The Archæological Album - The Art and Popular Culture Encyclopedia (2024)

From The Art and Popular Culture Encyclopedia

The Archæological Album (1845), edited by Thomas Wright.

THEARCHEOLOGICAL ALBUM.MEETING OF THE BRITISH ARCHEOLOGICAL ASSOCIATIONATCANTERBURY.REVIOUS to the establishment of the BRITISH ARCHEOLOGICALASSOCIATION in the last days of the year 1843, the study ofour national antiquities had been continually increasing inpopularity, and it was evident that some great movement wasnecessary. The object of the Association is to unite and concentrate the whole antiquarian force of the kingdom, and thusto increase its efficiency and consequent utility. Railwaysand other public works are now daily laying open and destroyingthe remains of the earlier inhabitants of our islands, while the monuments of the middle ages are too frequently sacrificed unnecessarily to thesupposed exigence of public convenience; and it is most desirable thatwe should secure some power of directing a more systematic and intelligentobservation to the points which are threatened, which could only be doneby organising extensive means of intercourse between the antiquaries ofdifferent parts of our islands. No measure seemed more calculated to promote this end than that of holding an annual meeting, choosing successivelyfor its locality a city or town which will be itself attractive by its archæological monuments and its historical associations.Canterbury was well selected as the first place of meeting, and, inspite of the fears and misgivings of many, and the various difficultieswhich always attend the commencement of a plan embracing so muchnovelty, the success far exceeded the expectations of its most sanguine supporters.It has been rarely seen that so large a number of persons have passed a week withB2 THE ARCHEOLOGICAL ALBUM.such entire satisfaction, or have separated in such general feelings of unanimityand mutual good-will, as the members of the British Archæological Association whomet at Canterbury in 1844. The business was opened on Monday, the 9th ofSeptember, with a judicious speech by the zealous and active president of themeeting, Lord Albert Conyngham; and during the week which followed, the Townhall (which had more frequently been the scene of municipal or political contention)was occupied almost daily with the peaceful discussion of subjects in which, for once,all differences of station and party were softened down before the humanising influenceof science. The assembly of persons of both sexes was numerous, as well in the sectional meetings in the Hall, as in the evening conversaziones in Barnes's Rooms; manyinteresting papers were read and discussed; drawings and antiquities of various kindswere exhibited in great abundance; and on the whole, an impression was made both onthe visitors and the visited, which it will take years to wear off.The business of the meeting was arranged under four distinct heads, each managedby its own sectional committee. The first section, with Mr. W. R. Hamilton for itspresident, and the Dean of Hereford and Sir James Annesley as vice- presidents, wasdevoted to the primeval antiquities of our island, under which title were included allmonuments (British, Roman, or Saxon) of a date anterior to the conversion of theAnglo- Saxons to Christianity, and therefore varying in its limit in different parts ofthe island, from the beginning to the middle of the seventh century. This section hadthree meetings, on the evenings of Monday and Tuesday, the 9th and 10th of September, and on the afternoon of Friday, the 13th. A number of valuable papers wereread: on barrows in general, by the Rev. John Bathurst Deane; on barrows nearBakewell, in Derbyshire, opened by Mr. T. Bateman, jun.; by the Rev. StephenIsaacson, on Roman remains discovered at Dymchurch in 1844; by Mr. John Sydenham, on the so-called Kimmeridge coal- money; by the Rev. Beale Post, on the placeof Cæsar's landing in Britain; by Mr. E. Tyrrell Artis, on a recent discovery, nearCastor, in Northamptonshire, of Roman statues, and of a kiln for pottery of the Romanera, with numerous specimens of native manufacture; by Mr. Pettigrew, on a bilingualinscription discovered by Sir Gardner Wilkinson, on a vase in Egyptian hieroglyphicsand cuneiform characters, which gives an important aid towards the interpretation ofthe latter; by Mr. Birch, on a gold Saxon fibula dug up in Hampshire; &c. In moreimmediate connexion with this section, on the Friday evening after the last meeting,and previous to the opening of an Egyptian mummy in the theatre, Mr. Pettigrew reada very able and interesting paper on the subject of the embalmment of the dead amongthe ancient Egyptians, which elicited much applause.The medieval section, which included the general antiquities of the long periodMEETING AT CANTERBURY. 3extending from the conversion of the Anglo- Saxons to the restoration of learning, hadfor its president Archdeacon Burney, and for vice- presidents the Rev. Dr. Spry and SirRichard Westmacott. It met on the forenoon of Wednesday, the 11th of September,and among the papers read were a description of Old Sarum, by Mr. W. H. Hatcher;an account of a painting on the wall of Lenham Church, communicated by Dr. Spry;an essay on ecclesiastical embroidery, by the Rev. C. H. Hartshorne; an account offrescoes on the walls of East Wickham Church, by Mr. G. Wollaston; and a disquisitionon the succession of William of Arques, by Mr. Stapleton .The architectural section, presided over by Professor Willis, with Messrs. Barry andBlore for vice- presidents, met on Wednesday evening. Its chief attraction was an admirable lecture by Professor Willis on Gervase's description of Canterbury Cathedral soonafter its restoration in the latter part of the twelfth century, compared with the presentappearance of that noble edifice . Papers were also read on the chronological progressionof Gothic capitals, by Mr. Repton; on a Norman tomb at Coningsborough, byMr. Haigh, of Leeds; on mason's marks observed on the stonework of differentbuildings, by Mr. G. Godwin; &c .; and Mr. Hartshorne gave a description of the keepof Dover Castle.Lord Albert Conyngham presided over the historical section, which met on Fridaymorning, the vice- presidents being Mr. Amyot and Dr. Bosworth. The subjects readbefore this section were, a dissertation on the character of Richard Boyle, first carl ofCork, by Mr. Crofton Croker; a report on the archives of Canterbury, by Mr. T. Wright;a series of extracts from a book of accounts of expenses relating to the shipping in theriver Thames in the reign of Henry VIII. , by Mr. John Barrow; extracts from thebursar's accounts of Merton College, Oxford, by Mr. J. H. Parker; curious notes onthe coronation of Henry VI. , and on the manuscripts in the library of CanterburyCathedral, by Mr. Halliwell; and an interesting notice relating to a chapel at Reculver,in Kent, by Miss Halstead.Independent of the pleasure and instruction they afforded in the course of reading,these papers and exhibitions, with the discussions arising out of them, led to severalvery important results. The exact dates of the commencement of two styles of architecture, differing considerably from those hitherto received, were now discovered; theearly English having been proved to have begun in 1184, by Professor Willis's comparison of the parts of Canterbury Cathedral with the description of them by the monkGervase, and the commencement of the decorated style being fixed to as carly a date as1277, by Mr. Parker's extracts from the records of Merton College. In history, byMr. Crofton Croker's judicious comparison of documents relating to the first earl ofCork, the character of a historical person of some celebrity was placed in a light con-4 THE ARCHEOLOGICAL ALBUM.trary to that in which it has generally been viewed. In the same section, the paperon the Canterbury archives was calculated to call public attention to the value of thisimportant class of national records.The tendency of the proceedings in the medieval section was to secure a greaterattention than has hitherto been paid to the preservation of the curious paintings nowso frequently discovered under the whitewash of the walls of our older churches, and ofmonumental brasses and other relics of the fine arts among our ancestors.In the primeval section, Mr. Sydenham, in a very excellent paper, established thefact that articles which had been taken for money, were in reality nothing more thanthe waste pieces thrown out of the lathe in the construction of armillæ and other ornaments by the Romanised Britons in the district of Purbeck. This discovery, withthat by Mr. Artis, of pottery and statuary executed in Northamptonshire, are valuablecontributions towards the history of native art in our island under the Romans.The interesting discoveries by Mr. Isaacson are also important in a historical pointof view they shew that a very extensive portion of the land round Dymchurch wasinhabited in the time of the Romans, which is a fact rather new and unexpected; for,close to the tract where the pottery, tiles, &c. are found, an immense bank is nowrequired to keep the sea from inundating the levels, and it had been supposed that inthe time of the Romans the whole district was under water. The remains discoveredby Mr. Isaacson seem to shew the existence in those early times of extensive potteriesin the Dymchurch marshes. He has collected a hundred and fifty different kinds ofurns, and the whole surface of the ground, at intervals, for three-quarters of a mile, isstrewed with fragments and with bits of clay partly worked by the hand . It may beobserved, that remains of Roman potteries have also been discovered on the other sideof Kent, near Upchurch. Among other interesting discoveries was that of the remainsof a Roman town and temple near Weymouth, announced by Dr. Buckland .The advantages which will arise from varying the place of meeting every year, aremanifest; for it will not only have the effect of encouraging local research and discovery, but, the subjects which fall under the consideration of antiquaries being visibleand tangible objects, in a great measure incapable of removal, every locality will presenta new series of attractions, and new subjects for observation. A very large proportionof the interest of the meeting at Canterbury consisted in excursions and visits to theantiquities in the neighbourhood, and certainly, in this respect, no better place couldhave been chosen. The city and the country surrounding it are full of monuments ofevery period of our national annals. Richborough, the Reculvers, and Dover, presentsome of the most interesting monuments of the Romans that are to be found in thiskingdom . The downs in the more immediate vicinity of Canterbury (the head- quartersMEETING AT CANTERBURY. 5of the Kentish Saxons) are covered with Saxon barrows. The Cathedral and the littlechurch of St. Martin are associated with the name of St. Augustine, to whom, in thisplace, we owe the first introduction of Christianity among our forefathers. The wholecity is filled with memorials of the middle ages. Even the Hall in which the meetingswere held offered objects of historical association on every side to the eyes of thearchæologist. The city archives are deposited in a room in the upper part of thebuilding. The hall itself, which is internally a handsome old building, bristles withmatchlocks, pikes, and bills, distributed over its walls, part of which are said, traditionally, to have been seized in the civil war of the seventeenth century, in the houseof a Lady Wootton, who shut her residence at St. Augustine's, in this city, against theparliamentarian municipal authorities. On the western wall, in the corner, near the northend, is still suspended the ancient horn which was formerly sounded at the doors of thecommon-council- men, to summon them to the meeting of the burghmote. Beneaththe Hall, and almost closed from the light of day, is an object of still greater antiquarianinterest, the relic, perhaps, of the building in which the townsmen held their publicmeetings at a period not long subsequent to the Norman conquest. The floor of thisNorman building, which is now only a few feet below the surface of the groundwithout, stood once evidently on a level withthe street. A double arched roof, supported by a row of pillars at each side anddown the centre, still exists, sufficientlyperfect to enable us to judge of its originalappearance. The larger of the two capitalsrepresented in the margin is one of the central supporters; the other belongs to one ofthe corner pillars. These pillars are nowmore or less fragmentary, and imbedded inthe more modern wall, the open space between the central colonnade being entirely bricked up, as a support forthe building above. The middle pillars in the side wallshave a group of three capitals, supporting the imposts,which may perhaps have been originally octagonal, but,if so, the greater part is now concealed in the masonryof the wall, and the shafts are broken away, and thecapitals themselves so much injured, that we can onlyguess at their original appearance. Until very recently,these vaults were used as wine- cellars.6 THE ARCHEOLOGICAL ALBUM.EXCURSION TO BREACH DOWN AND BOURNE.All the excursions of the archaeologists were interesting in the highest degree.Their attention was first called to the graves of the early Anglo - Saxon settlers in thisdistrict . The site of Canterbury was occupied by a Roman town, named Durobernum,which was chosen as the metropolis of the followers of Hengst and Horsa, and from themreceived the appellation of Cantwara- buruh (or the town of the Kentish-men) , which hasbeen softened down into its modern name. The high grounds, or downs, to the south,within a distance of a few miles, in a sweep from the south-west to the south-east ofthe city, are covered with groups of barrows, which are proved by their contents to havebeen the graves of the Kentish Saxons, from their arrival in this island to the beginningof the seventh century. They are most numerous over the hills towards the southwest, which may fairly be termed the Saxon Necropolis of East Kent, and may possiblyhave had some reference to a religious establishment at Wodnesborough, or the citadelor hill of Woden. The largest of these groups in the immediate vicinity of Canterburyare found on the hill to the north of Bourne Park (some of them in what is termedBourne Paddock) , and on the Breach Down, in the parish of Barham, both on the lineof the Dover road, many of which have been opened by Lord Albert Conyngham.Under his lordship's superintendence, a number of these barrows (both at Breach Downand in Bourne Paddock) were excavated to within about a foot of the bottom, before thearrival of the visitors, in order that the deposits might be uncovered in their presence.It must be observed that the Saxon barrows differ from others in the circ*mstance thatthe body is not placed on the ground, but in a regular grave dug into it, over which israised a very low circular mound, which sometimes can now be with difficulty distinguished from the ground around it. They were, in fact, the prototypes of ourcommon churchyard graves, except that in the latter the slight mound or barrow ismade to take the form of the grave. However, the Saxon barrows were probably atfirst higher and more definitely marked, and perhaps they were adorned with someoutward marks of respect .The archæologists assembled at Breach Down, on Tuesday, the 10th of September,between nine and ten o'clock, conveyances having been engaged at Canterbury for theoccasion by the local committee, and eight barrows were successively opened for theirinspection. The only interruption arose from a heavy shower of rain, which was so farfrom damping the zeal of the visitors, that many, both ladies and gentlemen, raisedtheir umbrellas (if they had any) , and stood patiently looking at the operations of theexcavators, whilst others sought a temporary covering in a windmill which stood in theMEETING AT CANTERBURY. 7middle of the scene. The barrows on this spot had furnished the richest portion of Lord Albert Conyngham'scollection of Anglo- Saxon antiquities; yet on the presentoccasion, those opened were less productive than wasanticipated. All, however, contained human remains, andin some were found different articles, which appeared to indicate the character of theperson interred in them. Thus, as Dr. Pettigrew remarked at the meeting in the evening, in a grave which contained the skeleton of a child were noticed beads, necklaces, andtoys, evidently the offerings of parental affection, while the grave of the hunter contained his knife, spear, and shield. Indeed, the graves of male adults always contain theselatter articles, accompanied frequently with pails, bowls, urns, and other relics, whichprobably, for some reason or other, the deceased had held in particular esteem. In thegraves of females are generally found beads, necklaces, beautiful gems and brooches,and other ornaments of the person, and sometimes articles connected with their domesticoccupations. Remains of purses have been found, but only in one case, in a barrow onthe Breach Down, did they contain money.It is a remarkable circ*mstance, that in many (perhaps we may say most) of theAnglo-Saxon barrows, human bones are found carelessly thrown in the mound abovethe grave, independent of the deposit in the grave itself. This singular fact can onlybe explained by the supposition that they are the remains of slaves sacrificed to thememory of their masters. Dr. Pettigrew found bones in the mound of one of thebarrows on Breach Down, which he believed could not have been deposited there at amore remote period than fifty years ago, and stated reasons for this opinion, which werefar from satisfactorily answered by Dr. Buckland . It appears that the Breach Downhad, at about that distance of time, been frequented by a noted highwayman, who8 THE ARCHEOLOGICAL ALBUM.bore the name of " Black Robin, " and who still figures as the sign of an inn in theadjoining village, and Dr. Pettigrew suggested that these bones might be the remainsof one of his victims, whom he had cunningly interred in one of what were thengenerally understood to be the graves of ancient warriors. Dr. Pettigrew also statedthat the condition of the teeth in most of the skulls he had observed in the course ofthese excavations, indicated that the food of the people to whom they belonged, waschiefly peas and beans, and other vegetables.From Breach Down the party proceeded to Bourne Park (the seat of their president,Lord Albert Conyngham), where two barrows were excavated, which proved much richerthan those at Breach Down. The nature of the soil on the hill above Bourne seems,in most instances, to have destroyed the articles deposited in it; but the magnitudeof the graves here would seem to prove that these barrows, the nearest to the metropolisof the tribe, belonged to people of a higher rank than those at a greater distance. Inone of the barrows now opened in Bourne Paddock,were found an earthenware urn and a glass cup, thelatter an article of rare occurrence, but both broken tofragments. These fragments were, however, joined together, and the urn and cup restored, by the ingenuityof Mr. T. Bateman, jun. , of Bakewell, in Derbyshire,and Mr. Clarke, of Saffron Walden, in a manner soremarkable, as to excite the marked admiration of themembers who met in the primeval section in the evening.Both were good specimens of Saxon workmanship. Inthe urn was found a brass rim, apparently belonging to a leathern bag or purse, fromthe colour and condition of the earth around it. It is remarkable that the hill aboveBourne (called, from the neighbouring village, Bridge Hill) , where the Saxon barrowsare found, appears to have been previously a Roman cemetery; for about twelve yearsago, when the new Dover road was cut through it, a number of Romano- British urnsand earthen vessels were discovered, with skeletons and fragments of weapons, at agreater depth than the Saxon graves. Some of these urns, now in the possessionof Mr. W. H. Rolfe of Sandwich, were exhibited by that intelligent antiquary, at themeeting of the primeval section, on Friday afternoon, September 13.At Bourne Park, the archæologists partook of the hospitality of their noble andlearned president, who had prepared a plentiful repast in his fine old mansion . Herethey inspected his lordship's valuable collection of antiquities, Roman, Saxon, Irish,and medieval. Some of the party visited the neighbouring church of Patrixbourne, orPatricksbourne, an interesting Norman structure, remarkable for the beauty of its

PATRICKSBOURNE CHURCH , KENT.OLD HOUSE ΑΙ WINGHAM , K'Na az X TaMEETING AT CANTERBURY. 9ornamental work, which is most profusely exhibited on the south exterior, representedin our engraving. The principal door on this side, seen beneath the tower, has adouble recess; the ornaments of the first arch being divided into compartments,Fireplace in the Hall, Bourne Park.containing various figures in low relief.At the head of the inner arch, whichis decorated with the ordinary chevron, is a tympanum, with a sculpturedrepresentation of the Saviour seatedwithin an aureole. Above the door isan arched recess, adorned with thechevron moulding, and containing afigure in high relief of the Agnus Dei.The chancel door is composed also ofdouble recessed arches, with the chevron ornament. At the east end is awheel window, very similar to that atBarfreston. The two doors on theother side of the church are of thesame size and character as the chancel door on this side, but vary a little in detail.In the interior, the chancel is divided from the choir by a large semicircular arch.The most striking object in the church is a monument erected to the memory ofthe late Marquis of Conyngham. The church has been recently repaired, and thewindows are now richly decorated with stained glass brought from the Continent by thedowager marchioness, to whose taste the adjoining village is indebted for a number ofpicturesque Gothic cottages.On Wednesday afternoon, after the sitting of the medieval section, the archæologistsvisited Dr. Godfrey Faussett's rich museum of Saxon antiquities at Heppington, in thefamily mansion-house of the Godfreys and the Faussetts, situated itself within whatappear to be ancient intrenchments, and not far distant from the remains of the Romanroad leading from Canterbury to Lymne. This most magnificent collection was gatheredalmost entirely from the Saxon barrows of Kent; it contains specimens in greatvariety of almost every article that could be preserved, from the warrior's weapons tothe needle of the industrious housewife, the toy of the playful child, or the tools of theworkman, with household utensils, ornaments of the person (many of them of greatbeauty), coins, &c. It is in collections like this that we see the importance of the laboursof the "barrow-digger," and the value of even the most minute researches of the indusC10 THE ARCHEOLOGICAL ALBUM.trious antiquary. The ordinary page of history gives us a very indefinite notion ofthemanners of our pagan forefathers; we are accustomed to regard them as half savages,without refinement, rude in their manners, and skilful only in the use of their weapons.But in running our eyes over the museum of Dr. Faussett, the followers of Hengstand Horsa seem to rise up before us; the warrior is brought from his grave in hispanoply, and we see beside him his fair consort, here in her domestic costume, occupiedin the cares of her household, and there again in her robes of ceremony, glitteringwith gold and jewels of exquisite design and workmanship. All our previous notionsvanish before the mass of evidence before us; we see at once the refinements ofSaxon life, even in its primeval stages, and the skill and taste of Saxon workmen.This fine collection of antiquities, which contains also some interesting Romanremains, was made in the last century by the Rev. Bryan Faussett (the grandfather ofthe present possessor), and increased by the acquisitions of his son. Some of themhave been badly engraved in Douglas's Nenia Britannica. On the present occasion,Dr. Faussett received his visitors with the greatest politeness, and a room adjoining tothe hall was abundantly stored with refreshments.EXCURSION TO RICHBOROUGH.The whole of the day on Thursday, September 12, was devoted by a large party toa visit to the Roman remains at Richborough, the ancient Rutupia. They proceededthrough the villages of Ash and Wingham, situated nearly on the line of the Romanroad from Durovernum (Canterbury) to Rutupia. Some years ago a Roman burialplace was discovered in the immediate vicinity of Ash.At Wingham, the archæologists stopped to examine thechurch, which appeared to be in a lamentable state ofdilapidation, arising from the neglect of a lay impropriator, and to admire a fine old house by the roadside,remarkable for the boldness of its woodwork, and theelegance of the barge-board of its gable roof. After anagreeable ride through a rich and beautiful country, thearchæologists arrived at Richborough soon after mid-day.Rutupia (called by Ptolemy ' Pourounia ) is interestingto the antiquaryfor many reasons, independent of the circ*mstance of its being one of themost imposing Roman monuments in our island. The portus Rutupinus was the spot atwhich the Romans generally landed in their passage from Gaul to Britain, and was theMEETING AT CANTERBURY. 11frequent station of the Roman fleet. Lucan quotes its stormy shore as being almostproverbial:-" Prima quidem surgens operum structura fefellitPompeium: veluti mediæ qui tutus in arvis Sicaniæ rabidum nescit latrare Pelorum:Aut vaga cum Thetys Rutupinaque litora fervent,Unda Caledonios fallit turbata Britannos. "Pharsal. lib. vi. 1. 64.In the latter part of the fourth century, the usurper Maximus is said to have takenthe title of emperor in this place, from whence he passed over with his soldiers intoGaul. Ausonius calls him the " Rutupine robber," and congratulates the city ofAquileia on being the place of that tyrant's final defeat and death: -64 sed magis illudEminet, extremo quod te sub tempore legit,Solveret exacto cui sera piacula lustroMaximus, armigeri quondam sub nomine lixæ.Felix, quæ tanti spectatrix læta triumphi,Punisti Ausonio Rutupinum marte latronem."AUSON. Clara Urb. vii.According to Ammianus Marcellinus, when Theodosius, the father of the emperorof that name, came to Britain to repress the invasions of the Picts, he landed atRutupiæ. It is doubly connected with the name of one of the best poets of thelower empire, Ausonius, whose uncle, Claudius Contentus, was buried here: -" Contentum, tellus quem Rutupina tegit.Magna cui et variæ quæsita pecunia sortis,Hæredis nullo nomine tuta perit.Raptus enim lætis et adhuc florentibus annis,Trans mare et ignaris fratribus oppetiit. "AUSONII Parentalia, vii.And Flavius Sanctus, whose wife was the sister of Sabina, the wife of Ausonius, wasfor a time commander of the garrison: —" Militiam nullo qui turbine sedulus egit:Præside lætatus quo Rutupinus ager.Ib. xviii.At a later period, St. Augustine is said to have landed at Rutupia when he cameto this island to convert the Saxons. Bede is so far from speaking of it as desertedor in ruins, that his words would lead us to suppose it was still, under the Saxons,the place of resort to ships sailing from the opposite port of Gessoriacum (nowBoulogne); but he tells us that the name had been corrupted by his countrymen intoReptacestir, which is doubtlessly connected with the modern name. It was probablydeserted when the port became choked by the accumulating alluvium deposited bythe12 THE ARCHEOLOGICAL ALBUM.sea. We have no information as to the manner in which it was occupied during theSaxon era; a few Saxon antiquities have been discovered in the neighbourhood, andtwo curious Saxon monuments, supposed tobe boundary stones, said to have been foundat Richborough, are now preserved in theMuseum at Canterbury, to which they werepresented byMr. Rolfe. They are respectivelytwo feet and a foot and a half in height, andone of them bears a Runic inscription, muchdefaced, but represented in our cut as nearlyas it could be distinguished by the eye.The ruins of Richborough occupy thebrow ofa bold elevation, which, in the timeofthe Romans, formed an island, rising out of the arm of the sea which separated the Isleof Thanet from the mainland of Kent, and divided from the rest of Thanet by a smallerchannel. The sea is now somewhat more than a mile from the foot of this hill, but theintervening low grounds are kept by embankment from being overflowed at high tides .There can be no doubt that the sea once flowed up to the foot of Richborough hill.Boys, the historian of Sandwich, writing in 1792, tells us, that " in digging, a fewyears ago, to lay the foundation of Richborough sluice, the workmen, after penetratingthrough what was once the muddy bed of the river that runs close by in a more contracted channel than formerly, came to a regular sandy sea-shore, that had beensuddenly covered with silt, on which lay broken and entire shells, oysters, sea- weeds,the purse of the thornback, a small shoe with a metal fibula in it, and some smallhuman bones; all of them, except the last article, with the same appearance of freshnessas such things have on the shore at this day." More recent excavations in variousparts of this line of coast have laid bare, at a depth of a few feet, in different places, theancient beach, covered with large boulders, and here and there strewed with Romancoins and other articles . Immense quantities of Roman coins were found in digging asand-pit at Sandown, near Deal. Rutupia was celebrated under the Romans forsupplying Italy with one of the choicest articles of the table, its oysters being consideredas more delicate than those furnished by any other spot. Juvenal says of a bon vivantof the imperial days, —66 Circeis nata forent, anLucrinum ad saxum, Rutupinove edita fundoOstrea, callebat primo deprendere morsu. "We know from Pliny in how great repute the British oysters were held at Rome.oysters are now found on the Richborough coast; but in digging sluices for drainingMEETING AT CANTERBURY. 13in the marshes behind Richborough (which were formerly covered by the sea) , at adepth of about six feet, the remains of extensive beds of oysters have been found, whichappear to have been of a diminutive size, and were probably of a very excellent quality.This, therefore, was the Rutupinum fundum from which Rome was supplied. It maybe added, that from the great quantity of oyster- shells which are every where turned upin stirring the soil on the Richborough hill, it would appear that the local consumptionwas very considerable. Oyster-shells are frequently found among Roman remains indifferent parts of our island.Richborough castle appears to have been the citadel of the town of Rutupiæ, whichprobably lay on the slope of the hill to the north and west, on which sides were theentrances to the fortress. It appears that, in Camden's time, the ground on the siteof the town still presented marks of the lines of streets; for, he says of it, " Timehas devoured every trace of it; and, to teach us that cities are as perishable as men,it is now a cornfield, where, when the corn is grown up, one may see the traces of thestreets intersecting each other. For, wherever the streets have run, the corn growsthin, which the common people call St. Austin's Cross." It is the old story, jam segesubi Troja fuit. But Time itself has been almost powerless before the mighty mass ofthe walls above. In the last century, some workmen found at the foot of the northerndeclivity of the hill (supposed to have been occupied by the town) what was conjectured to have been part of the masonry of a wharf or landing- place, built ofbricks, which were all taken up and carried away. * On an elevated spot, about fourhundred and sixty yards to the S.W. by S. of the south-west angle of the castle walls,are the remains of an amphiteatre, now much worn down from its original shape. Itis two hundred and twenty yards in circumference, and completely overlooks the castle,so that a signal from the latter in case of danger would instantly recal the soldiers whomight be here occupied with the amusem*nts which it was designed to exhibit. Lelandtells us that, in his time, this amphitheatre was known by the name of Lytleborough.Gough, in his edition of Camden's Britannia, says that, when he wrote, it wascommonly called the South Mount. Leland tells us, that there were found upon

• A building was discovered some years ago in the

plain at the foot of the bank about forty rods to the northward of the castle, which had the appearance of awharf or landing- place. The surface was a little wayunder ground. It was four feet high, of a triangularform, the sides nearly equal, of about ten feet each, oneof them parallel with the bank and its opposite angleprojecting towards the sea. It was a shell of brickwork, two bricks thick, filled with earth, the twoprojecting sides tied together with a brace of the samematerials. Two sorts of bricks were used in this building; one was eighteen inches by twelve, and three and ahalf inches thick; the other seventeen inches by elevenand one and a quarter thick. Mr. Ebenezer Mussel,of Bethnal Green, London, purchased all the bricks ortiles, and employed them in paving a court- yard andpart of his house there. " -Boys's Collections for aHistory of Sandwich, p . 868. It would now probably bea difficult task to trace the dwelling of Mr. Ebenezer Mussel.14THE ARCHEOLOGICALALBUM.Richborough hill " mo antiquites of Romayne money then yn any place els ofEngland;" and we know that it has been from that period to the present day aplentiful source of antiquarian treasures. Archdeacon Battely, whose AntiquitatesRutupine was published posthumously in 1711, had gathered together a rich collection,some of the most interesting of which are engraved in the plates to that work. Theyconsisted of coins, pateræ, and other vessels of earthenware, bronzes, chains, rings,bracelets, fibulæ, bronze figures, and various articles and utensils of domestic life.Mr. Boys, the historian of Sandwich, has also engraved some curious articles whichcame into his possession in the course of his researches; and his grandson, Mr. Rolfe,the worthy inheritor of his antiquarian zeal, has an interesting cabinet of Rutupineantiquities. In digging somewhat deeper than usual in the churchyard of St. Clement's,the highest ground in Sandwich, a Roman urn, with a gold coin, and a cowry shell,were recently discovered; and Mr. Rolfe is of opinion that the top of the hill onwhich Sandwich now stands was a burial- ground of the city of Rutupiæ.A pleasant walk of little more than a mile from Sandwich brings us to thesemajestic ruins, which have a very imposing effect from whatever side they are viewed;but, perhaps, no side exhibits them at first sight to greater advantage than the one whichwe thus approach. Our view is taken from the south- western corner, representing theexterior of the northern or more perfect wall, with a distant view of Pegwell Bay andRamsgate town and pier. The castle forms a regular parallelogram, placed nearly(though not exactly) north and south, and east and west. The walls are composed of amass of stones of different kinds, embedded in very hard mortar, and faced outsidewith regular courses of stones and tiles, the latter being arranged in doublerows from three feet three inches to four feet three inches apart, the first row oftiles being about five feet from the foot of the wall. These walls are at the bottombetween eleven and twelve feet thick, diminishing slightly towards the top, and are,where most perfect, about thirty feet high. Yet this immense mass of masonry has nofoundation, the first layer of stones and mortar having been simply laid on the plainsurface of the ground. Among the stones in the walls are some pieces of oolite andtravertine which must have been brought over from the Continent; and the ground

• Mr. W. Francis Ainsworth made, during the visit

of the archæologists, the following observations on thematerials of the walls of Richborough castle, which hehas kindly communicated to us. " In the N.E. wall,besides the customary courses of limestone rock andbricks, there are other courses, more particularly in onespot at the base of the wall, of travertino or limestonedeposited by a spring or running waters. Also, on thesame side, near some ivy, and half-way up the wall,masses of petrified Teredo nasalis. Again, at the southwest side, where the wall is broken down, there is a considerable mass ofoolite, more like the Norman stone thanany of our oolites. It would be a curious question toknow whence all these materials, foreign to the locality,came; and to ascertain if there are any springs orrivulets depositing travertino or calcareous tuffa in thisneighbourhood. " The geologist is always a valuableally to the antiquary.N. W. VIEW OF RICHBOROUGH CASTLE KENT.Sale FeetPLANCFRICHBOROUGH CASTLETC 12184-Sec.c. of Sub ea e ar leng=

MEETING AT CANTERBURY. 15within the area is thickly strewed with pieces of foreign oolite, of different sizes, whichmust be the remains of buildings that have been destroyed. This foreign oolite formsa considerable portion of the materials of the cross -shaped building of which we shallhave to speak further on. The walls remain on three sides of the area; they appear tohave been regularly flanked with square towers, solid at the lower part, with a roundtower at the external corners of the parallelogram. Of the wall on the south side, theportion extending from d to d in our plan has totally disappeared, and other parts ofthe wall are in a very dilapidated condition. The principal entrance was in the middleof the west wall, but the masonry has been there so much broken away, that its formcannot be now distinguished. In excavating here, Mr. Boys found a regular pavementof large hewn stones in the opening of the gateway, which extended inwards nearlytwenty-five feet. Some of these stones were taken up for the use of the neighbouringcottagers, and one (with the lewis by which it was raised remaining) now forms thepavement before the door of a cottage near the north-east corner of the castle . Thenorth-west corner of the wall has also been broken down, and a large mass of themasonry lies at a little distance from the wall, in the spot where it had stopped in itsfall. The north wall is the most perfect; about the middle of it is the decumangate, the masonry of which is still sharp and entire; the entrance into the area beingcovered by an advance wall, which formed a side-way entrance, as represented inour plan. It does not seem to be well ascertained that there was a wall on theeast side . Mr. Boys, in his plan, has carried the north wall to the point marked gin our plan, where he has placed a round tower forming the corner, and continuesthe wall on the east side to h, as far as indicated by the fragments remaining . Othershave supposed that the parallelogram was originally complete, but that the east wall andpart of the south wall have fallen by the sinking of the hill. If this, however, were thecase, it is remarkable that there are not traces ofany fallen masonry towards the south- eastcorner, while, to the north-east, there is a regular line of massy fragments; and theredoes not appear to be any good reason for believing that much of the hill has fallenaway. The present appearances would almost lead us to believe that Boys was rightin the form he had given to the north- east corner, and that the piece of wall there wasmerely a defence to the landing-place, which led up the sloping ground by the spotmarked ƒinto the fort, while the bank from fto d was only rather steeper and moreregular than at present. In some parts there appear evident marks of unsuccessfulattempts to demolish the walls. Dr. Buckland pointed out to the archæologists thecorrosive effects of the common snail, and succeeded in spoiling the riband of a lady'sbonnet in illustration . But the grand destroyer of these time-beaten walls is the ivy, whichformerly overrun them in much greater abundance than at present. A hundred and16 THE ARCHAEOLOGICAL ALBUM .fifty years ago, Archdeacon Battely pointed out the destructive effects of this intruder;and we believe that the present improved condition of the walls is owing, in a greatmeasure, to the efforts of Mr. Boys to cut it down. In some places, where the wall ishollowed or fractured, we perceive the old roots of the ivy penetrating to the very heartof the masonry, through masses of mortar which the force of man's hand can hardlybreak; and large cracks in the more perfect parts of the walls are to be attributed tothe same agency. Ofthe north wall there are about 441 feet standing. It extendedto about 560 feet; and the length of the wall below the bank, which now lies infragments from S. to N. is 190 feet. There are about 264 feet of the south wallstanding, originally 358 feet, viz . to the S.E. corner of the castle; where, on the bank,is a considerable fragment, probably the base of a round tower, such as were standingat the S.W. and N.W. corners, the basem*nts of which are distinctly traceable. Thewest wall was, when perfect, about 460 feet in extent.Leland says quaintly of the interior, "Withyn the castel is a lytle paroche chirch ofS. Augustine, and an heremitage. I had antiquites of the heremite, the which is anindustrius man. Not far fro the heremitage is a cave, wher men have sowt anddigged for treasure. I saw yt by candel withyn, and ther were conys [rabbits] . Ytwas so straite that I had no mynd to crepe far yn. In the north side of the castel ys ahedde yn the walle, now sore defaced with wether. They cawle yt quene Bertha hedde.Nere to that place, hard by the wal, was a pot of Romayne mony fownd." The area isnow entirely cleared of the brambles and brushwood which covered a part of it inCamden's time, and is ploughed as a corn-field . When covered with corn, and in dryweather, the outline of the floor of the pretorium is distinctly visible; in the middle ofwhich are the foundations of a cross-shaped building, on the character of which manyconjectures have been hazarded. It was perhaps an elevated beacon, or sea-mark; but wethink it cannot have been a chapel walls even of a moderate thickness would have lefthardly room for a man to turn himself within, and it does not lay east and west, butalmost north and south. In excavating near the great western entrance (marked c in theplan) , Mr. Boys found great quantities of the exuviæ of animals (particularly of thosegenerally sacrificed to Diana) , which seemed to indicate that a temple once stoodnear the spot. At a more recent period, large quantities of human bones, thrown intothe earth without order, were found in excavating on the spot marked eeee, andwhere the edge of the hill is broken down, nearly opposite this place, the bones areseen projecting out of the bank. They may be the remains of men slain in some civiltumult, or sacrificed to the fury of a successful enemy. Fragments ofpottery (plain andornamental) , mixed with pieces of stag's-horn and oyster- shells, have been found in greatabundance in the north-west corner. In the course of his recent excavations at the edgeMEETING AT CANTERBURY. 17of the platform ofthe pretorium, Mr. Rolfe discovered quantities of fragments of marble,evidently remains of buildings which had formerly occupied the surface of the platform .The platform, or floor, just alluded to, which, as will be seen by the plan, is notexactly in the middle of the area, is 144 feet in length by 104 in breadth, and is coveredby the earth to a depth of from three to six feet, the surface of the ground being notperfectly level. We were informed by Mr. Rolfe that in excavating under the platform,which is about five feet and a half thick, some gentlemen in 1822, for the first time onrecord, discovered an extensive square subterranean building, down the side of the wallof which they sunk a well or shaft to the depth of about twenty-six feet from the underpart of the platform, in the hope of finding an entrance at the bottom, but meetingwith springs they were compelled to abandon their operations, without succeeding inthe object of their research, and on the following day the excavations were closed up.The platform extends beyond the walls of this subterranean building, on the longersides twelve, and on the shorter sides ten feet . The extent of the subterranean buildingis shewn by the dotted line in the plan, and a section across it (taken about the middleof the cross) is given in the corner of the plate, in order to convey a more distinct ideaof its form. To discover the nature and purpose of this building was the object of aseries of incessant excavations carried on under the directions of Mr. Rolfe during morethan forty days, from the 5th of September, 1843, to the 25th of October following.He began at the spot marked a in our plan, at the edge of the platform, and proceededunder the ledge formed by the excess of the width of the latter over the building below,and there, only eight feet northward of the above excavations, fell in with one made atsome unknown period, presenting the appearance of a chamber cut in the soil, extendingfrom the edge of the platform to the substructure twelve feet, and about eight or ninefeet in width. He then worked a gallery under this edge, along the whole of the eastand north sides, and to an extent of eighty-six feet along the western side, in the hopesof finding some traces of a side entrance into the supposed chamber or chambers within .This gallery was five feet and a half high, and three feet wide. Meeting, however, withnothing but a uniform and compact mass of masonry, Mr. Rolfe discontinued the gallery,and began to break an opening in the masonry at the point marked b in the plan; butafter, by the most incessant exertions of the workmen employed in this operation, he hadmade a hole extending inwards seven yards, without finding any traces of a chamber,he was obliged by different circ*mstances to discontinue his undertaking for that season,with the hope that better success will attend another attempt. As the opening in thewall was made near the top, it is to be feared that the workmen may have fallen upona very thick vault, for it can hardly be supposed that the building beneath is a solidmass of masonry. Since the walls of the castle are built without any foundation at all,D18 THE ARCHEOLOGICAL ALBUM.we can imagine no necessity for an immense work like this to support the lighter andmore fragile structures raised on the platform above. The most reasonable suppositionappears to be, that it incloses strong subterranean storehouses. During the progressof these interesting operations, a tent was raised within the castle area, and Mr. Rolfereceived a number of distinguished visitors, among whom were the Duke of Wellingtonand a large party of his friends.All traces of the " lytle paroche chirch" and the hermitage, mentioned by Leland,have long disappeared; but at the beginning of his excavations, Mr. Rolfe discoveredan old opening and portion of a narrow gallery at the east side of the platform, whichbore marks of having been formerly occupied by man, and which he thinks was thecave alluded to by Leland. Among other articles he discovered in it were some fragments of Roman pottery, with a rough kind of enamel glued on them, which the"industrious" hermit probably sold as amulets to the ignorant and superstitious, whilehe reserved the better " antiquities " for the learned. At the spot marked f, on thedescent of the bank at the north-east corner, we observe a cave of more recentformation, the entrance to which lies under a mass of fallen masonry; this was someyears ago occupied as a store-room by smugglers, until discovered by the revenue officers.After having explored, with the most excited feelings of curiosity and interest, thevenerable ruins of Richborough, the archæological visitors proceeded to the residence ofJohn Godfrey, Esq. at Brook House, in the parish of Ash, where a hospitable entertainment had been prepared for them. Some of them made a short stay at Sandwich,where they inspected Mr. Rolfe's museum. They then took the way to Barfrestonchurch, so well known as a fine and almost unaltered example of a Norman ecclesiasticalbuilding, rich in sculptured ornament. It was late in the evening when the partyreached Canterbury on their return.On the same day a smaller party had proceeded, under the guidance of Lord AlbertConyngham, to visit the castle and other objects of antiquarian interest at Dover.On the last day of the meeting, another small party visited the interesting church ofChartham, and partook of lunch at the house of the rector, the Rev. H. R. Moody.VISITS TO THE ANTIQUITIES OF CANTERBURY.Canterbury itself abounds in interesting monuments of the middle ages, whichoccupied a considerable share of the attention of the assembled archæologists . Oftheancient military works of the city, the chief (and almost only) remains are considerableportions of the city walls, with the lofty mound, or " Dane John" (as it is now called) ,one of the old gates (West Gate) , and the dilapidated skeleton of the keep of the castle.

CHAUCERS INNCANTERBURY, FROM THE YARD.ROOMIN CHAUCERSINNMEETING AT CANTERBURY. 19The streets of Canterbury still present many interesting specimens of old domesticarchitecture, but their chief riches in this class of monuments have perished within thelast half century. We might point out as worthy of attention several houses in Northgate Street, a good corner house in Palace Street, a house in Burgate Street, with someinteresting wood carving, and the picturesque stack of buildings in St. Dunstan'sStreet, near Westgate, formerly known as the Star Inn. The most interesting housein the town is, however, the famous Chequer Inn, the supposed place of lodging ofChaucer's motley troop of pilgrims, now subdivided into tenements, and sadly alteredand defaced, but bearing many marks of its ancient character. It forms the corner ofHigh Street and Mercery Lane.In the early municipal documents, this inn is sometimes mentioned as being usedon public occasions, and among the extracts read before the historical section it wasstated that in 1546 the prince's players acted in it before the mayor and corporation .Its proximity to the cathedral naturally made it the resort of such pilgrims as wereable to pay for good lodgings. The description of the arrival of Chaucer's party, givenby the author of the supplement to the " Canterbury Tales," printed by Urry (writtenapparently not long after Chaucer's death), is too good a picture of " Canterbury inthe olden time" to be passed over in silence . The writer of this rather unpolishedperformance tells us how the pilgrims arrived in Canterbury at " mid-morowe " (inthe middle of the forenoon) , and took up their lodgings at the Chequer: -"They toke their in and loggit them at mydmorowe I troweAtte Cheker ofthe hope, that many a man doth knowe: "and how, mine host of Southwark having given the necessary orders for their dinner,they all proceeded to the cathedral to make their offerings at the shrine of St. Thomas.At the church door they were sprinkled with holy water: —" Then at chirch dore the curtesy gan to ryse,Tyl the knyght, of gentilnes that knewe right wele the guyse,Put forth the prelatis, the parson and his fere.Amonk, that took the spryngill with a manly chere,And did as the manere is, moilid [wet] al their patis,Everich aftir othir, righte as they were of statis .The frere feynyd fetously the spryngill for to hold To spryng oppon the remnaunt, that for his cope he noldHave laft that occupacioune in that holy plase,So longid his holy conscience to se the nonnis fase. "We are left to conjecture how far the monk was successful in the object he desired.The knight and better part of the company went direct to their devotions; butsome of the pilgrims of a less educated class began to wander about the nave of the20 THE ARCHEOLOGICAL ALBUM.church, curiously admiring all the objects around them. The miller and his companions entered into a warm discussion concerning the arms in the painted glasswindows:-"The pardoner and the miller and othir lewde sotesSought hem self in the chirch right as lewd gotes,Pyrid fast and pourid high upon the glase,Counterfetyng gentilmen the armys for to blase,Diskyvering fast the peyntur, and for the story mournid,And ared [interpreted] al so right as rammys hornyd.'He berith a balstaff, ' quod the toon, and els a rakid end. '' Thow failest, ' quod the miller, ' thow hast nat wel thy mynd:It is a spere, yf thow canst se, with a prik to - fore,To bush adown his enmy and through the shoulder bore. ' "At length the host of Southwark, whose business it was to preserve order amongthe company, called them together and reproved them for their negligence; whereuponthey hastened to make their offerings:-" Then passid they forth boystly gogling with their hedis ,Knelid adown to-fore the shrine, and hertlich their bedisThey preyd to seint Thomas, in such wyse as they couth;And sith the holy relikes ech man with his mowithKissid, as a goodly monk the names told and taught.And sith to othir places of holynes they raught,And were in their devocioune tyl service were al doon. "As noon approached, they gathered together and went to their dinner, for it wasthe dinner- hour for all classes at this period. Before they left the church, however,they bought signs, " as the manner was," in order that they might have something toshew as a memorial and evidence of the saint they had visited . The miller bought andpinned on his bosom signs of Canterbury brooches. The distribution of these signsappears to have led to some confusion:--66 Then, as manere and custom is , signes there they bought;For men ofcontré shuld know whome they had sought.Eche man set his silver in such thing as they likid.And in the meen while the miller had y- pikidHis bosom ful of signys of Caunterbury brochis;Though the pardoner and he pryvely in hir pouchisThey put them afterwards, that noon of them it wist.Save the sompner seid somewhat, and seyd to he list ,' Halff part! ' quod he, prively rownyng on their ere.' Husht, pees! ' quod the miller, seist thow nat the frere,How he lowrith undir his hood with a doggish eye?Hit shuld be a privy thing that he coud nat aspy. 'This passage affords a curious illustration of one of the superstitious practices ofpapal times. Figures and devices of various kinds, stamped in thin sheet lead, most.MEETING AT CANTERBURY. 21of them having traces of a pin at the back intended to fix them to the garments, havebeen frequently found, and antiquaries were very doubtful as to the object for whichthey were designed, until Mr. Roach Smith, who exhibited at one of the evening conversaziones at Canterbury a number of these leaden brooches, which had been draggedout of the rivers at Canterbury, London, and Abbeville in France, shewed that theywere nothing more than the signs bought by pilgrims, and worn about their persons,to shew that they had visited the particular places indicated by the devices theybore. Mr. Smith quoted a passage of Giraldus Cambrensis, a contemporary (in hisyouth) with Becket himself, who describes himself and his companions as comingfrom Canterbury to London " with the signs of St. Thomas hung about theirnecks," which shews how early the custom prevailed in this city. Among the signsexhibited by Mr. Smith, only one bore a distinct reference to Canterbury; it was alittle round brooch, with a head in the middle, and an inscription stating the latter tobe CAPUT THOME-the head of Thomas. † This sign was found markin the Thames, at London, and had no doubt beenbrought thither by some devotee from St. Thomas'sshrine at Canterbury. Our cut represents this relicthe size of the original . Among those found inthe river at Canterbury, where there was probablyan extensive manufactory of such articles, one of the most curious isthat given in the margin, representing St. John the Baptist carryingthe holy lamb. One found in the river at Abbeville represents ahead of St. John the Baptist, and appears to have been borne bya pilgrim from Amiens, where, among other precious relics, was shewnthe pretended real head of the forerunner of Christ.To return to our pilgrims, when they had satisfied their feelings of curiosity anddevotion,-" They set their signys upon their hedes, and som oppon their capp,And sith to the dyner-ward they gan for to stapp."After dinner they determined to go forth " to sport and pley" them, " eche man ashym list," until supper time:-" The knyght arose therwithal, and cast on a fresher gown,And his sone anothir, to walk in the town;And so did all the remnaunt that were of that aray,That had their chaungis with them, they made them fresh and gay. "

• "Episcopus autem videns ipsum intrantem, cujus

notitiam satis habuerat, et socios suos cum signaculisB. Thomæ a collo suspensis," &c.- Girald. Camb. Derebus a se gestis, ap. Angl. Sacr. vol. ii . p. 481 .† Nowin the possession of Mr. T. Welton, of UpperClapton, Middlesex.In the collection of Mr. Rolfe.22 THE ARCHEOLOGICAL ALBUM.The knight took his son to examine the fortifications:-" The knyght with his meyné went to se the walleAnd the wardes of the town, as to a knyght befalle;Devising ententiflich the strengthis al about,And apointid to his sone the perell and the doutFor shot of arblast and of bowe, and eke for shot of gonne,Unto the wardis ofthe town, and how it might be wonne;And al defence ther-ageyn, aftir his intentHe declarid compendiously, and al that evir he ment. "The monk, with the parson and a friar, went to pay a visit to a friend, and carousedtogether over his good wines. The ladies remained at home, and visited the garden oftheir hostess of the " Cheker":-" The wyfe of Bath was so wery she had no wyl to walk,She toke the priores by the honde, Madame, wol ye stalkPryvely into the garden to se the herbis growe,And aftir with our hostis wife in hir parlour rowe?I wol gyve yewe the wyne, and ye shul me also ,For tyl we go to soper we have naught ellis to do.'The priores, as woman taught of gentil blood and hend,Assentid to hir counsel, and forth gon they wend,Passyng forth sofftly into the herbery.For many a herb grewe for sewe and surgery,And all the aleys feir and parid , and raylid, and y-makid,The savige and the isope y-frethid and y- stakid,And othir beddis by and by fresh y-dight,For comers to the hooste righte a sportful sight. "The other pilgrims amused themselves in different ways, according to their tastes andinclinations. The supper ended in mirth and jollity, which lasted " tyl the tyme thatit was well within eve. " The more sober of the party went to their beds betimes; butothers continued to drink and " jangle, " until those who were in their beds were angryat the disturbance, and urged them to go to rest: -" But yet they preyd them curteysly to rest for to wend;And so they did all the rout, they dronk, and made an end,And eche man droughe to cusky [his couch? ] to slepe and take his rest,Save the pardoner, that drew apart, and weytid by a cheste,For to hide hymself tyl the candill wer out. "As soon as the rest of the pilgrims were gone to bed, and the " candill " out, thepardoner stole out of the room, to pursue a low amour. It is quite evident that thewhole party slept in one room.The inn now offers externally few features which would be recognised by Chaucer'spilgrims. The most remarkable part is the row of stone arches on the ground floor, whichnow form the windows and door of the corner shop, and which appear to have been aMEETING AT CANTERBURY. 23kind of open portico, serving as the grand entrance to the inn. Gostling tells us, thatin his time people remembered more of these arches running along the street, whichhad been demolished to make newfronts to the houses. This probably is the oldest part of thebuilding. Beneath it is a cellar,with a very flat-arched stone roof,represented in the cut in the margin. Proceeding through an archedpassage from High Street, we seefrom the yard many interestingremnants of the woodwork of theold building. In Gostling's time,a staircase led to a wooden gallery, which ran round the building to the right in theview in our engraving (which looks from the yard towards the street), and oldmen still remember its existence. The large room at the top, which occupied thewhole upper part of the building, until cut up into small rooms and lofts, is supposedto have been the one which the poet had in his mind as that occupied by his pilgrims,and it is still called the hall ofthe hundred beds. We might cite many passages fromold writers, shewing the general prevalence of the custom of lodging a number ofguests indiscriminately in one room filled with beds. One end of the great room ofthe Chequer, of which the exterior is seen in our view from the yard, and an interiorview is given below in the same plate, still retains its original appearance, and isoccupied as a cabinet- maker's workshop, but many of its features are concealed by thetools and lumber of the workmen.The description of a visit to Canterbury given in the poem quoted above, contrastssingularly with the modern meeting. There is something grotesque in the idea of thesavants of the nineteenth century carrying back to exhibit there as curiosities theidentical signs which the pilgrims of other days had brought away from this very spotwith such widely different feelings. Our modern pilgrims also separated each day intoparties to view the objects in the town. Some followed the steps of the knight, andlamented over the small remnants now visible of the walls and wards of which he hadadmired the strength and fairness . Some may, like the monk and his companions,have gone forth to seek old acquaintances, and perhaps quaff the cup of remembrance.The well- stored garden of the Chequer was no longer there to invite the attention ofthe ladies, although, instead of it, the superb nursery- ground of Alderman Masters wasopened to the visitors. But many wandered through the church, and " peered" about21 THE ARCHEOLOGICAL ALBUM.as curiously and irreverently as the miller and the pardoner. On the day after hislecture, Professor Willis continued his remarks to a few who relinquished Richboroughand Dover to accompany him over the cathedral. It would take a volume to describeall the objects there presented to the view. The scene of Becket's death, the tomb ofthe victor of Crecy and Poitiers, and a host of other spots, interesting by some historicalassociation, or by their beauty of ornament, attracted successively the attention of thevisitors . Even the fine extensive crypts were on this occasion thrown open to themembers of the Archæological Association.One of the most interesting objects in the crypt, or under-croft, is a little paintedsemicircular chapel, supposed by Dart to have been dedicated to St. John the1000Baptist. It is situated under St.Anselm's tower,and was an objectof considerableattraction to themembers of theArchæological Association. It appears to have beenwalled up at rather an early period, to make astronger supportforthe superstructure, and can nowbe entered onlythrough a smallsquare hole, represented on theleft-hand side ofthe accompanyingview of the interior of this chapel.To this circ*mstance we owe the preservation of the curious paintings which cover the interior surfaceof the walls. The painting in the best state of preservation, of which we have given an

REPLEBITVR SCO SPV ETDÑO CORAM MAGNVS PVER ISTEJOH VOOBIER SEDEJUS NOMEN ET JOHSનવરાS.A F.,Furholt FW1 JOHN ST BAPTIST THE Cathedral Canterbury Crypt ofChapel the inPainting aFrom 1845 Jan ,Strand 186 Hail &Chapman byPublished London .Queen theoLath Haghe &DayMEETING AT CANTERBURY. 25exact copy in our plate, is on the north side, and represents the nativity of St. John theBaptist, as related in the first chapter of the Gospel according to St. Luke. Elizabethappears in bed, with the child in her arms, and her answer to the words on the smalllabel in the man's hand (now defaced) , but which were probably, Nomen ejus Zacharias,"His name is Zacharias," is inscribed on the longer label -Nequaquam, sed vocabiturJohannes, " Not so, but he shall be called John. " On the right we see Zacharias,seated, with the mitre of the priesthood on his head, writing the words, Johannes estnomen ejus, " His name is John." Above is the inscription, -66 ISTE PUER MAGNUS CORAM DOMINO, ET SPIRITU SANCTO REPLEBITUR."Above this picture there is a second compartment, with another painting, much injured; and beneath them the inscription, legible in Dart's time, Hoc altare dedicatumest in honorem sancti Gabrielis archangeli, which intimates that an altar dedicatedto the archangel Gabriel formerly stood there. There was also an altar on the otherside, but the words Hoc altare were all that remained of the corresponding inscriptionwhen Dart wrote. A compartment in the centre of the roof contains a figure ofthe Creator, seated in an aureole, with a bookin one hand, on which are still legible thewords Ego sum qui sum. The aureole is supported by four angels, who occupy the cornersof the vaulting. On the soffit of the arch tothe left of our cut, are paintings of cherubimswith eyes in their wings and bodies, whichDart mistook for figures of St. Catherine. Thearch on the opposite side is painted in compartments, the lowest representing St. Johnthe Evangelist writing the Apocalypse, and theothers containing the seven angels, seven candlesticks, and seven churches. At the head ofthe arch are painted seven stars in a circle.Our cut represents the compartment containingSt. John, and one of those of the angels, candlesticks, and churches.The style of these paintings is that of thefirst . half of the twelfth century. They soclosely resemble, in design and in colouring,the illuminations in a manuscript in the BritishSJobs APOCALIPSISE26 THE ARCHEOLOGICAL ALBUM.Museum (MS. Cotton . Nero C. IV. ) , of which a specimen is given in Mr. Shaw'sbeautiful work on the " Dresses and Decorations of the Middle Ages," that we mightbe led to look upon them as a work of the same artist. Dart supposes this chapel tooccupy the place of a much earlier chapel dedicated to St. John the Baptist, in whichwere interred the bodies of Cuthbert, Bregwin, and others of the Saxon archbishops.During the last century the vaulted room through which we pass to this painted chapelwas allotted as a place of meeting to a congregation of French Protestant refugees.At present it is kept locked up, and does not appear to be used for any especial purpose.It is much to be desired that care should be taken to ensure the preservation of soprecious a monument of early art.After the cathedral, the most interesting ecclesiastical building in Canterbury isthe little church of St. Martin, picturesquely situated on a hill among the fields,without the walls on the east side of the city. Its site was once occupied by aRoman building, which was given by Ethelbert, king of Kent, to his Christian queen,Bertha, as a place of devotion for herself and her Frankish bishop, Luidhard, and wasafterwards given to St. Augustine. The notion that the Roman building had been achurch, is probably incorrect. The present church is comparatively modern, andperhaps there are no remains of the original walls, but the materials of which they arebuilt (stone and Roman bricks) have evidently been taken from some Roman building.A curious Norman font, preserved in the church, has been at times described veryabsurdly as the one in which king Ethelbert was baptised.No visitor can tread, without feelings of emotion, a spot hallowed by such recollections as crowd about the green hill occupied by this little church; and we arecarried involuntarily back to the scene so beautifully described by the historian Bede,when the first missionary and his companions came to this spot from the isle of Thanet."In this island," says Bede, " landed the servant of our Lord, Augustine, and hiscompanions, being, as is reported, nearly forty men. They had, by order of the blessedpope Gregory, taken interpreters of the nation of the Franks, and sending to Ethelbert,signified that they were come from Rome, and had brought a joyful message, whichmost undoubtedly assured to all that took advantage of it, everlasting joys in heaven,and a kingdom that would never end, with the living and true God. The king, havingheard this, ordered them to stay in that island where they had landed, and that theyshould be furnished with all necessaries, till he should consider what to do with them.For he had before heard of the Christian religion, having a Christian wife of the royalfamily of the Franks, called Bertha; whom he had received from her parents, uponcondition that she should be permitted to practise her religion with the bishopLuidhard, who was sent with her to preserve her faith . Some days after, the kingMEETING AT CANTERBURY. 27came into the island, and sitting in the open air, ordered Augustine and his companionsto be brought into his presence. For he had taken precaution that they should notcome to him in any house, lest, according to an ancient superstition , if they practisedany magical arts, they might impose upon him, and so get the better of him. Butthey came furnished with divine, not with magic virtue, bearing a silver cross for theirbanner, and the image of our Lord and Saviour painted on a board; and singing thelitany, they offered up their prayers to the Lord for the eternal salvation both of themselves and of those to whom they were come. When he had sat down, pursuant to theking's commands, and preached to him and his attendants there present the word oflife, the king answered thus: -' Your words and promises are very fair, but as they arenew to us, and of uncertain import, I cannot approve of them so far as to forsake thatwhich I have so long followed with the whole English nation . But because you arecome from far into my kingdom, and, as I conceive, you are desirous to impart to usthose things which you believe to be true, and most beneficial, we will not molest you,but give you favourable entertainment, and take care to supply you with your necessarysustenance; nor do we forbid you to preach and gain as many as you can to yourreligion.' Accordingly he permitted them to reside in the city of Canterbury, whichwas the metropolis of all his dominions, and pursuant to his promise, besides allowingthem sustenance, did not refuse them liberty to preach. It is reported that, as theydrew near to the city, after their manner, with the holy cross and the image of oursovereign Lord and King, Jesus Christ, they in concert sung this litany: —-'Webeseech thee, O Lord, in all thy mercy, that thine anger and wrath be turned awayfrom this city, and from thy holy house, because we have sinned. Hallelujah.'"As soon as they entered the dwelling- place assigned them, they began to imitatethe course of life practised in the primitive church; applying themselves to frequentprayer, watching, and fasting; preaching the word of life to as many as they could;despising all worldly things, as not belonging to them; receiving only their necessaryfood from those they taught; living themselves in all respects conformably to whatthey prescribed to others, and being always disposed to suffer any adversity, and evento die for that truth which they preached. In short, several believed and were baptised,admiring the simplicity of their innocent life, and the sweetness of their heavenlydoctrine . There was on the east side of the city a church dedicated to the honour ofSt. Martin, built whilst the Romans were still in the island, wherein the queen, who,as has been said before, was a Christian, used to pray. In this they first began tomeet, to sing, to pray, to say mass, to preach, and to baptise, till the king, beingconverted to the faith, allowed them to preach openly, and build or repair churches inall places."28 THE ARCHEOLOGICAL ALBUM.A recent discovery in the churchyard of St. Martin's adds to the interest of theforegoing narrative. Some workmen, digging near the church, found a number of goldornaments, formed of coins of the fifth and six centuries, by the simple addition of aloop to each, and, in one instance, of a rim. A gold circular ornament, set with piecesof stone or glass, was also found with them. It appears most probable that these coinswere arranged as a necklace for some lady of distinction, who was interred at this spoton account of the supposed sanctity of the locality; and the dates will fairly allow usto suppose that she may have been one of the attendants on the Frankish queen ofEthelbert. It was the custom of the Romans to mount their gold coins in frames ofelegant filigree work, to be worn as pendent ornaments. Battely has engraved in hisAntiquitates Rutupinæ a gold coin of the emperor Magnentius, with a simple loopattached, as in these found in the precincts of St. Martin's. Three Frankish goldcoins, with similar loops, found in Kent, have been more recently engraved inMr. Roach Smith's Collectanea Antiqua. In the earlier Saxon times, only the Roman,Byzantine, and Merovingian gold coins were used in England, the money struckby the Saxons being only of silver. The coins found at St. Martin's are extremelycurious, apart from their local interest . One is of Justin; another is a rudeimitation of the very common small brass coins of the younger Constantius; but themost remarkable among them all is that of Eupardus, a bishop of Autun, who livedabout the middle of the sixth century, concerning whom history is almost silent.He wears upon the coin the imperial diadem of the lower empire, the costume of thebust being also copied from the Roman model. The coins of the age which followedthe overthrow of the empire were generally copied from Roman types, the devices onthe originals being frequently so rudely imitated that it is almost impossible to guesswhat the figures are intended to represent. The ornaments we have just deseribed arenow in the possession of Mr. Rolfe, who exhibited them at the meeting of the primevalsection on Friday, September 13, when they drew forth some interesting remarks byMr. Roach Smith.The other churches of Canterbury have few attractions for a visitor, being, ingeneral, devoid of architectural beauty or of historical interest . One of the best, thatof St. Dunstan in the western suburb, is remarkable as containing the family vault ofthe Ropers, in which is still preserved the skull of Sir Thomas More, his head havingbeen brought from London Bridge, and deposited there secretly by his daughter,Margaret Roper. It is contained in a leaden box, placed in a niche in the wall of thevault. The site of this church appears to have been one of the burial- places of theRoman inhabitants of Canterbury. Roman glass vessels and urns were discovered afewyears since in the vicinity, and are now in the possession of Mr. Ralph Royle, whoMEETING AT CANTERBURY . 29exhibited them at the meeting of the primeval section on Friday, September 13. Oneof the earthen vessels found here, presented the unusual form of a hooped barrel .Remains of the various religious houses for which Canterbury was once remarkable,are scattered over the different parts of the town. The ruins of the great abbey ofSt. Augustine, consisting chiefly of two gateways, were an object of attention to thearchæologists. These ruins had recently been purchased by A. J. Beresford Hope,Esq., member of parliament for Maidstone, and, at the time of the ArchæologicalMeeting, the workmen were occupied in clearing the finest gateway tower from thebarbarous adjuncts which had turned it and the buildings adjoining into a brewery andalehouse. The thanks of the archæological visitors were voted to Mr. Hope for his zealin purchasing this ruin, as it is understood, with the sole object of preserving it fromfurther dilapidation and desecration. There are now little or no remains of the nunneryof St. Sepulchre, famous at the time of the Reformation as the sisterhood to whichbelonged Elizabeth Barton, the " maid of Kent," a weak tool in the hands of a politicalparty, for which she was sacrificed to the resentment of the remorseless monarch,Henry VIII. The inventory of the " stuff" or personal effects of this miserablewoman, seized on her attainder and execution, gives us a curious idea of the mode inwhich a nun's cell was furnished at this period: it is preserved in the British Museum,and runs as follows:"Stoffe receyvyd the xvj . day of Februare, of dame Elysabeth Barton, by the handesof the priores of Sayent Sepulcres withowt Canterbury, into the handes of John Antonyof Canterbury, as herafter foloeth."ffyrst, a coschyn blade, and one old coschyn."ij. carpettes, whereof one ys cut into pecys."A old matteres, vij . corsse schettes, a kyverlet and a peyer of blanckettes, withij . pyllos, and a bolster.❝ij . platers, iiij . dysches, ij . sausers, and a lyttell basen, wayyng xij . at iiijda lb., wych my laydy priores hath, and payed iiijs ."A whyet corter, wych my lady priores hath, and payed xijd."A lyttell old dyaper towell." iij pylloberes."ij . canstyckes."A coet, wyche dame Kateren Wyttsam hath, payed v' ."A pece of a plancke for a tabyll."A lyttell chyst."Stoffe wyche remayneth in the nonnere pertaynyng unto dame Elysabeth Berton,at the request of my lady priores.30 THE ARCHEOLOGICAL ALBUM.' ffyrst, ij . nyew coschyns, gyven unto the churche."A old mantell, and a kyrtell, unto the yongest nonne."A Yrysche mantell, a colere, with ij . grett chystes, and ij . stolys, and a canstycke, to my lady priores ."A kyverlet, and a old kyrtell, to dame Alys Colman, at the request of my ladypriores. "There are still some remains of the houses ofthe three orders of friars, who all establishedthemselves in Canterbury during the thirteenthcentury. The GREY FRIARS, or begging friars, who settled here in 1273, hadtheir conventual buildings in the west part of the town, on the branch of the riverStour which runs under East Bridge. The remains of these buildings consist ofa house, under which the river runs, as represented in the cut, with the ruined wallssurrounding a court or yard behind the railings here seen on the left-hand side . Withthe confused assemblage of buildings of later date, these ruins form a picturesquegroup. But, alas! the instability of human affairs! The house of the beggingfriars is turned into a workhouse for paupers; and the court-yard in which thefriars were wont to disport themselves, is now used for the fattening of pigs for thepurpose of making brawn, an article for which Canterbury is celebrated. The fairdame of the latter establishment, in perfect innocence as to the attractions which oldwalls might have in the eyes of an archæologist, supposed that our visit had referenceto the mysteries of her vocation, and very obligingly shewed us into the court in whichthe poor quadrupeds were confined singly in small frames, to hinder them from turninground, lest even that little share of exercise might have the effect of diminishing theirobesity.

