and was interred there in 1416, precisely resembles the brasses of England in the details which distinguish them from styles elsewhere in Europe. [1]
No surviving brasses in England can be dated earlier than the late 13th century. Early examples that do survive include a fragment from the brass to Bishop Thomas de Cantilupe (d. 1282) in Hereford Cathedral; and brasses to Margaret de Camoys (d. 1310) at Trotton, West Sussex; Joan de Cobham (c. 1310) at Cobham, Kent; Archbishop William Greenfield (d. 1315) in York Minster; Sir William de Setvans (c. 1323) at Chartham, Kent; and Sir Roger de Trumpington (c. 1326) in Trumpington, Cambridgeshire. [3] The life-sized brass of Sir John d'Aubernon II (d. 1277) at St Mary's Church, Stoke d'Abernon in Surrey has the decorations of the shield filled in with a species of enamel. Other examples of this occur, and the probability is that, in most cases, the lines of the engraving were filled with colouring matter, though brass would scarcely bear the heat requisite to fuse the ordinary enamels. [1] Like three-dimensional effigies of the same period in stone and wood, several early 14th-century military brasses (including those of Setvans, Trumpington and d'Aubernon mentioned above) depict their subjects with crossed legs, but there is no substance to the long-established myth that this pose identifies the deceased as a crusader. [4]
Brasses become more numerous through the 14th century, and present great variety in their details. A good example is that of Nicholas Lord Burnell (d. 1382) in the church of Acton Burnell, Shropshire. In the 15th century the design and execution of monumental brasses had attained their highest excellence. The brass of Thomas de Beauchamp, 12th Earl of Warwick (d. 1401), and his wife Margaret, which formerly covered the tomb in St Mary's church, Warwick, is a striking example. One of the best specimens of plate armour is that of Sir Robert Stantoun (1458) in Castle Donington church, Leicestershire, and one of the finest existing brasses of ecclesiastics is that of Thomas de la Mare, Abbot of St Albans Abbey [1] from 1349 to 1396. An interesting monumental brass of John Rudying dated 1481 in the Church of St Andrew in Biggleswade shows the figure of Death about to strike Archdeacon Rudying with a spear. [5] [6]
It is only in the 16th century that the engraved representations become portraits. Previous to that period the features were invariably represented conventionally, though sometimes personal peculiarities were added. A large number of brasses in England are palimpsests, the back of an ancient brass having been engraved for the more recent memorial. [7] Thus a brass commemorative of Margaret Bulstrode (1540) at Hedgerley in Buckinghamshire, on being removed from its position, was discovered to have been previously the memorial of Thomas Totyngton, abbot of St Edmundsbury (1312). The abbey was only surrendered to Henry VIII in 1539, so that before the year was out the work of spoliation had begun, and the abbot's brass had been removed and re-engraved to Margaret Bulstrode. These ancient brasses were often stolen and re-erected after being engraved on the reverse, as at Berkhampstead, because until the establishment of a manufactory at Esher in Surrey by a German artisan in 1649, all sheet brass had to be imported from other countries on the European mainland. [1]
Jamestown Church in Virginia, built by English colonists in the early 17th century, contains a unique example of an American brass. The inlay itself has been lost, but the ledger stone survives and shows the imprint of a coat of arms and a knight in armour, believed to be Virginia governor George Yeardley (d. 1627). [8]
There was a revival of interest in monumental brasses in the 19th century. [9] [10] Among many other examples, Victorian brasses can be seen at Truro Cathedral (Archbishop Benson), Oscott College, Birmingham (Bishop John Milner), St. Nicolas', Guildford (Rev. W. S. Sanders), and All Saints, Boyne Hill, Maidenhead (Rev. Gresley and Canon Drummond). The tradition has continued into the 20th and even the 21st centuries. Recent examples have included a brass commemorating Earl Mountbatten of Burma (d. 1979) and his wife Edwina (d. 1960) in Westminster Abbey, unveiled in 1985; [11] and a medieval-style brass to Master Thomas de Aston (d. 1401) in St Edmund's Chapel, Spital-in-the-Street, Lincolnshire, unveiled in 2001. [12]
Numerous lists of medieval and post-medieval brasses have been published. The standard national list for examples in Britain up to 1710 remains Mill Stephenson's A List of Monumental Brasses in the British Isles, first published in 1926. It is still common practice in the specialist literature for individual brasses to be identified by place-name and an "M.S." number.
