Digitized by the Internet Archive

in 2011 with funding from

University of Toronto

http://www.archive.org/details/monasticsealsofxOOpedr

v^^

IDunasftt Seals uf i^t Xlllt^ Cenfutig

of tf)c XllltJ) Ccnturj*.

A SERIES OF EXAMPLES, ILLUSTRATING THE NATURE

OF THEIR DESIGN AND ARTISTIC VALUE, SELECTED,

INTRODUCED, AND DESCRIBED

BY

GALE PEDRICK

Fellow of the Royal Historical Society

London :

THE DE LA MORE PRESS

298 REGENT STREET, W

MCMII

PONTIFICAL INSTITUTE OF MtOIAtVAL SiUUl^S

59 QUtiEi>f S PARK CRhSCENT TORONTO— 5, CANADA

OCT 6 1951

PRINTED AT THE

DE LA MORE PRESS 298 REGENT STREET, W

l^rtgtnal Su&scri&crs.

Adam, P., Esq.

Adams, John G., Esq.

AiTCHisoN, G., Esq., R.A.

Allen, E. G. & Murray, Messrs.

Alma-Tadema, Sir L., R.A., D.C.L., LiTT.D., F.S.A.

Almack, Edward, Esq., F.S.A.

Anderson, Archibald, Esq.

Arnold, A. A., Esq.

Baddeley, St. Clair, Esq.

Barwell, Noel P., Esq., Trin. Coll. Cantab (2 copies.)

Battersea, The Right Hon. Lord

Bell, W. Reward, Esq.

Bensly, W. T., Esq., LL.D., F.S.A.

Bethell, William, Esq.

Bevan, F. L. Esq.

Blanc, Hippolyte J., Esq., R.S.A., F.R.I.B.A., F.S.A. (Scot.)

Bohn, H., Esq.

BowEN, The Rev. David

Boys, Henry S., Esq., I.C.S. (Retired.)

Brabrook, E. W., Esq., C.B., F.S.A.

Brakspear, Harold, Esq., F.S.A.

Bremridge, Mrs. Margaret (deed.)

Bremridge, Philip, Esq.

Brent, Algernon, Esq., F.R.G.S.

Brockhaus, F. a., Esq.

Brocklehurst, S., Esq., F.R.G.S. F.R.Hist.Soc.

Brooke, Sir Thomas, Bart., F.S.A.

Brooke, The Rev. Stopford

Brooking-Rowe, J., Esq.

Brovi^n, W., Esq., F.S.A.

Brown, William, Esq.

Brownlow, The Right Rev. William R., Bishop ofCliJton (deed.)

Bruce, John, Esq.

Brushfield, T. N., Esq., M.D., F.S.A.

Bruton, D. Yeo, Esq.

BuMPus, Messrs. John & E., Ltd. (36 copies^

Burch, Arthur, Esq.

Burns & Oates, Ltd., Messrs.

Burton, The Right Hon. Lord, D.L., J. P.

Campbell, N. D., Esq.

Carmichael, Sir T. D. Gibson, Bart., M.A.

Carrington, Chau.les, Esq.

Cave, Charles, J. P., Esq.

Cary, Mrs., of Torre Abbey

Cary-Elwes, v. D. H., Esq., D.L., J.P., F.S.A.

Chadwick, S. J., Esq., F.S.A.

Champneys, Basil, Esq.

Chapman, H. Mapleton, Esq.

Charles, Edward J., Esq.

Church, Professor A. H.,M.A.,D.Sc.,F.R.S.

Clarke, Sir Ernest, M.A., F.S.A.

Clifford of Chudleigh, The Right Hon. Lord.

Clout, Richard, Esq.

CoLLETT, The. Rev. Edw.

Colville, H. Ker, Esq.

CoMMiN, J. G., Esq. (2 copies^

Cooper, The Rev. T. S.

Copp, John, Esq.

Cornish Brothers, Messrs.

Corpus Christi College, Cambridge, The Rev. the Master of.

VI.

ORIGINAL SUBSCRIBERS

Crane, Walter, Esq.

Crews, Chas. T. D.. Esq., F.S.A.

Croslegh, The Rev. Chas., D.D.

Davis, Colonel John

Deighton, Bell & Co., Messrs. (2 copies.)

Dick, James A., Esq., M.D. (Edin.)

Downing, William, Esq.

Douglas, P., Esq.

Egerton of Tatton, The Right Hon. The Earl

Elworthy, Fredk. T., Esq., F.S.A,

Evans, Sir John, K.C.B., D.C.L., LLD., Sc.D., F.R.S., D.L.

Evans, The Rev. Geo. Eyre

Exeter, The Right Rev. the Lord Bishop of (Dr. Ryle.)

Fairbank, F. R., Esq., M.D., F.S.A.

Falkiner, Sir Leslie, Bart.

Fane, W. D., Esq., J.P.

Farrar., The Very Rev. F. W., D.D., F.R.S., Dean of Canterbury

Fenton, James, Esq., M.A., F.S.A.

Fitzmaurice, The Right Hon. Lord Edmond, M.P.

Fletcher, W. Y., Esq., F.S.A.

Frost, Fred. C, Esq., F.S.L

Fuller, A. E., Esq.

Gamon, John, Esq.

Garner, Thomas, Esq.

Gasquet, The Right Rev. F. A., D.D.

George's Sons, Messrs. William

GiLBEY, Sir Walter, Bart.

Gilman, Sir Charles R., J.P.

Gilpin, Captain

GOSSELIN, H. R. H., Esq.

GouGH Henry, Esq., Barrister-at-Law

Graham, Miss Louise

Grange, Ernest L., Esq., M.A., LL.D., F.S.A.

Greenwood, Hubert J., Esq., F.S.A. Gretton, John, Esq., Jun., M.P. Grissell, Hartwell D., Esq., M.A., F.S.A. Guthrie, James, Esq. Gwynne, J. E. A., Esq., J. P., F.S.A.

Haden, Sir F. Seymour, P.R.E.

H.^LL, Edwin T., Esq., F.R.LB.A.

Hanson, Sir Reginald, Bart., LL.D., F.S.A.

Harben, H. a., Esq., F.S.A.

Harmsworth, Alfred, Esq.

Hartland, E., Esq., F.S.A.

Haslam, Sir A. Seale, M.P.

Haworth, The Rev. W., F.S.A.

Healey, C. E. H. Chadwyck, Esq., K.C.

Hems, Harry, Esq.

Herbert of Llanover, The Honourable Augusta

Herbert, Chas. J, J., Esq.

HiGGiNS, Alfred, Esq., F.S.A.

Hoblvn, Richard A., Esq., F.S.A.

Hodges, Figgis & Co., Ltd., Messrs. (2 copies.)

Hodgkin, Thomas, Esq., B.A., D.C.L.

HoDsoN, Laurence W., Esq.

Hole, Mrs.

Holland, F. W., Esq.

Holland, Robert M., Esq. Holland, Alfred R., Esq.

Holman, H. Wilson, Esq.

Hovenden, Robert, Esq., F.S.A.

Hudd, Alfred E. Esq., F.S.A.

Hudson, The Rev. William, M.A., F.S.A.

HuGGiNs Sir Wm., K.C.B., D.C.L., LL.D., Sc.D., P.R.S., etc.

Hughes, H. R., Esq., of Kinmel

Jackman, Edward, Esq.

Jackson, Thomas G., Esq., R.A., F.S.A.

James, Dr. M. R., Fitxtvilliam Museum, Cambridge

ORIGINAL SUBSCRIBERS

Vll.

Johnston, Mr. P. M.

Kempe, C. E., Esq.

Keyser, Charles. E., Esq., M.A., F.S.A.

KiNGDON, Kent, Esq. (deed.) Trustees of

KiRBY, T. P., Esq., M.A., F.S.A., Winchester College

KiTCHiN, The Very Rev. G. W., D.D., Dean of Durham

KiTCHiNG, John, Esq., F.R.G.S., F.Z.S., etc.

Knight, W. T. Esq.

Knowles, W. H., Esq., F.S.A., F.R.I.B.A.

Lafontaine, Alfred de, Esq.

Lamplugh, The Rev. D.

Laver, Henry, Esq.

Layton, Thomas, Esq.

Leadman, Alex. D. H., Esq.

Leigh, The Very Rev. Hon. James W., D.D., Dean of Hereford

Lewis, Sir W. T., Bart., K.B.

Luke, Edmund W., Esq.

Lynam, C, Esq., F.R.LB.A.

Lyte, Sir H. C. Maxwell, K.C.B.

Macfarlane-Grieve, W. a., Esq., J.P., M. A., S.C.L.Oxon., M.A.Cantab., F.S.A.Scot.

Macmillan & Bowes, Messrs. (8 copies^

Maggs Brothers, Messrs.

Maples, Ashley K., Esq.

Margerison, Samuel, Esq.

Marriott, W. K. Esq., F.R.Hist.Soc.

Matheson, Sir Kenneth, Bart.

Midland Educational Co., Birmingham (3 copies:)

Mills, R. M., Esq.

Mitchell, Frank J., Esq., J. P., D.L., F.S.A.

Mitchinson, The Right Rev. Bishop, D.C.L., D.D., Pembroke College., Oxon.

Mitchinson, W. G., Esq.

Molyneux, The Rev. B. W. H., D.C.L., F.S.A.

Moore, J. P., Esq., F.R.LB.A.

MoRo, His Grace the Duke de

Morson, Thomas, Esq.

Mylne, The Rev. R. S., M.A., B.C.L.Oxon., F.S.A., &c.

Naunton, Walter W., Esq.

Navarro, A. F. de, Esq.

Newman, S. A. Grundy, Esq.

Nichols, F. M., Esq., F.S.A.

Noble, J. H. B., Esq.

Norfolk, His Grace the Duke of, K.G., Earl Marshal

Northumberland, His Grace the Duke of, K.G., P.C, etc.

Orange, Geffrard, Esq.

Otto Schulze & Co., Messrs. (2 copies.)

Owen, The Rev. Canon Trevor, F.S.A.

Parker & Co., Messrs. James

Peckover, Alexander, Esq., LL.D., F.S.A., F.L.S., F.R.G.S., Lord Lieutenant of Cambridgeshire

Pedrick, T. a. G., Esq.

Pedrick, R. W., Esq.

Pedrick, Albert, Esq.

Pedrick, Geo. B., Esq.

Pedrick, Thos. R., Esq.

Pembroke, The Right Hon. the Earl of, P.C, G.C.V.O.

Pereira, J. A. W., Esq., L.R.C.P., M.R.C.S.

Perkins, Mrs. Frank P.

Peter, Thurstan C, Esq.

Pixley, Francis W., Esq., F.S.A.

Platnauer, H. M., Esq., York Museum

PONTING, C. W. E., Esq., F.S.A.

Poole, Edward D., Esq.

Prance, The Rev. Lewis N., M.A.

Prater, T. Herbert, Esq.

Preston, R. Bassnett, Esq., A.R.LB.A.

.?5

Vlll.

ORIGINAL SUBSCRIBERS

Radcliffe, R. D., Esq., M.A., F.S.A.

Ready, A., Esq.

RiPON, THE Most Hon. the Marquess of, K.G., P.C, G.C.S.I., CLE., etc.

Roper, Alfred H., Esq.

RoYCE, The Rev. David

Salzmann, L. F., Esq.

St. Albans, The Right Rev. the Lord Bishop of (Dr. Festing.)

Schroder, Walter, Esq., Deputy Coroner for London and Middlesex

Secretan, The Rev. W, W.

Seebohm, Frederic, Esq., LL.D., J.P.,F.S.A.

Serjeantson, The Rev. R. M.

Sewell, The Rev. James E., D.D., Warden of New College, Oxford

Shelly, John, Esq.

Smallpeice, The Rev. G.

Smith, W. J., Esq.

Stephens, The very Rev. W. R. W., B.D., F.S.A. , Dean of Winchester

Stoker, Sir W. Thornley

Stubs, Peter, Esq.

Stubbs, The very Rev. C. W., D.D., Dean

of Ely

Sturley, F. W,, Esq. Sutton, The Lady

Tangye, Sir Richard, F.R.G.S., J. P.

Tennant, Sir C, Bart., J. P., D.L.

Thomas,The Venerable Archdeacon, F.S.A.

Traherne, L. E., Esq.

Treherne, Geo. G. T., Esq.

Trevail, Silvanus, Esq., F.R.LB.A., J. P., President of the Society of Architects

Tout, Professor T. F.

Twietmeyer, a., Esq.

Underdown, H. W., Esq.

Vade-Walpole, Mrs.

Vincent, Sir Edgar, K.C.M.G., M.P.

Wadmore, J. F., Esq.

Walker, John W., Esq.

Walters, Fredk. A., Esq., F.S.A.

Ward, C. B., Esq.

Warren, John, Esq., B.A., LL.B., J. P.

Watkin, T. M. J., Esq., Portcullis

Weber, Dr. F. Parkes

Were, Francis, Esq.

Weston, Lt.-Col. G. Hunter

Wilkinson, T. R., Esq.

Williams, Sir John, Bart.

Williams, T. W., Esq.

Williams & Norgate, Messrs.

Wilson, Thomas, Esq.

Wingfield, a. H., Esq.

WippELL, Henry H., Esq.

Wyon, Allan, Esq., F.S.A.

Yates, The Rev. S. A. Thompson Young, Henry & Sons. Messrs.

LIBRARIES.

Barrow-in-Furness, Public Birmingham, Museum and Art Gallery Blackburn, Free Public BooTLE, Free Public Bradford, Free Bury (Lanes.), Public

Cambridge, Gonville and Caius College Canterbury, Free Cardiff, Free

Dublin, National Library „ Royal Irish Academy Ulster Office

Edinburgh, Museum of Science and Art „ Lyon Office Public

|i

I

J

ORIGINAL SUBSCRIBERS

IX.

Edinburgh, Signet

Eton College

Exeter, Dean and Chapter

Fort Augustus, St. Benedict's Abbey

GoDALMiNG, Charterhouse Glasgow, The Mitchell

„ University Guernsey, Guille-All^s

Hull, Public

Leeds, Free Public Lincoln, Dean and Chapter

„ Public Liverpool, Public London, Bishopsgate Institute

„ Burlington Fine Art Club

„ Guildhall

„ London

„ National Art

„ Public Record Office

„ Royal Institution of Great Britain

„ Sion College

„ The Tate, Streatham, S.W.

„ Dr. Williams's

Manchester, Chetham's

„ The John Rylands

„ Public Free

Newcastle-upon-Tyne, Public

„ Society of Antiquaries

Newport (Mon.), Free Nottingham, Free Public

Oldham, Public

Oxford, All Souls College (Codrington)

„ Christ Church College

„ Magdalen College

„ University Antiquarian Society

Plymouth, Proprietary and Cottonian

Reading, Free Public Repton, School Rochdale, Free Public

St. Andrews, University St. Helens (Lane), Free Public Saffron Walden, Public Sunderland, Public

Warrington, The Museum Wells, Dean and Chapter of Wigan, Free Public Whitby, Subscription Worthing, Public

York, The Dean and Chapter of

I

preface.

IN selecting the seals which illustrate this work, whilst the reproduction of a number of the best remaining instances was provided for, I was not wholly influenced by the idea of presenting as many of the finest extant as was possible. That the group might have a value not restricted to the pictorial, I also aimed at affording through the plates as wide a view of seal design and execution, of the period limited, as was practicable. This explains the omission of a few artistic and well-preserved examples and accounts for the illustration of others of lesser value artistically, together with some which time has harshly dealt with. The difficulties attendant upon reproduction were numerous, and I am glad of this opportunity to acknowledge the successful manner in which these have been met by Mr. James Hyatt of the Rembrandt Studio, and the artistic fashion in which he has treated the seals. For the satisfactory way in which the casts were prepared, Mr. Ready of the British Museum claims my thanks.

In importance and interest the histories of our dissolved monastic centres widely differ. That the designs appertain in many cases to the chief, and those which exhibit the most engrossing features is due to accident, not contrivance, all other aspects having been made subservient to the artistic. A work of this character, in so far as the historical matter is concerned, obviously, partakes largely of the nature of a compilation. Beyond the subject of seals I have conducted no independent research, but have drawn the necessary material from such literature as was available and useful. To enumerate all the works to which I have had recourse is not feasible, but I eagerly express and acknowledge the great obligations under which I rest to that monument of patience and scholarship, Dugdale's " Monasiicon Anglicanum" (Edition of 1846), and the " Catalogue of Seals in the Department of Manuscripts in the British Museum, by Dr. W. de Gray Birch, F.S.A. The conception of the work, its plan and execution are, of course, peculiar to it.

Gale Pedrick,

Teignmouth, February, 1902.

(HionUnl^.

Page Introduction ______ i

Descriptive Notes _____ 29

Index - - - -.- - - - 143

Plates

Jnfrwtrucftun.

I.

AT this period most of the channels of Art have been explored, their rise, ebb, and flow studied with sympathy and interest, as well as due tribute paid to their highest achievements. One course, however, affords a distinct exception — videlicet^ the seal Art of the Middle Ages. The full-tide in which its progress culminated has occasionally incited adulatory remark, but the labour of its strivings, the throb of Its aspirations have been almost entirely unheeded — that full acknowledgement its triumphs challenge wholly withheld. Partial explanation Is not far to seek. Practically, and in this it differs from those of most Arts, the function which Its productions were devised to exercise Is no longer what once it was — a common necessity. Changes in custom and circumstance divested It of this and as a corollary time impeded Its continuous development. Around an Art arrested In Its advance by the obsoletism of its uses the veil of obscurity naturally gathered. A dead theme, like the burled dead, It lay forgotten. By later ages forgotten because, having no knowledge of It (Its remains hidden away In repositories for the vestiges of the past) they could not remember. Notwithstanding, so pregnant Is it with vehement beauty that its failure to obtain adequate appreciation and attract the attention of those who have sedulously prosecuted research through development to genesis In other Arts, provokes no mean surprise. Inspired in the eleventh century, when the whole realm of Art was awakening from a sleep which almost approximated death. In the twelfth this particular tributary struggled for a purer articulation, in the thirteenth cast oflF the bonds with which crudity enfettered it, attained its loftiest, and in that and in the succeeding century produced, chiselled with exquisite spirit and delicacy some of the most consummate artistic efforts of mediaeval times. Naturally, in view of the age, the Gothic spirit prepossessed It. As Its evolution came abreast of that magnificent order

2 INTRODUCTION

of stone distribution thus distinguished, which with the Crusades con- stituted the greatest idylls of the Middle Ages, it expanded under its graceful influence, and participated relatively in its ambition and glory. Its subsequent and comparative history yields a grievous contrast. Generally speaking the records of the various arts in conception, craft, style, expression, and all that makes and marks true Art shew, save for epochal depressions and retrogressions always remedied and counteracted, an evolutionary excellence with its final maintenance and future promise. Seal Art failing to recover from its first retrograde movement, marked as was the decline of Roman Art under the Emperors by an exuber- ance of tawdry ornament, pursued it to its nadir. Imbued with the soul which dominated architectural style, with the European spirit of the time, and advancing with it to manifest its essence it declined in sympathetic unison. When it came under the succeeding influence, the Renaissance — which affected contrarily the classic Art of gem engraving, — to emphasise the source which gave it life its state was wrought to a debasement far more ignoble than that in which the decline of the Gothic spirit reduced it. Bringing life to Art generally, to this branch the revival practically brought extinction.

All the best instances of seal Art which corresponded to the early English and decorated epochs, no matter what their class, contained much that was artistically commendable, but for delicacy of execution, beauty, variety of conception and magnificence, those ecclesiastical in character surpassed the rest. Compared with them lay seals lacked an almost indefinable element which characteristic differences in the designers, and the divergent usages for which their works were intended (the one religious, the other civil) can only explain. History and archaeology unite in witnessing that in the monastic centres not only were the principal seats of learning located, but the chief springs of artistic taste and culture also. The religious formulas which prevailed and the devotions which obtained were in the highest degree artistic. By them Art, viewed from the most elevated standpoint, was inspired. Their mechanism demanded the loftiest possible expression of artistic feeling, and in designing and fashioning altar-pieces, shrines, chests, tapestry, gospels, psalters, mass and office books, vestments, and other ecclesiastical machinery with a skill which fluctuated but with an instinct conceived by Religion and born of Art, and a piety that was steadfast, in the lavish and splendid manipulation of metal, stone, other materials, and colour it was enunciated. When, later, these centres stood at bar whatever defects were discovered in their systems the neglect or discouragement of Art did not yield an instance. In view of the foregoing, ecclesiastical seals it is feasible to conjecture were, as a rule, monastic productions.

I

EARLY EXCELLENCE OF SEAL ART 3

Ecclesiastical seal design may be broadly defined as an endeavour to convey through this medium the circumstances and ideal conceptions of mediaeval Christianity. The effort, as its wide variation testifies, was a successful one. Superficially as much is obvious. But deeper study reveals a beauty more intense, the active exercise of great depth of thought, the working of rich imagination, and in the symbolism enlisted, full of hidden charm, the action of that faculty largely mediaeval of seizing the incorporeal, and giving it substantial expression. The craft was heavily encompassed by restrictions. The space available was meagre, the surface of peculiar and inconvenient form — conditions which precluded room for that vigorous, untrammeled, and telling play afforded in the working of larger masses of metal and stone — whilst the difficulties of intaglio production are apparent. In its artificers were united skill, industry, patience, and artistic sense — at times high artistic capacity. Joined to these were humility and devotional ardour, for, similarly with contemporary artists whose work inclined towards the sacred, their central thought, their governing idea was to make Art not only the exponent, but the handmaid and confidant of Religion. It is the fruits of this which gave ecclesiastical seals their artistic pre-eminence. In face of the difficulties attendant upon their creation, to style the highest results as remarkable would be only to qualify them.

