302 On "Sebert's Tomb" in Westminster Abbey. ments, and published his account of them in 1600) having stated merely that King Sebert was buried in the East part of the Abbey. Hence, and hence only, succeeding authors have called this Sebert's Tomb. But that it was erected in the reign of Henry III. cannot be maintained, since it bears characteristic marks of the æra of Edward IV. Of these the most authoritative is this:-there is carved in the back of the recess an heraldic symbol peculiar to the latter principal fronts are on contrary sides; erected, to be the theme of future con- These stalls Mr. Moule considers to be two centuries older than the Tomb, and to have been actually constructed at the first erection of the present Choir, "previous to the opening of the New Church for divine service, on the 13th of October, 1269." << It answers in every respect to the exact situation of the Sedilia Parata of the Officiating Priests, during the celebration of High Mass, such as are still remaining in many of our ancient Churches, although frequently obscured by sepulchral monuments or other objects, erected before them. These seats were originally derived from the Consessus Clericorum of the Latin Church; [Octa the altar standing between the priests and the people in the Roman Basilica, and in all ancient Churches in Italy. the two. "The Chancel of the English Church is still entirely appropriated to the Clergy; and formerly the Laity were most strictly excluded by the Canon, as is more familiarly expressed in an old verse, "Cancello Laicos prohibet Scriptura e sibi presumant Christi secreta visedere, [Dere." Both sides of this erection formerly exhibited four painted figures; but that represented in the engraving, being the front, was by far the most splendid of marked, that until the preparations And here it should be remade for the last Coronation, when the incongruous Grecian altar-piece presented by Queen Anne was removed, this front was concealed from view by screens, which never changed their positions but when the Coronation ceremony was preparing. Once indeed, in the year 1775, they disappeared for a short time, but it was only that panel might take the place of tapestry. however, let the opportunity escape The antiquaries of the day did not, them. Sir Joseph Ayloffe compiled a long memoir on the subject, which was read before the Society of Antinine beautiful engravings, one of which quaries, and published in folio with the two figures, said to represent Serepresents the North front, another bert and Henry III., a third, various Countess of Lancaster, and one that of ornaments; the monument of Aveline Anne of Cleves, which were both disclosed at the same time*. culties of access, another view of this In 1812, notwithstanding the diffifront, assisted doubtless by Sir J. Ayloffe's plates, was produced for Ackermann's History of the Abbey. Like all the engravings in that work, it is in loured, in our opinion, as to convey an aquatint and coloured, and so well coexcellent idea of the sombre obscurity and darkness visible conferred by the hand of Time on the original. The great merit of Mr. Harding's drawings is their minute accuracy; but an additional value attaches to them from their representing more than the abovementioned. A wooden chest or temporary boarding (which Sir J. Ayloffe absurdly designated the sarcophagus of King Sebert and the altar table where mass was said on the day of his *These plates were afterwards inserted in vol. ii. of the " Vetusta Monumentą." anniversary, 1825.] anniversary, though, as we are told by Dart, it was merely a box made to contain "books and keys, for the use of the Church,") concealed the lower part of the figures; nor was this removed till it was done at the request of Mr. Harding, whilst he was making his drawings. How much of the paintings were thus recovered, will appear by drawing a line across the vignette, parallel with the top of the remains of the second figure, which was wholly gained. And this concealment seems to have never been imagined by former draughtsmen, from the figures, as before seen, being quite tall enough for their due proportion*. Stalls near the Altar, We proceed with our description in Mr. Moule's words: "The open and most ornamented side of this enclosure, which is in four compartments of large size, is faithfully represented on the vignette; and the paintings which remain on the back of these stalls form the subjects of Plates 1, 2, and 3. The Catheir design to the sculptured sides of the nopies, four in number, are very similar in monuments of Eleanor, Queen of Edward I. (who died about 1290); they are adorned with crockets of an ancient form, with open circles containing trefoils within the angles of the gablest. Between each canopy rose a light pinnacle, all of which have been broken. The three centre pinnacles spring from carved heads, two crowned and one mitred, beautifully executed, which have a very easy reference to the support of the Church, derived from the piety of the Monarchs or the good government of the Bishops. A still more striking example of this fault is the figure of St. Faith, in the Chapel of St. Blaze, which was supposed by Mr. Schnebbelie to have been painted by the same artist as those on "the shrine of King Sebert." See