On many points of detail, however, Stephenson's List is now seriously dated, and its cut-off date of 1710 means that it omits all more modern brasses. An "Appendix" to Stephenson by M. S. Giuseppi and Ralph Griffin, containing numerous revisions, was published in 1938; and in 1964 Stephenson's List and the Appendix were reprinted by the Monumental Brass Society as a single volume. [13] More recent lists for certain individual counties have also been published, including a volume on Warwickshire edited by S. A. Budd, published by the Monumental Brass Society in 1977, which was devised as the first instalment in a "Revised List of Monumental Brasses in the British Isles" (updating Stephenson). However, no further volumes in this series came to fruition.
In 1992 the Monumental Brass Society began to publish a new fully illustrated "County Series" for England, edited by William Lack, Martin Stuchfield and Philip Whittemore, to cover brasses of all periods, and intended to supersede Stephenson. This has progressed county-by-county on an alphabetical basis, beginning with Bedfordshire in 1992, and reaching Huntingdonshire by 2012. ( Cumberland and Westmorland were published as a single volume in 1998; while Essex was published in two volumes in 2003.) For those counties that have been published, the County Series volumes are now regarded as the definitive catalogue. Where appropriate, entries retain Stephenson's "M.S." numbers.
Hugh Cameron published a list of monumental brasses in continental Europe in 1970. [14]
A cadaver monument or transi is a type of funerary monument to deceased persons featuring a sculpted tomb effigy of a skeleton, emaciated or decomposing dead body, with closed eyes. It was particularly characteristic of the Late Middle Ages when they were designed to remind viewers of the transience and vanity of mortal life, and the eternity and desirability of the Christian after-life. The format is in stark contrast to gisants, which are always recumbent, in full dress, with open eyes and hands clasped and raised in prayer.
Brass rubbing was originally a largely British enthusiasm for reproducing onto paper monumental brasses – commemorative brass plaques found in churches, usually originally on the floor, from between the thirteenth and sixteenth centuries. The concept of recording textures of things is more generally called making a rubbing. What distinguishes rubbings from frottage is that rubbings are meant to reproduce the form of something being transferred, whereas frottage is usually only intended to use a general texture.
A commemorative plaque, or simply plaque, or in other places referred to as a historical marker, historic marker, or historic plaque, is a plate of metal, ceramic, stone, wood, or other material, typically attached to a wall, stone, or other vertical surface, and bearing text or an image in relief, or both, to commemorate one or more persons, an event, a former use of the place, or some other thing. Many modern plaques and markers are used to associate the location where the plaque or marker is installed with the person, event, or item commemorated as a place worthy of visit. A monumental plaque or tablet commemorating a deceased person or persons, can be a simple form of church monument. Most modern plaques affixed in this way are commemorative of something, but this is not always the case, and there are purely religious plaques, or those signifying ownership or affiliation of some sort. A plaquette is a small plaque, but in English, unlike many European languages, the term is not typically used for outdoor plaques fixed to walls.
A church monument is an architectural or sculptural memorial to a deceased person or persons, located within a Christian church. It can take various forms ranging from a simple commemorative plaque or mural tablet affixed to a wall, to a large and elaborate structure, on the ground or as a mural monument, which may include an effigy of the deceased person and other figures of familial, heraldic or symbolic nature. It is usually placed immediately above or close to the actual burial vault or grave, although very occasionally the tomb is constructed within it. Sometimes the monument is a cenotaph, commemorating a person buried at another location.
Trumpington is a village to the south of Cambridge, in the Cambridge district, in the county of Cambridgeshire, England. The village is an electoral ward of the City of Cambridge and a ward of South Cambridgeshire District Council. The 2011 Census recorded the ward's population as 8,034.