But the most significant feature, one hitherto entirely Ignored, which demands particular consideration and appraisement In connection with seal Art consists In (If we may be allowed the term) Its premature excellence. A comparative scanning of artistic development discloses that before painting, and Italian — as well, perhaps, English — sculpture achieved a state at all corresponding, religious seal Art had entered upon, if not attained its highest development. Surprising as this 2iSStrt\on^ prima facie y appears at least one example has been preserved — how many of equal virtue are lost to us we cannot even surmise — to maintain It. Before the end of the thirteenth century Italian brushwork consistently bore an approximation to the Byzantine — characterized by severe lifelessness, the degradation of the human form (consequent upon the canons which condemned the study of the figure) to austere caricature, and the stiff and formal depiction of drapery. Beyond these conventions it had not yet traversed. The year a.d. 1240 witnessed the birth of a painter, whose genius the immortal Dante has extolled, destined to become renowned — Cimabue, the founder of a fresh school which Florence, Siena, and Pisa advanced. One picture of his, a Madonna and Child painted upon gilt wood, was hailed by the Florentines with great enthusiasm. Acclaimed a masterpiece yet this work revealed In its creator an ignorance of anatomy, and measured by later criteria teemed with imperfections. In the Virgin's

4 INTRODUCTION

head descended the archaic type referred to. The nose was drawn long and thin, the mouth and chin in remarkable diminution, the hands and feet of both figures were absurdly elongated whilst the draping lacked ease and grace entirely. In Duccio di Buoninsegna, who laboured with equal aptitude and genius at Siena, Cimabue had a worthy contemporary. He selected the same popular theme for the central panel of his famed altar- piece in the Duomo, and in the work of the Sienese the faults of the Florentine are discovered. Their two productions, both artistically defective, mark the stage which painting had reached at the period indicated. Italian sculpture had advanced farther. Some thirty years before Cimabue saw the light there was born at Pisa, which lead in the reanimation of sculpture, a genius who prescribed the track it followed, and to whom is ascribed the subsequent excellence of European painting as well as sculpture — Niccola Pisano. Several of the panels of the pulpit, the work of his hands and intellect, in the baptistery of his native city are markedly faulty, certain of the figures exhibiting inaccuracies of drawing and decided want of proportion. How far painting and sculpture fell short of the standard attained by ecclesiastical seal Art, one attended with greater difficulties, the obverse of the seal of Merton Priory (a reproduction of an impression of which is illustrated — Plate I., Seal I.) eloquently shews. This seal, which was executed in silver the year after Cimahues hirth^ also displayed the subject of his picture and the panel of Duccio, but with an absolute freedom from the blemishes of either — save in one respect. Neither did it share, with the same reservation, the noted defects of the sculpture described. The matrix of this seal has long been lost, or more probably destroyed for the sake of the metal of which it was composed, but the impression before us, which has survived the stress of six centuries, clearly reveals that the figures were modelled with a truth, spirit, skill, and beauty surpassed only in the rarest instances by brush or chisel. Artistically the virtues of the chief are very great ; the pose is both natural and dignified, the expression of the features benign and maternal, whilst the drapery falls without formal arrangement into the most delicate folds. In endeavouring to show the discrepancies existing between it and contem- porary painting and sculpture we implied the existence of a fault. The impression reveals a slight disproportion and want of truth in the right arm, hand, and fingers of the Virgin, and in the right hand and fingers of the Child, and the question arises whether the artist completed the work he had begun, or from some circumstance or other was precluded from doing so. The presence of this defect is so inconsistent with the excellence of the rest of the work that it would be absurd to declare the artist responsible for its beautiful and skilful limning was incapable of

i

COMPARISON WITH OTHER ARTS 5

drawing a true hand and arm — his anatomical knowledge is evident, his capacity without question — or that he wilfully marred what was almost an ethereal creation. The only reasonable conclusion that we can reach is that the seal through a cause we cannot even surmise passed to a less skilful hand to finish. Happily its age admits of no question. Its reception into the Priory is recorded in its annals ; a document is yet extant authenticated by it shortly after the date given as that of its creation ; and moreover the architectural canopy erected above the figures tends by analogy to limit the period in which it could have been contrived. During Pisano's lifetime an architectural and sculptural creation of singular dignity, chastity, and beauty, which has evoked the admiration of Flaxman and all artists and critics independent of school, was raised in our own country, namely the west front of Wells Cathedral. This sculpturally- enriched facade finds no competitor in this, nor is it surpassed in any other kingdom. With those of Rheims, or Bourges it does not shrink from comparison. It was finished many years before the Cathedrals of Amiens and Orvieto — being generally ascribed to the episcopate of Joceline, A.D. 1206-42 — and is esteemed the most premature instance of kindred sculpture in Western Europe. Assuming the accuracy of the period to which its construction is ascribed its sculptural excellence scarcely anticipated the perfected Art of the seal adduced. But a renowned architect assigns its erection to a time subsequent to the prelacy of Joceline, in the light of which determination the seal is of greater age. Here the point is of no particular moment. We measure the height of a development by its finest individual example, albeit the residue tarry far behind, and in either event it is infallibly demonstrable that many years before painting freed itself from the crudity and convention of tradition, and when sculpture had only begun to aspire to the flood-tide of its second life (not yet reached) ecclesiastical seal Art as regards its absolute purity had attained its zenith.

Since seals constituted the only means of authenticating documents, and were attached to those of trivial as well as of great importance, of all contemporary Arts that which involved their manufacture was perhaps the most fertile, and in its ramifications the most far-reaching. These conditions endued it with a considerable educational value. Necessarily the output was large, and from a single matrix were produced a multiplicity of impressions, each truly conveying the original design, disseminated amongst all grades of society. Thus must have been incited emotions dependent upon their artistic value. If the scheme was half- studied and unskilfully executed it must have offended the taste of the sensitive and created as a corollary a desire for higher things ; if well designed and finished it contrarily gratified it, and stimulated artistic

6 INTRODUCTION

perception. That the effect of the system was as described is a deduction too logical to be heedlessly brushed aside.

Apart from the artistic aspect, a study more engrossing than that afforded by mediaeval seals it would be difficult to conceive. Nor is the virtue of the pursuit thus restricted. In them the varied threads of history and archaeology with other lines are interwoven. The blend is a rich and valuable one. In assisting the historian in the construction and classification of fact they have proved most useful, whilst the irrefragable testimony they have contributed towards the establishment of theories, and the confirmation of ambiguous points have caused them to be recognized as one of the most important factors of archaeology.

II.

The seal was not an invention of the Middle Ages. Its existence then implied a classic and historical usage. As abundant proof remains to show, its origin, coinciding to a large extent with the birth of civilization, is of the remotest antiquity. Civilization, inter alia^ incited trade and commerce, formulated laws, enforced them and the fidelity of contract, recognized certain rights of property, involved the transfer of estate, the exchange of merchandise, and delegation of authority. Of even a limited system, as the first was of necessity, these were the early fruits. To assist in effecting and guaranteeing them some mechanism was simultaneously and urgently demanded. This need the seal was designed to and did satisfy : hence in common with most inventions it sprang from necessity. Its use was not restricted to any particular nation or nations. As soon as the elements of civilization aggregated, from the formation of the mighty kingdom of Babylonia onwards, its services were enlisted — at times it was independently devised — by all. Neither was the seal the exclusive possession of particular estates or dignities ; answering a common need the practice it implicated always embraced all classes and so continued through- out the ages. In constant use, one of its chief requirements was that it should be made of some durable substance. Both stone and metal answered the stipulation and were almost invariably employed. To forward its purpose it was also vital that it should bear some device which implied its possessor, would distinguish and forbid estrangement from him. From this necessity, the circumstance that the medium chosen afforded a vehicle for artistic expression, and finally from that perception of the

i

GREEK TREATMENT OF THE SEAL 7

beautiful always innate in man, the seal at its inception almost was brought into direct relation with Art the vicissitudes of which it reflected with extraordinary fidelity, and without the aid of exterior suggestion inspired, at epochs remote from each other, two distinct and superb branches, namely, the classic Art of gem engraving, and that of the Middle Ages primarily under notice.

The term "seal" in common language is employed in a dual sense. One distinguishes the die upon which the design is engraved, the other the wax, or yielding substance which receives the impression. Each exercised distinct functions, which varied with national custom and modified with time. Those of the first comprised, in addition to its main purpose, service as a personal badge, official ornament, talisman, or symbol of deputed force. The offices of the second embraced the preservation of the secrecy of written knowledge, the authentication of documents, the main- tenance intact of goods and chattels, and amongst Eastern nations assisted in the incarceration of captives and prisoners. To ancient and modern writers and poets — from the scribes of Genesis to Swinburne — both seal and impression have contributed a rich and telling metaphor. To-day the first continues as a symbol of undisputed integrity.

From the earliest known period down to the fourth, or fifth century which succeeded the dawn of the Christian Era (when, as will be seen here- after another description of seal interfered with its absolute use) engraved stones amongst all peoples almost invariably served as seals. At the first and for a very long time subsequent, whilst the development of the Art of stone engraving was visibly progressive, their designs were as a rule but mere incisions which largely partook of the grotesque. Other nations as civilization advanced commendably treated it, but it remained for ancient Greece, which carried Art to a degree of perfection unparalleled and unsurpassed when it attained that signal state of culture for which it was renowned, to raise the craft to the dignity of a perfected Art. That seals should share in the artistic fullness of the Greeks was but normal. At their hands it became a vehicle for the loftiest artistic expression. They produced a vast number designed and executed with superlative skill and beauty, the use of which long survived the Roman conquest, Roman dominance, and the Roman fall. Under Hellenic prepossession Roman workmanship reached a state of almost equal excellence. But to that influence it was not long sensitive. The swiftness with which Roman Art ascended found its contrary sin in the speed with which it sank. By the time Constantine assumed the purple its debase- ment was complete. In the descent the Art of gem engraving relapsed almost into its primitive barbarity, to slumber until the Renaissance. Assisted by stones of contemporary fashioning, antique gems supplied the

8 INTRODUCTION

need for seals in Europe during the period indicated, and partially from thence until the time of Charlemagne.

As time expanded, states and nations arose, and peoples increased the practice we are heeding in all its primitive importance co-ordinately extended. To the comparative scarcity of classic gems were coupled, after the decline of the Art, the difficulties encountered in the contemporary manufacture of stone seals and hence arose the urgency of some auxiliary or alternative process. This was partially met for a while by the bulla, a disc of metal circular or oval in shape, struck like a coin or rudely cut (occasionally used in ancient Greece for securing the contents of wine amphorae), which was usually attached to documents by cords or bands passed through holes in both. Originally and generally it was of lead. That its revival was the innovation of a date posterior to the disintegration of the Roman Empire allows of but slight question, but as to the precise period and whether due to Imperial, Papal, or Patriarchal forethought although archaeology largely supports the second are doubtful points. Whatever the time or origin of its resuscitation the bulla at a very early period was employed as a second method of verification by Byzantine Emperors, Popes, and Eastern Patriarchs, and later by Prankish and other European monarchs. To the first three dignities it would appear it was at first limited, but gradually it lost all class distinction.

But that such an universal and continuously widening necessity as sealing undoubtedly was could always be satisfactorily met either by gems of antique manufacture (gradually becoming even rarer), stones contem- poraneously worked (crude and infrequent as they were) or bullae (which participated more in the character of coins than seals, each impression involv- ing considerable labour and inconvenience), was altogether inconsistent. A mechanism having the fullest effect but capable of simple operation was yet requisite. This need the metal matrix was designed to supply. Its superiority and utility the uninterrupted usage from its introduction until the present, when only in corporate circumstances it is demanded, fully attests. After its introduction the bulla continued to be occasionally (as regards the Papacy entirely) employed, this, however, was but the result of idiosyncracy. For all purposes, practically, the metal matrix superseded it and the graven stone as well. The precise period of its invention and by whom devised are questions involved in obscurity, but (save, of course, as regards the bulla and the metal settings which commonly encircled the stone signets of the Prankish sovereigns) that metal as a medium for seals, although isolated examples earlier are not unknown, was not brought into a request in the least general until after the end of the Carlovingian race there cannot be much doubt. To the Capet Henry I., who ascended the throne of Prance a.d. 1033, the actual adoption was probably

ANGLO-SAXON PERIOD 9

due. He commenced the grand series of French royal seals in metal, and thus incited its application which from thence in a short time spread through Europe.

That the Anglo-Saxons had some acquaintance with the principle of sealing there is sufficient testimony to prove. The first known and undoubted instance of its exercise was an authentication of a cha^rter granted to the Abbey of St. Denis, France, by Offa, King of the Mercians (a.d. 790), who sealed it with a stone signet, incised with a crowned profile bust. Other monarchs upon occasion used antique gems. Ethelwulf (a.d. 836-58) and Ethelred (a.d. 866-71) both did so. King Edgar (a.d. 960) employed for the purpose an antique with profile set similarly with those of the early French Kings. Coenwulf of Mercia (a.d. 796-8 1 9) issued leaden bullae, which displayed the device borne upon his coinage, a small cross moline, as an existing specimen instructs us whilst another, and earlier Saxon use of this instrument by Archdeacon Boniface (supposed to have been a contemporary of the great St. Wilfrid (a.d. 709), who enacted such an important role at the synod of Whitby) is also afforded by a surviving example bearing his name and rank. Ethiluuald, Bishop of Dunwich (an extinct episcopate), who swayed the crozier a.d. 845-70, used a bronze matrix distinguished by an ornamental star of eight points alternately leaf-shaped and fleury, with his name and description. The monks of Bath, one which displayed the Abbey buildings, attributed to the time of the restoration in the tenth century ; those of Durham another, sustaining a cross surmounted with a small saltire, assigned to the same period or the succeeding century ; the Benedictines of Wilton Priory one, held to date from the tenth century, which exhibited the daughter of King Edgar, St. Eadgitha or Edith, blessing with one hand and supporting a book in the other. JElfric, Earl of the Mercians, is known to have possessed a metal matrix (conjectured to have belonged to Leofric, Earl of Mercia, circa a.d. 985), designed with a curtailed figure having a fillet with pendent terminations, holding a sword erect, and wearing a cloak secured by a stud. But strange to say, notwithstanding that the instances enumerated seem to imply the existence of a usage, and do attest a cognizance of all three classes of seal defined the custom among the Anglo-Saxons, general as it was elsewhere, was neither prescriptive, frequent, or constitutionally essential. The cases cited, and others if they are to be discovered, are attributable to foreign influence, or were concessions to foreign custom. As a rule the Heptarchial rulers and ecclesiastics formally attested their documents, as illiterates do to this day, by the simple affixing of a cross a practice not wanting in religious significance, but altogether unsatisfactory and unreliable. It was nevertheless recognized and followed by all classes. It has been contended that the metal examples immediately

lo INTRODUCTION

following the Conquest betray in their execution an Art though crude which had gone through some development. In point of fact these are of the very rudest.

That the practice of sealing, construed at its widest and in its general utility, was introduced into England from France a few years antecedent to the Norman invasion cannot be well disputed. An intimate connection between this country and Normandy (hence with France), consequent upon the exile of Ethelred the Redeless and his children, existed at the time Cnut ruled the land. By the death of Harthacnut, his son, the Danish house became extinct whereupon the Witan called upon Edward to reign. At the Court of his uncle Duke Richard, the Confessor had spent the whole of his youth. To all intents he was a Norman. After his accesssion he bestowed upon his foreign friends and ecclesiastics exalted offices and bishoprics, and introduced to his court Norman ideas, habits, and customs. Amongst the latter the practice of sealing — general in France from the rise of that kingdom onwards — was probably comprehended. The king, in emulation of Henry I. had a broad seal contrived for official use of metal, similar to that of the French monarch but varied of course in its conditions. To this circumstance, no doubt, the institution of the custom in England is primarily due. From thence it came to be recognized as a legal formality. Its growth was gradual. Although firmly rooted, to the closing years of the eleventh century it was far from commonly exercised. In the following it considerably expanded. At the beginning of the thirteenth it had become wholly established, not only as a national convention but as a legal necessity.

Since, as before stated, they afibrded for a long while — execution by autograph was a much later innovation ; Richard II. was the first sovereign to confirm by signature, but long after he varied the fashion seals still retained their original value — the sole means of documentary authentication, during the Middle Ages the importance and utility of seals were singularly great. They not only supplied a necessary official mechanism, but in the conduct of the ordinary transactions of life encountered and satisfied, as they had done anciently, a common need. The use suff*ered no class or restriction whatsoever. Besides the monarch, officers of state, nobles, knights, ecclesiastics (both for functional and personal purposes) shared in it with the people and bodies corporate, civil and ecclesiastic. Some indication of its generality in the times of which we write is afibrded by the large number of seal impressions of all kinds, and offices preserved. When we consider their friable nature in conjunction with their antiquity the insight becomes easily enlarged. The importance of the seal was superlative. Every precaution was necessary to frustrate any attempt

THE " CHAUCER " OF THE ARTS 1 1

to illegltmately exercise It. Consequently It was guarded, and cherished with especial care, and often made to rely largely upon an intricate design. Official documents under seal were defined if closed as '* letters secret," if open for exhibition " letters patent." Hence these legal phrases.

In Greece the usage, as we have noticed, inspired one of the richest of classic Arts which Rome for a while prolonged. For a while the perfect union of Art and necessity prevailed, but from the decline of the Art referred to an absolute divorce existed until the mediaeval period had. well advanced. Then the practice incited, as already hinted, another of considerable beauty and excellence, bearing an affinity to, yet widely diverse from the antique — the minute working of metal in intaglio which re-established the alliance for a considerable epoch. To our own country this quaint, mediaeval craft was not peculiar. In France, Germany, and elsewhere matrices were fashioned with abundant skill and In commendable beauty. But England directed continental styles, and here during the finest period It attained both in design and execution the highest superiority. Viewed therefore from the loftiest artistic standard it may be well regarded as a national Art. To sculpture, obviously. It sustains a relationship not over remote. Nevertheless as a distinct Art it is entitled to, and occupies an independent position, and that one of considerable altitude. The former has been beautifully defined as the " Homer " of the Arts. With a reason of equal force we might well term this in question the " Chaucer " of them.

Having regard both to conception and craft, as we Indicated at the commencement, although numerous civil examples might be adduced as capable exponents of the Art they involved, it was seals of an ecclesiastical character which reached the highest grade of perfection. And it Is their artistic development only, as falling four-square with the lines of the present work, we are here concerned to relate. But we might permissibly conclude our remarks upon the former with a few observations In reference to the design and historical and archaeological features of their remains. The seal of the Confessor bore obversely and reversely a crowned and enthroned figure with sceptre ; that of William I. the same device obversely, reversely the king on horseback with lance and shield — themes which afforded the chief devices of the seals of English sovereigns thence unto the present. As the Art enunciated they became elaborated with subordinate ornament both devotional and graceful, to disappear as it declined. As If to distinguish the splendid hero of a splendid Agincourt the seal of Henry V. is unsurpassed for beauty amongst the royal series. Those of nobles, knights, and private persons to the close of the twelfth century were distinguished chiefly by representations of saints, other effigies, animals, birds, flowers, stars and crescents, ornamental generally,

12 INTRODUCTION

unheraldic wholly, but often vested with a symbolic intent. In the next these designs were continued and augmented by rebuses (opportunities of conveying which the mediacvalist rarely avoided), grotesques, and sacred themes. Merchants and artificers frequently exhibited badges implying the nature of their commerce, and implements their occupation. The introduc- tion of Heraldry effected a considerable and important change. From thence it became the fashion to illustrate seals with armorial insignia. Those of the armigerous class alone were, of course, thus affected. The democracy continued the irregular and incoherent exhibition of original subjects although at times an armorial construction was aimed at. Seals of corporate towns were frequently topographical and pictorial, and conveyed representations, at times more graphic than faithful, at others accurate presentments of the localities to which they appertained — walls, castles, cathedrals, churches, gates, bridges, rivers, and other characteristics. This class of seal was not armorially influenced until about the latter half of the fourteenth century when the original device often passed into the region of heraldic illustration. Devotional subjects were not unknown, as the admirable seal of Carlisle, which displays the Madonna and Child, bears witness.

The royal series — violated with that of Charles I. to give place to those of the Commonwealth, Oliver and Richard Cromwell and resumed with the Second Charles — has been preserved entire. Historically it reveals the gradual political and territorial construction of the British Empire, and recalls the claim to France and its abandonment. Recounts the rise and fall of the houses of Normandy and Plantagenet, Lancaster and York, Tudor and Stuart, besides other national changes, conditions, and developments. Describes the incitement and expansion of the mediaeval conception of Christianity, and the final abolition of saintly intercession together with the parallel growth of ecclesiastical influence, and its overthrow. Eloquently illustrates the rise of the Gothic perception, its apotheosis, decline, decay, and indicates the trend of the Rennaissance. Several examples of the Queen's consort have also been preserved. These include those of Maud of Scotland and Alice of Brabant, the Eleanors of Provence and Castile, Margaret and Isabella of France, Phillipa of Hainhault, the Anne's of Bohemia and Denmark, and Catherine of Braganza. Some supply the descents of the queens, and all con- tribute valuable data concerning styles of queenly costume and their chronology. National vicissitudes and political changes are also perpetuated in the remains of other state seals. The significance of those employed for " Lands beyond the Tweed," " for Calais," for royal absence (recalling wars with France), by the collector of the Tenth granted to Henry V., the Court of Augmentation of Crown Revenues (temp. Henry VIII.), the

VALUE OF LAY DESIGN 13

Parliament of the Commonwealth, and of the Council appointed by it, need no elucidation. From other remains such as those of the Steward and Marshall, and Coroner of the King's household, and Lord Chamberlain, of the Courts of Exchequer, King's Bench, Common Pleas, Wards and Liveries, Justices In Eyre, and Cursltors of the Court of Chancery, for subsidies on cloth, and delivery of wool and hides, of the receipt of Exchequer, supervisor of Crown Lands, Port of London, Statute Staple of Westminster, customs, and from the seals Pro recognitione dehitorum^ and Fro Debitis recuperandis we obtain an insight of offices, and courts now obsolete, to the antiquity of such as survive, and to the judicial machinery, administration, finance, fashions, customs, and polity which obtained in the ages which contrived them. Such remains upon which armour is presented incidentally explain the conditions of mediaeval warfare, and faithfully shew the progressive alterations which occurred in this method of military protection from the flat-ring, trellised, or mascled and chain mail to the innovation of plate armour. Similarly, alterations in the pattern of the shield may be traced. In some instances the seals of corporate towns furnish important evidence in regard to their early defences and buildings. But to summarize here all the historical Interests and archaeological values of civil seals is neither feasible nor consistent. Indubitably their chief importance is armorial, forasmuch as they contribute the most estimable and copious exposition of the science involved, and constitute the most reliable exponents of its principles. Upon them In fact its only authentic history Is Inscribed, and that with a completeness which leaves nothing to be desired, and with an accuracy which forbids question.

For Increased security official seals were frequently composed of two parts, each with a distinctive device. A document authenticated by both, being doubly attested, was necessarily of greater reliability. When a seal was of one part only the officer's personal signet was occasionally used simultaneously thus forming an obverse and reverse, but this practice was not general. Seals were affixed in two ways. The most ancient method was to make a cruciform Incision on the right hand side of the inscribed face of the document ; the triangles thus arising were turned backwards, the molten wax Inserted through the square orifice, flattened, and the die placed thereon, the tongues of parchment assisting to maintain the impression in place. This system was superseded In the twelfth century. From thence a slit was cut at the foot of the instrument, and a narrow strip of parchment or plaited silk passed through it ; the ends gathered, the wax placed around them, and the matrix, or matrices impressed upon it. To guard against breakage they were frequently swathed In leaves, rushes, or twisted paper and in the case of large seals placed in boxes. A word as to the material employed for

14 INTRODUCTION

taking impressions. In F.gypt and other countries of classical antiquity clay was used, and in the Byzantine Empire as late as the eighth century an earth of some description. In France during Merovingian, and Carlovingian periods beeswax tinted yellow and red was employed. In England at first pure beeswax answered the demand. Later, whilst it continued to be used for state seals, and in some monastic instances, it was superseded by a composition in which wax only participated, coloured green and red. Sometimes impressions were made in the tinted composition and then embedded in masses of white ; so framed the seal had a very pleasing effect. The wax, or composition was softened over a chafing-brazier. Its preparation for use with the Great seal was entrusted to an important official, styled Clerk of the Chafe Wax.

The gravers of ecclesiastical seals we have conjectured were monks. It is more than passing strange that the designers of the lay have passed hence without leaving a suggestion as to their Identity. Beyond evidence of their work, and that in abundance, we have no record of them. Yet in mediaeval times they must have constituted as distinct a branch of the mechanical community as ever did the gem engravers in ancient Hellas. For the protection of their interests and the advancement of their craft, however, no guild as far as we can learn was ever instituted.

III.

