In reference to the introduction of Cistercian monks into England, we annex the following from an old Chronicler:—“About this time,” says he, “by means of one Stephen Hardyng, a munke of Sherburne, an Englyshe man of the order of Sisteaux, or whyte munkes, had his beginning in the wildernesse of Cystery, within the Provynce of Burgoyne, as witnesseth Ranulph, munke of Chester: but other wryters, as Jacobus Philippus, and the auctor of Cronyca Cronycorū, Matheolus, with other sayen, yᵗ this Stephen was the second abbot of yᵗ place, and that it was founded by the means of one Robert, abbot of Molynēse, in the yere of Grace, M.lxxx.xviij, which, to follow their sayinge, shulde be in the ix yere of yᵉ reyne of this Kynge” [Rufus.] “This order was after brought into Englande by one called Walter Espeke, that founded the firste abbey of yᵗ religion at Ryuall [Rivaux], about the yere of Grace xi.c.xxxi., the which shulde be about the xxxi. yere of the firste Henry, than Kynge of Englande.” This last is the correct date of the introduction of white friars into this country, and he adds:—“Somewhat of their religion is towched in the x chapitre of the vii boke of Polychronicon.”[166]
Abbey Windows.—Warton says the stem of Jesse was a favourite subject, and Sugerius thus proves it: “I have caused to be painted a beautiful variety of new windows from the first, which begins with the stem of Jesse in the caput ecclesiæ, or part where the altar was erected. Any miraculous events happening to persons were represented in their chapels and churches in stained glass, or such as happened within the knowledge of the erector. Common subjects were a genealogical series of benefactors; arms and figures of donors of lights; the seven sacraments of the Romish Church; many crowned heads, with curled hair and forked beards, represent the Edwards, Richard the Second, and Henry the Fourth; whole length figures with crowns and sceptres, Jewish kings, connected with some Scriptural history, universally so when in profile.” The principal subjects in the great window of Tinterne Abbey appear to have been arms and figures of the founder, and of a series of benefactors. The last fragment, after many years of desolation, was a shield of the Bigod family.
Cowls.—With respect to the habit, it is recorded that many noblemen, and others of high rank, gave directions that, after their decease, they should be dressed in monk’s gear, and be thus consigned to the grave. This was a very common practice in Wales; for as it was written, that “all were monks who shall gain heaven, or rather that there were none there but monks,”[167] it became necessary to assume the garb at least, as a safe though surreptitious passport to those happy seats. It was usual in some cases to wear the garb during sickness only, and lay it aside on the return of health; in others, to keep it in reserve for their death. Lewis, Landgrave of Hesse, said to his attendants—“As soon as I am dead, put on me the hood of the Cistercian order; but take very diligent care not to do so while I am living.”[168]
MSS., Books.—In addition to what has been already quoted on this subject, it was long a proverbial saying, that a convent without a library, was like a castle without an armoury. When the monastery of Croydon was burnt in 1091, its library, according to Ingulphus, consisted of nine hundred volumes, of which three hundred were very large. “In every great abbey,” says Warton, “many writers were constantly busied in transcribing, not only the service-books for the choir, but books for the library.”[169] The Scriptorium of St. Alban’s Abbey was built by Abbot Paulin, a Norman, who ordered many volumes to be written there about the year 1080. Archbishop Lanfranc furnished the copies. Estates were often granted for the support of the Scriptorium. We find some of the classics written in the English monasteries very early. Henry, a Benedictine monk of Hyde Abbey, near Winchester, transcribed, in the year 1178, Terence, Boethius, Suetonius, and Claudian. Of these he formed one book, illuminating the initials, and forming the brazen bosses of the covers with his own hands. Other instances of the same kind are added. The monks were much accustomed both to illuminate and to bind books, as well as to transcribe them. “The scarcity of parchment,” it is afterwards observed, “undoubtedly prevented the transcription of many other books in these societies. About the year 1120, one Master Heugh, being appointed by the monastery of St. Edmondsbury, in Suffolk, to write and illuminate a grand copy of the Bible for their library, could procure no parchment for this purpose in England.” Paper made of cotton, however, was certainly in common use in the twelfth century; though no evidence exists that the improved kind, manufactured from linen rags, was known till about the middle of the thirteenth.[170]
The pavement lately discovered in the Abbey Church of Tinterne, and described at page 42 of this volume, forms an interesting relic of its internal decorations. There is abundant proof, in the Norman centuries, that mosaic work was adopted as an embellishment of the high altar, and, as in the present instance, in the front of shrines. At first, these pavements exhibited scripture stories, painted upon glazed bricks and tiles of an irregular shape, fitted together as the colour suited, and upon the same plan as the glass in windows. By an improvement in the succeeding ages, the bricks, as in the specimen before us, were made equilateral, and about four inches square; which, when arranged and connected, produced an effect closely resembling the Roman designs, yet wanting their simplicity and taste. The wreaths, circles, and single compartments, retain marks of Gothic incorrectness, and of as gross deviation from the original as the Saxon mouldings.