Ian & Engraved t.ST JOHNS HOSPITAL , CANTERBURY.CHURCH OF ST NICHOLAS HOSPITAL, HARBLELOWN .Iblished by h Hall 86 Strand March 194FWFar ESAMEETING AT CANTERBURY. 31THE THREE ARCHIEPISCOPAL HOSPITALS.The last objects of antiquarian interest in Canterbury which we have to mention, arethree early charitable foundations. * About the year 1084, Archbishop Lanfranc built twohospitals, one within the town at North Gate, dedicated to St. John; the other, about amile from the town, on the hill of Herebaldown (i.e. Herebald's hill), now called Harbledown, in the ancient forest of Blean, dedicated to St. Nicholas . The first of these wasdesigned for the support of maimed, weak, and sick persons of both sexes; the foundationat Harbledown was a lazar-house for lepers, and was for that reason placed, like all similarinstitutions in the middle ages, by the side of the highway at a little distance outside thetown. The origin of the third of the hospitals to which we allude, which was designedto receive poor pilgrims, is very doubtful; but it appears most probable that it wasfounded by Thomas Becket, for it certainly bore the name of St. Thomas's Hospital atthe East Bridge as early as the beginning of the thirteenth century. All these foundations were in course of time enriched by numerous donations of lands and rents. Thatof Harbledown stood at the side of the "pilgrims' road" from London. Guernes duPont de St. Maxence, an Anglo- Norman poet who wrote a metrical life of Becketimmediately after the primate's death, has preserved an interesting anecdote connectedwith this place. When, in 1174, king Henry II . went in pilgrimage to Canterbury todo penance at Becket's shrine, he stopped at Harbledown, entered the same littlechurch which is now standing to confess and be absolved, and " for the love ofSt. Thomas he gave in grant twenty marks of rent to the poor house. " He walkedfrom hence barefoot to the cathedral. The original deserves to be cited, from thenearly contemporary manuscript in the British Museum, as a pure specimen of thelanguage spoken by the educated classes in England in the days of Thomas Becket: -" Juste Cantorbire unt lepros un hospital,U mult ad malades de gent plein de mal;Près une liwe i ad del mustier principal,Là ù li cors saint gist del mire espiritalKi maint dolent ad mis en joie e en estal." Dunc descendi iluec li reis à Herebaldun,E entra el mustier, e a fet sa oreison,De trestuz ses mesfez ad requis Deu pardun;Pur amur saint Thomas a otrie en dunVint marchies de rentes à la povre maison. "The hamlet of Harbledown is situated at the summit of a steep hill, and answers

• A long history of these foundations, with very and N. Battely, was printed in the Bibliotheca Topocopious extracts from charters, compiled byJ. Duncombe graphica Britannica.

32 THE ARCHEOLOGICAL ALBUM.remarkably well to the name given by Chaucer to the "litel toun " to which hispilgrims came, " under the Blee," or Blean forest: -"Wete ye not wher stondeth a litel toun,Which that y-cleped is Bob-up- and-doun,Under the Blee, in Canterbury way?"Cant. T. 1. 16,950 .It derives some additional interest from the circ*mstance that the celebrated Erasmushas left us an account of his passage by it on his way from Canterbury to London,with Dean Colet (here named Gratian) and others, on the eve of the Reformation. Apart of the dialogue in one of his Colloquies (the Peregrinatio religionis ergo) is as follows:-" Og. —In the road to London, not far from Canterbury, is a way extremely hollow,as well as narrow, and also steep, the bank being on each side so craggy that there isno escaping; nor can it by any means be avoided. On the left-hand side of the roadis an almshouse of some old men, one of whom runs out as soon as they perceive ahorseman approaching, and after sprinkling him with holy water, offers him the upperleather of a shoe bound with brass, in which a piece of glass is set like a gem. This iskissed, and money given him."Me. —I had rather have an almshouse of old men on such a road than a troop ofsturdy robbers."Og. —As Gratian rode on my left hand, nearer to the almshouse, he was sprinkledwith water, to which he submitted, but when the shoe was held out, he asked what itmeant. And being told it was the shoe of St. Thomas, he was so provoked that,turning to me, he said, ' What! would this clown have us kiss the shoes of all goodmen? They may just as well offer their spittle to be kissed, and other disgustingthings.' I took compassion on the old man, and gave him some money by way ofconsolation."We believe that the shoe is still preserved.St. Thomas's Hospital also stands in the street by which the pilgrims entered thetown, and was intended to harbour such of them as were not sufficiently rich to take uptheir lodgings at the Chequer. It had the right of burial for those who died there inthe place in the cathedral churchyard set apart for the interment of pilgrims. It isprovided by the statutes given to this hospital by Archbishop Stratford in 1342, “ Thatpoor pilgrims in good health shall be entertained only for one night; and poor, sick,and well pilgrims shall have daily fourpence expended for their sustenance, out of therevenues and profits of the hospital; greater regard to be had to sick than to wellpilgrims. That if there should be not a sufficient resort of pilgrims in any one day toMEETING AT CANTERBURY. 33require the whole fourpence for their sustenance, what is so spared in one day shall belaid out freely in another day when the number of pilgrims shall be larger; so that forevery day of the whole year the entire sum of fourpence be carefully and faithfullyexpended. That there shall be twelve beds convenient to lodge the pilgrims in thesaid hospital; and a woman, of honest report, aged above forty years, who shall takecare of the beds, and provide necessaries for the poor pilgrims, and who shall bemaintained out of the revenues of the hospital. " From the entries in some of theearlier registers (of the beginning of the sixteenth century) we find that there was thenexpended sixpence a-week for beer bought and given to the poor guests; twenty shillings a-year to the woman attending upon them; 107. 6s . 8d. for a chantry priest atthe hospital; and five pounds to a chantry priest at Harbledown; so that the greaterportion of the income was spent in prayers for the poor. At a later period, we findthe payments to the two priests unchanged, while the other payments are somewhatincreased: -" Item, for wood, ale, and other necessaries for the relief of poor men in arms(? alms) , vjli j³ iiijd ." Item, to the keeper and his wife to attend about the poor men, besides his' sallery,' ijli vj ' viijd."The rents arising from lands in the forest of Blean was chiefly paid in " co*cks andhens;" and the sum total amounted to a very inconvenient quantity-" Sum total ofthe co*cks and hens, a hundred and nineteen, and a third part of a hen, and a half ofahen." Soon after the beginning of the sixteenth century, we find these co*cks and henscompounded for in money, the co*ck being estimated at twopence halfpenny, and thehen at threepence.The old registers and other records of the institutions of the middle ages are interesting for the light they throw on a state of society which has long passed away, and itis much to be lamented that so few of them have been preserved. The chests of thethree hospitals of which we are speaking are still well stored with ancient charters;but most of their books, and even some which were extant in the last century, haveperished. A few extracts from these documents are given in the work cited in a noteon a preceding page. The hospital of St. John and that at Harbledown were designedto receive persons of both sexes, but from the original foundation it was especiallyordered that the parts of the building occupied by each sex should be so separated fromthe other that they could have no intercommunication . The statutes provided verysevere punishments for the different offences which were likely to occur in suchinstitutions, some of which would have belonged more properly to the courts of publicF34 THE ARCHEOLOGICAL ALBUM.justice, had not the ecclesiastical body claimed exemption from the civil power. Evenas late as the reign of Elizabeth, the statutes given to the hospital of Harbledown byArchbishop Parker, inflict punishments which would not now be legal. The eleventh ofthese statutes is as follows:-" Also we will and ordain, That if any brother shall, by thetestimony of six of the brethren, or any sister, by the testimony of six of the sisters , beconvict before the prior to be a common drunkard, a quarreller, a brawler, a scold, or ablasphemous swearer; every such offender, so convict, shall for the first time sit in thestocks one day and a night with bread and water; and offending in that fault again,shall the second time be punished in the stocks two days and two nights; and for thethird offence in the same crime, three days and three nights with bread and wateronly; but if, after the third punishment, he or she do eftsoones offend in the likeoffence, then to be expulsed and driven out of the house for ever. "The inmates of St. John's Hospital had a great feast every year at Midsummer, andanother at Christmas. The register for the year 1638 gives the following bill ofexpenses for the Midsummer feast of that year:-6666

-

' Payd to the woman that helped in the kitchen, vjd.' Payd to the two turnspets, viijd ." Payd for beere at diner, iiijd ." Payd for beere to make the serveing men drinke that brought meat to our(6feast, ijd.Payd for lxxx. pound of beefe at v³ the score, j ' ." Payd for a calfe, xviij³ .Payd for two lambs, xviij ." Payd to the cooke for drissing of diner, iiijs .66 Payd for beere for the kitchen, iiijd .Payd for putter wee borrowed, vjª."Payd for a gallon of sacke, iiijs iiijd .66 Payd for a pottle of claritt and a pottle of white wine, ijs viijd ."Payd for a bushell and a pecke of meale, v' .66 Payd for halfe a barrel of beere, iiijs ijd ."Payd for three coople of chicken, ij³ vjª." Summa, iiji vj³ xd."In the register of the same house for the year 1615 we have the following items forpainting coats of arms, which are curious as relating perhaps to some of those whichare still seen in the hall:-" Payd unto the payntors for Lanfranckes armes, iij³ iiij “ .MEETING AT CANTERBURY . 35" Item, payd unto Wickel for the dennes armes, planing of the bourd, and makingthe verse, viijd.“ Item, payd unto master Drury for his paines in helping us to Lanfranckesarmes, xijd.At the period of the dissolution of monasteries, the charitable objects of gilds andhospitals were so mixed up with what were defined by the law as " superstitious uses,"that their existence became exceedingly precarious. The brethren and sisters ofLanfranc's hospitals are, even at the present day, ruled by priors and prioresses. Wehave seen how much of the revenues of St. Thomas's Hospital went to the performanceof Romish ceremonies, and even its charity was appropriated to pilgrims who now nolonger visited the holy shrine. It is not therefore to be wondered at, if they were soondrawn from their original purposes. From a visitation of St. Thomas's Hospital madeby directions from Cardinal Pole in 1557, it appears that the funds of that institutionwere then expended on " travellers in general:"-"They are bound to receive wayfaringand hurt men, and to have eight beds for men, and four for women, to remain for a nightor more, if they be not able to depart; and the master of the hospital is charged withthe burial, and they hade twenty loads of wood yearly allowed, xxvj for drink." Inthe beginning of Elizabeth's reign, the estates of the hospital were seized, and hadpassed into private hands, but they were recovered by Archbishop Parker, whor*founded the hospital for the reception of " poor and maimed soldiers that shouldpass forward and backward through Canterbury," in the same manner as the pilgrimshad been formerly received, and for the support of a school. In the seventeenth yearof Elizabeth's reign, the hospital was stated to be in great decay, and, as having ceasedto serve for any useful purposes, the lands were again seized and suffered to pass intothe hands of private individuals; but, after an obstinate lawsuit, they were restored totheir charitable purposes by Archbishop Whitgift, and they have since continued to beadministered according to the design of Archbishop Parker. Lanfranc's hospitals havepassed through similar vicissitudes .The hospital of St. Thomas stands in the High Street, near East or King's Bridge,which it was obliged to keep in repair. A stone arched doorway, generally open,leads into a vaulted apartment, from the far corner of which a flight of stone stepstakes us to the upper floor. This passage has the appearance of having been brokenthrough the masonry of the original building. The apartment to which this staircaseconducts us, appears to have been the ancient hall or refectory. The old fireplace hasbeen turned into a cupboard, and the adjoining chamber has undergone still greaterchanges, to convert it into a school- room . A row of columns and arches remain in36 THE ARCHEOLOGICAL ALBUM.the partition-wall between the refectory and the head of the staircase, which appear tohave been originally an open arcade. This and the vaulted room below appear to beearly specimens of the style of architecture generally denominated Early English, andmay be part of an original structure of the end of the twelfth or the beginning of thethirteenth century. The buildings of the hospital run over the river on one side of thebridge.The hospital of St. John is situated on the west side of Northgate Street, and isentered by a fine wooden arch, under an interesting house. Eadmer, the disciple ofLanfranc and the writer of his life, dignifies the original building of this house with thename of a palace (palatium), and the ancient walls still remaining inclose a considerablearea of ground to the north-west of the present chapel. They are very massive, ofrude early Norman masonry, with round-headed doorsand windows, only slightly ornamented with the commonchevron moulding, coarsely cut. The entrance to thechapel is a doorway of the same style. This chapel,which is only a part of the original chapel, has beenmuch altered and modernised. The most remarkableobject in the interior is a singularly- shaped early font.In the last century the east window was filled with richpainted glass, representing figures of the twelve apostles,but this has entirely disappeared . The pulpit, and someother wood-work, are good examples of the ornamentalcarving of the Tudor age. Gostling, our venerable andsafe guide to the antiquities of Canterbury, complainsbitterly of the unnecessary demolition of the old buildingsof this establishment perpetrated about the middle of the last century: -"the bellshaving been sold, the steeple and north isle taken down, as were many of the oldhouses, and smaller and less convenient ones erected in their room; a stone wall wasalso taken away, which sheltered the whole from the cold north-west wind blowing overthe river and the meadow-land, and being pentised over-head, was called by the poorpeople their cloisters, under which they used to walk, or sit and converse with eachother on the benches . All this was done by way of improvement, about thirty yearsago. " There are still some good specimens of old domestic architecture in the yard,particularly the picturesque group towards the entrance gateway, represented in ourengraving. The kitchen and hall are situated in a building at the south-west corner ofthe yard or court just mentioned, and appear to be of the end of the sixteenth century.In the kitchen, which is on the ground floor, they shew the ancient spits, from eight toMEETING AT CANTERBURY . 37ten feet long. The hall is up stairs, and contains some old furniture, among which themost remarkable is a carved chest and a large sword. A curious old embroideredcovering for the table is also shewn. The hall itself is ornamented with the armsof the founders.On the other side of Northgate Street, immediately opposite the entrance toSt. John's Hospital, is another old gateway, which leads to the ruins of the prioryof St. Gregory, also a foundation of Archbishop Lanfranc, intended for secular canons,whose duty it was to administer spiritual comfort to the poor of the hospital, and toofficiate at the burial of their dead. These ruins have been converted into privatehouses, which are occupied by labouring people.The road to Harbledown, as we have already observed, leads through the HighStreet, and quits the ancient city by Westgate, the only gate of Canterbury nowstanding, and one of the finest examples of an old town gateway in England. Allthe gates of Canterbury were in good preservation in the last century, but theyhave gradually fallen sacrifices to the wants or wishes of the citizens. Burgate,erected in 1475, remained until 1822. Another gate, that of St. George, formerlycalled Newingate (as being the most modern of them all) , which was a copy on asmaller scale of Westgate, was built in 1470, and was pulled down in 1801. Ithad been used first as a prison, next as a storehouse for the corporation, andfinally as a reservoir of water for the use of the city. When this gate was condemnedto destruction, a carefully executed model in wood was made, with the object of preserving some memorial of it; this is now in the possession of Charles Sandys, Esq. ofCanterbury, who has very kindly permitted us to make the sketch of it which we give atthe end of the present article. The chief reason of its demolition appears to have beenthe want of materials for the formation of a cattle-market. Westgate was the anciententrance to Canterbury from London . It was built in the reign of Richard II. , byArchbishop Sudbury, and has been used as a prison from time immemorial, which isprobably the chief cause of its preservation. Gostling, our guide " about the city ofCanterbury," tells us "this gate is now the city prison, both for debtors and criminals,with a large and high pitched room over the gateway, and others in the towers. Theway up to them is through a grated cage in the gate, level with the street, where theprisoners, who are not more closely confined, may discourse with passengers, receivetheir alms, and warn them (by their distress) to manage their liberty and property tothe best advantage, as well as to thank God for whatever share of those blessings hehas bestowed on them. " A note in the third edition of this book (the one we happenedto have in our hands) adds— “ This comfort (! ) the poor prisoners are now deprived of,the cage having been taken down in 1775." The accommodations for the prisoners38 THE ARCHEOLOGICAL ALBUM.have in later times been made more extensive by the erection of new buildings to thenorth of the gateway. One of Alderman Bunce's extracts from the municipal records(as we learn from another useful and amusing, and a more modern, guide-book, " FelixSummerley's Handbook for the City of Canterbury ") informs us, that in 1494 "acertain hermit, named Bluebeard, who headed an insurrection, was taken by the mayorand citizens of Canterbury, and sent to the king at Westminster, and there adjudged tobe hanged and decapitated, and that his head was placed over the Westgate of this city .”This gateway, with its two massive round towers, and its curtain machicolated above, isa fine and perfect specimen of medieval military architecture.The shortest road to Harbledown is by the foot- path, which turns to the left afterpassing the bridge beneath Westgate, and leads over the fields. The site of Harbledown appears also to have been one of the Roman burial- places of Durovernum, forfragments of urns and bones were picked out of the side of the bank (where cut throughby the road) by some of the archæological visitors . We have in fact traced theburial-places of the Roman inhabitants, without the gates, and along the sides of theprincipal roads, of the city, as they are still found in Italy, about Herculaneum andPompeii. We have the cemetery of St. Martin's, on the road to Rutupiæ ( Richborough);that at Bridge Hill, on the road to Dubris (Dover); and those at St. Dunstan's andHarbledown, on the line of road leading towards London. In all these places we findtraces also of Saxon interments, or else we find Christian churchyards. These repeatedinstances of the successive occupation of the burial- places around the ancient city byRomans, and Saxons, and by churches, seemed to shew that there had been a peacefulsuccession of inhabitants; that the Saxon settlers had mixed with the Romano- Britishpopulation, and had buried their dead in the same burial- places; and that, when converted to Christianity, they had formed religious establishments on the spots alreadyhallowed in their minds. Many other circ*mstances, noticed by the early historians,or surmised from the discoveries of modern days, combine in strengthening thisopinion.The church or chapel of St. Nicholas is a small and plain Norman building, andis supposed to be the one erected by Lanfranc. Within is a Norman font. Thischurch stands at the top of the hill, on the south side of the road. The gardens andhouses allotted to the poor people are below. The entrance to the latter is by avery picturesque old gateway, approached from the road by a flight of steps. Thehouses are modern, and offer no feature of interest. The hall is a building of theseventeenth century, and its most remarkable features are an old chest, containing thedeeds of the hospitals, and one or two antiquated articles of furniture and kitchenutensils . They also shew to visitors a few relics of much greater antiquity, presentedMEETING AT CANTERBURY. 39in former days by devout pilgrims who have stopped here on their way to the shrineof St. Thomas. Among these is the curiously ornamented case in cuir-bouilli, represented in our cut. The substance formerly knownby this name was a preparation of leather, softenedby boiling or heat so as to receive forms and impressions, and then hardened till it took almost the consistency of iron. It was brought to great perfectionin the middle ages, and was used for a variety ofpurposes. Chaucer, describing the armour of " SireThopas," tells us his jambeux, or leg-pieces, were ofthis material:-" His jambeux were of cuirbouly,His swerdes sheth of ivory,His helme of latoun bright,His sadel was of rewel bone,His bridel as the sonne shone,Or as the monelight."Perhaps the invention was brought from the East, for Froissart, who makes frequentmention of articles made of cuir-bouilli, describes the Saracens as covering their shieldswith cuir-bouilli of Cappadocia, which, " if the leather were not too much heated, wasproof against iron" (où nul fer ne peut prendre n'attacher si le cuir n'est trop échaufé.-Frois. iv. 19. ) It was frequently used for defensive armour in all parts of Europe.In Walter Mapes's romance of Lancelot, written in the latter half of the twelfth century, a party of robbers are described as being " armed like clowns, with leather jacketsand with caps of cuir-bouilli (et il estoient armé comme vilain de quiries et de capiaus dequir-bouli.-MS. Addit . No. 10,293, fol . 160.) An illumination in the MS. gives usa representation of these caps, which appear to have been in common use among thelower classes of soldiers, to occupy the place of helmets. Mr. Shaw has engraved, inhis Dresses and Decorations of the Middle Ages, a pen-case of this material, formerlybelonging to King Henry VI. This is also printed in the third number of theArchæological Journal of the British Archæological Association, which we hope is inthe hands of all our readers, and therefore we will do no more than refer to Mr. Way'sremarks on the subject in his review of Mr. Shaw's publication. The case at Harbledown, the lid of which is attached in exactly the same manner as that of King Henry'spen-case, is in form a very much flattened sphere, the lid having an opening down oneedge; but it is difficult to imagine what article it was intended to contain . It isprobably as old as the fourteenth century.The most remarkable, among the other antiquities shewn here, is a bowl of maple,40 THE ARCHEOLOGICAL ALBUM.with a rim of silver gilt, which was, according to Duncombe, "used on their feastdays." At the bottom, in the inside, is inserted a medallion, with a figure of Guy ofWarwick on horseback, surrounded by trees, a dragon extended under his horse's feet,and a lion lying near. It is a curious illustration of one of the most popular romancesof the middle ages. Guy, on his return from Constantinople, is said to have entered aforest, where he found a dragon and a lion fighting; he stood aloof until he saw thelion vanquished, and then he attacked and slew the dragon. Around the medallion isan inscription, which, according to the fac- simile given by Duncombe, is as follows:GY DEWARWYC: ADANOVN . NCCIOCCIS: LEDRAGOVN.

-

This inscription has very much (and rather unnecessarily) puzzled every one who haswritten upon it. Some, from ignorance of the phraseology of the language in whichit is written, have read à Danoun, and have interpreted it variously at a place namedDanoun, or with his sword named Danoun, or on his horse named Danoun. The wordwhich follows this has given still more trouble, and in fact is not intelligible as itstands here. The first c is described as doubtful, and has no doubt been an E. Weomitted examining the original, but if Duncombe's fac- simile be correct, the N isprobably an error for v, made by the artist who engraved the medallion, and whomistook the u, in the copy given him to engrave from, for a n. The inscription wouldthen read, -Gy de Warwyc ad à noun;Veci occis le dragoun.which would be literally translated by, -Guy of Warwick is his name;See here the dragon slain.In the original, the middle mark of two dots shews the division of the rhyming couplet,and the others, according to a very common practice in old manuscripts, mark thecæsura in each line. Every person conversant with ancient manuscripts and inscriptions, is aware how the letters of words are all confused together, three or four wordsbeing often joined in one, while at other times one word is separated into several parts.This bowl is of considerable antiquity, and merits to be preserved carefully as a workof art.The buildings of the hospital stand on the slope of the hill, to the west ofthe church. The bank below them is full of springs, and is therefore very wet,and the grass and herbage particularly luxuriant. The water at one spot bubblesout in a well, which is slightly built in, and has received traditionally the name ofThe Black Prince's Well. From this place, we have a picturesque view of theMEETING AT CANTERBURY. 41buildings of the hospital, rising from a wreath of verdant foliage, with the tower of thechurch peering above them. A footpath leads into the highroad which passes throughthe hamlet to Canterbury. On our return over the hill of Harbledown, we seethe city lying below in a fine sweep before us, with the cathedral towering majestically over it. This is perhaps thebest general view of Canterbury; it isthe one which in former days first offereditself to the eyes of the pious pilgrim ashe approached, on his way from London,the object of his vows.The visit ofthe archæologists to Canterbury closed on Saturday with a generalmeeting in the Town-hall, in which votesof thanks were passed, and a number ofspeeches were made, all of them characterised by good sense and moderation.A general feeling of satisfaction prevailed among the persons who were present.The president had passed a week of exertions to insure the success of the meeting, -the local committee, consisting of the leading members of the corporation, had leftnothing undone to insure a good reception in the town, -the ecclesiastical authoritieshad come forward most zealously, in laying open the cathedral, and giving every facilityto those visiting it, -the writers of papers and possessors of antiquities had done everything in their power to furnish amusem*nt, -and the inhabitants of the town andneighbourhood had vied with each other in their friendly attentions to their visitors .In fact, every individual had contributed as far as he could to give pleasure to others,and there were none who felt otherwise than gratified at the result. Men of kindredfeelings and pursuits were now for the first time brought together, who had previouslybeen known to each other only by name, and friendships were formed which will longhence cause the Archæological Meeting at Canterbury to be remembered with pleasure.Such should ever be the spirit in which literature and science are cultivated.The statements made at the closing meeting in the Town-hall gave an encouragingview of the condition and prospects of the British Archæological Association, even atthis early period of its existence. It was found that it had stirred up an active spiritof inquiry throughout the kingdom. Much had already been done for the betterG42 THE ARCHEOLOGICAL ALBUM.conservation of existing monuments. Many important antiquarian discoveries havebeen lost to science during the progress of railways and other great public works;these, it is hoped, will be watched more attentively in future. Railroads are now onthe eve of being made through many of the districts of our island most interesting tothe historian and antiquary -such as Kent, Herefordshire, Suffolk, &c. —and therecan be little doubt that they will bring to light many curious remains, which willestablish historical facts, while they enrich our local museums. The necessity ofwatching the progress of these excavations cannot be too strongly impressed on theattention of the members of the Association. One of its most useful effects at presentis the bringing into friendly correspondence the local inquirers in distant parts of thecountry, the knowledge of whose discoveries has hitherto been too often circ*mscribedwithin narrow limits, which rendered them useless. Mutual communication is theonly way to make available individual exertion . It is impossible to calculate all thebenefits to which the exertions of the Archæological Association may eventually lead.It has been raised to the degree of power and usefulness which it has now attained bythe mutual good feeling and the undisturbed unanimity of purpose which has guidedthe counsels of the individuals who have founded and hitherto conducted it; and it ismost sincerely to be hoped that this unanimity may long continue, undisturbed by thejealousies and dissensions which have too often paralysed the efforts of similarinstitutions.Old St. George's Gate, Canterbury.See p. 37.GRAVELLANE1|ANCIENT TURTON LEDSTEAD , POWER LANCASHIRE ..43ANCIENT BEDSTEAD,IN TURTON TOWER, LANCASHIRE.MANY of our old manorial residences contain articles of ancient furniture, thathave remained as heir-looms in the family, or have been brought together by the tasteof more recent possessors, which merit to be better known, and we hope from time totime to be able to make our readers acquainted with some of the most beautifulspecimens. We devote a plate in the present instance to some remarkable articles ofthis kind in Lancashire.Turton Tower is situated about four miles from Bolton . "The tower," which isthe oldest part of the building, is square, of stone, and evidently constructed fordefence. It contains a hall, of small dimensions, but richly decorated with woodcarvings. A quaint staircase leads to the upper apartments, of which the largest is thedrawing-room, occupying the entire length and breadth of the building. This fineroom is panelled with oak, and the ceiling is enriched with pendants and otherornaments.In the reign of king John the township of Turton was held by Roger Fitz Robert(de Holland) . It subsequently became the property of Henry, "the good duke ofLancaster," from whom the manor passed into the knightly family of the Orrels; andfrom them it was purchased by Humphrey Chetham, Esq. a manufacturer of fustians,and founder of the celebrated college and library at Manchester. It continued in thefamily of the Chethams until it was conveyed by a coheiress to a gentleman of thename of Bland, whose sole heiress married Mordecai Green, Esq. in whose family theestate still remains. That portion of it which contains Turton Tower is in the occupation of James Kay, Esq. who has expended large sums in furnishing his interestingresidence in a style in accordance with its antique character. Some of these articles offurniture are represented in our plate, engraved from a sketch, for the communicationof which we are indebted to the kindness of S. C. Hall, Esq. F.S.A. who has recentlygiven an account of Turton Tower in his work on " The Baronial Halls, &c. ofEngland." The principal object in the picture, and the one which possesses mostinterest, is the beautifully carved bedstead, which, from the date upon the footboard,appears to have been made in the year 1593. On the cornice above appear the armsof the earls of Devon, to one of whom it is said to have been presented by a kingof France, so that it is probably of foreign manufacture. The cornice is enrichedwith elaborate flower and scroll - work, as well as with syrens, dragons, and fanciful44 THE ARCHEOLOGICAL ALBUM.monsters, whose extremities end in interlaced flower-work. The canopy or roof ofthe bed is carved in regular compartments, and adorned with pendants. The headof the bed presents a series of ornaments of a very varied character, in accordancewith the taste of the age, consisting of a complicated mass of pillars, panels, caryatides,flowers, birds, and geometrical figures, so completely thrown together for generaleffect, that no "rule of art " can be applied to them. The footboard is also filled withpanels, richly carved; and the posts are remarkable for more than the usual amountof elegance observed in state beds of this date. They rest on square bases, coveredwith carved scroll-work, and hollow within, having doors that open on each side.The chair near the bed, in our plate, is of the same age and style as the bedstead.The table, chair, and glass under the window, are probably not older than the reign ofWilliam III. or that of Queen Anne.The history of furniture is an interesting subject. In carrying our researches backa few centuries, we are surprised at the few articles which were considered necessary tofurnish the rooms of our forefathers, and those articles were often of the plainestdescription. The hall seems to have seldom contained more than a table and a bench,sometimes with a cupboard or buffet . The table itself appears in many instances to havebeen only a board placed on temporary supports. A bed (a mere couch) , with (notalways) a chair or seat of some kind, furnished the sleeping-chamber. Harrison, inthe description of England written in Essex during the reign of Elizabeth, and insertedin Holinshed's " Chronicles," informs us that " our fathers (yea, and we our selves also)have lien full oft upon straw pallets, on rough mats, covered onelie with a sheet, undercoverlets made of dagswain, * or hopharlots ( I use their owne termes) , and a goodround log under their heads insteed of a bolster. If it were so that our fathers, or thegood-man of the house, had, within seven yeares after his mariage, purchased amatteres, or flocke bed, and thereto a sacke of chaffe to rest his heade upon, hethought himselfe to be as well lodged as the lord of the towne, so well were theycontented. Pillowes, said they, were thought meete onelie for women in child-bed.As for servants, if they had anie sheet above them it was well, for seldome had theyanie under their bodies to keepe them from the pricking straws that ran oft throughthe canvas of the pallet, and rased their hardened hides. ”This description was of course intended to apply to the middle and lower classes ofsociety; but we know from various sources that, in the earlier part of the middleages, beds could scarcely be called objects of luxury, and that they were certainly notarticles of ornament. The Anglo- Saxon illuminated manuscripts represent persons of

• Daggesweyne was the old term for the material used for the coverlets of beds.

ANCIENT BEDSTEADS. 45the highest distinction sleeping on rude wooden couches, in a very uncomfortableposition. The Anglo- Normans appear to have been not much better furnished in thisrespect; for in illuminations of manuscripts they are exhibited sleeping on very lowwooden frames, with a mere board to support the pillow. Even kings and noblesare sometimes represented in beds of this description as late as the fifteenth century.The first ornament we find represented in the pictures in manuscripts is a canopy,adorned with richly embroidered drapery, attached to the wall; under this the head ofthe bed was placed. These canopiesare found in English manuscriptsearly in the fourteenth century.The cut annexed (taken from anillumination of the fifteenth century, in a manuscript of the romance of the Comte d'Artois, inthe collection of M. Barrois, ofParis), represents the bed of acountess, whose husband was lordover princely domains. Nothingcould be more simple than thebedstead in this picture. The canopy is evidently of rich materials, which we learn was the case, from the descriptionsin old writers; and the bed itself was sometimes of softer materials than the artistappears here to have intended to represent. Chaucer speaks of a very rich bed-" Ofdowne of pure dovis whiteI wol yeve him a fethir bed,Rayid with gold, and right wel cledIn fine blacke sattin d'outremere,And many a pilowe, and every bereOf clothe of Raines to slepe on softe;Him thare [need] not to turnin ofte. "CHAUCER'S Dreme, 1. 250.The last line would seem to intimate that an easy bed, on which the sleeper"need not turn oft," was no common thing in the days of Chaucer. In the metricalromance of " The Squier of Low Degree," which is probably of the fifteenth century,we have the following description of a very rich bed for a lady of high birth:-" Your blankettes shal be of fustyane;Your shetes shal be of cloths of Rayne;.Your head-shete shal be of pery pyght,With dyamondes set and rubys bryght.46 THE ARCHEOLOGICAL ALBUM.Whan you are layd in bed so softe,A cage of golde shal hange aloft,Wythe longe peper fayre burning,And cloves that be swete smellyng,Frankinsense and olibanum,That whan ye slepe the taste may come. "It would appear, from these extracts, that cloth of Raynes (made at Rennes inBrittany) was the ordinary material among the rich for sheets. The “ head- sheet,”which was pyght, or arrayed, with pearls, and set with diamonds and rubies, wasprobably to cover the pillow. The descriptions in the early romances are generallya little overcharged, and therefore we must take with some allowance the account ofthe materials in the following gorgeous description of a lady's bed, extracted from thecurious romance of " Sir Degrevant, " recently published by Mr. Halliwell: —" Hur bede was off aszure,With testur and celure,With a bryght bordureCompasyd ful clene;And all a storye, as hit was,Of Ydoyne and Amadas,Perreye in ylke a plas,And papageyes of grene.The scochenus of many knyghtOf gold and cyprus was i -dyght,Brode besauntus and bryght,And trewe-lovus bytwene.Ther was at hur testereThe kyngus owne banere.Was nevere bede richereOf empryce ne qwene!Fayre schetus of sylkChalk-whygth as the mylk;Quyltus poyned of that ylk,Touseled they ware.Coddys of sendall ,Knoppus of crystal,That was mad in WestfalWith women of lare.Hyt was a mervelous thingTo se the rydalus hyng,With mony a rede gold ryngThat hom up bare;The cordes that thei one ran,The duk Betyse hom wan,Mayd Medyore hom spanOf mere-maydenus hare. "This description applies to a bed like that in the wood- cut given above. Thetestur, or testere, appears to have been the name given to the canopy, its flat roof orANCIENT BEDSTEADS. 47ceiling being the celure; the border of the testere had pictures taken from the romanceof " Idoyne and Amadas," separated with pearls and figures of green parrots. On itwere also figured escutcheons, besaunts, and true- loves. The curtains hung upon goldrings, which " run on" cords " spun of the hair of mermaids. " Most of these termsoccur in a letter of the King of England, dated in 1388, relating to " a bed of goldcloth," and " a covering [the canopy] with an entire celure and a testere of the samesuit, and three curtains of red tartaine. "* It is somewhat more difficult to explain the"cods ” of sendal and knobs of crystal made in Westphalia " by well-taught women. ”Many illuminations exhibit the curtains, as here described, suspended by rings torods or cords attached generally to the roof of the apartment. In some instances thecouch, or low bed, is placed within a square compartment of the room, inclosed by suchcurtains. This seems to have been the first step towards the more modern squaretester-beds. In one of the plates of D'Agincourt's " Histoire de l'Art" (Peinture,pl . 109) , taken from a Greek fresco of the twelfth or thirteenth century in a churchat Florence, we have the curtains arranged thus in a square tent in the room, wherethe cords are not suspended from the roof, but supported by four corner posts. Thebed is placed within, totally detached from the surrounding posts and curtains. Inone of the later subjects given in the paper on illuminations in the present volume,taken from a manuscript of the fifteenth century, we have a high bed, with the testerextending over its whole extent, but still without posts.The large square post bedsteads, like that in Turton Tower, appear to have comeinto fashion in England late in the fifteenth century, and from that time to thebeginning of the seventeenth century they were amongst the most costly articles ofhousehold furniture . In an inventory of furniture belonging to King Henry VIII.printed in Strutt ( vol . iii . p. 68) , several beds are mentioned, one of which is describedas- "the posts and heade curiously wroughte, painted, and guilte, having as wellfoure bullyeons of timbre gilte, as foure vanes of yron painted. " They were oftenmade of very large dimensions. Hentzner, the German traveller, who visited Englandin the reign of Elizabeth, speaks of beds at Windsor Castle which were eleven feetsquare, covered with quilts shining with gold and silver. These were the state-beds ofHenry VII. , Henry VIII. , and Edward VI. But the fashion of large beds seems tohave been on the decline at that period, since the queen's bed, " with curious coveringsand embroidery," is stated to have been not quite so large as the others. The celebrated " great bed of Ware," immortalised by Shakespeare, and still in existence, † was

• "Unum lectum de panno aureo . . . unum co- | Angl. cited in DUCANGE's Glos. under the word celura.

opertorium cum celura integra et testerio de eadem secta † A good engraving of it will be found in Shaw'sac tribus curtinis de rubeo tartarino. ” —Litteræ Reg. "Ancient Furniture. "48 THE ARCHEOLOGICAL ALBUM.not quite so large as those mentioned by Hentzner; it is ten feet nine inches square,and seven feet six and a half inches high. The bed at Turton Tower is six feet sixinches long, five feet six inches wide, and eight feet three inches high.The ancient beds were sometimes double, a smaller bed running underneath thelarger one, which was drawn out for use at night. These were the truckle-beds, ortrundle-beds, not unfrequently mentioned in old writers. In "The Merry Wives ofWindsor" (act iv. sc. 5), the host of the Garter, speaking of Falstaff's room, says, -" There's his chamber, his house, his castle, his standing bed and truckle-bed."When the knight and his squire were out on " adventures," the squire frequentlyoccupied the truckle-bed, while his superior slept above him. The reader willremember the lines of " Hudibras:"-"When Hudibras, whom thoughts and aking'Twixt sleeping kept all night and waking Began to rub his drowsy eyes,And from his couch prepared to rise,Resolving to dispatch the deed He vow'd to do, with trusty speed;But first, with knocking loud and bawling,He roused the squire, in truckle lolling. "Hudibras, part ii . canto ii.In the English universities, the master-of-arts had his pupil to sleep in his trucklebed. At an earlier period, it was the place of the valet-de- chambre, who thus sleptat his master's feet. The wood- cut below, taken from the same manuscript of theromance of the Comte d'Artois which furnished our other cut, represents a truckle- bedof the fifteenth century. The Count d'Artois lies in the bed under the canopy, whilsthis valet (in this instance, his wife in disguise) occupies the truckle.OBSOLETE PUNISHMENTS.THE CUCKING- STOOL.DURING the middle ages, the corporations of towns had the right of independentlegislation within their own liberties, and they took cognisance of many offences whichwere not provided against by the law of the land. Hence, various modes of inflictingpunishment came into usage, which, with the gradual disappearance of the last tracesof the medieval system and of medieval manners, have become entirely obsolete. Menare now no longer placed in the pillory, and they are seldom fixed in the stocks .Many years have passed away since offending woman was subjected to that mostdisgraceful of trials, -66 mounted in a chair curule,Which moderns call a cucking-stool. "Hudibras, whose words we have just quoted, further characterises this invention as46 —an antichristian opera,Much used in midnight times of popery,Of running after self-inventionsOfwicked and profane intentions,To scandalise that sex for scolding,To whom the saints are so beholden. "It is, however, to be presumed that the cucking- stool has fallen into disuse fromthe general improvement in the education and manners of the offending sex. It is buttoo certain that, during the middle ages, the female portion of the population, in themiddle and lower classes, was, in general, neither virtuous nor amiable. It may seemstrange to us that it should ever have been thought necessary to punish thus disgracefully a woman for the too free use of her tongue; but in the turbulent independencewhich reigned among the inhabitants of the medieval towns, the unruly member wasnot unfrequently the cause of riots and feuds which endangered the public peace to agreater degree than we can now easily conceive.The cucking-stool, which we cannot trace out of our island, appears to have been inuse in the Saxon times. It is distinctly mentioned in Doomsday Book as being thenemployed in the city of Chester. The name means simply a night- chair, * and it is notimprobable that originally the punishment consisted only in the disgrace of being

• This is quite evident from the name given to it in

the Doomsday Survey (cathedra stercoris) compared withthe explanations in the " Promptorium Parvulorum, "edited by Mr. Way, in vv. cukkynge and esyn. Muchinformation on the subject of the cucking- stool will be found in Mr. Way's notes to the work alluded to.H50 THE ARCHEOLOGICAL ALBUM.publicly exposed, seated upon such an article, during a certain period of time, theprocess of ducking being a subsequent addition. Borlase, in his " Natural History ofCornwall, " describes the cucking- stool used in that part of the country as " a seat ofinfamy, where strumpets and scolds, with bare foot and head, were condemned to abidethe derision of those that passed by, for such time as the bailiffs of manors, which hadthe privilege of such jurisdiction , did approve." According to the Scottish " BurrowLawes," as declared in the " Regiam Majestatem," an ale-wife, " gif she makes evillail, contrair to the use and consuetude of the burgh, and is convict therof, shee sallpay ane unlaw of aucht shillinges, or sal suffer the justice of the burgh, that is, sheesall be put upon the co*ck-stule. " In 1555 it was enacted by the queen-regent ofScotland, that itinerant singing- women should be put on the cuck- stoles of every burghor town; and the first " Homily against Contention," part 3, published in 1562, setsforth that " in all well- ordred cities, common brawlers and scolders be punished with anotable kind of paine, as to be set on the cucking- stole, pillory, or such like. " By thestatute of 3 Hen. VIII. carders and spinners of wool, who were convicted of fraudulentpractices, were to be " sett upon the pillorie or the cukkyng- stole, man or woman, asthe case shall require." The manner in which these passages are worded would leadus to suppose that the offenders were not ducked; and in some instances the cuckingstool appears to have been stationary in a part of the town removed from the water.It also appears that in earlier times the cucking- stool was a punishment for women forvarious offences. At Sandwich, as we learn from Boys's " History," a punishmentcoexisting with the cucking-stool, and, like it, intended to expose the offender to publicdisgrace, was that of the " wooden mortar." In 1518, a woman, for speaking abusivelyof the mayor of Sandwich, was sentenced to go about the town with the mortar carriedbefore her. In 1534, two women were banished from Sandwich for immoral behaviour;it was ordered by the court that, " if they return, one of them is to suffer the pain ofsitting over the ' coqueen ' - stool, and the other is to be set three days in the stocks,with an allowance of only bread and water, and afterwards to be placed in the' coqueen'- stool and dipped to the chin." There appears to be here a distinctionmade, which would shew that the dipping was not the usual punishment of thecucking-stool. Two other incidents from the annals of Sandwich will explain thepunishment of the mortar. In 1561, a woman, for scolding, was sentenced to sit inthe stocks, and to bear the mortar round the town; and in 1637, a woman, forspeaking abusively of the mayoress, was condemned to carry the wooden mortar"throughout the town, hanging on the handle of an old broom upon her shoulder,one going before her tinkling a small bell."The wooden mortar and the cucking- stool were preserved at Sandwich in theOBSOLETE PUNISHMENTS. 51middle of the last century, and are both engraved in one of Boys's plates . Thecucking- stool is a very singular specimen; a hole through the seat distinctly points tothe original meaning of the word, and on the arms and back were carved or paintedfigures of men and women scolding. A woman is made to call the man " knave,"while the man applies to his fair antagonist a still more indecorous term. On thecross-rib at the back of the chair is the following inscription:-" Of members ye tonge is worst or best;An yll tonge ofte doeth breede unreste. "

-

Cole, as quoted in Brand's " Popular Antiquities," has left us a curious account ofthe cucking-stools (which he calls ducking- stools) formerly existing at Cambridge, ornamented in a similar manner. Writing in 1780, he says, " In mytime, when I was a boy,I remember to have seen a woman ducked for scolding. The chair hung by a pulleyfastened to a beam about the middle of the bridge, in which the woman was confined,and let down under the water three times, and then taken out. The bridge was then oftimber, before the present stone bridge of one arch was builded. The ducking- stool wasconstantly hanging in its place, and on the back panel of it were engraved devils layinghold of scolds, &c. Some time after a new chair was erected in the place of the oldone, having the same devils carved on it, and well painted and ornamented. When thenew bridge of stone was erected, about 1754, this was taken away, and I lately saw thecarved and gilt back of it nailed up by the shop of one Mr. Jackson, a whitesmith. InOctober, 1776, I saw in the old town-hall a third ducking-stool, of plain oak, with aniron bar before it to confine the person in the seat."None of the cucking- stools preserved to our times,as far as we know, are ornamented in the manner ofthose at Sandwich and Cambridge. The cut in themargin represents one which is probably still preservedat Ipswich, and which, when our drawing was made,was kept in the old Custom-house. It is of rude, solidconstruction. A cut in a history of Ipswich printed in1830 (and reproduced in " The Gentleman's Magazine"of January 1831) gives a spirited sketch of the mannerin which this chair is supposed to have been used, byattaching it to a crane which let it down into thewater. Another cucking-stool, recently sold in London,is engraved in Cruden's " History of Gravesend; " it is a mere square box, in whichthe offender was placed, and let down by a cord. An original cucking- stool, of ancient52 THE ARCHEOLOGICAL ALBUM.and rude construction, is preserved in the crypt of St. Mary's Church, in Warwick,with a three-wheeled carriage, on which it is supposed to have been suspended by along balancing-pole, and so lowered into the water. In the old accounts of the townof Gravesend we find charges for wheels for the cucking- stool, and for bringing it intothe market- place.From the thirteenth to the fourteenth century, scarcely any English town waswithout its cucking- stools, and the municipal accounts contain many entries relating tothem. Some of the earliest and most curious notices of this kind are found in thearchives of Canterbury. We have the following entry on this subject in 1520: -" Item, paied for a pece of tymber for the ladder of the cuckyng-stole, and stavesto the same, xxª." Item, for slyttyng of the seid pece of tymber in iij . calves, with the ij . shellecalves , viijd." Item, for a pece of tymber for the fote of the ladder, cont. xij . fote, xvª." Item, paied for the plank and stanchons for the stole, iiijd ." Item, paied for a pynne of yren waying xij . li . , and ij . plates waying vij . li. , priceli . jª. ob. summa, ij³ iiijd .""" Item, paied to Harry Shepard and hys mate, carpenters, for iij . dayes and di. hewing and makyng of the cucking- stole, takyng by the day xijª . summa, iij³ vjª.Item, paied to Cristofer Wedy for caryage of the seid tymber to the saw- stage,and from thense to the place where the seid cucking- stole stondeth, etc. iiijd." Item. for di. c. of iij . peny nailes, ja ob." Item, for a grete spykyn, to ij . staples, and a haspe for the seid stole, iijª ." Summa, x vd ob. "This ' stole' seems to have been of large dimensions, and to have been stationary,and it is not improbable that it stood, not by the river, but in some public place in thecity. In 1547, when this large structure can hardly have been in decay, we have anentry of charges for making another; and as the sum is much smaller, although thevalue of labour and materials had risen considerably, it is probable that this was asmall portable machine, intended to be carried about the town and to the river forducking."Costes for makyng ofthe co*kyng- stole."Item, paid to Dodd, carpenter, for makyng of the co*kyng- stole, and sawyng thetymber, by grete, v³ vijd."Item, a paire of cholls, iij ' iiijd."Item, paid for ij . iren pynnes for the same, waying v. li . at ijd ob. the li . xijd ob. "OBSOLETE PUNISHMENTS. 53Lysons has given us an extract from the accounts of Kingston-upon-Thames, in theyear 1572, relating to the cucking- stool there, which had wheels: -"The making of the cucking-stoolIron-work for the sameTimber for the same8s.3s.• 7s. 6d.Three brasses for the same, and three wheels, 4s. 10d."At Banbury, the cucking- stool and the pillory stood near each other, at the lowerpart of the market- place, where was also a horse-pool, and there are several entries inthe town accounts of the middle of the sixteenth century relating to them.In fact, nearly all town accounts during the sixteenth century and the commencement of the seventeenth contain entries relating to these implements of punishment.The practice of ducking continued through the whole of the seventeenth century, andthe name, now no longer understood in its original form, began to be changed toducking-stool. Instances of this punishment being put in practice occur as late as themiddle of the last century. In Brand's " Popular Antiquities" an extract is givenfrom a London newspaper of the year 1745, stating that " Last week a woman thatkeeps the Queen's Head alehouse at Kingston, in Surrey, was ordered by the court tobe ducked for scolding, and was accordingly placed in the chair, and ducked in theriver Thames, under Kingston Bridge, in the presence of two or three thousandpeople." The guilty individual appears to have been often carried to the place ofpunishment in procession by the mob. Our readers will remember the description ofsuch a procession in " Hudibras," which makes the subject of one of Hogarth'sillustrations of that poem. After the publication of Hogarth's plate, this processionwas acted on the stage, and appears to have formed the principal attraction of a sillydramatic entertainment, entitled, " The Wedding: a Tragi-Comi-Pastoral Opera. Asit is acted at the Theatre Royal in Covent Garden. With an Hudibrastick Skimington.Written by Mr. Hawker. "* More than one edition of this opera was printed in 1734,with a plate slightly altered from Hogarth. It may be added, that one of Rowlandson'scaricatures represents the process of ducking a scold.The coarse satirical writers of the sixteenth century, to whose envenomed shaftsthe female sex was a frequent butt, often allude to the cucking- stool . One or two

• In Brand's " Popular Antiquities, " edit . of 1841 ,

vol. ii . pp. 119, 120, will be found some observations onthe origin of the term, riding a Skimmington. Thissatirical procession appears to have prevailed at anearlier period in Spain, and we have representations ofit in Houfnagle's Views in that country ( 1593) , and inColmenar's " Delices de l'Espagne et du Portugal "( 1707) . Although introduced with so much effect in" Hudibras, " it does not appear to have been a customof frequent occurrence in our island.54 THE ARCHEOLOGICAL ALBUM.extracts are given by Sir Henry Ellis, in his notes to Brand's " Popular Antiquities.”We may add the following. In a rare tract by M. P[ arker] , printed soon after theyear 1600, under the title of " Harry White his Humour," it is observed, -" Item,having lately read the rare history of patient Grizell, out of it he hath drawne thisphilosophicall position, that if all women were of that womans condition, we shouldhave no imployment for cuckin-stooles." A satirical ballad of the same period, in amanuscript in private hands, says of an abandoned female, -"Coach hir no more, but cart hir now,Provide the cookinge- stoole,And if she scold better then I,Let me be thoughte a foole. "A prose satire, published in 1678, and entitled " Poor Robin's True Character of aScold," contains the following passage: -"A burr about the moon is not half socertain a presage of a tempest at sea, as her brow is of a storm on land. And thoughlaurel, hawthorn, and seal-skin, are held preservatives against thunder, magick has notyet been able to finde any amulet so sovereign as to still her ravings; for, like oylpour'd on flames, good words do but make her rage the faster and when once her flagof defiance, the tippet, is unfurl'd, she cares not a straw for constable nor cucking-stool."[As a parallel to this species of legalised punishment, we are indebted to a friend for the followingnotice of a similar but unauthorised infliction. ]"Whilst the cucking- stool of our ancestors was held in terrorem, if not over thehead, at any rate as the seat of scolds, on which to undergo immersion, even-handedJustice so far took the part of the weaker sex as not to allow the stronger to wrong oroppress them without avenging it. Lawless custom became a Lynch-law in defence ofhelpless woman; and when a brutal husband was known, according to the Scotchphrase, by fama clamosa, to beat his wife, the people in town or village of that countrywere in the habit of awarding him his punishment, by causing him to RIDE THE STANG. *Though not yet very old, I have myself witnessed this disagreeable ceremony, which Iwill describe to you as well as I may from the recollection ."About noon, when labour daily and usually refreshes itself, an uncommon stirwas observable among the lower classes of the town population -something like what

• The popular punishment of riding the stang was

common through Scotland and the north of England,but its subject was most frequently, not the man whohad beaten his wife, but he who had allowed himself tobe beaten by her. A plate in " The Costume of Yorkshire, " 4to. published in 1814 , gives a representation of this custom. A considerable number of allusions to itare collected together in Brand's " Popular Antiquities."OBSOLETE PUNISHMENTS. 55precedes the swarming of a beehive. By and by appearances took a more definiteform, and a number of women and children were seen crowding together, shouting andclamouring, and rattling with sticks and pans, and, in short, raising a most intolerabledin; in the midst of which, the name of one obnoxious individual was ominously heard.The characteristics of a Scotch mob are pretty generally known, before and since thefate of Captain Porteous. They are furious and formidable; and when once the passionsof a generally calm and prudent race are excited, be it to lower the price of meal, orto carry any other popular purpose, it requires no small force to resist or modify theimpulse. On the present occasion, rough-looking men began to mix with the screechingmultitude, and soon were visible a stout posse of them, armed with a pitchfork. Theidea that murder was about to be committed thrilled the blood of the uninformed spectators, and their terror increased when they witnessed a fierce assault made on a lowtenement inhabited by the person (a shoemaker) so dreadfully denounced, who hadbarely time to lock and barricade himself from the threatened vengeance. In vain.The windows and doors were smashed and battered in, and a violent tumult took placein the interior. Within two minutes the culprit was dragged out, pale and trembling,and supplicating for mercy. But he had shewn little to his wretched partner, who,with a blackened eye, weeping bitterly, and also begging them to spare her unworthyspouse, who she was sure would never strike her again, joined her pitiful entreaties tohis. The ministers of public justice were inexorable -his sentence was pronounced,his doom sealed. The portentous pitchfork was immediately laid horizontally from theshoulder of one to the shoulder of another of the ablest of the executioners, who thusstood, front and rear, with the stang (the shaft) between them. Upon this narrowbacked horse the offender was lifted by others, and held on by supporters on eitherside, so that dismounting was completely out of the question; and there he sat elevatedabove the rest, in his most uncomfortable and unenviable wooden saddle. The air rungwith yells of triumph and vituperation."Very slight arrangements were necessary, and the procession moved on. Thewife, surrounded by a party of her gossips, was compelled to accompany it; and it bentit* course toward the river-side . The unmanly fellow who had provoked this fateshewed by his terrors that he was just one of those cowards who could ill-treat thecreature who had a right to his protection, and had not fortitude to endure an evilhimself. He howled for compassion, appealed by name to his indignant escort, andprayed and promised; but they got to the brink of that clear and deep pool whichmirrored the glittering sun above the mill-wear (or cauld, Scottice) , and there thebearers marched boldly in before they tumbled their burthen from his uneasy seat.Into the water he went over head and ears, and rose again, by no means ' like a giant56 THE ARCHEOLOGICAL ALBUM.refreshed; ' and no sooner did he reappear, than a powerful grasp was laid upon him,and down again he was plunged, and replunged, with unrelenting perseverance. Thescreams of his distracted wife fortunately attracted the attention of a magistrate ( myrevered father) whose garden shelved to the edge of the stream where this scene wasenacting, and he hastened to interfere. Had he not done so, life might probably havebeen lost; for the ruffian was execrated by his fellow-men for his continued abuse oflate a pretty, sweet, and healthful maiden, now a pale-faced, bruised, and sickly matron,and one, too, of meek and unresisting temper, suffering cruelly without offence. As itwas, the populace listened to the magistrate's voice, for he was much beloved by them;and giving the rascal one dash more, allowed him to crawl to the bank of the silver,now polluted, Tweed. From thence he was hooted the whole way to his home; and sosalutary was the effect of the day's proceedings on the half- drowned rat, that he nevermore misbehaved in such a manner as to render himself liable to RIDE THE STANG."W. J."