In the century during which the practice their use involved first became recognized as a legal formality in England seals were applied to ecclesiastical service. As much is incontrovertibly testified by the archi- episcopal, and prelatial remains of those employed by Anselm of Canterbury, Gundulph of Rochester, William de S. Carilepho and Ralph Flambard of Durham, and the capitular vestiges of those of Canterbury, Winchester, Norwich, Worcester, and Exeter. Its growth, too, amplified equally. In time it attained such dimensions that there was scarce an officer of the Church, nor an ecclesiastical office which did not adopt it as essential to the government of the Church in the transaction of its politic, and domestic affairs, which for five centuries from its Innovation, it is superfluous to point out, were only second to those of the state, and did not always preserve that relation. For primatial purposes it was exercised by Archbishops, and provisionally when their sees became vacant, by the Prerogative Courts, Chancery-, Commissary-, and Vicar-generals, and in the premier province by the Court of Arches, At Durham by the

MONASTIC USE • 15

powerful Bishop Princes-Palatine. For diocesan functions by Bishops and their Generals, Chancellors, and Treasurers, and additionally for their Exchequers and for the purpose of sequestration. By Chapters and their Chamberlains, by the Consistorial Courts, as well as by Deans, Sub-deans, Archdeacons, Rural Deans, Prebendaries, Surrogates, Succentors, and Vicars choral.

In A.D. 1307 King Edward I. decreed that all conventual establishments should employ a common seal, and that instruments issued by them not thus authenticated should be void. Long before this, however, the majority of monastic houses were so equipped. That as early as the eleventh century the system had been adopted by these centres fragments of the seals of the abbeys of York, Chertsey, Canterbury, Sherborne, Athelney, Tavistock, Hartland, Bardney, and Abingdon, and the priories of Twynham, Southwark, Wallingford, Eye, and Sele remain to attest. Reference, it will be recalled, has been made to certain examples monastic in character of the tenth century, but these were isolated exceptions called to prove a rule of comparative non-usage in Anglo-Saxon times. All the instances here mentioned are ascribed to the years which immediately followed the Norman conquest. It must not, however, be inferred from their recital that monastic use of the seal within the period defined was so limited, but on the other hand a deep-rooted and gradually expanding custom. Generally speaking, since the wax of which the remains adduced was softened to receive the impressions — when the Conqueror and Rufus handled the destinies of state — nine hundred years almost have passed. In face of this and other circumstances, it is remarkable that any examples at all of so distant an epoch should be preserved. So that whilst the list given enumerates about all the surviving monastic vestiges of the eleventh century it is most reasonable to conjecture that seals were employed simultaneously by other conventual establishments, of which we have neither trace nor record. Similarly may be deduced from the increased volume of remains, wide in their dis- tribution, conventual use had greatly extended in the succeeding century. From evidence of the same character it is clear that in the thirteenth it practically prevailed. Obviously, therefore, the edict of Edward I., which expressed the necessity of the law, created no fresh ordinance but implied an established custom, being provoked most probably by its evasion on the part of certain foundations. Monastic, apart from secular ecclesiastical usage, was as extensive. Chapter Generals, Provincials, and Ministers of the Benedictines, Augustinians, Dominicans, Carmelites, Franciscans, and Trinitarians found in seals an equal necessity in the government of their houses. For the proper conduct of their internal concerns, temporal and spiritual, they were also used by Abbots and Priors, Abbesses and Prioresses, Chapters, Treasurers, Receivers, Sacristans, as well as by deputy and

1 6 INTRODUCTION

subordinate officers. The corporate seal was sometimes fashioned of two pieces, but generally of one. For documents of reduced importance, a secondary seal termed the Ad causas was employed instead of the chief.

Almost every known description of metal was requisitioned in the manufacture of seals — gold, silver, bronze, etc., but the chief medium, especially in the case of large seals, although they were not uncommonly of silver, was an alloy which corresponded to brass. But rarely, jet, ivory, and bone with other substances were adopted. The process of cutting or engraving was effected wholly by hand, sharp small gravers being the sole implements used. In later times the characters of the legend may have been inserted by the aid of punches, but generally the description, always the design was engraved by hand alone.

At the birth of all the Arts the spirit perforce had to contend with the inability of the artist to give it adequate expression, and consequently suffered through the inevitable rudeness of articulation. As time advances we find the struggle between soul and crudity continuing to wage. In the contest the uncouth gradually weakens. Eventually the cunning and skill of the craftsman triumphs ; the spirit bursts its chains, and soars in the perfection of expression. Neither the artistic instinct nor genius of the Pisano's, Fra Angelico, or Raphael were spontaneously created in either. They but marked the attainment of a higher stage in the standard of Art. Unavoidably to the rule defined ecclesiastical seal Art responded, but, as we have marked already, to that gorgeous and beautiful perception, the Gothic, it is primarily indebted for deliverance from its initial strivings and the fullness of its subsequent life.

The quality of a particular result depended, it is patent, upon the individual artificer — upon his skill, or lack of it, and the measure of the artistic capacity of his temperament. Such factors naturally produced good work in comparatively early periods, inferior — for it must not be overlooked that a large number of ecclesiastical seals were of debased style and execution — after the high-water mark of excellence had been reached. Nevertheless it is not difficult to trace, step by step, definitive and epochal developments of the Art under notice. During the century in which it originated (eleventh) in pretension it was lowly, in effect harsh and unstudied. Imagination was scarcely drawn upon, and obvious laws escaped recognition. The seal artist laboured, as others travailed then and for a considerable period thence, under a woeful ignorance of anatomy. Altogether, its results marked the scarcely intelligible utterance of artistic infancy, nevertheless they pledged a later coherency, for already design, very limited in subject and most grotesque, did not entirely lack virtue. If we consider analogously the abject state of all the other Arts, except architecture, at this period the development of the next century was,

DEVELOPMENT OF CRAFT 17

comparatively speaking, remarkable. Although the ludicrous had not wholly departed it had become manifest that the engraver wielded his tools with greater freedom, confidence, and aptitude. Ratio and perspective claimed from him more consideration ; the nature of his physical knowledge had deepened ; his artistic perception and imaginative faculties were aroused — the great possibilities of the Art were dawning upon a mediaeval mind ever receptive of artistic Ideas. These possibilities the thirteenth century proved. In the highest examples the laws of proportion, anatomy, posture, and perspective were well regarded. The mediaeval Imagination ruled as untrammeled as the exigencies of the Art allowed. From the rude beginnings we have noticed It attained Its loftiest, and anticipated, as we have endeavoured to demonstrate, a corresponding perfection In Italian painting and sculpture — and, may be, English sculpture also. Most noteworthy of all, perhaps, was the rapid improvement evidenced In anatomy, facial expression, and the draping of costume. In the fourteenth century the grace, delicacy, and excellence of the Art were sustained, and in the matter of ornament a greater richness achieved. And similarly In the early part of the fifteenth century, but In the latter it began to reveal, beneath a somewhat excited embellishment, a decadence. The Gothic spirit which had Inspired and nourished it was on the wane. The sixteenth century reached, and It came under the potent spell of the Renaissance, which proved, as already noted, in this Instance an eclipse. Thus obscured, its condition subsequently became as melancholy as gem engraving after the fall of the Empire. Art and necessity were once more estranged. To realize how complete was the disassoclatlon, we have only to compare with the finest monastic examples some of the capitular abominations of Henry VIII. 's foundations, Happily the scope of this work does not demand the pursuit of Its descent through the sixteenth, and succeeding centuries. The destruction of monastic houses destroyed, of course, the growth of the conventual the most Interesting class of seal. The " Great Surrender," when many of the houses were relinquished to the King under them, was the last occasion on which they were employed, save in a few instances where adapted to suit other conditions. Upon some, obviously, as much pains were lavished as ever sculptor or engraver of Greece or Rome, or sculptor or painter of later Italy expended upon their masterpieces. Of the angelical painter, Fra Giovanni da Flesole, a monk simple of habit, spiritual In thought. In whose work (distinguished by the expression of every shade of devotional feeling In the countenances of his figures) more than in that of any of his predecessors the beauty of the artist's soul was reflected, it Is related that he never took up his brush without prayer, or painted a Crucifixion without weeping. That some monastic c

1 8 INTRODUCTION

seal examples caught and reflected the devout disposition of their artists is apparent.

Reflecting the principles, circumstances, and conditions of Christianity mediaevally apprehended, the domain of ecclesiastical seal design, as we have stated, was of some comprehensiveness. The rule almost invariably pursued was, that in the case of ofl^cial seals the scheme should bear some afllinity with the ofllice, in corporate cases some relation to the body to which it appertained. Throughout, the representation of such saints who were regarded as the especial patronsof particular Cathedrals, Abbey Churches, monastic establishments, and dignitaries enjoyed an especial prominence. Where they occurred a particular effort was made to convey some incident, legendary or otherwise, in the life, or trait in the character of the saint involved. The artist in this was greatly enabled by that beautiful system of symbolism which assigns to each a distinctive attribute or emblem, and the presence of which — in conjunction, if needed, with local conditions — renders identification somewhat easy.

At the beginning, as might have been anticipated, and as we have already hinted, the range of design was narrowly limited. Episcopal, abbatial, and seals of corresponding character merely displayed upon a plain field the figure of an ecclesiastic, vested with equivalent dignity, who raised his right hand in benediction, and grasped a crozier or staff with the left — a scheme which constituted their chief decoration until the latter end of the fourteenth century. Monastic illustration of the eleventh probably answered to this broad classification : — (i) entire portrayals of the tutelary saint similar to the figures upon episcopal seals (exemplified by the seal of Eye Priory), or (2), in imitation of the regal style, depicted enthroned (by that of Bardney Abbey) ; (3) elevations of churches, and monastic buildings viewed from various aspects, and shewing porches, windows, towers, and turrets (instanced by that of Abbotsbury Abbey), and (4), kindred elevations, augmented by the half-length figure of the patron located on or above the roof (like those of Norwich and Winchester). During this epoch, and thence throughout a common device was an outstretched arm which issued from the side, and grasped a staff, cross, or crozier. Originally, ornament construed in a mere decorative sense there was none, but as the century closed its birth was attested by the addition of stars, crosses, crescents, groups of tiny dots, and, where the Blessed Virgin appeared, by the lily, chastity's emblem. The character, and office of iVIary the Virgin afforded the mediaeval artist, if we judge from the point of Art alone, one of the happiest of themes, one he ever delighted to treat. In the realm of seal design, sometimes alone but more frequently in conjunction with the Holy Child, the Blessed Virgin occupied by far the highest position, in various conceptions such

DEVELOPMENT OF DESIGN 19

as maiden, nursing mother, Regina Cceli^ Auxilium Chris tianorum^ Stella Matutina and Consolatrix afflictorum. The devout of the time plumbed the very fount of poetry to find her exquisite titles ; similarly, the contemporary seal artist sounded the well of artistic feeling in delineating her and the Child. Beautiful actions and postures resulted. The Infant variously stands upon her knees, nestles in her arms, seeks nourishment at her breast, holds her hand, grasps her head-dress child-like, toys with her hair, engages her in play, whispers to her, or stretches out Its tiny Hands in wistful entreaty. The Virgin and Child first occur upon the seals of Worcester Cathedral, and St. Mary's Abbey, York.

From the restrictions of the foregoing, in the twelfth century design escaped and enjoyed in that and the following an expansion which, beyond a mere indication of the lines it pursued, rejects adequate description here. Moreover, whilst subject, like music, had perforce to acknowledge the limitations of an octave, the harmonies of disposition were as variable. All the original types were repeated. They suggested, indeed, the broad paths design was in general to follow, and from them it generated. In the representation of ecclesiastical buildings both a greater accuracy and fulness of detail were evinced. And now the figure of the patron saint was often located within the central porch, and the idea was happy since it implied an invitation to enter. The number of saints portrayed with their emblems was occasionally doubled, even trebled, and from this period henceforward (to signify his humility, and explain the relation subsisting between the two) the Insertion of an ecclesiastical, or monastic figure (within an archway beneath), supplicating the patron began to be general — an interesting illustration (although not exactly typical because here the subordinate figure is that of a saint) is afforded by the seal of Pershore Abbey, which displayed the Virgin and Child enthroned between SS. Peter and Paul, above a trefoiling containing St. Eadburga with chalice and book. Vestment and costume were sketched with more detail and greater richness. The platforms upon which the figures stood, often formed of little Norman arcades, were designed more ornately. Detail, both ornamental and symbolic, was contributed by stars and crescents, miniature churches, saintly emblems, and panels, varied in form, containing heads of monks and saints. In isolated delineations of Christ, He was presented, it may be taken as a rule, seated upon a rainbow with the Hands raised to bless. The Blessed Virgin is observed alone, a circumstance which does not lack significance, upon the Priory seal of Yeddingham, where she stands with a lily in one hand, the gospels in the other, and also upon those of the Cluniac Abbey of Northampton, the priories of Swinhey and Wayburn and the nunnery of Chateris. As distinct devices emblematic figures, such as the Agnus Dei with

20 INTRODUCTION

long cross and banner flag, Dove with extended wings, and the Eagle of S. John the Evangelist rising with an inscribed scroll in its beak, were introduced, chifefly to distinguish seals of minor importance. Angels, too, gracefully postured, censing or supporting, were at times made attendant. Besides the types and styles outlined some variety of sacred and devotional pictures were admitted within this period — The Virgin, or an ecclesiastic reading at a lectern, the Annunciation, saints and others solemnizing Mass, Noah's Ark (vested with metaphoric value), priests hearing confession or kneeling before the Virgin and other Saints, and the Holy Trinity, symbolically conveyed, are themes met with. The brutal murder of Archbishop a Becket upon the consecrated stones of his Cathedral by the minions of Henry II. yielded the artist a popular subject. From the very beginning, as we have seen, architecture formed an important constituent of design, and as we have indicated subsequently influenced it materially. Its original introduction is obviously accounted for ; its efi^ect, the crude representation of sacred elevations. Towards the close of the century under notice the ecclesiastical seal artist began the erection of canopies over the figures he was portraying. The architectural style which prevailed in Europe during the thirteenth, fourteenth, and fifteenth centuries is distinguished as Gothic. After the fire of a.d. 1174 William of Sens commenced the rebuilding of Canterbury Cathedral in the light of it, and approximately from thence- forward Gothic architectural ornament, essentially beautiful in itself, and lending itself readily and appropriately for the purpose, became a permanent (that is until the Art declined), and assuredly one of the most exquisite features. How the artist was lead to invoke it is easily deduced. Shortly after the introduction of elevations, in some cases they were removed higher up the field to admit of a saintly figure being inserted — the erection of canopies was a development of that idea. So much is clear from early examples, which invariably show them as structures resembling churches.

In the next century, when all the elements of design were treated with greater elaboration, and design itself partook more of the graphic, canopies gradually became enriched with elegant and minute tracery, designed at times with much gorgeousness and beauty. Often they formed arcades of numerous divisions of one, two, and even three tiers. The statuettes which they contained were deeply sunk (yielding in consequence relief impressions of admirable depth), and presented in graceful and characteristic draperies. They expressed different tones of religious feeling, and exhibited every variety of devotional disposition. What some of the most artistic seals resembled were miniatures of magnificent altar-pieces. Occasionally a fine and beautiful eflFect was ingeniously obtained (see Boxgrave and

1

VALUE OF MONASTIC DESIGN 21

Southwick Priories, Plates IV, and XXXVIII,). Instead of a single, or double piece the seal was composed of several. Two displayed the figures only, the remainder supplied the tracery ; impressions were obtained from each, and built up when the statuettes were revealed through the perforated architectural work To Bishoprics, Abbeys, and other conventual institutions at an early time in the history of Heraldry, armorial insignia were assigned, and in this century the heraldic shield, thenceforward an important and general feature, was introduced. All available space was now utilized in the addition of detail, ornamental, symbolic, or appropriate, and beauty considerably advanced by the adoption of diapering, a surface decoration largely employed in stained glass and sculpture. The scope of sacred subjects greatly extended. In addition to those enumerated as obtaining in the twelfth century, the Nativity, Assumption of the Blessed Virgin, her Coronation, the Noli me tangere^ Crucifixion, Resurrection, St. Martin dividing his cloak, the martyrdoms of SS. Alban and Edmund with various other religious conceptions appeared. The design, as a rule, was enclosed by a legend which denoted the name, dignity, and title of the ecclesiastic or monastic corporation employing the seal. In addition, often in metre, mottoes of a sacred character, pious ejaculations, petitions to saints, confessions of faith, and benedictions occasionally accompanied it, or were so cut in the matrices of dual seals that when an impression was made it appeared on the rim. The lettering was frequently of great beauty. In style the characters fall chronologically into four classes, videlicet Roman, Rude Lombardic, Good Lombardic, and Black Letter.

IV.

In the first part of this Introduction we mentioned in general terms that seals were endued with much historical and archaeological value. The qualities of the civil class we have, in both respects, briefly demonstrated. Upon their artistic merits the worth of those monastic in character do not merely rest. They, in common with others, contribute facts of peculiar importance, and reflect and perpetuate old-time circum- stances, conditions, and sympathies.

Artistically speaking, their value is not alone intrinsic, but extrinsic since they exhibit with some completeness and in all fidelity the artistic spirit of the ages in which they were contrived, assist in unveiling its nature, and register its pulsations.

22 INTRODUCTION

Their second appraisement is perhaps architectural. Valuable indica- tions of the style and form of religious buildings, either eternally effaced or long superseded by others of greater magnificence and dimensions, are afforded by such of the early corporate examples as exhibit structural elevations. Those executed within the Gothic era, illustrate with truth and fullness the development of architecture so discriminated, and reveal with equal clearness all that that beautiful style, enunciated with few exceptions by the grandest Churches of Europe standing to-day, signified and conveyed. They fall naturally into the three classes into which Gothic in England is divided : — Early English, Decorated, and Perpendicular, roundly corre- sponding to the thirteenth, fourteenth, and fifteenth centuries. From their designs so minutely and skilfully drawn, its rise, ascendency, and decadence might be almost independently traced.

Seal heraldry is well esteemed a beautiful exponent of English history. Conventual seal heraldry in particular may not be so highly considered. It can scarcely be said to yield assistance in the science of family genealogy, yet as an aid in pursuing and illustrating that of certain of our destroyed monastic centres it is not to be despised. Moreover the personal, doctrinal, and historical associations which gather around it renders this aspect of the subject highly interesting.

By reference to these seals questions which involve ecclesiastical, ritual, ornament, vestments, and insignia distinguishing the various dignities within the bosom of the Church (the figures being characteristically apparelled and distinctly marked) may often be determined. The evolution of the mitre, from a low cap to the high-peaked construction with which we are familiar is shewn with peculiar lucidity.

A certain biographical interest they do not lack. By them names which imply characters as versatile as humanity itself — magnificent and mean, simple and subtle, proud and humble, powerful and weak (not infrequently finding their weakness in the very greatness of their strength), worldy and devout, sensual and austere — of Abbots, Priors, and others are preserved.

As topography loudly attests, cities, towns, and villages in many instances originated in monastic houses. Architectural vestiges of such are now deplorably scant, and this parentage seals assist local nomenclature, ever subject to vicissitude and corruption, in transmitting.

The relation of the objects under notice to the nation's history does not elude definition. With the eleventh century, during the last decade of which the first Crusade was entered upon, a period of great religious enthusiasm began in England. When we study the life of our ancestors, their habits and their times, no feature do we find more clearly defined than the intense religious spirit with which they were imbued, and

DEVOTIONAL ASPECT 23

the active form in which it found expression. It stands out as the Himalaya of the view. Their age was that of faith — of blind faith if you will — and ardent devotion. Their God was not the doubtful product of some abstruse system of philosophy, nor a theoretic Being accepted by the spiritual side of thought and rejected by the scientific. There was an entire and magnificent absence of reasoning in the minds of the people. He was a Supreme Being whose existence, or Almighty potentialities were never even so much as questioned. As He was revealed to them, so was He accepted — a God of Love, and to be loved, ever ready to succour and assist, yet, withal, to be feared with a mighty dread, to be conciliated, adored, at all times in every moral circumstance to be invoked, and always to be considered in human calculation. To this faith and ardour and fear most of the innumerable sanctuaries with which the land is jewelled stand to-day as silent and incontrovertible witnesses, and upon it these seals shed one of their many vivid lights.

Besides the Supreme Being, there reigned in the hearts of the people, though in a lesser degree, another being, conceded a place in the heavens only subordinate to that of the Trinity — a being to be implored with a sense of her power, but never to be dreaded, a being primarily to be loved and revered, whose name " was lisped by little ones, and lingered on the lips of the aged and the dying " — Mary, the Mother of God. In religious seal design, as already stated, she occupied the dominant position. The vocal expression of the Art was in fact a hymn sung in her honour, an impassioned call to her aid. The extraordinary part she enacted in the " World's Tragedy," and the relation in which it necessarily placed her with the God-head and Son impelled towards her feelings of intense veneration. The suffering, pathos, and sorrow that role involved incited the com- passion and attracted the love of the people — as Mater Dolorosa she was held to be in unison with the entire human race. Other saints there were to whom they inclined as design of this character (eloquent of the love and reverence experienced towards them) attests but none, if we exclude S. Peter, entered with a tithe of the fullness she did, into the common life. At least every sixth church in England was raised in her honour ; the dedications of hundreds are indefinite, but it is safe to say a large proportion of these were also under her protection. To us who live in a material age this profound, yet limited surrender to the Rosa mystica lends some difficulty of comprehension perhaps. But it must be remembered, the mother, with all the qualities and powers with which the Church endowed her, was accepted as blindly as the Supreme Being. She was the Mater Christie and the love she naturally bore Him was held to include mankind. Devotion to her was perhaps the strongest illumination of mediaeval Christianity and religious seals reflect it more intensely than

24 INTRODUCTION

any other surviving monuments. It is, indeed, the most potent of their lights.

From the earliest times, until the reign of Henry VIII. , when it was sundered, the allegiance of England to Rome — fraught with importance immeasurable, seeing that it shaped the history and development of the country for a thousand years — is also loudly voiced. Up to the period marked. Archbishops were usually delineated vested with that insignia of obscure origin and vast significance — the pallium — the investiture with, and acceptance of which was a claim, and its acknowledgment that the powers of the Archbishops were held at the discretion of the Roman Pontiff, and that their spiritual jurisdiction was encompassed by that of the Pope. The allegiance is also indicated by the occurrence of the Papal Tiara, and emphasized by the frequence with which S. Peter appeared, not on account of his affecting personality, or out of sympathy with his intense humanity, but because in him, and in his successors was recognised the head of the Church upon earth. To him, from the motive explained, our ancestors constructed a devotion for which they became marked throughout Europe. No saint, save the Blessed Virgin entered with such penetration into their lives. The first great Abbatial Church of Canterbury, and the famed minsters of York and Westminster were all three dedicated to him as were for a considerable time all the Churches of Northumbria. Thirteen Cathedrals and Abbatial Churches raised in his honour sent lords to Parliament. About twenty Collegiate Churches, and over sixty conventual establishments in their titles paid him particular homage. By the sixteenth century the number of his Churches in England was con- siderably in excess of a thousand, the city of Lincoln alone possessing seven. The phases of popularity of other less significant dedications (notably that of S. Thomas of Canterbury) are similarly revealed, and simultaneously is illus- trated the marked prevalence of the condemned dogma of saintly intercession.