it engraved in vol. XCI, ii. 497. + These canopies have been recently painted, but the ancient colouring was minutely described by Sir Joseph Ayloffe. Much stained glass was introduced. See the work now under notice, p. 6. "The 304 Ancient Paintings in Westminster Abbey. "The height of the enclosure is 18 feet 9 inches, to the top of the finials; and each compartment is about two feet, seven inches wide, being separated from each other by small buttresses. They were originally adorned with a full-length figure in each, painted in oil colours on a ground of plaister, as ancient an example of the art as is to be found in the kingdom, being undoubtedly of the period of Henry III. or of Edward 1. The small pillars from which the arches of the several compartments take their spring, were white diapered with black, in various patterns, while the capitals and bases were gilt; but have been all painted black in the recent alteration. 46 The first compartment has been supposed to exhibit King Sebert, It must be observed," says Mr. Moule, that this is merely presumed to be the representation of Sebert, to whom historians agree in attributing the first foundation of a Church at Westminster. There is certainly no objection to be urged as to the identity of the portrait, and it may reasonably be supposed that he would be honoured with the stall nearest the altar." We have, however, an objection to urge, namely, that Sebert was certainly depicted on the other side. This we know from Weever (see hereafter); and it appears to us improbable that he should be placed on both. To proceed: "This figure is the most perfect of the series, and merits particular attention from the fine state of preservation in which it remains. A venerable personage is represented, bearing in his right hand a sceptre of ancient form, terminating in a pinnacled turret, with his left hand raised in a commanding manner; his head is crowned with a diadem ornamented with strawberry leaves painted on a gold ground; and his beard, of silvery whiteness, is long and curled, with mustachios; his tunic is rose-coloured, worked on the borders and bottom with white and red; his hose are purple; and his shoes, of blue damask, buckle over the instep with a small gold buckle; the ground upon which the figure is painted is a reddish brown, and he is represented standing on a lawn or carpet studded with flowers, &c.; the white gloves on his hands are unadorned with embroidery; and his crown and sceptre, whatever may have been their original appearance, are now of a darkish brown colour." The next panel or division of the screen exhibited only that portion of the painting which was formerly concealed, the greater part of it having been purposely planed off; and it is now entirely obliterated, having been paint [Oct. ed over, a wainscot colour, at the late repairs. of an ecclesiastic; and it may be supposed "The figure appeared to have been that that the screen or enclosure contained fgures of a Kirg and Bishop [or Saint] in alternate succession. This series, it may tinued round the whole choir. The sacerwithout presumption be assumed, was condotal robe was represented of pure white, edged with lace and rich fringe, the colours ends of the stole were seen, as well as the of which were green, white, and red; the bottom of the under garment, or alb, which reached down to the feet, ornamented with a diapered hem, in squares and lozenges, very curiously worked with a mosaic pattern, in which green, red, blue, and white, and point of the crazier was also seen; the were alternately introduced. The lower part, buskins were purple, but quite plain; at least no ornament could be discerned upon them. The ground of the picture had been a dark brown; and the figure was represented standing on a lawn, or carpet of green, with small sprigs." The third compartment is without hesitation considered to represent Henry III. "This portrait, upon comparison, is found greatly to resemble the features of the cumbent figure of the Monarch upon his tomb in this Church. It is painted upon a dark brown ground, which is semée of golden lions, passant guardant, in allusion to the charge, in the Royal arms of the Kings of England, of the House of Plantagenet, a very early instance of heraldic decoration. "The figure of the King is well drawn, and the folds of the drapery are particularly easy and gentle, but very indistinct at the lower extremity: his countenance is mild and expressive; the figure is in action, and evidently commanding attention to the pass. ing scene. in regal robes; the mantle of a murrey coHe is represented crowned, and lour, lined with white fur, and guarded with broad lace, and is fastened on the right shoulder by a fibula of a lozenge form. His tunic, which is scarlet, is bound round the waist by a girdle of very rich workmanship, fastened with a gold buckle: his gloves also are ornamented on the bark of the hand and the bottom of the little finger, with embroidery; the Monarch bears in his right hand a sceptre of ivory, terminating in a rich finial of goid. "From the other panel the figure is ob literated, the paint having been entirely scraped off the surface by a plane or some such instrument. The pictures that have been suffered to remain are highly curious and interesting, as