Farholt .FSA Prawn &Engraved byF.OLD MANSION ,GRAVEL LANE HOUNDSDITCH .OLD MANSION,LATELY STANDING IN GRAVEL LANE, HOUNDSDITCH .THE house represented in the cut above, an interesting relic of ancient London,was demolished in 1844, much to the regret of every lover of national antiquities. Itis to be lamented that a monument of this kind could not have been preserved, andappropriated to some object of public utility. * The house to which we allude stood on

• There are still in existence a few interesting speci- | ings by which it has been much disfigured and injured .

mens of the domestic architectureof ancient London,which will probably in a few years disappear, unlessrescued from the hands of the destroyer for some publicobject. Might they not be bought by the government,or by the city authorities, for museums, or for the meetings of learned societies? The French government hason several occasions acted on this suggestion, which isapplicable more especially to provincial towns than toLondon, and we are glad to see that a good spirit isspreading itself through the country. Our attention iscalled to this subject by receiving a printed circular fromthe vicar (the Rev. Jemson Davies) and some of themost respectable inhabitants of the parish of St. Nicholasin Leicester, soliciting subscriptions to defray the expenses necessary for the preservation of the Romanremains in that town, known by the name of the OldJewry Wall (one of the most remarkable Roman monuments in our islands) , and the removal of certain buildThis application cannot be too strongly recommended topublic attention; and it must be carried in mind that itis necessary not only to preserve national antiquities,but to make them accessible to the eye of the public.The circular alluded to states that, "in accomplishingthis object, much expense has been incurred, in particular by the erection of a building appurtenant to thechurch, rendered necessary by the removal of the buildings which encumbered the wall. Towards defrayingthese expenses, they have had recourse to a private subscription; but as the parish is very small, and its inhabitants in general very far from wealthy, the amountthus raised has been found very inadequate: they therefore have ventured to appeal to their fellow- townsmenand the public for assistance. " Many of our readerswill remember that only a few months have passed sincethe last relic ofany importance ofthe ancient Roman wallof the city of London very narrowly escaped destruction.I58 THE ARCHEOLOGICAL ALBUM.one side of Gravel Lane, Houndsditch. Its exterior presented few features of attraction,and would not have led us to expect that it contained so much elaborate decoration asthe original artist had bestowed upon it . In front it had a large court-yard, seventytwo feet square, entered by a richly decorated gateway in Seven-step Alley, which tookits name from the steps leading to this gate. There was another door into EllistonStreet and Gravel Lane.The house itself had outwardly a look of great solidity, and consisted of threestories, the upper row of windows preserving their original form, while those in thelower stories had been entirely modernised . Between the windows were flat pilasters,very slightly enriched. The two parlours, on each side of the passage of entrance,were panelled with oak, which remained in its original soundness and purity, havingnever been disfigured by paint, as is too often seen in churches and old buildings,where the painter and grainer are employed to colour real oak stalls and carved panelsin imitation ofoak. The fireplaces in both parlours were highly enriched with ornamental carving. The ceilings were of plaster; in the parlour to the left on entering,the beams of the compartments of the ceiling only were ornamented, but in the otherthe ceiling was more elaborately and curiously decorated, being divided into fourcompartments by beams ornamented with scroll-work, each partition filled with a richframework of Elizabethan decoration, enclosing four emblematical designs, with Latinmottoes, in the style of the engravings to the Emblemata of Alciatus and other works ofthe same description, which enjoyed great popularity at that time.The ceiling of the great chamber on the first floor was most elaborate in design,having in the centre the arms of the builder (Robert Shaw), and at each end those ofthe city company (the Vintners), of which he was master; and amid the interlacingtracery were four emblematical subjects, of a character similar to those in the ceiling ofthe parlour, like them also accompanied with Latin mottoes. An engraving of thisceiling has been published by C. J. Richardson, Esq. F.S.A. The fireplace in thisroom was the most beautiful of the series which decorated the mansion, and was anexcellent specimen of the peculiar style of ornamental work of the period . The sideswere composed of coloured marbles, the upper part of carved wood. This fireplaceforms one of the subjects of our plate; the other being the door which led into theopposite room on the same floor, remarkable for its quaint but simple elegance. Thisroom was also panelled with oak, and had a fireplace of different design, but equallyelaborate, though not so beautiful. It exhibited, in four rich compartments, the fourseasons: Spring, crowned with flowers, and holding a crook; Summer, crowned withfruit, and carrying fruit in a basket, with a sickle and a sheaf of corn; Autumn had awine-cup in her hand, and on her brow a wreath of grapes; while Winter, representedOLD MANSION. 59in the form of an old man, was warming his hands at a portable fire, his brows heavilyladen with the fruit and flowers of the past year. It is perhaps right to observe, thatin the fireplace given in our engraving, the fire- dogs, equally with their animatednamesakes, are the work of the artist's imagination . The rooms above these had noother decoration than a band of flowers along each rafter.This mansion was built by Robert Shaw of Southwark, alderman of London andmaster of the Vintners' Company in the reign of James I., who was subsequently madea baronet. He appears to have been a descendant of Edward Shaw, goldsmith, mayorin 1483, who, according to Stowe, left money to rebuild Cripplegate, which was donein 1491 , after his death, and of John Shaw, also a goldsmith, mayor in 1501 , of whomit is related in Dekker's very rare pageant for the mayoralty of the Right Hon. JamesCampbell, in 1629, that "in the reigne of Henry VII . Sir John Shaw, goldsmith,being then lord mayor, caused the aldermen to ride from the Guildhall to the waterside, when he went to take his oath at Westminster (where before they rode by landthether) , and at his returne to ride againe to the Guildhall, there to dine; all thekitchens and other offices there being built by him; since which time the feast hasthere bin kept, for before it was either at Grocers Hall, or the Merchant Taylors . "This family was related to the Shaws of Kent.The house, soon after it was erected, is said to have been occupied by the famousSpanish ambassador to the court of James I. count Gondomar, who was the instigatorof the execution of Sir Walter Raleigh. Tradition also says that this mansion (orone near it) was occupied by a party of Cromwell's soldiers, probably to communicatewith the garrisons in Houndsditch and the Tower. * It then stood on comparativelyopen ground; but its site is now surrounded by a labyrinth of courts and alleysbetween Houndsditch, Whitechapel, and Petticoat Lane, inhabited by the lowest classof the population (partly Jews) , and where strangers are seldom seen, there being nolarge street or direct road through any portion of it.The notices of this spot (now so densely covered with buildings) by the old historians of London, afford a curious picture of the continual encroachments of the townupon the surrounding country, which, after a lapse of more than two centuries, isgoing on with infinitely increased rapidity around the present metropolis, although atso great a distance from what was then the site of trees and green fields. The spot ofwhich we are speaking was called, in the time of Stowe, Hog Lane. " This Hog Lane,'he says, " stretcheth north toward St. Mary Spitle without Bishopsgate, and withinthese forty years [ this was written in 1603] had on both sides fair hedge-rows of elm-

• See "The Beauties of England and Wales , " London and Middlesex, vol. iii . p. 152.

60 THE ARCHEOLOGICAL ALBUM.trees, with bridges and easy stiles to pass over into the pleasant fields, very commodiousfor citizens therein to walk, shoot, and otherwise to recreate and refresh their dullspirits in the sweet and wholesome air, which is now within a few years made a continual building throughout of garden-houses and small cottages; and the fields oneither sides be turned into garden- plots, tenter-yards, bowling-alleys, and such like,from Houndsditch in the west, as far as White Chappell, and further towards the east.On the south side of the highway from Aldgate were some few tenements, thinlyscattered here and there, with many void spaces between them, up to the Bars; butnow that street is not only fully replenished with buildings outward, and also pesteredwith divers alleys, on either side to the Bars, but to White Chappell and beyond. "Strype, writing in 1720, says, " Petticoat Lane, formerly called Hog Lane, is nearWhitechapel Bars, and runs northward towards St. Mary's Spittle. In antient times,on both sides this lane were hedge-rows and elm-trees, with pleasant fields to walk in .Insomuch that some gentlemen of the court and city built them houses here for air.There was a house on the west side, a good way in the lane, which, when I was a boy,was commonly called the Spanish Ambassador's house, who in king James I.'s reigndwelt here. And he, I think, was the famous count Gondomar. And a little way offthis, on the east side of the way, down a paved alley (now called Stripe's Court, * frommy father, who inhabited here) was a fair large house with a good garden before it,built and inhabited by Hans Jacobson, a Dutchman, the said king James's jeweller,wherein I was born."

• This name has since been corrupted into Tripe Yard.

HISTORY OF ART IN THE MIDDLE AGES,AS EXHIBITED IN ILLUMINATED MANUSCRIPTS.Nthe present age there is a general taste for medieval art, which shews.itself in an increasing activity of research into all its different departments. Of these none is more deserving of attention than that ofilluminated manuscripts, because they are not only important asmonuments of art, but they convey to us more information than anyother documents on the manners and customs of our forefathers.These illuminations are, fortunately, very numerous, although theyare chiefly to be met with in large public collections. They differmuch in style and character, according to the period at which theywere executed, and the skill of the artists . These artists were frequently monks, especially in the earlier times; but at a later period,from the thirteenth to the sixteenth century, they formed a separateprofession, and it was then that the art advanced gradually to perfection, until it produced the splendid schools of the latter part ofthe fifteenth century. The names of several English artists in thisbranch of painting have been preserved in the manuscripts whichthey adorned, but of the greater number we have no record whatever. These artists were termed illuminators (Lat . illuminatores,Fr. enlumineurs), whence the name given to the paintings executedby them (Lat. illuminatio, Fr. enluminure). Ordericus Vitalis, wholived early in the twelfth century, makes useof this word, and speaks of a monk of his monastery (in the middle of the eleventh century)who was præcipuus scriptor et librorum illuminator.* A French document of the end of the

• Ord. Vital. Hist. Eccl. lib . iii. p. 77, ed. Le Prevost .

62 THE ARCHEOLOGICAL ALBUM.fourteenth century speaks of an enlumineur who was employed in painting the chapelof the Celestins at Paris, * which would seem to shew that the same persons whoexccuted the illuminations in manuscripts were employed on the paintings on the wallsof churches. Books illustrated with such illuminations, representing the circ*mstancesnarrated in the text, were said to be historiés (libri historiati) . From notes whichoccur sometimes in old records, we conclude that these illuminated books wereextremely expensive. The most numerous class of these artistical works are missalsand books of hours, which are still found in abundance in all large collections, andthey may often be purchased in curiosity- shops in London, where they are generallyestimated very much above their value. Romances, chronicles, and other worksembellished in this manner, are of much greater rarity and interest, but they arefound in abundance in the great public libraries in England and on the Continent. Itis evident that the illuminators of the middle ages were a numerous class, and that theyfound extensive employment.In our rapid sketch of the history of these illuminations, we may convenientlyarrange the subject in three divisions, taking first the Anglo- Saxon period, embracingthe history of English art from the seventh century to the middle of the eleventh;secondly, the period extending from the entrance of the Normans to the end of thefourteenth century; and, third, the fifteenth century, or the period in which the art ofilluminating manuscripts was carried to the highest degree of perfection .THE ANGLO- SAXON PERIOD.The Anglo- Saxon illuminators were almost exclusively ecclesiastics, and the booksthey ornamented are, with very few exceptions, of a theological character. The finestspecimen of Anglo- Saxon ornamental work, and at the same time the earliest knownexample of illuminating executed in this island, is the well-known Durham Book ( nowMS. Cotton . Nero D. IV. ) , painted by a monk of Lindisfarne, towards the close of theseventh century, the colours of which appear still almost as fresh as when they cameout of his hands. An entirely new impulse seems to have been given to this art byAthelwold and Dunstan, and the Benedictine monks of their time, subsequent to whichmost of our Anglo- Saxon illuminated manuscripts were executed. It was noted ofDunstan that he was a most skilful painter, and a manuscript in the Bodleian Libraryat Oxford contains a drawing representing Dunstan worshipping the Saviour, which isstated to have been the work of his own pencil. It is not discreditable to him as an

• Catalogue des Archives Joursanvault, vol. i. p . 139.

phiapphanaLem ное chamhanda Flode nar napinzeandNOAH'S VINEYARD.COTTON MS. CLAUDIUS, B.IV.ETHE LEGEND OF NOAH AND HIS WIFEROYAL M.S. 2. B. VIIEr 1 0 SAشات了HISTORY OF ART IN THE MIDDLE AGES. 63artist, if compared with other productions of this period. The first picture on ourplates of illuminations, taken from a manuscript of Alfric's Anglo- Saxon version of partof the Bible (MS. Cotton . Claudius B. IV. fol . 17, vº) , executed towards the end of thetenth century, is a fair specimen of Anglo- Saxon drawing and colouring. It represents Noah and his family gathering grapes from the vine, and pressing them in thewine-press. The names of Noah and his two sons, and one of their wives, are writtenover the figures of the persons to whom they belonged . The lady, who is here calledSphiarphara, is probably intended for the wife of Cham, or Ham, In the oldlegendary lore prevalent under the Saxons, as we find in the curious " Dialoguebetween Saturn and Solomon," printed in Thorpe's " Analecta, " Noah's wife wasnamed Dalila, Cham's Jaitarecta, and Japheth's Catafluvia, or, " according to others,the three were named Olla, Ollina, and Ollibana. " In a similar set of questions of thefifteenth century (printed in the " Reliquiæ Antiquæ," i . 230) we find the followingpassage: "What hicht [was named] Noes wyf?" " Dalida; and the wif of Sem,Cateslinna; and the wif of Cam, Laterecta; and the wif of Japheth, Aurca. Andother iij . names, Ollia, Olina, and Olybana." On the lower part of the wine-press areseen the Anglo- Saxon words, " hær (for ær) da flode nás ná wíngeard; " " before theflood there was no vineyard. " The Anglo- Saxons appear to have remembered with nolittle gratitude that it was Noah who discovered the use of the vine. In the AngloSaxon dialogue above alluded to, and in another similar tract in the same language,the answer to the question, " Who first planted vineyards and drank wine? ” is, “ Thepatriarch Noah. " Another question is, "Tell me, what tree is the best of all trees? "To which the reply is, " The vine" (þæt ys wín-treow) . The wine- press is the mostcurious part of our picture; for up to a much later period the illuminations represent theprocess of pressing out the juice of the grapes as being performed by treading them withthe feet. Noah's wine-press is of a simple construction: a heavy block, like a mill- stone,turns on a vertical screw, and the patriarch and his son " Cham" appear to be pushingit round. The colour of the hair of the figures in this manuscript is remarkable.The early illuminators had no notion of giving correct representations of landscapesor natural productions. Previous to the fifteenth century, the artists employed certainconventional forms to represent trees, which varied according to the fashion of the day.In the Anglo- Saxon manuscripts, a tree was represented most commonly by a parcelof tracery, like the vines in Noah's vineyard. During the thirteenth and fourteenthcenturies, the most common method of denoting a tree was by a round bundle ofleaves (closely resembling cabbage-leaves) , fixed on the top of a straight pole. Insome of the ruder drawings the names of the persons and objects are introduced todistinguish them, somewhat in the same way as we are told that in the primeval days64 THE ARCHEOLOGICAL ALBUM.of Grecian art, the draughtsman was obliged to write the names on the different objectshe wished to represent, as, odros ITTOS TOUTO dévògov-"This is a horse; this, a tree."Some of the Saxon drawings, such as those in the manuscript of Cædmon (engraved inthe twenty-fourth volume of the "Archæologia ") , are barbarously rude. Others, particularly some of the earlier examples, are spirited and clever. Among these may beinstanced several illustrated manuscripts of the Psychomachia of Prudentius, some ofthem as old as the ninth century, and the illustrations of a calendar of the first half ofthe eleventh century. Some of these are engraved in Shaw's " Dresses and Decorationsof the Middle Ages." Another instance of considerable skill, particularly in grouping,will be found in the illustrations (though rather sketchy and indistinct) of theHarleian MS. No. 603. The illustrations of the calendar represent the occupationspeculiar to each month of the year in Anglo- Saxon times, which are drawn in outlineby the pen. The following is a Saxon reaping scene, taken from the month of August.The activity of the reapers is well represented. The corn appears at this period not tohave been sheaved in the field, but to have been carried directly away. The warriorwith his spear and horn, to the left, appears to be the guardian of the field, whose dutyit was to watch against sudden attacks on the harvest in those unsettled times.These illuminated calendars are very numerous during the middle ages, and form acontinued and interesting series of illustrations of manners. The subjects of theAnglo- Saxon series are, -in January, ploughing with oxen; February, pruning trees;March, digging and sowing; April, feasting; May, shepherds attending their flocks;June, cutting down timber and carting it; July, mowing; August, reaping; September,hunting, and leading the pigs to the woods to feed; October, hawking; November,bonfires; December, winnowing. This series of subjects, with a few variations, wascontinued to a late period, and even appears in the printed calendars and almanacs ofthe sixteenth century, in England, Germany, and the Low Countries. In France, anew series of designs was invented for the printed calendars: the life of man was dividedHISTORY OF ART IN THE MIDDLE AGES. 65into twelve ages instead of seven: in January he is an infant, in February he is sent toschool, in March he becomes a hunter, in April a lover, and so on, until he falls intodecrepitude in the month of December.The Anglo- Saxon calendar of which we have been speaking is found in a manuscriptin the British Museum (MS. Cotton . Julius A. VI. ); it is evidently copied from asomewhat older illuminated calendar in the same collection (MS. Cotton. TiberiusB. V.) , executed very much in the same style as the illuminations of Alfric's translationof parts of the Bible. This is not the only instance in which the illuminations of oneAnglo-Saxon manuscript appear to be copies of those of an older treatise on the samesubject, and we may sometimes trace back to a very ancient original. In fact, some ofthe earlier Anglo- Saxon drawings appear to be derived from models brought from Rome,and certain allusions in the older writers, particularly in the Letters of Boniface, wouldlead us to believe that such was the case. The illustrations of Prudentius have acertain classic style about them which is not found in the biblical manuscripts. Acurious instance of this occurs in the illuminations to the astronomical tracts of Aratus(translated by Cicero) and Hyginus. In the Harleian MS. No. 647, are preserved afew leaves of an illustrated manuscript of these works, probably of the seventh century,apparently executed by a foreign artist, and evidently the prototype of the copies of thesame work in MS. Harl. No. 2506, which seems to be of the beginning of the ninthcentury, and of MS. Cotton. Tiberius B. V. of the latter end of the tenth century.The manuscript first mentioned was probably the original model, brought from Italyinto this country by some of the earlier Anglo- Saxon pilgrims.At a later period the Anglo- Saxon illuminations have more of the character ofByzantine art. In some instances they seemto have preserved those bold poetical personifications, derived from profane antiquity, whichappear in the medieval Greek illuminations.In the fine illuminated Benedictional of St.Athelwold (of about the middle of the twelfthcentury), from which a series of plates wereengraved for the twenty-fourth volume of the"Archæologia," we have a large painting ofthe baptism of the Saviour, where the riverJordan is represented emblematically by anold man with horns, pouring the water ofthe river out of an urn, while the end of an oar appears above his left shoulder.We are necessarily reminded of such classic examples as the following (cited byK66 THE ARCHEOLOGICAL ALBUM.J. H. Langlois, in a very interesting Essai sur la Calligraphie des Manuscrits du Moyen Age, from which we have derived some of our observations): —"Corniger Hesperidumfluvius regnator aquarum. "VIRG. En. viii. 77.And-" Cælataque amnem fundens pater Inachus urna.”VIRG. En. vii. 792.Langlois mentions an ancient Christian sarcophagus, dug up on the Vatican hill, onwhich the river Jordan was represented much in the same manner as in the Benedictional of Athelwold. Seroux d'Agincourt, in his Histoire de l'Art par les Monuments,has given a diminished outline of a series of illustrations of Joshua in a Greek manuscript of the seventh or eight century, which contains a number of such personifications .The Jordan is here again represented in the form of a man, leaning upon his urn, andholding up a handful of rushes; the name of the river is written in Greek over hishead. In this series of drawings a hill also is personified, and, when a town is represented, its personification is represented as seated beside it. The most remarkableinstance of this is represented in our cut, taken fromthe scene in which Joshua causes the sun and moon toTocaBow stand still over Gabaon. The personification of thecity is represented seated, and looking with evidentanxiety at the fortunes of the battle; over her head arethe words ós raßawv-" the city Gabaon." It willbe observed that the turreted head of the emblematicalfigure is surrounded by a plain nimbus. In a Greekilluminated manuscript of Isaiah, in the Vatican, wehave a representation of the Deity (designated by ahand in the sky) inspiring the prophet by night aswell as by day. Night walks behind the prophet, enveloped in a large veil coveredwith stars, and carrying a reversed torch; a child raising a torch precedes him. Overthe head of the former figure is inscribed the Greek word v (night); over the child,öggos (the dawn). A Greek Bible of the fourteenth century contains, among manyothers, a picture of the passage of the Israelites, pursued by the Egyptians, over theRed Sea, engraved in D'Agincourt's Histoire de l'Art (Peinture, pl . 62); the sea ispersonified by a naked woman, plunging Pharaoh with her hand into the water. Inanother of D'Agincourt's plates (Peint. pl. 56) , taken from an exultet, or pictorialhymn, executed in the south of Italy, we find the earth represented under the form ofa woman, who gives suck to a quadruped and to a reptile, her lower members beingHISTORY OF ART IN THE MIDDLE AGES. 67lost in the ground, covered with plants and trees. Such personifications are lesscommon in England after the Conquest; but perhaps few of them can bear comparisonin point of singularity with that represented in our next cut, taken from an illuminatedmanuscript of the fifteenth century, in the British Museum (MS. Reg. 15 E. II. fol.60, rº), of a French translationner.of the scientific treatise "Onthe Nature of Things," byBartholomew de Glanville. Thefour elements are here personified in a very remarkable manEarth is an old man,sluggish and heavy, supportinghimself upon a staff. Wateris a middle-aged person, withthe serious air of a philosopher,a scroll in his hand. Fire is afierce, destructive- looking man,with a sword by his side, and adagger in his hand. Air isrepresented by a youth, lightand gay, bearing on his righthand a bird, and leading agreyhound by a string withthe other. Each figure hasunder his feet the element herepresents. The backgroundof this picture is a good example of the superior skill in drawing landscapes whichappeared in the fifteenth century.The Anglo-Saxon illuminated manuscripts are in general much less attractive bytheir beauty than those of subsequent periods. The only part in which there is anyfreedom of drawing is the drapery. Nothing can be more barbarous than the attemptsto represent naked figures. Trees, as we have already observed, are mere conventionalforms; and buildings have the appearance of wooden toys. Yet they are stillinteresting in different points of view; and the illuminations to Alfric's Bible, inespecial, form a treasury of Anglo- Saxon domestic history.68 THE ARCHEOLOGICAL ALBUM.TWELFTH, THIRTEENTH, AND FOURTEENTH CENTURIES.We have scarcely any illuminated manuscripts which can be ascribed with certaintyto the latter half of the eleventh century; and during the twelfth century manuscriptswith pictures are not numerous, though ornamental initials, often of elaborate workmanship and great beauty, are very common. The drawings of the twelfth century aregenerally more correct in outline than those of the period which preceded or those ofthat which immediately followed . Among the earliest and most interesting specimensare the series of scriptural subjects in the Cottonian MS. Nero C. IV. which have beenalready quoted in the present volume as resembling in style and colouring the paintingsof the chapel in the crypt of Canterbury cathedral. If the illuminators of books werealso employed on the paintings on the walls (which a fact cited at the beginning of thepresent article would lead us to suspect) , the artist to whom we owe this series ofScripture pictures may have been the author of those in the crypt. At all events, wemay refer to our coloured plate of the latter as a good specimen of the style of theperiod. The illuminations of the twelfth century are, however, seldom so highlycoloured, being in most instances mere outlines. The books illuminated during thisperiod were generally scriptural or legendary subjects; the chief exceptions being theBestiaries, or treatises on natural history, which often contain very good specimens ofthe skill of the Anglo-Norman artists .The romances became numerous in the thirteenth century, and with them came anew style of illuminations, consisting of little square miniatures in frames, the figuresbeing very highly coloured, generally ill drawn, and placed upon a diapered ground,without any attempt at landscape, which was not introduced with any effect till thefifteenth century. This diapered ground gives a very confused appearance to the picture.There is generally an absurd degree of stiffness about the design; but, the subjectsbeing more varied, the illuminations become now more interesting as illustrations ofmanners and customs than in the previous century. Some books of this period,however, contain very clever drawings in outline, or very lightly coloured, suchas the legend of king Offa, in the Cottonian Library (Nero D. I.) , with a spiritedseries of outline drawings by the hand of the author of the legend, the well- knownhistorian, Matthew Paris, and a very profusely illustrated manuscript of the beginningof the fourteenth century, in the Old King's Library in the British Museum (MS.Reg. 2 B. VII. ) , popularly known as queen Mary's Psalter, from the circ*mstance ofits having once belonged to Mary queen of England. A fac-simile in colours of one ofthe illuminations of this manuscript is given at the bottom of our first plate ofilluminations. It represents one of those numerous legends which, during the middleHISTORY OF ART IN THE MIDDLE AGES. 69ages, were built upon or added to the text of the Scriptures. According to thislegend (of which we have not been able to find any further account than what isfurnished by the drawing and the inscription in Anglo- Norman underneath *) , itappears that Noah, when occupied in building the ark, kept his occupation secret fromhis wife. One day, however, the Evil One appeared to her in the form of a man, andasked her where her husband was. Her answer was, that she did not know. Thetempter then placed in her hand some grains, and said, " He is gone to betray theeand all the world take these grains, and make a potion, and give it him to drink, andhe will tell thee all. " The legend adds, " And so she did. " The picture, after amanner which was common down to a much later period, represents three portions ofthe story at one view. On the left, the Evil One appears in conversation with Noah'swife; in the middle, the lady is receiving her husband with an affectionate greeting;and to the right she is giving him the drink, and obtaining from him the avowal of hissecret by her alluring caresses. We are left in the dark as to the sequel of the legend.

In the old popular mysteries, or religious dramas, the wife of Noah appears as thepattern of scolding wives. In the Towneley Mysteries (published by the SurteesSociety), Noah does not attempt to conceal the news of the flood from his wife, butshe receives the intelligence in a scornful manner. On his arrival he greets his dameaffectionately:-66 NOE.God spede, dere wife, how fare ye?UXOR.Now, as ever myght I thryfe, the wars [ worse] I thee see!Do telle me belife [ immediately] where has thou thus long be?To dede [death] may we dryfe or lif for the For want.When we swete or swynk, [ labour]Thou dos what thou thynk,Yet of mete and of drynkHave we veray skant.NOE.Wife, we are hard sted with tydynges new.UXOR.Bot thou were worthi be clad in Stafford blew!For thou art alway adred, be it fals or trew. "She continues to treat his news with derision, until at length Noah's patience is atan end:-"We! hold thi tong, Ram- skyt, or I shalle the stille! "Upon which they are made to fight on the stage. Noah then proceeds to his work,

• "Coment le diable viint en forme de homme à la

femme Noe, e demanda ù son mari estoit. E ele disoitqe ele ne sout où. ' Il est alé pour toi trayr et tote lemund: preyne ces greynes e fetez un aboycion, e ledonetz à boyre, e il te dirra tote.' E issint fist-ele. " —MS. Reg. 2 B. VII. fol . 6, rº .70 THE ARCHEOLOGICAL ALBUM.and when it is done he calls together his family, and urges them to enter the arkspeedily, with their goods. Noah's wife now speaks as scornfully of the ark as shehad before done of the news of the threatened flood, and refuses to enter until she hasspun a while on the hill:66 UXOR.I was never bard ere, as ever myght I the, [ thrive]In sich an oistre as this!In fayth, I can not fyndWhich is before, which is behynd.Bot shalle we here be pynd,Noe, as have thou blis?NOE.Dame, as it is skille [ reason] , here must us abide grace;Therfore, wife, with good wille com into this place.UXOR.Sir, for Jak nor for Gille wille I turne my face,Tille I have on this hille spon a spaceOn my rok.Welle were he myght get me!Now wille I downe set me.Yet reede I [I advise] no man let [ hinder] me,For drede of a knok. "This leads to another altercation, and the patriarch exclaims bitterly against all evilwives:-" Ye men that has wifes, whyles they are yong,If ye luf youre lifes, chastice thare tong.Me thynk my hert ryves, both levyr and long, [ liver and lungs]To se sich stryfes wed men emong. "At length she is forced by the flood into the ark, where they fight again, until they areseparated by their children.In the Chester Plays, which, in their present form, are more modern than theTowneley series, Noah's wife is similarly introduced, speaking with derision of the ark;and the patriarch is made to complain bitterly of his domestic lot:-" Lorde! that wemen be crabbed aye!And non are meke, I dare well saye;That is well seene by me to daye,In witnesse of you ichone. "In this version of the story, Noah's wife refuses to go into the ark unless she be permitted to take her "gossips" with her; her sons are sent to her in vain, until theflood begins to rise, and then she stays to drink a parting cup with her gossips:-

-

" Let us drinke or [ ere] we departe,For ofte tymes we have done soe;For att a draughte thou drinkes a quarte,And soe will I doe or I goe.

BECKLT .M.S. 2.BVII .OFROYAL FAMIY THE BANISHING NHY IIHI LADY ATHER TOILET .ADD MS,10223YARD -PIAY:NGADMS.19828 CHESS PLAYING .ADD ·M.S.12.22ISA .luPaic EWHISTORY OF ART IN THE MIDDLE AGES. 714Heare is a pottill full of Malmsine good and stronge;Itt will rejoyce bouth hart and tonge;Though Noye thinke us never so longe,Heare we will drinke alike."The water at length drives her in, and, in reward for the patience with which herhusband has waited for her, she salutes him with a blow." JEFFATTE [JAPHET] .Mother, we praye you all togeither,For we are heare, youer owne children ,Come into the shippe for feare of the weither,For his love that you boughte!NOYES WIFFE.That will I not, for all youer call,But I have my gossippes all .SEM.In faith, mother, yett you shalle,Weither thou wylte or not. [He pulls her in.NOYE .Welckome, wiffe, into this bote!NOYES WIFFE.Have thou that for thy note! [She strikes him.NOYE.Ha, ha! marye, this is hotte,It is good for to be still. "The performance of Noah's flood must have been an edifying spectacle! The readersof Chaucer will remember his allusion in the following lines: -"" Hast thou not herd, ' quod Nicholas, also,The sorwe of Noe with his felowship,Or that he mighte get his wif to ship?Him had be lever, I dare wel undertake ,At thilke time, than all his wethers blake,That she had had a ship hireself alone. ' 'The volume from which our picture of Noah and his wife is taken contains avery considerable number of illustrations. They consist of-1 , a series of scripturalsubjects, in frames, two on each page, with a short explanation underneath, writtenin the dialect of the French language then spoken in England; 2, a calendar, withilluminations at the heads of the pages; 3, a great multitude of drawings at the footof the pages throughout the remainder of the volume. These latter are sometimesgrotesque and playful subjects, at others, illustrations of fables, romances, and saints'legends, among which occurs a series of subjects from the life of Thomas Becket. Wegive an outline copy of one of these on our second plate, as a further specimen of thisinteresting manuscript; it represents Henry II. expelling from the island Becket'srelations, after the exile of the primate. *

• In the manuscript this design occupies the foot of fol. 293, vº.

72 THE ARCHEOLOGICAL ALBUM.The second subject on our second engraving of illuminations is taken from a finemanuscript of the French prose romances of the St. Graal and Lancelot, executed inthe year 1316, now in the British Museum (MS. Addit. No. 10,293, fol . 83, rº) , andwill serve as an example of the small framed designs which are found in the books ofthis class . The subject is of course taken from the text of the romance. Gawain, inone of his adventures, comes to a pleasant prairie, in the midst of which he discovers arich pavilion . Under the pavilion was a couch, on which reposed a beautiful damsel,her hair spread over her shoulders, and a maid standing by, " combing it with a combof ivory set in gold " (?) -(qui la pignoit àj. pigne d'ivoire sor orei) . The damsel holdsbefore her a mirror, which appears by the colour of the original to be of polishedmetal. This manuscript also furnishes an example of the practice which had thencome into fashion of drawing burlesque, sometimes satirical, often very gross figures,in the margins of manuscripts. These are found even in church-service books andreligious treatises. The accompanying figures are taken from among a number ofothers on the margin of the first page of the third volume of the manuscript justdescribed (MS. Addit. No. 10,294),and represent a countrywoman in theact ofchurning, and a blind beggar andhis dog, with his child on his back.The good dame is a nice specimen ofcostume; she has the bottom of hergown neatly pinned up, as a proof ofbeing a careful and attentive housewife. These marginal illustrations are often the most valuable of all, for the lightthey throw on medieval manners.Another manuscript of the St. Graal andLancelot, in the British Museum (MS. Reg.14 E. III. ) , of a date not much posterior tothe one last described, will furnish us withone or two examples of the style of groupingof these illustrations of the romances. The first(fol. 9, v°) represents a man preaching from avery rude portable pulpit, no doubt a usualcustom in the fourteenth century. His congregation are seated on the ground before him.The preacher is Joseph of Arimathea, one ofthe personages of the Gospel history, who became in the middle ages the subject of soHISTORY OF ART IN THE MIDDLE AGES. 73many legends; but the artist appears to have drawn him in the character of a preachingfriar. The second cut (from fol. 11, r°) represents a king with his wise men arguingwith Joseph on the articles of his belief.The costume of these figures, and moreespecially the shoes, seem to prove the manuscript to be of the reign of Edward III. Theking's chair (or throne) is a good exampleof this article of furniture, which appears tohave been strictly reserved for the use ofpersons of distinction. Even in the houses ofthe great, people commonly sat on benches,which in the halls were often placed againstthe wall round the room. We also meetwith moveable benches; and sometimesthey have a high back, like similar articles of furniture which we still find from time to time in oldcountry public-houses. It appears, by the instances.which are found in illuminated manuscripts, thatbenches with backs of this description were used toplace before the fire in winter, while in summerthey were turned with the back to the fireplace, soas almost to conceal the open space behind. Thethird group is taken from a later part of the manuscript .The illuminated manuscripts were certainly heldin great estimation by their possessors, whose names are sometimes written in them,and enable us to trace their history. They are not unfrequently connected, by someaccident or other, with the great historical events of former days. The superb manuscript from which our dinner- scene, given on an ensuing page, is taken ( MS. Reg. 15E. VI. ) , a collection of French metrical romances of chivalry, was executed for thecelebrated warrior, John Talbot, first earl of Shrewsbury, who presented it to the noless celebrated Margaret of Anjou, queen of Henry VI. An illumination on the firstpage represents the king and queen seated in a roomhung with tapestry bearing the armsof France and England, in front of which Talbot appears, kneeling and presenting thebook. * The figures are probably portraits. Beneath is a dedication in French verse,

• Agood fac- simile of this illumination is given in Shaw's " Dresses and Decorations of the Middle Ages. "

L74 THE ARCHEOLOGICAL ALBUM.stating that the earl presents this book, "in which book is many a fair tale of theheroes who strove with great labour to acquire honour in France, in England, and inmany other lands: "." Princesse très excellente ,Ce livre-cy vous presenteDe Schrosbery le conte;Ouquel livre a maint beau conteDes preux qui par grant labeurVouldrent acquerir honneurEn France, en Angleterre,Et en aultre mainte terre. "" He caused it to be made, as you understand, in order to afford you pastime; andthat, while you are learning to talk English, you may not forget French: "" Il l'a fait faire, ainsi que entens,Afin que vous y passez temps;Et lorsque parlerez Anglois Que vous n'oubliez le Francois. "Another illuminated manuscript in the Royal Library in the British Museum(MS. Reg. 19 D. II. ) is an interesting memorial of the French wars of Edward III.It contains the French paraphrase of the biblical history, commonly known by thetitle of " The Bible Historial; " on one of the first leaves a hand of the fourteenthcentury has written an entry stating that it was taken with the king of France at thebattle of Poitiers; and that the " good earl of Salisbury," William Montague, boughtit for a hundred marks, and presented it to his wife Elizabeth, " the good countess,whom God assoil! " and she directed her executors to sell it for forty pounds, a verylarge sum of money at that time. *Among confused entries on the fly-leaves at the end of the manuscript of the St.Graal last described (MS. Reg. 14 E. III. ) are two interesting royal autographs,which shew that it was once in the household of Edward IV. The first is that ofhis queen, Elizabeth Wydevylle2 lbyde6 fThe second is that of their eldest daughter Cecile- " Cecyl the kyngys dowther "-

• "Cest livre fust pris oue le roy de Fraunce à la | assoile! Et est continus dedeins le Bible enter oue

bataille de Peyters; et le boun counte de Saresbirs,William Montague, la achata pur cent marsz, et le donaà sa compaigne Elizabeth, la bone countesse, qe Dieuxtixte et glose, le Mestre de histoires et incident, tout enmemes le volyme; laquele lyvre ladite countesse assignaà ces executours de le vendre pur xl. livers. "HISTORY OF ART IN THE MIDDLE AGES. 75then a girl, but afterwards married first to John viscount Welles, and, after her firsthusband's death, to Sir John Kyme of Lincolnshire—the kimдольшееThese are the oldest autographs known of English ladies of so elevated a rank, andappear to have been hitherto overlooked.The two subjects at the bottom of our second plate of illuminations are taken froma large folio manuscript in the British Museum (MS. Addit. 12,228) , written betweenthe years 1330 and 1350, containing the romance in French prose of Meliadus. Thecharacter of the writing seems to prove that this volume was executed in the south ofFrance. The illuminations are found chiefly at the feet of the pages. The larger ofthose given on our plate (taken from fol . 23, rº) represents a royal party engaged atchess (the favourite game of the middle ages) , interrupted by the arrival of amessenger. The latter is distinguished by his badge attached to his girdle, with thearmorial bearings of his lord. The portion of the picture on which the messenger isseen exhibits the diapered ground which we have already mentioned as being commonin illuminations of this period. Sometimes the ground, instead of being diapered, ispainted of a uniform colour; and in our first manuscript of the St. Graal (MS. Addit .No. 10,292-4) , as well as in various other books, it is of plain gold.Our other engraving from the manuscript of Meliadus (fol . 313, v°) represents aroyal party at cards, and is curious as being by many years the earliest picture knownrepresenting this game. It was engraved from this manuscript, then in the possessionof Sir Egerton Brydges, and inserted in Singer's " Researches into the History ofPlaying Cards," p. 68. Cards appear to have been of Eastern origin; and they maybe traced from Italy and the south in their gradual progress towards our clime. Theyare mentioned in the French poem of " Renard le Contrefait, " believed to have beencomposed between the years 1328 and 1341 , and therefore contemporary with themanuscript of the romance of Meliadus; but we have no allusion to them in Englishwriters until a much later period.In this group, which exhibits much less skill in drawing than the party at chess,the king is distinguished by being seated in a chair, while the rest of the party arestanding, or sitting on benches. But the rudest article of furniture is the table, whichis only to be compared with the furniture of a modern country brewhouse, or back-76 THE ARCHEOLOGICAL ALBUM.kitchen . Numerous examples might be adduced from illuminations of various periods,in which the tables of the higher classes appear to be of equally rough workmanship.Sometimes we have a table which evidently consists of a board placed upon two temporary supports, so that the preparations for dinner consisted in literally " spreadingthe board." The accompanying wood- cut, from a manuscript of so late a period asthe fifteenth century (MS.Reg. 15 E. VI. ) , represents aroyal party dining in state,with a table which appears,by what is visible of the legs,to be of very rude workmanship. The party are seatedon a bench against the wall,at the high table, or dais.Pictures of feasts like this arecommon in manuscripts, and a series of them would form a very interesting pictureof domestic life among our ancestors.The illuminations of the manuscript of Meliadus appear to be the work of more thanone hand, which was not an uncommon occurrence. The book was generally written inquaternios, or quires, of four separate pieces, or eight leaves, and was probably in mostcases given to the illuminator in that state, before being bound. For the sake of speed,different parts were sometimes given to several artists at the same time. Many of thedrawings in the Meliadus MS. are also in an unfinished state, and some in mere outline.This also is found to be the case in several other manuscripts, of very different dates. InAlfric's Anglo- Saxon version of parts of the Bible there are towards the end a greatnumber of outlines which were never coloured. This is by no means an uncommon case;and we can only explain it by the supposition that the drawing and colouring of theilluminations were the work of two different persons. This is rendered more probableby the circ*mstance that the outline drawings are generally far more correct than thecoloured ones, the colourer having in the course of his work destroyed and passed overthe outlines of the draughtsman. There are many instances of this in the manuscriptof Meliadus, the illuminations of which are very valuable for the light they throw onthe history of costume and manners. Of several large pictures of tournaments runningacross two pages, one or two are in outline, and in these the faces of the figures arepeculiarly expressive, whilst in the finished paintings they have the same unmeaningHISTORY OF ART IN THE MIDDLE AGES. 77features which are so generally found in manuscripts of that period. The following cut(from fol. 153) represents a portion of a row of ladies looking from the hustings uponthe tournament, taken from one of the outline drawings.admirably sketched .Some of the faces areTowards the end of the fourteenth century the illuminations begin to exhibit verymuch of the style of those of the fifteenth, and we have some exquisite specimens ofthe reign of Richard II. Before we proceed to the fifteenth century, we may remarkthat the ornamental initials had also gone through different changes, distinctly characteristic of the various periods. With one or two exceptions, such as the mosaicdesigns of the Durham MS. ( Cotton. Nero D. IV. ) , the Anglo- Saxon initials areseldom beautiful or interesting. During the twelfth century, and the commencementof the thirteenth, they consisted generally of very elegant tracery, formed of foliage,serpents, dragons, &c. In some instances, as in a manuscript in the British Museum(MS. Arundel, No. 91) , which furnished the initial letter on the first page of thepresent volume, figures illustrative of the text are interwoven with the mere ornamentalwork. During the thirteenth and fourteenth centuries, the ornament of the initialsloses the boldness of the previous period, and becomes more delicate, consisting oftenof mere lines, which sometimes terminate in a leaf or a lobe, and frequently losethemselves in a border partly or wholly surrounding the page, while in the body of thelatter we have delicate miniatures, sometimes illustrative of the text, at others, grotesque and fanciful subjects. It is difficult to select a single example among themultitude of illustrations of this remark. The initial at the beginning of the presentarticle is taken from a Bible of the reign of Edward III . ( Brit . Mus. MS. Addit.No. 11,843, fol. 164, vº) , not illuminated with any other pictures than an initial letterat the beginning of each book. It represents workmen engaged in building; themasons at the top are finishing the stone battlements of the wall, while one carpenterbelow is hewing the timber into beams, and another is carrying a beam up the ladderThe word miniature belonged especially to these illuminated letters: it was derivedfrom the minium, or vermilion, with which the ornamental initial letters were originally78 THE ARCHEOLOGICAL ALBUM.painted. The old Latin writers call this process miniare and miniographare; the workman was named miniator, and his work miniatura.peers .One of the remarkable characteristics of the medieval painters, and that whichgives them an especial value in our eyes, is the circ*mstance that they uniformlyrepresented the subjects they chose, whether ancient or modern, with the costume,arms, furniture, and architecture of the period in which they lived. The illuminatedmanuscripts are filled with the most extraordinary anachronisms. M. Langlois mentions a manuscript in the Royal Library at Paris, an illumination in which representsthe funeral of Julius Cæsar celebrated by cardinals and bishops preceded by a cross.In another, Alexander the Great occupies a palace which is constructed after the designof a medieval fortress, flanked with Gothic turrets; whilst Alexander himself appearsclad in a French surcote, and attended by his constable and by his lay and ecclesiasticalA manuscript in the library of the duke de la Vallière contained two paintings,one of which represented Saturn and Cybele receiving the nuptial benediction from abishop clothed in his pontifical garb, and the other represented Jupiter and Juno, alsomarried by a bishop, in the middle of a Catholic church, in which was seen a Calvary.Langlois, in his " Calligraphie," has engraved an illumination representing the captureof Troy and the death of Priam. Troy is a regularly walled town of the fifteenthcentury, and the Greeks, in the military costume of the same period, are armed withhabergeons and corslets. On the outside of the walls are the cannon and bulletswith which they have been battered, and one of the assailants is rolling a barrel ofgunpowder, or inflammable materials, to the foundation of a tower. Within we seethe interior of a Gothic chapel, where old Priam, under the form of a young man,covered with armour, and kneeling before the altar with his ducal cap in his hand, isbeing slain with a spear. A large illumination, engraved by the late M. Dusommerard,in his grand work on medieval art, represents the interior of the city of Troy, withmedieval streets, fine old timber houses, and the shops of hatters, glovers, hosiers, &c .just as such establishments were arranged in the fifteenth century. The inhabitantsalso are represented in the costume of the same period; and there is a plentiful show ofGothic towers and church steeples. A copy of part of this engraving is given in Shaw's"Dresses and Decorations of the Middle Ages." Many other instances of this kind,equally grotesque, might be cited. These strange anachronisms were common to thewriters as well as to the painters of the middle ages. In Chaucer, duke Theseus is amedieval prince, and his companions are barons and knights. Palamon and Arcite arerecognised by their cote-armour: -" Not fully quik, ne fully ded they were,But by hir cote armure, and by hir gere,The heraudes knew hem well in special. "HISTORY OF ART IN THE MIDDLE AGES. 79They are imprisoned in a great tower -the " dongeon" of duke Theseus' castle: -" The grete tour, that was so thikke and strong,Which of the castel was the chef dongeon,Was even joinant to the gardin wall. "Their combatants are knights of chivalry: --- -" Som wol ben armed in an habergeon,And in a brest plate, and in a gipon;And som wol have a pair of plates large;And som wol have a Pruce sheld, or a targe. "In the legend of " Good Women," guns are introduced in the sea-fight between Antonyand the Romans:-"With grisly sown out goeth the grete gonne,And hertely they hurtlen in al at ones,And fro the top doune cometh the grete stones,In goeth the grapenel so ful of crokes,Among the ropes ran the shering hokes;And with the polaxe preaseth he and he;Behind the maste beginneth he to flee,And out againe, and driveth him over borde,He sticketh him upon his speres orde;He rent the saile with hokes like a sith;He bringeth the cup, and biddeth him be blith;He poureth peesen upon the hatches slider ,With pottes fulle of lime, they gon togeder;And thus the longe day in fight they spend."This is an exact picture of a naval engagement in the fifteenth century. Lydgate's"Troy-Boke" is full of such anachronisms. We are told how Hector was buried in theprincipal church of Troy, near the high altar, within a magnificent oratory, resemblingthe Gothic shrines of our cathedrals, supported by angels of gold. Within was Hector'simage. Priam is also made to found a regular chantry of priests, for whom he erectsdwellings near the church, and gives them revenues, to sing in this oratory for the soulof his son. In Lydgate's " Storie of Thebes," Eteocles defends the walls of the citywith guns " great and small, and some as large as tuns." At a council of the Thebanchiefs, the orators quote Esdras and Solomon, and introduce the story of Nehemiahrebuilding the walls of Jerusalem. In the dramatic literature of the middle ages, thescriptural personages fall into the most singular anachronisms of language. Thus, inthe Towneley Mysteries, Cain is a modern husbandman, and calls his cattle by theirnames, such as Green-horn, Gryme, Down, Dunning, White-horn, &c.:-" War, let me se how Down wille draw,Yit, shrew, yit, pulle on a thraw!What! it semys for me ye stand none aw,I say, Donnyng, go fare! "80 THE ARCHEOLOGICAL ALBUM.And he asks to be buried " at Gudeboure, at the quarelle [ quarry] hede. " Pharaoh,when drowning, calls for help to Mahowne [ Mahomet] . Augustus Cæsar swears "byMahowne," and " by Mahownes bloode." In the Chester Plays, Noah's wife drinks apottle of Malmsey; king Balack talks of his god the " mighty Mars," and calls hismessenger a knight; and the Roman emperor speaks in French. A bishop presidesover the court at Jerusalem, in the Coventry Mysteries, when Mary is accused ofincontinence, and a somnour is in attendance. These inconsistencies are very commoneven in subsequent writers, and Shakespeare himself is not free from them. Thus,in the " Midsummer Night's Dream, " the scene of which is laid at Athens, underTheseus, guns are mentioned, and Theseus has a master of the revels; in " Troilusand Cressida," Hector is introduced quoting Aristotle; in "Titus Andronicus," achild is sent to Aaron the Moor to be christened by him; in " King Lear " we havemention of spectacles; in " Macbeth," in like manner, the scene of which belongsto the Saxon times, dollars are mentioned: -" Nor would we deign him burial of his men,Till he disbursed, at Saint Colmes' inch,Ten thousand dollars to our general use."And one of Macbeth's soldiers speaks of cannons:" If I say sooth, I must report they wereAs cannons overcharged with double cracks;So theyDoubly redoubled strokes upon the foe. "In "Pericles," we have mention of Spanish ruffs, and of pistols:-" My lord, if ICan get him once within my pistol's length,I'll make him sure: so farewell to your highness ."As an exception to what appears to have been the general rule, the figures of Christ,the Virgin, and the Apostles, appear long to have preserved traditionally their primitivecostume in the paintings of the middle ages; but the heroes of the Old Testamentshare the fate of the Greeks and Romans. All Pagans are painted in the costumeof Saracens. In a few rare instances, more especially the older tapestries, some ofwhich are figured in the collection published by M. Jubinal, the artist seems to havemade an attempt at representing ancient costume, which is chiefly exhibited in fantasticand exaggerated forms given to the armour or dress.HISTORY OF ART IN THE MIDDLE AGES. 81THE FIFTEENTH CENTURY.The fifteenth century is the period to which the largest portion of the illuminatedmanuscripts now extant belongs; and they present almost every variety of style andexecution. We find books of this age illustrated with drawings of the rudest description.But in general the artists of the fifteenth century shew more power over the pencil,and exhibit more skill in the selection and application of their colours, than their predecessors; and the miniatures of the latter part of the century are absolute gems ofart. The taste of the Italian school had thenmade its way into Burgundy and Flanders,where most of the finest manuscripts wereexecuted.One of the most beautifully illuminatedmanuscripts in the British Museum is acopy of the French "Romance of the Rose,"executed towards the latter end of this century, probably in the reign of our HenryVII. (MS. Harl. No. 4425) . The style ofthe illuminations in this book partakes butlittle of the character of the middle ages;if we except, perhaps, the anachronisms ofcostume. The cut in the margin, takenfrom one of the miniatures in this manuscript (fol. cxxxvj) , is intended to representthe Grecian painter Zeuxis occupied inpainting a goddess for the Crotoniates, forwhich purpose, according to the story handed down to us by Cicero and Pliny, he tookfor his model some of the most beautiful of their virgins, that he might copy fromnature the more perfect charms of each: -" Comment le bon paintre Zeusis Fut de contrefaire pensisLa tresgrant beaulté de nature,Et de la paindre mit grant cure. "In the original, the artist's living models appear on the right- hand side of the picture.It is worthy of remark, that the old medieval artists working on their vellum, withpencil and scraper, have now disappeared, and we have here a perfect picture of amodern painter with his palette and easel. In fact, the whole system was changed,and works of this kind had been so completely taken out of the hands of the monks,M82 THE ARCHEOLOGICAL ALBUM.that monkish artists are no longer heard of, or, at all events, they had becomeextremely rare.It would be next to impossible, in our engravings, to convey any idea of thebeauty of these miniatures. The one represented in our next cut (from fol. cviij . ofthe MS. ) is a curious illustration ofdomestic manners. Bel- acueil, one ofthe heroines of this singular poem,has placed a chaplet on her head, andis admiring herself in a mirror fixedagainst the wall of the room: -" Bel-acueil souvent se remire,Dedans son miroer se mire,Savoir s'il est si bien seans."We have already seen a lady using amirror in a design taken from the romance of the St. Graal, engraved onone of our plates, in which instanceit appears to have been of metal.have another instance in our next cut,taken from Lydgate's poem of "TheWePilgrim," a work bearing, in its chaDracter, a singular resemblance to the more recent " Pilgrim's Progress. " (MS. Cotton.Tiber. A. VII. fol . 93, r .) The lady, Agyographe, one of the allegorical characters ofthe poem, is represented as dealing in " mercerye: "—000mm" Quod sche, ' Geve (if) I schal the telle,Mercerye I have to selle:Inboystes (boxes) soote (sweet) oynementisThere- with to don allegementis (soothings)To ffolkes whiche be not glade,But discorded and mallade,And hurte with perturbacyounsOff many trybulacyouns.I have knyves, phylletys, callys,At ffeestes to hangen upon wallys;Kombes mo than nyne or ten,Bothe ffor horse and eke ffor men;Merours also, large and brode,And ffor the syght wonder gode:Off hem I have fful greet plenté,For ffolke that haven voluntéByholde hem-silffe ther-ynne."HISTORY OF ART IN THE MIDDLE AGES. 83It appears that she here shews the pilgrim a mirror which flatters the person using it,by representing him more handsome than he really is; but he subsequently obtainsone of a different quality:--" Madame, ' quod I, ' yow not displeese,This myroure schal do me noon eese;Wher-so that I leese or wynne,I wole nevere looke there-inne.'But ryght anoon myne happe it was To loken in another glasse,In the whiche withouten wene (without doubt)I sawe my-sylff ffoule and uncleene,And to byholde ryght hydous,Abhomynabel and vecyous.That merour and that glasSchewyd to me what I was."The mirrors here spoken of were therefore of glass. That in which the lady is contemplating herself in the cut taken from the " Romance of the Rose," is of the samematerial; and it is still more remarkable for being convex. The effects of convexlenses appear to have been perfectly well known in the middle ages from at least asearly a period as the thirteenth century, when they are mentioned by our greatphilosopher Roger Bacon. Spectacles are supposed to have been used from almostas remote a period; but this name seems to have been frequently given to magnifyingglasses in general. Chaucer compares poverty to such a glass:-" Poverte ful often, whan a man is low,-Maketh his God and eke himself to know;Poverte a spectakel is , as thinketh me,Thurgh which he may his veray frendes see."Canterbury Tales, 1. 6783.The following passage occurs in " Colyn Blowbol's Testament," a poem written aboutthe commencement of the sixteenth century (printed in the very curious collection byMr. Halliwell, entitled Nuga Poetica):-Whylis ye have your right memorie,Calle unto you your owne secretory,Maister Grombold, that can handell a pen,For on booke he skrapith like an hen,That no man may his letters know nor se,Allethough he looke thrugh spectacles thre."The cut on the following page is taken from an engraving of the death of the Virginby Martin Schongauer, who flourished at the end of the fifteenth century. One84 THE ARCHEOLOGICAL ALBUM.of the personages represented in it is reading the book through a pair of spectacles of aform resembling very much the common magnifying- glasses of the presentday. By his side is hung the case ofleather belonging to them, the lid ofwhich is attached in the same manneras that of the case in cuir-bouilli atHarbledown, figured on p. 39 of thepresent volume.Our plate of the visit of the countof Artois to the countess of Boulogne,from the interesting manuscript of the" Roman du tres chevalereux comted'Artois," in the collection of M. Barrois of Paris (already alluded to) , willgive a notion of the general character of the larger illuminations of the fifteenth century,with their borders and other accessories . According to a frequent practice of theartists of this period, we have here two incidents of the story exhibited at one view.In front, we have a sort of bird's-eye view of the castle, somewhat confused in itsperspective, but giving a tolerable idea of the disposition of an ancient baronial residence.The count of Artois, attended by his page, is received in the outer ballium by thecountess and her daughter. Within the inner court of the castle we see a building,probably intended for the hall. Behind this front picture, we are introduced into theinterior of the hall, where the countess is entertaining her visitors with minstrelsy anddancing. The group of minstrels are rather scampish-looking fellows, no great credit,as it would seem, to their vocation. Such was, however, their general character. Thehands crossed before, of the daughter of the countess in the front picture, and of oneof the ladies in the hall, are frequently found in illuminations of this period, and appearto have been the fashionable attitude of ladies of the fifteenth century. The ceiling ofthe hall resembles that in our cut from the " Romance of the Rose." There is muchminute detail in this picture to illustrate the history of domestic manners in the middleages. It is this minuteness of detail which gives so much historical value to these oldpictures, even when they are so rudely drawn as to have no other interest in oureyes. Sometimes it descends to what may justly be considered trifling and frivolouscirc*mstances, but even these often form binding links between the manners of thepast and the present. In a cut given in a former page (p . 45) , from the same manuscript of which we are now speaking, a cat with a mouse is introduced, which she isTHI COUNT OF ATOS VISITS THE COUNTFSS OI BOLOGNATHOM A MS. IN T SSASLON OT M 20. J. Ar S