To the system of monasticism, so marked a feature of mediaeval life, to the establishments, wherein learning, culture, and art were encouraged and advanced, hospitality was daily dispensed, where the leper was ted, the ignorant taught, and the suffering alleviated, which it raised in endless profusion, and architectural magnificence all over the land — which in no inconsiderable degree affected its history, and evolution, and, inasmuch as their occupants often stood in the relation of judges, landlords, and spiritual counsellors towards our forefathers, fashioned largely the character of its people — the objects we are describing remain as telling memorials. The number preserved, with those of hospitals and purely charitable institutions is great, and bears some percentage to the multitude of religious foundations which were endowed by the beneficent. Col- lectively, therefore, they also constitute a cenotaph to the sterling

LEGENDARY FEATURES 25

munificence of our ancestors, with which modern charity, speaking comparatively, may not compete.

One of the most charming features of design is the wealth of story, drawn from the rich springs of mediaeval legend (which reveals a singular exquisiteness, and luxuriance of imagination, and m its poetic fullness and loveliness surpasses, upon a proper consideration, even classical mythology and the profane folklore of later nations) which, assisted by symbolism, it relates. A few instances here will serve to illustrate the auriferousness of this vein. The seal of Cathale Priory, which was dedicated to S. Giles, the patron of " the woodland, of lepers, beggars, cripples, and of those struck by some sudden misery and driven into solitude like the wounded hart, or hind " suggested the legend that the saint, having sought solitude in the depths of the forest, there lived in prayer and contemplation, his sole companion a hind who nourished him with her milk. One day when the air rang with the shouts of the chase an arrow was aimed at the hind. To save his pet S. Giles deliberately stretched out his hand, it is said, and received the bolt intended for her. Dover Priory (see Plate IX., Seal 1 7- 1 8), enjoyed the patronage of S. Martin of Tours (whose feast — Martinmas — is still a great day in Scotland and the North of England), the disciple of S. Hilary of Poictiers. The seal employed by that institution recounted that one wintry day when the dread east wmd scourged the hillside, the young soldier rode out and encountered a beggar. Moved with pity by his ragged garments which failed to protect he divided his cloak with him. That night the Saint saw in a vision Our Lord surrounded by angels, clothed in the identical half of the garment he had given away. Under the care of S. Margaret of Antioch — the feminine counterpart of our S. George, whose voice a thousand years after her martyrdom inspired La Pucelle to attempt the rescue of t ranee, and devotion to whom was introduced into England from Syria in the eleventh century by the retiring Crusaders — Poughley Priory reposed. Its seal suggested that when S. Margaret was cast into prison on account of her faith she was assailed by the Prince of Darkness in the form of a terrible dragon breathing flame, and that by simply raising the Cross aloft she vanquished it — or the more popular version, that when thus attacked, she was devoured by the foe who immediately burst asunder, and vanished leaving the maiden, endued with a refulgent light, unharmed. The Gilbertines of Lincoln regarded S. Catherine of Egypt as their especial protector, and contrived that their seal should allude to her rescue. Oppressed by the tyrant Maximianus she was bound to a spiked wheel when fire rained down from Heaven, shattered the instrument of torture, and left her scathless. These are but glimpses of this aspect, alive with beauty, of our theme.

26 INTRODUCTION

As before observed, an opportunity for a rebus seldom went unavailed of by mediaevalists, a peculiarity accounted for by their passion for the symbolic. Instances are adduced in the seal of Ralph, who for a time held the Abbacy of Ramsey, which exhibited beneath an ornate scheme two rams in combat on an island in allusion to the site, and that of Oseney Abbey (see Plate XXV., Seal 49), which displayed inter alia an ox passant guardant in reference to the adjacent city of Oxford. Before the establishment of Heraldry as a permanent element of ornament, armorial allusions from a similar cause at times occurred. For example, the seal of the Austin Canons of Lesne bore in the field on each side a luce or pike hauriant palewise, derived from the arms of the founder Richard de Lucy.

Not only figures, but positions and shapes were anciently vested with peculiar symbolic intents. The spirit which ordained that the sanctuary of a Church should face the rising and the entrance the setting sun decreed that the configuration of ecclesiastical seals — a rule, as will be seen, very often honoured in the breach, as well as in the observance — should be emblematic of Him in whose service they were employed. The form is arrived at by the intersection of two segments of circles, called a pointed oval, or more properly a vesica piscis. The vesica piscis, says Pugin in his Glossary of Ecclesiastical Ornament, "appears to be derived from a very common acrostich of Our Lord's Name and Offices, contained in the Greek word ICHTHYS, which signifies a fish. This word, Eusebius and S. Augustine inform us, was formed from the initial letters of some verses of the Erythraean sybil, which taken together made the Greek word IX6Y2, which is interpreted 'Uaovg Xpiarog Otov Ytoc Swtj'/io, that is Jesus Christ, the Son of God, the Saviour. In allusion to this most ancient emblem of Our Lord, Tertullian, and other early Fathers speak of Christians as Pisciculi, as born in the waters of Baptism. Hence it seems probable that the mode of representing Our Lord in a nimbus of a fish form originated. . . . The vesica piscis is found from the fourth century downwards." Of this form Laing, in his Ancient Scottish Seals speaks ingeniously thus : — " It may not unnaturally be supposed to represent the Church. For as the two circles, the intersection of which gives the figure, may symbolically represent the circles of time and eternity, so the figure given, may well represent the Church, where in a peculiar manner are united the affairs of time with the more important affairs of eternity ; or in other words, the Church in the faithful discharge of its duties, forms, as it were, a connecting link or introductory passage — a resting place where, though within the circle of time and still militant may yet be met and enjoyed in some slight degree the blessings of eternity."

I

1

CONCLUSION 27

For a glimpse of the religious and ecclesiastical aspect of mediaeval life, and a clearer perception than is generally obtainable elsewhere of its nature, extent and effect there is no source more valuable than those remains of which we have here particularly treated. Upon the counterseal of Walter Mauclerk, Bishop of Carlisle, a.d. 1224-40, occurs a charming Latin verse. Since it poetically expresses the sum of what we have endeavoured to convey in the foregoing, a translation of part {Arch. Jour. No. 192, p. 344) will fitly serve as a conclusion,

Voiceless though this sculpture, Still it utters sound.

I

I^escriptttre Bates.

N.B. — The Monastic Houses, seals of which are illustrated, are arranged alphabetically, and accompanying each description is the number of the Plate and Illustration which corresponds.

BARKING, Benedictine Abbey of SS. Mary and Ethelburga,

CO. Essex.

One of the wealthier, more ancient, and more splendid PLATli establishments of its kind raised in this country. Illustrious ^^^' for the sanctity and degree of several of its Abbesses, and as

Seal 12. ^^^ scene of many miracles. Situated near the little river

Rhoding, slightly beyond the Town which anciently derived much importance from it. Founded c. a.d. 670 during the reign of Hodilred King of the East Saxons (who granted a charter still preserved) by Ercon- wald, first Bishop of London after S. Augustine's arrival, who installed as Abbess his sister Ethelburga. She was followed by her sister Hildelha. Both were canonized ; S. Ethelburga was buried here, and afterwards united with the B. Virgin in the patronage. Other Abbesses of the Saxon blood-royal were Oswyth, daughter of Edifrith, King of Northumbria ; Edilburga, Queen of Ina of Wessex, and his sister Cuthebergh. The Abbey was destroyed by the Danes ; some of the nuns were slain, others put to flight. It was restored by King Edgar, and presided over by Elfrida, his queen, after his death. Here the Conqueror resided, pending the erection of the Tower of London. For a while Matilda, queen of Hen. I., governed as did also Maud, the wife of King Stephen. Adeliza, her successor, erected as a cell a hospital at Ilford. Several privileges were conferred upon the Abbey by various sovereigns and by frequent grants its possessions were extended. Mary, the sister of S. Thomas a Becket, in a.d. i i 73 became head of the house. Richard of Barking, Abbot

30 MONASTIC SEALS

of Westminster, Counsellor of Hen. III., Chief Baron of the Exchequer, and Lord Treasurer of England was interred here, and here Edmund and Jasper Tudor, sons of Catherine, queen-dowager, and Owen Tudor were educated. Unhappily, the impression of the seal illustrated is imperfect and indistinct. The design conveyed the joint dedication, and com- memorated the circumstances of the foundation. At the apex, within a cusping, appears the B. Virgin with the Infant Jesus, between SS. Peter and Paul delineated in part. A trio of cusped arches upheld by four pillars follow, the central occupied by S. Erconwald, with staff and book, the dexter and sinister by SS. Ethelburga and Hildelha. At the sides are two candlesticks with tall candles, introduced in a devotional sense, in the field a star and crescent, and in the base under a circular-headed archway the Abbess praying.

VA . . . RKING OVENT [PJROTEGAT • IS[TVM.]

A complete estimate of the art of the seal is obviated by the state of the impression which nevertheless reveals in the design a harmonious arrangement, and suggests true and skilful drawing. An embattled gateway (the entrance to the Church-yard) over which is a chapel, and a few fragments of the walls are all that now remain of this once magnificent Abbey.

BATH, Benedictine Abbey of SS. Peter and Paul, CO. Somerset.

A Saxon foundation the fame, wealth, and pretension of rLAlh. which its magnificent church, "the Lantern of England," still AVll. reminds us. Erected in honour of the B. Virgin for nuns

Seal 34. C^- a.d. 676), through the munificence of Osric, the King

of the Hwiccias, who gave for the purpose the lands of a hundred tenants. Destroyed by the Danes, and restored (c. a.d. 775) by King Offa, who changed the dedication to S. Peter, and installed secular canons. Refounded by King Edgar (who was crowned by S. Dunstan within the church) for Benedictine monks. With the city, the Abbey church was burnt by Geoffrey, Bishop of Coutance and Robert de Mowbray during the insurrection of the first of William II. in favour of Robert the Conqueror's eldest son. John de Villula, Bishop of Wells, having acquired of Rufus a grant of the Abbey, together with the city and its privileges, and removed his seat hither, rebuilt (a.d. i 106) the church as a Cathedral upon a magnificent scale, endowed the Abbey with the city and other property, and reduced it to a priory, reserving its

BOXGRAVE PRIORY 31

patronage to the bishopric. At this time, other and considerable gifts were made. Bishop Robert (a.d. 1135-66) rebuilt the church, which with the city had been again destroyed by fire, upon a larger scale, and increased the endowment. Before he came to the throne. King John annexed two priories founded by him in Ireland. Bishop Savaric (a.d. i 192-1205) transferred the episcopal chair to Glastonbury Abbey, and assumed the title of Bath and Glastonbury, but afterwards Bishop Joceline released the latter Abbey and resumed the title since borne, of Bath and Wells. King John gave the monks (for a consideration) a farm, freed them from toll at Bristol, and conferred with those of execution and the fire and water ordeals, various privileges. Ed. I. granted two fairs. The seal presented is assigned to the end of the thirteenth century. After Bishop Robert rebuilt the church S. Paul was joined with S. Peter, and the dual dedication affords the subject. The design comprises, upon a field diapered lozengy — each space charged with a rose — the two Apostles standing upon a terrace, beneath a carved triple Gothic canopy, supporting a model of the Church, and at the base, within a trefoiled niche, three supplicating monks.

SIGIL[LV]M [: CAPIT]VL[I : BATHONIENSIS : ECCLJESIE. This fine example displays considerable beauty, and richness. The scheme is well studied, the figures are commendably treated, whilst the elaborate architectural detail, and the model Church reveal the work of a skilful hand. Highly artistic, and striking is the general effect. At the Dissolution the citizens declined the option of purchasing the Church, which was stripped of its glass, iron, and lead. Subsequently it was presented to the city. A cruciform structure, with a fine central tower, of considerable magnificence, it was commenced by Bishop Oliver King, who was translated from Exeter a.d. 1495, and until recent times was the last purely Gothic edifice of any magnitude reared in England, No remains of the domestic buildings exist.

BOXGRAVE, Benedictine Priory of SS. Mary and Blaise,

CO. Sussex.

A SMALL, originally wealthy foundation, erected as a cell to the rLA I E Abbey of Essay, Normandy, but enfranchished by Ed. III., ^^' which stood about three and a half miles from Chichester.

Seal 7. The parish, anciently part of the Priory Church, one of the

most important examples of E.E. architecture in the country, marks the site. Founded by Robert de Haye. He received the honor of Halnac from Hen. I., and erected within his fee a sanctuary to the honour

32 MONASTIC SEALS

of the B. Virgin and S. Blaise (Bishop and martyr, patron of Woolcombers), with a house for three Benedictines, which he endowed. Roger de St. John, who married the founder's daughter, added to its possessions, and increased the number of monks to six. His eldest son, William de St. John, making further gifts converted the establishment into a Priory, and raised the number of ecclesiastics to thirteen. Robert, another son, provided for a fourteenth, and William de St. John further provided for a fifteenth — the usual complement. Later Lords of Halnac, with others, were benefactors. John de Harundel gave certain Chichester property, in consideration of the monks equipping: him for the Holy Land. The Priory seal, a dual arrangement, is still preserved, and we are therefore enabled to give an illustration from a recent and perfect impression. It is of gilt bronze, and affords an example of those complicated instances referred to in our Introduction (page 20) as being composed of more than one piece. In this instance the matrices are four in number, two each for the obverse and reverse, one to stamp the figures in the background, the other the architectural facades. Exhibited upon the obverse is a highly-elaborated elevation of a church, with central tower of three pinnacles. Within two trefoiled niches under this tower (in reference to the first person of the dedication) the Annuncia- tion is presented. Above, in a triangular pediment with trefoiling inside, the half-length figure of Our Lord, nimbussed, lifting up the right hand in benediction. In a niche on both sides, below a quatrefoil panel, the representation of a monk similarly reduced. And in the base, within a lozenge cusped, the head of S. Blaise.

SIGILL' : ECCUE : SCE : MARIE : SCIQ : BLASII : DE :

BOXGRAVA.

The reverse displays beneath a sculptured, and trefoiled canopy j!^^-*- -^ without supports, and upon a corbel foliated, the B. Virgin ^ • crowned and nimbussed, with the Child on her left knee, and

Seal 8. ^ conventional lily flower in her right hand, enthroned between

two box trees, on each of which a bird is perched. The allusion of the trees is obvious. The birds have perhaps no other than a natural significance, but legend relates that S. Blaise loved to retire to solitary places in the mountains because of the companionship of birds and beasts who were at home with him, and to this they might point.

DICif : EX : LIGNO : UIRIDI : BOXGVIA : DIGNO :

NOIE : NA : CRESCIT • VTVTIB' • ATQ • VIRESCIT.

Were there not other examples equal — and superior also — to adduce,

this beautiful instance would alone bear loud testimony of the high

excellence reached in seal art. It was, even to the lettering, exquisitely

BRADENSTOKE PRIORY 33

wrought. The architecture of the obverse is most minutely detailed, and presented with scrupulous exactitude. If the features of the figures somewhat lack expression, their drawing and disposition are artistic, whilst it would be impossible to give the trees and birds a superior touch. Thomas West, Lord Delawarr, begged ardently but vainly of Cromwell to spare the Priory. About 1780 a.d. a farmhouse was erected of its ruins, and fragments are yet discernible. The nave of the Church is in a ruinous state ; it is the choir, restored, which now serves parochial uses.

BRADENSTOKE, Austin Priory of St. Mary, CO. Wilts.

One of the four monastic centres which stood on, or near the FLATtj banks of the Avon. Erected a.d. i 142 by Walter de Eureux, -^^^- or de Saresbiria — father of Patrick, Earl of Salisbury, and

Seal ti. great grandfather of Ela, "a woman worthy of all honour

because full of the fear of the Lord," wife of the renowned Earl of Salisbury, William Longspee — who afterwards became a canon of his own foundation. In the time of Hen. IV. the hospital of Wotton Basset was annexed. The patronage was afterwards exercised by the sovereign in right of the Duchy of Lancaster. Our illustration of the corporate seal is served by an injured, but fair impression. It presents the B. Virgin, the patroness, crowned, with the Holy Child on the left knee, seated on a considerably embellished throne, beneath a canopy gracefully trefoiled, upheld by slender columns and surmounted by a Church with tall spire and pinnacles. On either side appears an angel swinging a censer, at the foot a sculptured corbel, with a quatrefoil containing the head of a canon below, and in the field a star and crescent — in this instance emblems of the B. Virgin, the first suggested by her title Sulla Matutina^ the second by a phrase from the Canticle of Canticles — pulchra ut luna. SIGILL' : ECCL'IE : BEAT[E : MARIE : D]E : BRADENESTOKA. A very devotional instance this, gracefully as well as ornately con- ceived, and possessing great artistic merit which the condition of the impression tends rather to obscure. In their anatomy, proportions, and postures the chief figures are almost faultless ; their vestures are skilfully treated. Its archaeological value lies chiefly, perhaps, in the excellent delineation of what was no doubt the Priory Church above the canopy. The house was built in considerable magnificence. Important remains exist, consisting of refectory, Prior's house, and domestic ofiices. A

D

34 MONASTIC SEALS

trio of beautifully-traced windows illumine the hall which is now partitioned. The refectory has three doors, which opened respectively I upon the kitchen, cellar, and buttery ; the Prior's chambers, a corner staircase and turret. Of the Church there are no vestiges.

BRADSOLE, Premonstratensian Abbey of S. Radegund,

CO. Kent.

This foundation was once of considerable affluence, but PLATE afterwards became depleted of much of its estate. It stood XLIX. upon a hill about two and a half miles S.W. of Dover in the

Seal 97. parish of Polton. To a few canons who settled here

c. A.D. 1 191 was given, with the consent of Rich. I., Walter de Polton, mesne lord of the fee, and Stephen his son, the manor of Bradsole by Walter Hacket and his wife Emma. There were other benefactors. King John confirmed the various gifts made to it up to the period of his reign, which were afterwards largely extended. It had a cell at Blackewose in the neighbourhood, which previously belonged to Lavinden Priory. Through the instrumentality of the Barons of Hythe it was annexed to this house when in a poverty-stricken and ruinous state. With other barons, the Abbot towards the end of the reign of Ed. I. was summoned to Parliament. The situation being considered somewhat inconvenient, a proposal was on foot in the time of K. John to change it, but the removal was never effected. Our illustration of the Abbey seal is obtained from an impression which, although in an excellent state of preservation, we could wish was a little more clearly defined. The design comprises the patroness, S. Radegund (Queen of France, a Saint of the sixth age of the Church, whose feast occurs on August 13th) enthroned, delivering to an Abbot who kneels on the left before her, a pastoral staff.

►I'SIGILL' : ABBATIS : ET : CONVENTVS : SANCTE :

RADEGVNDIS. The theme alone is sufficient to render this example of peculiar interest, but its virtue is not so limited. In every sense the treatment it received was excellent. What often strikes us forcibly in scanning these little memorials is the really extraordinary amount of imagery frequently crowded, without defiance of canon or law, into the allotted space. Here is a case in point. In the inclusion of the two figures within the awkward vesica an obvious difficulty was skilfully overcome by the artist giving the head of S. Radegund quite a natural and appropriate inclination towards

BRISTOL ABBEY 35

the other figure, and almost unnoticeably curtailing the latter. Both are accurately sketched, deftly draped, and naturally posed. The features of the Abbot are distinctly good ; those of the Saint are not particularly lucid. In part, the remains of the Abbey were converted into a farmhouse. They still afford a fair idea of the dimensions and character of the ancient edifice.

BRISTOL, Austin Canons* Abbey of S. Augustine, co.'s Somerset and Gloucester.

One of the thirteen religious houses which at the Dissolution PLATrL encircled the walls of the city, and which up to that time ■^•^' shared with the Hospital of the Gaunt's (founded by the

Seal iq. Berkeley's after their intermarriage with the Gaunt's, barons of

Folkingham) the greatest note. Established in the reign of King Stephen by Robert FitzHarding. Robert was a son of Harding (reputed to have been a younger son of the King of Denmark) who had attached himself to the Conqueror, and received as a reward for his services a large grant of lands and property in and around Bristol. Being the eldest son, Robert succeeded to the estates and afterwards became lord of Berkeley, the manor and barony of which, previously held from the crown by Roger de Berkeley, was conferred upon him by Hen. II. In a.d. 1140 he commenced the building of this house, and in its erection and endowment spent a large part of his wealth . The Church was consecrated and dedicated on Easter Day a.d. i 148, when the founder laid his deed of gift upon the high altar. Previously to his death he became an inmate, and was subsequently buried here in a monk's habit and cowl. His family was noted for a long series of benefactions to the Church in general. The foundation was advanced to the dignity of an Abbey by Hen. II., probably as a mark of his appreciation of the important services rendered by Robert FitzHarding to his mother, the Empress Maud, and himself, when Henry Plantagenet, in their contest for the crown with the usurper Stephen. The page of Bristol's history is a tumultuous one, and, increasing in wealth and exercising considerable influence during the centuries it flourished, by this the Abbey must have been closely affected. Our corresponding illustration, supplied by a good impression, is of a counter-seal which probably belonged to William de Bradeston, first Prior and then Abbot. To the latter dignity he was advanced a.d. 1234, and resigned it after eight years government. The design, which has no local or personal bearing, conveys a famous incident

36 MONASTIC SEALS

of the Resurrection : — Our Lord appearing to S. Thomas. Here the doubting Apostle is seen (his name appearing above) kneeling to his Crucified Redeemer (whose Head is nimbussed), placing his hand to confound his doubts into the wound in His side.

►WMINET ECCE CRVOR • ET DEITATE FRVOR. This little instance unites the charming and the devotional. The field was too small to admit of very fine engraving, consequently the secondary figure suffered somewhat in delineation. The chief, however, possesses considerable merit, and the seal as a whole is artistic. Bristol Abbey was a very rich one. In a.d. 1542 when the episcopate of Bristol was erected, its site and a part of its lands were appropriated to the Bishopric. A fragment of the original structure still survives in a Norman gateway, one of the best instances of its kind extant. Its splendid Church continues to-day as the Cathedral of Bristol.

BROMHOLM, Cluniac Priory of S. Andrew, CO. Norfolk.

The objective of a famous pilgrimage, alluded to in his vision r^T^-J"" by Piers Plowman, which stood about three miles from AAV 11. Norwich in what is now the parish of Keswick. Originally a Seal 54. ^^^^ ^o Castleacre Priory, it was liberated by a Bull of Pope

Celestine. William de Glanvill appears as the founder in A.D. 1 1 13, and such gifts as it received from him were confirmed and extended by his son Bartholomew de Glanville. Other benefactors included King Stephen and Hen. I. Hen. III. granted a fair on the feast of the Exaltation of the Cross and the two succeeding days, with a weekly market. What drew pilgrims here in great numbers was a Cross composed of fragments of the True Cross set up in a chapel. It occasioned several miraculous cures. Matthew Paris relates the story, that an English priest who officiated in the Greek Emperor's chapel at Constantinople had in his custody this Cross which he, on the death of the Emperor in a.d. 1223, brought into England. Desiring to enter a religious house with his son, he declined to part with the relic unless they were so admitted. The monks here permitted them to enter their Priory, and so gained possession. By reason of the offerings laid before it the house became exceedingly rich. Unfortunately the impression illustrated Is imperfect, but not to the extent of denying a good idea of the original seal. The design exhibits the Priory Church. In a pediment, and within a sunk trefoiled window, occurs a half-length representation of

BURY S. EDMUNDS ABBEY 37

the B. Virgin with the Divine Infant, and in the centre of the Church, beneath a round-headed arch, S. Andrew the patron enthroned and nimbussed, holding in his hand not his customary saltire, but the renowned Cross of Bromholm, and in his left a book. On the left of the roof is a rose, and on the right another probably appeared in correspondence, but the state of the impression is such as to leave this to conjecture.

