The beautiful canopies over the heads of the figures are well worthy of attention, and also the inscriptions. These usually take the form of Latin verses; and although many were written by learned abbots and scholars, the classical knowledge displayed is somewhat faulty. Here are a few examples:—
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Respice quid prodest precentis temporis aebum Omne quod est, nichil est, preter amare deum. |
Sometimes the author of the inscription recorded his name, as did the learned Dame Elizabeth Hobby on a brass at Shottesbrooke, which runs—
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O multum dilecte senex, pater atqz bocate, Del quia grandaebis, bel quia probus eras. Annos bixisti nobies decem, atqz satelles Fidus eras regum, fidus erasqz tuis. Iam satis functus baleas, sed tu, deus alme, Sic mihi concedas bibere siqz mori. |
Variety was added sometimes by jumbling together various languages, Norman-French, Latin, and English being often oddly combined.
People in the Middle Ages loved punning and playing upon the sound of words. Thus a brass to the memory of Thomas Hylle (or Hill) has some verses beginning “Mons in valle jacet.” John Day, the printer, had a very extravagant and jocular epitaph beginning—
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“Here lies the Daye that darkness could not blynd.”
“He set a Fox to wright how Martyrs runne By death to lyfe”— |
alluding to his publication of Foxe’s Book of Martyrs. His widow probably married a man named Stone. Hence we read—
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“Als was the last encreaser of his store, Who mourning long for being left alone, Sett upp this tombe, her self turned to a Stone.” |
“Orate pro anima,” or “of your charite pray for the soul of ——” were usual inscriptions.