which includes the original #abd photographs and drawings4 ,see #dcecj-;h4htm or #dcecj-;h4zip3 7https3_/_/www4gutenberg4org_/cache_/epu b_/#dcecj_/pg#dcecj-;images4html7 or 7https3_/_/www4gutenberg4org_/files_/#dc ecj_/dcecj-;h4zip7 ,images of the original pages are available through ,internet ,archive4 ,see http3_/_/archive4org_/details_/woodcarvi ngsinen#jj;bondiala ,transcriber's note3 ,text enclosed by underscores is in italics 7italics74 ,a carat character is used to denote superscription4 ,a single character following the carat is superscripted 7example3 ,rd74 ,the numbers of the original pages are enclosed in curly brackets to facilitate the use of the index4 ,illustration3 ,beverley ,minster ,,wood ,,carvings ,,in ,,english ,,churches ,i4--,stalls and ,tabernacle ,work ,,ii4--,bishops' ,thrones and ,chancel ,chairs by ,,francis ,,bond ,m4,a41 ,lincoln ,college1 ,oxford2 ,fellow of the ,geological ,society1 ,london ,honorary ,associate of the ,royal ,institute of ,british ,architects ,author of ,gothic ,architecture in ,england1 ,screens and ,galleries in ,english ,churches1 ,fonts and ,font ,covers1 ,westminster ,abbey1 ,misericords ,illustrated by #abd ,photographs and ,drawings ,henry ,frowde ,oxford ,university ,press ,london1 ,new ,york1 ,toronto1 and ,melbourne #aiaj vii ,,preface ------ ,the subject dealt with in this volume1 so far as the writer knows1 is virgin soil2 no book has appeared1 here or abroad1 on the subject of stallwork4 ,abroad1 the great mass of stallwork has perished2 sometimes at the hands of pious vandals1 often through neglect1 more often still through indifference to or active dislike of mediaeval art4 ,in the stallwork of ,belgium not a single tabernacled canopy remains2 in ,france and ,italy the great majority of the ,gothic stalls have been replaced by woodwork of the ,classical design that was dear to the seventeenth and eighteenth centuries2 only in ,spain can the wealth and splendour of ,english stallwork be rivalled4 ,in ,england a great amount of magnificent stallwork still remains2 on the stallwork indeed and the concomitant screens time and labour and money were lavished without stint in the last two centuries of ,gothic art4 ,hitherto1 however1 this important department of ,english mediaeval design has almost wholly lacked recognition and appreciation2 attention had not been called to its value in the study of artistic woodwork1 and even the most splendid examples of this branch of ,english art have been passed over with uncomprehending indifference4 ,yet it is no overstatement to say that there is nothing in this country more consummate in design or execution than the stallwork of ,lancaster1 ,chester1 ,ripon1 and ,manchester4 ,to most of the readers of this volume the illustrations which have been here gathered together will come as a revelation of beauty and interest4 ,it is to be hoped that the book will help to inform those who are heritors of a great artistic past1 will make them proud of their heritage as ,englishmen1 and faithful to preserve it and hand it on in turn unimpaired to their successors4 ,the art is in the main ,english viii art1 as ,english as the timber in which it is wrought1 and deserves the attention of all ,english-speaking people the world over1 who inherit equally with ourselves the good things that remain from the ,england of old4 ,this book1 like the others in the series1 owes much of any value it may possess to the generous and ready co-operation of many lovers of medival art4 ,for photographs and drawings the writer is indebted to the ,rev4 ,g4 ,b4 ,atkinson1 ,mr ,a4 ,w4 ,anderson1 ,a4,r4,i4,b4,a41 ,mr ,j4 ,h4 ,bayley1 ,mr ,c4 ,e4 ,s4 ,beloe1 ,dr ,g4 ,g4 ,buckley1 ,dr ,oscar ,clark1 ,mr ,f4 ,h4 ,crossley1 ,rev4 ,e4 ,hermitage ,day1 ,mr ,w4 ,marriott ,dodson1 ,mr ,g4 ,c4 ,druce1 ,mr ,a4 ,gardner1 ,mr ,s4 ,gardner1 ,mr ,g4 ,f4 ,gillham1 ,mr ,c4 ,goulding1 ,mr ,charles de ,gruchy1 ,mr ,f4 ,j4 ,hall1 ,mr ,j4 ,f4 ,hamilton1 ,mr ,p4 ,mainwaring ,johnston1 ,f4,s4,a41 ,professor ,lethaby1 ,mr ,w4 ,maitland1 ,mr ,hugh ,mc,lachlan1 ,a4,r4,i4,b4,a41 ,mr ,c4 ,f4 ,nunneley1 ,mr ,h4 ,plowman1 ,rev4 ,g4 ,h4 ,poole1 ,mr ,alan ,potter1 ,miss ,e4 ,k4 ,prideaux1 ,rev4 ,g4 ,w4 ,saunders1 ,mr ,s4 ,smith1 ,mr ,j4 ,c4 ,stenning1 ,mr ,f4 ,r4 ,taylor1 ,mr ,g4 ,h4 ,tyndall1 ,mr ,g4 ,h4 ,widdows1 ,a4,r4,i4,b4,a41 ,rev4 ,w4 ,e4 ,wigfall1 ,mr ,a4 ,j4 ,wilson1 ,mr ,e4 ,w4 ,m4 ,wonnacott1 ,f4,s4,i4 ,the writer is indebted to the ,society of ,antiquaries and to the ,wiltshire ,archological ,society for the use of original drawings4 ,the revision of the proofs has kindly been undertaken by ,rev4 ,r4 ,a4 ,davis and ,rev4 ,c4 ,a4 ,norris2 to the former and to the ,rev4 ,a4 ,bayley the writer is indebted for many valuable suggestions with respect to changes of orientation and the arrangements of chancels4 ,the illustrations are reproduced by the ,grout ,engraving ,company4 ,the text is preceded by a bibliography and lists of measured drawings1 and is followed by an index to places and illustrations and a subject index4 ix ,the following is a list of the series of ,church ,art ,handbooks in course of publication by the ,oxford ,university ,press3-- ,,church ,,art ,,in ,,england4 #a4 ,,screens ,,and ,,galleries ,,in ,,english ,,churches4 ,by ,francis ,bond4 #fs4 ,published4 #b4 ,,fonts ,,and ,,font ,,covers4 ,by ,francis ,bond4 #abs4 ,published4 #c4 ,,wood ,,carvings ,,in ,,english ,,churches3 ,i4 ,,misericords4 ,by ,francis ,bond4 #gs4 #f;d4 ,published4 #d4 ,,wood ,,carvings ,,in ,,english ,,churches3 ,,ii4 ,,stallwork1 ,,thrones1 ,,and ,,chairs4 ,by ,francis ,bond4 #fs4 ,published4 #e4 ,,wood ,,carvings ,,in ,,english ,,churches3 ,,iii4 ,,church ,,chests1 ,,almeries1 ,,organ ,,cases1 ,,doors1 ,,alms ,,and ,,collecting ,,boxes4 ,by ,p4 ,m4 ,johnston4 ,in preparation4 #f4 ,,wood ,,carvings ,,in ,,english ,,churches3 ,,iv4 ,,bench ,,ends1 ,,poppy ,,heads1 ,,and ,,pews4 ,by ,alfred ,maskell4 ,in preparation4 #g4 ,,the ,,architectural ,,history ,,of ,,the ,,english ,,monument4 ,by ,james ,williams4 ,in preparation4 ,uniform with the above4 #h4 ,,westminster ,,abbey4 ,by ,francis ,bond4 #ajs4 ,published4 #i4 ,,military ,,architecture ,,in ,,england4 ,by ,a4 ,hamilton ,thompson4 ,in preparation4 99 99 99 99 99 ,,contents ,,part ,i ,,chapter ,,page ,i4 ,,design1 ,,construction1 ,,and ,,cost ,,of ,,stalls #a ,,ii4 ,,position1 ,,number1 ,,and ,,arrangement ,,of ,,stalls #af ,,iii4 ,,canopied ,,stalls #bi ,,iv4 ,,tabernacled ,,stalls #ea ,v4 ,,renaissance ,,stallwork #ge ,,vi4 ,,stalls ,,in ,,parish ,,churches #he ,,part ,,ii ,,vii4 ,,bishops' ,,thrones #aja ,,viii4 ,,chairs ,,in ,,chancels #aaa 99 99 99 99 99 xiii ,,bibliography ,,aberdeen4 ,macgibbon and ,ross in ,castellated and ,domestic ,architecture of ,scotland1 ii4 #aje4 ,,beverley ,,minster4 ,t4 ,t4 ,wildridge on the ,misericords4 ,hull1 #ahgi4 ,,blomfield1 ,,reginald4 ,history of ,renaissance ,architecture in ,england4 #b vols4 ,london1 #ahig4 ,,bury1 ,t4 ,t4 ,remains of ,ecclesiastical ,woodwork4 ,london1 #ahdg4 ,,canterbury4 ,professor ,willis' ,canterbury ,cathedral4 #ahde4 ,,cambridge1 ,,king',s ,,college4 ,willis and ,clark in ,architectural ,history of the ,university of ,cambridge4 #ahhf4 ,,carlisle4 ,r4 ,w4 ,billings4 ,carlisle ,cathedral4 #ahdj4 ,,caryl ,,coleman on ,episcopal ,thrones and ,pulpits in ,architectural ,record1 xi4 #a4 ,,cartmel ,,priory ,,church4 ,paper by ,f4 ,a4 ,paley2 and ,james ,stockdale's ,annales ,caermoelenses4 ,ulverston1 #ahgb4 ,,chester4 ,dean ,howson's ,handbook on ,chester ,cathedral2 ,appendix iii4 ,measured ,drawings of ,stalls by ,j4 ,mc,lachlan in ,builder1 #aj4 iii4 #aijj4 ,,cox ,,and ,,harvey4 ,english ,church ,furniture4 #aijg4 ,,dunblane4 ,macgibbon and ,ross in ,ecclesiastical ,architecture of ,scotland1 ii4 #aje4 ,,durham4 ,r4 ,w4 ,billings4 ,durham ,cathedral4 #ahdc4 ,,ely4 ,rev4 ,d4 ,j4 ,stewart4 ,ely ,cathedral4 #ahfh4 ,,gotch1 ,j4 ,a4 ,early ,renaissance ,architecture in ,england4 #aija4 ,,halifax4 ,pamphlet on the ,woodwork of ,halifax ,parish ,church1 by ,dean ,savage4 ,,lincoln ,,minster4 ,prebendary ,wickenden in ,associated ,societies' ,reports1 xv4 #agi2 and ,archological ,journal1 #ahha1 pp4 #dc-fa4 xiv ,,manchester ,,cathedral4 ,j4 ,s4 ,crowther4 ,plates #bd-bf and #cj4 ,manchester1 #ahic4 ,,norwich ,,cathedral4 ,rev4 ,d4 ,j4 ,stewart in ,archological ,journal1 xxxii4 #ah2 and ,henry ,harrod in ,castles and ,convents in ,norfolk2 ,norwich1 #aheg4 ,,ripon ,,minster4 ,j4 ,t4 ,fowler in ,surtees ,society4 ,vols4 #fd1 #gd1 #gh1 #ha4 ,,rochester4 ,w4 ,h4 ,st ,john ,hope's ,rochester ,cathedral4 #aijj2 and ,spring ,gardens ,sketch ,book1 ii4 #df4 ,,st ,,asaph4 ,murray's ,welsh ,cathedrals1 #bfg4 ,,st ,,david',s ,,cathedral4 ,murray's ,welsh ,cathedrals1 p4 #acd4 ---- ,jones and ,freeman's ,st ,david's4 #ahef4 ,,shaw1 ,,henry4 ,ancient ,furniture4 ,london1 #ahcf4 ,,viollet-,,le-,,duc on ,stalle1 in vol4 viii41 p4 #dfd1 of the ,dictionnaire raisonn de l'architecture franaise4 ,,wells ,,cathedral4 ,canon ,church in ,archologia1 lv4 #cai4 ,,windsor1 ,,st ,,george',s ,,chapel4 ,w4 ,h4 ,st ,john ,hope in ,archologia1 liv4 #aae4 ,,westminster ,,abbey4 ,neale and ,brayley's ,history of ,westminster ,abbey3 ,london1 #ahah4 ,pugin's ,specimens of ,gothic ,architecture1 #ahba4 ,lethaby's ,westminster ,abbey1 #aijf4 ,,measured ,,drawings ,,in ,,architectural ,,association ,,sketch ,,book4 ,,beverley ,,st ,,mary4 ,c4 de ,gruchy4 #c4 vii4 #i-aa4 ,,boston4 ,a4 ,s4 ,anderson4 #a4 x4 #h4 ,,broadwater1 ,sussex4 ,a4 ,h4 ,hart4 #b4 vii4 #i4 ,,chester ,,cathedral4 ,h4 ,b4 ,bare4 #a4 v4 #bd4 ,,chichester ,,hospital4 ,h4 ,goodall4 #ahgi4 ---- ,p4 ,d4 ,smith4 #b4 x4 #aj1 #aa4 ,,cliffe1 ,kent4 ,h4 ,goodall4 #b4 #a4 #ae4 xv ,,dunblane4 ,t4 ,mac,laren4 #c4 v4 #f4 ,,fairford1 ,gloucester4 ,j4 ,h4 ,bryan4 #a4 vi4 #ae4 ,,hemingborough1 ,yorks4 ,c4 de ,gruchy4 #c4 x4 #dj4 ,,higham ,,ferrers4 ,lacy ,w4 ,ridge4 #a4 iii4 #ga4 ,,holdenby1 ,northants4 ,t4 ,garratt4 #a4 ix4 #bj1 #ba4 ,,irchester1 ,northants4 ,h4 ,b4 ,bare4 #a4 v4 #bd4 ,,lancaster4 ,j4 ,strong4 #c4 #a4 #cf1 #cg4 ---- ,e4 ,e4 ,deane4 #b4 iv4 #bc4 ,,lincoln ,,minster4 ,t4 ,c4 ,yates4 #a4 xii4 #be-bg4 ---- ,c4 ,a4 ,nicholson4 #b4 xii4 #cb4 ,,lynn ,,st ,,margaret4 ,c4 ,a4 ,nicholson4 #b4 xii4 #bj4 ,,manchester ,,cathedral4 ,j4 ,harold ,gibbons4 #c4 ix4 #bi1 #cj4 ,,montgomery1 ,wales4 ,sydney ,vacher4 #b4 iv4 #cc4 ,,richmond1 ,yorks4 ,e4 ,eldon ,deane4 #b4 iii4 #be4 ,,salisbury ,,cathedral4 ,g4 ,p4 ,bankart4 #b4 ix4 #bf4 ,,shimpling1 ,norfolk4 ,e4 ,c4 ,lee4 #a4 iii4 #bc4 ,,warwick1 ,beauchamp ,chapel4 ,g4 ,somers ,clarke4 #a4 ix4 #c4 ,,winchester ,,cathedral4 ,l4 ,g4 ,detmar4 #c4 vii4 #ei4 ---- ,j4 ,h4 ,gibbons4 #c4 vii4 #fj4 ,,measured ,,drawings ,,in ,,spring ,,gardens ,,sketch ,,book4 ,,chichester ,,cathedral4 ,g4 ,g4 ,scott1 jun4 i4 #bh1 and ii4 #fa1 #fb1 #fc4 ,,conway1 ,north ,wales4 ,a4 ,baker1 v4 #ga4 ,,irthlingborough1 ,northants4 ,j4 ,medland4 i4 #eh4 ,,reepham1 ,norfolk4 ,j4 ,medland4 iii4 #da4 ,,rochester ,,cathedral4 ,j4 ,t4 ,micklethwaite4 ii4 #df4 xvi ,,sall1 ,norfolk4 ,h4 ,walker1 viii4 #bj-bb4 ,,st ,,paul',s ,,cathedral1 ,london4 ,s4 ,clarke and ,j4 ,s4 ,middleton4 #ahgh4 ,,winchester ,,cathedral2 ,,lady ,,chapel4 ,w4 ,niven4 vi4 #fg-gb4 ,,winthorpe1 ,lincolnshire4 ,h4 ,vaughan4 vi4 #ec4 ,,measured ,,drawings ,,in ,,john ,o' ,,gaunt',s ,,sketch ,,book4 ,,st ,,mary1 ,,lancaster4 ,w4 ,goddard4 i4 #i-ac4 ,,lanchester1 ,,durham4 ,c4 ,c4 ,hodges1 ii4 #af4 ,,manchester ,,cathedral4 ,a4 ,mattinson4 i4 #ce and #cf4 99 99 99 99 99 #a ,,stalls ,,and ,,tabernacle ,,work ,,in ,,english ,,churches ,,part ,i ------ ,,chapter ,i ,,stalls ,,in ,,churches ,,of ,,monks ,,and ,,canons ,in all churches of monks and canons1 whether secular canons or canons following the ,augustinian1 ,premonstratensian1 ,gilbertine or other ,rule1 stalls were placed in the choir4 ,these stalls were occupied either by the monks or by the canons and their deputies and by men singers and choristers2 there was also a limited lay use4 ,the stalls had seats2 these1 however1 were occupied for but short portions of a service3 during the greater part of each service the occupants of the stalls stood or knelt4 ,the seats turned up on a pivot1 as may be seen by comparing those of ,beverley ,st ,mary 7#b7 with those of ,christchurch 7#b72 and when they were turned up1 a small ledge underneath the seat gave a little support to any one standing in the stall2 for his comfort also there was usually a circular projecting ledge behind him1 against which he could lean his back2 e4g41 at ,beverley ,st ,mary1 but not at ,balsham 7#c72 also he could rest his hands on the shoulders of the stall1 when standing1 as at ,beverley ,st ,mary and ,balsham4 ,an elbow was often provided lower down1 for use when he was seated2 as in the two above-mentioned churches4 ,above was usually some form of canopy1 varying from a cornice of slight projection1 as at ,balsham1 to such tabernacled spires as those of ,beverley ,minster 7#bg74 ,in front of the stalls1 except sometimes the front stall occupied by choir boys1 was a desk for service books4 ,every part of the stallwork was carefully designed2 and parochial1 collegiate and monastic stalls alike were constantly growing in importance and loveliness up to the ,dissolution4 #b ,illustration3 ,christchurch ,illustration3 ,beverley ,st ,mary's #c ,illustration3 ,balsham ,illustration3 ,beverley ,minster #d ,illustration3 ,st ,luke ,illustration3 ,st ,matthew ,illustration3 ,st ,john ,illustration3 ,st ,mark ,christ ,church1 ,newgate ,street #e ,illustration3 ,lincoln ,the upper shoulder was usually simply molded1 as at ,beverley ,st ,mary2 it rarely took the form of an animal1 as at ,balsham4 ,usually the lower elbow was simply molded1 as in ,beverley ,minster 7#c72 sometimes it terminated in a mask1 an animal or foliage2 as in the lower range of stalls at ,christchurch 7#b7 and at ,cartmel 7#hj72 in ,beverley ,st ,mary there is an angel in front of each of the lower elbows4 ,as a rule1 the projecting ends of the elbows were carried down as supports1 e4g41 at ,beverley ,minster2 sometimes1 however1 a shaft or pair of shafts is introduced1 as at ,balsham1 ,beverley ,st ,mary1 ,hereford ,all ,saints 7#dd72 ,dunblane 7#fg7 and ,christchurch 7#b71 where they are highly enriched4 ,the upper part of the back of the stall is usually panelled2 e4g41 ,winchester 7#ce71 ,chichester 7#cf74 ,hereford ,all ,saints 7#dd71 ,balsham 7#c74 ,in the sixteenth century1 however1 panelling became less common2 at ,dunblane the stall backs are plain 7#fg72 at ,cartmel they are filled in with scrolls and fretwork 7#hj72 at ,king's ,college1 ,cambridge1 with coats of arms 7#gh72 at ,christchurch with carvings of masks and animals 7#gf74 ,in ,wren's church at ,christ ,church1 ,newgate ,street1 the panels of the stalls have fine carvings of ,st ,matthew 7#d71 ,st ,mark 7#d71 ,st ,luke 7#d71 ,st ,john 7#d71 the ,last ,supper and other subjects4 ,the desks also usually have traceried panelling in front and at their ends1 which is often of much importance in helping to fix the date of the stalls2 e4g41 at ,chester 7#bd71 ,manchester 7#f71 ,trunch 7#he7 and ,stowlangtoft 7#ia74 ,at ,lincoln the panels of the lowest rows of desks contain alternately the figures of a king and of an angel with a musical instrument 7#e74 ,on the stall ends was lavished the best artistic talent of the day2 there are magnificent examples at ,chester 7#i71 ,ripon 7#h7 and ,beverley ,minster 7#g72 very fine also are those in ,bishop ,tunstall's chapel in ,durham castle4 ,on the example from ,manchester is an impaled shield1 displaying on the dexter half the letters ,i4 ,b4 7i4e41 ,john ,beswick1 donor #f of the northern stalls71 a cross intervening1 and beneath on a chevron seven nails or cloves4 ,the sinister half is occupied by a demi-virgin issuing out of an orle of clouds4 ,the illustrations from ,ripon shew the stalls of the ,archbishop of ,york and the ,mayor of the city 7#h74 ,in the former the poppy head takes the form of an elephant holding a man in his trunk1 and carrying a castle filled with soldiery2 in front of the elephant is a centaur 7renewed72 below is a large mitre studded with precious stones 7mitra preciosa7 above a shield charged with the three stars of ,st ,wilfrid1 the patron saint of the ,minster1 and supported by two angels1 between whom is a scroll with the date #adid4 ,attached to the latter is a collared baboon2 beneath is a shield charged with the arms of the see of ,york1 two keys in saltire4 ,of the two examples illustrated from ,chester 7#aj71 one represents the ,annunciation2 the other is a most elaborate ,jesse ,tree 7#i74 ,illustration3 ,manchester ,the ends of the desks usually terminate in poppy heads2 at #g ,chester1 ,ripon1 ,manchester and ,beverley there are magnificent examples4 ,at ,blythburgh1 ,suffolk 7#aa71 is a foliated poppy head with a lion in front2 in front of the desks and those on the opposite side of the chancel are niches containing statuettes of the apostles2 these stalls were brought into the chancel from the ,hopton chapel1 which is said to have been founded in #adeb2 the ,hopton arms appear on the bench end4 ,there are interesting desks in the great church of ,walpole ,st ,peter1 ,norfolk 7#ab74 ,when ,edmund the ,king of the ,east ,saxons was shot to death by the ,danes and afterwards beheaded1 his head was guarded by a wolf2 the scene is depicted here and up and down all ,east ,anglia2 the whole story is told in six foliated capitals in the north porch of ,wells cathedral1 which is early in the thirteenth century4 ,at ,stowlangtoft1 ,suffolk1 the poppy head consists of a vested priest reading at a lectern or altar 7#ia74 ,illustration3 ,beverley ,minster ,besides stalls for monks1 clergy and singers1 benches or #h stalls are sometimes found for members of a church gild1 as at ,fressingfield1 ,suffolk2 or those now used by almsmen at ,etwall1 ,derbyshire1 on which the date #afce is inscribed2 the ,jacobean armchair motif is prominent2 nevertheless there is ,gothic cusping at the back2 pegs are thoughtfully provided for the almsmen's hats 7#ac74 ,illustration3 ,ripon ,illustration3 ,ripon #i ,illustration3 ,chester #aj ,the stalls are generally constructed very solidly4 ,the ends of a row are inserted in a strong sill1 into which the standards for the supports of the book board are also inserted4 ,the elbows are in one solid piece and are framed into the backs of the stalls2 they are further secured by the heavy capping above1 which admirably connects and strengthens the work4 ,on either side the elbow is sunk to enable the seat to be turned up on its hinges and to afford it support when down4 ,the seats are generally about an inch in thickness1 the misericords projecting about five inches4 ,as the entire seat is got out of one solid piece of wood1 the time expended on each must have been very considerable2 and difficulties in the grain without doubt frequently added immensely to the labour4 ,the work is often cut across the grain and worked with much skill4 ,great care was taken in some instances to match the wood2 e4g41 in the panelled backs of the stalls in ,henry the ,seventh's chapel4#a ,illustration3 ,chester ,the construction of the tabernacled canopies is well seen in the set of illustrations from ,chester cathedral4 ,in ,lincoln ,minster1 where they are of somewhat simpler type1 they may be described as follows4 ,the canopies are hexagonal1 supported on shafts1 which have clustered niches above their proper capitals2 the stalls of the ,chancellor and ,treasurer1 which are at the extreme east on either side of the choir1 have winged seraphs in their capitals4 ,the niches have ogee canopies bowing forward in front of their true gables1 with various small heads and faces on the hip-knobs4 ,a second story of the canopy contains a niche1 square in plan1 but set lozenge wise1 covered with a lofty pinnacle1 and flanked by open screenwork with high flying buttresses1 nearly all of which have lost their crockets4 ,all the niches originally contained statues4 ,the loss of these greatly damaged the general effect--the alternation of light and shadow1 the play of line and the added mass4 ,now that the statues have been replaced1 the general character intended to be impressed on the design can be well realised 7#eb74b #aa ,illustration3 ,blythburgh ,the cost of woodwork so elaborate as that of the later stalls1 especially those with tabernacled canopies1 was very great4 ,at ,wells the stalls1 destroyed in #ahdh--;another example of