ancient examples of ancients were no strangers to painting doors, painting in oil applied to pictures, for the '&c. 304 Ancient Paintings in Westminster Abbey. "The height of the enclosure is 13 feet 9 inches, to the top of the finials; and each compartment is about two feet, seven inches wide, being separated from each other by small buttresses. They were or ginally adorned with a full-length figure in each, painted in oil colours on a ground of plaister, as ancient an example of the art as is to be found in the kingdom, being undoubtedly of the period of Henry III. or of Edward 1. The small pillars from which the arches of the several compartments take their spring, were white diapered with black, in various patterns, while the capitals and bases were gilt; but have been all painted black in the recent alteration. [Oct. ed over, a wainscot colour, at the late repairs. "The figure appeared to have been that that the screen or enclosure contained 4of an ecclesiastic; and it may be supposed gures of a King and Bishop [or Saint] in alternate succession. This series, it may without presumption be assumed, was continued round the whole choir. The sacerdotal robe was represented of pure white, edged with lace and rich fringe, the colours of which were green, white, and red; the ends of the stole were seen, as well as the reached down to the feet, ornamented with bottom of the under garment, or alb, which a diapered hem, in squares and lozenges, very curiously worked with a mosaic patIttern, in which green, red, blue, and white, and point of the crazier was also seep; the were alternately introduced. The lower part, The first compartment has been supposed to exhibit King Sebert. must be observed," says Mr. Moule, "that this is merely presumed to be the representation of Sebert, to whom historians agree in attributing the first foundation of a Church at Westminster. There is certainly no objection to be urged as to the identity of the portrait, and it may reasonably be supposed that he would be honoured with the stall nearest the altar.' We have, however, an objection to urge, namely, that Sebert was certainly depicted on the other side. This we know from Weever (see hereafter); and it appears to us improbable that he should be placed on both. To proceed: "This figure is the most perfect of the series, and merits particular attention from the fine state of preservation in which it remains. A venerable personage is represented, bearing in his right hand a sceptre of ancient form, terminating in a pinnacled turret, with his left hand raised in a commanding manner; his head is crowned with a diadem ornamented with strawberry leaves painted on a gold ground; and his heard, of silvery whiteness, is long and curled, with mustachios; his tunic is rose-coloured, worked on the borders and bottom with white and red; his hose are purple; and his shoes, of blue damask, buckle over the instep with a small gold buckle; the ground upon which the figure is painted is a reddish brown, and he is represented standing on a lawn or carpet studded with flowers, &c.; the white gloves on his hands are unadorned with embroidery; and his crown and sceptre, whatever may have been their original appearance, are now of a darkish brown colour." The next panel or division of the screen exhibited only that portion of the painting which was formerly concealed, the greater part of it having been purposely planed off; and it is now entirely obliterated, having been paint buskins were purple, but quite plain; at least no ornament could be discerned upon them. The ground of the picture had been a dark brown; and the figure was represented standing on a lawn, or carpet of green, with small sprigs." The third compartment is without hesitation considered to represent Henry III. "This portrait, upon comparison, is found greatly to resemble the features of the cumbent figure of the Monarch upon his tomb in this Church. It is painted upon a dark brown ground, which is semée of golden lions, passant guardant, in allusion to the charge, in the Royal arms of the Kings of England, of the House of Plantagenet, a very early instance of heraldic decoration. "The figure of the King is well drawn, and the folds of the drapery are particularly easy and gentle, but very indistinct at the lower extremity: his countenance is mild and expressive; the figure is in action, and evidently commanding attention to the pass ing scene. He is represented crowned, and in regal robes; the mantle of a murrey colour, is lined with white fur, and guarded with broad lace, and is fastened on the right shoulder by a fibula of a lozenge form. His tunic, which is scarlet, is bound round the waist by a girdle of very rich workmanship, fastened with a gold buckle: his gloves also are ornamented on the bark of the hand and the bottom of the little finger, with embroidery; the Monarch bears in his right hand a sceptre of ivory, terminating in a rich finial of goid. "From the other panel the figure is ob literated, the paint having been entirely scraped off the surface by a plane or some such instrument. The pictures that have and interesting, as ancient examples of been suffered to remain are highly curious painting in oil applied to pictures, for the ancients were no strangers to painting doors, &c. |