"Yes, all of them, both the new and old, except the few of a different kind which Mr. Acres spoke of just now."
"And will you be so kind as to tell us how they contrived to make those pretty patterns on them?"
"Oh, yes; it was a very simple process: very much in the same way as Bridget makes those pretty pats of butter we admire so much; quite the same, if Bridget would only fill in the spaces between the patterns with butter of another colour. They first made the tile of clay, and then impressed it with a wooden stamp; then it was dried or burnt, then some thin clay or cement of another colour (usually white) was poured into the pattern, then it was glazed over and burnt, the glazing material making the white a rich yellow, and deepening the colour of the tile. The pattern is sometimes perfect in a single tile, sometimes four, eight, or a large number are required to perfect the design. Several ancient kilns for their manufacture have been discovered[52]. Some of these manufactories, it is evident, were very popular; for we find that the same kiln sometimes supplied a great number of churches. Most of our old churches have at some time been paved with these encaustic tiles; but in all cases they have in great measure been destroyed or removed when other beauties of God's house have been defaced, but often too where the hand of man has spared, the hand of Time has obliterated.
"We find every variety of pattern upon these tiles. At Malvern and elsewhere are many letters on single tiles: sometimes they are alphabetically arranged, sometimes they read backwards, and sometimes to a centre. Frequently the tiles have upon them texts of Scripture or other inscriptions, such as 'The time is short,' 'Wait for the knell.' At Malvern is a very remarkable tile; it contains the following curious direction to executors, and was probably intended to be placed over a tomb:—
'Thenke . mon . þi . liffe
maij . not . cũ . endure .
þat . þow . dost . þi . self
Of . þat . þow . art . sure .
but . þat . þow . kepist
un . to . þi . sectur . care .
and . eũ . hit . auaile . þe
hit . is . but . aventure[53].'
Sacred emblems are very common on encaustic tiles, and especially symbols of the Passion; within a single shield is sometimes to be found the cross, crown of thorns, the nails, hammer, scourge, spear, ladder, dice, vessel for vinegar, sponge on a rod of hyssop, and rarely, a sort of bill, perhaps representing an instrument used in removing the Body from the cross. The cross alone, floriated, is frequently composed of many tiles; but it enters too into the great majority of those geometrical and floriated patterns which form so large a portion of the encaustic pavements of most churches. Armorial bearings and mottoes of benefactors, founders, and others are frequently met with. At Great Bedwyn, and in the ruins of Chertsey Abbey, have been found knights in armour and other most interesting figures, throwing considerable light on the history of the armour and costumes of the period. At Westminster are figures of a king, queen, and abbot, which are supposed to represent King Henry III., his Queen, and the Abbot of Westminster. Then I have often seen the cock, the emblem of vigilance; the fox, the emblem of subtlety; the pelican, of piety."
"Why," quietly inquired Ernest, "is the pelican an emblem of piety?"
"There is an old legend which tells us that the young of a pelican were once saved from death by starvation by the parent bird tearing open her breast and feeding them with her own blood. This has from very early times been considered a very beautiful emblem of that Sacrifice which has been offered by Jesus Christ to save us from eternal death. Other emblems are—the circle, of eternity; the fleur de lis, of the Blessed Virgin; the triangle, of the Trinity; the fish, of the Second Person of the Trinity."
"Now do tell me what that means, please, Mr. Ambrose," said Constance; "I cannot see why the fish should be so sacred an emblem."
"As you don't understand Greek, my dear, it is not a matter of surprise that you have not understood this oft-recurring emblem. You must know that the Greek word for fish is ἱχθὑς [ichthys], and the letters in this word form the first letters of each word of a Greek sentence, of which this is the English translation:—'Jesus Christ, the Son of God, the Saviour;' hence the employment of this sacred symbol. Other devices are stags, hounds, antelopes, and other animals; swans, and other birds; emblems of trades, &c. Some appear ludicrous to us, though no doubt many of them were originally intended to teach some useful lesson. At Little Marlow is a fool's head, or cock's comb; at Godmersham, on several tiles is a bending old man, with a staff in his hand, and on his head a fool's cap, representing age and folly. It would seem, however, that some of these grotesque figures were manufactured for no very useful purpose, as is evidenced by the penance once inflicted on a monk of Normandy for making tiles of this description[54]. Encaustic tiles have sometimes been used for memorials of the departed[55]. In the ruins of Evesham Abbey, under a stone coffin, was found a pavement of tiles, on which were initials and a cross. Above a stone coffin, in the ruins of Kirkstall Abbey, was found, in 1713, a pavement of similar tiles; in Gloucester Cathedral is a tile to the memory of John Hertford; and at Monmouth one to Thomas Coke and Alice his wife. These works of art are not only to be admired as the most suitable decorations for the floors of God's house; they are also interesting as specimens of art at various periods; frequently they throw light on the history of churches and religious foundations, and occasionally also of private families. I rejoice to see them again claiming the attention of modern artists and manufacturers, and finding a place once more in the churches, which on all sides are happily being restored to their former beauty and appropriateness.—But here we are at Wood's cottage."