HISTORY OF ART IN THE MIDDLE AGES. 85bringing to her kitten. In another of the pictures of this manuscript, we have againstthe wall of a chamber the group of cages here represented. The barrel cage of thesquirrel, which it is in the act of turning round by its attemptat climbing, is precisely the same as those in which the sameanimal is confined at the present day.The border round our plate is not the one belonging to thisillumination, but it is taken from another illumination in thesame manuscript. It is a good specimen of a style of ornamental border which is of frequent occurrence in books of thefifteenth century. Besides grotesque faces, &c . , these borders contain small figuresand subjects interwoven with the tracery and foliage, which often afford curious illustrations of popular manners and customs. In our example, we have on one side a huntsman blowing his horn; and, on the other, a graceful little figure of a damsel weavinggarlands of flowers, of course emblematical of the " merry month of May. " Not unfrequently these borders are full of monsters and capricious figures. It is in these bordersalso that we sometimes find the arms of the persons for whom the manuscript wasexecuted, as is the case with the illuminations of the Romance of the comte d'Artois,in which recur frequently the arms here represented; they are those of Rodulf marquisof Hochberg and count of Neuchâtel, Rothelin, and Luxemburg, which last provincehe governed under the duke of Burgundy. He resided at Dijon, and died in 1487;so that we know the approximate date and the locality of the manuscript. It may beobserved that, from the intimate connexion between France and England from thetwelfth to the end of the fifteenth century, the pictures drawn in one of the twocountries may be generally taken as representing very nearly the costume and mannersof the other.In the greater number of cases, these borders only surround the page of the manuscript which contains an illumination, but sometimes, particularly on missals, they arerepeated on every page; while in other instances, even when accompanying a miniature,the border only runs down one side. In some manuscripts, where every page has aborder, the border on the reverse of each leaf is a mere copy, traced through thevellum, of that on the obverse; so that there is a duplicate of every subject. In thelatter half of the fifteenth century, and towards the beginning of the sixteenth, theborders became exceedingly rich and elaborate, and are often laid upon a broad groundof gold. The favourite subjects at this time were flowers, intermixed with butterflies,moths, and insects, and sometimes birds. A striking picture of a book ornamented inthis style is given by the poet Skelton, early in the sixteenth century, in the followinglines of his " Garlande of Laurell: ”—86 THE ARCHEOLOGICAL ALBUM."With that of the boke losende were the claspis:The margent was illumynid all with golden raillesAnd byse, enpicturid with gressoppes (grashoppers) and waspis,With butterflyis and fresshe peco*ke taylis ,Enflorid with flowris and slymy snaylis;Envyvid picturis well towchid and quikly;It wolde have made a man hole that had be ryght sekely, (sickly)To beholde how it was garnysshyd and bounde,Encoverde over with golde of tissew fyne;The claspis and bullyons were worth a thousande pounde;With balassis and charbuncles the borders did shyne;With aurum musicum every other lyneWas wrytin: and so she did her speede,Occupacyoun, inmediatly to rede. "One of the most superb specimens of this style known, belonging to the period lastmentioned, is exhibited in the celebrated " Hours " of Anne of Britany, preserved inthe Royal Library at Paris, from which a selection of exquisitely beautiful subjects hasbeen recently published by Messrs. Longmans and Co., under the title of an " Illuminated Calendar." In our last plate of illuminations we have given, as a specimen, aportion of one of these borders from a fine manuscript of the fifteenth century, in theBritish Museum (MS. Reg. 16 F. II. ) .The initial letters, which were now equally rich with the borders, had preceded thelatter in their advance; for we find them in the fourteenth century resplendent withgold, which had seldom been used during the two or three preceding centuries. Ourilluminated plate contains an example of these initials, taken from MS. Reg. 20 D. X.,in the British Museum, and containing what were, without doubt, intended for portraits of Edward III . and the Black Prince. The manuscript appears to have beenexecuted soon after the year 1386; it contains copies of various charters and otherdocuments relating to some of the important events of Edward's reign, among whichis the grant of Aquitaine by that monarch to the Black Prince, to which this initialis prefixed.The manuscript from which our border is taken ( MS. Reg. 16 F. II. ) contains theworks of a prince-poet, Charles duke of Orleans, the prisoner of Azincourt. We giveon the same plate, as a further specimen of the drawing and colouring of this period,a miniature from another book connected with the older poetry of France. This is avolume of the writings of a celebrated lady, Christine de Pisan, who lived at the endof the fourteenth and beginning of the fifteenth centuries ( MS. Harl. No. 6431) . Thelady writing is Christine herself, whose portrait occurs several times in the course ofthe volume, which appears to have been executed under her directions, early in thefifteenth century, as a present to the queen of France.Specimens from illuminated Manuscripts in the British Museum .2M& N Haar Chrom,FW Farnout P SA1 CHRISTINE DE PISAN , FROM A VOLUME OF HER POEMS HARLEIAN M S 4431 .2 BORDER FROM THE POEMS OF THE DUKE OF ORLEANS ROYAL MS 16 F 2.3 EDWARD . GRANTING THE DUCHY OF AQUITAINE TO EDWARD THE BLACK PRINCEROYAL MS 20 D 10.London Published by Chapman & Hall 186 Strani

HISTORY OF ART IN THE MIDDLE AGES. 87We proceed to give a few more specimens of the designs of the illuminators of thiscentury, which were now applied to almost every possible subject. Even scientifictreatises were adorned with miniatures, sometimes of an allegorical character, though atothers they exhibit literally theprocesses and operations described in the text. Illuminated manuscripts of this classare found in the fourteenthcentury, as in the Burney MS.No. 275, and some others; butone of the most beautiful is thecopy of a French translation ofGlanville on the properties ofthings (MS. Reg. 15 E. II. ) ,from which we have alreadygiven a cut at p . 67. The accompanying subject from thismanuscript (fol. 265, rº) represents a person with a ducal cap,seated under a richly diaperedcanopy, giving orders to workmen. These are a stonemason,employed in shaping the partsof a column, and a carpenter,the nature of whose employment seems rather doubtful, but who is apparentlyoccupied in separating wooden planks with a very singularly shaped instrument.Bartholomew de Glanville flourished about the middle of the fourteenth century, andwrote a book in Latin entitled De proprietatibus rerum, treating compendiously ofevery branch of knowledge. This work continued to be the most popular text- bookon science from that time to the middle of the sixteenth century, and was translated both into French and into English. In the manuscript of which we arespeaking, each book has a highly finished illumination at the beginning. The subjectgiven on a former page heads the fourth book, which treats on the elements; theone given above belongs to the tenth book, which treats of matter and form; wegive as a third specimen of the curious illustrations of this work the subject which88 THE ARCHEOLOGICAL ALBUM.heads book the seventh, on infirmities and diseases. It is the interior of a doctor'sstudy. Around it are thecupboards and shelves, withdrugs and other articles; andthe wall at the back is covered with elegant diaperedtapestry. To the left a surgeon is bleeding a patient,who is holding a weight inhis left hand, the object ofwhich appears to have beento quicken the circulation ofthe blood during the operation. On the other side, aphysician is examining theurinal of the patient behindhim. In the original, thereis another compartment tothe right, in which we seecripples and others approaching the door to seek a curefor their different ailments.Our next cut is, in the original, drawn and coloured with extreme delicacy andspirit. It is taken from a French Chronicle of England, beginning with the fabulous history of the ancient Britons (MS. Reg. 15 E. IV. fol . 40, v°) , and representsthe death of Guendolena, who, in the legendary history of Geoffrey of Monmouth,figures as the daughter of Corineus, and the wife of king Locrine. Locrine had aconcubine named Estrildis, who bore him a beautiful daughter named Sabren; hisqueen, jealous of Estrildis, made war upon her husband, and he was killed in a battlenear the Stour. His concubine and her daughter Sabren (or Sabrina) were throwninto the river which, from the name of the latter, has since been called Severn, andwhich has been stigmatised by the poet as " guilty of maiden's death."alluded to this legend in his beautiful Mask of " Comus: "-" There is a gentle nymph not far from hence,That with moist curb sways the smooth Severn stream ,Sabrina is her name, a virgin pure;Whilome she was the daughter of Locrine,That had the sceptre from his father Brute.Milton hasHISTORY OF ART IN THE MIDDLE AGES. 89She, guiltless damsel, flying the mad pursuitOfher enraged stepdame, Guendolen,Commended her fair innocence to the flood,That stay'd her flight with his cross flowing course.The water-nymphs, that in the bottom play'd,Held up their pearled wrists and took her in,Bearing her straight to aged Nereus' hall;Who, piteous of her woes, rear'd her lank head,And gave her to his daughters to imbatheIn nectar'd lavers strow'd with asphodil,And through the porch and inlet of each senseDropt in ambrosial oils till she reviv'd,And underwent a quick immortal change,Made goddess of the river. Still she retainsHer maiden gentleness, and oft at eveVisits the herds along the twilight meadows,Helping all urchin blasts, and ill- luck signsThat the shrewd meddling elfe delights to make,Which she with precious vial'd liquors heals;For which the shepherds at their festivalsCarol her goodness loud in rustic lays,And throw sweet garland-wreaths into her streamOf pansies, pinks, and gaudy daffodils. "Locrine had by his queen Guendolenaa son named Maddan, who succeededto the throne, and who governed byhis mother's counsels. The man at thefoot of the bed is probably intended torepresent Maddan: the sorrow of thethree mourners is well represented; although intended for ancient Britons, theyare dressed in the fashionable costume ofthe fifteenth century: another instance ofthe anachronisms of the medieval artists .The large canopied bed is a remarkablyfine specimen of that article of furniture,which was then only possessed by kingsand princes, or by some of the morepowerful barons. It may also be observed, with regard to the queen, that itwas the general custom in the middleages to sleep in bed quite naked; this practice is frequently shewn in early illuminations, and is not less frequently alluded to in written documents. When a nightN90 THE ARCHEOLOGICAL ALBUM.gown was worn, it is almost always mentioned as an extraordinary circ*mstance, orsome special reason is given for it.Our next cut is taken from a breviary,also in the British Museum (MS. Burney,No. 332, p. 137), and represents the ceremony of performing the burial service . Itis the best-treated subject in the volume,which is in other respects not superior tothe ordinary illuminated missals of this age.It is, altogether, an interesting miniature;the chapel in the background, the crossbeside the grave, the garb of the mourners,and the different actors in the melancholyscene, one of whom bears the crosier andthe holy-water bucket, are all deserving ofnotice. The body is placed in the gravewithout a coffin, wrapped in sere- clothesalmost like an Egyptian mummy. Untila comparatively late period, the ordinarydead were not honoured with coffins.Another manuscript in the same collection (MS. Burney, No. 333) , a Breviary ofthe order of Vallombrosa (Breviarium ordinis Vallis Umbrose) , furnishes the tail-piecebelow, representing a monk undergoing the discipline. It is a small volume, and themargins of the illuminated pages contain diminutive but delicately executed groups offlowers. The subject of our cut occupies the foot of page 269.ON SYMBOLISMIN ECCLESIASTICAL ARCHITECTURE.ONE of the remarkable characteristics of the medieval architects was the freedomwith which they introduced into their works grotesque figures of animals and men,and other objects, sometimes degenerating into subjects of a very coarse description .It is evident that these figures were introduced in buildings with the same principlesand objects, and in the same taste, which caused them to be so much employed inornamenting the borders and margins of illuminated manuscripts. There are instances where, among the ornamental sculptures of an ancient church, we meet withsubjects taken from medieval romances: such as the intrigue between the philosopherAristotle and the wife of his royal pupil, which occurs in churches in France; andvarious incidents connected with the romance of Renard, which was no less popularduring the middle ages than the Lay of Aristotle.It has been the fashion of late to consider all these grotesque or romantic figuresas symbolical of the mysteries of Catholicism, and they have been looked upon bysome with veneration, as having sprung from a species of inspiration with which theartists are supposed to have been fraught. While, however, so much has been saidupon this subject by some writers of the present day, it is rather remarkable thatthe testimony of the medieval writers on the subject has been very generally overlooked. It is singular enough that the Church itself, both by the mouths of itspreachers individually and by the decrees of its councils, opposed this style of ornamentation, as frivolous and unmeaning. St. Bernard of Clairvaux, one of the mostpious and revered of the medieval fathers, in an " Apology " addressed to Williamabbot of St. Thierry, in the twelfth century, expresses strongly his indignation on thissubject. In the midst of his exhortations he exclaims: -" Moreover, what is the useof that ridiculous monstrosity placed in the cloisters before the eyes of the brethrenwhen occupied with their studies, a wonderful sort of hideous beauty and beautifuldeformity? what is the use there of unclean apes? of ferocious lions? of monstrouscentaurs? of animals half men? of spotted tigers? of fighting soldiers? of hunters92 THE ARCHEOLOGICAL ALBUM.sounding their horns? Sometimes you may see many bodies under one head; atothers, many heads to one body. Here is seen the tail of a serpent attached to thebody of a quadruped; there the head of a quadruped on the body of a fish. Inanother place appears an animal, the fore-half of which represents a horse and thehinder parts a goat . Elsewhere you have a horned animal with the hinder parts of ahorse. Indeed there appears everywhere so multifarious and so wonderful a variety ofdiverse forms, that one is more apt to con over these sculptures than study the Scriptures, to occupy the whole day in wondering at these rather than in meditating uponGod's law." The pious writer concludes: " For God's sake! if people are not ashamedof the extravagance of these follies, why should they not at least regret the expenserequired to produce them? ”*These ornaments are repeatedly forbidden by the councils of the church, held indifferent ages. In the decrees of the second Nicene Council (A.D. 787) , as quoted byM. Langlois in his Essai sur la Calligraphie, it is declared to be " not only puerile, butaltogether foolish and impious, to attempt to fascinate the eyes of the faithful in theholy place with the figures of animals or fishes, or other such devices ."+ Similardecrees will be found in the acts of other councils.

• This passage is so curious and valuable, that it | Hic cornutum animal equum gestat posterius. Tam

may not be thought unadvisable to give it in the originallanguage:-" Cæterum in claustris coram legentibus fratribusquid facit illa ridicula monstruositas, mira quædamdeformis formositas ac formosa deformitas? quid ibiimmundæ simiæ? quid feri leones? quid monstruosicentauri? quid semi-homines? quid maculosæ tigrides?quid milites pugnantes? quid venatores tubicinantes?Videas sub uno capite multa corpora et rursus in unocorpore capita multa. Cernitur hinc in quadrupedecauda serpentis; illinc in pisce caput quadrupedis . Ibibestia præfert equum, capram trahens retro dimidiam.multa denique tamque mira diversarum formarum ubique varietas apparet, ut magis legere libeat in marmoribus quam in codicibus, totumque diem occupare singula ista mirando, quam in lege Dei meditandɔ. ProhDeo! si non pudet ineptiarum, cur vel non piget expensarum? " -S. BERNARDI Apolog. ad Guil. S. Theodorici abb. Oper. tom. i . col. 545."Non solum puerile, sed plane stultum et impiumest, imaginibus animalium aut piscium aut ejusmodi rerum in sacro loco fidelium oculos fascinare velle. " -Concil. Nic. act. 4 et 5.

1BURGH CASTLE , SUFFOIK .BURGH CHURCH, SUFFOLK .BURGH CASTLE,AND THEECCLESIASTICAL ROUND TOWERS OF SUFFOLK AND NORFOLK.BURGH CASTLE, in Suffolk, one of the finest of the Roman remains in our island,has recently received an additional interest from the circ*mstance of its havingnarrowly escaped destruction by a railway, although it is hoped that it is now out ofdanger. When antiquities of minor importance stand in the way of public utility, wecan only lament over a necessary loss, and do our best to preserve them in faithfuldrawings and descriptions; but the hand of government should be held out to protectnational monuments of such extent and interest as the one which is the subject of thepresent remarks. It is to be wished that a clause for the preservation of such ruinsshould be inserted in all railway bills.Burgh Castle stands on the edge of a table-land, overlooking the marshy levelthrough which the river Waveney flows, and which was in the times of the Romanscovered with the waters of the Garenis Ostium. There can be little doubt that the seaonce washed the foot of the bank on which the castle stands, both from the presentaspect of the country and from the circ*mstance that parts of anchors, rings, andother pieces of iron belonging to ships, with large beds of shells, particularly those ofoysters, have been found in digging in the marshes and in the immediate vicinity ofthe castle.The history of this castle is very obscure, it being not even mentioned in theancient Itineraries; but it seems to be now generally agreed among antiquaries that itis the station mentioned in the Notitia Imperii, under the name of Gariannonum, asoccupied by a præpositus of the Stablesian horse (præpositus equitum Stablesianorum)under the command of the count of the Saxon shore ( comes limitis Saxonici) . Theremains of another fortification are found at Caistor, on the opposite side of themarshes, between five and six miles from Burgh, which is supposed to have been a94 THE ARCHEOLOGICAL ALBUM.station dependent on that of Gariannonum. John Ives, a young and promisingantiquary of this neighbourhood in the last century, who published in 1774 a bookentitled " Remarks upon the Garianonum of the Romans," supposes that this fortresswas built by Ostorius in the reign of Claudian; but this appears to be nothing morethan a conjecture, supported by no authority. It is more probable that it was builtat a later period, as one of the chief garrisons to secure this part of the island againstthe piratical incursions of the Saxons.The walls of Burgh Castle are more extensive than those of Richborough, thoughnot so lofty. Like that station, also, its form is a parallelogram, having walls on threesides, the fourth side lying open to the shore, and defended only by the steep cliff.The eastern, or longest wall, parallel to the cliff, and in the middle of which is thedecuman gate, is about 650 feet long, and the lateral walls are about half that length.They are fourteen feet high and nine feet thick, and the area within contains fouracres and two roods. The walls are faced with cut flints, between horizontal layersof bricks of a fine red colour. The view in our plate is taken from the breachin the southern wall of the castle: that given in the cut above is taken from thesouth-east, and exhibits the whole range of the eastern wall, with the church andvillage of Burgh in the distance. On the east side (including the corner towers)the wall is supported by four round towers, or, rather, round masses of masonry; forthey are solid, with the exception of a hole in the centre of the upper surface, two feetdeep and as many wide. There is a similar tower in the middle of the north wall, andthere was one to the south wall, but the latter was overthrown nearly a century ago.These towers are quite detached from the wall to about one-half of their elevation, butthe diameter of the upper part being enlarged they are there made to join the wall ofthe fortress, which is rounded off at its junction with the corner towers. It has beensupposed, from the circ*mstance just alluded to, that the towers are a subsequentBURGH CASTLE. 95addition to the original building. It has been conjectured, also, that the holes atthe top of these towers were intended for the erection of standards and signals, or oftemporary wooden structures to serve as watch-towers.The tower attached to the south wall was undermined by continual floods of rain,the water of which cut a channel in the earth in making its way through a breach ofthe wall into the area, in its course to the low ground: by its fall it exposed to viewthe remarkable character of the foundation. Here, as at Richborough, the walls aresimply built upon the plain ground. The chalk and lime of the original soil wascovered with earth hard beaten down; upon this were laid oak planks nearly twoinches thick, and upon them a bed of coarse mortar, on which the first stones of thesuperstructure were placed . The tower on the north side is also partly undermined .We give in the margin a view of thesouth-east angle, which will best explainthe manner in which the tower was attachedto the wall.Within the area of the castle greatnumbers of Roman coins have been found,chiefly of the Lower Empire, and almostentirely of copper. At the south- west corner of the area, near the cliff, are the remains of a circular mound of earth, thepurpose and date of which appear to beequally doubtful. But when, in the lastcentury, some labourers were employed inclearing part of it away, they discovered, besides considerable quantities of ashes andbroken pottery, a stratum of pure wheat, black as if it had been burnt. Among otherarticles found at the same time was a silver cochlear, or spoon. Rings, keys, buckles,fibulæ, &c. , have been frequently met with in the fields around the walls, with vastquantities of broken urns, apparently made of the coarse blue clay which is found inthe neighbouring village of Bradwell. From the number of these urns found in thefield to the east of the castle, it has been supposed that it was the cemetery of theRoman garrison.There appear strong reasons for believing that Burgh Castle is the fortress calledby the Saxons, in the seventh century, Cnobheresburg, from the name of some Saxonchief named Cnobhere. In the year 633 an Irish monk, named Furseus, left hisnative country and came to settle in East Anglia, then governed by king Sigebert, whogave him the ruined castle, and he erected a small monastery within the area, which96 THE ARCHEOLOGICAL ALBUM.was afterwards enlarged and adorned by king Anna, but appears to have been destroyedin the Danish invasions. It was in this place, according to Bede, that Furseus hadthe vision of the rewards and punishments of the other world which made so strongan impression on the imaginations of the Saxon Christians, and which is fully relatedin a tract that must have been composed very soon after the time in which the dreamerlived . There are now no traces of the monastery of Furseus; but the church of thevillage of Burgh, a little distance to the north of the castle, is interesting, as havingone of those curious ROUND TOWERS which occur so frequently in this part of thekingdom.These round towers are most numerous in Norfolk and Suffolk, but a few also arefound in the adjoining counties of Cambridge and Essex, as well as in Sussex andBerkshire. Mr. Gage Rokewode, who communicated a paper on the subject of theseecclesiastical round towers to the Society of Antiquaries (printed, with numerous plates,in the twenty-third volume of the " Archæologia,") observes that they are not scatteredindiscriminately over the counties in which they occur, but that they are generallyfound in clusters . Many of them are seen bordering on the Roman Ikenild Street,and some are found along the line of the coast. They are, in some instances, metwith in towns; thus we find three in Norwich, one in Bungay, and one at Lewes inSussex. From the circ*mstance of these towers being found almost entirely withinthe limits of the ancient kingdom of East Anglia, they have been frequently ascribedto the Danes; but this is certainly an erroneous assumption, as the style of their architecture shews that they were nearly all built during the Norman period. It has alsobeen suggested that these towers, always built of flint boulders, owe their form tothe necessity arising from the want of freestone in the districts where they occurmost frequently; but this does not appear to be satisfactorily proved, and squaretowers are found mixed with them in the same counties. The circ*mstance of theirappearing in clusters would lead us to suppose that the round tower had been a stylepreserved by the builders (perhaps from father to son) in certain localities. Historicaldocuments seem to shew that, during the twelfth and thirteenth centuries, Norfolk andSuffolk were districts looked upon as far behind other parts of the island in the marchof improvement and fashion.As it has just been observed, these towers are almost always built of rough flints.The flints are generally laid in regular courses, as at Hadiscoe in Norfolk, and at LittleSaxham and Heringfleet in Suffolk. Sometimes, however, as at Norton in Norfolk,they are not in courses. In the churches in Norwich, and in some other instances,the towers have been recased with cut flints. In some instances, the church to whichthe tower is attached has the semicircular apsis at the east end, as at Heckingham andECCLESIASTICAL ROUND TOWERS. 97Fritton in Norfolk. The loftiest towers of this description are those of Little Saxhamand Blundeston in Suffolk, each of which is fifty- six feet high. The upper parts of thetowers seem generally to have undergone alterations subsequently to the period atwhich they were built, and sometimes they have evidently been raised a story higher:in some this upper story is octangular, instead of being round like the rest of thetower. In some instances the diameter of the tower exceeds fourteen feet; in a fewinstances it is not more than eight: the general average, however, is from ten totwelve. The walls are in general very massive, being, in most cases, from four tofive feet thick. In Sussex they are sometimes not more than two feet and a halfthick.By much the greater number of these roundtowers were evidently built in the twelfth century:many of them exhibit rather late Norman work.The towers of Little Saxham in Suffolk, and GreatLeighs in Essex, contain elegant Norman arches;the latter in the doorway, the former in the upperstory of the tower, which is surrounded by an arcade,as shewn in our first cut, the windows being placedunder larger arches, which are connected by smallerones. The tower of Hadiscoe Thorpe has windowsresembling those of Little Saxham.Mr. Gage Rokewode considered the tower of Taseburgh church, in Norfolk, to beby much the most ancient of any of those which he had examined. In its originalcondition, the tower was ornamented with a double tier of recessed round arches, withsemicircular-headed loops instead of windows. When the upper part of the tower wasrebuilt, the heads of the second tier of recessed arches were cut off, so that the buildinghas at present a very singular appearance. The modern upper story of the tower haspointed windows. The tower of Hadiscoe Thorpe, in Norfolk, presents a somewhatsimilar appearance to that of Taseburgh, though probably more modern; the secondstory is surrounded by a row of shallow buttresses,resembling pilasters .The upper story of the tower of Heringfleet church,in Suffolk, represented in our second cut, has windowsconsisting of two triangular- headed arches, separatedby a small supporting column, within a round arch, notunlike those which are supposed to be peculiar toAnglo- Saxon buildings. It is somewhat curious that0.098 THE ARCHEOLOGICAL ALBUM.Τchurches with round towers are found in early AngloSaxon illuminated manuscripts: there is one in anillustrated Prudentius in the British Museum (MS.Cotton. Cleopatra, C. VIII. fol . 7) . It is not impossible,after all, that, although such of these towers as nowremain appear to have been erected in the age ofNorman rule, they may have been built after an olderSaxon style, which still lived in the memory of thenative builders of these districts. Another instance ofthe triangular-headed window, in this case blunted atthe top, is found in the tower of Hadiscoe in Norfolk,as shewn in the accompanying woodcut.The last cut also furnishes an example of the style of the more modern terminations of some of these towers. In a few instances, as at Great Leighs in Essex, andPiddinghoe in Sussex, the round tower terminates in a spire. We have no means ofascertaining the original characters of the terminations of these towers, on account ofthe modern alterations. In drawings in Anglo- Saxon manuscripts, church- steeplesare sometimes represented with spires and with a weatherco*ck. It may be observed,that very few instances of church- steeples with spires are said to be found inIreland.Some of the later round towers, built, probably, about the end of the twelfthcentury, or beginning of the thirteenth, have windows with arches of the early pointedstyle, often mixed with round-headed windows: as at Little Rushmere in Suffolk,Bartlow in Cambridgeshire, Norton in Norfolk, and West Shefford in Berkshire. InNorton church, pointed arches are found in the windows in the lower part of thetower, and semicircular arches at the top. In many instances, however, the pointedarches appear to be more recent additions to the original building,Internally these towers have sometimes been divided into stories, and sometimes (particularly the smaller ones) they were open from the ground to the top. In one instance,at Thorpe Abbots, in Norfolk, there is a fireplace on the north side of the basem*nt ofthe tower, with a flue nine inches square, coeval with the rest of the building, whichruns up the wall, and gives vent to the smoke through a small loophole. From theirmassive constructions and from other peculiarities, these towers appear to have beenbuilt as places of refuge and defence in sudden hostile incursions. It will be observedthat, in almost all instances, the windows within reach of the ground are mere loopholes, and that the large windows are in the upper story, as in the towers of a Normancastle. This explains why they are found along the coast and rivers running imme-ECCLESIASTICAL ROUND TOWERS. 99diately into the sea, and on the Roman road, which was in early times the chief line ofcommunication, as these were the situations most exposed to predatory invasions.The earlier chronicles, and other documents, furnish instances of people seeking shelterin churches and defending themselves in the steeple; and the village church appearsalways to have been regarded as a place of security for depositing treasures and articlesof value. It has been supposed that the round form, used in these early towers, waslaid aside on account of its inconvenience for the reception of bells .The round tower of the church of Burgh, in Suffolk, the subject of our plate, isnot distinguished from the others by any very remarkable characteristic of style. Itis a plain building, with simple loop- holes for windows, the heads of the lowest ofthese windows being surrounded with an arch of Roman bricks or tiles; taken, nodoubt, from the ruins of Burgh Castle, or from some Roman building dependent uponit, which has now disappeared. The upper part of the tower is modern brickwork.The church is a small building, possessing no very remarkable features; but in theinterior an interesting Norman font is still preserved.OBSOLETE PUNISHMENTS.THE STOCKS AND THE PILLORY.ONE of the most common modes of punishment for lighter offences in the middleages was by exposing the offender, in a disgraceful posture, to the gaze of the publicduring a certain length of time. He was attached by the neck, or by the feet, or bythe hands. In the first instance, the instrument of punishment was a pillory; in theothers, the stocks.The time is not long past when every parish was furnished with a pair ofSTOCKS, and they still remain in some of our country villages . They generallycontained merely a row of holes for confining the legs, but sometimes they had asecond row of smaller holes for imprisoning the hands. They were generally placedin the churchyard or market- place, or on the village-green: the persons confined inthem were chiefly drunkards, idlers, turbulent vagrants, &c. In more ancient timesthere were stocks in the prisons, particularly in those of private establishments, such asmonastic houses, hospitals, and the like. We have already seen that, by the old lawsof the hospital of St. Nicholas at Harbledown, the inmates of either sex were, forcertain offences, liable to be confined in the stocks for as long a period of time as threedays and three nights. * Sometimes the stocks were placed beside or within thepound, as was the case with those in which Hudibras and his squire were confined: -" And ' twas not long before she foundHim and the stout squire in the pound,Both coupled in enchanted tetherBy farther leg behind together. "In an earlier part of the poem these stocks are described in burlesque phraseology:" Thus grave and solemn they marched on,Until quite through the town th' had gone;At further end of which there standsAn ancient castle, that commands

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• See page 34 of the present volume.

OBSOLETE PUNISHMENTS. 101Th' adjacent parts: in all the fabric You shall not see one stone nor a brick;But all of wood; by powerful spellOf magic made impregnable.There's neither iron-bar nor gate,Portcullis, chain, nor bolt, nor grate;And yet men durance there abideIn dungeon scarce three inches wide;With roof so low, that under itThey never stand, but lie or sit;And yet so foul, that whoso is inIs to the middle leg in prison,In circle magical confin'd,With walls of subtle air and wind,Which none are able to break thorough,Until they're freed by head of borough. "In Foxe's " Acts and Monuments " we find two or three cuts of interiors of prisons,with very massive stocks within, having a row of larger holes for the feet, and abovethem a row of smaller ones for the hands. One of these prisons was "within theLolardes Tower at Paules." We learn the position of this tower from old Stow: -" At either corner of this west end " [ of St. Paul's church] , he says, “ is, also ofancient building, a strong tower of stone, made for bell - towers: the one of them, towit, next to the palace, is at this present to the use of the same palace; the other,towards the south, is called the Lowlardes Tower, and hath been used as the bishop'sprison for such as were detected for opinions in religion contrary to the faith of thechurch." Another similar prison, with stocks within, was also in the vicinity ofSt. Paul's, and was called " The Bishop's Colehouse. " Foxe (p. 1690) gives the personal narrative of John Philpots, a sufferer for his religious opinions, of which thefollowing is an extract. The persons who had arrested Philpots are introducedconversing about him:-"Cooke. He saith he is a gentleman.((Story. A gentleman, quoth he? He is a vile heretike knave: for an heretike isno gentleman. Let the keeper of Lollardes Tower come in, and have him away."The keeper. Here, sir!" Story. Take this man with you to the Lollards Tower, or els to the BishopsColehouse.

• * * *

" After this, I with four others moe were brought to the keepers house, in Paternoster Rowe, where we supped. . . . . And with that we were brought through Paternoster Row, to my lorde of Londons Colehouse: unto the whiche is joyned a litleblind house, with a great payre of stocks appoynted both for hand and foot, and therewe found a minister of Essex."102 THE ARCHEOLOGICAL ALBUM.The punishment of the stocks, in these cases, must have been very painful. Themanner in which offenders were confined in them seems to have varied considerably.In the woodcut accompanying the narrative just quoted, the " minister of Essex " isseated, with his right foot and his left hand confined. On a previous page (p. 1608) ,in " the picture describing the strayt handlyng of the close prisoners in LollardesTower," we have four men in the stocks together, two on one side and two on theother. Of these, two have all their hands and feet confined; one has his right footand left hand only confined; and the other is held by his two feet . The latter is laidon his back with some straw under him; of course, without the possibility of risingor changing his position. The other three are seated on stools.The oldest representation of stocks that we have yet met with is engraved byStrutt (vol. ii . plate 1 ), from an illumination in a very early manuscript of thePsalter (apparently of the earlier half of the twelfth century) in the library ofTrinity College, Cambridge. The cut we give in the margin is copied fromCamille Bonnard's work on the Costumeof the thirteenth, fourteenth, and fifteenthcenturies (Paris, 1830) , who took it from aminiature in a manuscript of Livy, supposed to have been executed about the year1380, now in the Ambrosian Library atMilan. The offender is here confined onlyby the right leg, and, although a chair isplaced behind him, it does not appear thathe could possibly sit down. The otherfigure is evidently a spectator mocking andinsulting him.In the year 1472, Sir William Hampton was lord-mayor of London: he appearsto have been a strict reformer of the morals of the citizens, and it is recorded of him,among various other benefits which he conferred upon the city, that he " caused stocksto be set in every ward to punish vagabonds. " This punishment is frequently alludedto in the satirical writers of the sixteenth and seventeenth centuries. Thomas Nashe,in his " Strange Newes " (published in 1592) , speaking of one whom he wished torepresent as holding a very low position in the town of Saffron Walden, says of him," He hath borne office in Walden above twenty yere since; hoc est, had the keeping ofthe towne stocke, alias the stocks."Stocks for the hands were placed at a greater elevation, so that the sufferer, withhis legs at liberty, was held in an upright position: the delinquent, in this case, wasOBSOLETE PUNISHMENTS. 103often subjected to the lash during his confinement, and the machine to which he wasattached received the name of a WHIPPING- POST. This is another popular punishmentnow entirely obsolete. One stood beside the stocks in which Hudibras was confined,and is thus described: -" At th' outward wall, near which there standsA bastile, built to imprison hands;By strange enchantment made to fetterThe lesser parts, and free the greater;For though the body may creep through,The hands in grate are fast enough:And when a circle ' bout the wristIs made by beadle exorcist,The body feels the spur and switch,As if ' twere ridden post by witchAt twenty- miles -an- hour pace,And yet ne'er stirs out of the place.On top of this there is a spire."The punishment of the PILLORY appears to have been in use among the Germanictribes from a very early period. In the Anglo- Saxon laws of Wihtræd ( of the endof the seventh century) a punishment is mentioned called Healsfang, a word whichsignifies literally a catch-neck, and which is supposed to have been a kind of pillory;although, even at that early period, it seems to have been regularly compensated for afine. Strutt (vol. i . plate 15) gives a figure, from an Anglo- Saxon MS. , representinga man fixed by the middle in a kind of forked post, the two branches of the fork beingfastened together over his back; and he considers this to have been the Saxon pillory,and supposes that, while in this posture, the offender was flogged. In the earlyByzantine illuminated history of Joshua (mentioned at p. 66 of the present volume) anumber of spies are represented as being hanged by the neck in similar forked posts,without any cord: so it is, perhaps, only the earlier form of the gallows -the realfurca, or fourche, as it was called in Latin and French.The shape of the pillory was extremely varied: sometimes it consisted of a merepair of stocks, with holes for the head or hands instead of the feet, placed upon anupright post, at an elevation to allow the offender to stand upright. This was theform retained longest in modern times: an example of it is given by Strutt (vol. ii .pl. 1) , from a manuscript of the thirteenth century, with two sets of holes for twopersons. Douce, in his " Illustrations of Shakespeare," gives a cut from Foxe's " Actsand Monuments," in which Robert Ockam, convicted of perjury, is placed in a pilloryof this description, with a paper over his head, on which his name is written . Doucehas given several examples of pillories of different forms. In one, taken from the OrbisPictus of Comenius (published in the first half of the seventeenth century) , woman is104 THE ARCHEOLOGICAL ALBUM.confined with her back to a post by a ring, which passes round her neck. In another,taken from the margin of a table of the standards of weights and measures in the timeof Henry VII. , preserved in the Exchequer and engraved in the " Vetusta Monumenta "of the Society of Antiquaries, a forestaller, or regrator, is placed in a pillory consistingof an upright column, with a slit in the middle, through which the head of the offenderprotrudes, which seems to bear some resemblance to the Anglo- Saxon pillory engravedby Strutt. Douce gives another pillory, from a manuscript of the French Chronicleof St. Denis, preserved in the British Museum (MS. Reg. 16 G. VI. ) , of thefourteenth century; it consists of a round hoop or ring, supported by posts, on acircular substructure of stone: the hoop is pierced with holes for heads and hands, andfour persons are represented as undergoing the punishment. The same writer has alsogiven an engraving of an ancient pillory formerly standing in the village of Paulmy, inTouraine, consisting of two such hoops, the upper one containing the holes for theheads, and the lower one those for the hands. It is raised, like the former, on acircular substructure, and is covered by a roof terminating in a spire. The accompanyingwoodcut is copied from anilluminated MS. of Froissart,of the fifteenth century (preserved in the British Museum, MS. Harl. No. 4379),and represents the executionof Aymerigot Mancel, in thefourteenth century. The locality is a market- place inthe French capital; and wesee there a large and curiously formed pillory, on arather lofty substructure, covered by a roof, with a spire.The substructure in this pillory was, probably, as in manyother instances, a small prison,often called the cage. Theframe within this pillory appears to revolve on a pivot.Aymerigot Mancel was oneof the leaders of bands in the great companies which devastated France during theOBSOLETE PUNISHMENTS. 105English wars in the fourteenth century, and, falling into the hands of his enemies, hewas carried to Paris, and condemned as a traitor. We learn from the text of Froissartthat " he was first carried in a cart to the pillory in the market-place, and turned roundwithin it several times. The different crimes for which he was to receive death werethen read aloud, after which his head was cut off." A large pillory of this descriptionappears to have been of frequentoccurrence in towns, where it was formerly in constantuse, and where it was often necessary to " accommodate " several persons at the sametime. In London there was a pillory of this kind on Cornhill, of which we shall haveoccasion to speak further on in the present article. Douce informs us that, towardsthe end of the last century, there was still remaining in the Section des Halles, at Paris, anold triangular building of stone, with openGothic windows, through which appeared aniron circle, with holes for receiving the necksand hands of several persons at the same time.A square building, of a similar character, oncestood in the Cornmarket of Dublin, of which wegive a representation, copied from a drawing in amanuscript of the beginning of the seventeenthcentury, preserved in the Herald's Office, DublinCastle. The old books of accounts, of nearly allour corporate towns, contain items relating tothe building or repairing of the pillory . In thoseof Banbury we have the following scattered entries, under the year 1556, when the cage andpillory belonging to that town appear to havebeen moved from the spot where they had previously stood, and to have been rebuilt near thetown-hall:-66Item, received of Huge Sly, for olde tymbre of the pyllore, vjd." The charge.Imprimus, for takynge downe of the pellyry, ijd .Payde to the carpendar for workenge of the pyllrye and att ower hall for vj . dayesand nyghtts, vj viij “ .Payd to the massones for taykynge downe of the pyllrye and workenge downe ofthe particcion of ower halle, ijs ijd.P106 THE ARCHEOLOGICAL ALBUM.Payd for carynge partt of the cage fro the castell, vjª .Payd to Northan Jhon for caryge of tymbar of the cage from the castell, vjª .Payd for v. dayes worke of ij . menes for to make the kockestoll, viijs iiijª .Payd to Jhon Awod for makinge of sartun stapulls and hokes for the kockestoll,ij³.Payd for settynge up of the cagge, to Nycolas Sturgon and Jhon Carpendre,vjs viijd.Payd to Thomas Yoyke for carryge of the tymbre of the cage to the court hallfrom the castell, vjd .Payd for a peace of ashe to Nycolas Sturgon for the kockstoll, vjd.Payd for makynge the castell walle agayne that was brokon doune in havyng outthe cage, iiijd.Payd for ij . horsse lokes for the cagge dore, and the stokes, xxd."This would appear as if the cage, pillory, cucking- stool, and stocks, had all thesame locality, and were connected with each other; and accordingly, in a later accountbook of the same town (for 1593) , we have combined in one entry of expenses, " Item,stocks, pillory, cooking- stoole, and tumbrell. " *The punishment by pillory was one of the manorial rights of feudal times, and itappears, with the stocks, to have been one of the instruments for tyrannising over thepeasantry or servial class of the population . Similar modes of punishment were formerly practised against the slaves in America and the West Indian islands. In themedieval towns the pillory was used chiefly against dishonest traders. A satirical poetof the reign of Edward II . (in the " Political Songs " published by the Camden Society,p. 345) , complaining of the remissness with which justice was then executed againstoffenders of this kind, exclaims:-" But bi seint Jame of Galice, that many man hath souht!The pilory and cucking- stol beth i -made for noht. "It appears from the statutes of the church of Anjou, promulgated in 1423 (quotedin Ducange, v. instalare), that blasphemers and irreligious men were at that periodplaced in the pillory. It was in very common use on the continent, and is frequentlymentioned in old documents. From one of these, dated in 1336 (quoted by Ducangein v. pilorium), we learn that it was ordered by a council that a pillory should be erectedin cemeteries and holy places (in cœmeteriis et locis sacris) . In 1407, as we learn

• See Beesley's " History of Banbury, " pp. 224-226, and p. 248.

OBSOLETE PUNISHMENTS. 107from Monstrelet, during the quarrel between the rival popes, Gregory XII. (AngeloCorrario) and Benedict XIII. (della Luna) , the latter excommunicated the king ofFrance: Master Sausein, and the messenger from Pietro della Luna, who hadbrought the letter and bull of excommunication to the king, with mitres on their headsand having surcoats emblazoned with the arms of Pietro della Luna reversed, werecarried most disgracefully in a dung- cart from the Louvre to the court of the palace;and shortly after, near the marble tables, at the end of the steps, were set on a pillory.They were thus exhibited for a very long time, having labels on their mitres, on whichwas written, ' Disloyal traitors to the church and king.' They were then carriedback in the aforesaid cart to the Louvre. " Stow, in his " Survey of London,"gives the following quaint account of the pillory on Cornhill: - " By the west sideof the foresaid prison, then called the Tun, was a fair well of spring water, curbedround with hard stone; but in the year 1401, the said prison-house, called the Tun,was made a cistern for sweet water, conveyed by pipes of lead from Tiborne, andwas from thenceforth called the Conduit upon Cornhill. Then was the well plankedover, and a strong prison made of timber, called a cage, with a pair of stocks therein,set upon it; and this was for night-walkers. On the top of which cage was placed apillory, for the punishment of bakers offending in the assize of bread; for millersstealing of corn at the mill; for bawds, scolds, and other offenders. As in the year1468, the 7th of Edward IV. , divers persons being common jurors, such as at assizeswere forsworn for rewards, or favour of parties, were judged to ride from Newgate tothe pillory in Cornhill, with mitres of paper on their heads, there to stand, and fromthence again to Newgate; and this judgment was given by the mayor of London. Inthe year 1509, the 1st of Henry VIII. , Darby, Smith, and Simson, ringleaders of falseinquests in London, rode about the city with their faces to the horse tails, and paperson their heads, and were set on the pillory in Cornhill, and after brought again toNewgate, where they died for very shame, saith Robert Fabian . A ringleader ofinquests, as I take it, is he that, making a gainful occupation thereof, will appear onNisi- priuses, or he be warned, or procure himself to be warned, to come on by a tales .He will also procure himself to be a foreman when he can, and take upon him to overrule the rest to his opinion: such a one shall be laboured by plaintiffs and defendants,not without promise of rewards, and therefore to be suspected of a bad conscience. Iwould wish a more careful choice of jurors to be had; for I have known a man carted,rung with basons, and banished out of Bishopsgate ward, and afterward in Aldgateward admitted to be a constable, a grand juryman, and foreman of the wardmoteinquest: what I know of the like, or worse men, proffered to the like offices, I forbearto write, but wish to be reformed. " " In the year 1546," Stow adds, " Sir Martin108 THE ARCHEOLOGICAL ALBUM.Bowes, mayor, dwelling in Lombard Street, and having his back-gate opening intoCornehill against the said conduit, minded to have enlarged the cistern thereof with awest end, like as Robert Drope before had done towards the east: view and measure ofthe plot was taken for this work; but the pillory and cage being removed they foundthe ground planched, and the well aforesaid worn out of memory, which well theyrevived and restored to use it is since made a pump. They set the pillory somewhatwest from the well, and so this work ceased . "After the accession of the Stuart dynasty to the English throne the pillory was usedas a punishment for political offences, more especially for the publication of books andpamphlets that were considered objectionable by the ruling powers. From this periodit obtained greater celebrity, and its history is connected with the names of Prynne,and Bastwick, and De Foe, and a host of other names which occupy a place, in oneway or other, in the annals of our country. It was now frequently exercised with greatcruelty, and was often accompanied by the amputation or mutilation of the ears of theoffender, who was sometimes attached by the ear instead of the neck. The satiricalwriters of the time make frequent allusion to this punishment. Thus, in Hudibras:-" Each window like a pillory appears,With heads thrust through, nail'd by the ears. "And again, the same writer speaks of --" Witches simpling, and on gibbetsCutting from malefactors snippets,Or from the pillory tips of earsOf rebel saints and perjurers."We have seen a very curious pack of playing cards, apparently of the reign ofCharles II., now in the possession of Mrs. Fitch of Ipswich, in which every card has apicture relating to some one of the conspiracies and other events of that period: one ofthese pictures -on the knave of clubs -represents " Reddin standing in ye Pillory."The pillory, in this picture, is of the common simple form, resembling that of RobertOckam already described.When the pillory became notorious as a political punishment, it was looked upon asan instrument of martyrdom, and soon lost most of its terrors. De Foe, as a politicalpartisan who had experienced its effects, published an " Ode to the Pillory " in 1703,which he apostrophises thus:-" Hail, hieroglyphic state machine!Contrived to punish fancy in:Men that are men in thee can feel no pain,And all thy insignificance disdain. ”OBSOLETE PUNISHMENTS. 109He describes it as serving political purposes, and punishing party and not crime,and therefore no longer attended with shame: -" Thou art the state- trap of the law,But neither canst keep knaves nor honest men in awe;These are too hardened in offence,And those upheld by innocence. "He goes on to enumerate some of the men who had suffered unjustly:"How have thy opening vacances received,In every age, the criminals of state?And how has mankind been deceived,When they distinguish crimes by fate?Tell us, great engine, how to understand,Or reconcile the justice of the land;How Bastwick, Pryn, Hunt, Hollingsby, and Pye,Men of unspotted honesty -Men that had learning, wit, and sense,And more than most men have had since,Could equal title to thee claimWith Oates and Fuller, men of later fame.Even the learned Selden sawAprospect of thee through the law:He had thy lofty pinnacles in view,But so much honour never was thy due.Had the great Selden triumph'd on thy stage,Selden, the honour of his age,No man could ever shun thee more,Or grudge to stand where Selden stood before. "

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The pinnacles have been mentioned more than once in our foregoing descriptionsof pillories. De Foe adds:-" Thou art no shame to truth and honesty,Nor is the character of such defaced by thee,Who suffer by oppressive injury.Shame, like the exhalations of the sun,Falls back where first the motion was begun:And he who for no crime shall on thy brows appear,Bears less reproach than they who placed him there."From those who had suffered, the satirist turns to the classes of offenders whoought to be subjected to this punishment, and he goes on to enumerate the principalvices of his age, averring that-" Justice is inverted, whenThose engines of the law,Instead of pinching vicious men,Keep honest ones in awe. "110 THE ARCHEOLOGICAL ALBUM.Accordingly, we find that the pillory had very little effect in stopping the mouthsof the crowd of libellous writers who fed upon the vicious manners and taste of thelast century. It was looked upon as little more than a sure means of acquiringnotoriety -a public advertisem*nt. Foote alludes, more than once, to the benefits anauthor or publisher derives from this source; and, in his farce of " The Patron, " Puffthe publisher advises Dactyl the poet to forsake the Muses and write " a good sousingsatire: " to which the cautious author replies, " Yes, and so get cropped for a libel! "The publisher indignantly exclaims, " Cropped! ay, and the luckiest thing that canhappen to you! Why, I would not give twopence for an author that is afraid of hisears! Writing, writing is, as I may say, Mr. Dactyl, a sort of warfare, where nonecan be victor that is the least afraid of a scar. Why, zooks, sir! I never got salt tomy porridge till I mounted at the Royal Exchange: that was the making of me.Then my name made a noise in the world. Talk of forked hills and of Helicon!Romantic and fabulous stuff! The true Castalian stream is a shower of eggs, and apillory the poet's Parnassus. "As might be expected in this state of things, in moments of political excitement,the pillory was sometimes a triumph rather than a punishment. We learn from the"Gentleman's Magazine " for 1765, that " Mr. Williams, bookseller in Fleet Street,stood on the pillory in New Palace Yard, Westminster, pursuant to his sentence, forrepublishing the North Briton,' No. 45, in volumes. The coach that carried himfrom the King's Bench prison to the pillory was No. 45. He was received by theacclamations of a prodigious concourse of people. Opposite to the pillory were erectedfour ladders, with cords running from each other, on which were hung a jack- boot, anaxe, and a Scotch bonnet. * The latter, after remaining some time, was burnt, and thetop of the boot chopped off. During his standing, also, a purple purse ornamentedwith ribands of an orange colour was produced by a gentleman, who began a collectionin favour of the culprit by putting a guinea into it himself; after which, the pursebeing carried round, many contributed, to the amount on the whole, as supposed, ofabout two hundred guineas. Mr. Williams, on getting into the pillory and gettingout, was cheered by the spectators: he held a sprig of laurel in his hand all the time."At a much more recent period, in March 1812, a bookseller of Ave Maria Lane,named Eaton, an aged man, was convicted of having published the third part of Paine's' Age of Reason, " a work equally repugnant to morality with the writings of Wilkes,and he was condemned to eighteen months' imprisonment and to be exposed once onthe pillory. He stood in the pillory on the 25th of May, and was received with de-

• All these articles bore allusion to Lord Bute, then minister.

OBSOLETE PUNISHMENTS . 111monstrations of sympathy and respect, the mob taking off their hats and cheering him,while some individuals offered him wine and refreshments.In later times, however, the pillory has been chiefly used as a punishment for thecrime of perjury. The mutilation of the offender's ears was no longer practised; butanother practice, hardly less disagreeable, was persisted in to the last —the throwingof rotten eggs, mud, and other articles, at the offender while in the pillory. When theculprit had rendered himself or herself (for it was not confined to one sex) particularlyobnoxious, harder substances, and even stones, were used as missiles by the mob; andthe results were often very painful, and in some instances fatal. This circ*mstancecaused so degrading and barbarous a punishment to be gradually laid aside, and it isnow many years since it was put in practice, although it was not formally abolisheduntil the year 1837, by the statute of 1 Vict. c. xxiii . It had previously gone out ofuse in France and in Germany. In the latter country the pillory was called a pranger;in France it bore the medieval names of carcan and pillori.The annexed cut represents a FINGERPILLORY, still preserved in the church ofAshby-de-la-Zouch, in Leicestershire. It isthree feet high, and has, as here shewn, holesfor holding at once four fingers of the hand,or only two fingers. The diagram underneath shews the manner in which the fingerwas confined, and it will easily be seen that itcould not be withdrawn until the pillory isopened. If the offender were held long in this posture, the punishment must havebeen extremely painful .SKETCHES OF ANCIENT STREET ARCHITECTURE.No monuments of past ages are now disappearing so rapidly before the innovationsof modern improvements, as those masses of picturesque buildings which adorned thestreets of the medieval towns. How many plain monotonous lines of modern brickwork have, within our own time, usurped the place of the varied outlines of the oldtimber-houses, with their peaked gables and their elegant carvings! The streetarchitecture of Old England appears never to have equalled in richness that of thecontinental cities; but some of our country towns still furnish occasional exampleswhich possess no ordinary degree of beauty, which, it is hoped, may be long preserved,and regarded in their true light —as national monuments. The specimens given inthe plates which illustrate the present article have been chosen as combining, in somedegree, historical associations with architectural features. They will give us an opportunity of saying a few words about the localities to which they belong.Few towns are more interesting to the antiquary than IPSWICH. Situated in anadvantageous position for carrying on the trade with Flanders, it became from an earlyperiod a rich mercantile emporium; and some of the most profitable manufactures ofthe continent were brought to it, at a subsequent period, by the Protestants who fledfrom the bitter religious persecution with which they were visited at home. From itsintercourse with the Low Countries, where a considerable degree of freedom of religiousand political opinion had prevailed during the middle ages, Ipswich, with some of theother towns on the same coast, was in advance of other parts of the island in thesematters; and it was distinguished at the time of the reformation for the zeal of thetownsmen in the cause of protestantism, several of whom suffered martyrdom in thereign of queen Mary. Commerce and manufactures are the certain sources of riches;and Ipswich once contained many fine mansions of its wealthy inhabitants, of whichthere are still some remains. The two most remarkable buildings of this descriptionnow existing are known by the names of Mr. Sparrowe's House and The Tankard.The former is a remarkably fine specimen of early Elizabethan architecture.The subject at the foot of our first plate of Street Architecture is a view of thesouthern end of St. Lawrence's Lane in Ipswich, with the corner of Mr. Sparrowe's

62SAFFRON WALDEN ESSEXANCIENT HOUSE IN CHURCH STREETCOMMERCIAL INNSKETCHES OF ANCIENT STREET ARCHITECTURE. 113House opposite. The lane in the foreground is formed of old timber-houses, and hason the left-hand side the church of St. Lawrence, an uninteresting building of theearlier part of the fifteenth century. Within this church is the vault of the Sparrowefamily, which is entitled, in a brief but singularly quaint inscription over the entrance,NIDUS PASSERUM -a nest ofsparrows! This family has been in possession of the oldhouse of which we are speaking during many generations, it being at present occupied by John Eddowes Sparrowe, Esq., town-clerk of the borough. The Sparrowesbought it of G. Copping in 1573.Mr. Sparrowe's House stands in the Butter Market. From a document mentionedby Mr. Wodderspoon,* and from the initials G. C. which occur in the interior, withthe date 1567, it appears that this house was built in that year by George Copping,who is mentioned in the document as occupying it in 1570. According to a traditionin the family, but which is corroborated by no historical evidence, this house affordeda shelter to Charles the Second in his wanderings after the disastrous battle of Worcester, before he made his escape to the continent. The story has, perhaps, originatedin the circ*mstance that portraits of Charles and of one of those individuals who aidedin his escape (Mrs. Lane of Staffordshire) have been preserved in the family; but itwas believed to have been confirmed in the year 1801 by the accidental discovery of asecret chamber, which was immediately fixed upon as the place of the monarch's concealment. This room is supposed to have been part of a chapel belonging to an olderbuilding, which was closed up in Elizabeth's reign. It was brought to light by thefalling away of a part of the plaster of the partition, and, when first discovered, " thefloor was strewed with wooden angels and such figures as usually serve to decorate acatholic oratory. ". Within this chamber are the arched timbers of a slightly ornamented roof.The appearance of the external front of the house, extending in breadth aboutseventy feet, is very striking, from the profusion of ornamental carving with which itis covered. The windows of the basem*nt story are separated by carved pilasters andpanels, and crowned with strings of pendent fruit . The second story has four baywindows in front, and one at the end looking into St. Stephen's Lane, which is seenopposite St. Lawrence's Lane. Under the front windows are carved panels, representing respectively emblematical figures of Europe, Asia, Africa, and America, accompanied with their several attributes; which have been supposed to intimate that thetrade of Ipswich was carried through the four quarters of the globe. The spaces betweenthese windows are covered with sculpture, representing animals, fruit, and flowers,

• In a carefully compiled " Guide to Ipswich, " pub. | A cut of the front of Mr. Sparrowe's House is given in lished in 1842, and in his " Historic Sites of Suffolk. ' the former work.

"Q114 THE ARCHEOLOGICAL ALBUM.with wreaths of roses and various other devices. Among the ornaments on the corresponding part of the house looking towards St. Stephen's Lane, is a representation ofAtlas supporting the globe; and below this a group, supposed to represent the firstEclogue of Virgil —a shepherd, surrounded by his flock, sitting under a spreadingtree (the patula fa*gus of the poet); while another shepherd, leading a flock of sheep,approaches him, with his hat in one hand and his crook in the other. It is suggestedthat this pastoral scene was designed in part as an emblem of the extensive wool tradethen carried on in Ipswich. The whole extent of the front and end of the house iscrowned by a very wide projecting platform, above which rise from the roof four atticwindows, corresponding with the windows below, with sculptured figures of cupids indifferent attitudes under their gables. Extensive gardens and other premises wereformerly attached to the back of the house.The rooms in the interior of Mr. Sparrowe's House are no less richly ornamentedthan the exterior walls. On the first floor a fine room, forty- six feet long by twentyone feet wide, extends over the whole front part of the building, and is lighted by thefive bay-windows already mentioned. The ceiling is traversed by heavy beams of oak,and divided into compartments ornamented with wreaths of fruit, the corners containingshields bearing the crests of the family. The dining-room is panelled with dark oak,beautifully carved. The fireplace is ornamented with wreaths of vine and fruits, withthe arms and crest of the Sparrowe family in the centre, and on each side fancifuldesigns in wood of a lighter colour than the panels on which they are placed. Thebeams of the ceiling, as well as the wainscot and door, are richly carved. This roommeasures twenty-two feet by twenty-one. A bed- chamber on the first floor also exhibitssome good specimens of carving, the ceiling being ornamented with fleurs-de-lys andthe family badges of the Sparrowes. Several old portraits of members of the Sparrowefamily and others are contained in this house, most of them connected with traditions preserved in the family. Among them are original portraits of James I. , of hisfavourite Villiers duke of Buckingham, of queen Henrietta Maria, and of Charles II .The Tankard, to which we have alluded above, and which was for some time occupied as a public- house, is chiefly remarkable for a fine wainscotted room on theground-floor. This house was the residence of Sir Anthony Wingfield in the reign ofHenry VIII. , whose arms are still visible among the ornaments of the ceiling of theroom alluded to, which is twenty- seven feet long, sixteen feet nine inches wide,and nine feet five inches high. The ceiling, intersected in its length by one largebeam and in its breadth by two smaller transverse ones, is divided into ninety- sixpanels, each panel bordered with a band, and alternately emblazoned with a coat ofarms, or occupied by a carved pendent, projecting six inches from the ceiling, andSKETCHES OF ANCIENT STREET ARCHITECTURE . 115terminating in a point tipped with a leaf or rose. The oak wainscot of the walls isbeautifully carved in festoons of flowers and various devices, formerly gilt, but nowpainted blue and white. Over the fireplace is a remarkable carved bas-relief, which,like the other ornaments of this apartment, has suffered much from mutilation. Theold tradition of the place made this, very absurdly, to be a representation of the battleof Bosworth Field; but it has been supposed, with more probability, to represent thejudgment of Paris, carved by some workman who was acquainted with the outline ofthe story, but who was not sufficiently well informed to avoid some singular anachronisms in costume, &c. This explanation is certainly more in bearing with the taste forclassical subjects which prevailed in the sixteenth century. *Many other houses in Ipswich contain, externally or internally, fragments of carvingof considerable antiquity and interest; and there are a number of curious ornamentalcorner- posts. On one of these is seen the effigy of queen Elizabeth, with a figureequipped as Mars, and a cupid. On an inn called the Half- Moon appears a somewhatgrotesque carving of the old fable of the fox preaching to the geese, one of the neverfailing shafts of satire against the monks and the medieval clergy. The town is full ofremains of Tudor and Elizabethan architecture.The range of buildings represented in the first sketch on the same plate may bereckoned among the most interesting remains of the old street architecture of SAFFRONWALDEN in Essex, and appear to be of the end of the reign of James I. or beginningof that of his successor, Charles. Saffron Walden was formerly a town of much moreimportance than at present; it received its name from, and owed its prosperity to,the cultivation of saffron -a plant used extensively as a medicinal ingredient in theolden time, when it was believed to possess very great healing virtues. A few years agothis town was full of interesting old timber- houses, but many of them have disappeared,and others are gradually disappearing, to make way for a more convenient style ofbuilding. But while the houses are improving in internal comforts, the picturesquecharacter of the streets is entirely destroyed. Over one of the chamber-windows of thehouse represented in our plate is the date 1625, with the letters I. W. These initials arefound on other houses in the town known to have belonged to a family of the name ofWale, once of great respectability in Saffron Walden, but now extinct. On one of thegables, as shewn in the plate, appears the date 1676; when, probably, the houseunderwent extensive repairs. It appears to have been used as a public- house from aperiod very near approaching to that in which it was built, and as early as 1646 it was

• An engraving, somewhat rudely executed , of this

carving, is given in the sixty- sixth volume of the" Gentleman's Magazine, " drawn, apparently, when itwas less mutilated than at present. A view of the interior of the apartment is given in the " Gentleman'sMagazine " for 1831 .116 THE ARCHEOLOGICAL ALBUM.the principal inn in the town, and known by the same name which it bears at present-The Sun. In that year Oliver Cromwell, who was occupied in this district, made ithis head-quarters. The external character of this house differs considerably from theolder Elizabethan buildings. The ornaments are no longer carved in wood, but theyare moulded in plaster-work: they are more grotesque than elegant. It is impossible,at the present day, to say what the builder intended to represent by the two armedfigures over the gateway leading into the stable-yard; but they are of rather giganticproportions, and the popular tradition of the place has designated them by the titles ofGog and Magog.The first subject on our second plate of Street Architecture is taken from theancient city of NORWICH. It represents a picturesque group of buildings, apparentlyof the seventeenth century, known by the name of Rosemary Lane, and openingtowards the church of St. Mary. This church is remarkable as possessing one of thecurious round towers which have been described in a former article in the presentvolume.Our last sketch of Street Architecture is taken from a district of the metropoliswhich has been long known to fame by the name of SPITALFIELDS, and presents astyle, not unpicturesque in some instances, which is peculiar to this locality. Spitalfields owes its population, in a great measure, to the horrible persecutions of theProtestants in France at the period of the revocation of the Edict of Nantes. In earlytimes this district appears to have been one of the burial- places of Roman London, ifwe may judge from the extensive discoveries of Roman sepulchral deposits, discoveredthere in the time of the historian Stow.* At the end of the twelfth century, a smallpriory and hospital was founded near the spot now occupied by Spital Square. In thechurchyard of this priory (the present Square) was subsequently crected a pulpit cross,in which the famous Spital Sermons were originally preached. In 1534 the priorywas dissolved, and the site was given to a gentleman of the name of Vaughan. Thesermons, however, continued to be preached in the pulpit; a house was built for the

• "On the east side of this churchyard ," says Stow,

"lieth a large field , of old time called Lolesworth, nowSpittle field, which about the year 1576 was broken upfor clay to make brick; in the digging whereof manyearthen pots, called urna, were found full of ashes andburnt bones of men, to wit, of the Romans that in- habited here for it was the custom of the Romans toburn their dead, to put their ashes in an urn, and thenbury the same, with certain ceremonies, in some fieldappointed for that purpose near unto their city. Everyof these pots had in them, with the ashes of the dead,one piece of copper money, with the inscription of theemperor then reigning: some of them were of Claudius,some of Vespasian, some of Nero, of Anthoninus Pius,of Trajanus, and others. Besides those urns, manyother pots were there found, made of a white earth, withlong necks and handles, like to our stone jugs: thesewere empty, but seemed to be buried full of some liquidmatter long since consumed and soaked through; forthere were found divers phials and other fashionedglasses, some most cunningly wrought, such as I havenot seen the like , and some of crystal; all which hadROSEMARY LANE NORWICH ..FSAWarholt &Agraved DrownRCW WHITE 3SPITAL PIRLDS IONDON .