M ►^ SANCTI ^h ANDREE * DE H^ BROM[HOLM].

As the fine fragment presented reveals, the claims of this seal were such as to jusdy place it amongst the finest examples of the period. The scheme is a commendable one. What chiefly strikes us in regard to it is the remarkable vigour displayed in the portrayal of the central figure and the unrestrained boldness of its conception. From the illustration it is difficult to realize that it is not a reproduction of some large piece of sculpture we are examining instead of a seal which measures no more than three inches in diameter. The work, it would seem to be, is that of an artist accustomed to manipulate with chisel large masses of stone no less skilfully than with graver small pieces of metal — of a man accustomed both to think and act boldly. The delineation of the Church is most praiseworthy. Considerable remains of this house may yet be seen. They consist chiefly of the great gateway, a large part of the Church, portions of the kitchen and other offices and lodgings.

BURY S. EDMUNDS, Benedictine Abbey, CO. Suffolk.

After Glastonbury, perhaps the most superb of English rLAlE Abbeys. It lay situate between the two ancient Churches of ^^^* SS. Mary and James. Famed equally for its learning,

Seal 41. sanctity, and wealth. The Abbot sat in Parliament and

decided causes within his extensive Franchise. The possessions of the house included the royalties of several hundreds. At the Dissolution, when the degradation of surrender provoked the Abbot's death, its annual revenue reached an immense sum. Its many privileges which embraced the right of coinage were extraordinary and valuable. Ornamented in a most artistic and costly fashion, sufficient architectural vestiges exist to recall the beauty, extent and magnificence of its ancient buildings. In a.d. 855 Edmund succeeded King OfFa in the kingdom of the East Angles, and fifteen years later was brutally murdered by the Danes. He was buried in an obscure chapel at Hoxne, and subsequently canonized. About thirty-three years after his death his remains were

38 MONASTIC SEALS

removed to Bury (then called *'Beodric's worthe," and since Bury S. Edmund's) by Leofric, a priest, who raised a Church here in his honour, and with seven or eight seculars settled beside it. By a.d. 915 the clergy had increased to nineteen, when King Athelstan is reputed to have incorporated them. Later his brother King Edmund, King Edwy, Theodred Bishop of London, and others conferred upon the college gifts and advantages. As a Benedictine Abbey the establishment was refounded in the reign of Cnut. In a.d. 1020, upon the site of the original Church the foundations of another were laid. The King bestowing at the same time many privileges made it several important grants, and Ailwin, Bishop of Elmham, that the power of the Abbot might be increased considerably reduced his prerogatives, and ordained that the jurisdiction of the Abbey, and the radius of a mile from the town should thenceforth be vested in the Abbot. In the new Church, dedicated to Christ, the B. Virgin and S. Edmund, the martyrs' relics were richly enshrined. Here Cnut frequently paid his devotions and offered it his crown. The Confessor also often came to the shrine, and always performed the last mile of his pilgrimage on foot. By him the Abbot was constituted lord of the Franchise — the jurisdiction of eight hundreds and a half, and the receipt of their royalties — and from him received the privilege of a mint. Soon after the Conquest the Church was destroyed and another immediately commenced. William commanded the Abbot of Peterborough to allow the Abbot of Bury as much stone free of toll from the quarries of Barnack, as was needed for the work of rebuilding. Having journeyed to Rome to obtain a Bull from Alexander II., Baldwin, the Abbot, returned laden with gifts, which included an altar of porphyry vested with this privilege, that unless expressly interdicted Mass should always be solemnized within the Abbey as long as the altar stood. The third Abbey Church was completed a.d. 1095, ^"^ ^' Edmund's relics trans- lated there in the year following. Hen. I. granted a fair of six days. On his return from Chartres he made a pilgrimage hither, and in thanksgiving for a safe return made a valuable offering to the shrine. To S. Edmund Hen. II. attributed the victory he achieved in the battle fought against his rebellious sons, he having caused the martyrs' banner to be carried in front of his army. Rich. I. before embarking upon the Crusade also visited the shrine and made presents. Afterwards he gave to the Church the banner of Isaac, King of Cyprus. Eleanor the Queen of the first Plantagenet gave several valuable jewels. The use of these for life King John cajoled the Abbot to give him, but whilst snatching the profits of other houses during the interdict he spared the coffers of Bury. Previously, a.d. 1205 the earls and barons held a council antagonistic to him here, and in A.D. 12 1 6 Lewis, the dauphin of France, whose support they had enlisted,

4

)

BURY S. EDMUNDS ABBEY 39

robbed the monastery of many valuables, and, it was long supposed, the relics of S. Edmund also, which he was reputed to have taken to France. Dissensions occasionally arose between the monks and the people. The most deplorable occurred in a.d. 1327, when 20,000 men made an assault upon the Abbey, and committed great destruction. Punishment upon the rebels was swift and severe, many being executed. One of the chief legends related of S. Edmund records the discovery of his head. The Danes had him beaten, shot at with arrows and beheaded, finally throwing his body and dissevered head into the densest part of a wood. At first his people failed to discover the latter. Search was continued. Some of those who sought missed their way and shouted to their companions " Where are you .'' " A strange voice replied " Here ! here ! " Advancing in its direction the missing head was found in a thicket carefully guarded by a wolf. This legend was a favourite subject of mediaeval representation, and with the torture and martyrdom of S. Edmund this the obverse of the Privy seal of the Abbey, illustrated here from an impression neither altogether perfect or distinct but on the whole fairly satisfactory, in part conveys. The design comprises in the upper section the royal martyr fastened to a tree with strange overhanging branches, and being shot at by five archers ; in the lower, under a trefoiled arch, his decapitation, where a wolf is seen bearing off with the crowned head ; at the bottom of the scheme two more trees occur, and above them three pierced beads or pearls.

[SIGN]VM : SECRETVM : CAPL'I : iEDMVNDI :

REGIS : ET : MARTIRI[S.]

The reverse in its design also commemorated the popular

PLATE dedicatory, and two of the Abbey benefactors also. It

■^■^^* displayed S. Edmund crowned and enthroned, beneath a

Seal 42 sculptured canopy of three arches (one trefoiled) surmounted

by a Church-like structure, between two prelates (each of

whom supports a pastoral staff in the outer hand, and raises the inner

towards the King), Theodred Bishop of London (or Egelmar, Bishop of

Elmham, an eleventh century benefactor), and Ailwin, Bishop of Elmham.

Below the platform upon which the figures rest is a trefoiled aperture and

an embattled wall, and here, as on the obverse, three beads or pearls appear.

AGMINE : STIPATVS : SEDE[T : E]D : REX :

PONTIFICA[TVS].

Judged critically and closely by the strictest canons, the art exhibited in the

execution of the very quaint obverse, it must be confessed, does not reach

a particularly high standard. Examined as a whole, and in a general way

it relates its story in a striking and graphic manner. To achieve this is to

realize a fundamental principle in a work of Art, and so far, and with

40 MONASTIC SEALS

effect, our artist succeeded. Within this diminutive space the particulars of the torture, degradation, and martyrdom concluding with the legend of the wolf are all related in the fullest detail and, our higher criticism notwithstanding, the design has much to commend it. As we count up the number of arrows transfixed in the Saint's body, however, we cannot help wondering why the sanguinary Danes considered decapitation a necessary operation. The impression illustrated as regards the reverse has suffered much from pressure, and also apparently from a spreading of the wax. Under these circumstances a full appraisement is not feasible. Obviously its conception was of some richness, and as is also sufficiently Indicated the drapery was treated in an artistic fashion. Altogether, it reveals a higher skill in its execution than that shewn in the preceding, and had we before us an impression fresh from the matrix we should no doubt find but few defects to condemn it.

Counter-seal of Simon de Luton, who was elected Abbot FLAIL February, a.d. 1257, and confirmed by Alexander IV. the XL, V 111. following November. An excellent impression. This also Seal qc. exhibits, under a trefoiled canopy, the decollation of

S. Edmund. A wolf is shewn guarding the head, and above the canopy, between two churches or parts of churches, a half-length representation of the B. Virgin, nimbussed, with the Child on the left knee. The art of this llttie example, conceived with much grace and executed with considerable delicacy, Is both telling and happy. Whatever defects are visible — and they exist — In the delineation of the martyr are compensated for by the remarkable treatment of the executioner the features of whom. In spite of the diminution of that figure, are perfectly distinct and natural ; in their expression we can see fear, If not remorse as a consequence of the act just perpetrated. The features of the King are also discernible.

VIRGO : DEVM : PERT : DVX : CAPUD : AUPERT : Q'D :

LVP5 : HIC : PERT : During Simon's abbacy the Pranclscans, to the annoyance of the monks, made their first appearance at Bury, upon which a long dispute ensued and finally ended In the removal of the friars without the jurisdiction of the town. Within this period also the Pope granted to the King a tenth of the goods of the Abbey barony. The Bishop of Norwich fled hither whilst the barons plundered that city ; and Hen. III. whilst at the Abbey was seized with the malady which terminated In his death. In a.d. 1272 he had held a Parliament here which. It has been stated, may be considered as the outline of a British House of Commons, and it was on returning later the fatality of his disorder manifested Itself.

CANTERBURY PRIORY 41

The final illustration contributed by Bury S. Edmunds, also PLATE derived from a good impression, is that of the seal of AAA. Walter, an uncertain Abbot or Prior. This, too, conveys

Seal cq. ^^^ legend of the wolf, who is here seen, before a conventional

tree, bearing away to the right the crowned head of the martyred King. One of the more charming of our minor examples, and most skilfully treated. The martyr's head is designed with such minuteness that the features are distinctly seen to wear a pleasant expression. Strictly, the wolf should have been placed at the foot of the tree, but for this the vesica afforded no room. To get over the difficulty the engraver boldly drew the animal with its sacred burden across the tree, and it is not immediately we discover the offence against the laws both of perspective and gravity. Differently treated, the same device affords the subject of the corporate seal of the borough of tJury S. Edmund.

►^OSTENDVT • SIGNV • GALTERI • REX • LVPA • LIGNV. Chiefly, the remaining vestiges of this glorious Abbey comprise the gate (of Decorated style), which is yet complete, bridge, also well preserved, and detached parts of the walls.

CANTERBURY, Priory of Christ Church, CO. Kent.

One of the two great conventual foundations laid in this city, rLAlE y^st alike in its grandeur, wealth, influence, and power. It Ai^Vll. \^y situate adjoining the Mother Church of England, to which Seal qa. ^^ ^^^ attached until the Dissolution when out of this house

the Cathedral was erected. Through the generosity of King Ethelbert it was originally founded by S. Augustine. Having landed A.D. 597 at Ebbe's Fleet, an important point of embarkation in pre-historic times in the Isle of Thanet, he, assured of a friendly welcome by the Kentish sovereign whose wife was a Christian, with his forty monks advanced upon Canterbury. He took up his residence at the " Stable Gate," near the present Church of S. Alphege, and was allowed to worship with his followers at S. Martin's without the walls. On the 2nd July Ethelbert was baptised, and on the Christmas Day following ten thousand people of Kent were received into the Christian fold in the waters of the Swale. Soon after Ethelbert resigned his palace to the *' Apostle of the English," who converted it into a Priory, named it Christ Church, and took up his residence there with his fellow-missionaries. From the commencement the Priory was liberally endowed, but as time advanced its

42 MONASTIC SEALS

estate reached enormous proportions. The property of the Archbishops and monks was held by both in common. The history of the house is bound up with that of the archiepiscopate, that of the archiepiscopate with the annals of the country. The wealth and importance of the metropolitan city exposed it to frequent inroads, and in the evil consequences of these it shared. After the brutal murder of S. Thomas a Becket within its walls, the Church, where his remains were enshrined, became the objective of the famous Canterbury Pilgrimage, a peculiar feature of mediaeval life of which Chaucer has given such a vivid and immortal description. From all parts of Christendom the devout flocked here in great numbers, and showered upon the tomb of the murdered Archbishop gifts of incalculable value. Every fiftieth year was held a grand jubilee in commemoration of his Translation, when indulgences were granted to all who came. The festival lasted two weeks, and was timed from midnight on the vigil of the feast. The feud which commenced between the monks of this and those of the rival house, arising out of the claim of exemption, constituted not the least conspicuous incident in the career of the Priory. It continued with much acerbity until the Reformation, and is historic. Near the Cathedral certain indications of this celebrated house still exist. The first of our illustrations pertaining to it is taken from an excellent impression of the seal of a Prior, Roger de la Lee. In design it comprised a mitred ecclesiastical figure, either intended for S. Augustine, S. Thomas of Canterbury, or other canonized member of the archiepiscopate, standing upon a sculptured corbel. He grasps the folds of his cloak with his right hand, and holds a book in the left.

+SIGILL' ROGERI PRIORIS ECCL'E CRISTI CANTVARIE. The scheme is that of the most archaic of its class, a fine and bold example which reveals clever, but not superlative manipulation of the graver. In the figure from the neck its merit chiefly lies ; the vesture is distinctly good, whilst quite naturally the right hand clutches the cloak. The features are void of expression, and repudiate the idea of very studious treatment. Obviously the design suffered through the entire absence of Gothic feeling, and between it and the illustration the subject of the description immediately following comparison is invited.

Our second illustration relating to this Priory, derived from PLATE aj-j injured but very fine impression, is of the seal of another AAlA. Prior, Henry de Eastry. It comprehended upon a field

Seal c8. diapered lozengy — a minute cinquefoil or sixfoil in each space

— an elegant canopy with pointed arch and crocketted pinnacles, upheld by slender columns, under which a similar ecclesiastical figure with embroidered vestments and mitre stands upon a carved

CANTERBURY ABBEY 43

corbel. In this instance a book is clasped with both hands, and in the field on either side appeared, enclosed in a quatrefoil panel, the head of a monk.

. S' HENRICI PRIORIS EC[CLE]SIE XPI CANTVARIE. Of its kind this proffers a rich example, Essentially, the type is that of the preceding delineated in the richness of development. The suggested comparison between the seal of Prior Roger, free from Gothic influence, and this prepossessed by it forcibly and lucidly manifests the effect of that influence and its depth. Here the figure is vested for Mass. The expert manner in which the vestments have been dealt with cannot fail to provoke admiration. In the figure itself good modelling is shewn, whilst the features are full of expression. Altogether, the seal is artistically perfect and may be placed amongst the finer mediaeval works of its order.

Benedictine Abbey of SS. Peter, Paul, and Augustine.

The other grand conventual institution of the city, the PLATh. powerful rival of which it was almost in wealth, altogether in XLV. renown and power. Being of Abbatial rank and mitred this was

Seal 89. ^^ most dignified foundation. Its rent roll nearly occupies

four columns of the contracted pages of Domesday, and its growth from age to age was in equal correspondence with Christ Church. To that establishment it lay near at hand, without the ancient walls of the city but very close to them, to the south east. The present Missionary College was erected upon its site. Its remains are still extensive, and comprise massive towers, very beautiful gateways, and large masses of the boundary. Church, and office walls. Like its ancient and inveterate rival it was originally founded through the munificence of King Ethelbert by S. Augustine. It was his original plan to divide distinctly monastic from the purely secular work of the episcopate. Accordingly, shortly after the completion of Christ Church S. Augustine laid the foundations of the Abbey near a once pagan Temple then consecrated to S. Pancras. In a.d. 978 it was restored and enlarged by S. Dunstan, then Archbishop of Canterbury, at which time S. Augustine was added to the original patronage of SS. Peter and Paul. Gradually it became popularly known as S. Augustine's. In early times it claimed superiority over Christ Church, of which it was extremely jealous because of the great distinctions conferred upon the latter, and its possession of the famous shrine of S. Thomas. Until the Dissolution it flourished exceedingly. Illustrations of two seals belonging to it are here presented. The first, obtained by means of an excellent impression is that employed by Roger of Chichester, who was

44 MONASTIC SEALS

Abbot from a.d. 1252-72. It exhibited in elevation and section an architectural fa9ade, shaped in conformity with the area ot the vesica^ detailed with numerous windows and cusped apertures, and spires. Below a cusped archway, in the centre stands upon a carved corbel the Abbot, Roger, vested and mitred, with a pastoral staff in the right hand, in the left a book. Above the doorway appears a minute representation of the Abbey Church, and on either side of the figure a cusped panel of oval shape, each of which contains the head of a monk.

: SIGILL' ROGERI DEI GRA AB' SCI AVGVSTINl :

CANTVARIE : Abbot Roger's seal, a very beautiful Gothic instance perfect in its art, continues essentially the type of those of Priors Roger and Henry of Christ Church, but in its design exhibits a treatment quite distinct from that revealed by either. Similarly with the latter it may well be placed with the finest productions of its class and period. To several corporate examples illustrated in this work the architectural features of the scheme respond closely. This section has been executed elaborately and with care, whilst the delineation of the figure reveals no less. It is worthy of note, as elucidating the attention usually bestowed upon these productions that two distinct scales are involved in the presentment of the fa9ade, and the tiny Church at the apex. The first is quite a conventional structure, but in all probability we have in the second a substantially accurate view of the contemporary Abbey Church. Pope Urban A.D. 1258 granted Abbot Roger power to absolve all persons who were professed in his house from excommunication. He built a new refectory, founded the chapel of Kinsdowne, and richly enshrined the relics of S. Mildred. Till his time the monks shaved each other in the cloister, but he, because they were often wont through lack of skill to cut and hurt one another, decreed that shaving should thenceforth be under- taken by laymen.

Our second example is served by an impression of the Abbot's ri^/iirL, Privy seal. It was an official instance, employed successively aEIa. by ^i^g heads of the house for the purpose suggested. The

Seal 98. design is of three sections. In the first, at the apex, occurs

under a canopy with square-headed arch the half length representation of two Saints, probably designed for SS. Peter and Paul. The central contains within a canopied niche with trefoiled arches, supported on four slender shafts, the enthronement of S. Augustine, mitred, who raises the right hand in blessing, and grasps a pastoral staff with the sinister. In the third, at the base, a half-length delineation of the Abbot is presented under a trefoiled arch, kneeling in prayer to the left.

CERNE ABBEY 45

SIGILL' SECRETI • ABBIS • SCI • AVGVST^ : CANTVAR'.

Whilst the impression here illustrated is clear in outline, it suffers some- what from a lack of distinctness, moreover, comparatively speaking, the relief in which the seal was graven, in its depth usually a marked and admirable feature, is not particularly fine. We are scarcely enabled, through the second circumstance, to fully appreciate the value of the skill employed upon it. The scheme, however, is to a limited extent uncommon, and in the disposition of its elements distinctly good. The seal is an interesting specimen from various points, chief of which is that S. Augustine is depicted upon it with the pallium.

CERNE (or Cernell), Benedictine Abbey of SS. Mary, Peter, and Benedict, co. Dorset.

A Saxon foundation of largfe possessions, the site of which is ri^/iiii 5^.jji marked by a gatehouse, or square embattled tower — XLl. considered to have been the principal entrance — the sum of its

Seal 82. remains. According to Malmesbury, S. Augustine after the

conversion of Kent travelled throughout all England except Northumbria, and upon reaching here was driven away by the inhabitants. Anticipating a change in their attitude towards him he exclaimed to his followers, Cerno Deum qui et nobis retribuit gratiam^ et furentibus illis emendatiorem infundet animam. The people repented of their hostility, begged pardon of the Saint, and beseeched his return, circumstances which he attributed to God. Augustine went back, named the place Cernel, compounded of Hebrew Hel or Ely God, and Latin CernOy and here a hermitage sprang up. To it Athelwold, brother of S. Edmund retired. In the days of King Ethelred, Ethelmer, a nobleman of his court, founded upon it this monastery which he liberally endowed. -/^Ifric, the first Abbot, became Archbishop of Canterbury. Cnut when King of Denmark was charged with the plunder and destruction of the Abbey. After he reached the throne of England, however, he compensated for this by the gift of lands and bestowal of privileges. Hen. II., Ed. L, and Ed. III. also appear to have benefacted. The Abbot in the sixth year of the reign of Rich. I. was mulcted in the sum of forty shillings scutage for that King's redemption. The impression remaining of the seal, although imperfect, conveys a good idea of the original, and is selected for reproduction here on account of its excellent and archaeologically valuable architectural detail. It displayed an elevation of the West front of the Abbey Church (now completely obliterated) richly detailed in the

46 MONASTIC SEALS

contemporary (E.E.) style, upheld by the half length figures (placed under two round-headed and masoned arches) of the original founder S. Augustine, and the second founder Ethelmer. A small bird occurred on the foliated crockets of the roof to the left and right, and behind each of the figures a cinquefoil. The legend in the impression is wholly wanting. Gothic elevations in seal art are as a rule largely conventional, but a glance at the fine fragment described is adequate to inspire regret that a perfect impression of what must have been a remarkable example of monastic seal production is no longer available. Even this imperfect object not only convinces us that the architecture was presented with great skill, but incites the hypothesis that in this instance also with unusual truth. Since not one stone of the edifice it represents remains above another, upon the assumption of the accuracy of our conjecture as to the realistic nature of this representation depends that archaeological value we have hinted it possesses.

CHAUCUMBE (or Sawcomb), Austin Canons' Priory of SS. Peter and Paul, co. Northampton.

A SMALL establishment, few details of which exist. Although rLATE ari earlier founder is named in an ancient rent roll — Hugh AAll. jjg Anesy, a Norman knight, who accompanied the Conqueror

Seal 44. ^^ England — it was actually erected in the time of Hen. II.

by Hugh de Chacombe or Sawcomb, lord of the manor. The charter of foundation was witnessed by Walkelin, Abbot of S. James, Northampton, and Alexander, Prior of Canons Ashby. It is suggested that Hugh de Anesy was an ancestor of the founder. Two chantries in the reign of Ed. III. were raised within the church ; one by Edmund de Hereford, a clerk, who gave a Warwickshire manor to provide four canons for the celebration of masses in advancement of the spiritual welfare of his father and mother, the King, and Henry, Bishop of Lincoln ; the other by the convent for a knightly patron. Sir John de Lyons. The matrix of the seal employed by the canons being yet extant we are enabled to present a reproduction of a perfect impression. It generally illustrates the dual dedication, and exhibits in detail below a reversed arc or bow, containing a Hand (typical of a Heavenly benediction) with the third and fourth finger closed in upon the palm, full-length representations of the two patrons SS. Peter and Paul, who, with their respective emblems confront each other, and stand upon another bow or arc, contrarily disposed, under which the Prior, partially delineated, kneels and supplicates them.

CHERTSEY ABBEY 47

+SIGILL* • APOSTOLORV • PETRI • ET • PAVLI • DE •

CHAVCVMBA.