restoration--were begun in #acbe2 each resident canon paid #cj solidi for his own stall1 and the stalls were to cost altogether #a1bjj4 ,the non-resident canons1 having subscribed little or nothing1 were ordered in #accg to make up a deficit of #bjj for the completion of the stalls4#c ,as the number of stalls needed at ,wells would be about sixty1 it follows that the expenditure on each stall was to be #bj1 which in our money might be #cjj2 giving a grand total of about #ah1jjj4 ,the stalls at ,amiens number #aaf1 and were put up between #aejh and #aebb4 ,viollet-le-,duc computes that in #ahff they could not have been put up for less than #bj1jjj4d ,but they do not possess tabernacled spirelets1 #ab having a comparatively simple horizontal cresting4 ,at ,windsor in #adhc six canopies cost #dj2 thus sixty would cost #djj1 or in our money about #d1hjj2 i4e41 about #hj each2 but this expenditure relates to the canopies only1 and not to the stalls or the misericords1 or the lower stalls and desks2 if the cost of these be added1 the cost might be as great as at ,wells4 ,few probably realise the vast expenditure which our forefathers gladly undertook not only on the building but the equipment of their churches3 in a church of the first rank1 such as ,exeter cathedral1 the cost of the altar1 reredos1 sedilia1 bishop's throne1 canopied stalls and pavement would hardly fall short of #cj1jjj of our money2 which is exclusive of the cost of the masonry1 vault1 timber roof and leading1 and stained glass4 ,illustration3 ,walpole ,st ,peter's ,as regards the arrangement of the stalls1 as many as there were room for were placed at the back of the choir screen1 usually two or three on either side of the western doorway of the choir4 ,the juxtaposition of screen and stalls gives some very beautiful effects1 e4g41 at ,chaddesden1 ,derbyshire 7#ii72 still more so is this the case when screen and stalls are of the same design1 as at ,chester 7#bd71 where the screen was designed in accordance with the stallwork by ,sir ,gilbert ,scott4 #ac ,illustration3 ,etwall ,as to the place of honour in the stalls1 that raises some interesting points4 ,there were no less than three places of honour in a chancel2 in each case the place of honour was to the right1 because it was written in the ,psalms1 ,sit thou on my right hand2 and because of the words of the ,creed1 sitteth on the right hand of ,god the ,father ,almighty2 first1 the right hand or north side of the altar1 facing the west2 second1 the first seat to the right1 or on the south side1 of the entrance to the chancel through the choir doorway2 thirdly1 the extreme right to the east1 or nearest the altar1 of the south row of stalls4 ,in the sanctuary the ,lord ,christ was conceived to be in real1 corporeal presence1 face to face with ,his people1 ,his right hand to the north1 ,his left hand to the south4 ,in the sanctuary therefore the place of honour was on the north2 and to this day when a bishop visits a parish church1 his chair is placed north of the altar2 the gospel also is read on the north side1 the epistle on the south4 ,in several churches in ,derbyshire there are stone gospel-desks affixed to the north wall of the chancel4 ,turning to the choir1 things are different4 ,when the procession enters the choir from the nave through the screen doorway1 the right of the return stalls is the place of honour4 ,here in a cathedral of the old foundation1 i4e41 one which has always been served by secular canons1 such as ,lincoln1 ,wells1 ,hereford1 the dean sits on the right1 and the subdean or the precentor on the left of the gangway4 ,in a monastic church the abbot sat on the south1 the prior on the north side4 ,but sometimes a monastic church1 e4g41 ,ely1 ,winchester1 ,norwich1 was also the cathedral of a bishop1 who was ipso facto abbot4 ,in such a church the bishop should sit on the right-hand side of the return stall2 at ,ely there is no bishop's throne1 and he occupies that position to this day4 #ad ,illustration3 ,beverley ,minster ,illustration3 ,beverley ,minster #ae ,where a bishop's throne was erected1 it was placed on the south side of the choir1 which is ecclesiastically always favoured more than the north4 ,of the stalls on the south side of a choir the one most to the right is of course the easternmost2 and it is here that the ancient thrones remain of the bishops of ,exeter1 ,st ,david's and ,durham4 ,again1 even if it was not a cathedral church1 there were occasions when it was not convenient for an abbot to be so remote from the altar as the return stalls1 e4g41 at certain portions of the ,mass2 for such occasions alternative seats were provided for the abbot and prior2 the former occupying the easternmost stall on the south side1 the prior that on the north4 ,at ,peterborough there is evidence that the abbot's seat was on the south1 at the east end of the choir1 near the ostium presbyterii4#e ,at ,ripon the bishop occupies the easternmost stall in the south side1 which from the carving of a mitre at the back appears to have been originally assigned to the ,archbishop of ,york2 the place of honour opposite is occupied by the ,wakeman or ,mayor of the city4 99 99 99 99 99 #af ,,chapter ,,ii ,,position1 ,,number ,,and ,,arrangement ,,of ,,stalls ,the history of the changes of position of the stalls of the clergy is one of the most curious and least understood episodes in ecclesiology2 it may be worth while therefore to go into it somewhat at length1 and to begin at the beginning4 ,as regards what was at all times the main service in the church1 the ,mass1 there were two conditions which it was desirable to bear in mind in church planning4 ,one was that the celebrant should face to the ,east2 the other that the congregation should face to the ,east4 ,in the earliest ,christian days the latter was most often disregarded4 ,the earliest arrangement1 normally1 of a ,christian church was that the sanctuary1 containing the altar1 should be to the west1 and that the laity should be in the nave occupying the eastern portion of the church4 ,at this time the western portion of the church consisted of a semicircular apse4 ,this apse had a double function4 ,on the chord of it was placed the ,high altar 7in the earliest days it was the only altar72 and to the west of it stood the celebrant facing east and facing the congregation1 as he does to this day at ,st ,ambrogio1 ,milan1 and other churches which retain this primitive plan4 ,behind the altar1 ranged round the apse1 were the seats of the clergy1 having in the centre the throne of the bishop4 ,thus the apse1 like the chancel of an ,english parish church1 had a double function2 the portion containing the altar was the sanctuary1 the portion containing the seats of the bishop and his presbyters was the choir2 basilicas so orientated were divided into nave1 sanctuary1 choir2 whereas ,english parish churches divide into nave1 choir1 sanctuary4 ,many examples of basilicas with eastern nave and western choir still survive in ,rome1 ,dalmatia1 and ,istria4 ,to this day in ,milan cathedral and ,st ,mark's1 ,venice1 the stalls of the clergy and singers are placed on either side of and at the back of the high altar2 the apse1 with infinite loss to the dignity of the services1 being made to serve both as sanctuary and choir4 #ag ,illustration3 ,lincoln #ah ,illustration3 ,york ,minster #ai ,there is1 however1 an alternative plan1 which may have been in use from the first simultaneously with the other4 ,at any rate it can be but little later1 for in #chf was begun the important church of ,st ,paul extra muros at ,rome1 with apse to the east and nave to the west4 ,by this alteration1 if no further change had been made1 the congregation would face eastward1 but the celebrant and the bishop with his presbyters westward4 ,strangely enough1 this curious arrangement was actually adopted at least once in ,england4 ,in the walling of the semicircle of the cathedral apse at ,norwich there still remains the bishop's throne and portions of the seats of his clergy4 ,and since ,norwich cathedral is not orientated to the west1 but to the east1 it follows that the people faced east and the bishop and clergy west2 it is hardly conceivable1 however1 that the celebrant can have faced west4 ,such a disposition can never have been but rare4 ,a new arrangement was made2 in the first place the celebrant was made to face eastward1 with his back to the congregation1 thus permanently obscuring their view of the altar and of many portions of the office2 in spite of its obvious and great disadvantages this position has been retained in the vast majority of ,western churches ever since4 ,there remained the question of the seating of the bishop and presbyters4 ,the remedy adopted was to transfer them from the apse to the nave2 the result being that they sat to the west instead of to the east of the altar4 ,in this second position for some considerable time the seats of the clergy remained4 ,at ,s4 ,clemente1 ,s4 ,maria in ,cosmedin1#f and other basilican churches in ,rome1 the seats of the clergy still remain in the eastern bays of the nave1 separated off1 however1 all round by low marble screens1 which1 at ,s4 ,clemente1 are mainly those of the sixth century church4 ,great was the revolution wrought in church planning by the determination that the laity1 clergy1 and celebrant should all alike face ,east4 ,to the ,catholic believer nothing was of more mystic import than the orientation of the church4 ,he prayed toward the ,east1 toward the ,holy ,land where his ,lord lived and died and was buried2 he looked forward to the dawn of that day when ,he should come from the ,east to judge the quick and dead4 ,our life lies eastward2 every day ,some little of that mystic way ,by trembling feet is trod2 ,in thoughtful fast and quiet feast ,our heart goes travelling to the ,east ,to the incarnate ,god2 #bj ,still doth it eastward turn in prayer ,and rear its saving altar there2 ,still doth it eastward turn in creed1 ,while faith in awe each gracious deed ,of her dear ,saviour's love doth plead2 ,still doth it turn at every line ,to the fair ,east1 in sweet mute sign ,that through our weary strife and pain ,we crave our ,eden back again4#g ,the next step appears