At what period heraldic devices were introduced cannot be ascertained with precision; but it is probable that, when they were first carved or painted upon escutcheons, or stained in glass, the floors received them likewise as a new ornament. The arms of founders and benefactors were usually inserted during the middle centuries after the Conquest, when many of the greater abbeys employed kilns for preparing them, from which the conventual, and their independent parish, churches were supplied. Some writers have conjectured that the painted tiles were made by Italian artists settled in this country; and it has been thought that monks, having acquired the art of painting and preparing them for the kiln in the manner of porcelain, amused their leisure hours by designing and finishing them.
The altar-pavement here under notice is of an early period; but in those of a later age, when the branch of encaustic painting had reached perfection, the exquisite delicacy and variety of the colours—though seldom of more than two—are particularly discernible. The use of these painted bricks, or tiles, was confined to consecrated places, almost without exception; and those discovered since the Reformation have been all found upon the sites of convents, preserved either in churches or in houses, to which tradition confirms their removal.[171]
Amongst the encaustic relics of a later date, family arms, impaled and quartered, as well as scrolls, rebuses, and ciphers, are very frequent. In the present instance, the tile exhibits a quartering of the Clare and Bigod shields. In others, the arms are interspersed with various devices, or single figures, such as griffons, spread eagles, roses, fleurs-de-lis, &c., of common heraldic usage, but not individually applied. It appears that in some instances they formed a kind of tesselated pavement, the middle representing a maze, or labyrinth, about two feet in diameter, so artfully contrived that a man, following all the intricate meanders of its volutes, could not travel less than a mile before he got from one end to the other. The tiles are baked almost to vitrifaction, and wonderfully resist damp and wear.[172] Actual tesselated pavements once existed. A manuscript Anglo-Saxon Glossary, cited by Junius, says—“Of this kind of work, mosaic in small dies, little is used in England. Howbeit, I have seen of it a specimen upon church floors, before altars—as before the high altar at Westminster—though it be but gross.”[173]
Abbey Wire-works.—Among the objects of local industry in Tinterne, to which the stranger’s attention is usually directed, the Abbey Wire-works are the most interesting. “These,” to quote the words of the late Mr. Thomas, “as well as the stately pile in their vicinity, amongst whose silent recesses the tourist has so often and fondly trodden, are also the dominions of Art. But how widely different is the scene! Here she is met with in her busy laboratory, controlling and directing the energies of mankind, and seizing upon the very subjects of nature—the gurgling water and the lambent flame—to make them tributaries to her ambitious designs; whilst there, in the precincts of that ruined fane, she is beheld indolently reclining in the flowery lap of her indulgent rival—just as we have seen the wasted form of a lovely maiden pillowed on the bosom of her elder sister, and gently languishing through the departing hours of her insidious disease.”