This seal may be assigned to a very early time within our period, before the Gothic influence had wholly asserted itself, or found general expression. Its design is singularly chaste and lucid, and in its execution considerable skill is exhibited. In delineating S. Peter the artist, it will be observed, was not guided by tradition, but gave us his realization of the Apostle in the figure of a youth instead. Upon this figure he obviously lavished particular pains ; it is exceedingly well draped, whilst the features are accurately and pleasantly drawn. The attitude of S. Paul is a trifle antagonistic (a view which the presence and position of the sword may accentuate), and it would seem as if S. Peter was giving the soft answer which turneth away wrath. Of the early excellence of seal art, it is adduced as a striking example. The village of Chaucumbe, wherein the Priory, to the north, was situated, lies in a deep and secluded valley which ascends to the parish Church — anciently an appropriation of the canons. Out of the ruins of the monastic establishment a manorial seat was erected soon after the Dissolution. Until the eighteenth century was well advanced the gatehouse and lodge continued. The site is now occupied by a comparatively modern mansion. The only traces, and these but slight, of the ancient Priory are visible in one of the domestic offices.

CHERTSEY, Mitred Benedictine Abbey of S. Peter,

CO. Surrey.

The first monastic institution raised in the county. In Saxon rLArh. and later periods a house of considerable note and dignity. It ^^^' stood upon a spot just beyond the site of the Church of the

Seal 13. parish of Chertsey (where the South Saxon Kings resided

during the Heptarchy) which contains an ancient bell of the Abbey. Its possessions were very numerous, but although mitred and regarded as a spiritual baron, the Abbot had no seat in Parliament Founded, upon what was then an island in the Thames, c. a.d. 666 by Frithewald, viceroy or Earl of Surrey under Wulpherus King of Mercia, and S. Erconwald, who, as already related, founded somewhere about this time for his sister S. Ethelburga an abbey at Barking. Erconwald was the first Abbot ; he personally obtained from Pope Agatho a Bull granting special privileges to his house, over which he continued to preside until called to fill the episcopate of London. In the ninth century, during the Abbacy of Beocca, the Danes slew almost a hundred monks, burnt both the

48 MONASTIC SEALS

Church and monastery, and as was their wont committed great devastation. Restored in the time of K. Edgar, and at his direction, by Ethelwold, Bishop of Winchester, when it was re-endowed with its ancient possessions and filled with monks from Abingdon. The Church and buildings erected at this time continued until a.d. iiio, when, whilst Hugh of Winchester a relation of King Stephen ruled, the pile was re-erected entirely. The Confessor and other sovereigns were considerable benefactors. Altogether, the Abbey possessed extensive lands spread over four counties, a cell in Cardigan, a house in London, and no less than twenty-five manors. Hy. VL, whose remains were interred within the Church prior to their removal to Windsor, granted a fair on S. Anne's Day which as " Black Cherry Fair" survives. The seal given, obtained from a fine impression, is that of Bartholomew de Winton, Abbot, a.d. 1272- 1307, who, charged with alienating certain possessions of his house, provoked from Pope Gregory X. a Bull addressed to the Prior of Dorchester, which authorized him to enquire and define as void any illicit conveyance the Abbot might have made. It exhibited his effigy vested for Mass beneath a trefoiled canopy unsupported, and standing upon a corbel, holding a staff in one hand, a book in the other. Over the trefoiling appeared a miniature Church, and in the field two small niches with pointed arches and crocketted spires, which respectively contained the heads of SS. Peter and Paul with their emblems below.

S' BARTHOLOMEI : DEI : GRA : ABBATIS : CERTESEYE : Compared with the seals of Prior Henry of Christ Church, and Abbot Roger of S. Augustine's (Canterbury), the type of which differently treated it pursued, the seal of the Abbot of Chertsey illustrated, although the figure it displayed was well modelled and draped and presented in excellent relief, falls somewhat short of the artistic standard of both. The little niches at the sides reveal negligence in their delineation ; they are ill-balanced, and have the appearance of being squeezed in hurriedly as the issue of an afterthought. The Church at the apex is distinctly worked, but entirely lacks character. The Abbey was mitred as we have stated, but the figure, it is curious to note, does not wear the head-dress that dignity carried. As the title in this case was largely nominal, however, the omission may have been intentional. The place and value of the symbolic system in Art is here manifested. Anxious to introduce the figures of SS. Peter and Paul, and the space available forbidding, the engraver resorted to it with the fullest effect. The ground plan of this celebrated Abbey is still discernible, but an arch and a few vestiges of the barn exhaust all architectural remains. The streets of the town are supposed to have been raised by fragments of the masonry. The ancient fish ponds are yet preserved.

CHESTER ABBEY 49

CHESTER, Benedictine Abbey of S. Werburgh, CO. Cheshire.

A CELEBRATED SaxoM foundation, largely endowed and highly fL,n. 1 H. privileged, the situation of which lay a little to the east of the XIX. North Gate of this ancient and remarkable city. Of its lost

Seal 77. grandeur its magnificent Church, now the Cathedral of the

Diocese, continues as an eloquent memorial. The date and circumstance of its origin are obscured, but there can be no question that at a very early period a conventual establishment dedicated to SS. Peter and Paul was in existence here — certainly before a.d. 875. According to tradition it was erected by Wulpherus, King of Mercia (a.d. 670) for his daughter Werburgh (who displayed an inclination for a religious life) and a company of pious maidens, but, whilst it is probable a nunnery originated in this circumstance, it was not located here. In A.D. 875 the remains of S. Werburgh were brought from Heanburgh and enshrined In the already existent foundation of SS. Peter and Paul. Not until then did any connection exist between the royal virgin and the city. How long the original foundation flourished Is uncertain, but by the time Athelstan came to the throne, probably through the ravages of the Danes, it had ceased to exist. In his reign Ethelfleda, Countess of MercIa (who restored the walls of the city which the Northmen had destroyed), caused it to be rebuilt In honour of S. Werburgh and S. Oswald (the most Christian of all the rulers of Northumbria) and filled It with secular canons. To the munificence of the Countess the new foundation was indebted for a large part of its endowment, which King Edmund, King Edgar, and Leofric, Earl of Chester considerably enlarged. In a.d. 1093 Hugh Lupus, Earl of Chester, at the Instance of Anselm, Abbot of Bee (afterwards the famous Archbishop of Canterbury), ejected the canons and with his Countess, Ermentruda, refounded and very liberally endowed the house for a society of Benedictines introduced from Normandy. A few days before his death the Earl was himself professed a monk of S. Werburgh's, by which name alone the Abbey became chiefly to be known. As a Benedictine establishment, the frequent subject of royal and other bounty, It descended with an interesting and varied career to the suppression. After his victorious expeditions against the Welsh, in a.d. 1283 Ed. I. with his Queen attended Mass at S. Werburgh's and on that occasion presented a cloth of great value. The monks, as we have hinted, shared numerous privileges ; the right of having an enfranchised boat on the Dee, of fishing with one vessel and ten nets in Anglesea, and the tithe of all fish captured in the river were among them. Until the Dissolution, the tenth salmon caught from ofi^ the city bridge was ceded to them without Intermission or

50 MONASTIC SEALS

question. On the feast of S. Werburgh, who since her remains were brought to Chester has always been regarded as the especial patron of the city, a fair was held annually during which the merchants and purveyors ranged their booths before the great Abbey gate, the ground being strewn with reeds which a particular charter entitled the monks to gather from Stanlaw March. The tolls and profits of this fair formed part of the Abbey emoluments. For all forfeitures in it pleas were held in the court of S. Werburgh. Any malefactor who attended upon these occasions if not guilty of further offence was there unattachable. In its transactions the Abbey employed a rich instance of seal art. For a conception of its scheme we have to rely upon the woefully imperfect, yet fine and lucid fragment illustrated. Deplorable as is the absence of a perfect impression the nature of the vestige is sufficiently adequate to enable us to draw upon conjecture for such details as are wanting. Upon the obverse was displayed a detailed view in elevation and section of a Gothic structure, resembling that of a Church, with transepts and pinnacled tower in the centre at each angle of which flew a flag. In either transept stood the full-length figure of a monk ; between them, under the circular-headed and cusped doorway of the tower, S. Werburgh with the staff of an Abbess and book sat enthroned. In a trefoiled aperture created in the pediment of the tower occurred the head of a monk which, in quatrefoil panels, was repeated in the carved plinth of the base and in both transepts.

SIGILL[UM : CONUENTUS : ECCL]ESIE[ : SA]NCTE[ :

WERBURGE]

The reverse also exhibited a Gothic facade which, though of rLAliL different design, bore some resemblance to the preceding. AlX. Here, beneath the arch of the central tower sat upon a

Seal 38. throne, crowned and supporting a sceptre fleury and orb surmounted by a cross, the martyred Northumbrian King, S. Oswald (the second patron), and In the transepts the monks give place to the full-length figures of SS. Peter and Paul (patrons of the original foundation and to whom legend relates a Church was erected here In the second century) with their usual emblems. Over the tower In the field appeared a wavy star on the left ; on the right probably a crescent, and In a quatrefoil below the plinth at the base a monk's head as before.

UM : AM : MA [E : SIGILLUM :]

The legend formed a rhyming hexameter verse. The designs of the seal described were magnificently conceived, as the elaboration of the facades evinces, expressed In the fullest detail, and executed with much skill. When perfect, the impressions must have been objects of considerable beauty, and even these which are imperfect can be said to be no less. The architectural

CHESTER FRIARY 51

work readily Incites our admiration. To the Incomplete state of the impression must be added an obvious spreading of the wax in some parts which remain, a circumstance which prevents an equable appreciation of the figures delineated ; if they approached the standard reached in the depiction of the drapery of the two central figures they must have been artistically excellent. Out of the dissolved Abbey Hen. VIII. erected the bishopric of Chester, and allotted as a Cathedral the Church annexed. The conventual buildings occupied an almost entire fourth of the city, an instructive statement as to the ancient importance of the Abbey. The Cathedral consists of nave and choir, central tower, transepts and lady chapel. Opposite the pulpit, In the choir, is the stone case which formerly surrounded the shrine of S. Werburgh. Shortened, it is now employed as the Bishop's throne. The south transept was used until A.D. 1882 as the parish Church of S. Oswald. During the civil war the Cathedral sustained great injury. The Bishopric was endowed with a portion only of the possessions of this Abbey.

PLATE

Carmelite Friary of S. Mary.

A THIRTEENTH century foundation indebted for its institution to Thomas Stadham, gentleman. It stood within the parish XXXIV. q£- 5 Martin, and in a street still called White Friars on that Seal 67. account. Attached to It was a splendid Church, with a steeple (erected a.d. 1496, and destroyed a century later) of great beauty and height, "the only sea-mark for direction over the bar of Chester." Information concerning the Friary is very slight. The Prior's seal, an official not personal specimen, forms the subject of our corresponding Illustration which is derived from an excellent Impression. Conjecturally, In point of date It is equivalent to that of the establishment of the Carmelites here, a.d. 1279, and on that assumption rather a late instance of our period. Within a beaded bordure, the device comprehended the B. Virgin standing upon a carved corbel, holding the Child upon her left arm between two candles in candlesticks, introduced in a devotional sense.

• S' • P'ORIS • CESTRIE • FRM • DE • CARMELO. A minor exemplification, pious and artistic without any special claims to the final definition. In such tiny instances, as considering their size could scarcely be expected, seldom was a high standard attained. The figure of the Virgin in its pose is fairly dignified, but in its modelling, proportion and draping does not sustain acute categorical criticism. The features are good, and not without emotion. As regards the

52 MONASTIC SEALS

candlesticks, these it will be observed do not maintain the perpendicular. Upon the whole, in a collection of this nature where perforce artistic value fluctuates it is not misplaced. All that now remains of the Friary buildings is a doorway. After the Dissolution a mansion, now destroyed, was raised upon the site. At present it is occupied by a venerable house used as chambers — called the Friars — in which the doorway referred to is incorporated.

CHICH (or S. Osyth's), Austin Canons' Priory of SS. Peter, Paul, and Osyth, co. Essex.

A NOBLE foundation which lay within the hundred of Pi-ATh. Tendring eleven miles distant from Colchester. It possessed L. great wealth, and the repute of being the most ancient monastic

Seal igo. institution erected in the county. According to tradition it

was founded originally by S. Osyth. S. Osyth was a daughter of Redwald, King of the East Angles. Having made a vow of perpetual virginity she retired here, it is related, and built a nunnery for herself and a number of maidens similarly disposed. About a.d. 635, tradition continues, the settlement was devasted by the Danes, and the foundress beheaded near a fountain adjacent. Upon the legendary site of the convent Richard Beauvais, Bishop of London, c. a.d. 1118, established a Priory for Austin Canons under the patronage above indicated. As was usually the case, it became popularly known as S. Osyth's. The first Prior was William de Corboil who succeeded, a.d. 1122, Radulfus de Turbine in the Archbishopric of Canterbury. His elevation revived the ancient controversy for precedence between Canterbury and York. He obtained of Hen. I. the custody of the castle of Rochester, which gave him a feudal position of supreme importance and enabled him to take an active part in the contest for the throne which broke out on the accession of Stephen. He had taken the oath of allegiance to the Empress Maud, but took the chief part in the coronation of King Stephen and joined that prince after the nobility of the kingdom had acknowledged him. It is the a^ causas seal of the canons which affords the subject of our illustration obtained by means of a perfect impression. Within a beaded bordure the design comprises a pointed canopy (with trefoiled arch) supported by pillars, upon the top of which rests a Church-like structure and under which S. Osyth, clad as an Abbess, stands upon a carved corbel in profile to the right holding her dissevered head, with the emblem of S. Peter (key) on the right, that of S. Paul (sword) on the left of the field. Thus

COLCHESTER PRIORY 53

the scheme is commemorative of all three patrons but responding to popular feeling gives the greater prominence to the royal and virgin martyr. S' • ECCE • SCE : OSYTHE • DE : CHIC : AD • CAS. A good example — archaic, essentially, in type. Engraved in high relief and good style of art. In the architecture at the apex lies its only weakness, but this reveals negligence of treatment rather than want of capacity to treat. The saintly form is artistic and praiseworthy from every point. It is well drawn, skilfully draped, and reveals in the countenance remarkable clearness, truth, and expression. By no means one of the richer, but assuredly one of the finer of the remains we are considering. The strange delineation of S. Osyth seen here is not peculiar to her. Various Saints who endured martyrdom by decapitation were usually so depicted. Legend attaches to some the rejoining of the head and body with a further period of life, to others miraculous walks and flights in the circumstances under which S. Osyth is depicted here — carrying their heads in their hands. The remains of the Priory are considerable. Except on the north side, which is occupied by some comparatively modern apartments, the quadrangle is almost entire. A beautiful gateway of hewn stone mixed with flint with two towers and posterns also continue, and three towers to the east. The structure now forms a private residence. On the east and west sides of the court are offices which shew traces of great antiquity.

COLCHESTER, Austin Canons' Priory of SS. Julian and Botulph, co. Essex.

A COMPARATIVELY Small establishment, of considerable archi- '^^^i-^ tectural beauty if the remains of the Church which adjoined ^^^* afford any indication. It is reputed to have been the first

Seal 14. house of the Augustinian order raised in England, but to this

distinction there were other claimants. Not far distant from the mitred Abbey of the Benedictines, it stood to the south of the town. Founded by a monk named Ernulph, who endowed the Priory with its site and surrounding gardens, obtained a.d. 1116 of Pope Paschal a Bull enriching it with extraordinary liberties, and became first Prior. Other benefactors — of whom Hugh FitzStephen was one, and Bristerd another — shortly afterwards added to its possessions. Hen. I., after endowing the canons with all the tithes of his demesnes in Hatfield Regis confirmed to them the land and houses they possessed in Colchester, Canterbury and elsewhere, the third part of a mill under the castle and the serjeancy with this curious stipulation, that whenever he or those who came after him

54 MONASTIC SEALS

made war in Wales they should furnish for the King's use one horse of five shillings price, a sack and a spur for forty days. A chipped and indistinct impression of the seal illustrated reveals the design to have comprehended beneath a trefoiled arch, our Lord with cruciform nimbus, raising the right Hand in benediction, seated on a sculptured throne between the two patrons (depicted at three-quarters length), S. Botulph vested as an Abbot with book and staff, S. Julian as a Bishop with mitre and staff. In the base under another trefoiled arch is a Church, with tall central spire placed between a star and crescent. S. Julian was Bishop of Toledo. S. Botulph was born of noble parents early in the seventh century. He became a Benedictine monk, and erected a monastery the site of which is indefinite but commonly considered to have been on the river Witham, where stands the town of Boston. The Church there is dedicated to him, and the name of the town is a corruption of that of the Saint. Bishop Ethelwold divided his relics between Ely and Thorney. SIGILL' ECCLESIE : SANCTI [: BOTJVLFI : DE : COLECESTR' Although the destruction wrought by man upon the superb Priory Church was far greater than the havoc of time upon the impression before us we cannot but deplore both. The result in the latter case has been to leave us indistinctness where particularly we would have liked lucidity, since from the standpoint of art the seal (an early instance) was obviously a very valuable one. Appraisement of the niceties of portrayal is in the circumstances impossible, but this is manifest, that the scheme was not only excellent but fervently artistic, and that the figures were well drawn and gracefully vested. The design tells its own story — Christ counselling the two patrons in their care of the Church, which was placed under it. Ruins of the Priory which was destroyed at the Dissolution there are now none. During the siege by the Parliamentary forces a.d. 1648 the Church was in a great measure demolished, but considerable remains — fine Early Norman examples — as already hinted, still stand.

COMBE (or Cumbe), Cistercian Abbey of S. Mary,

CO. Warwick.

A SPLENDID foundation of great resources, famed throughout PLAIE fou,. centuries for the liberal hospitality it dispensed daily to ^^' strangers and the necessitous. Upon its site stands " Combe

Seal 40. Abbey " (the seat of the Earl of Craven), a mansion erected

early in the seventeenth century in which three sides of the cloister were incorporated. Founded by Richard de Camvilla, a nobleman, c. A.D. 1 1 50, whose son Gerard, with his wife Nichola de Haya, made a

COMBE ABBEY 55

donation for the fit commemoration for ever of his anniversary. The munificence of numerous other generous persons contributed to the extensive possessions the house in time acquired, and numerous privileges and immunities were bestowed by royal favour. Hen. II. gave the monks free warren, court-leet, felon's goods, and the right to judge in their own court thieves caught within their fee or any dwelling therein arrested for felony elsewhere, and freed them from service to the county or hundred court, from toll and other crown customs. Rich. I. also excused them from toll, and from the maintenance of highways and bridges. Hen. III. decreed their immunity from fine for murder committed within their liberties. At the Abbey gate, every Maundy Thursday a constitutional delivery to the poor was made of four shillings and eight pence in money, as much bread as ten quarters of rye would make, as much beer as three quarters of malt would yield, and three hundred herrings. The seal of the chapter, an interesting armorial instance, is that illustrated in correspondence with this note from an impression which is complete but indistinct in places. The design conveys two trefoiled canopies supported by slender pillars, that on the left containing a full-length repre- sentation of the B. Virgin, crowned and supporting the Holy Infant, that on the right, also at full length, the figure of an Abbot vested for mass with staff and book, probably intended for S. Robert, who a.d. 1098 founded the order at Citeaux. In the field, which is diapered, on either side of the arcading is a tree, and in the base the Abbey arms (those of England) three lions passant guardant, in chief a label of five points, sup- ported by lions.

SIGILL' • COMVNE • CAPITVLI • MONACHOR • DE • CVBA. Although our illustration suffers obviously from the occasional want of clearness denoted in the impression, it is sufficiently lucid to evince the scheme of the seal to have been beautiful in its perception, happy in its execution, and artistic in its realization. The draping and pose of the figures are excellent, that of the Virgin, with its studied labouring under the weight of the sacred burden, being particularly admirable. The entire detail — for example, the Abbot's staff — was introduced with minuteness and care. In the shield we have the charges treated in that quaint and delightful spirit which modern heralds find so difficult, if not impossible, to emulate. By this graceful and devotional instance the contemporary excellence of the art its contrivance involved is largely manifested. The cloisters referred to which remain are Norman. After the Dissolution, when the house contained fourteen monks, the site was granted by Ed. VI. to the Earl of Warwick. Upon his execution it passed to Robert Kelway with whose daughter it came to Lord Harrington who built "Combe Abbey."

^6 MONASTIC SEALS

COMBWELL, Austin Canons' Priory of S. Mary Magdalene,

CO. Kent.

A SMALL house, founded it is said as an Abbey and reduced PLATE in consequence of its great poverty, which disallowed the state ^^' of an Abbot, to a Priory. The site chosen for its erection.

Seal ^. anciently called Henlie, lies within the manor of Combwell,

which is situate in the parish of Goudhurst formerly one of the seats of the Kentish woollen trade. There are now no architectural vestiges, but a farmhouse marks its precise location. Founded in the reign of Hen. II. by Robert de Turneham, who endowed with certain adjacent lands. In the generosity of a Lord Dacre it participated and because of this, according to Leland, he was esteemed the second founder. Never were its possessions extensive. In the reign of Rich. II. its annual revenue was returned at no more than sixty- seven pounds. The Prior paid homage to the Archbishop of Canterbury by whom he was installed. In lieu of induction fees, the Primate enjoyed the right to tarry two nights and one day and receive the while sufficient meat and drink. Hen. III. granted an annual fair on the feast and morrow of S. Mary Magdalene. The subject of the plate which relates to this note was the second and last seal of the Priory, supplied by a remarkably fine and lucid impression. According to the legend of the reverse it was contrived a.d. 1133, but than is an obvious anachronism. The nature of its art assigns it with more convincing probability to the century with which we are in this work primarily concerned. The design obversely presents an architectural elevation (doubtless intended for the Priory Church details of which it might supply), with a circular tower on either side, a large trefoiled arch in the centre, and two narrow windows and three apertures (one circular, the remaining trefoiled, each containing the head of a canon) in the pediment. Under the archway a graphic representation based upon the gospel of S. Luke (vii. 50) is depicted — our Lord seated at a banqueting table in the house of the Pharisee between two of His disciples (who are nimbussed), with Mary Magdalene beneath washing His feet with her tears and wiping them with her hair. Over the roof of the structure appears a star and crescent ; on the edge of the table the inscription : —

Maria : fides : tua

Te : SALVAM : FECIT,

below, on the right, the demons who have been cast out of the Saint (Mark xvi. 91), and in the centre a small box of ointment, the emblem of the Magdalene.

COMBWELL PRIORY 57

►fSIGILL' ECCLESIE : SANCTE : MARIE : MAGDALENE :

DE : CVMBWELL'. The reverse also exhibits a dramatic subject of the New PLATE Testament, one very popular with mediaeval artists, and II* recorded in S. John's Gospel (xx. 17) — the Noli me tangerc.

Seal 4.. Under a carved circular- headed arch, upheld by two clustered shafts with pinnacles, here our Lord is seen holding in the right Hand a long cross with banner flag, first appearing after the Resurrection in the Garden to S. Mary Magdalene, who, under two trees lies prostrate before Him. On each side of the field is a circular aperture which contains the head of a canon as on the obverse.

