Quod si fama negat, mundi quia gloria transit,
Haec monumenta lege.'
We learn from an interesting note at the end of Caxton's edition of Boethius, that the good printer was not satisfied with printing some of Chaucer's works, but further endeavoured to perpetuate the poet's memory by raising a pillar near his tomb, to support a tablet containing an epitaph consisting of 34 Latin verses. This epitaph was composed by Stephanus Surigonus of Milan, licentiate in decrees, and is reprinted in Stowe's edition of Chaucer's Works (1561), at fol. 355, back. The last four lines refer to Caxton's pious care:—
'Post obitum Caxton voluit te viuere cura
Willelmi, Chaucer, clare poeta, tui.
Nam tua non solum compressit opuscula formis,
Has quoque sed laudes iussit hic esse tuas.'
A description, by Dean Stanley, of the Chaucer window in Westminster Abbey, completed in 1868, is given in Furnivall's Temporary Preface (Ch. Soc.), p. 133. Some of the subjects in the window are taken from the poem entitled 'The Flower and the Leaf,' which he did not write.
It will be observed that Sir H. Nicolas speaks, just above, of 'the arms of Chaucer,' which he describes. But it should be remembered that this is, practically, an assumption, which at once launches us into an uncertain and debateable position. These arms certainly belonged to Thomas Chaucer, for they occur on a
seal of his of which a drawing is given in MS. Julius C 7, fol. 153; an accurate copy of which is given by Sir H. Nicolas. It is therefore quite possible that the same arms were assigned to the poet in 1556, only because it was then assumed that Thomas was Geoffrey's son; the fact being that the relationship of Thomas to Geoffrey is open to doubt, and the case requires to be stated with great care.