The executors of this will are to be as follows:—Agnes his wife, Arnold Savage, knight, Roger, esquire, William Denne, Canon of the king’s chapel, and John Burton, clerk. Dated in the Priory of St. Mary Overes in Southwark, on the feast of the Assumption of the Virgin, Mccccviii.
The will was proved, Oct. 24, 1408, at Lambeth before the Archbishop of Canterbury (because the testator had property in more than one diocese of the province of Canterbury), by Agnes the testator’s wife, and administration of the property was granted to her on Nov. 7 of the same year.
It may be observed with reference to this will that the testator evidently stands already in the position of a considerable benefactor to the Priory of St. Mary Overey, in virtue of which position he has his apartments in the Priory and a place of honour assigned for his tomb in the church. He must also have established by previous arrangement the daily mass and the yearly obituary service which Berthelette speaks of as still celebrated in his time. It is evident that his benefactions were made chiefly in his life-time. There is some slight difficulty as regards the manors which are mentioned in the will. Multon in Suffolk we know already to have been in the poet’s possession; but what is this ‘Southwell’? Certainly not the well-known Southwell in Nottinghamshire, which cannot possibly have been in the possession of a private person, belonging, as it did, to the archiepiscopal see of York. Moreover, though ‘in Comitatu Nott.’ has been hitherto printed as the reading of the will, the manuscript has not this, but either ‘Notth.’ or ‘North.,’ more probably the latter. There were apparently other manors of Southwell or Suthwell in the county of Nottingham, and a manor of Suwell in Northamptonshire, but there seems to be no connexion with the name of Gower in the case of any of these. It is possible, but not very readily to be assumed, that the scribe who made the copy of the will in the register carelessly wrote ‘Southwell in Com. North.’ (or ‘Com. Notth.’) for ‘Feltwell in Com. Norff.,’ the name which is found coupled with Multon in the other records[42].
The one remaining record is the tomb in St. Saviour’s church. This originally stood in the chapel of St. John the Baptist, on the north side of the church, but in 1832, the nave and north aisle being in ruins, the monument was removed to the south transept and restored at the expense of Earl Gower. After the restoration of the church this tomb was moved back to the north aisle in October 1894, and was placed on the supposed site of the chapel of St. John the Baptist, where it now stands[43].
In the course of nearly five centuries the tomb has undergone many changes, and the present colouring and inscription are not original. What we have now is a canopy of three arches over an altar tomb, on which lies an effigy of the poet, habited in a long dark-coloured gown, with a standing cape and buttoned down to his feet, wearing a gold collar of SS, fastened in front with a device of a chained swan between two portcullises. His head rests on a pile of three folio volumes marked with the names of his three principal works, Vox Clamantis, Speculum Meditantis, Confessio Amantis. He has a rather round face with high cheek-bones, a moustache and a slightly forked beard, hair long and curling upwards[44], and round his head a chaplet of four red roses at intervals upon a band[45], with the words ‘merci ihs[46]’ (repeated) in the intervals between the roses: the hands are put together and raised in prayer: at the feet there is a lion or mastiff lying. The upper ledge of the tomb has this inscription, ‘Hic iacet I. Gower Arm. Angl. poeta celeberrimus ac huic sacro edificio benefac. insignis. Vixit temporibus Edw. III et Ric. II et Henr. IV.’ In front of the tomb there are seven arched niches. Against the wall at the end of the recess, above the feet of the figure, a shield is suspended bearing arms, argent, on a chevron azure three leopards’ faces or, crest a talbot (or lion) upon a chapeau. The wall behind the tomb under the canopy is at present blank; the original painting of female figures with scrolls has disappeared and has not been renewed, nor has the inscription ‘Armigeri scutum,’ &c., been replaced.
This tomb has attracted much attention, and descriptions of it exist from early times. Leland’s account may be thus translated: ‘He was honourably buried in London in the church of the Marian canons on the bank of the Thames, and his wife also is buried in the same place, but in a lower tomb. He has here an effigy adorned with a gold chain and a chaplet of ivy interspersed with roses, the first marking him as a knight and the second as a poet. The reason why he established his place of burial here, was, I believe, as follows. A large part of the suburb adjacent to London Bridge was burnt down in the year 1212[47], in the reign of King John. The monastery of the Marian canons was much damaged in this fire and was not fully restored till the first year of Richard II. At that time Gower, moved by the calamity, partly through his friends, who were numerous and powerful, and partly at his own expense, repaired the church and restored its ornaments, and the Marian canons even now acknowledge the liberality of Gower towards them, though not to such an extent as I declare it to have been. For this reason it was, in my judgement, that he left his body for burial to the canons of this house[48].’ Berthelette in the Preface to his edition of the Confessio Amantis, 1532, gives an interesting account of the tomb: ‘John Gower prepared for his bones a resting-place in the monastery of St. Mary Overes, where somewhat after the old fashion he lieth right sumptuously buried, with a garland on his head in token that he in his life days flourished freshly in literature and science. And the same moniment, in remembrance of him erected, is on the North side of the foresaid church, in the chapel of St. John, where he hath of his own foundation a mass daily sung: and moreover he hath an obit yearly done for him within the same church on the Friday after the feast of the blessed pope St. Gregory.
‘Beside on the wall, whereas he lieth, there be painted three virgins with crowns on their heads, one of the which is written Charitie, and she holdeth this device in her hand,
En toy qui es fitz de dieu le pere[49]
Sauvé soit que gist souz cest piere.
‘The second is written Mercye, which holdeth in her hand this device,