*FACTVM : ANNO : GRATIE : M° : C° : XXX : TERCIO : MENSE : NOVEMBRI. Both legends appear on raised rims. The singularly pictorial seal above described, at once original and unique, affords one of the more striking examples, not only of our class and period but of the whole domain of seal art. Nor is the measure of its interest less commensurate ; in this it is equalled by few, excelled by none. Even to us, possessing some familiarity with the range of subject, its intensely graphic and realistic character and vivid eloquence comes as a revelation. Had the pictorial note it sounded been struck with more frequency the archaeological and other values of seal remains would have been enlarged more than a thousandfold. The story of the Magdalene is both beautiful and touching ; in its realization here it has not lost a shade of its beauty or pathos. The spirit which governs the relation of S. Luke and the other evangelists dominates in this. It is told with all the feeling that could be instilled into the finest sacred oratory, and we can recall no work upon canvas or in stone where the narrative is more fervent or artistic. In their perception both schemes are masterly, and in their execution wonderful dexterity is manifest. The architecture of the two displays unusual treatment ; that on the obverse is pure and simple to a degree. But it is the figure studies which root our attention. Their disposition is in absolute harmony. Not a false line or curve is visible, on the contrary in their attitude and ordering high artistic excellence allied with fidelity to nature. It was not without intention that the figure of Christ rises in its proportions above the disciples. His features are in both presentments unhappily obscured by the state of the impression, as are partially those of the remaining figures but the perfect little head of the canon in the circular aperture of the pediment enlightens us, that as regards the artist capacity for facial drawing was his. The disciple on the right is intensely interested in the Divine confession

58 MONASTIC SEALS

that " He is a friend to sinners not to maintain them in sin, but to forgive them their sins upon faith and repentance." When Jesus said " I have somewhat to say to thee," it is Simon, on the left who, troubled, saith " Master, say on," and after the parable, when asked which forgiven debtor would love his creditor the most answers perforce '* I suppose that he to whom the most was forgiven." The only weakness apparent is the figure of the Magdalene in the first scheme, but her delineation in the second compensates. She was weeping disconsolately in the Garden. A voice arrests her ear, " Woman, why weepest thou \ Whom seekest thou } and she supposing Him to be the gardener, saith unto Him, Sir, if thou hast borne him hence, tell me where thou hast laid him, and I will take him away. Jesus saith unto her, Mary. She turned herself and saith unto him .... Master" — this is the moment of the picture our artist has so feelingly narrated here. The abandon and emotion thrown into the prostrate figure are altogether praiseworthy. Throughout, the vestures are irreproachable. Of the figures the finest is certainly that of Christ in the Garden. Besides its other merits, the anatomical detail of the part uncovered is distinctly good. The spread of the banquet table is quite convincing, whilst the trees, which are conventional, possess a grace of their own. Even if we ignore the restrictions of the art, and mentally concede it every freedom we are unable to regard this seal otherwise than as a magnificent work of art ; if we recall the one and dismiss the other, to esteem it as an extraordinary one.

As one of those houses whose revenues did not amount to the clear annual value of ;^200, Combwell Priory was suppressed in the 27th of Hen. VIII.

COVERHAM, Premonstratensian Abbey, CO. York.

An interesting house of the North Riding erected near the r^L,A 1 ii. one-arched bridge which spans the river Cover. Substantial AAlll. remains indicate exactly the situation. Whilst it held the

Seal 4c. dignity of an Abbey its possessions were too few to easily

support it. So great was its poverty in the fourteenth century that dissolution threatened it. The foundation was first instituted at Swainby in the parish of Pickhall, towards the end of the reign of Hen. II., by Helewisia, daughter of Ranulph de Glanvill (the great Lord Chief Justice of England) and widow of Robert FitzRanulph, Lord of Middleham (who built the Norman portions of Middleham Castle), and

COVERHAM ABBEY 59

provided for by her. Other grants followed, Hen. II. confirming all up to his time. After a residence of over twenty years at Swainby, the canons in the reign of King John were removed hither by Ralph FitzRobert, Lord of Middleham, son of the foundress, who at the same time conveyed to them considerable lands and the Church of Coverham. Ralph FitzRobert caused his mother's remains to be interred within the new foundation, and was himself afterwards buried there. According to a charter granted by Ed. II. the monastery was destroyed by the Scots, and it was this calamity which wrought its destitution. Its fortunes, however, revived and permitted of its continuation for three centuries longer. A fine impression enables us to afford a good view of the character and merits of the Abbey seal. The design comprehended, upon a diapered field with what may have been intended for a rose in each space, a canopy pinnacled and crocketted and upheld by slender shafts, under which an ecclesiastical figure is depicted standing upon a sculptured corbel, holding a staff with the crook outwards in the right hand and a book in the left. Outside the canopy, on either side, is the figure of a canon, that on the right standing, the corresponding one kneeling upon the platform, and over them a star and crescent respectively. Superficially the central figure would appear to have been intended for the Abbot, but the devotional attitude of the sinister canon rejects that view. Probably it was designed either for S. Augustine, or S. Norbert who founded the order upon his rule.

S' COE : CAPITVLI : DE : COVERHAM. Both beautiful and artistic is this little instance. But it is perhaps in the apprehension of the design rather than in the measure of pains bestowed upon the execution of detail that its claims to the latter description chiefly lie. The artist obviously aimed at richness and effect and succeeded, but in reaching the objective strict accuracy of drawing was regarded of less importance. In our criticism, however, we must not forget the extreme limitations of the field, nor the frequent dangers with which impressions were involved by relaxation of the wax. As regards the first reminder here, as frequently elsewhere, we are struck with the wealth of imagery which the engraver contrived to get within his space. The seal, even with the bordure, does not measure more in diameter than one inch and five-eights.

Three bays of the Church, in the Decorated style, and a gatehouse constitute the chief remains, but many other fragments are visible whilst all the foundations can be traced. Amidst the ruins are two cross-legged effigies which it has been suggested were designed for Robert FitzRanulph and his son the second founder.

6o MONASTIC SEALS

CROXTON, Premonstratensian Abbey of S. John the Evangelist,

CO. Leicester.

Another of the thirty-five houses following S. Norbert's ■PL-^LL interpretation of S. Augustine's rule which stood at the time XLVIII. Qf the Dissolution. It was erected about seven miles S.E. of Seal q6, Grantham, held a fair estate, and was the means of vesting a

certain measure of fame in mediaeval times Croxton-Keyrial (of the hundred of Framland) wherein it stood. In the time of Hen. II. it was founded, according to one account by William Porcarius de Linus, according to another by one Sir Andrew Lutterell, Knight. King John, to whom one of the Abbots was physician, became a benefactor and within the Church his bowels were interred. Annexed to the Abbey was a cell at Horneby, Lanes. In the reign of Ed. III. the superior house through fire was almost entirely destroyed, and by pestilence all the canons except the Abbot and Prior perished. In consequence of these calamities, because of the infirmity of the Abbot, and moreover because the lonely circumstances of the spot afforded no security for the money, the institution was exempted from collecting the tenth for the latter king. For a view of the seal employed by it we have to rely upon an impression which, although fine in the nature of things, is incomplete and has been rendered to some extent indistinct. The design comprehended within a beaded bordure the B. Virgin, nimbussed, seated on a carved bench-like throne, with the Holy Child, also nimbussed, sitting on the left knee, and with her feet resting upon an eagle (the symbol of the evangelical patron) reguardant, who has in its talons a scroll inscribed : — ioh'es.

[*S]IGILL' : COVET' : SCI : lOH'IS : DE : VALLE : DE :

CROXT

Although the subject of our illustration lacks sharpness of outline it is not necessary to have before us a more lucid impression of the seal to arrive at its artistic value. Criticism as applied to the delicacies of limning must in the circumstances be foregone, but a simple view of the scheme as presented is sufl^cient to induce us to hail it as an instance of monastic seal art devoutly conceived, cleverly wrought, and altogether beautiful. |

The disposition of the figures and the depiction of drapery indicate and emphasize careful drawing and graceful handling, whilst in the presentment of the symbolic bird we recognise that part-natural and part-conventional treatment of the various elements of zoology for which the mediaeval artist was unsurpassed. Whether intentional or not it is obviously now impossible to determine, but in the association of the B. Virgin with the eagle, and the juxtaposition of the two figures there lies a significance either weighty or fanciful. In our Introduction (p. 23) we have briefly

CROYLAND ABBEY 6i

demonstrated the extraordinary devotion experienced by people of the Middle Ages to the Mother of God, and the remarkable and far-reaching cultus to which it gave rise. To both, her presence in the scheme under examination testifies, and for it by placing her above the symbol of one of the Evangelists it would appear a conviction was expressed that the apologia was to be found in the Gospels. Premising, as we well may, there was some governing idea in the association and juxtaposition it is difficult to reach any other equally feasible conjecture.

CROYLAND, Benedictine Abbey of SS. Mary, Bartholomew, and Guthlac, co. Lincoln.

One of the more illustrious of our destroyed monastic rLAlU centres, endowed with singular privileges, and ranking in '• point of riches with the greater of them. Not the least of

Seal io. ^^^ fame it enjoyed was due to the hospitality and charity it

exercised upon a truly gigantic scale. It was erected on an island in the east marshlands of the county. In it the town of Croyland (or Crowland) originated, and to it was beholden for an extended growth and importance in mediaeval times. The Abbey sprang from a hermitage. In the reign of Cenred of Mercia, Guthlac, a young and noble warrior, abandoned arms for the cowl and sought solitude here. He erected a habitation and dwelt here for some years obtaining through his great sanctity prophetic and miraculous powers. In a.d. 709 Ceolred reached the throne of Mercia, and whilst he governed (a.d. 709-16) never ceased from persecuting his cousin Ethelbald who also aspired to the kingdom. In despair and for security the Earl fled to " Crowland," and sought consolation and counsel of Guthlac his confessor. Guthlac assured him of ultimate success, whereupon Ethelbald vowed that when this was realized he would build a monastery here. After he became seated on the throne Guthlac, who meanwhile had died, appeared to the King in a vision and reminded him of his promise. In fulfilment Ethelbald founded this Abbey, which was raised upon a foundation of piles demanded by the marshy character of the soil. He contributed towards its erection three hundred pounds in money, gave it one hundred pounds annually for ten years, and endowed with the whole island, parts of the adjacent marsh and two fisheries. In the Church the relics of S. Guthlac were enshrined. Upon the Abbey other Saxon monarchs dispensed great favours. Kenulph decreed that all pilgrims to the shrine of S. Guthlac, the miraculous fame of whose relics was great and wide, who returned

62 MONASTIC SEALS

from Croyland with his mark upon their hoods should be ever freed from toll throughout the kingdom. Witlaf, King of Mercia, when pursued by Egbert was concealed by the monks ; in return for the protection shewn him, besides bestowing rich gifts, he gave the privilege of sanctuary within the five waters. The Abbey was assailed by the Danes. At their approach, concealing part of their treasure in a well, some of the monks fled to the woods, thirty remaining with the Abbot. After their arrival, the Northmen destroyed and plundered Church and Abbey, murdered the Abbot, and tortured and slew the rest. In a.d. 948 the monastery was rebuilt and re-endowed with all its ancient possessions and privileges, except sanctuary. Towards the close of the eleventh century it was destroyed by fire and rebuilt. Fifty years later it was again burnt and rebuilt in greater splendour. From thence it flourished, increasing in fame, wealth, and importance to the end, but anything like a summary even of its intermediate history is not here feasible. One of its most prized relics was the whip of S. Bartholomew which had been given with the psalter of S. Guthlac and other treasures by Pega his sister. The second seal of the house affords the subject of our illustration, derived from a fair impression. It displays, beneath a carved canopy resembling a Church and upon an arched footboard, the Apostle S. Bartholomew with book, handling the flagellum mentioned to S. Guthlac. Between the figures is seen a bush with a bird, one of the emblems of the latter, upon it. Both the whip and knife of S. Bartholomew figured in the Abbey arms.

SIGILL' COMMVNE ABBATIS ET CONVENTVS CROYLANDIE. An effective, as well as graphic exemplification. Conceived with some vigour and, as far as the state of the impression reproduced enables us to conclude, executed with equal skill. The drawing of the venerable figure on the left particularly seems to have called forth a more strenuous effort on the part of the engraver. The figure, curiously, is somewhat Assyrian in effect. Croyland Abbey was not deliberately destroyed but left to decay. The Parliamentary war completed the havoc of time and neglect. Considerable vestiges of a beautiful and majestic character yet remain, illustrating the Norman and successive styles. Principally they comprise the western piers of the east part of the Church, and parts of nave and aisles. The north aisle of the nave has been restored and is now used parochially. It forms a very handsome building — with a low massive tower — which exhibits chiefly the later style of English architecture. The west front is highly ornate and contains various statues, including those of SS. Guthlac and Bartholomew and King Ethelbald.

DOVER PRIORY 63

DOVER, Benedictine Priory of SS. Mary and Martin,

CO. Kent.

A ROYAL and splendid house of the highest antiquity — its rLAlil. origin being traditionally assigned to the Apostolic, and IX" historically to the Augustinian conversion — rendered famous

Seal 17. through its regal associations and connection with the renowned

fortress and port, the highway to France, and with Christ Church Canterbury. Its site was on the western side of the market-place. According to legend, in the ancient castle supposed to have been founded either by Julius Caesar or Claudius a chapel was raised for the use ot early converts to Christianity. That a religious settlement thus aggregated continued without intermission until the arrival of S. Augustine is highly improbable. It is more certain that Eadbald, King of Kent, established before a.d. 640 within the fortess a society of secular canons which he endowed with prebends and privileges. About a.d. 696, Wightred, King of Kent, having erected a church in honor of S. Martin, and buildings for their reception without the castle removed the canons thither, reinvested them with their original liberties and possessions, and declared them free from all jurisdiction save regal and papal. Up to the time of the Confessor, when the town of Dover had reached a flourishing condition, the prebends were held in common. After the surrender of the casde the Conqueror appointed his brother Odo, Bishop of Bayeux, governor who separated them. In Domesday the names of the canons and particulars of their holdings are all set out. The possessions of the Priory becoming very extensive, at an early time the Archbishops of Canterbury felt a great desire to annex it to Christ Church, and A.D. 1 1 30 (up to which time it had preserved its independence) Archbishop Corboil succeeded in obtaining it from Hen. I. for that purpose. He ejected the seculars, suppressed the house, and to replace it, in the next year laid the foundations of another without the walls in honor of SS. Mary and Martin. The Archbishop died before the new building was finished. His successor, Theobald, completed it and A.D. 1 139 established therein a community under Benedictine rule with Asceline, the sacristan of Christ Church, as Prior. From thence until the Dissolution, although frequent disputes arose concerning jurisdiction and privilege, Dover Priory remained subordinate to that of Canterbury. In the reign of Rich. II. they were defined as separate establishments for revenue purposes, a relation preserved to the end. Counted amongst its Priors was Richard who succeeded S. Thomas a Becket in the chair of Canterbury. During the notorious contention at Westminster for archiepiscopal precedence, it was he who sat in the lap of York. In the time of

64 MONASTIC SEALS

Hen. II., who principally built the castle as it stands, the Priory was in the enjoyment of the ancient tenth of herrings. This, with its possessions and a new tenth of the years fishery which the burgesses offered upon the altar, the King confirmed to it. It owned a valuable library and enjoyed considerable privileges which included assize of bread and beer, wreakage in the manor of Dale ; pillory, tumbrell, and toll in S. Margaret's, and the remarkable prerogative that Mass should begin in the Priory Church before it was commenced in any other of the town. The Holy Sacrifice was delayed in all the rest until a bell signalled its commencement at S. Martin's. Of the house, the second seal constitutes the subject of our illustration, furnished by an imperfect and occasionally indistinct yet fine impression. It is of two parts, and the designs dually recount the legend of the patron, S. Martin of Tours, for particulars of which reference must be made to our Introduction (p. 25). The scheme of the obverse comprehends the first part of the story — the division of his cloak with the beggar. Within it is seen the Saint, nimbussed, astride a caparisoned horse (pacing on hilly ground around the base of which washes wavy water allusive of Dover's situation), cleaving his cloak, a part of which the attenuated form of a beggar who stands under an arched doorway with embattled parapet, raises his hands to receive. In the field occurs an increscent moon containing a star and a lustrous sun, and in the foreground what is apparently a roundle or stud enclosed in a circle apprehended to be a late addition or a defect in the matrix. • SIGILL SIE • SCI • MARTINI • DE • DOVORIA.

The reverse conveys the second part of the legend — fl^n. LrL s. Martin's vision the night following his charitable act. The I^* scheme, in this instance much more ornate and detailed than

Seal 18. ^^^ preceding, exhibits two architectural canopies, pinnacled and

crocketed, one at the apex (the larger), the other on the sinister side of the field. Under the first the half-length and nimbussed figure of Christ is seen issuing from the clouds, holding the abandoned half of the Saint's cloak and raising his right in benediction, attended on either side by a censing angel also reduced in the figure. Lying at length upon a couch with an arched plinth and shrouded, is S. Martin, his head nimbussed and placed below the second canopy. On the right, corresponding in position with the last-named detail occur a chamber lamp and several ornaments — wheel, escallop, and trefoil — and below the couch a conventional flowering branch.

MARTINI • VES[TE • ] SVM • TECT[VS • PjAVPERE • TESTE : The seal described, the design of which was transmitted from another also of the thirteenth century the use of which preceded it, is so instinctively charming and quaint as to almost repel cold criticism. An artist with unerring instinct but qualified skill often expresses his ideas with greater

DOVER PRIORY 65

truth and conviction than one in whom capacity is superior to mind. Of these two categories the artist responsible for the seal of Dover Priory belongs to the first ; the effect of his work is that more common to it. There are certain obvious weaknesses, but where it fails is in execution, not in conception — in its expression, not in the imagination which inspired, or in the feeling with which it was conveyed. The legend itself is alive with poetry and beauty, reduced not one whit in its transmission to the mind of the artist — a mind which realized all it contained and delighted in it — nor in its articulation through the channel of his art. The natural division of the story was designedly followed in its narration, with the result that we have, as it were, its obverse and reverse, the committal of a praiseworthy action with its inevitable reward. In this respect our artist rose superior to some of his fellows who we find forced successive actions into one scene. As regards the joint design, in the restricted art of seal engraving — perhaps in others less circumscribed — it would be impossible to give a treatment of the subject more intensely artistic than that we find bestowed here. Of the secret of producing through a diminutive vehicle effects of large proportion, the designer was a master, as the vigorous and bold delineation of the horse and Saint upon the obverse reveals. The limitations of space he seems to have ignored ; we lose sight of them too ; forgetting the actual dimensions we appear to be studying objects of far greater size. Here and there the anatomy of the horse suffers through imperfect drawing, but the pose of the rider is all that we could have expected. It was not without intention that the beggar was presented in such great attenuation, but to emphasize the depth of his poverty, to reveal the horror of poverty, and therefore to heighten the merit of the act of charity involved. In poetry we find the equivalent of the figure in Shakespeare's apothecary. Upon the reverse, too, we see in action the secret we have alluded to as being at work in the obverse. We might look in vain through seal art, religious or civil, for a more homely, or curious illustration than that which the couched figure yields. From the elevation of the feet, in consequence of a shortness of the couch, we gather the artist was a realist as well as a visionary. The indistinctness of the impression forbids our estimating precisely the artistic merits of the saintly figure of the obverse and from a similar cause, beyond appraising highly their disposition and general effect, we are prevented from criticising those portrayed here. The covering which enshrouds S. Martin is excellently and naturally treated but the elimination of a few superfluous details would have greatly assisted the lucidity of the scheme. Of the more remarkable monastic seal examples this is assuredly one. And it is possible that a proper impression would enforce the conviction that a

F

66 MONASTIC SEALS

higher skill was involved in its execution than we think is apparent from that illustrated. In interest it is quite unsurpassed.

The present architectural remains of the Priory comprise principally the great gateway, house refectory with campanile, and the large refectory for strangers, long used as a barn but now as a school-room of the College raised upon the site.

S. Mary's Hospital.

A WELL endowed charity, also known as the Maison DieUy or PLATE God's House. Erected as a resting place for strangers, XXII. pilgrims, and indigent persons early in the reign of

Seal 4.1. Hen. III. by Hubert de Burgh, the famous Chief Justiciary

of England who a.d. 12 17 defeated the French fleet off Dover. Provision was made by the founder for the maintenance of a Master, brethren, and sisters, and for all such as should resort hither. Hen. III., to whom Earl Hubert assigned the patronage, built the chapel adjoining and was present at its consecration. Making it an especial object of his consideration he granted to it many charters. Here the Kings of England were accustomed to lodge on their way to and from the continent. To enumerate the several royal visits paid to Dover would fill a catalogue. It is safe to assume that each sovereign from the time of its erection until the sixteenth century tarried within its walls at some period or other. The little seal illustrated, from an impression of the original matrix which was found in the Hospital grounds, belonged to Robert Nunn an ecclesiastic upon the foundation. It is a late example and displays under a niche with double arch, supported by two pinnacled and crocketted pillars and surmounted by a group of Church-like structures, on the left a full-length representation of the B. Virgin carrying the Child, and on the right the kneeling figure of a monk turned towards her, and presenting U a scroll inscribed : — mat di memento. Between the figures two slipped " roses occur one above the other, possibly alluding to the B. Virgin — Rosa my Stic a.

SIGILLVM • ROBERTI • NVNNI. A quaint little instance this, devotional in its conception but with limited pretensions towards the artistic. As regards the architectural detail they reach no mean height, nevertheless ; the little Churches at the apex are admirably given as are the E.E. pillars. The very limited area was opposed to delicate limning, yet the figures are not without a grace which commends. An attempt was obviously made to render the features of the B. Virgin pleasant and sympathetic which, it Is equally apparent,

!

ill

ELSTOW ABBEY 67

ended somewhat grotesquely. In the little monkish figure the ludicrous

element is not very distant.

Queen Mary converted the Hospital premises into an office for victualling the Navy. About seventy years since, the Corporation acquired and applied them to municipal uses which they still serve. The chapel is now the Session-house, the refectory the Town Hall. The structure is a handsome one. The fine stained glass (modern) of the W. window presents, with several royal characters, the figure of the renowned Chief Justice.

ELSTOW, or Helenstov^^e, Benedictine Abbey of the Holy Trinity, SS. Mary and Helena, co. Bedford.

Anciently and popularly styled the " Abbey of Blessed Mary

J, of Elstowe." It was in the tenure of nuns, owned a large

XXI 11. estate, and lay distant about a mile and a half from Bedford.

Seal 46. '^^^ o^^c adjacent Church, a beautiful example of Norman

architecture now employed parochically, indicates the site. Founded c. a.d. 1078 by a niece of the Conqueror — Judith, wife of Waltheof, Earl of Huntingdon, by whom it was endowed with divers fair lands. Under her, the Domesday instructs us the nuns held several hides. Its possessions became extended, to some extent through gifts made occasionally by parents who placed their daughters upon the foundation. Hen. II. annexed to it the Churches of Hiche and Westun. In the reign of Ed. I. we find the Abbess claiming immunity from all aids, geld, danegeld, assizes, and other obligations. The impression of the seal employed by the devout ladies of Elstow, here in illustration, has suffered at the edges by chipping, and throughout by pressure. In design it comprises, supported by pinnacled pillars, a double-arched niche from the centre of which rises a pinnacled tower, with tabernacle work slanting towards and reaching the supports. The niche on the left is occupied by the crowned and seated figure of the B. Virgin (the second person of the triune dedication) holding (perhaps suckling) the Infant Jesus, nimbussed, upon her left knee. In the space on the right appears the full-length representation of S. Helena (the final dedicatory) crowned, holding in one hand a long Cross rudely shaped, and a book in the other. The platform upon which the figures stand is raised in the centre semi-circularly, to admit of a trefoiled cavity which contains the Abbess, supporting her staff and attended by three nuns.