first in ninth century churches1 and in the plan of the monastery of ,st ,gall4 ,it involved no change in the position of the stalls of the clergy2 but instead of being placed in the eastern bays of the nave1 the sanctuary was lengthened to contain them4 ,and so we reach the familiar parochial chancel1 with its western portion forming a choir1 and its eastern a sanctuary4 ,the clergy left the nave and the laity in the midst of whom they had so long sung and prayed1 and removed to the chancel1 where to the north and south were solid walls1 while to the west1 no doubt very shortly1 was added a screen guarding the entrance to the chapel4 ,though the new plan made no alteration in the relative position of the stalls of the clergy1 it was nevertheless a real revolution4 ,the chancel became practically a secluded1 closed chapel2 the offices and services which had been performed in the midst of the laity became more and more the prerogative of a privileged ecclesiastical order2 in the end1 in the greater churches1 special altars were put up for the laity in the nave2 except in the parish churches1 laymen lost the right to participate in services at the ,high ,altar4 #ba ,illustration3 ,carlisle ,in our great monastic and collegiate churches it was long before the ninth century innovation--viz41 the insertion of the choir in the eastern limb of the church--was generally adopted2 in some it was never adopted at all4 ,the typical ,cistercian churches1 e4g41 ,kirkstall1 reverted to the ,early ,christian arrangement1 by which the eastern division of the church was appropriated exclusively to the sanctuary2 and this was the case with many ,benedictine and collegiate churches also4 ,till ignorant and incompetent restorers were let loose on them1 the eastern limb of the cathedrals of the ,secular ,canons of ,wells and ,hereford1 that of the ,benedictine cathedral of ,ely and others formed one vast sanctuary1 the stalls being placed under the central tower and in the eastern part of the nave2 at ,wells the choir had a length of #dg feet1 but the sanctuary of #fg feet4 ,the reason why a sanctuary so long was required was no doubt that it was desired to place in it two altars2 one1 the choir or matins altar1 for ordinary services2 the other1 the ,high altar1 more to the east1 reserved for ,high ,mass4#h #bb ,illustration3 ,durham #bc ,in some cases1 e4g41 at ,westminster1 in many ,cistercian churches1 and in ,spanish cathedrals1 the stalls were not placed under the central tower1 but still more to the west1 wholly in the nave4 ,in ,gothic days1 however1 in ,english plans--,westminster is ,french in plan--the tendency was more and more to place the choir of the monastic and collegiate churches in the eastern limb1 just as in a parish church4 ,in the cathedrals the precedent was first set at ,canterbury1 where in #ajif ,prior ,ernulph set out a new eastern limb consisting of an eastern apse preceded by no less than nine bays4 ,sometimes there was a special reason for the removal of the choir from the crossing and the nave4 ,in several cases--in pious recollection of the burial of many a martyr in ,early ,christian days down in the catacombs of ,rome--the ,italian practice of constructing a crypt beneath the eastern limb was followed4 ,this had been so as early as ,st ,wilfrid1 #fga-fgh1 whose crypts at ,ripon and ,hexham still survive1 and in the ,anglo-,saxon cathedrals of ,winchester1 ,worcester1 ,rochester1 ,gloucester1 ,canterbury1 ,york1 and ,old ,st ,paul's4 ,and when these were remodelled by the ,norman conquerors1 in all cases the crypt was reproduced4 ,such crypts of course necessitate the building of the eastern limb at a higher level than crossing and nave2 in some cases1 e4g41 at ,canterbury1 the difference in height is very considerable4 ,the result must have been that where as at ,canterbury the sanctuary was a long one1 the ,high altar at its east end must have been invisible1 or nearly so1 to monks seated in the crossing and nave4 ,consequently1 first at ,canterbury c4 #aajj1 in the thirteenth century at ,rochester1 ,old ,st ,paul's and ,worcester1 and in the fourteenth century at ,winchester and ,york1 the stalls were removed to the eastern limb1 the western portion of which now became choir4 ,the only exception among cathedrals with crypts is ,gloucester1 where the crypt is low and the eastern limb is short and where the stalls remain to this day beneath the central tower4 ,the example set by cathedrals with crypts was soon followed by churches of every degree which had none2 whether ,benedictine1 such as at ,chester1 ,augustinian1 as at ,carlisle1 or served by ,secular ,canons1 as at ,exeter4 ,and so in the churches of monks1 regular canons and secular canons alike1 most of the ecclesiastical authorities reverted to what had been all along the normal plan of the ,english parish church1 viz41 an eastern limb containing choir as well as presbytery4#i #bd ,illustration3 ,chester #be ,the length of the stalled choir varied of course with the number of monks or canons serving the church4 ,in a church of the first rank1 such as ,lincoln or ,chester1 about sixty stalls seems as a rule to have been found sufficient4 ,these would generally occupy three bays2 where more than three bays are occupied with stalls1 it is usually because more stalls have been added at some later period1 as at ,lincoln1 ,norwich1 and ,henry the ,seventh's chapel1 ,westminster4 ,in the centre1 between the stalls1 a considerable space had to be left free1 in order to leave room for processions from the ,high ,altar to the lectern and to the ecclesiastics in their stalls2 as well as for processions of the whole ecclesiastical establishment on ,palm ,sunday1 ,corpus ,christi day1 ,easter ,sunday and other festivals1 and on every ,sunday in the year4 ,the lectern also was often of great size1 and a gangway had to be left on either side of it4 ,in ,lincoln ,minster the space from one chorister's desk to the chorister's desk opposite is #ah feet3 from the back of the northern to the back of the southern stalls is #dj feet1 which is above the average breadth of an ,english cathedral or monastic choir4 ,the breadth of the choir conditioned the whole of the planning of the church2 for as a rule the nave and transepts were naturally given the same breadth as the choir1 in order that the central tower should be square4 ,as for the number of rows of stalls on either side of the choir1 it was usually three1 rising successively in height2 at ,lincoln the floor of the uppermost row is #b feet #f inches above that of the choir2 the canopies rise #bb feet above the floor4 ,at ,lincoln modern additions have been made2 at present the upper row consists of #fb canopied stalls2 #ab of them being return stalls facing east2 #be facing north and #be facing south4 ,below them is a row of stalls without canopies2 of these lower stalls there were originally #df2 in front of these again are the seats of the children of the choir4 ,the number of stalls in the uppermost row was regulated in a collegiate church by the number of prebends founded in the church2 in a monastic church by the number of monks in the monastery4 ,at ,westminster the number of monks between #acci and #aech varied from #di to #eb1 #dg1 #cj2 in the upper stalls there was accommodation for #fd4 ,at ,southwell there were #af prebendaries2 at times some of these were foreigners1 and never visited ,southwell or ,england2 the rest stayed in their country parishes1 and it was sometimes with great difficulty that a single prebendary could be got together to take charge of the ,minster services2 they had1 however1 deputies2 and for them and their masters the two western bays of the present choir were probably appropriated4 ,and for the meetings of this collegiate body1 which were held seldom1 and which hardly ever had an attendance of more than a half dozen prebendaries1 one of the most magnificent ,chapter houses in #bf ,england was built4 ,at ,wells there were #ed canons or prebendaries1 each with his own separate estate or prebend2 the greater number of them resided on their prebendal estates in the country2 only on rare occasions did they come up to ,wells1 and then probably only for the time occupied by some important meeting2 even on such occasions there seem never to have been more than #bj canons present4#aj ,nevertheless stalls were duly provided for the whole #ed1 and the ,psalter was divided into #ed portions for daily recitation by the ,bishop and his canons4 ,each of these absentee canons at ,wells had or was expected to have a deputy in the form of a vicar choral who was paid by him a small stipend called stall-wages4 ,a beautiful street of little houses--one of the loveliest things in that loveliest of ,english cities--built for the vicars1 still survives at ,wells2 others at ,hereford1 ,lincoln1 ,chichester and elsewhere4 ,at ,wells the first and highest row of stalls was in practice occupied by the senior canons1 the priest-vicars and deacons2 the second row by junior deacons1 subdeacons and others2 the third row by choristers on the foundation2 in front of that was a seat for choristers on probation4 ,the seating of the choirs1 however1 naturally differed with the constitution of the collegiate body4 ,beverley ,minster was not a cathedral proper2 but its church and its establishment were on cathedral scale1 and there are no less than #fh stalls4 ,at ,beverley the exact position in the upper row of the provost1 treasurer1 chancellor1 clerk of the works1 and other dignitaries was definitely settled in #acia by ,thomas ,arundel1 ,archbishop of ,york4 ,he directed that the clerks or vicars should occupy the lower stalls1 each in front of the canon1 his master2 and that the choristers should sit in front of the clerks4 ,clerici vero et omnes et singuli in secunda forma qui libet coram magistro suo4 ,pueri vero seu choristae ante clericos predictos loca sua teneant ut fieri consuevit etiam ab antiquo4#aa ,at the back of the canons' stalls in many churches1 e4g41 ,chester and ,norwich cathedrals 7#dh71 may still be seen painted the name of the country parish where the canon's prebend lay4 ,appointments to such canonries are still regularly made2 but it has become usual to style the