SKETCHES OF ANCIENT STREET ARCHITECTURE. 117accommodation of the city authorities who came as auditors, and other houses weregradually erected around the spot. The pulpit was subsequently destroyed in thetime of the civil wars; and the sermons were preached at St. Bride's church from therestoration to the year 1797, and since that time at Christ Church in Newgate Street.Even in Stow's time, and long after, the whole of the ground to the east, whichwas properly called Spital Fields, and which originally bore the name of LolesworthFields, was literally open ground covered with grass; part of it was granted byHenry VIII. on a lease to the Artillery Company, and was known as the " OldArtillery Ground " as late as the time of Charles II. It would appear that, at the endof the sixteenth century, the buildings which occupied the site of the Spital were placesof no very good report. The satirist Nashe, in his tract entitled " Have with you toSaffron Walden," published in 1596, says, " The third brother (John) had almostas ill a name as the Spittle in Shorditch. " Some remains of the old priory appearto have been standing so late as the beginning of the last century.It would appear that, about the middle of the seventeenth century, the district ofSpitalfields was the residence of astrologers and fortune-tellers, and that fairs wereheld there. A satirical tract against the almanack-makers was published in 1652,under the title of " A Faire in Spittle Fields, where all the Knick-knacks of Astrologyare exposed to open sale. " It appears, also, by the map of London at the time of thegreat fire of 1666, that the field properly so called was then nearly surrounded by aboundary of houses. Shortly after this latter period the French Protestants began tofly from the persecutions which threatened them in their own country, and a largeportion of them being weavers, they brought that manufacture into England, and established themselves in great numbers in the Spital field . In 1687, two years after thebreaking out of the great persecution consequent on the repeal of the Edict of Nantes,there are said to have been between thirteen and fourteen thousand of the refugees inLondon alone. Strype, in his additions to Stow, says: -" Spittlefields and parts adjacent, of later times, became a great harbour for poor Protestant strangers, Walloonswater in them, nothing differing in clearness , taste, orsavour from common spring water, whatsoever it was atthe first. Some of these glasses had oil in them, verythick and earthy in savour; some were supposed tohave balm in them, but had lost the virtue. Many ofthese pots and glasses were broken in cutting of theclay, so that few were taken up whole. There werealso found divers dishes and cups of a fine red- colouredearth, which shewed outwardly such a shining smoothness as if they had been of coral; those had in thebottoms Roman letters printed: there were also lampsof whi e carth and red, artificially wrought with diversantiques upon them, some three or four images made of white carth, about a span long each of them: one, Iremember, was of Pallas; the rest I have forgotten. Imyself have reserved, among divers of those antiquities there, one urn, with the ashes and bones, and one pot of white earth very small, not exceeding the quantity of a quarter of a wine pint, made in shape of a haresquatted upon her legs, and between her ears is the mouth of the pot. There hath also been found in thesame field divers coffins of stone, " &c.118 THE ARCHEOLOGICAL ALBUM.and French; who, as in former days, so of late, have been found to become exiles fromtheir own country for their religion, and for the avoiding cruel persecution. Herethey have found quiet and security, and settled themselves in their several trades andoccupations -weavers especially; whereby God's blessing is surely not only broughtupon the parish, by receiving poor strangers, but also a great advantage hath accruedto the whole nation, by the rich manufacture of weaving silks, stuffs, and camlets,which art they brought along with them." A considerable portion of the presentpopulation is descended from the French emigrant families.Our sketch represents what must have been some of the original buildings whichreceived the first Protestant refugees: they form the northern end of a street calledWhite's Row. The houses on the right-hand side form one side of a square mass ofbuildings lying between White's Row and another small street, called Dorset Street.One house in Dorset Street bears the date 1675, which was probably the year when thewhole pile of buildings was erected. They are of bricks and wood, and differ fromthose of the other streets in having fewer of the broad lines of windows in the upperstories, which serve to throw light on the work of the weavers. A considerable bodyof Jews is now intermixed with the population of this neighbourhood, and the smalland crowded streets have little to invite the visitor, except their historical associationsand the important branch of national industry which has so long flourished there.CameroFW Fairholt , F. S.A..ANCIENTPATINECLIFE CHURCHI, KENT

PATINEIN CLIFF CHURCH, KENT.THE fine old church of Cliff, at a short distance from Rochester, stands in a boldsituation on the brow of the chalk cliffs which overlook the extensive marshes knownas the Cliff Marshes, and commands a view of the wide estuary of the Thames. Theparish formerly belonged to the priory of Canterbury, and it was on that accountnamed Bishop's Cliff or Clive . It is situated in the hundred of Hoo, and is sometimescalled Cliff at Hoo. Many antiquaries have supposed it to be the place called by theAnglo- Saxons Clofesho, or Cleofesho, at which so many councils were held in theearlier ages of the Anglo- Saxon church.The church of Cliff is a massive building, in the form of a cross; its windows wereformerly adorned with a profusion of stained glass, much of which has now disappeared; but there are still many interesting remains in the windows of the chancel.On one of the walls are some fragments of a painting representing the Day of Judgment.There are several old monuments in the church, among which is an early coffin- shapedslab, with the inscription, -" Jone la femme Johan Ram gyst yciDeu de sa alme eit merci."+There remain also six wooden stalls, which were formerly appropriated to monks ofChrist Church, Canterbury, who visited or resided at their manor of Cliff.The elegant patine represented in our engraving is preserved with the communionplate. It is six inches in diameter, of silver gilt, with the following inscription roundthe margin, in characters apparently of the latter part of the fourteenth century, orpossibly of the fifteenth:-“Benedicamvs Patrem et Filivm cbm spiritv sancto. ”In the centre a medallion, in blue and green enamel, represents the Father seated120 THE ARCHEOLOGICAL ALBUM.on a throne, with his arms extended, and supporting a cross on which is affixed theSon. This patine has, in recent times, been used for collecting money at the offering,or at the church-door; by which the enamel has been destroyed, leaving only enoughto indicate the colour and material of which it was composed.Most of our readers will remember the beautiful passage in Shakespeare: -"How sweet the moonlight sleeps upon this bank!Here will we sit, and let the sounds of musicCreep in our ears; soft stillness and the nightBecome the touches of sweet harmony.Sit, Jessica look howthe floor of heavenIs thick inlaid with patines of bright gold;There's not the smallest orb, which thou behold'st,But in his motion like an angel sings,Still quiring to the young-eyed cherubins:Such harmony is in immortal souls. "Merchant of Venice, act v. sc. 1 .The patine and the chalice were the two vessels used in Roman Catholic times toadminister the consecrated bread and wine in the holy sacrament, and were always ofgold or of silver gilt, which explains the poet's simile. They were often richly ornamented. In the " Provinciale " of Lyndwood, a compendium of the Canons andConstitutions of the Romish Church in England, it is particularly ordered that theeucharist shall not be consecrated in any other metal except gold or silver; and itis interdicted to any bishop to consecrate tin. *

• “ Precipimus ne consecretur eukaristia nisi calice

de auro vel argento; et ne stanneum calicem aliquisepiscopus ammodo benedicat interdicimus. " -LYNDWOOD, " Provinciale," lib. iii . tit. 23, De celebrationemissarum. The patine is, of course, included as belonging to the chalice.

INTHEANCIENT GUN -LOCKPOSSESSION OFALBERT LORD CNYNGHAMvet Lazer &Fron atur ':124ON THE EARLY USE OF FIRE - ARMS.By the kindness of Lord Albert Conyngham we are enabled to give an engravingof an early and beautifully ornamented gun-lock, recently purchased by his lordship atWarwick. It is of the kind called wheel- locks, and was placed temporarily in a socketor groove, in the stock of the gun, at the moment of firing. There can be little doubtthat it is of Italian workmanship; and the device of the dragon swallowing a child,which is repeated in different parts of the ornaments, seems to prove that it was madefor some member of the Italian family of Visconti, of whom this was the badge. Thesame device is found on the monument of Bernabo Visconti at Milan, engraved in theeighteenth volume of the " Archæologia. "The history of the introduction of fire-arms into Europe is a subject by no meansdevoid of interest, and, at the same time, one which has been thrown into great confusion by some writers who have blindly followed old prejudices, and by others whohave argued upon passages of writers who were not strictly contemporary with theevents they relate. Historians like Froissart, describing events which happened someyears previously, were (in that age particularly) too apt to apply to them the mannersand usages of the time in which they were writing. A very learned and carefulFrench antiquary, M. Lacabane, has recently collected together some most importantcontemporary documents relating to the early use of gunpowder in France, * of whichwe shall make free use in the following observations.There can be no doubt that the use of gunpowder in Europe was derived from theArabs, but it is not so easy to determine the exact source from whence they borrowedthe invention. Even among the Arabs it appears to have been long used as an explosive agent, before its projectile force was understood . Recent researches seem toleave little room for doubt that the celebrated Greek fire was a composition closely resembling, if not identical with, gunpowder. M. Reinaud has discovered, among themanuscripts of the Royal Library at Paris, a treatise in Arabic, written at the end of

• In an essay published in a recent number of that

very interesting and valuable antiquarian periodical, the"Bibliothèque de l'Ecole des Chartes, " the publicationof which has now been successfully continued throughseveral years: it is supported by the literary contributions of some of the best antiquaries in France.R122 THE ARCHEOLOGICAL ALBUM.the thirteenth century, containing receipts for making gunpowder of different degrees offorce; which, as M. Lacabane observes, shews that the art was then far from being inits infancy among that people. Three of these receipts are, -1, Saltpetre, 10 drachms;sulphur, 1 drachm; charcoal, 2 drachms: -2, Saltpetre, 10 drachms; sulphur, 1drachm; charcoal, 2 drachms: -3, Saltpetre, 10 drachms; sulphur, 1 drachm;charcoal, 2 drachms. We learn from Condé (" History of the Arabs in Spain "),that in 1252 the Moors, besieged in Niebla, " defended themselves by throwing at thebesiegers stones and darts with machines, and throwing of thunder with fire." This,perhaps, means only explosive masses, like bombs, thrown with the balista, or somesimilar warlike machine.It seems clear, from the allusions in the writings of our countryman, Roger Bacon,that some of the effects of gunpowder were well known in Europe in the middle of thethirteenth century. In the " Opus Majus " of that writer, written between 1165 and1168, he mentions crackers made of gunpowder, " about the size of one's thumb," asbeing "in many parts of the world " used as playthings for children . * It appearsfrom another passage that Bacon was perfectly well acquainted with the composition ofthe powder which produced these effects, but it seems to have been considered as asecret to be communicated to the initiated alone, for in the only place where it is described he has concealed his meaning under an anagram; from which, however, itappears that two of the ingredients were saltpetre and sulphur. +The application of powder as a projectile force seems to have originated in Italy.A document in the archives of Florence, dated the 11th of February, 1326, speaks ofthe nomination of two officers to oversee the making of iron balls and cannons of metal(pilas seu palottas ferreas et canones de mettallo ) , for the defence of that city and of thetowns and fortresses dependent upon it . From this time cannons are mentioned, notunfrequently, by the Italian historians. At the siege of Cividale, in 1331 , the enemymade use of instruments named by the historian vasi, which appear to have been thesame bomb-shaped vessels that were afterwards called by the French writers pots de fer-iron pots, and from which were shot arrows and other missiles. The first mentionof fire-arms in France occurs in the year 1338, on the breaking out of the war betweenthat country and England. On the 2d of July in that year, Guillaume du Moulin ofsentiatur excedere rugitum et coruscationem maximamsui luminis jubar excedit. " -Opus Majus, ed. Jebb,p. 474.

• The passage alluded to is so curious that it deserves

to be given in a note: -" Et experimentum hujus reicapimus ex hoc ludicro puerili, quod fit in multis mundipartibus, scilicet ut instrumento facto ad quantitatempollicis humani ex violentia illius salis , qui sal petrævocatur, tam horribilis sonus nascitur in ruptura tammodica rei , scilicet modici pergameni, quod fortis tonitrui | Artis et Naturæ, cap. xi.+ " Sed tamen salis petræ luru vopo vir can utrietsulphuris , et sic facies tonitrum et coruscationem, siscias artificium. " -BACON, Epistola de secretis operibusON THE EARLY USE OF FIRE- ARMS. 123Boulogne gives a receipt for munitions drawn from the arsenal of Boulogne; amongwhich are " an iron pot to throw fire-darts, forty-eight darts in two cases, a pound ofsaltpetre and half-a-pound of sulphur, to make powder to fire off the said darts."These materials were probably used in the attack upon Southampton, which was plundered and burnt by the French fleet.It appears, at first view, somewhat singular that in this document no mention ismade of charcoal among the ingredients for the powder; which is the case, also, insome other similar records: but M. Lacabane has very fairly explained the omission bysupposing that the charcoal was a thing always ready at hand, and not necessarilybought for the occasion or sought from a distance. The charcoal was always anessential article in the composition . The following is an English receipt for makinggunpowder, taken from a manuscript of the fifteenth century: -" Take the poudre ofij . unces of salpetre, and half an unce of brymston, and half an unce of lynde- cole[charcoal of the linden-tree] , and temper togidur in a mortar with rede vynegre, andmake it thyk as past til the tyme that ye se neyther salpetre ne brymstone, and dryeit on the ffyre in an erthe pan with soft ffyre; and when it is wele dryed grynde it ina morter til it be smalle poudre, and than sarse it throow a sarse. And if ye wil havefyne colofre poudre, sethe [ boil ] fyrst your salpetre, and fyne it well, and do as it issaid afore."We next find, from a document cited by Ducange, that cannons were used in thesiege of Puy- Guillem in Périgord, in the spring of 1339. At the end of September,1339, Edward III . , who had landed in Flanders, began the siege of Cambray, whichhe was eventually compelled to relinquish. Among the documents relating to thisevent preserved in the French archives, are two receipts for munitions of war for thedefence of the city, the first of which relates to "ten cannons, five of iron and five ofmetal, " which had cost " 25 livres, 2 sols, and 7 deniers," in money of Tours: theother relates to saltpetre and sulphur to make powder. A French scholar has compared the price of these cannons with the value of iron at the same period, and hasarrived at the conclusion that the weight of each cannon was only about fortysix pounds; so that they must have been of very small dimensions. M. Lacabanegives several other documents relating to the use of cannon between this date and1346, the year of the battle of Crecy, which shew that they had then been generallyadopted as instruments of war. It appears, however, that for a long time after theinvention of cannon they were used chiefly to throw fire-darts and combustibles ofdifferent kinds, and that, at the date last mentioned, cannon-balls had not been longknown.Hitherto cannon had only been used in sieges of towns; the English have the124 THE ARCHEOLOGICAL ALBUM.credit of having first used them as field-pieces in a battle: to which circ*mstance theyare said to have been indebted, in a great measure, for the victory at Crecy. TheEnglish army had on this occasion three cannons, which, as we learn from an Italianhistorian of the time (Villani) , were loaded with iron balls (pallottole di ferro) .About this period ingenious men appear to have been occupied, in different partsof Europe, in attempts to perfect or improve the construction of cannons.The earlyregisters of the city of Tournay furnish a curious anecdote. In the month of September, 1346, a manufacturer of metal pots in that city, named Pierre de Bruges, hadcontrived a sort of engine called a ' conoille, ' ( cannon? ) " to shoot into a good townwhen it should be besieged; " and the consul of the city ordered him to make one,promising that if it answered their expectations he should be employed to make severalothers. Pierre de Bruges made the ' conoille,' and, for the satisfaction of the municipal authorities, it was carried out of the city to be tried . Pierre loaded his machine,placed in it a dart, with a piece of lead weighing about two pounds at the end, andtook aim at a postern in a part of the city wall. The ' engine' went off with a "cruel ”and great noise, but the maker appears to have so far underrated its strength that,instead of striking the wall, it went right over it and traversed a large portion of thecity, and in the place before the monastery of St. Brice it struck a fuller namedJakemon de Raisse on the head, and killed him on the spot. When the inventor ofthe ' conoille ' heard this, he took refuge in a sanctuary. The magistrates of the city,however, assembled, and, after long deliberation, came to a determination that, -considering the machine had been made and tried by their orders, —that Pierre de Bruges,the maker, had aimed at a wall and not at a man, -and, as it was proved, that he hadno personal enmity to Jakemon de Raisse, he should be entirely acquitted of thedeath of the said Jakemon, which could only be considered as purely accidental.-A great improvement in artillery appears to have been made in Germany, aboutthe middle of the fourteenth century. M. Lacabane has given an extract from amanuscript in the Royal Library at Paris (written in the sixteenth century, but thetruth of which is supported by various collateral circ*mstances), which states that " onthe 17th of May, 1354, our lord the king being informed of the invention for makingartillery discovered in Germany by a monk, named Berthold Schwartz, ordered thegenerals of the mints to make diligent inquiry what quantities of copper were in thesaid realm of France, as well to advise of the means to making the said invention ofartillery as to hinder the same from being sold to strangers and carried out of therealm." This Berthold Schwartz, who has been represented as holding communication with the evil one, long enjoyed the reputation, totally unmerited, of havingbeen the inventor of gunpowder; but, that notion having been easily exploded, peopleON THE EARLY USE OF FIRE- ARMS. 125began to look upon him as a fabulous personage, when this document was broughtto light to bear testimony to his existence. M. Lacabane conjectures, and wethink with great probability, that Schwartz's invention was the casting of largecannons, which had been previously made with bars of iron held together with stronghoops . It is evident that the new cannons were to be made of brass. The opinionof M. Lacabane is corroborated by the fact, that after this period we have continualmention of these great cannons, and of the importance which was attached to them .In 1359, as we learn from one of the documents he has published, two great cannons(deux grand canons), "furnished with powder and charcoal and leaden balls " (plommées) ,were carried from Paris to Melun. In 1373, the fortress of the bridge of Charentonhad two great cannons (gros canons) for its defence. At the siege of Saint- Sauveurle Vicomte in 1374 and 1375, the gros canons de Paris were again in use, for theuse of which two hundred pounds of powder were bought, and a canonnier, namedGerard de Figeac, was directed to cause to be made " certain great cannons forthrowing stones." The same man is afterwards entitled canonnier et gouverneur dugrant canon qui fut fait à Saint-Lô pour le fait de Saint- Sauveur, and was paidthe same high wages as a man-at- arms. In England these large cannons also occurunder the name of great guns: the ' grete gonne ' of the city of Canterbury is mentioned in 1477. It is hardly necessary to observe that the balls for these great gunswere sometimes made of iron, but more frequently of stone. Great quantities of stoneballs were made in some of the quarries in Kent.In the latter years of the fourteenth century the use of cannon had become sogeneral, that it is unnecessary to point out particular instances. They seldom, however, make their appearance in illuminated manuscripts till the fifteenth century, when we have many interestingpictures, representing not only the formsof the guns but also the manner ofmounting and using them. Our twofirst cuts are taken from an illuminatedhistorical manuscript of the end of thereign of Edward IV. , preserved in theBritish Museum (MS. Reg. 14 E. IV.).All these cannons appear to be strengthened with hoops. The smaller cannonin the first cut is very curiously mountedin a frame, contrived so that the mouth126 THE ARCHEOLOGICAL ALBUM.of the gun might be raised or lowered as the occasion required. The two cannonsin the second cut appear to beof much larger dimensions, andone of them is mounted in arude wheel-carriage.The loading and firing ofthese guns was a very simple process, the priming being placedon a small hole pierced throughthe breech of the cannon, and,as it appears, ignited by the application of a red-hot wire or lighted match. A newmethod of loading was, however, invented, by making the portion of the cannon whichreceived the charge movable; giving to the cannon some resemblance to a modernrifle . The movable part of the gun was called the chamber, and, when charged, wasfixed to the end of the barrel, which served only to give a direction to the shot.Some of these guns with chambers are to be seen in different museums of ancientartillery. The accompanyingcut, taken from an engravingby Israel van Mechlin, executed in the latter part of thefifteenth century, represents acannon of this description,mounted on a carriage muchsuperior to any of those represented in the illuminations: the chamber is lying on the ground, beside the hammerused for fixing it in its place.We have seen that many of the cannons in use in earlier times were of very smalldimensions: they were, in fact, sometimes so small, that the cannonier held his gun inhis hand, or supported it on his shoulder, while firing it . The inhabitants of Luccaare generally supposed to have first made use of what were called hand-cannons (or,rather, as they would be called in England, hand- guns) , near the beginning of thefifteenth century. They are at first rarely mentioned by contemporary writers, butthey must have been quickly adopted in other parts of Europe, and they certainly werecommon in England before the middle of the century. * In a roll of expenses of the

• A learned paper on the subject of hand fire-arms,

by Sir Samuel R. Meyrick, will be found in the " Archæologia," vol. xxii . All the different kinds of guns usedfrom their first invention, down to modern times, arethere minutely described.ON THE EARLY USE OF FIRE- ARMS. 127castle of Holy Island, in the county of Durham, for the year 1446, the followingitems occur: -"Bought ij. hand- gunnes de ereItem, gonepowderiiijsiiij³. ”The material of these hand-guns appears to be brass; and the price, two shillingseach, would seem to indicate, notwithstanding the difference in the value of money,that they were of very small dimensions. We give a cut, from a manuscript of thereign of Edward IV. (MS. Reg. 15 E. IV. ) , representing a soldier discharging one of these hand- guns,which he holds with one hand on his shoulder, whilewith his right hand he applies the match to the touchhole. For the better convenience of holding it (forafter a few discharges the metal would become too hot)the gun was afterwards attached to a wooden stock, andtook the rude form of a modern musket. In a treatise on warlike inventions, entitledDe re militari, by an Italian named R. Valturius, the editio princeps of which wasprinted at Verona in 1472, we find a number of bold woodcuts of military engines. Adescription of this work will be found in Mr. Chatto's " History of Wood-engraving. ”One large cut in this work represents soldiers firingfrom a kind of floating battery, with hand-guns fittedon stocks. The woodcut in our margin is a fac- simileof one of these figures.It does not appear distinctly in this latter cut bywhat means the soldier fires the priming; but the application of the match by the hand must have beenfound extremely embarrassing, and this soon led to theaddition of a contrivance for applying the match tothe touch-hole by moving a trigger. By this device,instead of having only one hand to hold the gun, thesoldier had more power over his gun by holding it inboth. This addition to the gun, which was the originof the match-lock, we also owe to the Italians . Thegun-lock was carried rapidly through a succession ofimprovements, but it is not our intention to describethe different forms of guns used in the sixteenth and subsequent centuries . Anattempt was soon made to dispense with the match; and sparks were communicated to128 THE ARCHEOLOGICAL ALBUM.the priming by the friction of a furrowed wheel of steel against a piece of sulphuret ofiron, fixed in the same way as the flint in modern guns. The wheel was moved by aspring, and was wound up with a chain like a watch to prepare it for use.This was,of course, rather a tedious process. The wheel-lock was invented in Italy early in thesixteenth century. Sometimes the single lock had two co*cks, each of which was placedat the same time against the wheel; and it was often richly ornamented, as in thebeautiful specimen we have engraved from the collection of Lord Albert Conyngham.It was not fixed on the gun, but was fitted in a groove when ready for firing. Fromold inventories of the goods and chattels of great people in the times of Henry VIII.and Edward VI. , some of which are quoted by Sir Samuel R. Meyrick in his paper onguns in the " Archæologia, " it would appear that the wheel- lock, when not in use, wasgenerally carried in a velvet bag.Before we leave the subject, it may be stated that the work of Valturius abovementioned contains, among other destructive engines, a figureof a bomb- shell, of which we give a fac-simile in the margin.It is not generally supposed that shells are of this antiquity:however, they seem a very natural improvement upon some ofthe older projectiles. It appears certain that some kind ofexplosive balls and other inflammable articles were thrown intobesieged towns by the military engines long before the inventionof cannon, and that for a long time these, with darts, were almost the only missiles thrown from the cannons. These, as wehave already stated, were afterwards displaced by cannon- ballsmade of stone, iron, and lead, and not unfrequently of a largestone enveloped in an outer coating of iron or lead, to make itheavier.2 3 5 6Bronzes from Roman London.THE ROMANS IN LONDON.THE busy citizen as he paces the streets of London absorbed in his speculations ofthe day, or the stranger who wanders about in admiration of the wonders of themodern Babylon, little thinks that a few yards beneath his feet lie the floors andstreets of far distant ages, in the same position as when they were trodden by Romanfootsteps. From ten to thirty feet of heavy mould appears here to represent theperiod of darkness which separated antiquity from modern civilisation. The necessityof making a sewer, or sinking a deep foundation, has from time to time given us anaccidental glimpse of the remains of this city of the past; but, too often, the ignoranceand prejudice of those to whom such operations have been intrusted have robbed theworld of the knowledge which might have been gleaned from them. It is only withina few years that public attention has been called to the subject, since which severalzealous antiquaries have partially watched the public works of the city, and formedrich and interesting museumsof the Roman remains which have been exhumed.Among these stands pre- eminent the name of Mr. Charles Roach Smith, to whom wemay justly apply the well-earned title, par excellence, of the Discoverer of RomanLondon. To Mr. Smith's rich cabinet, and to his valuable papers in the "Archæologia,"S130 THE ARCHEOLOGICAL ALBUM.with a few contributions from the collection of Mr. William Chaffers, we are chieflyindebted for the materials employed in the following necessarily slight attempt atshewing the light which the antiquities already discovered in, or rather under, ourmetropolis, throw on the manners of the Roman inhabitants of this island. *The principal discoveries made within the last few years have been in Finsbury,Lothbury, the vicinity of the Bank of England and the Royal Exchange, the approachesto London Bridge, and in the streets bordering on Cheapside. The remains of housesand floors found in other parts of the city shew, that in the latter days of RomanLondon the whole space occupied within the ancient walls was covered with habitations.The wall, as it is well known, extended from the Tower through the Minories toAldgate, Houndsditch, Bishopsgate, along London Wall to Fore Street, throughCripplegate churchyard, and thence between Monkwell Street and Castle Street toAldersgate, and so through Christ's Hospital by Newgate and Ludgate towards theThames. This wall is believed to have been a work of the later Roman period, whenLondon was not unfrequently exposed to hostile attacks. It is certain, however, thatduring an earlier period of the Roman domination in Britain, Londinium occupied amuch smaller extent on the banks of the Thames towards the centre of the presentcity, when the colony was probably not surrounded by walls, although it was eventhen celebrated for the number and activity of its merchants. The remains of Romansepulchral interments have been found in different situations within the ancient walls,in nearly their whole extent; and, in most instances, above them were the floors andfoundations of Roman houses of a later period. It is a well-known fact, that theRomans invariably buried their dead at some distance outside their towns andcities.But the most remarkable fact connected with the increase of the ancient town, forthe interesting character of the different relics found there, and from the circ*mstanceof its affording a probable evidence of the date at which the town was enlarged, is therecent discovery by Mr. Roach Smith, on the site of the Royal Exchange, of an earlygravel-pit, which had, at a very remote period, furnished the gravel for laying the floorsof the Roman houses; then neglected, it had been gradually filled with the rubbishand refuse from the Roman shops and houses; and lastly, at a subsequent period, it hadbeen itself covered over with a layer of gravel, to support the floors and foundations of

• Besides the gentlemen here mentioned, very interesting collections of Roman antiquities have been made

by Mr. George Gwilt, to whose zeal we owe the preservation of most of the Roman remains found inSouthwark, Mr. John Newman, Mr. Price, Mr. Kempe,Mr. Saull, &c. Mr. Kempe has communicated variouspapers on the subject to the " Archæologia " and the" Gentleman's Magazine. " It must be added, thatmany of the most important articles discovered weredispersed or carried off by persons incapable of appreciating them, and they are, probably, thus entirely lost toscience.THE ROMANS IN LONDON. 131Roman buildings. The appearance presented by this pit will, perhaps, be best describedin Mr. Smith's own words: *-" During the excavations made for the foundations ofthe New Royal Exchange," he says, " an ancient gravel- pit was opened. This pit wasfilled with rubbish, chiefly such as at the present day is thrown on waste places in theprecincts of towns, —dross from smithies, bones and horns of cows, sheep, and goats,ordure, broken pottery, old sandals, and fragments of leathern harness, oyster- shells,and nearly a dozen coins, in second brass, of Vespasian and Domitian . Over themouth of the pit had been spread a layer of gravel, upon which were the foundationsof buildings, and a mass of masonry six feet square, two sides of which still retainedportions of fresco- paintings with which they had been ornamented. Remains ofbuildings covered also the whole site of the present Exchange. The pit itself is aninteresting example of the gradual progress of Londinium. From this locality wasgravel obtained for the flooring of buildings and various other purposes of the infantcolony; but as the town increased in extent it was abandoned, filled in, and subsequently, by an artificial stratum of gravel, adapted for buildings. Here coins are againuseful as evidence. The only one obtained from this pit, besides those above mentioned, was a plated denarius of Severus; but the agents and servants of the UnitedGresham and City Improvement Committees prevented my making those close anduninterrupted observations which otherwise would have enabled me to authenticate theexact position of the last coin . The fact of there not being found any coin of thecentury between the time of Domitian and that of Severus, would raise a doubt as towhether the specimen of the latter emperor may not have been in the vicinity of, ratherthan in, the pit itself. In antiquarian investigations, much depends upon minute andcareful observation: important conclusions result frequently from a connexion of facts,trivial in themselves, but of importance when combined; and the record and registrationof these facts can only be satisfactorily carried on under auspicious circ*mstances.Taking the coins of Vespasian and Domitian into consideration, we may infer thatLondinium had considerably extended its bounds not long subsequently to the reign ofthe latter emperor. "At this period, the more elevated ground on which Londinium was built was inpart surrounded by low morasses: on the south, the vicinity of the modern ThamesStreet, was marshy ground covered by water at high tide; while to the north and eastlay a wide extent of boggy ground, which gave its name in the sequel to Moorfields,and from which a small stream (called, in Saxon times, Wall-brook, from the circ*mstance of its passing through the wall) , bordered also by low soft ground, proceeded in

• In a very excellent, though brief, paper on Roman London, in the " Archæological Journal, " p. 110.

132 THE ARCHEOLOGICAL ALBUM.the direction of Lothbury and the Bank to the Thames. As the town increased inextent, the Romans rendered the boggy ground on the edge of the Thames, as well asthat bordering on the brook and part of the moor to the north, capable of supportingbuildings, by driving wooden piles into the ground. Foundations laid upon piles inthis manner have been found in excavating in Thames Street and Tower Street. In1835, excavations were made in the neighbourhood of St. Clement's church, continuedto the west of the Bank of England, on the line of Wallbrook. Mr Smith* observed,that "as the excavations approached Prince's Street (which bounds the Bank ofEngland on the west) the soil denominated, by those familiar with the London strata,Roman, descended to a much greater depth than either at East Cheap, at NewgateStreet, or at the London Wall near Finsbury. From the level of the present street Ishould say that thirty feet would scarcely limit its depth, and the extent may be pronounced equal to the length of the west side of the Bank. Here it assumed also adifferent appearance, being much more moist, highly impregnated with animal andvegetable matter, and almost of an inky blackness in colour. It is worthy of note,that the same character is applicable to the soil throughout the line of excavation fromPrince's Street to the London Wall at Finsbury, though nowhere did I observe itextend to such a depth as at the former place. Throughout the same line, also, wereat intervals noticed a vast and almost continuous number of wooden piles, which inPrince's Street were particularly frequent; and there, also, they descended muchdeeper. The nature of the ground, and the quantity of these piles, tend to strengthenthe probability of a channel having existed in this direction, draining off the waterfrom the adjoining marshes, and that, too ( from the numerous Roman remains accompanying these indications) , at a very remote period. Wallbrook is described by Stoweas passing through the city by this route." In subsequent excavations " in LondonWall, opposite Finsbury Chambers, at the depth of nineteen feet, what appeared tohave been a subterranean aqueduct was laid open. It was found to run towardsFinsbury, under the houses of the Circus, about twenty feet. At the termination werefive iron bars, fastened perpendicularly into the masonry, apparently for the purpose ofpreventing the weeds and sedge from choking the watercourse . At the opening ofthis work, towards the city, was an arch three feet six inches high from the crown tothe springing wall, and three feet three inches wide, composed of fifty tiles: thespandrels were filled in with rag- stone, to afford strength to the work. This arch wasnot worked on a centre, but corbeled over by hand, the key- stone being half a tile andcement. This aqueduct took a southern course for about sixty yards, where it termi-

• "Archæologia, " vol. xxvii . p. 142 .

THE ROMANS IN LONDON. 133nated. The workmen informed me that the entrance was evidently above- ground andopen to the air, as large quantities of moss, retaining its natural appearance, stilladhered to the masonry. I observed an instance of the durability of this vegetablesubstance in the discovery of a large wide- mouthed vase, near Lothbury, in which wasplaced, probably as a cover to bones or ashes, a turf of moss, still compact, and possessing much of its original character."*From the impossibility of making any continued explorations under the mass ofmodern buildings, we find a difficulty in forming even a conjectural notion of thegeneral distribution of the buildings in the Roman town. As the foundations ofhouses are continually found beneath the modern streets, it is quite clear that the lattercan give us no clue to the directions of the Roman streets. The general results ofmodern excavations seem to indicate that some of the finer and larger houses werecontained in what were then the more modern parts of the Roman city; particularlyon the higher ground in the direction of Cornhill, and in the sweep from thence towards Finsbury. The public buildings seem, by the fragments of stone- work whichhave been discovered, to have been situated on the sloping ground rising from thebank of the river . It is not improbable that the Roman forum was situated nearor upon part of Cheapside, or in East Cheap, the Saxon market-place having takenthe place of the Roman one. The principal street of Roman London was probablythat which was called by the Saxons Watlingstreet, the name which it has preserveddown to the present time: it ran from London Bridge to Ludgate; and outside Ludgate, towards the river Fleet, have been found the chief Roman sepulchral monuments,with sculptures and inscriptions, yet discovered in London. It was one of the principalcemeteries of the city-the Street of Tombs of Londinium. The remains of otherextensive places of burial have been discovered at Holborn Hill, without Bishopsgate,in Spitalfields, and in Goodman's Fields. We have given Stowe's account of theextensive discoveries made in Spitalfields during the reign of queen Elizabeth, in anote to a former page. †We consider that Mr. Smith has brought forward unanswerable evidence of theexistence of a Roman bridge on the site of old London Bridge. Vast quantities ofcoins and other Roman antiquities were brought up from the bed of the river when theold bridge was taken down, and the foundations cleared away. Recent discoveries,also, leave no doubt that there were Roman buildings and a cemetery on the southernIside of the river. Tessellated pavements and quantities of fragments of frescopaintings, evidently belonging to houses of the better class of inhabitants, with potteryMr. Smith, in the " Archæologia. " vol. xxix. p . 156. See before, p . 116.134 THE ARCHEOLOGICAL ALBUM.and various domestic utensils and implements, have been uncovered on and about thesite of St. Saviour's church, and throughout the line of High Street nearly as far asSt. George's church . The foundations of the houses were generally laid upon piles,which shews that the ground had been gained from the river; perhaps in the laterperiod of Roman occupation. An extensive Roman burial-place has been traced in theneighbourhood of the New Kent Road, here also bordering upon the ancient WatlingStreet.Many of the houses in Roman London must have been large and richly decorated:their former splendour is now chiefly visible in the remains of tessellated pavementswhich have been at times brought to light, the patterns of some of which are extremelyelegant, but they have too generally been destroyed almost as soon as discovered. Themere fact of the discovery of tessellated pavements has been recorded, in 1666, inBush Lane, Cannon Street - in 1681, near St. Andrew's church, Holborn, perhaps belonging to a suburban villa - in 1787, at Crutched Friars -about the beginning of thepresent century, in various localities behind the Old Navy Pay- office in Broad Street,in Northumberland Alley, Fenchurch Street, and in Long Lane, Smithfield -in 1824,near St. Dunstan's in the East -in 1831 , in East Cheap-in 1834, at St. Clement'schurch and in Lothbury-in 1836, in Crosby Square. In December, 1805, thebeautiful tessellated pavement, of which we give a diminished representation in ourplate, was found at a depth of nine feet and a half in Leadenhall Street, opposite theportico of the India House: it was unfortunately broken, but fragments of it weredeposited in the Company's Library. In the centre is a figure of Bacchus, recliningon the back of a tiger, holding the thyrsus in his left hand and a drinking- cup in hisright. A wreath of vine-leaves encircles the head of the god; a purple and greenmantle falls from his right shoulder, and is gathered round his waist; and on the leftfoot appears a sandal, laced up to the calf of the leg. The borders are very elegant,and the colours, in the original, were rich and tastefully arranged. The room to whichthis floor belonged appeared to have been more than twenty feet square. * There is inthe British Museum a perfect tessellated pavement, less elegant than the one just

• Mr. Thomas Fisher, who published a large coloured print and description of this pavement when first

discovered, gives the following account of its construction. It lay on a bed of lime and brick - dust, an inch in thickness. " The drawing, colouring, and shadows areall effected with considerable skill and ingenuity by theuse of almost twenty separate tints , composed of tessellæof different materials, the major part of which are bakedearths; but the more brilliant colours of green andpurple, which form the drapery, are glass. These tessellæ are of different sizes and figures, adapted to thesituations they occupy in the design . They are placedin rows, either straight or curved, as occasion demanded, each tessella presenting to those around it aflat side the interstices of mortar being thus very narrow, and the bearing of the pieces against each otheruniform, the work in general possessed much strength,and was very probably, when uninjured by damp, nearly as firm to the foot as solid stone. The tessellæ used informing the ornamental borders were in general somewhat larger than those in the figures, being cubes of half an inch. "TESSELLATED PAVEMENT, DISCOVERED IN LEADENHALL STREET .FRAGMENTS OF WALLS PAINTED IN FRESCO.Pram & Engraved by FWF FA.ROMAN ANTIQUITIES .Tr F Chaplain & Hall 180 Stand Ju ... koPILLARFOUND IN QUEEN STREET, CHEAPSIDE .

THE ROMANS IN LONDON. 135described, which was discovered in Lothbury in 1805, at a depth of about eleven feet,near the south- east angle of the Bank of England. Two pavements have been morerecently uncovered under the French Protestant Church in Threadneedle Street, andone of them has been preserved by the exertions of Mr. Moxhay, and by him presentedto the British Museum.The floors of the Roman houses are often covered with fragments of the brokenfresco-paintings of the walls, which also prove that this distant province was notdeficient in the luxury and magnificence which characterised the mother- country.Mr. Roach Smith has a large collection of these fragments, containing a considerablevariety of patterns, such as foliage, animals, arabesques, &c. Of the three specimensgiven at the foot of our plate (which are, of course, very much diminished from theoriginals), the one to the right, with a figure of a man holding a staff in one hand andsomething resembling a basket in the other, was found at the back of Crosby Hall,which is on the site of what was evidently a very magnificent and extensive dwelling.The figure of the man, in common with the other parts of the pattern, a kind oftrellis-work, was repeated over the face of the wall. The two other fragments of frescogiven in our plate are from excavations in Southwark. The fine female head wasevidently a portion of a historical or mythological painting on the wall of a room.When first brought to light, the colours of these frescoes (as at Pompeii) are perfectlyfresh and bright; but they soon fade, unless washed immediately with varnish to preserve them. Pieces of window-glass have been found, not unfrequently, among theremains of the Roman houses of London, -another proof of the luxury and magnificence of the ancient city. It was long supposed that this application of glass wasunknown to the Romans, but the excavations in Pompeii have proved that this notionwas unfounded. It may be observed that portions of window-glass have lately beendiscovered by Mr. Charles, of Maidstone, on the floor of a Roman villa near thattown.The opportunity has never yet been offered, in London, of exploring the groundplan of a whole Roman house; but excavations made at different periods have laidopen hypocausts and baths, and other parts devoted to domestic purposes, which shewthat the dwellings of the Romans in London were very extensive, and as well suppliedwith all those appendages serving to the luxury of the inhabitants as the villas in Italy.In one instance the strigil, which was used to rub the bathers, was discovered. Thefloors, broken frescoes, and the lower parts of the walls, are all the remains we find ofthe Roman buildings. These bear sometimes indications of the agency of fire, whichwould lead us to suppose that the house had been burnt. These conflagrations haveprobably been partial, and the notion of their having resulted from the devastation136 THE ARCHEOLOGICAL ALBUM.caused by the Britons under Boadicea, and other similar hypotheses, are without anygood foundation. In the later days of the empire especially, when the cities of theprovinces must have become considerably depopulated —when an accidental fire, or asudden attack of an enemy, destroyed a few houses, or a quarter of the town, there wasno inducement to the inhabitants to go through the labour of clearing the site; butthey would remove to another place, and leave the ruins to be gradually covered withthe rubbish for which they would form a convenient receptacle. Any one who hasbeen in the habit of consulting the presentments of the grand juries of medieval towns,and has thus had the opportunity of observing the immense quantities of rubbish ofdifferent kinds which were continually thrown into the streets, will easily conceive howthe level of the ground has become so much elevated. But the building materials ofthe upper part of the houses, or other edifices, particularly the columns and largerstones, would be carried off to be applied to other works. We know that, even inPompeii, excavations were made after the destruction of the city to obtain the columnsand more ornamental parts of the buildings, both public and private. This accountsfor the very small number of remains of columns, &c. , which have as yet been discovered in Roman London; and it is remarkable that in excavations in ThamesStreet, in 1840, a wall of late Roman construction was discovered, the materials ofwhich had evidently been taken from older buildings of a very different character." One of the most remarkable features of this wall, " Mr. Smith observes, " is the evidence it affords of the existence of an anterior building, which, from some cause orother, must have been destroyed. Many of the large stones are sculptured and ornamented with mouldings, which denote their prior use in a frieze or entablature of anedifice, the magnitude of which may be conceived from the fact of these stones weighing,in many instances, upwards of half a ton. I observed, also, that fragments of sculptured marble had been worked into the wall; and also a portion of a stone carved withan elegant ornament of the trellis-work pattern, the compartments being filled alternately with leaves and fruit. This has apparently belonged to an altar. In ThamesStreet, opposite Queen Street, about two years since ( i.e. 1839) , a wall, preciselysimilar in general character, was met with, and there is but little doubt of its havingoriginally formed part of the same."* The foundations of this wall were laid uponpiles. It was, perhaps, built as a defence after the place had suffered by a hostileattack from the water, with the materials from buildings destroyed by the enemy. Wehave given in our plate the upper part of a column or impost of stone (consisting oftwo pieces) in the cabinet of Mr. Chaffers, who states that it was found among the

• "Archæologia, " vol. xxix. p . 150 .

THE ROMANS IN LONDON. 137Roman remains in the excavations in Queen Street, Cheapside. It is three feet sixinches high, and may possibly have been one of the imposts of the doorway of a Romanhouse. But, if Roman (which appears somewhat doubtful) , it is of a barbarous style ofdesign, and must be of a late period.Such is the general character of the discoveries which have been made relating tothe buildings of Roman London; but the most interesting results of the excavationsh*therto made are the numerous articles illustrative of the manners of its inhabitants.Many of these are minute articles, such as pins and needles for the toilet, spatula orspoons, stili or writing instruments, rings, brooches, fibulæ, tweezers, and a greatvariety of similar implements . The accompanying woodcut contains a small selection7 8 9 10 11 12 13, 14 15 16 17 18 19 20 21 22 23of some of these minor articles, from the numerous assortment in the museum ofMr. Roach Smith: they were found chiefly in Lothbury and on the site of the RoyalExchange. Most of these articles are in bronze or iron. Figs. 7 and 8 are smallspoons, one of them inlaid with silver; 9 is a needle; 10 is a larger spoon, of a different form; 11 appears to be an ornamental pin; 12 is an implement of which it isnot easy to guess the object; 16 and 21 appear to be the pins used in attaching thehair in a knot behind the head, as is shewn on some Roman sculptures; 14 is a woodenpin; 13, 15, 17, 18, 20, are different specimens of the articles commonly supposedto be stili, or implements for writing on wax, the pointed end being used for writing,and the flat end to erase what had been written and smoothen the wax for the receptionT138 THE ARCHEOLOGICAL ALBUM.28of a new impression . A painting found in Herculaneum represents a person with astilus, closely resembling these, in one hand and a wax tablet in the other. Mr. Smithhas a tablet (the wax of which has perished) found in London. A remarkably largequantity of these instruments are found in excavations into ancient Londinium, whichwould lead us to suspect that they were used for other purposes besides writing; and ithas been conjectured that some of them served as modelling tools. The larger implement, fig. 19, with a serrated edge at one end, may possibly have served for this latterpurpose. 22 and 23 are wooden implements, a number of which (from five to teninches in length) were found among the rubbish in the gravel-pit discovered on thesite of the Royal Exchange: the remains of wool still attached to some of them left noroom for doubt of their having been used in the manufacture of cloth, and thus provedthe extreme antiquity of this staple manufacture in our island.It would require a large volume to describe all the different articles in Mr. RoachSmith's museum of Roman London, and we hope that one day a large volume will be2910Ο24devoted to them. We shall, therefore, onlyselect a few of those which appeared to us themost striking. The smaller articles of thefemale toilet are numerous and varied: thereare shears and scissors, which bear a close resemblance to the different forms used in modern times. But perhaps of no single articleis there a greater variety than of keys. Figs.24, 25, and 26, are three specimens of smallRoman keys found in Princes Street and theneighbourhood of the Bank. The smaller one,which is not an uncommon form, has the ring(apparently for carrying it on the finger) atright angles to the axle, and therefore it couldonly be used for a lock which required verylittle strength to turn it, or as a latch-key.Fig. 27 is a very small hand-bell, found in the pit under the Exchange, in such perfectpreservation that it still emits a sharp and not inharmonious sound. Fig. 28 is theweight of a Roman steelyard, representing the head of a dog or wolf, found in a massof conglomerate in the river Thames. Mr. Smith possesses several fragments of steelyards and scales, closely resembling those now in use. Fig. 29 is a Roman waterco*ck,found in Philpot Lane, Fenchurch Street.27262525In the next group of figures, also taken from Mr. Smith's museum, figs. 30 and 31THE ROMANS IN LONDON. 139are knives with bone handles: these were articleswhich appear to have indicated the poverty of thoseto whom they belonged, ivory being among theRomans the more fashionable material. Juvenal,describing the frugality of his country-house, says( Sat. xi. 1. 131 )" Adeo nulla uncia nobisEst eboris, nec tessellæ, nec calculus ex hacMateria: quin ipsa manubria cultellorum Ossea."3031 3232333334The rings at the handles may have been intended tosuspend them in the girdle. Fig. 33 was at firstsupposed to have been a fork, but the discovery ofsomewhat similar articles, with a plate of metal onone or both sides, has given reasons for doubtingthis: it appears to have formed the end of some kind of a sheath, and is perhapsmedieval. Fig. 34 is a spoon, of a larger size and different shape from those represented on a former page. The other instrument (fig . 32) is a steel for sharpeningknives, the handle of which is formed by a bronze horse's head springing out of awreath of the lotus leaf. This article is one of very rare occurrence among Romanantiquities. Montfaucon engraved a similar handle, which he supposed to be a knifehandle. This relic was found in Princes Street, in 1835.35FODODOur next cut (fig . 35) represents a Roman caliga,or sandal, obtained by Mr. Smith from excavationsin Lothbury; though his remarkable collection ofRoman sandals and shoes was chiefly obtained fromthe gravel-pit on the site of the Royal Exchange,already alluded to. Mr. Smith observes that, " inenumerating the various articles found in the pit,the sandals claim attention. They are of leather, ofvarious sizes, and in point of fabrication, as regardsthe soles, closely resemble our modern right-and-leftshoes; but with this difference, that the layer of leather next to the sole of the foot isclose sewn to the lower portions, and then forms an exterior ridge, from which, at thesides, spring loops for fastening the sandals over the instep with straps or fillets: innearly all instances this ridge folds a little way over, and protects the extremities ofthe toes. Other sandals, apparently for women and children, have reticulated work140 THE ARCHEOLOGICAL ALBUM.round the heels and sides of various degrees of fineness, and more or less elegant inappearance; and, by the protection afforded to the feet, they all seem well adapted to awet and cold climate such as that of Britain . The larger are very evidently species ofthe calige worn by the Roman soldiers, a distinctive character of which they alsoexhibit in the hob- nails profusely studding the soles, -' Tot caligas, totMillia clavorum,'as described by Juvenal. Pliny also associates the caliga with nails . In describing apeculiar kind of fish, he says, ' Squamis conspicui crebris atque peracutis, clavorumcaligarum effigie. " This description answers exactly to the nails in the sandals wehave engraved.We pass over many classes of articles of domestic and public use, which have foundtheir way from the floors of Roman London to the museum of Mr. Roach Smith, suchas fragments of wooden combs, of locks, &c . , engraved stones, rings, armlets, and thevarious kinds of arms used by the Roman and British soldiers. We may mentionthat, although very few remains of statuary have been found, small bronze figures ofgood workmanship (probably brought from Italy) are not uncommon in London. Afew specimens are given in the cut at the commencement of the present article.Fig. 1 is an image of Mercury, about five inches high, in the possession of Mr. Smith;fig. 3, from the cabinet of Mr. Newman, is presumed to represent a priest or votary ofCybele, resting after the dance, and holding in one hand the cymbals, while the otheris occupied in adjusting the sacred bandage or veil; fig. 4 is a mutilated figure, supposed to be a Jupiter; fig . 5, which, with the one last mentioned, is in the cabinet ofMr. Smith, is an exquisite figure of Apollo, but also unfortunately mutilated. Thesefour bronzes were brought from the bed of the river Thames, near London Bridge, inJanuary 1837, by men employed in ballast-heaving. The sixth figure, which is unmutilated, is a small bronze of Atys. This last is in the possession of Mr. Newman;it was found at Barnes, among the gravel taken from the same part of the river wherethe other bronzes were discovered, and where also was found a colossal bronze head ofHadrian, now in the possession of Mr. Newman. A figure of Harpocrates in silver,also found in the bed of the Thames in 1825, is now in the British Museum. Therecan be little doubt that these bronzes were intentionally thrown into the river; perhapsby the Christians, who, when they found these statues while seeking for buildingmaterials among the Roman ruins, regarded them as symbols of idolatry, broke manyof them in pieces, and threw them away. The legs of the Apollo bear evident marksof having been mutilated by an axe, or some sharp instrument applied with considerableTHE ROMANS IN LONDON. 141force. Fig. 2 in our group (which is in the original much larger than the others, but hasbeen reduced for the convenience of the engraving) is a fine bronze of an archer, foundby Mr. Chaffers in an excavation in Queen Street, Cheapside, in 1841 , and now inthe cabinet of that gentleman, one of the most zealous and intelligent of the cityantiquaries.36 37Mr. Smith's collection of Roman glass vessels and other ornaments is very extensiveand precious; but his vast collection of pottery of different kinds, found in London, isperhaps the most interesting part of the museum. It presents specimens of almostevery kind of vessel, intended either for domestic usages or for sacrificial and funerealpurposes. A large portion consists of figured ware, which is valuable in manyrespects for illustrating the mythology and customs of the Roman inhabitants ofthis island. Among these we may mention a number of lamps in terra- cotta, ofwhich three examplesare here given, drawnon a scale of one-half ofthe original size. Greatnumbers ofthese lampsare found in almostevery country where theRomans settled, andthey appear to havebeen used very profusely. In one corridor of the public bathsof Pompeii upwards offive hundred lamps werefound; and in the courseofexcavating the different parts of that building, more than a thou- 38sand were collected. The first of the lamps here engraved (fig. 36) was found inBush Lane; it represents a scene from the gladiatorial combats to which the Romanswere so warmly attached, and which, no doubt, formed a part of the amusem*nts of theRomans in London . One of the combatants is here represented as conquered, and ina suppliant posture on his knees raising his hand to beg his life of the spectators,whilst his opponent is preparing to despatch him. The second lamp (fig. 37) bearsthe figure of a tragic mask, emblematical of another of the favourite amusem*nts of142 THE ARCHEOLOGICAL ALBUM.the Romans-the theatre. The third lamp here given (fig. 38), which is mutilated,forms a pleasing illustration of domestic life: it represents a mill for grinding corn,turned round by an ass . Mr. Smith has more than one terra-cotta lamp with thissubject. As the mill was turned round, the corn (thrown in at the top) was groundon a round conical stone in the inside, and the flour came out at the bottom. In afresco-painting on the walls of the building called the Pantheon at Pompeii, one ofthese mills is represented, with a party of Cupids, who appear to have been makingbread, and two of whom are fondling the asses which had been employed at the mill.And in two bakers' shops in Pompeii several of the mills (precisely resembling theone on our lamp) were discovered standing as they had been left when last used beforethe destruction of the city. Lampsin bronze and other metals are not socommon as those in baked clay, butsome of these also have been found inRoman London. Mr. Smith possessesone, represented in our cut (fig. 39) ,which has been made from a bronzecup, of a very elegant pattern, bybreaking in one side and adding a39spout. This relic was found in the Thames, near London Bridge: it is here drawntwo-thirds of the original size.It is not without feelings of excited interest that we thus trace on the ornamentalwares of ancient Londinium, dug up from beneath our feet, the same manners, thesame costume, and the same tastes, as those exhibited on the similar articles discoveredin still greater abundance among the ruined cities of ancient Italy. It is a questionat present very difficult to decide, how many of these articles were actually made inBritain, and how many were imported from the mother-country, or from Gaul andSpain. New discoveries, however, furnish us almost every day with fresh proofs of theexistence of very extensive manufactures in this island under the Romans. Considerable remains of Roman sculptures in stone, evidently executed on the spot, were lastyear dug up at Wansford, near Castor, in Northamptonshire, by Mr. E. T. Artis, who,we understand, has lately made further discoveries of the same kind. The stone inwhich they were sculptured was that of a neighbouring quarry; and several of them,including a Minerva and a Hercules, were executed in a style which proves that thisdistant province was not deficient in skilful artists. Potteries of great extent have beenrecently traced in the Upchurch and Dymchurch marshes in Kent; and we owe a veryinteresting discovery of this kind to the antiquarian zeal of Mr. Artis of Castor, whoTHE ROMANS IN LONDON. 14340 41 42has uncovered the very kilns in which the pottery was made. * The pottery manufactured in each of these places had its own peculiarities, and some of it was of very rudecharacter, only fitted for the most common utensils. The Castor pottery alone is ornamented with figures in relief; and one of its peculiarities is, that all the ornaments havebeen first moulded and then fixed on the surface of the vessel before it was hardened.It was then placed in what Mr. Artis calls a " smother kiln," and the colour (generallya brown or rusty copper tint) was given by smothering the fires. All these differentkinds of native pottery have been found in London, but the Castor ware appears to bethe rarest. In the accompanying cutwe give three examples of it. Thefirst (fig. 40) was found in excavatingat London Wall, and the figure appears to represent an archer: it may,perhaps, be taken as a faithful representation of the costume of some ofthe Romano - British soldiers . Thesecond specimen (fig . 41) was foundvery recently in Fish Street Hill,and contains part of the spirited(though rudely drawn) figure of adog, having something of the chaITALYracter of the English bull-dog or mastiff. In other examples the dogs have the delicateform of the modern greyhound, and are, like this also, employed in hunting the hare.These designs are interesting to the naturalist, for, among the Romans, Britain wascelebrated for its breeds of dogs, which were exported in considerable numbers.Claudian (De Laud. Stil. lib . iii . ) , in enumerating the dogs peculiar to different countries, speaks of the British breed as capable of overcoming bulls: -" Magnaque taurorum fracturæ colla Britannæ ."The more delicately shaped dog often found on this pottery appears to have been theone named by the Romans vertragus, which was also derived from this island. Martial(lib. xiv. ep. 200) says, -" Non sibi, sed domino, venatur vertragus acer,Illesum leporem qui tibi dente feret. "

• A most interesting account of the kilns and pottery | article in the " Journal of the British Archæological found at Castor, the Roman Durobrivæ, is given in an Association," No. I. (London , H. G. Bohn. )

144 THE ARCHEOLOGICAL ALBUM.And Nemesian ( Cyneget. 1. 124) speaks of the export of British hounds for the purposeof hunting:-" Catulos divisa Britannia mittitVeloces, nostrique orbis venatibus aptos. "The most common subjects represented on the Castor ware are scenes of huntingthe hare or the stag, which seems to have been a favourite recreation of the Romanconquerors of Britain. It is, however, not unfrequently ornamented with scrolls,foliage, human figures, and especially with fishes. The two fragments just describedare in the museum of Mr. Roach Smith. Our third example (fig. 42) is takenfrom that of Mr. Chaffers. From its mutilated state, we can hardly decide whetherthe animals are intended for hounds or horses; but it is curious as having had,apparently, an inscription scratched on the top . These were certainly articles ofnative manufacture; and the terra- cotta lamps appear also to have been articles ofsmall value, which were more likely to have been made on the spot than to havebeen brought from Italy, or even from Gaul. It is a subject of much greater doubtwhether the beautiful red pottery, generally termed Samian ware, of which suchlarge quantities are found in almost every part of England, was ever manufacturedin Britain.There were three famous kinds of pottery among the ancients —that of Samos, thatof Athens, and that of Etruria. The Samian ware is frequently alluded to by Romanwriters, as that most used at the table. It appears certain that it was of a red colour,and the terms applied to it in the classic writers answer exactly to the specimens whichare found in such great abundance in England. It is frequently mentioned by Plautusas the ordinary ware used at table as well as for sacred purposes. Pliny speaks ofit as being in common use for the festive board; and he gives the names of severalplaces famous for their pottery, among which Aretium in Italy holds the first place.Surrentum, Asta, and Pollentia, in Italy, Saguntum in Spain, and Pergamus in AsiaMinor, were, as we learn from this writer, celebrated for the manufacture of cups.Tralleis in Lydia, and Mutina in Italy, were also eminent for manufactories of earthenThe produce of these different places was exported to distant countries. *Some of the finer vessels, may, therefore, have been brought from abroad; and still itis not impossible that, at least in later times, potteries for the making of this ware mayware.

