Another form of effigy was commonly in use, in addition to the figures just described. These are called incised effigies, which were cut in outline upon flat slabs of stone, the lines being filled in with enamelled metals. Thorton Abbey, Lincolnshire, and Brading, in the Isle of Wight, have examples of this work. But the great expense of these enamels, and also their frailty when exposed in the pavements of churches, led to the use of brass; and hence arose the introduction of memorial brasses for which our country is famous.
We owe the application of brass to memorial tablets to the artists of Flanders, and the date of their introduction is about the middle of the thirteenth century. The execution of almost all of our English brasses is due to native artists. Foreign brasses are usually of great size, and consist of a quadrangular sheet of metal, on which is engraved the figure, usually under a canopy, the background being ornamented with rich diaper, foliage, or scrollwork, and the incisions filled with colouring. Several brasses in England conform to this style of workmanship, and are evidently the production of foreign artists. The English brasses, on the contrary, consist of separate pieces, with an irregular outline, corresponding with that of the figure. They have no brass background; and for delicacy of engraving and general appearance the English brasses are by far the best.
The names of the makers of brasses have been almost entirely lost. Two only bear marks which are supposed to be those of the engraver. No other country can boast of so large a number of these memorials as England, in spite of the hard usage they have received and their wanton destruction. About four thousand remain; and constantly we find the matrices cut in stone slabs, from which brasses have been torn; so that we may assume that quite as many have been destroyed as those which survive. The southern and eastern counties are most richly furnished with these monuments, whereas the western and northern counties have but few brasses. Norfolk, Suffolk, Essex, and Kent are the most rich in this respect. The earliest brass of which we have any record is that of Simon de Beauchamp, who died before 1208. This is mentioned by Leland. The earliest brass now in existence is that of Sir John D’Aubernown at Stoke Dabernon, Surrey, which was fashioned in 1277. In the fourteenth century a very large number of brasses, remarkable for their beauty of form and execution, were made. The artistic workmanship began to decline in the fifteenth century, and in the following became utterly degenerate.
It was not an uncommon practice for subsequent generations to appropriate the memorials of their predecessors. Such brasses are called palimpsests. By the carelessness of churchwardens, by fraud, or spoliation, brasses were taken from the churches, and acquired by some maker in the town. When a new one was required, the tradesman would take from his stock, and on the reverse engrave the figure of the individual whose memory he was called upon to perpetuate. Hence when brasses are taken up from the pavements, frequently the remains of a much earlier memorial are found on the reverse side. There is an example of this curious method of procedure at St. Lawrence’s Church, Reading, where on the reverse of a brass to the memory of Walter Barton was found the remains of the brass of Sir John Popham, who was buried at the Charterhouse, London. This monastery was dissolved in 1536, the monuments sold, Sir John Popham’s brass among them, which was evidently soon converted into a memorial of Walter Barton.
Sometimes the original brass was appropriated as it lay, the figure being slightly altered to suit the style of costume prevalent at the later date. In other cases the engraver did not even trouble himself to alter the figure, and simply added a new inscription and shield of arms.
The wanton destruction and gross neglect of churchwardens, both before and after the Reformation, were very great. At St. Mary’s Church, Reading, the accounts tell a sad tale of the disgraceful damage in the year 1547:—
“Receyvid of John Saunders for iii cwt lacking ix’li of metall that was taken upp of the graves, and of olde candlestycks at vi’s the hundred xlvj’s ii’d.”
Evidently a clean sweep was made of most of the memorial brasses in the church, and few escaped destruction. The tale is too familiar. Most churches have suffered in the same way.
The study of brasses throws much light upon the costumes and fashions of the day when they were engraved. We see priests, who may be recognised by the tonsure and vestments, amongst which we find the alb, amice, stole, maniple, and chasuble. The pastoral staff, ring, mitre, sandals, tunic, dalmatic, and gloves mark the graves of bishops and mitred abbots.
A close skull-cap, a long robe with narrow sleeves, a hood, tippet, and mantle buttoned on the right shoulder, compose the dress of judges and officers of the law, as depicted on brasses. The changes in the fashion and style of armour, which took place between the fourteenth and the seventeenth centuries, are all accurately represented in these memorials; and also the picturesque costumes of ladies with their curious headgear; and the no less various fashions of the male civilian’s dress. A study of brasses is an admirable guide to the prevailing style of dress during the periods of their construction.