occupants honorary canons or prebendaries4 ,as a matter of fact they are just as much canons as the residentiaries4 ,the difference is that the latter come into residence for three months a year or longer1 while the former need not come at all2 and if they did come1 there is no house to receive them nor any stipend4 ,how the cathedral and collegiate establishments lost1 long before the ,reformation1 the services of the great majority of their staff cannot be told here2 partly it arose from sheer neglect of duty1 partly it was imposed on the canons by the necessity of serving in their parish churches and of superintending their estates4 #bg ,illustration3 ,beverley ,minster #bh ,at the backs of canons' stalls is sometimes painted the verse of a psalm4 ,this refers to a very ancient usage4 ,the daily recitation of the whole ,psalter by the members of a cathedral chapter1 according to the psalms attached to their respective prebends1 formed part1 in the opinion of ,mr ,henry ,bradshaw1 of the ,consuetudines introduced by the ,norman bishops in the twelfth century4 ,in the ,liber ,niger or ,consuetudinary of ,lincoln ,minster1 copies of which1 earlier than #achc1 remain in the ,muniment ,room1 it is stated that it is an ancient usage of the church of ,lincoln to say one mass and the whole psalter daily on behalf of the living and deceased benefactors of the church4 ,at ,wells also the whole ,psalter was recited daily for the same pious purpose4 ,at ,lincoln tablets still are to be seen on the backs of the stalls giving the initial verse in ,latin of the psalms which the holder of the prebend is bound to recite daily3 and at the installation of each prebendary1 the ,dean calls his attention to the tablet and admonishes him not to discontinue the obligation 7#eb74 ,even at ,st ,paul's1 though the original stalls all perished in the fire of #afff1 fifteen of the present stalls on each side are inscribed with the ,latin words with which various psalms commence2 the ,psalter here being divided into thirty portions4 99 99 99 99 99 #bi ,,chapter ,,iii ,,canopied ,,stalls ,it is probable that all the back stalls of monastic and collegiate churches had originally some form of canopy4 ,for this there was a very practical reason1 in the desire of the occupants of the stalls to have their tonsured heads protected from down draughts1 which from open triforium chambers imperfectly tiled must often have been excessive4 ,a great number of these canopies have been destroyed1 usually in the seventeenth and eighteenth centuries1 to make room for galleries1 e4g41 at ,wells in #aeij and #afij1 and ,hexham in #agdj4ab ,in ,belgium not a single set of stalls retains canopies4 ,when the galleries were removed in modern restorations1 the ancient forms of canopy were frequently not replaced1 but something of modern design was put up4 ,this should be borne in mind in examining the cresting of the stalls as it is at present2 much of it is not original either in material or design4 ,the following is a list approximately in chronological order of some of the finest sets of stalls in cathedral1 monastic1 collegiate and parochial churches4 ,rochester ,cathedral #abbg ,winchester ,cathedral #acje ,chichester ,cathedral #acce ,ely ,cathedral begun in #acch ,lancaster ,church #acdj ,gloucester ,cathedral #acej ,lincoln ,minster #acgj ,abergavenny #achj ,hereford ,cathedral #achj ,hereford ,all ,saints #achj ,chester ,cathedral #acij ,nantwich #acij ,stowlangtoft #adjj ,wingfield1 ,suffolk #adae ,higham ,ferrers #adae ,norwich ,cathedral #adbj ,carlisle ,cathedral #adcc ,sherborne ,abbey #adcf ,hereford ,st ,peter #adej ,st ,david's #adgj ,windsor #adhj ,ripon #aejj ,manchester #aejh ,westminster #aeji ,christchurch #aeae ,bristol #aebj ,dunblane #aebj ,beverley ,minster #aebj ,newark #aebe ,king's ,college1 ,cambridge #aecc1 #afcc1 #afgf ,aberdeen #aebj ,cartmel #afbj ,brancepeth #afcj ,durham ,cathedral #affe ,bishop ,auckland ,chapel #affe ,sherburn ,hospital1 ,durham #affe ,sedgefield #afhj ,st ,paul's ,cathedral #afig ,canterbury ,cathedral #agjd #cj ,illustration3 ,rochester #ca ,the stalls of the churches of ,ratzburg illustrated by ,m4 ,j4 ,gailhabaud1 vol4 iv41 seem to be of the middle of the twelfth century2 they are of clumsy design and in a fragmentary condition4 ,at ,hastires and ,gendron-,celles1 both near ,dinant1 ,belgium1 are simple stalls of the thirteenth century4#ac ,in ,france the chief examples are those in ,notre ,dame de la ,roche2 fragments occur also in ,poitiers cathedral and the church of ,saulieu4#ad ,the earliest stallwork of which we have remains is in ,rochester cathedral 7#cj74 ,from fragments which remained it was found that the stalls had been about #c feet #f inches high1 and had hinged seats only #ac inches from the floor2 there was a space of #b feet #i inches between the seat and the form in front1 and the seat was #b feet deep4#ae ,there was but a single row of stalls1 and the forms were very low2 only #bb inches above the platform on which they stood4 ,they are too low to have been used as book rests2 which indeed would have been unnecessary1 as the monks knew the ,psalter and their services by heart2 the only service books employed being the big books which lay on the great lectern in the gangway of the choir4 ,it is probable that the forms were of use at certain parts of the service when the monks were prostrati super formas4#af ,illustration3 ,westminster ,at ,westminster the original stallwork of the choir has perished2 fortunately1 however1 a sketch of a portion of it has been preserved 7#ca74ag ,that the sketch is trustworthy may be seen by comparing it with the description of the stalls by ,dart in his ,westmonasterium 7#agdb71 who says that the stalls were crowned with acute ,gothic arches supported by pillars4 ,the sketch shews slender shafts with molded capitals1 neckings and bases1 supporting lancet arches which are without cusps2 at the back are trifoliated lancets4 ,the work belongs to the period when the eastern bays of the nave were built1 viz41 #abeh to #abgb4 ,in ,henry ,,vii4's chapel are two misericords of conventional foliage2 no doubt they belonged originally to ,henry the ,third's choir4 ,a valuable and little known example of a thirteenth century stall survives at ,hemingborough1 ,yorkshire 7#hg74 ,at ,peterborough also fragments of stalls of the same century remain2 but they have backing of ,jacobean character 7#cb74 ,at ,gloucester a fragment of a thirteenth century stall has been preserved behind the seat of the ,canon in residence4 #cb ,illustration3 ,peterborough #cc ,apart from the above1 we seem to have no stallwork of earlier date than the fourteenth century4 ,of that period the earliest and perhaps the most beautiful is that in ,winchester cathedral4 ,the pulpit was given by ,prior ,silkstede1 whose name is inscribed on it2 he was prior from #adih to #aebd2 the desks and stools of the upper tier have the date #aedj4 ,the canopies are of one story4 ,each is surmounted by a straight sided gable or pediment1 which is crocketed and finialled and has compound cusping4 ,the upper part of each gable is perforated with a multifoiled trefoil4 ,below1 the stall is spanned by a broad pointed arch1 which is subdivided into two pointed and detached arches1 with foliated cusps4 ,these two minor arches carry circles with varying tracery4 ,at the back of each stall 7#ce7 is a broad arch containing a pair of detached pointed trifoliated arches supported by shafts whose capitals are alternately molded and foliated4 ,these two small arches carry a circle within which is inscribed a cinquefoil1 cusped and foliated4 ,the spandrils between each pair of containing arches at the back of the stalls are occupied by foliage admirably carved1 in which are figures of men1 animals1 birds1 c4 ,there is no pronounced ogee arch anywhere1 though there is a suspicion of one where the open trefoils of the gables rest upon the containing arches4 ,the tracery too of all the circles is geometrical1 i4e41 composed of simple curves2 there is no flowing or ogee tracery with compound curves4 ,it may be assumed therefore that the work is earlier than c4 #acae4 ,on the other hand the foliage of the spandrils has pronounced bulbous or ogee curves and the pediments contain compound cusping2 both features being characteristic of ornament of the first half of the fourteenth century4 #cd ,illustration3 ,winchester ,cathedral #ce ,illustration3 ,winchester ,cathedral #cf ,taking all into account1 #acje may be taken as an approximate date for this superb work4 ,it is usually assigned to the year #abif1 on the ground of similarity of design to that of the ,westminster tomb of ,edmund ,crouchback who died in that year2 but that is to forget that he died in debt1 leaving instructions that he was not to be buried till his debts were paid3 it is likely therefore that his tomb is several years later than #abif2 indeed1 except that its main arch has not ogee arches in its cusping1 it is not much earlier in design than the adjoining tomb of ,aymer de ,valence1 who died in #acbd4 ,comparison may be made also with the monument in ,winchelsea church of ,gervase ,alard1 who was still alive in #acjf2 and with the monuments in ,ely cathedral of ,bishop ,louth 7ob4 #abih7 and in ,canterbury cathedral of ,archbishop ,peckham 7ob4 #abib74 ,illustration3 ,chichester ,on the other hand in ,chichester cathedral 7#cf71 the ogee motive is supreme4 ,there are no more pointed arches2 every arch is an ogee2 and the cresting consists of wavy tracery surmounted by a battlement4 ,the cusping of the upper ogee arches is compound2 the foliage of pronounced bulbous character4 ,it is unlikely that this work can be much earlier than that of the ,ely stalls1 which were not begun till #acch4 ,on the evidence of costume and armour it would seem that the misericords were in course of execution between c4 #acbj and c4 #acdj2 the stallwork would probably be the last part of the work2 and #cg as the ,chichester ,records are reported to assign the work to ,bishop ,john ,langton1 who died in #accg1 we may assign #acce as an approximate date to the stalls4 ,illustration3 ,ely ,when we come to ,ely1 we deal with ascertained dates2 it is known that the stalls