• " Major quoque pars hominum terrenis utitur vasis. Samia etiamnum in esculentis laudantur. Retinet hanc nobilitatem et Aretium in Italia; et calicum

tantum Surrentum, Asta, Pollentia; in Hispania, Saguntum; in Asia, Pergamum. Habent et Tralleis operasua, et Mutina in Italia: quoniam et sic gentes nobilitantur. Hæc quoque per maria terrasque ultro citroqueportantur, insignibus rota officinis Erythris. " -PLIN.Hist. Nat. lib. xxxv. c. 12.THE ROMANS IN LONDON. 145have been established in Britain . * Isidore of Seville, at the end of the sixth century(he died in 610) , speaks of the red pottery made at Aretium (the modern Arezzo) , whichhe calls Aretine vases, and also of the Samian ware, with an expression of doubt as tothe exact locality which produced the latter; so that it is probable that it was made indifferent parts of Roman Europe. Modern researches at Arezzo, in Italy, have notonly brought to light a considerable quantity of the Aretine ware, but also the remainsof the kilns in which it was baked; and a scholar of that place, A. Fabroni, haspublished a book on the subject, under the title of Storia degli antichi vasi fittiliAretini. Although the specimens given in his engravings bear a general resemblanceto the Samian ware found in England, yet there are some very strongly markedcirc*mstances in which they differ. The names of the potters are different, and aremarked in a different form and position on the vessels; the red of the Aretine wareis of a deeper shade, the figures are in general in a much better style of art, and theyseem to be of an earlier date.The common Samian ware is of an extremely delicate texture, having somewhat theappearance of fine red sealing-wax. The vessels composed of it are of all sizes andshapes, sometimes strong, but more frequently thin and consequently very brittle;and it is only under favourable circ*mstances that we find them unbroken. Theirfrailty appears, in classic times, to have been proverbial: when, in Plautus, a person isdesired to knock gently at the door, he replies, " You seem to fear that the door ismade of Samian ware,""M. Placide pulta. P. Metuis , credo, ne fores Samiæ sient. "And, on another occasion, -" Vide, quæso, ne quis tractet illam indiligens:Scis tu, ut confringi vas cito Samium solet?"Menæchm. 1. 98.Bacch. 1. 166.It is by no means unusual to find bowls and pateræ of this ware which have beenbroken by their possessors in former times, and subsequently mended, generally bymeans of leaden rivets. This shews the value which must generally have been setupon it, and seems at first sight rather contradictory to the great profusion in which itis found. In the specimens discovered in this country, the name of the potter is generallymarked in the centre of the vessel, in the inside. Long lists of potters' names have

• Immense quantities of this ware are constantly

brought up by the fishermen from a shoal called thePan Rock, off Margate, which is supposed to have beenin the time of the Romans dry ground. It has beenconjectured that this was the site of extensive potteries of Samian ware.τ146 THE ARCHEOLOGICAL ALBUM.been collected by Messrs. Smith, Kempe, and Chaffers, and published in variousvolumes of the " Archæologia " and " Gentleman's Magazine." A large proportionof these names is evidently not of Roman extraction; they appear more like Gallic orBritish, -a circ*mstance which seems to give some support to the notion that thesevessels were made in the western provinces of the Roman empire.The collection of London Samian ware in the museum of Mr. Smith is very extensive, and, while a part of it is plain, the greater portion displays an almost infinitevariety of ornamental design, always in relief. The figures appear in most cases to havebeen moulded on the pottery after it had passed through the lathe.The common4345444610000specimens exhibit more spirit in thedesign than correctness in the execution; but from time to time we meetwith examples which are real gems ofart. The subjects are extremely varied,and furnish interesting illustrations ofthe fables and manners of antiquity.They consist sometimes of figures ofdeities and their attributes, mythological representations, sacrificial anddevotional ceremonies, and the like.In others, we have hunting scenes,gladiatorial combats, bacchanalianpieces, music and dancing, and insome instances subjects of a very equivocal character. In some specimens, the surfaceis covered with figures of animals and birds, and in others (a numerous class) theornamentation consists only of tracery and foliage, the leaves of the vine and the ivyoccurring most frequently. The figures we give in the margin are specimens of themore common class of figured Samian ware. In fig. 43 (from a fragment found inBread Street by Mr. Smith, and of which Mr. Chaffers possesses another specimen) werecognise the old and widely popular legend of the pygmies and the cranes. Thisstory is a subject of perpetual allusion in the Greek and Latin poets, and we find it inthe figures of the Etruscan vases and among the paintings of Pompeii . Fig . 44 ,obtained from Thames Street by Mr. Smith, represents a man fighting a bull, probablyone of the sports of the amphitheatre. Fig. 45, also from Thames Street, representsmusic and dancing; and the same subject is treated rather differently in fig. 46, froma fragment of a bowl in the possession of Mr. Chaffers, obtained from Lad Lane.Mr. Smith has also specimens containing these latter figures. The man is playing onTHE ROMANS IN LONDON. 147the double pipe, or rather on two pipes at once (tibiæ pares), the mode in which thismusical instrument was most commonly used by the Romans; it is frequently sorepresented in antiques.In some of the finer specimens of the Samian ware, we see plainly by the fracturethat the figures have been first cast in a mould, and then attached to the surface of thevessel, and perhaps finished afterwards with a tool . An example of this is found in alarge and very beautiful bowl, unfortunately much mutilated, obtained by Mr. Smithfrom Cornhill, in the course of excavations made there in 1841. When unbroken, thisvase was ten inches high, by thirty-four in circumference. The ornaments consistof male and female figures, with vine-trees placed alternately, forming a band fourinches deep round the exterior; above is a smaller band of vine-branches and hares,and, beneath, a border, in which birds are introduced alternately with vines. Threeonly of the figures in the central compartment remain, all mutilated . Our fig. 49474849represents the one which is most complete, the size of the original. The other twofigures are those of seated females, profusely covered with drapery; at the feet of oneis a recumbent amphora, and by the side of the other a Phrygian shield . Fig. 47 is afragment of another fine vessel of Samian ware, executed in precisely the same style asthe last, found in Cheapside. In the fracture of these vases we see clearly the mannerin which the moulded figures were applied to the pottery; but this is still more evident148 THE ARCHEOLOGICAL ALBUM.in the fragment represented in fig. 48, found in Gutter Lane, where the outline of thepiece applied to the vase extends beyond the outline of the head. All these specimensare in the possession of Mr. Smith.Figures 50 and 51are two fragments ofthe common Samianware, but remarkablefor the elegance of theirornaments. The first,found in LeadenhallStreet, and now in thecabinet of Mr. Smith,represents what appearto be intended forApolloand Diana, both robed50 51in flowing drapery. Apollo carries his harp; while the goddess, who is returning fromthe chase, bears in one hand her bow, and in the other a hare. The other figure is aVictory, between two altars; it was found in Lad Lane, and is preserved in the cabinetof Mr. Chaffers. Our last cut, fig . 52, represents a fragment of a bas-relief on alight-coloured tile, also in the possession of Mr. Chaffers. It is most probably a52 portion of a terra-cotta, like those in the Townley Gallery in theBritish Museum, and is executed in a very good style of art.These terra-cottas were attached to the walls of buildings, asfriezes, &c. , and took the place of sculptured marble. Theywere cast in moulds, afterwards baked, and appear to have beenfinished with the hand. They are among the rarest monumentsof antiquity.We will not on the present occasion prolong our visit toMr. Smith's Museum, or enumerate the other relics of RomanLondon which adorn it; but will here conclude our hasty sketch.Among other Roman antiquities may be noticed the coins,of which thousands have been obtained from excavations in the city, and, moreespecially, from the bed of the river . These extend from Augustus to Honorius, andsome of them present types previously unknown; while those of the Constantinefamily are of local interest as bearing the mark of a London mint; and others,of Carausius, are of historical importance. It is remarkable that, amid the luxuryand magnificence which must have characterised the Roman city, a large portion ofTHE ROMANS IN LONDON. 149its currency appears to have been base money. The immense number of plated denariifound here leaves little room for doubting that they were imported by the imperialauthority or connivance. A quantity of these forgeries was recently discovered inKing William Street, consisting of various consular and imperial coins terminatingwith Claudius, by whose troops they were probably brought over to our island.They were found packed up in rolls, just as they had been imported. These platedcoins were most abundant in the reigns of Severus and his successors. Quantities ofRoman clay moulds for fabricating coins have been discovered in different parts ofEngland, particularly at Castor, in Northamptonshire, by Mr. Artis; so that thiscountry appears to have abounded with forgers!Mr. Smith's wonderful collection of Roman antiquities found in London shews howmuch may be done by individual zeal when wisely directed . The desire of preservingantiquities is now spreading widely through the land, and must in the sequel lead toan advance in archæological science. Many of our provincial towns already possessmuseums, in which the more important antiquities that are from time to time exhumedare safely deposited for public inspection . It is said that the city of London is to havea museum, which, in judicious hands, would be an important institution . But theauthorities, who have hitherto obstructed the antiquarian pursuits of others, are notlikely to do much for the encouragement of them themselves; and we fear the citymuseum will only form another excuse for interrupting the researches of Mr. Smith andhis fellow-labourers. In the British Museum, our native antiquities appear to be heldin very little esteem, and, in general, articles sent there are lost to public view. It isdiscreditable to the government of this country that we have no museum of nationalantiquities, which might, under a judicious curator, at a very moderate expense to thenation, become one of the most interesting and popular institutions of the metropolis .In such an institution, a collection like that made by Mr. Smith should be depositedfor the advantage of posterity.SILCHESTER.SILCHESTER appears to be the site of one of the largest of the Roman towns inBritain, the walls which still remain being nearly three miles in circuit . It lies onthe northern borders of Hampshire, and an inscription found some years ago withinthe area of the walls leaves no doubt of its being the town which is called by some oldwriters Segontiacum, and which appears in the " Antonine Itinerary" under the nameeither of Calleva or of Vindomis. It appears to have been utterly destroyed by theSaxon invaders ( it is supposed by Ælla) , and green fields now cover the floors whichwere once trodden by its numerous citizens . The only buildings within the walls are afarm-house and a church, the modern village of Silchester being without the walls ata short distance to the west.This place is not mentioned in the authentic Roman historians, but tradition andfable seem to have preserved some remembrance of its former celebrity and misfortunes.It appears to be the Cair Segeint of the brief chronicle which passes under the name ofNennius; and it is there said to have been built by Constantius, the son of Constantinethe Great, who, according to the legend, " sowed in the pavement of the aforesaid citythree seeds, that is, of gold, silver, and brass, in order that no poor man might everdwell in it ." Constantius, it is pretended, died and was buried here, without the walls;and a manuscript chronicle in the College of Arms tells us that his body was found therein 1283. Probably some remarkable discoveries were made at that time. Accordingto the fabulous history of Geoffrey of Monmouth, it was at Silchester that, in 407, theRomano- British soldiery, on the death of the usurper Gratian, elected Constantine, aperson of low birth, to the imperial dignity, and from hence he marched into Gaulagainst the emperor Honorius . We learn from the same very doubtful authority, thatin the midst of the Saxon invasion, on the death of Utherpendragon, the Britishchieftains assembled at Silchester, and there crowned the far- famed Arthur as theirking. These legends seem to prove that it had been a city of great importance.According to the modern tradition of the neighbourhood, the city was finally destroyedby wild-fire, which the enemy sent in attached to the tails of sparrows!Drawn &Frgraved bySILCHESTER HAMPSHIRE .THE ROMAN AMPHITHEATRE AT SIICHESTER .BIC & Hall Lad S 11. I. 1 .FW Farholt. FSA

SILCHESTER. 151The walls of Silchester form at present the only remarkable vestige of the ancientcity. At a short distance they can hardly be distinguished, on accountof the greatquantity of trees and underwood growing in and upon them. They are least concealedby these appendages on the side of the church, which is shewn in the uppermost viewon our plate . The lower part of the walls on one side has been recently cleared for anextent of many yards, which enables us to observe more accurately the mode of theirconstruction. The massive foundation-stones are sloped at the upper angle, and forma sort of projecting step, upon which is placed a row of flat and ponderous stones,measuring about two feet in length by six or eight inches in height, and nearly a yardin depth . Similar single rows of stones, in many instances much larger, take the placeof the layers of Roman brick, usually found in Roman walls; but it is a remarkablefeature of the walls of Silchester, that they contain not the slightest portion of thisordinary component in Roman buildings. Above the foundation- stones begin layersof flints, in five rows, arranged in what has been termed the herring-bone fashion, andimbedded in strong mortar formed of sea-sand and pounded brick and chalk. Abovethese flints is a second layer of single stones, then the rows of flints are repeated, thenanother line of stones, and so on to the top of the wall, which was no doubt moreelevated originally, but there are now only four rows of stones and flints remaining .In one part of the walls we remark a difference of construction, four rows of flintsresting on the broad foundation- stones, upon which, and immediately under the nextlayer of large stones, a sloping row of rudelyshaped stones is placed, as represented inthe accompanying cut. A level foss encircles the walls, and there are traces of avallum beyond. On the south side is avery large earth-work, extending in a halfcircle from the walls, and enclosing a considerable space. It is so considerable, that,although it seems hitherto to have escapedthe notice of antiquaries, it no doubt filledan important place in the military defencesof the town.The walls form an irregular figure of nine sides . The city appears originally tohave had four gates, not arranged according to any regular plan. The conjecturaldistribution of the streets, given in an old plan communicated by Mr. Kempe toa recent volume of the " Archæologia," is in all probability quite incorrect. Thechurch of Silchester, which stands near the wall on the east, beside what is supposed152 THE ARCHEOLOGICAL ALBUM.to have been the principal entrance to the city, is built upon a platform, which wasprobably the site of a temple, or some building of importance, as portions of stuccoand tessera of pavements are strewed over the field in the vicinity. At a shortdistance to the west of the church, baths were discovered in 1833; but the excavationswere discontinued by order of the duke of Wellington, to whom the land belongs, andwho had been persuaded that his property would be injured. One of the leaden drainpipes, with fragments of the frescoed walls painted with a honey-suckle pattern, arestill preserved by the resident clergyman, but the half-uncovered baths were entirelyrecovered with mould. Upwards of 200 Roman coins in brass were discovered in oneof the leaden pipes of the bath, and in the bath itself was found a human skeleton,perhaps one of the inhabitants who had taken refuge there when the city was destroyed.The tessellated floors are said to have been covered with wood-ashes and the fragmentsof tiles which had formed the roof, -an apparent evidence that the building had beenburnt. Flue tiles of a remarkable character were also found here, with inscriptionsrudely scratched upon the clay before baking.Near the centre of the area included by the walls, on the side of the road whichpasses through, lies a portion of a sculptured marble capital, measuring four feet bythree, which has probably belonged to a temple or some other public edifice which stoodnear this spot. It has been supposed that the forum of the Roman town was situatednot far from this place. It is said that in the autumn, particularly after a dry season,the eye may trace distinctly, by the different growth of the corn, lines of walls andbuildings in all parts of the area of the ancient city; but the attempt which has beenmade to draw a plan of the ancient streets from these uncertain and indistinct indications can be viewed as no more than a vain exercise of the ingenuity. Fragments oflarge columns lay in the immediate vicinity of the farm-house, and seem to indicatethat there also stood an important public building.Without the walls, on the north side, are the remains of an amphitheatre, of considerable extent, but neither so large nor so perfect as the one at Dorchester. Theembankment surrounding the arena is thickly set with trees, which have probably contributed much to its decay. A view of the interior of this amphitheatre is given inour plate.Fragments of pottery, tiles, &c. , are scattered over the surface of the ground in thewhole area enclosed by the walls; and many articles of various kinds, with a greatnumber of coins, have been dug up at different times. In the last century, a brasseagle found here was exhibited before the Society of Antiquaries, and supposed tobelong to a Roman military standard. A gold ring, with an inscription, and anintaglio representing Venus Urania, was also found at Silchester some years ago.SILCHESTER. 153Several bronze figures have likewise been dug up at different times. Mr. Barton, thepresent occupier of the farm, possesses an interesting collection of Roman antiquitiesfound in Silchester, consisting of a number of curious and elegant fibulæ, two of whichare beautifully ornamented with blue and red enamel, a few stili and other implements,the weight of a steelyard representing the bust of a man, several weapons, and a largecollection of coins, ranging through the whole period of the Roman occupation of theisland, but those of Severus and his family are by much the most numerous. Twomutilated stones, bearing very important votive inscriptions, have also been found atthis place. The first, dug up in the year 1732, is a dedication to the Hercules of theSegontiaci, which proves the identity of Silchester with what the pretended Nenniuscalls Caer Segeint. This inscription ran as follows: —DEO. HER SAEGON T TAMMONSAEN TAMMON VITALIS HONOWhich has been read, Deo Herculi Sagontiacorum Titus Tammonius Sanii TammoniiVitalis filius ob honorem, i.e. Titus Tammonius, the son of Sænius TammoniusVitalis, dedicated this in honour of the God Hercules of the Sægontiaci. The other,found about the year 1741, is dedicated to Julia Domna, the second wife of the emperorSeverus, and the mother of Caracalla and Geta, and, as she died about A.D. 217, itproves that this city existed long before the time of its pretended founder, Constantius .Two of the titles here given to the empress, Mater Senatus and Mater Castrorum, arefound on medals.IVLIAE AVG MATRI SENATVS ET CASTROR .M. SABINVSVICTOR OBWhich may be read, Julia Augustæ matri senatus et castrorum M. Sabinus Victorinusob honorem posuit, i.e. Marcus Sabinus Victorinus placed this in honour of Julia theempress, the mother of the senate and of the army.We have already alluded to one local tradition relating to Silchester; there isanother which deserves notice. The peasantry of the neighbourhood call ( or at leastthey did so in Camden's time) the Roman coins found here Onion's pennies. In theeastern wall, some distance to the south of the church, there is a cavern or arch calledpopularly Onion's Hole, because, according to the legend, a great giant, who dwelt inancient times in this city, had made a dwelling in this spot.X154 THE ARCHEOLOGICAL ALBUM.The church of Silchester, which appears in our first view, possesses outwardlyfew attractions, having been altered and partially rebuilt at a period when goodtaste was not predominant. The ancient door, which, with the original portion ofthe church, belongs to the style generally termed early English, is ornamented with asimple dog-tooth moulding. The arches of the chancel spring from ponderous octagonal pillars, very slightly ornamented, and which appear to have been based uponthe heavy foundation-stones removed from the adjoining walls. The font, placed onsimilar stones, is octagonal, and quite plain. The windows contain remains of finepainted glass, upon one fragment of which may be distinguished the head of a bishop,behind which appear the towers of a city. It seems to have been a work of the fifteenthcentury. The wooden screen of the chancel, apparently executed about the same time,is richly carved with figures of angels bearing scrolls, interspersed with the pomegranate.The pulpit is of carved oak, and bears the inscriptioncessor.THE GUIFTE OF JAMES HORE, GENT. 1639.The church contains some memorials of this family. In the south wall is a veryinteresting monument to a lady, apparently of the reign of Edward I. or of his sucShe lies beneath a low pointed arch, her head supported by angels, and a dogat her feet. The figure is much mutilated, and, with the whole tomb, has been coveredwith whitewash; but upon the wall at the back of the recess are fragments of a paintingin distemper, representing the lady whose effigy is below, in an attitude of prayer,borne up by angels. In the churchyard are two monuments of an earlier and stillmore interesting character, of which we intend to give an engraving and description ina subsequent paper. They are in a great state of decay, but deserve a more honourableresting-place within the walls of the church.Acourt fool, from MS. Reg. 15 E. IV. (15th century) .THE BURLESQUE FESTIVALS OF THE MIDDLE AGES.In the first ages of Christianity, when-a persecuted sect-it trusted to the force ofindividual conviction for its converts, these latter, in joining the religion of the Saviour,gave up at once all their old superstitions and prejudices. But when, in course of time,it became established as the religion of the state, the mass of the people soon disbelieved in the power of their old gods, and accepted the faith of the emperor. Churchestook the place of temples, and the statues of their idols were thrown down and brokenwithout much repugnance. But there was a host of old superstitions, customs, andobservances, intimately connected with the old idolatry of the people, which were sodeeply rooted in their habits and social life, that it was not an easy thing to persuadeconverts made under such circ*mstances to consent to their abolition . In fact, theChristian teachers found an advantage in shewing forbearance in the great religiousrevolution in which they were engaged, and they were wise in not shocking by atoo abrupt change the deeply rooted prejudices of so many ages. It was their policyto substitute gradually Christian festivals in the place of pagan ceremonies; and thus,amid the most riotous feasts and processions of the ancient ceremonial, new names andnew objects kept the popular mind fixed to a better faith. In course of time, however,as the church itself became corrupt and its ministers venal, these popular excesses,THE ARCHEOLOGICAL ALBUM.156which had at first been tolerated from necessity, were encouraged by the very personswhose duty it was to discountenance them; ard, during the middle ages, at certainperiods of the year, even the holiest places became the scene of riotous festivals,which recalled in many of their characteristics the most licentious of the feasts ofantiquity. It is true that these pseudo- Christian ceremonies were condemned by thebetter and wiser of the ecclesiastics, and that they were repeatedly proscribed by thecouncils of the church; but these condemnations were either merely formal, or theywere rendered ineffectual by the supineness and backwardness of those who ought tohave put them in force. Too congenial with the general laxity of manners whichcharacterised the feudal period, these ceremonies increased in force and intensityduring the fourteenth and fifteenth centuries, until they became so great an objectof public scandal that they could no longer be tolerated. Yet in Catholic countries,such as France, and Italy, and Spain, they continued to be observed in a suppressedform until the great dislocation of society produced by the French revolution atthe close of the eighteenth century.Among the Romans the latter part of the month of December was devoted to thenoisy and licentious festivities of the Saturnalia. In the earliest times of Rome thisfestival had been restricted to one day in the middle of the month; but the period ofcelebration was afterwards extended to seven days, and it was followed by a multitudeof other festivals of the same character, called, from the circ*mstance of their commencing in the Calends of January, the feria Kalendarum, which were continued duringthe month of January, * and were but just closed at the time of the somewhat analogousfestival of the Lupercals in February. This answers precisely to the period extendingfrom the festivities of Christmas to the time of the carnival of modern times, of whichthe Roman festivities were undoubtedly the prototype. The resemblance between theold and the modern observances is too strongly marked to be easily mistaken . Duringthe seven days of the Saturnalia masters were placed on an equality with their slaves,and all classes and ranks and even sexes were confounded together by disguises andmasks, under cover of which were enacted a thousand different follies and extravagances.These were precisely the characteristics of the joyous festivals of the middle ages. ‡

• Assuntferiæ quas indulget magna pars mensis Jano

dicati . ” —MACROBIUS, Saturnal. lib . i . c. 2.A curious coincidence is perhaps worth pointingout. It is well known that at the Lupercalia the Lupercals ran about the streets in a state of nudity: a similarpractice characterised the Saturnalia. A writer of thesixteenth century, speaking of the festive practices ofthe Franconians at the period of the carnival , says, -"Atque ne pudor obset, qui se ludicro illi committunt,Quifacies larvis obduc*nt, sexum et ætatem mentientes virimulierum vestimenta mulieres virorum induunt.dam satyras, aut malos dæmones potius , repræsentarevolentes , minio se aut atramento tingunt, habituquenefando deturpant: alii nudi discurrentes Lupercos agunt,a quibus ego annuum suum delirandi morem ad nos defluxisse existimo . " -Jo. BOEMUS AUBAN. , Mores, Le- yes, et Ritus omnium Gentium. 12mo. 1570. P. 277.Lucian, Saturnal. p . 608 , gives the following sum-THE BURLESQUE FESTIVALS OF THE MIDDLE AGES. 157A theological writer who lived in 1182, Beleth, informs us that, in his time, in thearchbishopric of Rheims and in other dioceses in France, at the festival of Christmasthe archbishops and bishops and other high ecclesiastics went to play at various gameswith the inferior clergy in the religious houses. * We trace this custom among theclergy, called by Beleth Decembrian liberty, in other writers. In the Saturnalia amock king was elected by lot, who ruled at the festival. The practice of choosingmock officers, under the names in different places of kings, popes, abbots, &c. , wasretained in all the burlesque festivals of the middle ages: in some parts a king is stillchosen on the twelfth night. Public gambling was allowed at the Saturnalia. It isprobable from the extract from Beleth that it was practised even by ecclesiastics atChristmas in former days, and from this custom we seem to have derived that ofplaying at cards at that period of the year. It is not necessary to point out thelibertinism of speech and action which characterised the old as well as the modernSaturnalia.These latter were chiefly prevalent in the countries which have derived theirlanguage and customs from the Romans, such as the French, Italians, and Spaniards,and are not found to have prevailed so generally among the purer Germanic tribes.The English festival of Christmas is of Saxon origin, and consisted chiefly in eating anddrinking; the mummery and masquerading, as well as the few burlesque festivals weshall have to notice as belonging to England in the middle ages, having been apparentlyimported from France. On the Continent we may trace the Saturnalian observancesand ceremonies almost without interruption from the Roman era. Tertullian, in histreatise De Idololatria, accuses the Christians of his time of participating in these paganfestivals . From the sixth to the twelfth century, and even later, we find the ecclesiastics and the canons of the church perpetually denouncing the pagan ceremoniesobserved at "the Calends of January;" and the words they use shew us that, duringthis long period, the Saturnalia of the ancients were observed with all their extravaganceand licentiousness by the Christians. It will be sufficient to quote an instance or two.St. Eligius, who died in 659, forbade the exercise of " wicked or ridiculous practices onmary ofthe practices at the Saturnalia: -Exovdašov iv,οὐδὲ ἀγοραῖον διοικήσασθαι μοι συγκεχώρηται , πίνειν δὲ , καὶμεθύειν, καὶ βοῆν, καὶ παίζειν, καὶ κυβεύειν, καὶ ἄρχονταςκαθίστασθαι, καὶ τοὺς οἰκέτας εὐωχεῖν, καὶ γυμνὸν ἄδειν , καικροτεῖν ὑποτρέμοντα· ἐνίοτε δὲ καὶ ἐς ὕδος ψυχρὸν ἐπὶ κεφαλὴνὠθεῖσθαι , ἀσβόλῳ κεχρισμένον τὸ πρόσωπον. A few linesfurther on Lucian speaks of it as one practice of theSaturnalia, —γυμνὸν ὀρχήσασθαι , καὶ ἀράμενον τὴν αὐλητρίδα τρὶς τὴν οἰκίαν περιελθεῖν .

• "Sunt nonnullæ ecclesiæ in quibus usitatum est, ut

|vel etiam episcopi et archiepiscopi in cœnobiis cum suisludant subditis, ita ut etiam sese ad lusum pilæ demittant. Atque hac quidem libertas dicta est Decembrica,quod olim apud ethnicos moris fuerit , et hoc mense serviet ancillæ et pastores velut quadam libertate donarentur,ferentque cum dominis suis pari conditione, communia festa agentes post collectionem messium. Quanquamvero magnæ ecclesiæ, ut est Remensis, hanc ludendiconsuetudinem observent, videtur tamen laudabilius essenon ludere. " -BELET. cap . 120. Cited by Ducange.158 THE ARCHÆOLOGICAL ALBUM.the Calends of January," in which it appears that people then disguised themselveswith masks of old men, stags, &c . * The Romans in their Saturnalia, according tosome of the primitive fathers of the church, went in the disguise of animals . TheCapitulare of Karlomann, published in 744, forbids the practice of indecent paganceremonies in the month of February (spurcalia in Februario). In the collection ofDecreta, Burchard, bishop of Worms, who died in 1024, forbids "the performanceon the Calends of January of any of the ceremonies invented by the pagans; "† and hesubsequently explains his meaning by anathematising those who presume to “ celebratethe Calends of January with the pagan ceremonies, " or who prepare feasts in theirhouses, or go about the streets singing and dancing . ‡However, although the Roman festivals were retained, the names under which theywent and their original objects were entirely changed, and saints and martyrs weresubstituted for Saturn and Janus. As they thus lost their individual character, thefestivals took different local forms and names; and although all our medieval festivalsof this description had one origin, we shall find it more convenient to describe themunder their different titles of Feasts of Asses, or of Innocents, or of Fools, &c . It isgenerally supposed that one of the original objects of the ancient Saturnalia was to givea day of joyous liberty to the servile class of society in which they might in somemeasure repay themselves for the sufferings they were obliged to support during therest of the year, and the prospect of which might afford some alleviation to their sadcondition. The miserable position of the lower classes under the feudal system, andthe constant sufferings to which all classes were exposed, gave a zest to the wildoutbreaks of folly and licentiousness which marked the medieval festivals that hadarisen out of the older Saturnalia, and which were but too congenial with the laxityof manners that prevailed from the twelfth to the sixteenth century. They wereabsolutely neither more nor less than Folly personified, and, in accordance with theircharacter, their most general title was that of Feast of Fools, or of Folly.I. THE FEAST OF THE ASS.One of the most important personages in many of these festivals was the ass, which,as typical of stupidity, might perhaps be taken as an emblem of the character of the"Nullus in Kal. Jan. nefanda aut ridiculosa, vetulos aut cervulos, aut jotticos (?) faciat, neque mensassuper noctem componat, neque strenas aut bibitionessuperfluas exerceat. " -DACHER. Spicileg. tom. v. p.216. (Ed. 1661.)a paganis inventum est. "-Burchardi Decret. in the Col- lect. Decret. Colon. 1548." Si quis Calendas Januarias ritu paganorum colere,aut mensas cum lapidibus vel epulis in domibus suispræparare, et per vicos et plateas cantatores et choros" Est aliquis qui in Cal. Jan. aliquid fecerat quod , ducere præsumpserit, anathema sit. ” —Ib.THE BURLESQUE FESTIVALS OF THE MIDDLE AGES. 159ceremonies in which it was introduced, but which in fact had a higher import. Theass, partly because it holds a somewhat more dignified position in society in the East,and partly because it has always been looked upon as the emblem of patience andhumility, acts a distinguished part in Scripture history. It was an ass to which wasgiven the power of speaking, and of resisting the unrighteous intentions of Balaam; itwas on an ass also that the Virgin Mary bore the infant Saviour in safety to Egypt;and, subsequently, Christ made his triumphant entry into Jerusalem seated upon thisanimal. At Beauvais, in France, a burlesque festival was formerly celebrated on the14th of January, ostensibly in commemoration of the flight into Egypt, in which themost beautiful young girl that could be found was seated on an ass, and led inprocession to the church. In a feast of fools (festum follorum) celebrated at Autun inthe beginning of the fifteenth century, an ass was led in triumph into the church,accompanied by a crowd of people in disguises and - grotesque dresses, chanting a songin praise of the animal. At the feast of the conards of Rouen, which enjoyed greatcelebrity in the fifteenth and sixteenth centuries, the " abbot," as he was called, rodeabout the town in a grotesque costume on an ass, while the crowd of followers indulgedin coarse and burlesque songs, which, like those of the ancient Saturnalia, raked up allthe scandal of the past year. One of these songs has been preserved, a strange mixtureof French and Latin words: -" De asino bono nostroMeliori et optimoDebemusfaire fête.En revenant de Gravinaria,Un gros chardon reperit in via,Il lui coupa la tête.Vir monachus in mense JulioEgressus est e monasterio,C'est dom de la Bucaille;Egressus est sine licentia,Pour aller voir dona Venissia,Etfaire la ripaille.It appears that the visits of dom de la Bucaille, prior of the abbey of St. Taurin, todame de Venisse, prioress of St. Saviour at the same place, had been a subject of publicscandal.There was, moreover, in various towns of France, such as Rouen, Sens, Douay, &c . ,a regular festival at Christmas, entitled the Feast of the Ass, or the Feast of Asses, inwhich the clergy of the place took a prominent part, and more than one old churchservice book has preserved the " service " for this occasion. The following lines,160 THE ARCHEOLOGICAL ALBUM.conveying the wish that all gravity should be banished, and nothing but gaiety beallowed, formed the commencement of the festival in the church of Sens:-" Lux hodie, lux lætitiæ, me judice, tristisQuisquis erit, removendus erit solemnibus istis .Sint hodie procul invidiæ, procul omnia mœsta;Læta volunt, quicunque colunt Asinariafesta."

-

It appears from the service-books alluded to, that a place was decked out in the middleof the church for the reception of the festive animal, and that two clerks led theprocession, singing a burlesque song in Latin, with a refrain or burthen in French.The subject of this song was the praise of the ass: it spoke of its Eastern origin, andof its beauty and strength in bearing burthens: -" Orientis partibusAdventavit asinus,Pulcher et fortissimus,Sarcinis aptissimus.Hé, sire âne, hé."It was born and bred " in the mountains of Sicsen," and passed the Jordan to visitBethlehem: -" Hic in collibus SicsenEnutritus sub Reuben,Transiit per Jordanem,Saliit in Bethlehem.Hé, sire âne, hé."It appears that the burthen of the song, recovered from another source, consisted of thefollowing lines:-" Hé, sire âne, car chantez,Belle bouche rechignez,Vous aurez du foin assez,Et de l'avoine à plantez. "The song went on to praise the ass above other beasts of burthen: -" Saltu vincit hinnulos ,Damas, et capreolos,Super dromedariosVelox Madianeos.Hé, sire âne, he;"and to describe its food and mode of life. It finished as the procession approachedthe altar, and the priest then began a service in prose.We know the character of this celebration chiefly by the preservation of the serviceperformed on the occasion; but we are less acquainted with the other particulars of thefestival than with those of some others of these burlesque ceremonies.THE BURLESQUE FESTIVALS OF THE MIDDLE AGES. 161II. THE FEAST OF FOOLS.The most celebrated and popular of the medieval Saturnalia was the feast of fools,sometimes termed in older writers the fête des sou- diacres, the word sou being here intended as a pun on saoûl (i . e. drunken) . An interesting treatise on the history of thesefestivals was published in 1741 by M. du Tilliot, under the title of " Mémoires pourservir à l'histoire de la Fête des Fous, qui se faisoit autrefois dans plusieurs Eglises.'The period at which this festival was celebrated varied between Christmas and theEpiphany, but it was most generally held on the first day of the year. It had anecclesiastical character, evidently derived from the religious character of the ancientSaturnalia. In the cathedral churches they elected a bishop or an archbishop of fools,and his election was confirmed with a multitude of ridiculous buffooneries, which servedfor a consecration, after which he was made to perform the pontifical duties, givinghis public and solemn benediction to the people, before whom he carried the mitreand the crozier. In the exempt churches, or such as depended immediately on theholy see, they elected a pope of fools (unum papam fatuorum), to whom, with similarbuffoonery, they gave the ornaments and ensigns of the papacy. These popes,bishops, and dignitaries, were assisted by a clergy equally licentious . They utteredand performed a strange mixture of follies and impieties during the service of thechurch, at which they attended that day in masquerade dresses and disguises. Somewore masks, or had their faces daubed and painted, to cause fear or mirth; whileothers were dressed in women's clothing, or in the garb of theatrical characters. Onentering the choir they danced and sang songs of the most licentious description . Thedeacons and sub- deacons ate black- puddings and sausages on the altar while the priestwas celebrating; others played at cards and dice under his eyes; and others threw bitsof old leather into the censer to make a disagreeable smell. After the mass was ended,they broke out into all kinds of riotous behaviour in the church, leaped, and danced, andexhibited themselves in indecent postures; and some went so far as to strip themselvesnaked, and in this condition they were drawn through the streets with tubs full of filthand ordure, which they threw about at the mob. Every now and then they stopped,and exhibited immodest postures and actions, accompanied with analogous songs andspeeches. Many of the laity took part in the procession, dressed as monks and nuns.The day was finished with eating and drinking, which merged into all kinds of scandalous disorders, contributing little to the morality of the towns in which these ceremonieswere performed. Such was the general character of the feast of fools.Frequent attempts were made, from a period as early as the twelfth century, toY162 THE ARCHEOLOGICAL ALBUM.repress the dangerous licentiousness of the feast of fools, but without effect; and noserious check appears to have been given to it until the Reformation, subsequent towhich its worst characteristics gradually disappeared before the force of public opinion,although, in some instances, these festivals continued to be kept up in the last century.The documents relating to the early history of festivals of this description are naturallyrare, but we trace them in many towns in France.At Amiens, as we learn from the registers of the chapter of the cathedral, on the3rd December, 1438, several chaplains, who during the previous years had been electedpopes of fools, claimed from the chapter sixty sols, left to support their festival by apope of fools, named Jean le Caron. In December, 1520, the chapter authorises thecelebration of the feast, but on condition of abstaining from " insolences " and fromunhanging the bells, and of paying for their own feast, to which the canons refused tocontribute. In 1538, however, the chapter gave fifty-five livres towards the repast ofthe pope and cardinals of fools (papæ et cardinalium stultorum hujus civitatis) . Laterin the same year the chapter forbad the festival and the election of a pope, butscarcely four months had passed before the order was withdrawn, and in 1540 thechapter again contributed fifty livres Tournois towards the feast. A fewyears afterwardsthe chapter made a more resolute attempt to suppress the feast, but it continued to becelebrated down to a much more recent period.At Chartres, also, a pope and cardinals of fools were elected; but the festival wasthere suppressed early in the sixteenth century. At Senlis a pope was elected, and theceremonies and processions were characterised by great extravagance. The clergy ofNoyon elected a king of fools, and it appears, by an entry in the registers, that in 1497the church was scandalized by the license which prevailed on the occasion. * At Ham,in Vermandois, there was a joyous company called les sots de Ham, and they elected aprince des sots. At Troyes, as we learn from the royal letters of Charles VII. forbiddingthe festival, the feast of fools was celebrated avec grants excez, mocqueries, spectacles,desguisem*nts, farces, rigmeries (i.e. profane songs) , et autres folies. A letter of thebishop of that city, relating to this feast as celebrated in his church, is given in thenote below. At Besançon, the feasts of fools were at first performed separately at each

• "Cavere a cantu carminum infamium et scandal- | de leur feste aux fols , ont fait plusieurs grandes mocosorum, nec non similiter carminibus indecoris et impudicis verbis in ultimo festo Innocentium per eos fetide

decantatis; et si vicarii cum rege vadant ad equitatumsolito , nequaquam fiet chorea et tripudia ante magnumportale, saltem ita impudice ut fieri solet."" Au surplus, vous plaise savoir que ceste presenteannée aucunes gens d'esglise de ceste ville , soubs umbrequeries, derisions, et folies contre l'onneur et reverence deDieu et ou grant contempt et vitupere des gens d'esgliseet de tout l'estat ecclesiastique, et ont plus excessivementfait la dite feste que ou temps passé n'avoient acoustumé,et sy n'ont pas esté contents de la faire ung jour ou deux,mais l'ont faicte quatre jours entiers; et ont tant faitd'esclandres que raconter ne les saroie, et pourceque selonTHE BURLESQUE FESTIVALS OF THE MIDDLE AGES. 163church in the town; but one of the statutes given by cardinal Thomas of Naples, in1387, directed that the feast should be performed in its turn at each church, in orderto avoid the occasions of division and scandal which occurred but too frequently duringthe celebration. It was held in the two cathedral and the two collegiate churches atChristmas: the priests celebrated on St. John's day; the deacons and sub-deacons onSt. Stephen's day; and the singing-men and children of the choir on Innocents' day.Each order chose a cardinal in the two cathedrals exempt from the jurisdiction of theordinary, and a bishop or abbot in the two collegiate churches; these were called thekings of fools, and were clad in robes of dignity, &c . Each party led its king incavalcade through the town, dressed in grotesque costumes, and amused the public bytheir buffooneries . When the processions of different churches met, they broke out intogross invectives against each other, and sometimes fought. All the churches of thetown agreed to suppress these masquerades in 1518, on account of a sanguinary combatbetween two of the processions on the bridge. There were bishops of fools at Rheimsand at Viviers; in the latter town it was the duty of the bishop of fools to feast theclergy at his own expense. In 1406 a clerk refused to submit to this condition, andhe was subjected to a regular trial before the canons of the church, and condemned topay for the feast, as according to the custom he was bound (ad solvendum prandium perepiscopum stultorum dari et solvi consuetum) .In course of time the right of celebrating these burlesque ceremonies was given tothe laity as well as to the clergy, and then burlesque companies or societies wereestablished in many towns in France. A company of fools ( la compagnie des foux) wasestablished at Cleves in 1381. Such festivals were most common in the towns ofFlanders dependent on the duchy of Burgundy. There was a prince of fools at Lille;la pragmatique sanction et les anciens droits , les dits folsne doivent faire aucuns evesques ne arcevesques des fols ,qui portent en l'eglise mitre, croix, crosse, et aultres ornemens pontificaux, jà pieça je requis à ceux de nos eglises de Saint Pere et de Saint Estienne de ceste ville, que enobservant la dite pragmatique sanction voussissent cesserde faire en leurs esglises , à la dite feste aux fols , evesqueset arcevesques ainsi que anciennement avoient acoustuméde faire; à quoi par special n'ont voulu obtemperer ceulzde la dite esglise de Saint Estienne, et encore ceste presente année ont eleu et fait ung arcevesque des fols , vicaired'icelle esglise, lequel la veille et le jour de la Circonci- sion Nostre Seigneur, fist le service en la dite esglise , vestuin pontificalibus, en baillant la benediction solemnelle aupeuple, et le dit arcevesque en allant parmy la ville , fai- soit porter la croix devant ly, et bailliot la benediction enallant, en grant derision et vitupere de la dignité arciepis-| copale; et quant on leur a dit que c'estoit mal fait, ils ontdit que ainsi le fait - on à Sens, et que vous mesmes avez comandé et ordonné faire la dite feste, combien que soyeinformé du contraire, et que pis est le dimenche avantNoel aucuns des dits Fols firent un jeu de personnagesqu'ils appellent le Jeu du sacre de leur arcevesque, ou plus commun et plus publique lieu de la dite ville , et illec à lafin du dit jeu , de quelque vile et orde matière fat fait ledit sacre, en soy moquant et ou tres grant vitupere dusaint mistere de consecration pontificale, et pourceque àces choses je ne puis pas de moi mesmes pourvoir, pourcequ'ils sont exempts de ma jurisdiction, et que les ditesesglises sont à vous sugettes et aves puissance de reformertels abuts et aultres qu'ils ont fait et font chacun an soubsumbre de la dite feste, je vous supplie... il vous plaisede pourvoir aux dits exces et abuts, etc. Escript à Troyesle XXIIIe jour de janvier (sans indication d'année).”164 THE ARCHEOLOGICAL ALBUM.and similar institutions are met with at Valenciennes, Douai, Bouchain, Langres, &c.Such also was the Society of Mother-fool (la société de la mère-folle) at Dijon, foundedin 1482; a number of curious documents relating to which were published by Du Tilliot,who has also given engravings of the standards, chariots,&c. , used by the company in their processions. Thestandard was painted with heads of fools, and bore fordevice the dictum of Solomon, Stultorum infinitus estnumerus. This company was sometimes called l'infanterieDijonnoise; its proceedings and deliberations were allcarried on with a burlesque solemnity of form. The cutin our margin, taken from one of M. du Tilliot's plates,represents the head of one of the standards of this company: La mère-folle appears feeding a nest of young fools,while the père -fou is seen underneath. The company hada seal bearing the figure of la mère-folle seated, and roundthe field the same inscription as on the standard.1482III. THE FEAST OF INNOCENTS.The feast of Innocents was closely allied to, if notidentical with, the feast of fools, and was celebrated inmany towns of France with the same ceremonies. AtAmiens, in December 1533, the chapter of the cathedralgranted sixty sols for the expenses of holding the feastof Innocents. Various entries in the register of thechapter of Laon refer to this festival, in which it appears that the choristers wentin procession through the town. On the eve of St. Nicholas, in winter, they elected abishop of Innocents, and in the same church there was elected a patriarch of fools. In1518 a man was condemned to prison for eight days, at the complaint of the chapter,for having thrown fire from the top of a portal on the patriarch and his " consorts "when they were celebrating their festival on the eve of the Epiphany. The feast ofthe Innocents was also held in the church of Senlis, where the expenses were paid bythe chapter; such also was the case at Noyon, where, in 1430, two rival bishops ofthe Innocents were elected, which gave rise to a great dispute. Bishops or archbishopsof Innocents were also elected at Roye, Peronne, Corbie, Toul, Rheims, &c . The oldstatutes of the church of Toul give an account of the ceremonies connected with theelection of the bishop of the Innocents, which will be found in a work published at

oaon:2W.סט199SETIC1MTIશોજીવન9STRECCHIEPY72IRO: PIOLTOVZEPITVRYOLEVEOSTSVM: RHSINALHOIKUDSIDLOTMOMETARFRGROM1184SDAPOMOSTEINEGROS PARSUK6•PRVEVERITA-12ARCEPTIMCIT-10VPER414SIGILLEOld +VICLENSISCLANSANCTIELIGIINOV 13 Ir , rived by PFairhl FS A.SCOPIENSISEMOAENTROSRENSELOTIELIWOIAONIL14COINS & THE 18S OF FOOTS AND INNOCENTHE BURLESQUE FESTIVALS OF THE MIDDLE AGES. 165Paris in 1837, entitled " Monnaies inconnues des Evêques des Innocens," &c . , towhich we are indebted for some of the materials of the present article. At the abbeyof Corbie the expenses of the feast were paid by the prince of the Innocents, as he wascalled there (festi Innocentium, cujus confraternitatis eodem anno ( 1516) eram princeps) .These expenses were so great, that the monk who is here speaking was obliged to sella house to pay for them. In 1479 the chapter of Rheims agreed to pay the expensesof the feast of the bishop of Innocents, only on condition that they should not carrymasks, that trumpets should not be sounded, and that they should not ride on horsebackabout the town.There was a point of resemblance between the medieval and the classic Saturnaliawhich, until recently, has escaped observation: in the Roman festivals a sort of money,supposed to have been of thin copper or lead, was circulated under the name of sigilla; andthese sigilla, during the festival, formed an extensive article of commerce. Accordingto Macrobius, the sale of the sigilla (sigillariorum celebritas) lasted during seven days;the bishops of the Innocents and of fools had in like manner a sort of money struck inlead, a great quantity of which has been of late years discovered in France. The authorof the work on this subject just quoted (Monnaies inconnues des Evêques des Innocens, desFous) has given engravings of upwards of a hundred specimens, bearing appropriatetypes and legends, from which we give a selection in the accompanying plate. Someof them bear on the reverse crosses of a very elegant design.The first of these, fig. 1 of our plate, has, on the obverse, a grotesque personage,wearing a capuchon, and mounted on an ass, with the legend MONOIE . DE LEVESQINOCT; on the reverse, a cross, with the same inscription in Latin, MONETA . EPI .INNOCENTVM .Fig. 2, found at Amiens, is curious for its early date. On one side is a king, withhis left hand extended over the letters A and O and what appears like a musical note;with the inscription AV: GRE: DEDIEV: &: ABO'DROIT, i.e. au gré de Dieu et à bondroit. On the reverse is the inscription MON NOVA ΕΡΙ INOC A 1499, i.e.moneta nova episcopi Innocentium anno 1499.· • • •Fig. 3, also found at Amiens, appears to be of a date anterior to the sixteenthcentury. On one side a soldier is represented slaying a child, one of the ' Innocents,'with the legend MONETA: EPI: INNOCENT; on the reverse is a plain cross, with twomitres and two fleurs-de- lis, and the inscription in French, MONOIE: DV: VESQ:DES: IN.Fig. 4 is the money of the archbishop of the Innocents of the parish of St. Firminat Amiens. On one side appears a bishop in the act of giving his benediction,MONETA · ARCHIEPI: SCTI: FIRMINI; on the other are two personages, one of166 THE ARCHEOLOGICAL ALBUM.whom is dressed as a fool, with the inscription, NICOLAVS . GAVDRAM.. ARCHIEPVs .1520.· •Fig. 5 relates to a man of the name of Turpin, who was archbishop of the Innocentsat Amiens (where most of these pieces are found) , apparently in the parish of St.Firmin. On one side we have a bishop, as before, with the inscription, MONETA .ARCHIEPI TVRPINI A° . 1518. On the reverse the inscription, FAISONS CES:GROS: PAR: TOVT: COVRIR, surrounding a rebus (a thing much in vogue in Francein the sixteenth century) , consisting of the words PO' Nos, with three pots of the kindcalled marmites, between the letters TE and NIR, which makes the second line of thecouplet, —Agros was a kind of coin." Faisons ces gros partout courir,Pour nos marmites entretenir. "• ·Fig. 6 bears on the obverse two figures of fools, with the inscription, MAISTRE .ІАСОВІ . НОВЕ EPI . SCTI G , the last letters apparently designating the parishof St. Germain; and, on the reverse, the inscription, SIT: NOMEN: DNI: BENEDICTVM: 1515.*Fig. 9 has again a bishop on one side, with the inscription, SIRE • GVILLAMME .GERVOIS.; on the other three fools dancing, perhaps an allusion to one of the mostessential acts of the feast of fools, with the inscription, PRVDENCECONSOLE, i. e. prudence has good counsels.A. LES . BONS .Fig. 10 has on one side a shield with a chevron, and the inscription, MonetaNOVA . STE • MOE • 1542. On the reverse is a fool, with a bishop on a scaffold,surrounded by the inscription, ANTHONNIVS · TALMAR · FR. . . The last lettersare rather indistinct, and should probably be EP.Fig. 11 has on one side a figure representing St. Jerome, with the inscription,SAINT IEROME; on the other the inscription, MONETA EPISCOPI · INOCE .Fig. 12 has on the obverse a bishop, with a nimbus and double cross, and the date1549, surrounded by the inscription, MO . ANSELMI . CATROVLLARD . ARCEPI . On the

• It may be observed, en passant, that some of these | HIC EST SIGNUM: FACIEI BEATI IOHAVNIS BAVburlesque coins bear a striking resemblance to the pil- grims' signs described in a former page of the present

volume (p. 21) , and of which a more detailed account will be found in Mr. Roach Smith's " Collectanea Antiqua." The pretended head of St. John the Baptist was agreat object of pilgrimage in the cathedral of Amiens.Two of the signs of this relic, apparently as old as the thirteenth or fourteenth century, are engraved on ourplate (figs. 7 and 8); the first, in which the priest appears shewing the face of St. John , has the inscription,TISTE; the other represents the face itself, and hasthe inscription, SAIN: IEHAN: BADDIDEN: DAMIES.Figs. 13 and 14 on our plate are similar signs of St.Eloi of Noion, who was also the object of pilgrimage.They represent St. Eloi (or Eligius) receiving an offeringof a serpent, or a cierge in the form of one; in one thesaint is working at his anvil . The inscription on thefirst is SIGILLVM . SANCTI . ELIGII . NOVIOMENSISEPISCOPI; that on the other, S. BE .. TI . ELIGII .NOVIOMENSIS EPISCOPI.THE BURLESQUE FESTIVALS OF THE MIDDLE AGES. 167reverse is represented Truth, as a female seated and looking into a mirror, with a figureof a fool standing and holding some object which looks somewhat like a harp. Theinscription is SVPER . OIA . VINCIT . VERITAS.Since the publication of the work above-mentioned, Dr. Rigollot has discovereda considerable number of new types, among which one of the most curious is aleaden coin of the pope offools, communicated by this scholar to the " Revue Numismatique " for 1842, p. 55, a representation of which we give in our margin. It is ofthe fifteenth or of the earlier part ofthe sixteenth century. On one sideis the legend, MONETA . NOVA . ADRIANI . STVLTORV PAPE, the last Ebeing in the field of the piece, onwhich is represented the pope, withhis double cross and tiara, with a foolin full costume approaching his bauble·ORIALМОЙЕMERVS+STYESSAVLTORY.to the pontifical cross, and two persons behind, who form part of his escort . On thereverse is a " mother-fool," with her bauble, attended by a grotesque person with acardinal's hat, with the oft-recurring legend, STVLTORV . INFINITVS . EST . NVMERVS.We have some traces of the feast of Innocents and of that of fools in England, butthey are rare and not very definite. The rex stultorum in the church of Beverley wasprohibited as early as 1391. There was a child-bishop at St. Paul's church in London,who went in procession with songs, &c. about the city, and visited the houses of thecitizens. These ceremonies are thus described in a royal proclamation issued in1542:-" Whereas heretofore dyvers and many superstitious and chyldysh observanceshave been used, and yet to this day are observed and kept in many and sundry placesof this realm upon St. Nicholas, St. Catherines, St. Clements, and Holy Innocents,and such like holydaies; children be strangelie decked and apparayled to counterfeitpriests, bishops, and women, and so ledde with songs and dances from house to house,blessing the people, and gathering of money; and boyes do singe masse, and preachein the pulpits, with such other unfitinge and inconvenient usages, which tend rather toderysyon than enie true glorie to God, or honor of his sayntes." Entries relating toboy-bishops are found in some early church inventories; and a sculptured figure on atomb in Salisbury Cathedral is supposed to represent such a bishop, but this appearsto admit of considerable doubt.168 THE ARCHEOLOGICAL ALBUM.IV. THE FÊTE- DIEU AT AIX IN PROVENCE.These festivals appeared in other places under a variety of different forms andnames, which we will not undertake to enumerate. They were often accompanied withprocessions, in which different individuals were disguised to represent the persons ofthe Old and New Testament. One of the most remarkable of these was the Fête- Dieuat Aix in Provence, said to have been established by king René of Anjou in the fifteenthcentury, which was continued in the last century. In the ceremonies on this occasion there was a strange mixture of profane with sacred personages, and the coarseand ludicrous manner in which the latter were represented caused no little scandal topious individuals in former days. The ceremonies were under the jurisdiction of aprince d'Amour, a roi de Bazoche, an abbé de la ville, &c. , titles which seem to havehad some allusion to the days of chivalry. The ceremonies consisted in mock-fights,dances, diableries , processions, &c . , which are all described with engravings in a littlevolume entitled " Explication des Cérémonies de la Fête- Dieu d'Aix en Provence,"printed at Aix in 1777. Our first woodcut, taken from one of the plates in this book,represents Lou grandjuéc deis diáblés (thegreat play of the devils) . The two figuresin the middle representking Herod and hisdaughter, who are falleninto the power of theevil demons, armed withlong tormenting- forks,for their treatment ofJohn the Baptist . Thedifferent personages aredisguised with masks,which seem sometimes404to have represented the heads of animals, and which appear in several instancesraised above the face. One holds his mask in his hand. Others, among whom mustbe reckoned Herod's daughter, hold their masks in their proper places with theirleft hands. According to the description of the play given in the book, " HerodTHE BURLESQUE FESTIVALS OF THE MIDDLE AGES. 169leaps sometimes to one side, sometimes to the other, shielding himself as well as he canwith his sceptre against the forks; he finishes his playby a great leap, and the devils quit him and wait forfresh orders! " Another " play " is entitled La reinoSabo (the queen of Sheba) . Her Arabian majesty isrepresented on her way to visit Solomon. We cannotresist the temptation to transfer to our margin thefigure of the queen of Sheba, as an admirable exampleof burlesquing royalty.V. THE ABBOT OF MISRULE.The processions and ceremonies which we have just mentioned appear to be theremains of the Saturnalia of the middle ages in a degraded form. They appear also tohave been preserved in England under the superintendence of an abbot of misrule, or(as he was termed in Scotland) of unreason, or, as he was often called, the lord ofmisrule. Nearly all that we know of the ceremonies performed under the auspices ofthisdignitary is found in that oft-quoted passage of the puritan Stubbs, who published his"Anatomie of Abuses " in 1583. The lord or abbot of misrule was also an office offrequent occurrence in the households of princes and nobles; he was little more than amaster of the Christmas revels, private Saturnals which it is not our object to describeon the present occasion . Stubbs tells us that, -" Firste, all the wilde heades of theparishe conventyng together, chuse them a graund capitaine ( of all mischeef) , whom theiinnoble with the title of my lorde of misserule; and hym thei croune with great solemnitie, and adopt for their kyng. This kyng anointed chuseth forthe twentie, fourtie,three score, or a hundred lustie guttes, like to hymself, to waite uppon his lordelymajestie, and to guarde his noble persone. Then every one of these his menne heinvesteth with his liveries of greene, yellowe, or some other light wanton colour; andas though that were not gaudie enough, thei bedecke themselves with scarffes, ribons,and laces, hanged all over with golde rynges, precious stones, and other jewelles. Thisdoen, thei tye about either legge twentie or fourtie belles, with riche handekercheefesin their handes, and sometymes laied acrosse over their shoulders and neckes, borrowed,for the moste parte, of their pretie mopsies and loovyng Bessies, for bussyng them inthe darcke. Thus all thinges sette in order, then have they their hobbie horses, theirdragons, and other antiques, together with their gaudie pipers and thunderyng drommers, to strike up the devilles daunce withall . Then marche these heathen companieZ170 THE ARCHEOLOGICAL ALBUM.towardes the churche and churcheyarde, their pipers pipyng, their drommers thonderyng,their stumppes dauncyng, their belles jynglyng, their handkerchefes swyngyng abouttheir heades like madmen, their hobbie horses and other monsters skirmishyng amongestthe throng and in this sorte thei goe to the churche (though the minister bee atpraier or preachyng), dauncyng and swingyng their handkercheefes over their headesin the churche, like devilles incarnate, with suche a confused noise that no mannecan heare his own voice. Then the foolishe people thei looke, thei stare, thei laugh,thei fleere, and mounte upon formes and pewes to see these goodly pageauntes solemnized in this sorte. Then, after this, aboute the churche thei goe againe and againe,and so forthe into the churche yarde, where thei have commonly their sommer-haules,their bowers, arbours, and banquettyng- houses set up, wherein thei feaste, banquet, anddaunce all that daie, and (peradventure) all that night too; and thus these terrestrialfuries spend the Sabbaoth daie. Then, for the further innoblyng of this honorablelurdane (lorde, I should saie) , thei have also certaine papers wherein is painted somebabblerie or other of imagerie worke, and these thei call my lorde of misrules badges.These thei give to every one that will give money for them, to maintaine them in thistheir heathenrie, devilrie; and who will not shewe hymself buxome to them and givethem money for these the devilles cognizaunces, thei shall bee mocked and flouted atshamefully-(yea, and many times carried upon a cowlstaffe, and dived over heade andeares in water, or otherwise most horribly abused) . And so assotted are some, that theinot onely give them money, but also weare their badges and cognizances in their hattesor cappes openly. . . Another sorte of fantastical fooles bryng to these helhoundes(the lorde of misrule and his complices) , some bread, some good ale, some newe cheese,some olde cheese, some custardes, some cracknels, some cakes, some flaunes, sometartes, some creame, some meate, some one thing, some another."..