Sir Geoffrey Boleyn was an English merchant and politician who served as Lord Mayor of London from 1457 to 1458. He purchased the manor of Blickling, near Aylsham, in Norfolk from Sir John Fastolf in 1452, and Hever Castle in Kent in 1462. He was the great-grandfather of Queen Anne Boleyn, the mother of Queen Elizabeth I. Sir Geoffrey built the domestic, mercantile and civic fortunes of the Boleyn family, and raised its status from the provincial gentry, as his brother Thomas Boleyn made a career of distinction in church and university, together building the family's wealth, influence and reputation.
In the early Middle Ages, there were distinct material cultures evident in the different federations and kingdoms within what is now Scotland. Pictish art was the only uniquely Scottish medieval style; it can be seen in the extensive survival of carved stones, particularly in the north and east of the country, which hold a variety of recurring images and patterns. It can also be seen in elaborate metal work that largely survives in buried hoards. Irish-Scots art from the kingdom of Dál Riata suggests that it was one of the places, as a crossroads between cultures, where the Insular style developed.
Art in bronze and brass dates from remote antiquity. These important metals are alloys, bronze composed of copper and tin and brass of copper and zinc.
Sir William Huddesfield of Shillingford St George in Devon, was Attorney General for England and Wales to Kings Edward IV (1461–1483) and Henry VII (1485–1509). He built the tower of St George's Church, Shillingford.
Craven Ord (1756–1832) was an English antiquarian. He was particularly noted for his brass rubbings.
All Saints' Church is an Anglican Church and the parish church of Naseby in Northamptonshire, England. It is a Grade II* listed building and stands at the southern corner of Church Street and Newlands.
A ledger stone or ledgerstone is an inscribed stone slab usually laid into the floor of a church to commemorate or mark the place of the burial of an important deceased person. The term "ledger" derives from the Middle English words lygger, ligger or leger, themselves derived from the root of the Old English verb liċġan, meaning to lie (down). Ledger stones may also be found as slabs forming the tops of tomb chest monuments.
St Andrew's Church is the Anglican parish church for the town of Biggleswade in Bedfordshire, England. The church is Grade II* listed and comes under the Diocese of St Albans. The church is noted for its monumental brass of John Rudying of 1481 featuring the Figure of Death.
The monumental brass of John Rudying is a brass of 1481 to Archdeacon John Rudying in the Church of St Andrew in Biggleswade in Bedfordshire noted for the surviving Figure of Death. The monument was rediscovered under the chancel floor in 1955 during restoration and has been described as "very remarkable" by English Heritage.
The Church of All Saints in Radwell in Hertfordshire is an Anglican parish church which falls within the Diocese of St Albans. It is a Grade II* listed building, having gained that status in 1968.
The Church of St Vincent in Newnham in Hertfordshire is a 12th-century Anglican parish church and a Grade II* listed building, having gained that status in 1968. The church is named for Saint Vincent and is under the Diocese of St Albans; it is noted for the Newnham Murals which were uncovered in 1963.
John Tame of Cirencester and of Beauchamp Court in the parish of Fairford, both in Gloucestershire, England, was a wealthy wool producer and merchant who re-built the surviving St. Mary's Church, Fairford, the former structure of which had been built by one of the Beauchamp Earls of Warwick in the 15th century. The 28 Fairford stained glass windows he installed in the church are considered amongst the finest and most complete in England. He and his son Sir Edmund Tame (d.1534) so fostered the trade transacted at Fairford, that it came to rival that of the nearby long-established town of Cirencester, which increase was remarked upon by his contemporary the antiquary John Leland (d.1552): "Fairford never flourished afore the cumming of the Tames into it".
A replica Eleanor Cross was erected in Sledmere, East Riding of Yorkshire, in 1896–98. The tall stone structure was constructed by the Sykes family of Sledmere. Engraved monumental brasses were added after the First World War, converting the cross into a war memorial.
Sir John Harpeden was an English knight. Little is known of him—he was never summoned to Parliament—but he was related to the Mortimers.
St Columba's Church is a 14th-century, Grade I listed parish church in the Church of England Diocese of Truro in St Columb Major, Cornwall. In 1860 plans were drawn up by William Butterfield, in hope of St Columb church becoming the cathedral of the future diocese of Cornwall, but the cathedral was built at Truro. A second church dedicated to the same saint is known as St Columba's Church, St Columb Minor.