were commenced in #acch4 ,they are on #ch a noble scale1 but have been improved by restorers1 who among things have actually inserted ,belgian carvings in the upper niches4 ,these stalls have two distinct tiers of canopies1 so that they rise to a considerable height4 ,each of the lower canopies has a pointed arch with compound ogee cusping2 above each of these is a niche with three gabled canopies carrying a low spirelet which is flanked by ornate pinnacles2 the whole forming a very beautiful composition4 ,it is a great advance from the one-story design of ,chichester 7#cf71 to the two stories of ,ely4 ,illustration3 ,gloucester ,the great east window of ,gloucester choir was glazed c4 #acej2 by which date half of the stalls were ready4 ,the northern stalls are the work of ,abbot ,staunton 7#accg-acea72 the southern of ,abbot ,horton 7#acea-acgg72 they replace thirteenth century stalls erected by ,elias de ,lideford4 ,the design of the stalls is curious and interesting4 ,in the canopy the leading motif is the bowing ogee1 repeated twice2 it is well seen in the contemporary work of the ,percy monument at ,beverley and the arcading of ,ely ,lady ,chapel4 ,the upper and acutely pointed ogee is finialled1 and is flanked by battlemented and crocketed pinnacles2 behind is a battlemented1 crocketed and finialled spirelet4 ,behind the spirelets is arcading composed of window tracery2 and above the arcading is a crested horizontal cornice4 ,at first sight the design looks no more advanced than that of ,ely2 but if the tracery of the arcading be examined1 it will be found that the three lower lights have supermullions1 and that the centre-pieces are straight-sided4 ,in woodwork1 as in stone1 it was at ,gloucester that the reign of the straight line commenced 7#ch74 #ci ,illustration3 ,lancaster #dj ,then comes a group of stalls which it is not easy to date1 but all of which are redolent of fourteenth century inspiration2 those of ,lancaster church1 those of the cathedral and ,all ,saints' church at ,hereford1 and those of ,abergavenny priory and ,norwich cathedral4 ,the ,lancaster stalls are the chef-d'oeuvre of ,english woodwork1 wonderful alike in design and execution2 in woodwork they must have been in their day unrivalled2 in stone they find a compeer in the marvellous detail of the ,percy monument and in the still finer work at the back of the reredos in ,beverley ,minster4 ,they do not shew the slightest sign of the revolution of design which had commenced in ,gloucester transept c4 #accj1 and which by the end of the century was to overspread all ,england2 they are the natural development of the design of the first half of the fourteenth century carried forward to an extent for which the only parallel is to be found in the highly developed ,flamboyant detail of ,french1 ,spanish1 and ,flemish design of the middle and latter part of the fifteenth century4 ,so inordinately ,flamboyant are the traceries 7#da1 #db7 that one would unhesitatingly ascribe them to ,continental artists did one not see the touch of the ,english craftsman everywhere2 compare for instance the tracery shewn at the top of page #db with that of the west window of the far-away church of ,snettisham1 ,norfolk4#ah ,one hesitates to assign to the ,lancaster work such an early date2 but if the ,percy monument was in course of erection1 as we know it was1 soon after #acdj1 it is quite possible that the ,lancaster stalls also date before the arrival of the ,black ,death in #acdi-ej4 ,after that date a great change came over design2 the rich exuberance of ,ely ,lady ,chapel1 the ,easter sepulchres1 sedilia and piscinas of mid-,lincolnshire and the ,percy monument at ,beverley1 appear no more4 ,any lingering hesitation one may have1 however1 is removed by a scrutiny of the moldings1 especially those of the capitals1 neckings and bases2#ai they are just those which were in fashion c4 #acdj4 #da ,illustration3 ,lancaster ,illustration3 ,lancaster #db ,illustration3 ,lancaster #dc ,the ,lancaster stalls may be regarded as the ,flamboyant version of the stallwork of ,winchester cathedral1 with which they should be compared 7#cd74 ,like the ,winchester stalls1 they are but one story high2 they do not aspire to the two stories of ,ely and ,norwich4 ,there is a tradition1 unsubstantiated1 that these stalls came from ,cockersand abbey in #aedc4 ,but ,st ,mary's1 ,lancaster1 was a priory church attached1 first1 to the abbey of ,st ,martin1 ,ses1 in ,normandy1 and then1 when alien priories were suppressed1 transferred to ,sion abbey1 ,middlesex4 ,in #acfg ,lancaster priory had a revenue of #hj1 say #a1bjj per annum1 and was quite able to provide stalls for itself4 ,illustration3 ,hereford ,cathedral ,the lower part of each canopy consists of an ogee arch2 this is somewhat low1 but in compensation is surmounted by an exceptionally lofty pediment4 ,both ogee arch and straight-sided pediment are filled with perforated tracery4 ,all this tracery1 both above and below1 differs from bay to bay2 the craftsman would not and could not repeat them2 he was simply overflowing with inventive design4 ,the tracery of the ogee arch rests on an arch1 usually an ogee arch1 which is cusped in ogee1 semicircular or segmental curves1 tipped with charmingly diversified pendants of faces1 fruits and foliage2 the interval between #dd the two arches is filled with a network of compound curves--a labyrinth of beautiful forms--enticing the eye to attempt to follow their ramifications by ever new routes2 each little pattern is cusped1 and each has the ogee curve at one end or both ends1 or at one side 7#da74 ,equally ingenious and diversified is the tracery which fills up the tall pediment4 ,the broad band of foliated ornament1 which forms a kind of continuous crocketing1 in spite of much mutilation remains the richest example in ,english woodwork4#bj ,notice too the little masks which immortalise the features of the ,lancaster men of #acdj2 sometimes no doubt they represent the carvers themselves4 ,illustration3 ,hereford ,all ,saints' #de ,illustration3 ,hereford ,all ,saints' ,in ,hereford cathedral the stalls are of one story and have a horizontal cresting4 ,at the back of each stall is an ogee arch1 and in front a bowing ogee arch2 there is some lack of contrast4 ,the sides of the upper ogees are prettily flanked by graduated window tracery2 and the great multiplication and predominance of the vertical line makes it likely that the stalls were put up rather after than before the ,black ,death 7#dc74 #df ,illustration3 ,abergavenny ,illustration3 ,wingfield #dg ,at ,all ,saints'1 ,hereford1 is a range of stalls of remarkable beauty4 ,they have the bowing ogees1 the compound cusping1 the intersecting wavy tracery of the first half of the fourteenth century2 yet the cusping and tracery are not in the early manner4 ,in the cathedral the bowing ogees meet at an angle of nearly #de2 at ,all ,saints'1 they project but slightly1 meeting with a very obtuse point4 ,all ,saints' has ogee canopies under a coved horizontal tester with supporting shafts1 as in the cathedral4 ,in the latter the cornice of the tester on the south side has a perforated battlemented parapet2 that on the north 7#dc7 has brattishing2 at ,all ,saints' both sides have brattishing1 but the pattern is not the same4 ,hereford suffered much from the ,black ,death of #acej1 and it is not likely that a parish church would be able to afford such costly stalls before the last quarter of that century4 ,we may suggest #achj as a probable date4 ,it must be remembered that nearly all changes in medival design originated with the stone mason2 it was some time before they were caught up by the craftsmen in other materials 7#dd74 ,to the exquisite stallwork of ,abergavenny the remarks made on that at ,all ,saints'1 ,hereford1 again apply2 it is redolent of the inspiration of the first half of the fourteenth century2 but its effects are gained in a totally different way3 this also may be assigned to the last quarter of the fourteenth century2#ba say c4 #achj or later 7#df74 ,the stalls at ,wingfield1 ,suffolk1 might date from #acfb1 when the church was made collegiate2 but much work was done in the time of ,michael de la ,pole1 #bnd ,duke of ,suffolk1 and his wife1 ,catherine ,stafford2 he died in #adae2 the badges of ,wingfield and ,stafford--a wing and the ,stafford knot--are seen on the arches between the de la ,pole chapel and the chancel4 ,the design of the stalls and desks is such as might be expected early in the fifteenth century1 especially in ,east ,anglia1 where fourteenth century design lingered long 7#df74 #dh ,illustration3 ,norwich ,cathedral ,at first sight the ,norwich stalls might seem to belong to the first half of the fourteenth century2 as in the stalls of ,chichester1 the lower canopies have ogee arches2 while there is a second story above1 as at ,ely4 ,the exuberance of earlier design is present in the cusping and the crockets2 notice how the crockets vary from bay to bay1 one set being actually composed of hawks4 ,nevertheless supermullions rise from the apex of each minor arch of the window tracery of the spandrils1 and are conclusive evidence that the date is considerably later4 ,the stalls and misericords below are of two periods4 ,in the earlier set of twenty-four the seats are polygonal2 the armour depicted is that of the last half of the fourteenth century1 and there are arms of donors who died respectively in #achj1 #adjj and #adbh2 so that we may assign the approximate date of #acij to this set of misericords4 ,the remaining thirty-eight misericords have seats curved on plan1 and1 according to ,mr ,harrod1 are not later than the middle of the fifteenth century4 ,now the canopies extend above both sets of misericords2 the probability therefore is that they were put up together with the second set of misericords4 ,but there is one curious bit of evidence in the canopy work itself1 which is here illustrated 7#dh72 viz1 that one set of crockets consists of hawks with jesses4 ,now on the arms of ,john ,wakering1 who was bishop from #adaf to #adbe are three hawks' lures2#bb that being so1 the probability is that the whole of the canopies1 and the second set of misericords as well1 are #di of the