.WALES PRINCESS ,JOAN OFEFICYJLingville H.host the byndraw fom aF.SAWarholt byIEngraved oneMONUMENT OF JOANE PRINCESS OF NORTH WALES,DAUGHTER OF KING JOHN.THE very elegant slab, of which, by the kindness of the Rev. H. Longueville Jones,we are enabled to give the accompanying engraving, is now carefully preserved in thepark of Baron Hill, Beaumarais, the residence of Sir R. Bulkeley, by whom it was savedfrom probable destruction. It was originally placed at Llanvaes, in the monasteryfounded by Llewelyn ap Jorwerth, prince of Wales, whose consort Joane, a naturaldaughter of king John, it commemorates. After the dissolution of the monastery itwas removed, and, at the beginning of the present century, it was lying, face downwards,in a ditch near Llanvaes, the stone coffin it covered being used as a trough for wateringhorses . To this circ*mstance of inversion its good state of preservation is chiefly to beattributed. It is six feet long and three inches thick, and lies on a stone coffin of thesame dimensions and about eighteen inches deep . It is composed of a fine hardgritstone or sandstone, and the carvings on its surface are still sharp and perfect,though part of one side has been sawn off.The face of the princess, which was probably intended for a portrait, looks outsomewhat sentimentally from the tracery which surrounds it . This kind of low halfeffigy appears to have been the introductory step towards the more perfectsculptured figures which were commonat a somewhat later period. In thechurchyard of Silchester, as mentionedon a former occasion (p. 154) , lie, ina very neglected state, the two tombsrepresented in the accompanyingwoodcut. In one of them the head of alady is placed in a cross, in a similarmanner to that on the tomb of theprincess Joane, but it is much defaced. On the other we have two busts, apparently those of a man and his wife,172 THE ARCHEOLOGICAL ALBUM.surmounting a cross. Neither of these monuments bear any inscription, and thereis not even a tradition to point out the persons in memory of whom they wereplaced here; but they appear to be of the thirteenth century.Monumental slabs, ornamented with the cross and no effigy, are common from thetwelfth to at least the beginning of the fifteenth century; but it is difficult to fix theirexact date, except as far as we can conjecture by the general appearanceof the monument itself. A considerable number of examples are givenin the plates to the first volume of Gough's " Sepulchral Monuments."Sometimes they have an inscription, but the greater number are without;yet in many of them the cross is accompanied by the arms of theperson whom it commemorates, or with the insignia of his trade. Asword is not unfrequently carved beside the cross. On that given inour margin, taken from one of Gough's plates, a sword is representedon one side of the cross, and two bows on the other, with a horn suspended beneath, and what appears to be a plain or defaced coat of armsat the foot of the cross. This monument is in Bowes church, Yorkshire, and is supposed to mark the grave of a member of the familyof Bowes, on which name the two bows form a pun. Its date isuncertain. In a somewhat similar slab in the church of Kirkbyin-Ashfield, in the county of Nottingham, a pair of shearsaccompanies the cross, perhaps indicating that the person itcommemorates was a clothier. Our next cut, a slab with abrass, is the tomb of Nicholas de Aumberdine (a fishmongerof London) , in the chancel of Taplow church in Berkshire.The full-length figure of the deceased is here placed withinthe cross, and the trade is indicated by a fish at the foot. Aninscription round the edge makes us acquainted with the nameand trade, but it has no date, though it is supposed to be ofabout the reign of Richard II.The tomb of the princess Joane is a fine example of a classof monuments that are not common. It was this princess who, according to tradition,was engaged in a romantic but tragical intrigue with one of her husband's captives, theyouthful William de Braose, in the year 1229. William de Braose was a member of apowerful English family on the border, and had been taken prisoner and confined inLlewelyn's castle of Aber. His winning manners gained the confidence of the prince,and he was admitted to a great degree of familiarity, until at length he was ransomed.It is said that after he was set at liberty Llewelyn discovered proofs of the infidelity ofMONUMENT OF JOANE PRINCESS OF NORTH WALES. 173his wife, and resolved to take a ferocious revenge. He invited the unsuspecting loverto a feast, and there seized him, and immediately caused him to be hanged on asmall eminence in the dell adjacent to the castle. The tradition says that the angryprince led his wife, who was ignorant of what had taken place, to a window whichcommanded a view of the gallows, and there, with a sarcastic smile, asked her how muchshe would give to see her paramour. A fragment of what appears to have been aWelsh ballad, containing the question of the prince and the lady's answer, was obtainedby Pennant from the oral recitation of the peasantry of the neighbourhood, and is thusby him given in English: -" Lovely princess, ' said Llewelyn,'What will you give to see your Willim?'' Wales, and England, and Llewelyn,I'd freely give to see my Willim.The princess lived eight years after this event, and appears to have regained theaffections of her husband, who erected the monastery of Llanvaes over her grave,"whose pleasure it was, " as Caradoc of Llancarvan expresses it , " to be here buried. "The monastery was consecrated in 1240 by Howel bishop of Bangor; but, in a fewyears afterwards, it was burnt in an insurrection of the Welsh. Edward II. , in pity forthe sufferings of the brotherhood, remitted them the taxes they owed him. In the warwith Owen Glyndowr, the friars having shown a disposition to take part with that chieftain, Henry IV. plundered their house, killed some of them, and imprisoned the rest;but he soon afterwards liberated them and made restitution . After the dissolutionHenry VIII. sold the property, and it came into private hands. In the sequel themonastic buildings were destroyed, and the tomb of the princess, in memory of whomthey had been erected, was desecrated in the manner above described.THE FABULOUS NATURAL HISTORY OF THEMIDDLE AGES.THE history of science in the middle ages contains much that is rational and new,but it is mixed with strange and extravagant notions . This is peculiarly the case in thenatural sciences, where, beyond the dim outline of positive observation, men's imagination ran wild, and the natural love of the marvellous gave being to a host of monsterswhich have gradually disappeared before the light of modern research. The vaguenotions of the ancients relating to the animals of the interior of Asia and Africa, formedthe groundwork of many a strange and romantic medieval fiction, and these latter wereintermixed with monstrous stories of Saracenic origin. From these materials werecompiled a great number of medieval treatises on natural history, which most commonlypassed under the title of Bestiaries. Natural history in the middle ages, especiallysubsequent to the eleventh century, was treated with two objects-the cure of diseases,or the moral doctrines which were supposed to be mystically typified in the qualities andhabits of the different tribes of animated nature. The last was the peculiar object ofthe popular Bestiaries, where the description of each animal is followed immediately byits moralisation, as in Esop's fables: medicine was the more peculiar object of theherbals. Bestiaries and herbals are of frequent occurrence in early manuscripts, andare often accompanied with drawings which picture to us more exactly than the textthe notions of different people in different ages of the animals of far- distant climes.One of the favourite animals of the medieval naturalists was the unicorn, or, as itwas named bythe ancients, the monoceros. Pliny (Hist . Nat. viii. 21) sums up in a fewwords the notions of the ancients relating to this animal: it had the body of a horse,the head of a stag, the feet of an elephant, the tail of a boar, with one black horn twocubits long in the middle of its forehead. According to the ancients, it was impossible totake this fierce animal alive. The medieval legends differed in this point: this animal,the symbol of chivalry, became tame in the presence of a pure virgin. One of theTHE FABULOUS NATURAL HISTORY OF THE MIDDLE AGES. 175earliest bestiaries, the Anglo-Norman poem of Philip de Thaun, written in the reign ofHenry I. gives the following account of the mode in which it was caught: -"Monosceros est beste,un corn ad en la teste,Pur çeo ad si à nun,de buc ad façun;Par pucele est prise,or oez en quel guise.Quant hom le volt cacere prendre e enginner,Si vent hom al forestù sis repairs est;Là met une pucelehors de sein sa mamele,E par odurementmonosceros la sent;Dunc vent à la pucele,e si baiset sa mamele,En sun devant se dort,issi vent à sa mort;Li hom survent atant,ki l'ocit en dormant,U trestut vif le prent,si fait puis sun talent. "" Monosceros is an animalwhich has one horn on its head,Therefore it is so named,it has the form of a goat;It is caught by means of a virgin:now hear in what manner.When a man intends to hunt it,and to take and ensnare it ,He goes to the forest where is its repair;There he places a virgin,with her breast uncovered,And by its smellthe monosceros perceives her;Then it comes to the virgin,and kisses her breast,Falls asleep on her lap,and so comes to its death;The man arrives immediately,and kills it in its sleep,Or takes it alive,and does as he likes with it."If a damsel ventured on this undertaking who was not a pure virgin, she was indanger of being torn topieces. Our woodcut,representing the captureof the unicorn in themanner described above,is taken from an illumination in a very goodmanuscript of the common Latin bestiary, ofabout the end of thetwelfth century (MS.Harl. No. 4751 , fol. 6,v . ) . The horn of theunicorn was a terribleweapon, so hard and sosharp that nothing could.resist it . The wondersof this horn, as related176 THE ARCHEOLOGICAL ALBUM.by European and Arabian writers, are too numerous to repeat. It was supposed to bean absolute preventive against the effects of poison. When used as the handle of aknife it would give notice, by a sudden sweating, of the presence of poison in themeats that were served on the table; and any liquid drunk from a cup made of thismaterial was a certain cure against the poison when taken . Even in the writings ofthe naturalists of the Elizabethan age, the unicorn occupies a prominent place. Although the question of its existence had then begun to be debated, the wonderful virtuesof the horn were still recounted at full.The great enemy of the unicorn was the elephant. When the former went in searchof its gigantic foe, it is said that it sharpened its horn by rubbing it on a stone, andthen slew the elephant by piercing it in the belly.The people of the West, in their frequent intercourse with the Saracens, must oftenhave had opportunities of making themselves well acquainted with the form and habits ofthe elephant; yet even this animal is the subject of many fables. As early as the year807, the khalif Haroun al Raschid sent an elephant as a present to Charlemagne, whichwas an object of wonder and admiration to the Franks. In 1255 the king of France,St. Louis, sent an elephant to Henry III . of England, of which there is a drawing byMatthew Paris in MS. Cotton . Nero D. I., made, according to the statement of thatwriter, from nature, yet evidently inaccurate. Another drawing of the same elephantis found in a manuscript of the time, also in the Cottonian Library (Julius D. VII. ) , atthe end of the chronicle of John of Wallingford. Both these chronicles give an accountof the elephant and his habits, containing some truth mixed with a good deal of fable.It is described as ten feet high. The drawings of the elephant in old manuscripts differessentially from one another. This animal is described by medieval naturalistsas having no joints, yet in both the examples we give the joints are made veryvisible. The first is taken from a MS.of the fifteenth century (MS. Reg. 15E. VI. ) , where it forms one of the illustrations of the romance of Alexander,which is interspersed with descriptionsof the strange animals and monsters ofthe East. The elephant is here represented with hoofs like those of a cow,and its trunk is made in the form of atrumpet. The romance of Alexander, just mentioned, contains frequent allusions toTHE FABULOUS NATURAL HISTORY OF THE MIDDLE AGES. 177elephants and to their use in war among the Easterns, which must have made themfamiliar to the innumerable readers of that work. The English version of this romance,composed in the fourteenth century, pretends that there were forty thousand elephantsin the army of Darius::--" Fourty thousand, alle astore,Olifauntes let go to-fore.Apon everiche olifaunt a castel,Theryn xii. knyghtis y- armed wel.They scholle holde the skirmyng,Ageyns Alisaundre the kyng. "In our next cut (taken from MS. Harl. No. 4751 , fol . 8, v° ., of the end of thetwelfth century) we have an elephant, with its castle and armed men, engaged in battle.+The bestiaries relate many strange things of the elephant. They say that, though solarge and powerful, and so courageous against larger animals, it is afraid of a mouse;and they inform us that it is of nature so cold, that it will never seek the company ofA A178 THE ARCHEOLOGICAL ALBUM.the female until, wandering in the direction of Paradise, it meets with the plant calledthe mandrake, and eats of it, * and that each female bears but one young one in herlife.The mandrake (mandragora) was one of the most remarkable objects of medievalsuperstition. At the end of the sixteenth century, when the credit of this plant was onthe decline, Gerard, in his Herbal, gives the following description of it: —“ The_malemandrake hath great, broad, long, smooth leaves, of a deepe greene colour, flat spredupon the ground, among which come up the flowers of a pale whitish colour, standingevery one upon a single smal and weak footstalk, of a whitish green colour: in theirplaces grow round apples of a yellowish colour, smooth, soft, and glittering, of a strongsmel, in which are conteined flat and smooth seedes, in fashion of a little kidney likethose of the thorne apple . The roote is long, thick, whitish, divided many times intotwo or three parts, resembling the legs of a man, with other parts of his bodie adjoining thereto, as it hath beene reported; whereas, in truth, it is no otherwise than inthe rootes of carrots, parsneps, and such like, forked or divided into two or more parts,which nature taketh no account of. There have been many ridiculous tales brought upof this plant, whether of olde wives, or some runnagate surgeons or phisickmongers, Iknow not (a title bad inough for them); but sure some one or moe that sought to makethemselves famous in skillfullnes above others were the first brochers of that errour Ispake of. They adde further, that it is never or verie seldome to be found growingnaturally but under a gallows, where the matter that hath fallen from the dead bodiehath given it the shape of a man, and the matter of a woman the substaunce of a femaleplant; with many other such doltish dreames. They fable further and affirm, that hewho woulde take up a plant thereof must tie a dogge thereunto to pull it up, which willgive a great shrike at the digging up; otherwise, if a man should do it, he shouldcertainly die in short space after; besides many fables of loving matters, too full of scurrilitie to set foorth in print, which I forbeare to speake of; all which dreames and oldewives tales you shall from henceforth cast out of your bookes and memorie, knowingthis that they are all and every part of them false and most untrue. For I myselfe andmy servaunts also have digged up, planted, and replanted verie many, and yet nevercould either perceive shape of man or woman, but sometimes one straight roote, some-

• Si autem voluerit facere filios , vadit ad orientem | British Museum, in the Reliquiæ Antiquæ, i. 222,

prope paradisum, et est ibi arbor quæ vocatur mandra- says:-gora, et vadit cum femina sua, quæ prius accipit dearbore, et dat masculo suo, et seducit eum donec manducet, statimque in utero concipit. MS. Harl. No.4751 , fol . 8. vº. The English metrical bestiary, printed,from a manuscript of the thirteenth century in the" Oc he arn so kolde of kinde,dat no golsipe is hem minde,til he neten of a gres,Je name is mandragores,siðen he bigeton on, &c."THE FABULOUS NATURAL HISTORY OF THE MIDDLE AGES. 179times two, and often sixe or seaven braunches comming from the maine great roote,even as nature list to bestowe upon it as to other plants. But the idle drones that havelittle or nothing to do but to eate and drinke, have bestowed some of their time incarving the rootes of brionie, forming them to the shape of men and women, whichfalsifying practice hath confirmed the errour amongst the simple and unlearned people,who have taken them, upon their report, to be the true mandrakes."The extraordinary virtues of the mandrake were celebrated even in the classic ages,and Pliny (Hist. Nat. xxv. 13) describes the caution with which it was gathered. Thosewho are going to dig it up, he says, avoid a contrary wind, and first circ*mscribe it withthree circles with a sword; afterwards they dig, looking towards the west. It was saidby some to have been the ingredient used by Circe, -" whose charm'd cupWhoever tasted , lost his upright shape,And downward fell into a grovelling swine. "And hence it was by some named Circeum. Pliny says nothing of the close resemblancewhich, in the middle ages, the root of the mandrake was said to bear to the humanform, even to the distinction of the sexes in the male and female plant. The woodcutin the margin gives two representationsof the mandrake: one from MS. Cotton. Vitel. C. III . of the tenth century,where it is illustrative of the AngloSaxon translation of the pseudo-Apuleius de herbis; the other, of the femaleplant, from drawings by an Italian artist, in MS. Addit. No. 5281 (in theBrit. Mus. ) , of the earlier part of thesixteenth century. The Saxon treatisesays of it:-"This plant, which iscalled mandragora, is great and largein appearance, and it is very efficacious .. When thou shalt gather it, when thou comestto it, thou wilt perceive it by its shining by night like a lamp. When thou first seestit* head, bind it quickly with iron, lest it escape thee. Its virtue is so great that whenan impure man comes to it it quickly escapes him. Therefore do thou bind it withiron, as we said before, and so thou shalt dig around it, so as not to touch it with theiron; but it would be better to dig the earth with an ivory staff: and when thou seestit* hands and feet, bind them. Then take the other end, and bind it to a dog's neck,so that the dog be hungry; afterwards throw meat before the dog, where he cannot180 THE ARCHEOLOGICAL ALBUM.reach it without tearing up the plant. It is said of this plant that it has so greatpower, that whatever thing draws it up, that thing will instantly perish." Philip deThaun, in his bestiary, adds some particulars to this descriptive account.He says:" Hom ki la deit cuillir,entur la deit fuir,Suavet belementqu'il ne l'atuchet nent;Puis prenge un chen lied,à li sait atachet,Ki ben seit afermée,treis jurs ait junée,E pain li seit mustrez,de luinz seit apelez;Li chens à sai trarat,la racine rumperat,E un cri geterat,li chens mort encharatPur le cri qu'il orat;tel vertu cel herbe ad,Quenuls ne la pot oir,sempres n'estoce murrir.E se li hom le oait,enes le pas murreit:Pur çeo deit estuperses orailes, e guarderQue il ne oi le cri,qu'il morge altresi,Cum li chens feratki le cri en orat. "" The man who is to gather itmust dig round about it,Must take great carethat he does not touch it;Then let him take a dog bound,let it be tied to it,Which has been close shut up,and has fasted three days,And let it be shewn bread,and called from afar;The dog will draw it to him,the root will break,And will send forth a cry,the dog will fall down deadAt the cry which he will hear;such virtue this plant has,That no one can hear it,but he must always die.And if the man heard it,he would immediately die:Therefore he must stophis ears, and take careThat he hear not the cry,lest he die,As the dog will dowhich shall hear the cry."

-

This superstitious legend was an article of belief down to a late period, and isalluded to more than once in Shakespeare . Thus, in the " Second Part of Henry VI."act iii. scene 2, -"Would curses kill , as doth the mandrake's groan. "And in " Romeo and Juliet," act iv. sc. 3, -" And shrieks like mandrakes, torn out of the earth,That living mortals, hearing them, run mad. "Figures of the male and female mandrake, with its roots representing a clearlydefined human body, are found in nearly all the illustrated herbals from the tenthcentury to the sixteenth. It may be sufficient to refer to the Herbarius zü Teütsch,printed at Augsburg in 1488; the Hortus Sanitatis, printed in 1491; the "Grete Herball,"printed in England early in the sixteenth century, and the somewhat earlier Frenchwork from which it was compiled. The fabulous accounts of this plant had,THE FABULOUS NATURAL HISTORY OF THE MIDDLE AGES. 181however, begun to be controverted at the beginning of the sixteenth century; and in afew illustrated books, such as the collection of woodcuts of plants published at Franckfort-am-Mayn, in 1536, under the title of Herbarum imagines vivæ, the mandrake isrepresented with a carrot- shaped root, which presents no extraordinary characteristics.Still, at a much later period, the old legend is frequently referred to, as in Sir WilliamDavenant's comedy of " The Wits " (Dodsley's " Old Plays,” vol . viii . p. 397), —" He stands as if his legs had taken root,Avery mandrake. ”The delusion was long supported by the tricks of people who made artificial mandrakes, which were carried about and sold " unto ignorant people. " Sir ThomasBrowne (" Vulgar Errors, " lib . ii . c. 6) , speaking of the common belief relating to themandrake, says: -"But this is vain and fabulous, which ignorant people and simplewomen believe; for the roots which are carried about by impostors to deceive unfruitfulwomen, are made of the roots of canes, briony, and other plants; for in these, yet freshand virent, they carve out the figures of men and women, first sticking therein the grainsof barley or millet where they intend the hair should grow; then bury them in sand,until the grains shoot forth their roots, which, at the longest, will happen in twentydays they afterward clip and trim those tender strings in the fashion of beards andother hairy integuments. All which, like other impostures once discovered, is easilyeffected, and the root of white briony may be practised every spring. " In Lupton'sthird book of " Notable Things," and in Hill's " Natural and Artificial Conclusions,"other methods of making artificial mandrakes are described.The medieval naturalists speak of the mandrake as being a remedy for all diseasesexcept death. " It was most celebrated for its aphrodisiac virtues, for its supposedefficacy in removing barrenness, and for its power as a soporific . The juice or decoctionof the root taken as a drink, the apples eaten, or even if only placed under the ear inbed, were said to produce deep sleep . This quality is frequently alluded to in the oldwriters, such as Shakespeare (" Antony and Cleopatra," act i. scene 5):—" Cleo.-Ha! ha!Give me to drink mandragore!Char. -Why, madame?Cleo. That I might sleep out this great gap of time. "And Massinger (" The Unnatural Combat "):-" Here's musicIn this bag shall wake her, though she had drunk opium,Or eaten mandrakes. "182 THE ARCHEOLOGICAL ALBUM.As a specimen of other still more extraordinary virtues ascribed to this plant, wemay quote a story told by the writer of an English herbal of the fifteenth century, inMS. Arundel (Brit . Mus. ) , No. 42, fol . 31 , v . , who says: -" Whanne y was yongere,y knew a man of age passyng 80 yer: opynyon of hym fleyh that wonder he was ingold, and that a mandrage rote he hadde in shap of man, and that every day he fond afayr peny therby. This opynyon was rif of hym. Thre yonge men and y, only for theopynyon, on a nyght hym absent, privyly that non wiste but we, brosten the lok of astrong litel cheste of his, and mo suche vessels had he noght, and we fonde ryght noghtther-yn but a clene lynen clowt, and ther-yn wondyn an ymage nerhand fot long,havyng alle lyneamentys and here in alle placis and privy membris and al that verreman hath, saf flessh, bon, and lif, and a faire peny therby; more other thyng founde weWel we assayden and provedyn and foundyn and knewyn that it was a rote:wel we sette oure marke on the ageyn another tyme, but myght we nevere after sen thecheste ne no swuche thyng of that man mor."non.The Saxon Herbal in the Cottonian Manuscript to which we have alluded above, isinteresting as the earliest treatise of this kind in our language. It is full of drawingsof plants, which, considering the age, are not ill -executed; and these are intermixedwith drawings of venemous insects and reptiles, against the bites of which the differentplants were believed to be efficacious remedies. The great number of cases of this kindwould seem to shew that in those early times our island abounded more in noxiousinsects and reptiles than at present. Among the former our older writers mention notunfrequently the attercop, or spider, as it is generally interpreted. The Saxon Herbalfurnishes us with the figure of an attercop, which we give in themargin. It can hardly be considered as an attempt to representa common spider; and as our native spiders are not of thedangerous character under which the attercop is represented, wecannot help supposing that the latter name belonged to somespecies of the insect now unknown. A collection of miracles ofSt. Winefred, printed by Hearne from a manuscript apparently of the end of the fourteenth century, tells us how " In the towne of Schrowysbury setan iije men togedur,and as they seton talkyng, an atturcoppe cum owte of the wowz (walls) , and bote hemby the nekkus alle thre, and thowgh hit grevyd hem at that tyme but lytulle, sone afturhit roncoled and so swalle her throtus and forset her breythe, that ij . of hem werondeed, and the thrydde was so nygh deed that he made his testament, and madehym redy in alle wyse, for he hoped nowghte but only dethe." He was, however,cured by the application of water in which the bones of St. Winefred had beenwashed!THE FABULOUS NATURAL HISTORY OF THE MIDDLE AGES. 183Our next cut, taken from MS. Egerton (in the British Museum) , No. 613, fol. 34, vº. ,represents an imaginary bird,called by the medieval natuturalists the caladrius. According to the Latin bestiaryof the Harleian manuscriptalready quoted, the caladriuswas a bird entirely white,which loved to frequent thehalls of kings and princes.If it were brought to any one11labouring under a dangerous illness, it would turn its head from the patient in casethere was no hope of recovery; but if the man were not fated to die, then the bird"looked him in the face, and, by so doing, took his infirmity upon itself, and flew intothe air towards the sun, and burnt his infirmity and dispersed it; and so the sick manwould be cured." * The manuscript from which our woodcut is taken contains theAnglo-Norman metrical bestiary of William the clerk, composed at the beginning of thethirteenth century, which gives the following account of this bird: -" Kaladrius est uns oisealsSor toz autres curteis e beals,Altresi blanc com est la neifs .Mut par est cist oiseals curteis .Aucone feiz le trove l'emEl pays de Jerusalem.Quant home est en grant maladie,Ke l'em desespeire de sa vie,Donc est cist oiseals aportez;Se cil deit estre confortezE repasser de cel malage,L'oisel li torne le visage,E tret à sei l'enfermeté.E s'il ne deit aver santé,L'oiseals se torne autre part,Jà ne fra vers li regart."" Caladrius is a birdCourteous and beautiful above all others,As white as is the snow.Very courteous this bird this.Sometimes one finds itIn the country of Jerusalem.When a man is in great sickness,That one despairs of his life,Then this bird is brought;If this man is to be solacedAnd to recover from his disease,The bird turns to him its face,And draws to itself the infirmity.And ifhe is not to recover his health,The bird turns the other way,It will not give a look towards him."Among the monsters of the deep one of the most remarkable was the serra or serre.It is described as having the head of a lion and the tail of a fish, with wings to fly.

• Et assumit omnem ægritudinem hominis intra se, | ejus, et dispergit eam, et sanetur infirmus. -MS. Harl.

et volat in aera contra solem, et comburit infirmitatem No. 4751 , fol. 40, rº.184 THE ARCHEOLOGICAL ALBUM.When the serre sees a ship, the bestiaries tell us, it flies up, and as long as it can keepabove water near the ship it holds off thewind, so that the ship cannot move. Whenit can support itself no longer in the airit dives into the water, and the ship is thenfreed from the unnatural calm . Our cutis taken from MS. Egerton, No. 613, fol.33, v ."The whale," says Philip de Thaun,"is a very great beast. It lives alwaysin the sea; it takes the sand of the sea,spreads it on its back, raises itself up inthe sea, and lies still on the surface. CHThe sea-farer sees it, and thinks that it is an island, and lands upon it to prepare hismeal. The whale feels the fire, and the ship, and the people, and will dive and drownthem all if it can." It isadded, as another "nature"of the whale, that " whenit wants to eat it beginsto gape, and, at the gapingof its mouth, it sendsforth a smell, so sweet andso good that the little fish,who like the smell, willenter into its mouth, andthen it will kill them andswallow them." Our cutis taken from MS. Harl.No. 4751 , fol . 69, v°. Itis further illustrated byan incident in the curiouslegend of St. Brandan."And than they sayledforth, and came soone afterto that lond; but bycauseof lytell depthe in someTHE FABULOUS NATURAL HISTORY OF THE MIDDLE AGES. 185place, and in some place were grete rockes; but at the laste they wente upon an ylonde,wenynge to them they had ben safe, and made thereon a fyre for to dresse theyr dyner;but Saynt Brandon abode styll in the shyppe. And whan the fyre was ryght hote, andthe meet nygh soden, than this ylonde began to move; wherof the monks were aferde,and fledde anone to the shippe, and left the fyre and meet behynde them, and mervayledsore of the movyng. And Saynt Brandon comforted them, and sayd that it was a gretefysshe named Jasconye, whiche laboureth nyght and daye to put his tayle in his mouth,but for gretness he may not." A year afterwards the adventurers return to the samespot, " and anone they sawe theyr caudron upon the fysshes backe, whiche they hadleft there xii. monethes to-fore." This story appears to have come from the East.Every reader will recollect the similar incident in the history of Sinbad in the " ArabianNights."The syren of the middle ages was a mere copy of the poetical being of the ancients,and had little in commonwith the nixes and mermaidsof northern popular mythology. The representation ofthis creature given in ourmargin is taken from one ofthe illustrations to a Latinbestiary in MS. Sloane, No.3544. According to the legend, when the weather was樂stormy the mermaid began her song, the sweetness of which lulled the sailor who heardit to sleep, and thus he perished in the tempest.We have given but a few specimens of the fables relating to animals which arescattered over the bestiaries and other writings of the middle ages, but we have notspace to continue the list . The subject is worthy of attention, not only because itforms a curious chapter of the history of the developement of knowledge and intelligence, but because, if the strange beasts which are sculptured with so much profusionamong the architectural ornaments of the middle ages have, as some suppose, a symbolical meaning, it is in these bestiaries that we must look for their interpretation, for, aswe have observed at the beginning of this article, in these each animal is made thesubject of a moralisation. Thus the unicorn is said to represent the Saviour, and themaiden the Virgin Mary; the male and female elephants signify Adam and Eve; thecaladrius is typical of Christ, who took upon himself the sins of those who are to besaved; the serre and the whale both represent the devil; and the syren is symbolicaB B186 THE ARCHEOLOGICAL ALBUM.of the riches of this world, which allure men to their destruction. In this manner thewhole range of animal nature was made to be full of spiritual instruction.The popularity of these wonderful stories had a powerful and injurious influence inretarding the advancement of science . Fable was more acceptable to the general readerthan truth, and it was long before even scholars themselves could emancipate theirminds from this intellectual thraldom. Even serious and (in general) accurate writers,like William de Rubruquis, were led astray. The earliest medieval account of suchmonsters is contained in a supposititious letter from Alexander the Great, during hisIndian expedition, to his master Aristotle, which appears to be derived from someEastern original, and of which there is an Anglo- Saxon translation. It was from thiscirc*mstance that the fabulous accounts of monsters supposed to have been seen andovercome by this great hero found their way into the Romance. The belief in them wasin the fourteenth century riveted on people's minds by the no less extraordinaryadventures of Sir John Maundevile.

THE MOAT HOUSE , IGHTHAM. KENT .PRINCIPAL ENTRANCE .gravedbyTHE MOAT HOUSE. IGTHAM .PACK VILWSW.Pais.PSL.THE MOAT HOUSE, IGHTHAM, KENT.THE village of Ightham is situated in a secluded part of the county of Kent, in adeep ravine in the ancient forest or weald, about seven miles from Tonbridge and fivefrom Sevenoaks. It bears in its external features an air of great antiquity, and containssome fine half-timbered houses of an exceedingly picturesque character. The churchalso is interesting, and contains a sepulchral monument engraved by Stothard in his" Monumental Effigies of Great Britain," which is believed to commemorate Sir ThomasCawne, who resided in the reign of Edward III. at Nulcomb, a manor in the adjoiningparish of Seale. This effigy is placed in the north wall of the chancel, and presents arich example of the armour of the time.But the most interesting object in the parish of Ightham is the ancient manorialdwelling called the Moat, which is represented in the accompanying plates. As earlyas the reign of Henry II . this manor was the property of Ivo de Haut, and it remainedin that family with interruption until the reign of Edward IV. , when Richard Hautjoined the duke of Buckingham in an abortive attempt to raise an insurrection in favourof the exiled earl of Richmond, and his estates were seized by the crown. The Moatestate was given to Sir Robert Brakenbury, the lieutenant of the Tower, who is celebrated in history for his refusal to be the instrument of Richard III . in his designsagainst the lives of his infant nephews. Both the new possessor and the old possessorof the Moat were present at the battle of Bosworth Field on different sides. Brakenbury was slain; and one of the first acts of Henry VII. , after his accession to thethrone, was to restore Richard Haut to his patrimony. It afterwards passed throughfemale heirs until it came into the possession of Sir William Selby, who died in 1611 .There are monuments of him and his wife in the church.The Moat House is perhaps one of the best examples we have now remaining of thefortified manor- house of feudal times: a large portion of it is probably the work ofsome one of the Hauts in the fourteenth century; but considerable additions and alterations appear to have been made by Richard Haut after his restoration to his family188 THE ARCHEOLOGICAL ALBUM.estates, or by one of his immediate successors . It stands in a woody dell, at somedistance from the village, and is surrounded by hills and elevated ground, from whencethe springs descend and form the moat which surrounds the house, which is singularlyclear and free from impurities. The building forms a square, with an entrance tower inthe middle of the north side, approached by a bridge, as represented in our first plate.On the south side, which is the most picturesque, and is represented in our secondview, another bridge leads by a smaller gateway to the kitchen, servants' rooms, anddomestic offices. To the north, on the outside of the moat, is the farmyard and stable,represented in the accompanying cut, -a timber building, probably of the Elizabethanperiod, with wood-work of a very picturesque character, and a small bell-turret in thecentre. This encloses a square of some extent opposite the principal gate, which is nowapproached by a stone bridge of two circular arches, occupying, in all probability, anolder drawbridge. On the tower over the arched gateway are sculptured the arms ofthe old possessors. The principal apartments are on this side of the building.The bridge leading to the kitchen is of one arch, and of very solid construction, butprobably of the same date as the other. Every feature of this side of the housebespeaks great antiquity. The gateway has a pointed arch, and thedoor is of solid oak, with a spur-knocker (represented in the cut inthe margin), a name derived from its resemblance to that article.The kitchen has a most primitive appearance, and some parts of itappear to be at least as old as the reign of Edward III. Manypointed arches surround the walls, and the windows are divided bymullions into two lights, which are trefoil-headed. The woodwork ofthis side of the house, and of the back of the great hall, is alsoancient, and the stone windows preserve their original features unYtouched by the spirit of modernisation.

COURT YARD OF TIE MOAT HOUSE , IGH HAM. KENTCAL DE MOA IGH HAM.THE MOAT HOUSE, IGHTHAM, KENT. 189The principal gateway leads into a square court, represented in the upper view onour second plate. The principal apartments, as we have before stated, occupy the sideby which we enter. They are generally small, and are panelled with oak, carved inwhat has been termed the " napkin pattern," an ornament which appears to have beenbrought from Flanders, and which was very generally adopted in this country in thereign of Henry VIII. These apartments contain some good fire-places of the Elizabethan era, and a very fine example entirely covers one side of the largest room on thisside of the house. The ground-floor here, as well as throughout the building, isdevoted to staircases, servants' rooms, or domesticoffices . The upper, or state rooms, communicateby means of the corridor, of which a view is givenin our cut. The windows of this corridor areornamented with the arms of the family.The south side ( to the left hand on enteringthe court) contains the chapel, which occupies theupper floor of the entire side, and has towards thecourt a bell-turret above a wooden gable. Facingthe principal gate is the great hall, the finest partof the building and the most ancient. It has internally a roof of stone, springing from grotesquecorbel-heads. The kitchen and bedrooms occupythe fourth or east side. The kitchen, which hasbeen already described, is connected with the hallby an arched passage. A multitude of passages run in labyrinthine confusion throughthe lower part of the building, and access to many of the upper rooms is only effectedby staircases of a most inconvenient form, which canbe accounted for in no other way than by supposingthat one of the chief objects of the builders was tofurnish the means of concealment. One large and important room is only to be reached by a steep, ladderlike stair, and a turn through another and smaller room.The group of red brick chimneys on this side are massive, and of so peculiar a form that we have deemedthem worthy of a cut.The chapel, of which we give an interior view onour second plate, is panelled with oak, and the windowsfilled with fine stained glass of the fifteenth or sixteenth190 THE ARCHEOLOGICAL ALBUM.century, representing whole-length figures of saints. The roof is painted with theTudor colours and badges, among which are the portcullis, rose, castle, and sheaf ofarrows, the two last being the badges of Catherine ofArragon, the first queen of HenryVIII. The screen is of elegant carved work of the same date, and the stalls are alsoenriched with carved panelling. The pulpit is likewise elaborately ornamented. Infact, a greater amount of ornament is lavished in this place than in any other part ofthe building; and it is a most interesting example of an unaltered private chapel of thebeginning of the sixteenth century.The grandeur of the olden time has long departed from this ancient dwelling."Beards " no longer " wag " merrily in its massive hall, nor is its court now filled, asin former times, with its crowd of feudal retainers . Some parts of it are neglected,and allowed to run into decay. Yet it is to be hoped that it will be long preservedunmodernised as one of the few genuine relics of old England. Too many of suchmonuments have disappeared from the soil previous to the improved antiquarian tastewhich is now spreading itself through the land; and too few have there been who-" Passing by some monument that stoopsWith age, whose ruins plead for a repair,Pity the fall of such a goodly pile. "ON THE EARLY USE OF CARRIAGES IN ENGLAND.We can hardly imagine a people in any thing like an advanced state of civilisationignorant of the use of carriages for transporting persons from one place to another; yetit is certain that they were of rare occurrence in this country during the middle ages,and of a very cumbrous and inconvenient form. Strutt has engraved two examplesfrom an Anglo- Saxon manuscript (MS. Cotton. Claudius B. IV. ) , in one of which aSaxon chief is represented riding in a very rude cart mounted on two wheels, and theother consists of a kind of hammock suspended on four wheels. From this time wescarcely meet with an allusion to such vehicles until the fourteenth century.The Norman knights took pride in their horsemanship, and, for many ages, anyother mode of conveyance was looked upon as a disgraceful effeminacy, even among theladies, for which sex alone chariots, called, in the English of former days, chares,were used. In the curious Latin poem by Richard of Maidstone on the reconciliationbetween king Richard II . and the citizens of London, the queen, in her ceremoniousentrance with her husband into the capital, is represented as having two carriages withladies in her train; and the writer tells us, rather exultingly, how one of them wasoverturned, whereby the persons of the ladies, in their fall, were exposed in a veryunbecoming manner to the gaze of the multitude, which he looks upon as a punishmentfor their adopting this article of luxury: —" Namque sequuntur eam currus duo cum dominabus;Rexerat hos Phaeton, unus enim cecidit.Femina feminea sua dum sic femina nudat,Vix poterat risum plebs retinere suum.Casus et iste placet, veniat, rogo, quod mihi signat,Corruat ut luxus et malus omnis amor."This would seem to shew that the use of such chariots was then looked upon as a newor extravagant fashion in our island. On the Continent we find them in apparentlycommon use at an earlier period . The treatise on the miracles of St. Liudgar, quotedby Ducange, speaks of a lady and her daughter as going to the church in a chariot(“In una carra mater simul et filia positæ . . . . ad nostram ecclesiam adductæ sunt ") .In 1294, by an ordonnance of Philip le Bel, it was forbidden to the wives of citizens to192 THE ARCHEOLOGICAL ALBUM.use a chariot. A picture of a chariot, as used by ladies in England, is given by Mr.Gage Rokewode in the Vetusta Monumenta, from the Louterel Psalter, executed inthe reign of Edward II. A similar chariot, with a king in it, is found in an illumination in the manuscript romance of " Meliadus," executed on the Continent about themiddle of the fourteenth century, described in a former article in the present volume(p. 75). The inedited old English metrical version of the Scripture history, entitledCursor Mundi, as quoted in Mr. Halliwell's " Dictionary of Archaic and ProvincialWords," describes Joseph as sending a chare to fetch his father into Egypt: -" Nay, sir, but ye mot to him fare,He hath sent aftir the his chare;We shul you make therynne a bed,Into Egipte ye shul be led. "It appears that these carriages were fitted up with cushions and couches, for which,chiefly, they were cried down as effeminate and luxurious. They were also gorgeouslyadorned with embroidered curtains, &c. In the metrical romance of the " Squier ofLow Degre," the chariot which the king of Hungary promises to his daughter is thusdescribed: —"To morow ye shall in huntyng fare;And yede, my doughter, yn a chare,It shal be coverd wyth velvette reede,And clothes of fine golde al about your heede,With damaske whyte and asure blewe,Well dyaperd with lyllyes newe.Your pomelles shalbe ended with golde,Your chaynes enameled many a folde.Your mantell of ryche degre,Purple palle and armyne fre.Jennets of Spayne that ben so wyght,Trapped to the ground with velvet bryght. "In the fifteenth century the chares appear to have been used more generally, and theyare more frequently represented in illuminated manuscripts. Our first cut istaken from a manuscript ofthis century in the BritishMuseum (MS. Reg. 16 F. III .fol. 11, rº. ) , which contains achronicle of Flanders written in French. It representsEmergarde, wife of Salvardlord of Roussillon, travelling in a chare: she is accompanied by a female attendant, andON THE EARLY USE OF CARRIAGES IN ENGLAND. 193her fool is placed in front of thevehicle, no doubt to beguile thetediousness of the way with hisjokes. The second cut is takenfrom the celebrated Harleian Manuscript of the " Romance of theRose " ( MS. Harl. No. 4425, fol .132, v .), which has been describedon a former occasion in the present volume (p. 81): it represents the lady Venus, drawn ina chare by her doves. The chapter to which it forms an illustrationstates,-" Comment six jeunes colombeaux,En ung char qui fut riche et beaux,Mainent Venus en l'ost d'Amours,Pour lui faire hastif secours.The chare of Venus is a beautiful structure, with four wheels, and is adorned withgold and pearls. Six of her most beautiful doves are harnessed to the shaft, instead ofhorses." Lors fit la mesgnie appeller,Son char commande à asteller;Car ne veult pas marcher les boes.Beau fut le char, à quatre roes,D'or et de perles estellez .En lieu de chevaux attellezEust en limon six colombeaux,Pris en son colombier muk beaux. "This last- mentioned manuscript is believed to have been written and illuminatedin the reign of Henry VII. , at which period Skelton, speaking of the representationsof classical personages on the tapestries of the dwellings of the clergy in his time,says:

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" Nowe all the worlde stares,How they ryde in goodly chares. " —Colin Clout, 1. 963.The reader is referred for the subsequent history of carriages to a very interestingpaper by Mr. Markland, in the twentieth volume of the " Archæologia." AsCC194 THE ARCHEOLOGICAL ALBUM.the use of these articles became more general, they underwent improvements, andappeared in different shapes under the names of chariots or charrettes, waggons,caroches, whirlicotes, coaches, &c . In the following passage of the " Faërie Quene,”Spencer uses the terms charett, wagon, and coche, as synonymous: ·" Tho up him taking in their tender hands,They easily unto her charett beare:Her teme at her commaundement quiet stands ,Whiles they the corse into her wagon reare,And strowe with flowers the lamentable beare:Then all the rest into their coches clim. "

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It may be observed, that, even up to the end of the sixteenth century, riding incoaches continued to be looked upon by our forefathers as an effeminate custom, and onlyfitted for women. Taylor, the water-poet, published in 1623 a curious satire on coachesunder the title of " The World runnes on Wheeles, or Oddes betwixt Carts andCoaches, " in which he declaims with great vehemence against their then increasing variety."Oh," he exclaims, "beware of a coach as you would doe of a tyger, a woolfe, or aleviathan. I'll assure you it eates more (though it drinkes lesse) then the coachmanand his whole teeme; it hath a mouth gaping on each side like a monster, with whichthey have swallowed all the good housekeeping in England. It lately (like a mostinsatiable devouring beast) did eate up of a knight, a neighbour of mine in the county ofN., a wood of above 400 akers as it had beene but a bunch of radish of another, itdevoured a whole castle, as it had beene a marchpane, scarcely allowing the knight andhis lady halfe a colde shoulder of mutton to their suppers on a Thursday night, out ofwhich reversion the coachman and the footeman could picke but hungry vailes . . . . . .There was a knight (an acquaintance of mine) whose whole meanes in the world wasbut threescore pounds a-yeare, and above twenty of the same went for his wives coachhire." A little further on, speaking of the coach of his day, which preserved much ofthe cumbrous character of the old chares, Taylor says:-" It is never unfurnished of abed and curtaines, with shop windowes of leather. "-"The superfluous use of coacheshath been the occasions of many vile and odious crimes, as murther, theft, cheating,hangings, whippings, pillories, stockes, and cages; for housekeeping never decaied tillcoaches came into England, till which time those were accounted the best men who hadmost followers and retainers; then land about or neere London was thought deereenough at a noble the aker yearely, and a ten-pound house-rent now was scarce twentyshillings; but the witchcraft of the coach quickly mounted the price of all things,except poore mens labour. " Our facetious writer tells us in another place that “ inthe yeare 1564, one William Boonen, a Dutchman, brought first the use of coaches....ON THE EARLY USE OF CARRIAGES IN ENGLAND. 195hither, and the said Boonen was queene Elizabeths coachman; for indeede a coach wasa strange monster in those dayes, and the sight of them put both horse and man intoamazement. Some said it was a great crab-shell brought out of China, and someimagin'd it to be one of the pagan temples in which the canibals adored the devill;but at last all those doubts were cleared, and coach-making became a substantiall trade.The cart is an open, transparent engine, that any man may perceive the plainehonesty of it: there is no part of it, within or without, but it is in the continuall viewof all men. On the contrary, the coach is a close hipocrite, for it hath a cover for anyknavery, and curtaines to vaile or shadow any wickednesse; besides, like a perpetuallcheater, it weares two bootes, and no spurres, sometimes having two paire of legges inone boote, and oftentimes (against nature) most preposterously it makes faire ladiesweare the boote. And, if you note, they are carried backe to backe, like people surpriz'd by pyrates, to be tied in that miserable manner, and throwne over boord into thesea. Moreover, it makes people imitate sea- crabs, in being drawne side-wayes, as theyare when they sit in the boote of the coach: and it is a dangerous kinde of carriage forthe commonwealth, if it be rightly considered; for when a man shall be a justice of thepeace, a serjeant, or a counsellour-at- law, what hope is it that all or many of themshould use upright dealing, that have beene so often in their youth, and daily in theirmaturer or riper age, drawne aside continually in a coach, some to the right hand, andsome to the left; for use makes perfectnesse, and often going aside willingly makes menforget to goe upright naturally."THE SAXON BARROWS.THE most durable monuments of the primeval ages of society were those erected inmemory of the dead; and it seems that the farther we go back into the historyof mankind, the deeper we find man's veneration for his departed brethren. The mostsimple, and also the most durable, method of preserving the memory of the departedwas by raising a barrow or mound of earth or stones over his remains; and, accordingly,we find instances of this mode of interment in almost all countries of the globe. Themode in which the barrow was constructed differed considerably: the interment wasfrequently made in a large chamber, or chambers, built of stone, and over this chamberthe earth was piled up . Sometimes the body was laid in a cist, or square coffin, justlarge enough to receive it, over which the mound was raised; and this kist was eitherbuilt on the level of the ground with stones, or was a trench cut below the natural level .At other times the interment, either a body or an urn containing the bones, appearsto have been simply placed on the level ground and the earth thrown upon it. A verygood paper on barrows in general, was read at the meeting of the British ArchæologicalAssociation at Canterbury, by the Rev. J. Bathurst Deane, who appears to think thatbarrows are characteristic only of one of the great branches of the human race, and thatthe mere fact of burying in this manner proves the affinity of the different peopleamong whom it is found. We are not prepared to go so far as this; nor do we thinkthat Sir Richard Colt Hoare's theory deserves much attention, who attempted to classifythe barrows according to their particular forms, and who thought that in this mannerhe could distinguish even the caste of society to which they belonged . The barrowsare of no historical utility until opened, for it is by their contents only that we can tellthe tribe or rank of those who have so long reposed under them; and by the comparisonof these contents with those of other barrows, we gain information relating to thehistory of periods on which written documents throw no light.The interest of the barrow in the present day consists, in a great measure, in thenumerous articles of almost every description which the ancients were in the habit ofburying with their dead. Herodotus has left us a remarkable description of the modeTHE SAXON BARROWS. 197of interment of the dead which prevailed among the ancient Scythians, whose barrowsstill cover the plains of southern Siberia, immense cones of earth sometimes between twoand three hundred feet high. The historian tells us that, on the death of one of theirchiefs, they embalmed his corpse and carried it to this district: -" There they lay himin a sepulchre, upon a bed encompassed on all sides with spears fixed in the ground.These they cover with timber, and spread a canopy over the whole monument. In thespaces which remain vacant they placed one of the king's wives, strangled, a cook, acupbearer, a groom, a waiter, a messenger, certain horses, and the first fruits of allthings. To these they add cups of gold, for silver and brass are not used among them.This done, they throw up the earth with great care, and endeavour to raise a mound ashigh as they can. " Many of these mounds have been opened at different periods, andabundance of such articles as those here described by the father of history have beenfound in them. Mr. Deane described the opening of one of these large barrows fromthe second volume of the " Archæologia: " -" After removing a very deep covering ofearth and stones, the workmen came to three vaults, constructed of unhewn stones ofrude workmanship. That wherein the corpse of the khan was deposited was in themiddle, and the largest of the three. In it were laid by the side of the corpse a sword,spear, bow, quiver, and arrows. In a vault or cave at his feet lay the skeleton of hishorse, with a bridle, saddle, and stirrups. In a vault at his head was laid a femaleskeleton, supposed to be the wife of the chief. The body of the male corpse lay recliningagainst the head of the vault upon a sheet of pure gold, extending the whole lengthfrom head to foot; another sheet of gold, of the like dimensions, lay over the body,which was wrapped in a rich mantle bordered with gold, and studded with rubies andemeralds. The head was naked, and without any ornament, as were the neck, breast,and arms. The female corpse lay, in like manner, reclining against the walls of the cave;was, in like manner, laid upon a sheet of gold, and covered with another: a goldenchain of many links, set with rubies, went round her neck; on her arms were braceletsof gold. The body was covered with a rich robe, but without any border of gold orjewels. The vestments of both these bodies looked, at the first opening, fair andcomplete; but, upon the touch, crumbled into dust. The four sheets of gold weighedforty pounds." The richness of these Scythian barrows is extraordinary, and we knowof nothing to equal it in other countries. However, it is only two or three years agothat a body was found in a barrow in England, with a thin breastplate of pure gold,which is now preserved in the British Museum.Homer speaks frequently ofthe barrows ofthe heroic age of ancient Greece, and gives ussome curious details relating to the ceremonies at the interment. The poet describesthe supposed tomb of Æpytus, on the summit of Mount Cyllene in Arcadia, in a manner198 THE ARCHEOLOGICAL ALBUM.which drew the following remark from Pausanias: -" I contemplated the tomb ofÆpytus with peculiar interest, because, in his mention of the Arcadians, Homer takesnotice of it as the monument of that chief. It is a mound of earth, not very large,surrounded at its base by a circle of stones. To Homer, indeed (who had never seen abarrow more remarkable) , it perhaps appeared a very great wonder. " Mr. Deane justlyobserves that this is an exact picture of the primeval sepulchres of our islands, the circleof stones being a usual adjunct.The Homeric heroes were burnt before interment. Thus, in the Iliad, Achillescauses an immense funeral pile to be reared for the body of his friend Patroclus:" They, still abiding, heap'd the pile.An hundred feet of breadth from side to sideThey gave to it, and on the summit placedWith sorrowing hearts the body of the dead.Many a fat sheep, with many an ox full-horn'd,They flay'd before the pile, busy their taskAdministring, and Peleus' son the fatTaking from every victim, overspreadComplete the body with it of his friendPatroclus, and the flay'd beasts heap'd around.Then, placing flagons on the pile, repleteWith oil and honey, he inclined their mouthsToward the bier, and slew and added , next,Deep-groaning and in haste, four martial steeds.Nine dogs the hero at his table fed,Of which beheading two, their carcasesHe added also. Last, twelve gallant sonsOf noble Trojans slaying (for his heartTeem'd with great vengeance) , he applied the forceOf hungry flames that should devour the whole."П. xxiii. CowPER'S Version.When the pile was consumed, they quenched the ashes with " dark wine," and thensorrowfully gathered the " white bones " of the departed hero into a golden vase and arich embroidered cloth; and placed them with honour in the tent, while they tracedthe circle of the mound, and "laid the foundations about the pile. " They finally placedthe deposit within, and raised the mound of earth.Πρῶτον μὲν κατὰ πυρκαιὴν σβέσαν αἴθοπι οἴνῳ,Οσσον ἐπὶ φλὸς ἦλθε, βαθειᾷ δὲ κάππεσε τέφρηΚλαίοντες δ'ετάροιο ἐνήεος ὀστέα λευκά

• Αλλεγον ἐς χρυσέην φιάλην , καὶ δίπλακα δημόν

Ἐν κλισίησι δὲ θέντες , ἑανῷ λιτὶ κάλυψανΤορνώσαντο δὲ σήμα, θεμείλιά τε προβάλοντο᾿Αμφὶ πυρήν· εἶθαρ δὲ χυτὴν ἐπὶ γαῖαν ἔχευαν.Χούαντες δὲ τὸ σήμα, πάλιν κίον.П. xxiii. 250.THE SAXON BARROWS. 199The ceremonies were completed with races and funeral games celebrated at the tomb.The Trojans are made to inter the body of Hector in the same manner: -during ninedays they collect the wood and raise the pile, and when the fire has completed its partof the work, they, like the Greeks, quench the embers with the " dark wine," and collectthe bones of the hero into a golden urn, which is covered over with a rich cloth, andplaced in " a hollow trench; " this they cover with a mass of large stones, over whichthey raise the mound:-Ἐν δὲ πυρῇ ὑπάτη νεκρὸν θέσαν, ἐν δ᾽ ἔβαλον πῦρ'Ημος δ' ἠριγένεια φάνη ροδοδάκτυλος ἠὼς,Τῆμος ἄρ᾽ ἀμφὶ πυρὴν κλυτου Ἕκτορος ἔγρετο λαός .Αὐτὰρ ἐπεὶ ῥ᾽ ἤγερθεν, ὁμηγερέες ἐγένοντο,Πρῶτον μὲν κατὰ πυρκαϊὴν σβέσαν αἴθοπι οἴνῳΠᾶσαν, ὁπόσσον ἐπέσχε πυρὸς μένος · αὐτὰρ ἔπειτα Οστέα λευκὰ λέγοντο κασίγνητοι ταροί τε ,Μυρόμενοι, θαλερὸν δὲ κατείβετο δάκρυ παρειῶν·Καί τά γε χρυσείην ἐς λάρνακα θῆκαν ἑλόντες ,Πορφυρίοις πέπλοισι καλύψαντες μαλακοῖσινΑἶψα δ᾽ ἄρ᾽ ἐς κοίλην κάπετον θέσαν· αὐτὰς ὑπερθεΠυκνοῖσιν λάεσσι κατεστόρεσαν μεγάλοισι .Ρίμφα δὲ σημ᾽ ἔχειν. ..... . .Χεύαντες δὲ τὸ σῆμα, πάλιν κίον.Il. xxiv. 987.In the early Anglo- Saxon poem of Beowulf, the interment of the hero is accompaniedby circ*mstances and sentiments bearing a close resemblance to those of the Homericpoetry. Beowulf's dying request was that his people should raise a barrow over himproportionate in size to the respect they entertained for his memory: -worn eall ge- spræcgomol on ge-líðo ,and eowic grétan hét,badge ge-worhton æfter wines dæédumin bæl-stedebeorh pone heán,micelne and mærne,swá he manna wæswígend weorð-fullost" He spake a whole multitude of words,old of life,and commanded me to greet you;he bad that ye should make,according to the deeds of your friend,on the place of the funeral pile,the lofty barrowlarge and famous,even as he was of menthe most worthy warrior. "BEOWULF, 1. 6183.Beowulf's people carry into effect his desire, and the poem ends with a remarkabledescription of the interment of the hero: --Him ðá ge-giredanGeáta leódeâd on eorðan,un-wác- lícne ," For him there preparedthe people of the Geatsa funeral pile upon the earth,strong,200 THE ARCHEOLOGICAL ALBUM.helm -be-hongen,hilde-bordum ,beorhtum byrnum,swá he béna wæs.A-legdon á tó- middesmærne þeódenhæleð hiófende,hláford leófne.On-gunnon þá on beorgebæél-fýra mæéstwigend weccan:wu [du -r ]êc á -sthsweart of swíc- dole,swógende let[wópe] be-wunden.Wind-blond ge-læg,oð he ða bán-húsge-brocen hæfd[ e] ,hát on hreðre.Higum un-rótemód-ceare mændon,mon-dryhtnes [ cwealm ] .Swylce geómor-gyd lat . . . . meowle .wunden heordesorg-cearig sældege-neahhehió hyre . . . . . .gas heordeode wa .. ælla wonnhung round with helmets,with boards of war,and with bright byrnies,as he had requested.Then laid down in the midstthe heroes, weeping,the famous chieftain,their dear lord.Then began on the hillthe mightiest of funeral firesthe warriors to awake:the wood-smoke rose aloft,dark from the fire;noisily it went,mingled with weeping.The mixture of the wind lay ontill it the bone-house (the body)had broken,hot in his breast.Sad in mind,sorry ofmood, they mournedthe death of their lord.

• *

[Someparts are here unfortunately so much mutilated, that it is impossible to make sense ofthem. ]hildes egesanheado-helm midheofon réce s ....Ge-worhton ðaWedra leódehlaw on líde,se was heáh and brád,et- líðendumwíde tó- sýne.And be-timbredonon tyn- dagumbeadu-rófis bécn,bronda ......... Wealle be-worhtonswá hyt weorð- lícost fore-snotre menfindan mihton.Hí on beorg dydonbég and b[ eorht ] siglu,eall swylce hyrsta,swylce on horde ærníð-hydige menMade thenthe people of the westernsa mound over the sea,it was high and broad,by the sailors over the waves to be seen afar.And they built upduring ten daysthe beacon of the war- renowned ,the . . . . , of swords (?) .They surrounded it with a wallin the most honourable mannerthat wise mencould desire.They put into the moundrings and bright gems,all such ornamentsas from the hoard beforethe fierce-minded menTHE SAXON BARROWS. 201ge-numen hæfdon;for-leton eorla ge- streóneorðan healdan,gold on greóte ,þær hit nú gen lífaðeldum swá un-nýtswá hit [æror] wæs.Dá ymbe hlaw riodanhilde-deóre,æþelinges .. cann,ealra twelfa;woldon . . . . cwiðankyning mænan,word-gyd wrecen,sylfe sprecan;eahtodan eorl- scipe,and his ellen-weorcdúguðum démdon,swá hit ge-d[éfe bið]mon his wine- dryht wordum herge,ferhðum freo[ge] ,[þonne] he ford scile of líc-haman,[læne] weorðan.Swá be-gnornodonGeáta leódehláford [leóf] ne,heorð-ge-neátas;cwadon he wærewyrold-cyning[a]manna mildustand m[on-þwa]rust,leódum líðostand lóf-geornost.had taken;they suffered the earth to holdthe treasure of warriors,gold on the sand,where it yet remains as useless to menas it was of old.Then round the mound rodeof beasts of war,of nobles, a troop,twelve in all;they would speak about the king,they would call him to mind,relate the song of words,speak themselves;they praised his valour,and his deeds of braverythey judged with honour,as it is fittingthat a man his friendly lordshould extol,should love him in his soul,when he must departfrom his bodyto become valueless.Thus mournedthe people of the Geats,his domestic comrades,their dear lord;they said that he wasof the kings of the worldthe mildest of menand the most gentle,the most gracious to his people,and the most jealous of glory."BEOWULF, 1. 6268.The raising of the barrow on an eminence over the sea, reminds us of a sentimentin an early Greek poet, who speaks of the tomb of Themistocles as overlooking thePiræus it would seem, like that of Beowulf, to have been a large barrow.Ὁ σὸς δὲ τύμβος ἐν καλῷ κεχωσμένοςΤοῖς ἐμπόροις πρόσρησις ἔσται πανταχοῦ,Τούς τ᾽ ἐκπλέοντας εἰσπλέοντάς τ' ὄψεται,Χὡπόταν ἅμιλλα τῶν νεῶν θεάσεται .Plato comicus, ap. Plutarch. vit. Themist."There shall thy mound, conspicuous on the shore,Salute the mariners who pass the sea,Keep watch on all who enter or depart,And be the umpire in the naval strife. "Ꭰ Ꭰ202 THE ARCHEOLOGICAL ALBUM.A somewhat similar sentiment was quoted by Mr. Deane from the Iliad, whereHector, speaking of one whom he is to slay in single combat, says, —" The long-haired GreeksTo him upon the shores of HellespontA mound shall heap, that those in aftertimesWho sail along the darksome sea shall say,'This is the monument of one long sinceBorne to his grave, by mighty Hector slain . 'We find, indeed, that, among most peoples, in the earlier ages of their history, theordinary burial- place was an elevated position, and sea-faring tribes would naturallychoose the vicinity of their favourite element. In our own island, we often find a loftyknoll or hill crowned with a British or a Roman barrow, sometimes surrounded with anintrenchment, and it is not improbable that many of what have been considered as circularhill camps are nothing more than burial-places. The sketch at the top of our firstplate of Saxon antiquities represents a scene near Folkstone in Kent. On the summitof the steep hill to the left is a strongly intrenched camp or fortress, popularly calledCæsar's camp. On the brow of that to the right is a fine barrow, which commandsa very extensive prospect, now combining objects that remind us of far distant ages,and tell of the wonderful changes which have taken place while the peaceful tenant ofthe tumulus has slept his long sleep undisturbed. In the distance the waves continueto beat upon the shore as they did on the day when the warrior was laid in his grave.Close upon the beach we see the town and church of Folkstone, a creation of the middleages; and near it the viaduct of the Dover railway, the latest step in the advance ofmodern improvements. The sea-farer, as he passes, may still behold the monumentof the hero, but his name has long been forgotten. The view reminds us forcibly ofBeowulf's dying request: -hátað heado-mærehlaw ge-wyrcean,beorhtne æfter bæéle,æt briones nosan;se scel tó ge-myndum mínum leódumheáh hlifianon Hrones-næsse;hit sæé-líðend sydðan hátanBiówulfes biorh,da de Brentingasofer flóda ge- nipufeorran drífað.command the famous in warto make a mound,bright after the funeral fire,upon the nose of the promontory;which shall for a memorialto my peoplerise high alofton Hronesness;that the sea-sailorsmay afterwards call itBeowulf's barrow,when the Brentingsover the darkness of the floodsshall sail afar.BEOWULF, 1. 5599.1 25NEAR FOLKSTONE , KENT .361013 14Drawn & Engraved byFWFavhelt FSAANGLO - SAXON ANTIQUITIES .PLATE 1.London . Published by Chapman & Hall , 136 Strand . Nov 18451512

THE SAXON BARROWS. 203The Saxons in this island generally chose the high downs for the interment of theirdead, and their barrows are found in great abundance spread over the county of Kent,and in some other parts of England. They occur in groups, are generally low, andthe mound covers a rectangular grave cut in the ground, in which the deposit ismade. Their principal characteristics have already been described in the presentvolume, pp. 6-8. The Saxon barrows are more interesting than those of any otherclass in England for the variety of articles they contain, which consist of the lessperishable parts of the arms, dress, and ornaments, as well as many of the domesticutensils, of the people who were buried in them. *A Saxon appears to have been always buried with his arms. The skeleton of a manhas almost invariably a sword on the left side and a knife on the right. The handlesof these weapons, made generally of more perishable materials, have in most casesdisappeared, and even the iron of the blade is much corroded. The most usual formsof the sword are those shewn in figs. 1 and 2 of our first plate of Saxon antiquities.The first of these is in the possession of Mr. Rolfe, and was recently dug up in cuttingthe Ramsgate and Canterbury railway: it is thirty- two inches long, and two inches anda half broad. The other is taken from Douglas's " Nenia Britannica." Fig. 3 represents a sword-handle of an ornamental character, and of metal which appears to havebeen gilt or silvered. It was found in the parish of Ash, near Canterbury, and is nowin the cabinet of Mr. Rolfe . In the poem of Beowulf, swords are not unfrequentlydescribed as having richly ornamented hilts. Thus one herosealde his hyrsted sweord ,írena cyst,ombiht- þegne.gave his ornamented sword,the costliest of irons,to his servant.BEOWULF, 1. 1338.And again,-and þa hilt semod,since fáge.and with it the hilt,variegated with treasure.BEOWULF, 1. 3228.The hilt of the sword was sometimes inscribed with runic characters. In the followingpassage a sword-hilt is thus inscribed with an episode of the northern mythology, andwith the name of its possessor: —hilt sceáwode,ealde láfe,

• The finest collections of antiquities found in the

Saxon barrows are those of Lord Albert Conyngham,Dr. Fawcett of Heppington, near Canterbury, and Mr.He looked upon the hilt,the old legacy,Rolfe of Sandwich. The best work on the subject is the "Nenia Britannica " of Douglas. See also variousvolumes of the Archæologia.204 THE ARCHEOLOGICAL ALBUM.·on þæém was ór- writenfyrn ge-winnes;⚫ syþðan flód of- sloh,gifen geótende,giganta cyn;frecne ge-ferdon;was fremde pþeód écean Drihtne,him þæs ende leánþurh wæteres wylm waldend sealde.Swá was on þæm scennescíran goldesþurh rún-stafasrihte ge-mearcod,ge-seted and ge- sæd,hwám sweord ge-worht,írenna cyst,ærest wære,wreopen-hylt and wyrm-fáh.on which was written the origin of the ancient contest;after the flood slew,the pouring ocean,the race of giants;daringly they behaved;that was a race strangeto the eternal Lord,therefore to them their last rewardthrough floods of water the ruler gave.So was on the surfaceof the bright goldwith runic lettersrightly marked,set and said,for whom that sword,the costliest of irons,was first made,with twisted hilt and variegated like a snake.BEOWULF, 1. 3373.A curious illustration of this passage is furnished by the extremity of a sword-hilt,of silver, found some time ago in the parish of Ash, in Kent, and now in thepossession of Mr. Rolfe. The accompanyingcuts represent the two sides and the edge,the full size of the original. On one side,the uppermost figure in our cut, is a runicinscription, rudely engraved in the silver, ofwhich this is an exact facsimile, and whichsome scholar more learned in runes than ourselves will probably be able to decipher.Fig. 11 of our plate, taken from Douglas's"Nenia," is the more usual form of the knivesfound with the male skeletons in the Kentishbarrows. Fig. 10 is a knife of a somewhatdifferent shape, found in a barrow in Derbyshire by Mr. Bateman.In almost every instance of male interments, the shield appears to have been laidover the body. All that remains at the presenttime, is the umbo or boss, with a few nails and buckles, in a greater or less state ofdecay. The shield itself was of wood, generally linden, which was of a yellow colour.