S' COMMVNE : C[APIT]VLI : SCE : [M]ARIE : DE : ELEYNESTOWE.

68 MONASTIC SEALS

S. Helena (Flavia Julia) was the mother of the Great Constantine. In depicting her with the long Cross, allusion is made to the legend which attributes to her the finding of the Cross actually employed at the Crucifixion. Owing to the regrettable state of the impression we are thrust largely upon conjecture in regard to the skill involved in the contrivance of the original seal. The scheme is varied and rich, and shews in the designing the exercise of considerable fervour and beauty with an effect which is also perceptible. Not necessarily do these conditions imply the exercise of equivalent skill, but apparently the engraving — of the chief part at least — reached a high standard. There is much that suggests, and nothing that repudiates clever treatment. The little figures at the base are extremely ascetic in appearance.

A detached tower which stands N.W. of the Church is all that now remains of the domestic buildings of the " Abbey of Blessed Mary of Elstowc."

ELY, Benedictine Priory of SS. Mary, Peter, and Etheldreda,

CO. Cambridge.

An illustrious house of great antiquity, sanctity and wealth PLATE of which the famous Cathedral, rising majestically above the ^^** fens of the shire, is a glorious memory. The genesis of

Seal c. ^^^ foundation whose departed grandeur is thus so superbly

commemorated, is vested with considerable interest and romance. It was erected for nuns by S. Etheldreda (the daughter of Anna, who from a.d. 635 justly ruled East Anglia, and Hereswitha, a sister of the renowned S. Hilda), who became the first Abbess. At an early age Etheldreda had expressed a great desire for a religious life. Hence it was unwillingly she, when still a child, became espoused to Tonberht, a nobleman of East Anglia. Preserving her maidenhood to the last, Tonberht's death released her from a state she disliked. Her widowhood was being spent in retreat, when as a matter of political expediency she was again coerced into unwilling wedlock with Ecgfrid, son of Oswiu of Northumbria, but to her death she victoriously guarded her virginity. After Ecgfrid came to the throne, convinced that his spouse was resolved to die a maiden he unwillingly consented to her abandoning the court for a religious house at Coldingham of which S. Ebba, the King's aunt, was Abbess. There she was professed by S. Wilfrid. Repenting of his acquiescence in her departure, Ecgfrid strived to induce the return of his consort. But vainly. Infuriated at length by her persistent refusal, he resolved to enforce it, and Etheldreda,

ELY PRIORY 69

with the island of Ely (the '* morning gift " of her first husband) in mind, sought freedom in flight. With two attendant virgins she succeeded in reaching here without arrest notwithstanding that the King was in close pursuit. Here she stayed without further molestation, and c. a.d. 673 commenced the erection of a conventual establishment, in honour of the B. Virgin, upon which she settled the whole of the island, the cost of which was mainly borne by her brother Adulfus, King of East Anglia, and of which, as already stated, she became Abbess. The life of the Saint was characterized by an austerity and piety so great as to prepossess the choice of a like career by persons of equal and noble rank who placed themselves beneath her control. During her rule, her eldest sister Sexburga, widow of K. Erconbert of Kent; Ermenilda, daughter of Sexburga and dowager Q. of Mercia ; and Werburga, daughter of Q. Ermenhilda, were all within the Abbey. Sexburga succeeded Etheldreda in the Abbacy, and was in turn followed by Ermenilda and Werburga. For almost two centuries, as originally constituted, the house flourished and acquired great repute for sanctity. In a.d. 870 it was destroyed by the Danes. A century later it was restored by Ethelwold, Bishop of Winchester, for Benedictine monks at the instance of K. Edgar who assigned the island to them. The first Abbot was Brithnoth, Prior of Winchester, who was considered to have been assassinated by Elfrida, Edgar's queen. Archbishop Stigand, a.d. 1065, assumed authority over the house and bestowed the Abbacy upon Thurstan, from whose death a.d. 1072 until the appointment of Richard, a renowned scholar of the Norman Abbey of Bee (the last Abbot), the ofiice was regularly filled. Over Ely Abbey the Bishops of Lincoln had always exercised episcopal jurisdiction and when Richard was elected Bishop Robert urged his prerogative of investiture. Such compliance was nauseous to the elect and he objected. Doggedly he refused to yield whilst the Bishop as resolutely insisted. At length Hen. I., annoyed at the Abbot's contumacy,, demanded his crozier and bereaved him. Richard argued his cause before Pope Paschal who decreed his restoration and upon his return to England he propitiated the King. Enjoying thenceforward his favour he presssed Henry to raise Ely to a bishopric. Ultimately the consent of the Pope was obtained, and the Abbatial lands were divided between the episcopate and the monastery. For more than four hundred years afterwards, the monks remained in their island home governed by a Prior instead of an Abbot.

We are particularly fortunate in being able to reproduce the seal of the Chapter (a dual example) from a remarkably fine and almost perfect impression. Obversely, the design comprises a facade of three arches (each cusped upon the inside, the central with greater elaboration) supported by four pillars (the two inner fluted, all with capitals), surmounted by a

70 MONASTIC SEALS

structure resembling a Cathedral and ornamented at the sides with tabernacle work, raised upon an arcade of narrow trefoiled arches. In the central niche stands at full-length S. Etheldreda, foundress and first Abbess, attired as an Abbess and crowned as Queen of Northumbria, holding in one hand a pastoral staflF, and in the other an open book. That on the left is occupied by a representation of her first husband, Tonberht, depicted as a youth with a falcon rising from his wrist by the jesse ; that on the right by another, of her second husband, K. Ecgfrid, crowned and with sceptre in the right hand. Over the canopy are two angels descending from heaven, each swinging a censer. _

: SIGILLVM : CAPITVLI : ECCL'IE : SCE : ETHELDREDE

DE ELY. The reverse also exhibits a facade of three niches, which ■'■'--■^TE closely resembles in its architecture and elaboration that on ^I^' the obverse, but there are differences in the tabernacle work

Seal 6. ^^ ^^^ sides. The central niche is here occupied by the full- length figure of S. Peter (who was also a patron), nimbussed, with keys and book, and the others by that of Bishop Ethelwold (the restorer at the instance of K. Edgar), vested and mitred as a prelate, and the B. Virgin (the chief patron) crowned, and with sceptre and book. Under the platform upon which the main scheme rests and within an arch with arcaded sides, is a boat with several persons in it riding on waves. This boat appears in a doubtful sense. It may only indicate the topographical peculiarity of Ely, illustrate a well-known scriptural incident, or the flight of S. Etheldreda ; or again, it might have been introduced in a metaphorical sense to represent the Church under one of its titles. After the battle of Hastings, Archbishop Stigand, with many notable ecclesiastics, the Earl of Leicester and other nobles, together with a confederacy numbering a thousand, fled hither, garrisoned Ely and with Hereward the Wake held it for several years against the Conqueror ; possibly it was intended to recall this historic incident.

: S' SCI : PETRI : ET SCE : ETHELDRIDE : VIRGINIS : ET

REGINE. When impressions from the obverse and reverse were united, on the edge appeared the following rhyming distich : — PETRVS : ETELDREDA : MOLLIS : SVB : TEGMINE : CERE :

ELY : SECRETA : CELARE : SIMVL : STATVERE : Of its order, and any period the capitular example immediately described was a consummate one. Conceived in all the intensity of Gothic consciousness, it was magnificently designed and most exquisitely wrought. Viewed from the highest standpoint of art, it is surpassed by the obverse of the seal of Merton and the seal of Heyninges Priories, the

ELY PRIORY 71

devotional sensibility of both of which it also lacked. Those instances, however, are superlative ; were they absent, this seal of Ely of itself would loudly acclaim the capacity of mediaeval seal art for very lofty expression and bear to the truth of that voice the strongest and most convincing testimony. Outside the realm of seals, excepting architecture, it would be difficult if not impossible to adduce a work of human contrivance of its century in which its beauty was exceeded. Its creater enjoyed in a remarkable degree the artistic temperament and possessed in the same measure, not only the skill to convey his ideas ably through the channel of his art, but the patience and industry to express them with scrupulous precision. If we scan the architectural detail alone, we cannot be but forcibly struck with the grandeur and extraordinary minuteness in which it is presented — if comparatively, we find it in seal art unsurpassed, if not unparalleled. It is, altogether, true to scale and most ornately elaborated. The grace and delicacy of Gothic architecture is sometimes subordinated in the view by reason of its proportions. In the reductions here we have a telling revelation that structures of this character are instinct and alive with both. The six figures vary somewhat in merit. As regards the features, in most instances we have to deplore impressional defects which obviate a complete appreciation. Those of K. Ecgfrid — the figure on the left-hand of the obverse — however, are quite distinct. In this case they are faultlessly delineated, and if it is too much for us to say their execution characterized that of the remaining figures, at least they prove the artist's aptitude in this direction. The pose of all, in six-fold variation since no two agree, is natural and altogether admirable whilst the costume, in style and depiction varying to the same extent, is presented in a fashion at once artistic and handsome. Nor can less than this be said of the little censing angels, nor than that as a whole the seal is a thing of real beauty. The falcon rising from the wrist of S. Etheldreda's first husband curiously recalls a popular pursuit of our ancestors, and the little boat enlightens us somewhat as to the style of their water craft.

The Priory contributes to our selected group another example rLA IE Qf ^j^js art, namely, the seal a^ causas. an illustration of which

YT "VTT • /« • • •

Ai^vii. jg furnished by a chipped but fine impression. It displays Seal 97. S* Etheldreda, crowned as Queen, holding a pastoral staff and book, similarly as on the obverse of the Chapter seal, and standing on a sculptured corbel. [* SIG]I[LLV]M : PRIORIS : ET : CONVENTVS : ELYENSIVM :

AD : CAVS[AS]. This instance, archaic in type, affords a bold and strenuous one, one

72 MONASTIC SEALS

in which the effect of a larger ratio than the actual is secured. With that of the capitular, the art of the ad causus seal may not be compared but the figure was obviously properly modelled, ordered, and apparrelled. The features are too obscured to allow of examination, but the regulation of the draping displays skilled manipulation. Of its style, the seal of Lanercost Priory may perhaps be adduced as a superior example, but this is unquestionably artistic.

Hen. VIII. granted a charter for erecting the Cathedral Church of the monastery into the Cathedral Church of the Holy Trinity. He bestowed upon it a portion of the monastic revenues and converted the last Prior, an unworthy ecclesiastic, into the first Dean of the new foundation. The Cathedral was not completed until the sixteenth century. It was dedicated to SS. Mary, Peter, and Etheldreda, a.d. 1252. Now the site of the Priory is occupied by the Bishop's Palace and houses of the prebendaries.

EVESHAM, Benedictine Abbey of SS. Mary and Ecgw^ine,

CO. Worcester.

A MAJESTIC house which held exalted rank and rivalled in PLATrL influence the episcopate of Worcester, charmingly situated in ^lAI. (i^g lovely vale of Avon. It possessed an immense estate

Seal i c. (including at one time no less it is supposed than twenty-two

towns), rich prerogatives, a sumptuous Church (containing one hundred and sixty-four gilt pillars and sixteen altars), and a stately pile of domestic buildings. The head of the house — in which the town originated — sat as a spiritual baron in Parliament. Near the Abbey, in A.D. 1265, was fought one of the most noteworthy and determined battles recorded in English history — the decisive struggle between Simon de Montfort, the great Earl of Leicester, who led the insurgent barons and was slain, and the forces of Hen. III. (quartered at the time in the Abbey) under Prince Edward, afterwards Ed. I. Within its walls the fugitives of the field were massacred, and the Earls of Leicester and Lancaster with others interred. In the legendary circumstance which incited the foundation of the Abbey the etymology of Evesham is curiously implicated. Ecgwine, a prince of royal blood, had succeeded A.D. 692 to the see of Worcester, but being dispossessed by the Pope he retired hither. In his service was a swineherd named Eoves, to whom the B. Virgin one day appeared. He reported the vision to the Bishop, who at once made for the spot, when the B. Virgin re-appeared and commanded

EVESHAM ABBEY 73

Ecgwine to erect a Benedictine monastery on a spot she indicated. Later, it was popularly supposed that the place derived its name of " Eoves- holme," or " Eovesham," from that of the swineherd, but the title is learnedly held to denote a flat dwelling-place by a riverside. Ecgwine procured a gift of the land from Ethelred of Mercia, and a.d. 702 began, as directed in the vision, the erection of the house, in honour of the B. Virgin, of which he became the first Abbot. Kenred of Mercia and Offa of East Anglia co-operated in granting him sixty-five manses lying on both sides of the river and, accompanied by both (they to lay down their crowns and embrace monasticism), in a.d. 709 he journeyed to Rome and obtained from Pope Constantine special privileges for his foundation. It was consecrated a.d. 7 1 2. Two years after, Ecgwine endowed it by charter with all the property he had received on account of it, which then amounted to one hundred and twenty manses. In time the Abbey attained great repute as a school of learning. It was ravaged by the Danes, but restored during the reign of King Athelstan by Bishop Kinewold who introduced seculars, afterwards replaced by monks by Oswald, who succeeded Dunstan (the successor of Kinewold) in the bishopric of Worcester, a.d. 961. In the time of Aldulf, Oswald's successor, the Abbey was made subject to the See. From the episcopate of Wulfstan, who followed Aldulf, the commencement of the Abbey's greatness dates. The Confessor appointed to the Abbacy Egilwin, who increased the number of monks ; he subsequently became a favourite with both Harold and the Conqueror, by whom he was entrusted with important offices. Soon after the Conquest, Walter, the Abbot, commenced the erection of a new Church in the dedication of which S. Ecgwine was joined. Rufus sent twelve of the monks to Denmark to establish a Priory there. The use of mitre, gloves, ring and other insignia was granted the Abbot by Pope Clement III. At a diocesan synod we find him urging his claim to wear a mitre and sit next to the prelate. During the episcopate of Walter Cantilupe (a.d. 1 237-1 266) the monks regained their independence which they had by degrees asserted. Whilst a pestilence raged in the middle of the fourteenth century the Abbey became almost depopulated. The monastery of Alcester was annexed in the reign of Ed. IV.

The corporate seal of the house was a dual one. As our illustration, which is taken from a very good impression, reveals, its design was highly complicated and not altogether coherent. The obverse relates the legend which incited the foundation. Rising from the base and past the centre is a wide scroll, with a lancet-shaped cusp at the top and curves at the sides, forming a trefoiled configuration in which is seen the swineherd standing, with face to the right and feet to the left, between two oak trees, leaning on a staff and tending a sow, which suckles a pig. A similar

74 MONASTIC SEALS

animal is visible on the other side. Upon the scroll is inscribed the following old English rhyme : —

4* EOVES • HER • WONEDE * ANT ' w[aS ' SWON '] [for] • PI • MEN • CLEPET * plS ' EOVISHOM.

which may be interpreted : —

Eoves here wended with his swine Egwin named this Eovishom.

Above the trefoil appears a representation of the Abbey Church, here depicted with tall spire or central tower (each gable having a cross finial), with a cinquefoil perhaps intended for the sun over the roof-line, on the right hand. Immediately below the building is the legend : —

ECCE LOC^ QVi ELEGI

i.e., Ecce locum quern elegi — " Behold the place which I have chosen." On either side of the field upon a level with the Church are two niches, one plain, the other trefoiled. Those on the left contain a full-length representation of the B. Virgin (crowned, carrying a long cross and attended by two figures — a man attired in a cloak and woman with a book) appearing to S. Ecgwine, who, in the first of the dexter arches, kneels before her and to whom the words last quoted are addressed. In the trefoiled arch on the right and under a tree the Virgin is seated with her feet resting upon a platform, appearing in a vision to the swineherd who looks up from below. Over the head of S. Ecgwine is z. fleur-de-lis ^ over that of the Virgin a cinquefoil, and on either side of the trefoil shape a tree. SIGILLVM • SANCTE • MARI[E . ET SANTI • ECGWINI • EPI • EJOVESHAMENSIS • MONASTER[II •]

The reverse conveys in brief the erection, dedication, and •f^^^ -^^ original endowment of the Abbey. If anything, the design is Vlll. more complicated than the preceding. It presents at the apex

Seal i6. ^^ ^^^ ^^^^ hand side, a distinct Gothic niche with cusped

arch in which is enthroned the chief patroness, with the Holy Child on the left knee. On the right S. Ecgwine, vested and mitred as a Bishop, kneels towards and presents her with a model of the Church, here represented with a tall spire in the centre and a tower or turret at each side, a cross finial on both, and a flag on the right. On the left and right hand sides of the figures is an oak tree, allusive of acorns from which the swine derived sustenance ; over the Church a sixfoiled rose ; on the sinister side two fleurs-de-lis, and on the right, one. This constitutes the first part of the picture which is divided from the second by a row of pointed and trefoiled arches, two large in size and crocketted with oak leaves. On the left, seated, are the three royal patrons, Kenred of Mercia, Offa of East Anglia, and Ethelred of Mercia, the first with a falcon on his wrist, the second supporting a sceptre fleury, the third inclining to the

FAVERSHAM ABBEY 75

right, and presenting a charter, surmounted by 2i fleur-de-lis y inscribed : —

DAMVS REGIE LIBER TATI,

and authenticated (somewhat anomalously, but in curious affinity with the subject of this work) by a large oval seal bearing the arms of England, three lions passant guardant, to Bishop Ecgwine, mitred, who kneels on the right to receive it. The latter is attended by his chaplain, who raises one hand and holds a book in the other.

DICTI[S •] ECGWI[NI • DANT •] REGE[S • MVNERA • TRINI •] [OMNIBVS • VNDE • PI]E • NITET • AVLA • SACRATA • MARIE. The virtues of this unusually graphic seal obviously incline towards the curious and quaint rather than to the artistic. But what it loses artistically upon comparison, is more than recompensed by its extraordinary interest. In this regard we should find a difficulty in advancing an instance which excelled it. Of the strict canons of art the contriver was manifestly independent, and he suffered from lack of skill. His talents were literary rather than artistic. He set out to narrate a long story within a very meagre space and succeeded, incidentally achieving a not inharmonious, if complicated, disposition he can scarce be said to have aimed at. Though crude the work is not altogether lacking in merit. The treatment of the Virgin and Child upon the reverse has much to commend it. All that now remains of this one glorious pile is an arch or gateway lying on the north side of the existing Churchyard, and a few inconsequent fragments. In the end the B. Virgin's mission to S. Ecgwine proved a vain one.

FAVERSHAM, Benedictine Abbey of S. Saviour,

CO. Kent.

A HOUSE of some early celebrity, once vested with many PL-^TE privileges and a considerable estate which became much XI. reduced. It stood not far away from the Church of the

Seal 21. parish which the monks are said to have employed upon the

greater festivals. The main portions of the structure were demolished soon after the suppression. In the early years of the nineteenth century, ruins of two gatehouses were to be seen and in a farm-house parts of the chapel and porter's lodge identified. Now its remains comprise but a few of the outer walls. The Abbey was founded by K. Stephen and his consort Maud, who (a.d. i 147) munificently endowed it with the manor of Faversham and other property. Of the Cluniac order Henry of Blois, Bishop of Winchester and brother of the

76 MONASTIC SEALS

King, was an especial patron and probably in deference to him the new foundation was assigned it, monks being drawn from Bermondsey Priory to occupy the Abbey. In the erection the Queen expressed particular interest, and often personally superintended the building operations. A relic of the Holy Cross, sent him by Godfrey de Bouillon, was placed by the King in the Church where both he and Maud, as well as her son Eustace, Earl ot Boulogne, and other renowned persons, were interred. Hen. II. granted an annual fair of eight days which commenced on the feast of S. Peter ad Vincula. Isabel, sister of Hen. III., came here with a large suite as she passed to the continent to become the spouse of the Emperor Frederick. Edward I. granted free warren within the manor ; Hen. IV. a fishery. In the reign of Ed. I. the Benedictine rule was instituted. At that time the Abbey had not only reached a condition of extreme poverty but become heavily involved. So the King placed its estate during his pleasure in the hands of trustees, with authority to maintain the monks and minister their income until they were freed from debt. The Abbot sat in thirteen Parliaments during this, and in the reign of Ed. II., but not after the eighteenth year of the latter. Upon the death of each Abbot, the King (as founder) claimed his ring, drinking vessel, palfrey, and kennel of hounds in lieu of other heriot. The poverty of the house necessitated the strict enforcement of certain rights (namely, compensation for swine pasturage, tolls on goods sold in the market and beer brewed) upon the inhabitants of the town, which engendered between them and the monks relations not altogether to be defined as amicable.

We have chosen for reproduction here, first, the corporate seal of the foundation. It was composed of two parts and the second example of its class to be employed. Although a part of the impression illustrated is missing from the top and its detail suffers a little from want of clearness, it is nevertheless a fine one. The obverse displays, between two narrow buttresses (each with three arcaded storeys and supported by brackets) three pointed arches (carved and trefoiled upon the inside and crocketted without), those on the right and left separated from the central, which is the largest, by sculptured piers. Against a diapered field, the central arcade contains a representation of Our Lord (S. Saviour), nimbussed and enthroned, who raises the right hand in blessing and holds in the left a book of the Gospels. In the niche upon the sinister side S. Peter, with keys and book, is enthroned and in that on the dexter S. Paul, with sword and book, is disposed in correspondence. Over the top of the chief a star and crescent appeared, and in the base, placed against an architectural terrace, two panels which contained two crowned heads probably designed for K. Stephen and his queen, Maud.

FAVERSHAM ABBEY 77

[S* qOMMVNE : MONASTERII : SCI : SALVATORIS : DE :

FFAVER

The reverse primarily conveys an elevation, in part section, of PLAlili a more or less conventional representation of the Abbey ^^' Church, shewn with central and two side towers. Above the

Seal 22. roof, between the spires, two angels are seen descending from

Heaven and swinging censers. In chief, the sectioned parts of the structure contain the Transfiguration. Immediately beneath the central tower, above the roof-line, is a trefoiled arch and on either side, below the roof, another similar in style ; the three contain respectively. Our Lord standing upon a mount and Moses and Elias both at full length. A quatrefoil and sixfoil in each of the side towers, disposed one above the other at the top and base, exhaust the sectioned detail. These contain the heads of the emblems of the four Evangelists ; on the left, those of SS. John and Matthew (eagle and lion) ; on the right, those of SS. Matthew and Luke (angel and calf). Below the building are seen three crouching figures described by Dr. Birch as : — Judas, Arius, and Julian the Apostate. ( .? )

*TRANSFIGVRATVR : VELUT : ET ; SOL : CLARIFICATUR. A magnificent example is that proffered by the seal described. Without question it is a striking work of art and, since exhaustive research has failed to reveal the Transfiguration elsewhere upon a seal, it is probably unique also. Both schemes were well conceived. The harmony of their arrangement is perfect and their effect is of a richness which does not in the least satitate or detract, but characterizes. Of the art with which we are concerned, the designers of the seals of Merton and Heyninges Priories were superlatively masters. They idealized it and in it stand out as conspicuously as Fra Angelico and Raphael do in painting. Next to them — although the distance which intervened was great — followed a wider class of artist, whose work (the style of which is well manifested in our plates) though excellent, never attained ideal heights. In this category, capable of much