approximate date of #adbj4 ,though so much later than the ,ely stalls1 the absence of the spirelet and the retention of the horizontal cornice marks this1 in spite of much beauty of detail1 as a retrogressive design4 ,the stalls of ,sherborne abbey1 ,dorset1 are somewhat of a puzzle 7#di74 ,the arch design1 with the compound cusping1 is in accordance with that of the lower story of the ,ely stalls of #acch1 except that the arches are semicircular or nearly so2 but fourteenth century exuberance and versatility have faded away2 the design is regular1 symmetrical1 prim4 ,there was a great fire in ,sherborne ,minster in #adcf2 the piers of the choir are still reddened with the flames2 the former stalls would certainly be consumed1 and these no doubt are their successors4 ,illustration3 ,sherborne ,the stalls at ,hereford ,st ,peter and ,stowlangtoft are illustrated to shew that not only monastic and cathedral churches1 but parish churches also possessed abundance of fine stallwork4 ,stowlangtoft is a remote ,suffolk village2 but possesses a magnificent set of the original carved benches in the nave and stalls in the chancel 7#ia74 ,the woodwork is probably of the #ej date of the church1 which seems to have been rebuilt late in the fourteenth or early in the following century2 the ,hereford church is a town church2 its stalls appear to be well on in the fifteenth century 7#hi74 ,in ,bristol cathedral the stalls consist of a range of traceried panels surmounted by a horizontal coved cornice4 ,there are now twenty-eight stalls4 ,they bear the arms and initials of ,abbot ,elyot 7#aeae-aebf74 ,at ,st ,david's a totally new departure occurs in stall design2 the motif now being clearly taken from an oak screen surmounted by a parapetted loft 7#aji74 ,in the fourteenth century stalls illustrated the ogee arch was the characteristic feature2 in the fifteenth century the fashion was to take an elongated ogee arch1 and truncate it1 employing only the upper portion with the concave curve2 these semi-ogees occur everywhere both in stone and wood2 they are well seen at ,st ,david's in the backing of the stalls4 ,this work has superseded that which was ordered to be put up in #acdb by ,bishop ,gower1 only one fragment of which remains2 it was found above the present canopy and consisted of a finialled ogee canopy1 agreeing nearly in detail and character with those portions of the ,bishop's throne which are of ,gower's time4#bc ,the present stalls1 misericords1 stall backs and canopy are all fifteenth century work2 on the dean's stall 7in this cathedral1 as nowadays at ,southwell1 the bishop was also dean7 are the arms of ,bishop ,tully 7#adfj-adha71 and on the ,treasurer's stall is the name of ,,pole1 who was treasurer in the bishop's latter days4 ,the parapets above cannot have been added till the sixteenth century2 for they terminate to the east in scrolls of the form common in cinquecento work4 99 99 99 99 99 #ea ,,chapter ,,iv ,,tabernacled ,,stalls ,in the latter years of the fourteenth century we come to a new form of stall design2 one in which the ,english carvers won their greatest triumphs1 and which became the standard and typical design for ,english stalls4 ,it is seen in the magnificent tabernacled stalls of ,lincoln1 ,chester1 ,nantwich1 ,carlisle1 ,windsor1 ,st ,asaph1 ,ripon1 ,manchester1 ,westminster1 ,beverley and ,durham4 ,to distinguish this group1 we may term it stallwork with tabernacled canopies1 or1 more shortly1 tabernacled stalls4 ,though new1 it is1 like all design1 based on earlier models4 ,at ,ely 7#cg7 two distinct and conflicting designs are combined2 to those two the ,lincoln carvers gave unity 7#ag74 ,the stallwork at ,ely is in two stories2 but they are not correlated in any way4 ,the upper story consists of canopied niches1 now containing figures1 formerly probably occupied by paintings4 ,at ,lincoln the lower story was omitted1 reducing the elevation to a single story2 while the niches of the ,ely upper story were brought low down1 and made to enshrine the vested canons below4 ,the ,lincoln niches1 however1 are of more elaboration than those of ,ely2 in the latter each niche was fronted by three straight-sided pediments2 in the former the pediments are hollow-sided1 and in front of each is a bowing ogee arch4 ,then these niches are repeated above1 except that each niche is single instead of being triple1 and enshrines a statuette of wood1 and is flanked by window tracery4 ,moreover1 above each upper niche1 as at ,ely1 rises a lofty spirelet with crockets and finials1 encircled by a coronal of ogee gables and flanked by tall slender pinnacles1 themselves also ornamented with miniature niches1 crockets and finials4 ,also the upper portions of the shafts below are niched1 crocketed and battlemented4 ,thus the ,ely design becomes thoroughly harmonious and at one with itself4 #eb ,illustration3 ,lincoln #ec ,illustration3 ,chester ,as a rule1 design did not originate with the wood carver2 it first found expression in stone4 ,and it well may be that to earlier work executed in stone rather than to the stallwork of ,ely the ,lincoln design is to be attributed4 ,at any rate1 the tabernacled canopies of wood are anticipated in most marked fashion in the monument of ,archbishop ,stratford in ,canterbury cathedral4 ,he died in #acdh2 his monument is therefore earlier than any of the tabernacled canopies in wood4 ,it consists of two stories1 with three gables below and a single niche above2 then come spirelets with pinnacles between4#bd ,there is a similar monument to ,archbishop ,kemp1 who died in #aded4 ,of the ,lincoln work ,mr ,a4 ,w4 ,pugin said that the stalls are executed in the most perfect manner1 not only as regards variety and beauty of ornamental design1 but in accuracy of workmanship1 which is frequently deficient in ancient examples of woodwork4444 ,they are certainly superior to any other choir fittings of that period remaining in ,england4 ,the misericords also are all varied in design1 and consist of foliage1 animals1 figures and even historical subjects1 beautifully designed1 and executed with surpassing skill and freedom4 ,as the work was begun by the treasurer1 ,john of ,welbourn1 who died in #achj1 we may give it the approximate date of #acgj4 ,this is borne out by the fact #ed that on the base of the ,dean's stall are the bearings of ,dean ,stretchley1 who died in #acgf4be ,judging from the armour represented on the misericords the design of the ,lincoln stalls was copied very soon afterwards1 say c4 #acij1 in ,chester cathedral1 but with a magnificence of foliated ornament which is reminiscent of the glorious stalls of ,lancaster4 ,for the main lines of the design1 however1 the new type of canopy which had been worked out at ,lincoln was taken as a model2 the details only are those of ,lancaster1 the general design is from ,lincoln4 ,as at ,lincoln1 the lower canopy has duplicated gables in front of each of the three faces of the main structure of the canopy4 ,this main structure starts from between pinnacled buttresses1 as it were1 separating each canopy2 then is brought forward like an oriel window1 having square-headed traceried windows1 the whole surmounted by a battlemented pierced parapet4 ,in front of each face of the oriel is first a truncated ogee arch1 and second1 a complete ogee arch1 both springing from a battlemented and pinnacled corner buttress4 ,these buttresses1 whether between the canopies or in front of the corners of the oriels1 are truncated1 the former rising not from the shoulders of the stalls below but from angels1 the latter from carved bosses or paterae4 ,the gables at the back spring from a higher level than those in front1 and1 as at ,lincoln1 are truncated ogee arches4 ,the three front gables are complete ogee arches1 which differ from those in the ,lincoln stallwork in that their lower convex curve spreads outward again4 ,this is an important matter2 for though this compound ogee arch is not employed in the ,lincoln stalls1 yet it occurs up and down the cathedral in the stonework of the fourteenth century2 e4g41 in the arcading under the western towers#bf put up by the same treasurer who paid for the stalls4 ,it is so special and characteristic to ,lincoln that its presence at ,chester may be taken as a decisive proof of ,lincoln influence in the design of the stalls4 ,in the upper story is a central niche1 flanked by window tracery1 as at ,lincoln4 ,above rises a lofty spirelet1 encircled at its base by ,lincoln ogee gables4 ,between the spirelets1 as at ,ely and ,lincoln1 are tall pinnacles4 ,the leafage of the lower canopies should be compared with that of ,lancaster4 ,in the five examples illustrated 7#ec1 #ee1 #ef7 it will be seen how consummate and versatile in design were these medival craftsmen2 they were bubbling over with design1 and could not repeat themselves if they wished4#bg #ee ,illustration3 ,chester ,illustration3 ,chester #ef ,illustration3 ,chester ,illustration3 ,chester #eg ,illustration3 ,nantwich ,illustration3 ,nantwich #eh ,the magnificent church of ,nantwich1 ,cheshire1 was in building before the ,black ,death of #acdi2 the work was then stopped2 and when it was resumed1 it was carried out in a different style4 ,to this later period belong the south transept and the east window of the chancel with rectilinear tracery2 it is probable that the pulpit and stalls also belong to this second work1 c4 #adjj4 ,the design connects itself with that of the ,lincoln and ,chester stalls in the absence of any line of demarcation between the upper and lower portions2 but while that of ,chester is reminiscent of early fourteenth century work1 that of ,nantwich is well advanced toward normal fifteenth century design4 ,it is also much richer than either1 the lower stage being a mass of niches and pinnacles1 with angel corbels below4 ,the great novelty at ,nantwich is the absence of spirelets1 the absence of which is nobly compensated for by the increased height and prominence given to the central of the three upper niches 7#eg74 ,illustration3 ,york ,minster ,the stalls of ,york ,minster were destroyed by fire in #ahai4 ,both in the treatment of the supporting shafts and in the design of the single upper niches flanked by window