15Drawn & Ergrad by Fairhelt FSAANGLO - SAXON JEWELS,DISCOV RED IN 170 HARROWS O3THE SAXON BARROWS. 205The poem of Beowulf speaks of "the broad shield, yellow-rimmed" (sídne scyld, geolorand- BEOWULF, 1. 869): it is sometimes called a " war-board " (hilde-bord - BEOWULF, 1. 789); and in another instance we are toldhond-rond ge- feng,geolwe linde.he seized his shield ,the yellow linden- wood.BEOWULF, 1. 5215.Figs. 13, 14, and 15, are three umbos of shields, of the less ordinary shapes. Fig. 14was found at Sittingbourne in Kent, and is in the possession of Mr. Vallance . Theother two were found in barrows on the Breach Downs by Lord Albert Conyngham.The most common form of the umbo resembles No. 14, but is much less convex andless elongated, with a knob or button at the apex, as in No. 13.A spear was frequently laid beside the body of its owner. The one represented infig. 5 of our plate of Saxon antiquities, is in the possession of Mr. Rolfe, and wasdiscovered in digging the Ramsgate and Canterbury railway: it is twelve inches and ahalf long, and an inch and a half wide. No. 4 is taken from Douglas. Arrow-headsare of more rare occurrence: figs. 6, 7, and 8, are taken from Douglas's " Nenia.”Fig. 9 is a curious axe, found in a barrow cut through by the Ramsgate railway, andnow in the possession of Mr. Rolfe. Fig. 12 is taken from the " Nenia " of Douglas,who considers it to be a dagger.The Saxon appears to have been buried in full dress, and the remains of jewelleryform the most valuable relics of the barrow. The most beautiful articles of thisdescription are the circular fibule, which were probably used to fasten the cloak ormantle over the breast. They are of common occurrence, and are often made of richmaterials. Our plates furnish several examples of these fibula, which appear in generalto have been found on the breasts of female skeletons. No. 1 on our coloured plate ofAnglo- Saxon jewels, represents a very handsome fibula, with a gold rim, in the possession of the Rev. W. Vallance of Maidstone; it was found a few years ago at Sittingbournein Kent. The form of the ornament is " that of a double star, and it is set with garnets,or coloured glass, upon chequered foils of gold. The rays of the inner star are of ablue-stone . Between the rays of the larger star are four studs, with a ruby in each,surrounded with garnets, the spaces between being filled up with gold filagree work. " *Figs. 2 and 3 of the same plate were also found in barrows in Kent; the first is takenfrom Douglas's " Nenia," the other from Mr. Wrench's " Description of Stowting."Three similar fibulæ, uncoloured, are given in our third plate of Anglo- Saxon Antiqui-

• See Mr. Roach Smith's " Collectanea Antiqua, " | coveries made by Mr. Vallance at Sittingbourne from No. VII. , where will be found an account of the dis- 1825 to 1828.

206 THE ARCHEOLOGICAL ALBUM.ties, figs. 1, 2, 3. The first of these was discovered in a barrow at Wingham, in Kent,by Lord Albert Conyngham: the outer rim is bronze, but all the rest is of gold, setwith garnets and blue stones over thin gold foil, which is indented with cross lines togive greater brilliancy, as is shown in one of the outer circles where the garnet hasfallen out. The spaces between the limbs of the cross or flower, as is so common inSaxon jewellery, are filled up with twists of gold filagree. In the barrow from whencethis fibula was obtained, which was evidently that of a female, were found the pin(fig. 6), the bulla (fig. 4), the cross-shaped ornament (fig. 8), the urn (fig. 20), andthe bowl (fig. 18), together with two bracelets of single bronze wire, twelve beads ofvarious forms and colours, three small clasps, five twisted rings of various sizes in bronze,and the fragment of an ivory box ornamented with indented circles and zigzags. Thefibula, fig. 3, also in the possession of Lord Albert Conyngham, was found in a barrowon the Breach Downs. It is of bronze; the centre stone is lost, the triangular onessurrounding it are filled with red stones, and the circular ones with white stones, or withglass (?). Fig. 2 is of gold, and is ornamented with blue and red stones, with a garnetin the centre; it was found in a barrow in the isle of Wight, and is in the possessionof Mr. Dennet. The woodcut in our margin represents the gold shell of a very magnificent Saxonfibulæ, in the possession of Mr. Fitch, of Ipswich,who informs us that " it was found about ten yearssince at Sutton near Woodbridge, in Suffolk, by alabourer whilst ploughing. I have heard that, whenfirst discovered, it was studded either with stones orsome glass composition, the centre of a red colour,the four large circles blue, and the smaller places filledwith green and various colours. Unfortunately, theman who found it regarded it as valuable only onaccount of the metal, and, previous to selling it, deprived it of all the ornaments, whichhe threw away as useless."Among other articles of ladies' jewellery, which are found in great abundance, wemay point out the two golden bullas, fig. 4, found at Wingham, and fig. 5, found onthe Breach Downs; a pin of bronze, fig. 6, with a gold head, ornamented with red andblue stones, found at Wingham; a bronze ornament in the form of a cross, fig. 8, foundat Wingham; and a silver ear-ring, fig. 9, found on the Breach Downs. All these arein the cabinet of Lord Albert Conyngham; and all are engraved the same size as theoriginals, except the ear-ring, which is only one half the size. Fig. 7 is a very curiouspin of bronze, recently discovered by Mr. J. P. Bartlett, in a barrow on the Breach14o22232111724 19110161320Drawn & Engraved by J. W. Facho' E SAANGLO- SAXON ANTIQUITIES.PIATE 3 .1821London Published by Chapman & Hall , 186 , Strand . Nov 1845.3129O257152626

THE SAXON BARROWS. 207·Downs. The bronze pins and chain, fig. 13, were found in a barrow in the BreachDowns by Lord Albert Conyngham. Fig. 15, taken from Douglas's " Nenia," represents one of a number of ornaments found in the barrow of a young female on Chathamlines; it consists of a crystal ball, enclosed in a lap of silver, pendent to two silverrings. In our coloured plate of jewels, fig. 4 is another cross- shaped ornament, andfig. 5, a necklace, found in barrows in Derbyshire by Mr. Bateman, and exhibited byhim at the meeting of the British Archæological Association at Canterbury. Beadsare found in these barrows in great variety. Fig. 10, taken from Douglas, and foundwith the remains of a female in a barrow on Chatham lines, is a fibula of another shape,which also is not uncommon, and was perhaps used to fasten the girdle. Fig. 11 is abuckle of bronze gilt, perhaps for fastening the sword-belt, discovered by Lord AlbertConyngham in a barrow on the Breach Downs; it is here engraved one half its naturalsize. Fig. 12 is another fibula, in the possession of Mr. Rolfe, who obtained it in theparish of Ash near Sandwich. A very large and handsome Saxon fibula of the sameform as these latter examples, which is very common, is engraved in the " Journal ofthe British Archæological Association, " No. I. p. 61; it was found at Badby inNorthamptonshire.A great variety of household utensils of different kinds are also found in the Saxonbarrows. The earthenware is in general of rather a rude make. Fig. 20, a vase ofred earth with indented ornaments, found at Wingham by Lord Albert Conynghamfig. 21, a ribbed urn of black earth, found by the same nobleman . in a barrow on theBreach Downs -and the urn found in Bourne Park, represented in a cut on p. 8 ofthepresent volume-may serve as examples. Glass vessels are not very uncommon, and insome instances have been found unbroken.They appear to be of better workmanshipthan the earthenware, but are of a designpeculiar to the people. A few examples aregiven in the annexed cut. Figs. 1 , 3, and4, are taken from Douglas's " Nenia;" fig. 2,which is nine inches high, wasobtained byMr. Rolfe from the Ramsgate railway excavations; and fig. 5, which is six incheshigh, was found by Lord Albert Conynghamin one of the Breach Down tumuli. Allthese, as well as the one found in BournePark, and figured at the beginning of ourvolume, p. 8, appear to be drinking-cups: the forms of figs. 1, 2, 3, and 5, are very2 3 4 5208 THE ARCHEOLOGICAL ALBUM.peculiar; and none of them are capable of standing without support, * so that they musthave been held in the hand until emptied entirely of their contents. Indeed it was adisgrace to a Saxon or Northern not to empty his cup at one draught. The epithet"twisted, " given to such articles in the early Saxon poetry, seems not inapplicable tothe kind of ornament found on these glass vessels: -þegn nýtte be-heάld ,so be on handa bærhroden ealo-wæge.The thane observed his office,he that in his hand barethe twisted ale-cup.BEOWULF, 1. 983.A pail or bucket, generally elegant in its proportions and ornaments, is sometimes foundin a Saxon grave. Fig. 19, in our third plate, represents one of brass and iron, foundin the parish of Ash, and engraved in Douglas's " Nenia; " it was of small dimensions,being only eight inches in diameter and seven and a half inches high. The hoops andhandle of another bucket were found in a barrow in Bourne Park, and are engraved inthe "Archæological Journal, " vol. I. p. 255. In this latter instance the grave wascertainly that of a man; and it is not improbable, when we consider that the articlesburied in the grave were generally some favourite utensils of their possessor, that theuse of these buckets may have been to carry the ale, mead, or wine, into the hall,and pour it into the cups. In Beowulf we are told thatbyrelas sealdonwîn of wunder-fatum .cup-bearers gave the wine from wondrous vats.BEOWULF, 1. 2316.A term which would apply very well to buckets like those alluded to.Sometimes we find bowls of very elegant workmanship, which prove clearly thatour early Saxon ancestors were skilful workers in metal. Most of these bowls are ofmetal gilt. One was found in the barrow in Bourne Park, which contained the bucketjust mentioned. Fig. 18, of our plate, represents one found at Wingham by LordAlbert Conyngham. Figs. 16 and 17 are taken from Douglas's " Nenia," both foundin barrows on Barham Downs; the first was of brass or bronze, gilt, measuring fiveinches and a half in diameter and between two and three inches deep. Under eachhandle, of which there were three, was an ornamented circular piece of white metal,which appeared to be silver. The other, fig. 17, was of larger dimensions, beingthirteen inches wide, and four inches and a half deep.We have not room to enumerate every different article found in the Anglo- SaxonFig. 5 is placed in an upright position to shew its | to allow it to remain so without support. The glasses form to more advantage; but the bottom is too convex of the Saxons were literally tumblers.THE SAXON BARROWS. 209barrows. One or two miscellaneous articles are given in our plate, chiefly on accountof their singularity. Fig. 14, taken from Douglas, and found in a barrow on theChatham lines, is a silver spoon, richly ornamented with garnets, the bowl perforated,and washed with gold; it was found with a female skeleton, and appeared to havebeen suspended to the dress. Fig. 22 is a pair of tweezers, found in the barrow of ayoung man on the Chatham lines . Figs. 23 and 24 are bone pins, here given on ascale two-thirds of their size, found by Lord Albert Conyngham in the barrows on theBreach Downs. Figs. 25 and 26, from Douglas, are two shears, found, with ornaments belonging to the female sex, on Chartham Downs. One of the most recentdiscoveries by Mr. Rolfe, among the barrows cut through by the Ramsgate railway, isthat of a pair of Saxon scales, with their weights, the latter being made out of Romancoins.Roman coins, as well as fragments of Samian ware, and other articles decidedly ofRoman manufacture, are not unfrequently found in Saxon barrows. There seems, indeed,to be little room for doubt that the Roman coinage was in circulation during the earlierSaxon period. In one instance a bowl of apparently Roman workmanship was foundto have been mended with Saxon materials. This is in the possession of Mr. Rolfe.Coins of Clovis and of the earliest Frankish monarchs have also been found; and in oneinstance, in a barrow on the Breach Downs, Mr. J. P. Bartlett found the moulderingremains of what appeared to have been a small purse, with four of the very early silverSaxon coins which are known by the name of sceattas. There seems little room fordoubt that all these barrows belong to the period between the settlement of the Saxonsin this island in the fifth century and their conversion to Christianity in the seventh.It is probable that the cross-shaped ornaments had no reference to the Christian symbols; yet it is not unlikely that before the entire conversion of the people to the gospel,many who had accepted its faith still felt a longing to seek their final resting-placeamong the barrows of their forefathers; and this perhaps gave rise to the canon of theAnglo- Saxon church promulgated in 642, ordering that Christians should be buried inthe immediate vicinity of churches. This reverence for the graves of their forefatherswould lead the early Saxon Christians to select the vicinity of their ancient burial- placesfor the site of their churches, which they appear frequently to have done.In one or two instances, a grave has been found beneath the barrow, with variousarticles deposited, but no traces of a body. One of the most remarkable instancesof this was furnished by a barrow in Bourne Park, to which we have already madeallusion. At the foot of the grave, in the right-hand corner, had stood a bucket, ofwhich the hoops (in perfect preservation) occupied their position one above another asif the wood had been there to support them. This bucket appeared to have been aboutEE210 THE ARCHEOLOGICAL ALBUM.a foot high; the lower hoop was a foot in diameter, and the upper hoop exactly teninches. A little higher up in the grave, in the position generally occupied by theright leg of the person buried, was a considerable heap of fragments of iron, amongwhich were a boss of a shield of the usual Saxon form, a horse's bit (which appears tobe an article of very unusual occurrence) , a buckle, and other things which appear tohave belonged to the shield, a number of nails with large ornamental heads, withsmaller nails, the latter mostly of brass. From the position of the boss, it appearedthat the shield had been placed with the convex (or outer) surface downwards. Notfar from these articles, at the side of the grave, was a fragment of iron, consistingof a larger ring, with two smaller ones attached to it, which was either part of thehorse's bridle, or of a belt. On the left-hand side of the grave was found a small pieceof iron which resembled the point of some weapon. At the head of the graye, on theright- hand side, was an elegantly shaped bowl, about a foot in diameter, and twoinches and a half deep, of very thin copper, which had been thickly gilt, and withhandles of iron. It had been placed on its edge leaning against the wall of the grave,and was much broken by the weight of the superincumbent earth. The only otherarticles found in this grave were two small round discs resembling counters, aboutseven-eighths of an inch in diameter, flat on one side, and convex on the other, theuse of which it is impossible to conjecture, unless they were employed in some game.One was made of bone, the other had been cut out of a piece of Samian ware. Themost singular circ*mstance connected with this grave was, that there were not theslightest traces of any body having been deposited in it; in fact, the appearances weredecisive to the contrary. This may be explained by supposing that the person towhom the grave was dedicated had been a chief killed in battle in some distant expedition, and that his friends had not been able to obtain his body. This view of thecase seems to be supported by the fact that, although so many valuable articles werefound in the grave, there were no traces of the long sword and the knife always foundwith the bodies of male adults in the Saxon barrows. The sword and knife would, infact, have been attached to the body, as a part of the dress.MISCELLANEOUS ILLUSTRATIONS OF MEDIEVALANTIQUITIES,FROM ILLUMINATED MANUSCRIPTS.WE have had several occasions to remark how much light is thrown upon themanners of our forefathers, in the middle ages, by the illuminations with which somany manuscripts of different dates are profusely illustrated; and we will continue ourobservations on this subject by adducing a few miscellaneous examples . They aretaken, without much selection, from various sources, and may be considered in somedegree as supplementary to our article on the History of Art in the Middle Ages.In the article just alluded to several curious illustrations of the common incidentsof domestic life are given from this source, and they might be multiplied to an indefinite degree; for the illuminated manuscripts are full of scenes in the hall and in thechamber, which not only exhibit the furniture and various utensils peculiar to each, butthey represent them in actual use. Dinner scenes, from the most magnificent feast tothe more homely meal, are of frequent occurrence. We have already given an exampleof a party at table, at p. 76 of the present volume. In many instances these scenesrepresent the minstrels and jougleurs performing before the guests. We have frequentviews of interiors, sometimes exhibiting formal pomp and courtly ceremonies, and atothers the familiarity and abandon of private life. In other examples, the interior ofthe bedchamber is exhibited to us in almost every scene of which it is a witness,from the birth to the death of its owner, whether in sickness or in health. Indeed,these often beautiful pictures represent to us the various acts of human life, not onlyin almost every rank and station, but under the change of manners and customs whichcharacterise the different periods of history.212 THE ARCHEOLOGICAL ALBUM.AAAMost of the examples we give on this occasion are taken from manuscripts of the fifteenthcentury. The first is from a copy of JohnLydgate's English metrical life of St. Edmundthe Martyr, king of the East Angles (MS. Harl.No. 2278). Our woodcut only contains onehalf of the original picture, in which, to theright, the mother of the king is represented inbed, with three ladies serving her out of differentvessels of gold. The vessels placed on the table,in our cut, are of the same material. There areno chairs in the room, except a cushioned seatby the bed-head; and the lady, who here holdsthe infant in her arms before the fire, is seatedon a rude sort of bench. The fire and fire-place,with the niches in the wall above for the reception of candlesticks and other articles, illustratethe domestic economy of former days. It mustnot be forgotten that this is supposed to be achamber of state in a princely mansion.The next cut exhibits a scene of a different description-the interior of a medievalkitchen. It is taken from a copy of the French translation, or rather paraphrase, ofValerius Maximus, by Simon de Hesdin and Nicholas de Gonesse, a very popular workin the fifteenth century (MS. Harl. No. 4375); and, like the former, gives only onedivision of the original illumination. In a department to the left of this division wesee a man seated at dinner in the hall, and attended by servants. The communicationbetween the hall and the kitchen is by the door represented on one side of our cut.This immediate juxtaposition of the kitchen and dining-hall was constant in themedieval edifices, whether baronial or monastic, and is still preserved in our colleges.In some instances among the illuminations, as in a dinner-scene in MS. Reg. 14,E. IV. , the dishes are passed from the kitchen into the hall through a square openinglike a window, at which the "valets" who served at table took them from the handsof the cook. A similar contrivance is found in the ruins of Netley Abbey. Thefurniture of the kitchen here represented is very rude and simple. The pot is hungover the fire by a hook which, by means of a ring and notches, may be lengthened andshortened at pleasure. One of these hooks, closely resembling the one in our picture,which had been preserved in some old farm-house, was lately exhibited before theMISCELLANEOUS ILLUSTRATIONS. 213committee of the British Archæological Association. Afrying-pan, hung against the wall,and two smaller implements of a similar description placed against the wall by loops,constitute the remainder of the cooking utensils. However, we have documentary proofthat a medieval kitchen was not always so illfurnished as this.A cook, in the middle ages, was a personof some importance in the household; andpersons holding this title frequently occur inearly records moving in a very respectablesphere in life. Cookery was one of the "finearts" of the olden time, and the numerousmanuscript collections of receipts still remaining shew that one of its professors in thefourteenth or fifteenth centuries could haveoffered as full, and perhaps as attractive, a"carte" as any Verey of the present day. Inthe monastic establishments, especially, thetable was an object of considerable attention.000Amongst the manuscripts in the British Museum is preserved a book once belongingto the great abbey of St. Albans, which contains a long list of the benefactors of thathouse, with marginal illuminations representing the givers, and in most cases the giftwhich they had made; a grant of lands being represented by a charter with pendentseal, and a gift of money by a bag. Amongst these worthies of the age of monasticendowments appear the figures of " master Robert, once the cook of the abbotThomas," and of Helena his wife. ThisRobert, it is there stated, having been faithfuland obedient to the monastery all the days ofhis life, it was in reward for his diligencegranted that he should be " a partaker of thebenefits conceded to the benefactors of thisplace," that is, that he should have his shareof the prayers said for their souls in general.We are, however, further informed that his wifeHelena, who outlived him, gave three shillings214 THE ARCHEOLOGICAL ALBUM.and fourpence " ad opus hujus libri," which perhaps means that she gave so much tohave her own and her husband's pictures painted in the book,* in further considerationof which we take the liberty of transferring them to our margin. The profession of"master Robert" is sufficiently indicated by his knife. This part of the book appearsto have been written in the latter part of the fourteenth century, perhaps during thelifetime of the lady who paid for the drawing.We have just hinted at the care with which the table was served with great profusion and varieties of dishes. It was no less amply furnished with rich ornamentsand utensils; and the process of dining was attended with the greatest ceremony andnumerous formalities . Various treatises were published in Latin, and French, andEnglish, in prose and in verse, setting forth in detail how thetable was to be arranged, how the attendants were to serve,and how each person ought to behave himself. The " Stanspuer ad mensam" was one of the first books put into thehands of the school-boy. In fact, two of the most essentialparts of the education of a gentleman were how to behavehimself at table and how to carry himself in the field. It isnot our intention here to give a list of the various articlesof ornament appendant to the medieval tables, but we givean illustration of one of the most singular of them. Thiswas the nef, or ship, which is mentioned, though not veryfrequently, by old writers, and which is supposed to havebeen a vessel for holding spices or some other article used attable, made in the form of a ship. In a manuscript in theBritish Museum (MS. Reg. 14 E. IV. fol. 265, vº. ), whichcontains a copy of the French Chroniques d'Engleterre, wehave a large illumination of a " grand feast " given by king Richard II. at London(cy parle d'une grant feste que le roy Richard d'Engleterre fist à Londres); it containsthe accompanying figure of a person carrying the ship to the table.The mention of the ornamental ships leads us rather naturally to speak of realships, and we cannot wonder at the little use that has hitherto been made of thenumerous materials furnished by these illuminated manuscripts for the history of thenavy during the middle ages. There is scarcely a manuscript of any magnitude whichdoes not contain some pictures in which shipping is introduced; and, whilst in many

• Magister Robertus quondam cocus domini Thomæ

abbatis fidelis et obsequens erat monasterio in omni vita sua, et ideo concessum est ut sit particeps beneficiorumconcessorum benefactoribus hujus loci . Cujus relictaHelena contulit ad opus hujus libri iij . iiijd . —MS. Cot- ton. Nero D. VII. fol. 109 , rº.MISCELLANEOUS ILLUSTRATIONS. 215instances the drawing of these objects is too rude and obscure to give us much information, in some they are carefully and minutely designed by artists who evidentlyknew every part of the objects they were representing. Sometimes the different kindsof ships mentioned in the text are evidently distinguished in the drawing. In otherexamples we have ships undergoing the process of repair, and in a few the processof building is represented in different stages. The same manuscript of the fifteenthcentury in the British Museumfurnishes us with the accompanyinginteresting little group; one of thefigures appears to be intended torepresent a ship which is either inprocess of building, or has been putinto dock to undergo repairs. It ison the whole remarkable, to judge from the drawings, how little essential improvementhad been made in naval matters during several centuries.On a former occasion it has been observed that the marginal borders of illuminatedmanuscripts frequently contain amusing traits of comic satire and burlesque, as well aspictures of common life. A finely illuminated copy of Froissart, in the British Museum,contains numerous burlesques of the kind alluded to. One of these represents the fox,in the garb of a monk, confessing and giving penance tothe co*ck. This is a common subject, not only of drawingsin manuscripts, but of sculpture in churches and otherbuildings. The great popularity of the romance ofReynard had made the fox a favourite animal in suchrepresentations. It is probable that sometimes thesepictures were intended to represent incidents of theromance itself, whilst sometimes they were mere satireson the monks and clergy, which originated in the imagination of the artist . In thedifferent branches of the romance, Reynard more than once appears under a clericaldisguise. In one instance he is introduced repenting of his sins, and making hisconfession to a holy hermit, who enjoins him for a penance to go on a pilgrimage toRome. Reynard immediately takes his staff, and puts a scarf over his shoulders, andproceeds on his journey.Escrepe et bordon prent, si muet,Si est entrez en son chemin,Moult resemble bien pelerin,Et bien li sist l'escrepe au col.216 THE ARCHEOLOGICAL ALBUM.In the accompanying cut, from the same manuscript as the last, Reynard has hisstaff and his scarf, as described in the romance, but he is carried on the shoulders ofan ape, and he appears to be in the act of preaching. In another branchof the romance, Reynard presents himself at court in the disguise of a friar(einsi comme renart vint devant le roi en abit de frere meneur) , and takes theconfession, not of the co*ck, but of his own son and his companions. Themonkey is also a favourite animal in these burlesque drolleries . In ournext cut from the borders of the Froissart manuscript, we have a monkeyplaying with a pair of bellows. Another drawing in the same manuscript,of which we have given a cut at page 186 of the present volume, representsthe timid rabbit turned into a valiant knight, and seated on the back of hisold enemy the levrier, or greyhound; he carries his shield as a knightshould do, but, instead of a spear, he is armed with a child's plaything.Children's games and the popular amusem*nts of all ranks frequently make their appearance in these pictorial margins, whichare indeed our main authority for their history, as well as formany of the occupations of private life. Some of these manuscripts were made use of by Strutt in his work on the gamesand pastimes of our ancestors during the middle ages.The accompanying cut of a woman occupied with her distaffis taken from the border of a fine manuscript of the reign ofEdward IV. in the British Museum ( MS. Reg. 15 E. IV.) In the original, the figurerises out of the bowl of a flower.Another interesting part of the illuminated manuscripts of thefifteenth century is the dedication picture, which is frequentlyattached to a book that has been executed as a present to any greatpersonage. It generally represents the author or writer presentinghis book, and it is more than probable that the persons introducedin such pictures are, in many cases at least, intended to be portraits. In the manuscript last alluded to, which forms one volumeof the history of England in French, written and illuminated in thereign of our king Edward IV. , the first page is occupied by alarge and richly executed picture of that monarch in his court. The figures are few,but well executed. On the left side of the picture are the two figures represented inour cut on the next page. One of them, in the fashionable dress of the time, withthe garter round his knee, is said to have been intended for a portrait of the dukeof Gloucester, afterwards king Richard III. It presents none of the features whichMISCELLANEOUS ILLUSTRATIONS. 217popular tradition has given to the humpbackedtyrant. We certainly do not recognise herethe personage who, in the words of the bard,describes himself ironically-" But I, that am not shap'd for sportive tricks,Nor made to court an amorous looking-glass;I , that am rudely stamp'd, and want love's majesty,To strut before a wanton, ambling nymph;I, that am curtail'd of this fair proportion,Cheated of feature by dissembling nature,Deform'd, unfinish'd, sent before my timeInto this breathing world, scarce half made up,And that so lamely and unfashionable,The dogs bark at me as I halt bythem;Why I, in this weak piping time of peace,Have no delight to pass away the time;Unless to spy my shadow in the sun,And descant on mine own deformity. "The history of music, and more especiallyof musical instruments, is a subject which isnow attracting considerable attention, and onwhich illuminated manuscripts throw greatlight. The first of what promises to be a veryvaluable series of papers on this subject, illustrated from the sources alluded to, is givenin the second number of the third volume ofM. Didron's " Annales Archéologiques," recently published. The following cut istaken from a manuscript of Lydgate's poem entitled The Pilgrim, an allegorical worktranslated from the French ofWilliam de Deguilleville (MS.Cotton. Tiberius A. VII . ) Itrepresents a lady blowing onthe horn and playing " on orgonys and in sawtrye." Theorgan, on which she is playingwith her left hand, is somewhatsingular in its form. The sawtry (Lat. psalterium), a favouritestringed instrument in the middle ages, lies on the table. Thisinstrument, the body of whichFF218 THE ARCHEOLOGICAL ALBUM.was of wood, is differently shaped in manuscripts of various periods, being, in earliertimes, either square or triangular; but the one here represented is the form mostcommon in the fourteenth and fifteenth centuries. It was generally played with thefingers . The cut below, taken from MS. Reg. 15 E. IV. , represents a man playingthe more rustic music of the pipe and tabor, the latter instrument having the shape ofa little drum. This was the especial music of the village festival, and appears to havebeen looked upon with great contempt by the regular minstrels. M. Jubinal hasprinted, in his curious volume entitled " Jongleurs et Trouvères," a French poem ofthe thirteenth or fourteenth century entitled " Des Taboureurs," in which the minstrelgives vent to his jealousy, and declares that the encouragement given to this inelegantmusic marked a decadence of public taste and manners which could only portend eitherthe end of the world or the coming of Antichrist!WINCHESTER AND SOUTHAMPTON..URING the progress of our volume, the British Archæological Association has passed through the second year of itsexistence, and has held its second congress. We took it upat the beginning of our work at Canterbury, and we shallhere leave it at Winchester. This city, a settlement of theRomans, and the regal city of Saxon England, deserved thehonour of being chosen second among the cities of ourisland; and, both in itself and in its neighbourhood, itpossessed many objects of great attraction to the antiquarian visitor. The business ofthe meeting was opened on Monday, the 4th of August, with a short speech by thepresident, lord Albert Conyngham, distinguished by its good sense and kindly feeling;and with a most encouraging account of the past year's labours by Mr. Pettigrew, whogave a very interesting sketch of the history of archæology in this country, and of thepresent state of the Association: and it was closed on Saturday, the 9th, with the sameunanimity and good feeling which had distinguished the congress at Canterbury. Twodays of the week, Wednesday and Friday, were devoted entirely to the reading anddiscussing of the numerous valuable papers which had been prepared for the occasion;and evening meetings for the same purpose were held on the alternate days . Conversaziones were given by the Association on the evenings of Monday and Friday, and thepresident held a soirée on Wednesday evening, which was very numerously attended bythe respectable inhabitants of the town. On these occasions the walls and tables werecovered with various articles of antiquity and with drawings of antiquarian subjects.At the president's soirée, among an immense number of objects of this kind, wemay particularise the ancient Winchester measures and other old municipal relics ofthe city, brought by Mr. Charles Bailey, the town-clerk, and an interesting series of220 THE ARCHEOLOGICAL ALBUM.medieval manuscripts of different ages, exhibited by Dr. Lee. One of these, a fineBible of the thirteenth century, has furnished us with the initial at the beginning ofthe present article. Wednesday and Thursday were especially set apart for visits tomonuments in the city and for antiquarian excursions in the neighbourhood.As at Canterbury, the work of the Association was distributed into four sections,each of which was abundantly supplied with zealous labourers; but it was thoughtadvisable on this occasion not to have sectional committees or merely sectional meetings.The general daily meetings were rendered more agreeable by the varied character ofthe subjects treated in each. There were also at this meeting a greater number ofpapers on local subjects than at Canterbury. In primeval antiquities, the Romanremains found at Winchester were descanted upon by Mr. Bradfield, of that city; theRoman roads in Hampshire were treated upon by Messrs. Hatcher and Puttock;the tessellated pavements found in different parts of the county, and the antiquities ofBittern, by Mr. Roach Smith; and the Saxon barrows of the Isle of Wight, by Mr.Dennet, of that island . The most attractive paper in the medieval section was that onthe interesting series of paintings of the miracles of the Virgin in the beautiful LadyChapel in Winchester Cathedral, by Mr. John Green Waller; there were other paperson the mints and mintages of Winchester, by Mr. Akerman; on the table at Winchestercalled Arthur's Round Table, by Mr. Kempe; on a richly ornamented incised slab inBrading Church in the Isle of Wight, by Mr. Rosser; on the arms of Saer de Quincy,first earl of Winchester, by Mr. Planché; and some others of less importance, which itis not necessary to particularise . The architectural section was especially rich in itssubjects; Winchester Cathedral and the beautiful church of St. Cross were admirablydescribed and explained by Mr. Cresy and the Rev. Stephen Jackson; and the observations of Mr. Haigh of Leeds on Saxon churches in the neighbourhood were receivedwith warm approbation . In the historical division, Mr. Wright contributed two paperson the municipal archives of Winchester and Southampton; Mr. Halliwell gave anaccount of an early and long-forgotten philosopher and alchemist of Winchester namedJohn Claptone; and Mr. Barton, of the Isle of Wight, a historical account of the lateconvent or oratory of Barton in that island, which has recently become the residence ofher majesty the Queen. There were other papers of a local character, and a greatnumber of able essays on archæological subjects connected with other parts of theisland, and on general subjects, which we have not space to enumerate.The meetings were held in the Town Hall, County Hall, and St. John's Rooms.The latter place formed part of the buildings of the ancient hospital of St. John theBaptist, but it has been much modernised, and is now formed into a spacious assembly-room. The County Hall, which is a fine specimen of the Early English style ofWINCHESTER AND SOUTHAMPTON. 221architecture, perhaps as old as the end of the twelfth or beginning of the thirteenthcentury, appears to have been the hall of the ancient regal palace. The Town Hall is avery insignificant building.The most interesting architectural features of Winchester and its immediate neighbourhood are the cathedral and the hospital of St. Cross. Winchester Cathedral is anoble building, distinguished chiefly by a severe simplicity of architectural character.The greater part of the exterior is very plain. Within, a variety of styles is displayed,commencing with work of a very early date. Mr. Cresy, who explained all the architectural peculiarities of the cathedral to several parties who visited it under his direction,believes that part of the crypts, and much of the substance of the walls of the transeptsand nave, are a portion of the Saxon cathedral built by bishop Athelwold in 980. Thetower and the transepts exhibit the Early Norman work of bishop Walkelin, whor*built this part of the edifice towards the end of the eleventh century, after thefall of the Saxon tower. A great portion of the Lady Chapel, and the two smallerchapels beside it, are beautiful specimens of the Early English style, and were built bybishop Godfrey de Lucy at the commencement of the thirteenth century. The finenave and aisles are the work of William of Wykeham, so celebrated for his love ofarchitecture, and were completed towards the end of the fourteenth century. The sideaisles of the presbytery, remarkable for richness of ornament, were built by bishop Foxat the commencement of the sixteenth century. The other objects of greatest interestto the archæological visitors, in the city, were the College, built also by bishop Wykeham, and the massive and picturesque ruins of Wolvesey Castle. The latter, when entire,must have been a strong and important fortress. A traditional story, more amusingthan authentic, derives its name from the alleged circ*mstance that in Saxon timesthe Welsh chiefs came hither to offer their tribute of slaughtered wolves to the Englishmonarch. The architecture of what remains of the castle is Norman. Within theprecincts of the cathedral are some fine old half- timber buildings, with elegantly carvedbargeboards.The hospital of St. Cross is embosomed in trees, on the banks of the here small butpellucid stream of the Itchen, at a short distance to the south of Winchester. It wasfounded in 1132, by Henry de Blois, bishop of Winchester, since whose time it haspassed through many changes and revolutions, until, as a charitable institution, it is themere wreck of what it once was. Thirteen poor brethren are supported within, and theportion of bread and ale is still doled out, though very sparingly, to the passing travellerwho chooses to apply for it. St. Cross is interesting chiefly for its beautiful church,which is one of the most perfect specimens now remaining of the period of transitionfrom the Norman to the Early English style. Semicircular and early pointed arches222 THE ARCHEOLOGICAL ALBUM.are mixed together in great profusion, and some of the foliated capitals of columnsare singularly beautiful . The two here represented are taken from a curious andrather celebrated triple arch, on the external wall of the building, in the corner formedby the junction of the southern transept with the nave. The view of St. Cross givenin our plate is taken from the brink of the river, and shews the east end and northerntransept.Modern Winchester is a less interesting city than its history would lead a strangerto expect. There is comparatively little left to remind us of the great events of which itwas the scene, or with which it was connected, in past ages. Its street architecture is farfrom attractive or imposing; few of the old houses which adorned a medieval city remain; and the streets themselves are mostly narrow and ill arranged . One of themost picturesque is that represented at the foot of our plate; it is called Brook Street,from the stream which runs along one side. In the distance, the Norman tower ofthe cathedral raises its head above the trees.The morning of Tuesday, the second day of the meeting, was devoted to theopening of barrows on the downs which extend to the south of the city towardsSouthampton. These barrows were few and scattered, and perhaps cover the bonesof some of the British inhabitants of this district . Their contents appeared to havebeen disturbed at some former period, as little was found to repay the labours of thearchæologists -a few bones, and one or two trifling articles, shewed that these moundshad been the habitations of the dead. The summit of St. Catherine's hill, looking overthe city, is encircled with stupendous earth-works, in the centre of which is a largebarrow enclosed in a clump of trees. A small chapel had been erected at this spotin the middle ages, and the labourers who made an attempt to excavate the moundmet with the remains of its walls . The day was especially favourable for a visit toDraw &Engraved byST CROSS NEAR WINCHESTERMIDDLE BROOK STREET, WINCHESTFR.London, Published by Chapman & Hali.186 . Strand . Nov 1845.PWFairhott.F.S.A

WINCHESTER AND SOUTHAMPTON. 223these lofty downs, and the disappointment at finding empty barrows was forgottenamid the magnificence of the scene around. In the valley below, lay Winchesterspread before the eyes as in a map, with the windings of its river, and the beautifulvillage and hospital of St. Cross; whilst in the opposite direction the eye wanderedover hill and wood, embracing within its view the town of Southampton, the spaciousestuary of the Southampton Water, into which the river Itchen empties itself, and thedistant shores of the Isle of Wight. Provisions had in the meanwhile been procuredfrom Winchester, and lunch was served round upon the green sod; after which theparty proceeded under the guidance of the Rev. Stephen Jackson to visit the church ofSt. Cross. During the visit to the downs, a few gentlemen made excursions indifferent directions, to visit the neighbouring churches and other objects of antiquarianinterest. A report on the barrow-digging operations, by Mr. Dunkin, was read at theevening meeting, and was followed by several papers on barrows excavated in differentparts of the island, which gave rise to some interesting discussion .The grand excursion on Thursday was that to Bittern, Netley, and Southampton,under the guidance of the president, lord Albert Conyngham. The railway companyhad very liberally set apart special carriages for the archæologists, who were put downbefore they reached Southampton, and proceeded to Bittern on foot. Bittern ( Clausentum) was one of the Roman stations joined to Winchester ( Venta Belgarum) by a militaryroad. Somewhat more than midway from Winchester, at Stoneham, was an intermediate station or post, or, perhaps, merely a place rendered remarkable for a miliarystone set up at a junction of roads, called, in the Itinerary of Richard of Cirencester,Ad Lapidem. By this name it was still known in the time of Bede, who has preserveda tragic story connected with this spot. The Isle of Wight was one of the last of theAnglo- Saxon states which was converted to the Gospel. It was governed by independentkings until 686, when the West- Saxon king, Ceadwalla, invaded it, and put a great partof the inhabitants to the sword. The two younger brothers of the king of the Isle ofWight, mere boys, escaped the slaughter, and passed over into Wessex, and were carriedto the " place " called Ad Lapidem (in locum qui vocatur Ad Lapidem), and hidden there.But their place of concealment was betrayed to Ceadwalla, and he ordered them to beput to death. Ceadwalla was himself in the immediate neighbourhood, suffering fromthe wounds he had received in his expedition against the people of the Isle of Wight;and an abbot, named Cynebert, who had a small monastery at a place then calledReodford (supposed to be the modern Redbridge) , repaired to him, and obtainedpermission to baptise the royal youths before the savage decree was put into execution .Bittern manor-house and its lawns and gardens occupy almost the entire area of theRoman station of Clausentum, which was of considerable extent, protected by a wall224 THE ARCHEOLOGICAL ALBUM.and the waters of the Itchen on one side, and, on the land side, by a deep foss, whichmay still be traced. A fragment of the original wall is still left, but the wall itself,with other remains, were nearly all destroyed when the house was built, before theproperty came into the possession of the present enlightened proprietor, Mrs. StuartHall. Although unavoidably absent from home, Mrs. Hall, with characteristic liberality, ordered her house and collections to be thrown open to the members of theArchæological Association, who were received with the greatest hospitality. The visitorswere numerous, and examined with much interest the various objects of antiquityfound on the spot, such as remains of Roman sculpture, Roman inscriptions, &c.Among the former was a fragment of a large ornamented stone, which appeared to havebeen used for the upper part of the entrance to a temple: it had been hollowed to thedepth of a few inches to receive an inscribed slab. Among the more remarkable ofthe inscriptions were one to the goddess Ancasta (dea Ancasta), a local divinity, andseveral to the emperor Tetricus, one of which had been recently discovered. At formertimes stones have been found inscribed to Gordian, Volusian, Aurelian, and otheremperors. Those to Tetricus are the rarest, and have been found in no other part ofEngland. The company next examined Mrs. Hall's collection of coins, pottery, andother remains, discovered on the grounds; and then, after partaking of the refreshments, proceeded to visit the picturesque spot,"Where Netley's ruins, bordering on the flood,Forlorn in solitary greatness stand. "Mr. Hunt, the present lessee of Netley, looks upon the ruined abbey with affectionate care, and has already rescued it from many profanations to which it was subjectedunder less intelligent proprietors. We understand that it is his intention to clear therooms of the masses of fallen stone and rubbish which now bury the floors, and to takeall the measures in his power to prevent future dilapidations . We hope that he willalso clear away the mounds of rubbish which now cover the floor of the church, whichwould perhaps bring to light ancient monuments and brasses. Netley Abbey isdeservedly celebrated as one of the most interesting monastic ruins in the kingdom,from the comparatively perfect state in which its grand entrance- court and thesurrounding offices have been preserved; and the archeologists spent an agreeable hourin wandering amid its ivy-clad walls, and indulging in visions of the past." Scenes such as these, with salutary change,O'er flattering life their melancholy cast;Teach the free thoughts on wings of air to range,O'erlook the present, and recall the past!WINCHESTER AND SOUTHAMPTON. 225Mute is the matin- bell, whose early callWarn'd the grey fathers from their humble beds;No midnight taper gleams along the wall,Or round the sculptured saint its radiance sheds!No martyr's shrine its high- wrought gold displays,To bid the wondering zealot hither roam;No relic here the pilgrim's toil o'erpays,And cheers his footsteps to a distant home.

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Yon parted roofs that nod aloft in air,The threatening battlement, the rifted tower,The choir's loose fragments, scattered round, declare,Insulting Time, the triumphs of thy power! "Mr. Hunt received the visitors at his house, and had prepared for them an excellentlunch. The return to Southampton, along the shores of the Southampton Water, is anagreeable and picturesque walk, almost every step presenting to the eye some newfeature to admire.Southampton is a handsome town, and is not only associated with many importantevents in our national history, but it figures in medieval romance, of which Bevis ofHampton was one of the most celebrated heroes. The name of Bevis's Mound is stillgiven to a large tumulus at a little distance from the town; and among the peasantrythe town still bears its simple Saxon name of Hampton. The exact age at which it wasfounded seems to be very uncertain, but it perhaps arose out of the ruins of Clausentum. In Norman times it was one of the chief commercial ports in England, andduring the French wars of the Edwards and Henries it was the place at which theEnglish army was generally assembled to be transported over to the opposite coast.It has itself frequently suffered from the attacks of our foreign enemies.Within the last seventy or eighty years some of the most interesting antiquities ofthe town of Southampton, and most of its picturesque old timber-houses, have beenswept away, sometimes unnecessarily, in the course of modern improvements. TheHigh Street is remarkably fine, and at several points of view presents a very picturesqueeffect. The more ancient parts of the town lay to the west of the High Street. Thesmall open area called St. Michael's Square, formerly the fishmarket, is surrounded withold houses, which have undergone more or less alteration, but which still preserve manytraces of their former character. The most remarkable of these is a large house on thewest side of the square, which, tradition says, was once occupied by Jane Shore. It isnow internally so much subdivided that it is almost impossible to trace the originalplan. Sir Henry Englefield gives the following description of this house in 1801 , whenit was in a somewhat more perfect condition: -"It consists of two floors, besides theG G226 THE ARCHEOLOGICAL ALBUM.garrets in its gables. Each story overhangs considerably, and the projections areornamented with handsome cornices. Little pillars supporting light, semi- arched ribs,run up the front of each story, forming the whole into regular compartments. Thereare four gables of different breadths, and corresponding to each is a large window, threeof them with curved heads, and the fourth flat. The lower point of union of these gableshas a long and handsome pendent ornament, and very flat arches run from pendent topendent, in the spandrils of which broom-pods seem to be carved, the favourite badgeof the Plantagenets: the gables above have been modernised. At the north end of thisfront is a large wooden porch, with a singular projection of the next story over the door,supported by a very flat semi-arch. In this porch there is some rude carving. Theinterior of this house is modernised, but there remains in one of the great windows somecurious and very old painted glass. Many of the panes have each a bird performingdifferent offices and functions of human life, as soldiers, handicrafts, musicians, &c.On the ground-floor behind the house is a large room, now quite modern, but which,tradition says, was a chapel. As it stands north and south, it was more probably agreat-hall ." The present occupier of this house points out to the admiration of hisvisitors the ponderous wooden door, which still holds its place within the porch.The church of St. Michael, on the east side of this square, is the most ancient nowremaining in the town, a great portion of it being of plain, massive Norman masonry,having a very Romanesque appearance, which has made some of the older antiquaries ofthe town assign it to a more remote date than modern architects will be inclined toallow. In the interior is an interesting Norman font, resembling in form the font inWinchester Cathedral; but on the sides, instead of the historical designs of theWinchester font, it is sculptured in circular compartments, each containing a wingedmonster like a gryphon, except one, in which is represented a winged figure with animbus. The north chapel of this church contains a monument long supposed to bethat of the lord- chancellor Wriothesley. The other churches of Southampton presentfew objects of interest. The chapel of Godshouse, which belonged to the ancienthospital of St. Julian, and is now used by a congregation of French Protestants, containsa monument to the memory of the earl of Cambridge, lord Scrope, and sir ThomasGrey, who were exccuted here in 1415, for a plot against Henry the Fifth, when he wasdeparting for the war in France. This was one of the first indications of the politicalrivalry which afterwards broke out with so much fury in the wars of the Roses.Outside the town, to the east, was a chapel of the " Holy Trinity and Blessed VirginMary, " the memory of which is still preserved in the name Chapel Mill . It is tothis chapel probably that a writer who visited Southampton in 1635 alludes, when hetells us that " without the walls, eastward, is a chapel which formerly was their chiefWINCHESTER AND SOUTHAMPTON. 227church, which, although it hath lost her precedent dignity, yet still it retains a prettyannual revenue, which is no less than 600l. per annum, the which a lord (the lordLambert) got by lease, and enjoyed for some time, and now a knight (sir Garret Fleetwood) holds the same for years. A fair house is built near thereunto with the ruinsof that fair church, wherein the inhabitants (as the report goes) cannot rest quiet anights . The razing down of churches to rear up mansions with that stuff (say they) isnot right. Hereupon I heard many pretty old tales which I have neither time norlist to insert. Between that and the town walls are many pleasant gardens, orchards,cherry-grounds, and walks, and a fine bowling-ground, where many gentlemen, withthe gentle merchants of this town, take their recreations ."Southampton still possesses more extensive remains of its ancient walls and fortifications than English towns in general, although much has been destroyed in recenttimes, and the site of the castle has been entirely cleared. As in Winchester, the principal gate of the town, here called the Bar-gate, remains standing. The interior of thepassage-way has bold Norman arches, so that it is probably contemporary with the firstwalling of the town. From this gateway the town-wall runs westwardly to the edge ofthe water, and there forms an angle with the great WESTERN WALL, of which a view isgiven in our cut. The foot of this wall is bathed by the tide, and the consequent unfitness of the ground without for building, and the circ*mstance that the ground withinis elevated nearly to the summit and requires the wall for support, have led to itspreservation. An extent of about a hundred yards is given in our view; it is herevery perfect, and, with its towers and buttresses, reminds us strongly of the walls oftowns represented in pictures in old illuminated manuscripts. The wall, where most228 THE ARCHEOLOGICAL ALBUM.perfect, is about thirty feet high, and the tower forty feet. From the extreme pointof the wall in this view, it is continued among the houses and lanes, flanked withseveral towers and buttresses, along the south-east and part of the south sides of thetown, but, towards the principal quay, a great portion of the old fortifications has beendestroyed to make way for the conveniences of trade. One or two of the smallergateways leading to the water remain. The wall may be traced among the housesround the east side of the ancient town, till it joins the Bar-gate on the north. Theexterior front of this fine gateway-tower is disfigured with two coarse paintings, apparently executed as they now appear by a " dauber " of the last century, representingBevis of Hampton and Ascopart, a giant, according to the legend, "ful thyrty fotelonge," conquered by Bevis, who, when he became Bevis's servant, used to carry thehero, with his wife and horse, under his arm!Attached to the town-wall, between St. Michael's square and the west quay, areremains of an extensive Norman building of a very remarkable character, which probably formed part of a royal palace that appears, by old documents, to have stood in thispart of the town, and to have been altogether distinct from the castle. Externally theypresent the singular appearance of a double wall, the outer one being rather an arcadeof lofty and spacious semicircular arches, separated by strong piers of masonry, with aconsiderable height of wall above. The upper parts of the two walls are connectedtogether by stones at intervals, leaving spaces open to the sky, something like machicolations . The whole range consists of nineteen such arches. In the inner wall arenumerous Norman windows, mostly of two lights, and some doorways . In the insideare transverse walls and distinct marks of rooms, but they are here much clogged upwith buildings. The whole of these remains deserve a closer examination.It was late in the day when the archæologists returned to Winchester. Otherparties had in the meantime made different excursions. Some persons wandered as faras Silchester, and others extended their excursion to Salisbury; these, of course,returned the following day. Another party visited the interesting church of Romsey,a very good and attractive guide to which had recently been published by Mr. CharlesSpence, and appropriately dedicated to the British Archæological Association.The nunnery at Romsey, to which this church belonged, was founded by Edwardthe Elder, at the beginning of the tenth century, and was subsequently enlarged byking Edgar, who placed over it Merwenna, the first known abbess. It suffered muchin the Danish wars of the end of the tenth and beginning of the eleventh centuries, andit appears to have been found necessary to rebuild it in the twelfth century, for to thatperiod the architecture of the present church belongs. The abbesses before the NormanConquest are all represented to have been saints; those who followed, if we may believeWINCHESTER AND SOUTHAMPTON. 229the voice of history, appear to have been -we may almost venture to say -sinners.Their history is more remarkable and eventful than that of most other similar establishments. The first abbess, Merwenna, appeared to the sisters after her death, and sheconsequently obtained a place in the Romish calendar of saints . Her successor,Elwina, received intimation in a miraculous manner of the intended invasion by theDanes, and, with the assistance of her nuns, she carried the relics and more valuableobjects belonging to her church to Winchester. The next Saxon abbess, Elfleda, alsofound a place in the Romish calendar; king Edgar, we are told in her legend, “ puther to the monasterye of Romseye, under the abbesse Merwenne; and she lovyd her asher own daughter, and brought her uppe in alle vertue. And on a tyme her candellfell oute, and the fyngers of her ryghte honde gave lyghte to all that were rounde abouteher." The legend adds, -" And after that she was made abbesse, no man can tell thealmes that she gave, nor the prayers and wepyngs that she used, as well for herselfe asfor the peple. And on a tyme, when she was with the quene, she wente in the nyghtysinto the water, and was there in prayer. And on a nyghte, the quene seynge her goofurthe, suspected it had been for incontynence, and followyd; and when she saw her gointo the water, sodenly she was astonyd, and went in a manner out of her mynde, andturnyd in agayne cryenge, and colde take no reste till Seynt Elfled prayed for her,seyinge, ' Lord, forgyve her this offence, for she wyst not what she dyd! ' and so shewas made hool. And when she was reprovyd as a waster of the goodys of themonasterye, certyn money that she had given in almys, by her prayer, was put intothe baggys agayne."We are not even acquainted with the names of the abbesses during the eleventhcentury, and it is probable that the house had fallen into decay. About the middle ofthe twelfth century, Mary, youngest daughter of king Stephen, was made abbess. Thesubsequent renunciation of the monastic life by this lady, and her marriage withWilliam count of Boulogne, was the cause of great scandal at the time, and of muchdiscord between church and state. She ended her days in a nunnery in France.During the abbacy of Amicia, in the latter part of the thirteenth century, a mandatewas issued by the archbishop of Canterbury, directing the abbess to forbid all intercourse between her nuns and a prebend of Romsey, called William Schyrlock, onaccount of his notoriously dissolute character (vitam inhonestam et dissolutam trahentem) ,from which it would appear that this nunnery had been the scene of irregularities, thescandal of which had reached the ears of the archbishop, otherwise the abbess mighthave inhibited her nuns from intercourse with the disorderly prebend without theprimate's interference. In 1310, in the abbacy of Alicia de Wyntreshul, an episcopalvisitation was found necessary, and the nuns were forbidden to sleep with boys or girls230 THE ARCHEOLOGICAL ALBUM.(ne cubent in dormitorio pueri masculi cum monialibus vel fæmellæ nec per monialesducantur in chorum). This abbess met her death by poison, but it does not appearwhether the offenders were her own nuns or other persons. In 1506, the abbey wassubjected to a visitation by the bishop of Winchester (Fox), and the abbess was thenaccused of habits of frequent and immoderate intemperance and drinking, especially atlate hours of the night, and inducing the nuns, by her bad example and exhortations,to revel in her chamber every evening.Among the privileges claimed by the abbesses of Romsey was the ordinary one, butwhich appears singular enough in the hands of ladies who are supposed to have retiredfrom the world, of setting up a gallows and hanging within the liberties of theirmonastery. During some years previous to the abbacy of Amicia, who has beenalready mentioned, either from the negligence or from the humane feelings of the nuns,this right had been lost; and this abbess took some pains to get it restored by a newgrant.The abbey-church of Romsey has long been known as a remarkably fine specimenof Norman architecture, with some additions in the early English style, and for itsprofusion of sculptured ornaments. It is now in the course of restoration, under thecare of Mr. Ferrey, which has led to several discoveries of an interesting description.Within a few weeks, on moving a large stone slab in the floor of the church, a stonecoffin, five feet ten inches long by two feet wide in the broadest part, was found immediately under it, containing the skeleton of a priest, measuring five feet four incheslong, in good preservation, the head elevated and resting in a hollow cavity in the stone.He had been buried in the alb and tunic, the vestments peculiar to his office: over hisleft arm was the maniple, and in his hand the chalice, covered with the patine, bothof which were of pewter. The marks of the corpse might be traced on the sides of thecoffin, from which the priest appeared to have been stout, as well as short of stature.Although he is supposed to have been buried early in the fourteenth century, a greatpart of the linen alb remained, as well as portions of the stockings, and all the partsof the boots, which had fallen to pieces from the decay of the sewing. The maniplewas of brown velvet, lined with silk, and fringed at the extremity. At former periodsthe remains of several of the nuns had been similarly brought to light; but the mostcurious discovery of all was that made in 1839, the description of which may be bestgiven in the words of the churchwarden, who was present, which we extract from Mr.Spence's book. They were preparing a grave in the south aisle, near the second pier ofthe nave on entering from the south transept: -"We came, about five feet below thepavement, in contact with a leaden coffin, deposited in the earth, but without inscriptionof any kind. It was not of the shape now in use, but eighteen inches wide at theWINCHESTER AND SOUTHAMPTON. 231head, and tapered gradually down towards the foot, the width of which was thirteeninches only. The extreme length was five feet, and the depth one foot three inches.It was made of very thick lead, and might possibly weigh nearly two hundredweight,the metal being about ten pounds to the square foot . The coffin was put together in avery substantial manner, the seams being folded over each other and welded it wasprobably constructed before the use of solder was known. From lying so long in theground the lid was much decayed, and bore a strong resemblance to the original leadore. No bones, whatever, either entire or broken, were found within; but there hadbeen an oak shell, which was quite decayed, and mouldered into dust when exposed tothe air. On removing the lid, a beautiful head of hair, with a tail plaited about eighteeninches long, evidently that of a young female, was discovered. The hair was lying ona block of oak, cut out hollow on purpose to receive the head of the corpse when depositedwithin its narrow abode. The hair was in perfect form, and appeared as though the skullhad only been recently removed from it. The coffin is preserved in a safe and conspicuous place in the church, and the hair is in a portable glass- case, and lies on thesame block of oak which has been its pillow for centuries." Several circ*mstances connected with this interment leave no doubt that it must have belonged to a very remoteperiod.MS. Harl. No. 4350.LONDON:PRINTED BY George BarCLAY, 28 Castle street, LEICESTER Square.

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DA 110.W8 C.1The archaeological albumStanford University Libraries3 6105 036 689 847DA110W8CECIL H. GREEN LIBRARYSTANFORD UNIVERSITY LIBRARIESSTANFORD, CALIFORNIA 94305-6004(650) 723-1493grncirc@sulmail.stanford.eduAll books are subject to recall .82004MARYSEP 3 2003DATE DUE