tracery they closely resembled the ,lincoln stalls1 on which they were probably modelled2 above the upper niches rose spirelets flanked by pinnacles4 ,there is a marked horizontal line midway1 dividing the composition into two stories 7#eh74 ,the presbytery of ,york ,minster was built between #acfa and #acgj2 the choir between #achj and #adjj2 we may therefore take #acij as the approximate date of the stalls4 ,they are a little later than the ,lincoln stalls1 and probably contemporaneous with those of ,chester4 ,a general view of the stalls appears in ,drake's ,eboracum1 page #ebb 7#ah74 #ei ,illustration3 ,carlisle ,at ,carlisle the stalls were erected by ,bishop ,strickland 7#acii-adac72 ,prior ,haithwaite is said to have added the tabernacle work after the year #adcc3bh it would therefore be about forty years later than that at ,chester 7#ba74 ,the lower canopy1 as before1 has triple gables1 which are truncated ogees1 but the additional front gable of ,lincoln and ,chester is omitted1 while the pinnacled buttresses separating the canopies are carried by shafts standing on the shoulders of the stalls4 ,the line of demarcation between the two stories1 which the ,lincoln and ,nantwich designs had minimised1 is now emphasised by making the band of quatrefoils continuous4 ,the upper story1 which in the earlier designs had had insufficient dominance1 is now heightened and enlarged2 it consists of three pedestalled niches instead of one2 and the flanking window tracery of ,lincoln and ,chester1 with its makeshift look1 is reduced in importance1 forming merely the backing of the three upper niches4 ,the spirelet above is also greatly enriched1 and additional pinnacles are introduced4 ,a little prim the design may be in comparison with the exuberance of ,lincoln1 ,chester and ,nantwich1 but the proportions are fine1 and were the statuettes once more in their niches1 it would be a very satisfactory composition4 ,such work as this has well been resembled to a whole wood1 or say a thicket of old hawthorn with its topmost branches spared1 slowly growing into stalls4 #fj ,illustration3 ,ripon #fa ,at ,st ,asaph's cathedral the stalls and part of the canopies are ancient4#bi ,the cathedral was gutted by fire in #adjb1 and the stalls were not re-erected till #adga-adie4 ,fifty years later than the ,carlisle stalls were put up those of ,ripon ,minster 7#fj74 ,as two of the misericords are inscribed #adhi and #adid1 they cannot be earlier than the latter year4 ,just as the ,chester stalls were a criticism of those of ,lincoln1 and the ,lincoln stalls of those of ,ely1 so the stalls of ,ripon are a criticism of those of ,nantwich and ,carlisle4 ,in the latter the upper story had been emphasised2 at ,ripon the bottom story is given the dominance2 compared with the simplicity of the ,carlisle design1 the lower stage at ,ripon1 as at ,nantwich1 is surpassingly rich2 gables and pinnacles and window tracery are loaded with beautiful detail1 cusped arches are added below2 finally figure sculpture is called in1 and capitals and corbels are beset with tiny angels4 ,in the string-course between the two stories quatrefoils are abandoned2 it is molded1 foliated and battlemented4 ,in the upper story reappears the forest of pinnacles of ,carlisle and the window tracery of ,lincoln4 ,here1 as elsewhere1 the design suffers grievously from the loss of the statuettes which once ranged continuously in the upper story4 #fb ,illustration3 ,manchester #fc ,illustration3 ,beverley ,minster ,some twenty years later1 stallwork was put up in the collegiate church of ,manchester4 ,on the north side of the choir is a curious shield with the initials of ,richard ,beck1 a ,manchester merchant1 by whom all the stalls on that side were erected3 the southern stalls were erected by ,bishop ,stanley1 and at the west end of them is the shield of ,stanley with the ,stanley legend of the eagle and child4 ,at ,manchester craftsman ambition had to surpass ,ripon and ,nantwich4 ,but the lower stages of ,nantwich and ,ripon were unsurpassable2 so they were copied1 angelettes included4 ,the string-course is strengthened and improved by additional battlements2 but undue emphasis is prevented by making it discontinuous4 ,in the upper story1 by way of change1 there is a reversion to the single niche1 flanked by window tracery1 of ,lincoln and ,chester2 finally1 originality is asserted by surmounting the whole1 in somewhat doubtful propriety1 with a continuous tester1 so that the canopies that cover the stalls are themselves covered and protected4 ,this tester has a horizontal cornice with brattishing above and cornice braces between pendant pieces below4 ,to make room for this the spirelets so much in vogue are replaced1 as at ,nantwich1 by canopies with horizontal cresting--taking it altogether1 a magnificent design1 if only the ,ripon stalls had not existed 7#fb74 #fd ,illustration3 ,beverley ,minster ,illustration3 ,beverley ,minster #fe ,illustration3 ,beverley ,minster ,illustration3 ,beverley ,minster ,then come the stalls of ,beverley ,minster1 misericords of which are inscribed with the dates #aebj and #aebd2 the stalls are therefore about a dozen years later than those of ,manchester4 ,they are modelled closely on those of ,manchester and ,ripon4 ,it is quite conceivable that some of the carvers may have worked successively at ,ripon 7#aejj71 ,manchester 7#aejh7 and ,beverley 7#aebj74 ,as at ,ripon1 the lower story is made predominant1 the little angels being replaced1 however1 by human busts--no great improvement2 not that they are not full of life and interest 7#bg1 #fc74 ,the string-course is that of ,manchester4 ,the upper story has single niches flanked by window tracery1 as at ,manchester4 ,the horizontal canopy of ,manchester now remains over the return stalls only4 ,on the whole it must be admitted that these stalls mark no advance4 ,a bit of original design indeed appears at one point1 where low1 heavy straight-lined gables are introduced quite out of harmony with the curving ogee arches 7#fd74 #ff ,illustration3 ,durham ,then comes the ,dissolution2 a long list of ,tudor monarchs reign and pass away2 ,stuarts take their place2 ,civil ,war follows2 at length at the ,restoration of #affj the ,church comes to her own again1 and ,john ,cosin ascends the episcopal throne of ,durham4 ,true to the ,church of ,england and loyal to ,gothic ,architecture1 he reverts to the consecrated form1 and tabernacled stalls are reared once more--one of his many contributions to the cathedral and diocese of ,durham 7#bb74 ,nor is the design an unworthy one2 nay1 rather it is a distinct improvement on that of ,carlisle1 ,ripon1 ,manchester and ,beverley2 for by abolishing the string-course1 he reduces the design to the unity with which it started at ,lincoln4 ,moreover1 tall pinnacles had flanked the spirelets of ,ely1 ,lincoln1 ,chester1 ,carlisle1 ,ripon and ,beverley1 so that really one could not see the wood for the trees2 these pinnacles are now omitted1 and the spirelets get their full value4 ,altogether a very fine design2 and the little bits of ,renaissance detail which here and there creep in1 as in the bishop's #fg magnificent font cover1#cj only add to its charm 7#ff74 ,other examples of ,john ,cosin's time are to be seen at ,brancepeth where he was formerly rector from #afbf to #afcc2 the stalls1 screens and pulpit of that church are simply delightful 7#ic74 ,more of this work is to be seen in the chapel of the ,bishop's palace at ,bishop's ,auckland2 in the church of his son-in-law at ,sedgefield and at ,sherburn hospital4 ,so ,gothic in spirit is this work that it has been again and again ascribed to ,elizabethan times1 e4g41 by ,billings in his ,county of ,durham4 ,in spite of the coarseness of some of the detail and that here and there a bit of ,classical detail creeps in1 it is most interesting and enjoyable2 would that we had more of these delightful admixtures of ,classic and ,gothic forms2 plentiful in ,spain and ,france1 they are rare with us4 ,illustration3 ,dunblane ,the stalls in ,dunblane cathedral are thought by ,messrs ,macgibbon and ,ross#ca to have been put up in the time of ,bishop ,james ,chisholm 7#adhf-aecd74 ,in that case they would be c4 #aebj4 ,the work is rather rough in execution1 not to be #fh compared with the more characteristic woodwork of ,king's ,college1 ,aberdeen2 nevertheless it is very picturesque and interesting4 ,the introduction of the centaurs indicates ,renaissance influence2 the foliage carving is a rather curious mixture of late ,gothic and ,classic forms1 such as we find elsewhere in ,scottish carved work of this period4 ,the ,scottish thistle is one of the chief motifs 7#fg74 ,in the chapel of ,king's ,college1 ,aberdeen1 is a considerable amount of fine oak carved work1 by far the most extensive and best of its kind in ,scotland4 ,the chapel itself1 in some of its features1 bears the character of the parish church at ,stirling and other ,scottish works of the beginning of the sixteenth century4 ,the carved stalls1 monuments1 and decorative work of the interior are of the same period1 but may possibly have been brought from a distance1 or executed by foreign workmen engaged 7like the ,english plumber7 by the bishop4 ,the panels are all of different design1 and shew a great deal of variety combined with a sufficiently uniform effect when the work is viewed as a whole4 ,in some of them the details are based on floral forms--thistle1 vine1 oak1 c4--while the conventional ,french fleur-de-lis is also introduced4#cb ,at this point arises the question how far our stallwork was influenced by foreign design4 ,it may be stated at once with confidence that of the great majority of the stalls the design is as thoroughly ,english as the oak of which they are built4 ,we have seen that the flowing and ogee forms of the ,ely tracery were designed not later than #acch1 which is at least sixty years earlier than any work of the sort in ,france4 ,we were able to see how by gradual modifications of the ,ely design the craftsmen were able to advance slowly but assuredly to the stallwork of ,lincoln1 ,chester1 ,nantwich1 ,carlisle1 ,ripon1 ,manchester1 ,beverley1 ,durham2 the glorious chain of artistic success is complete2 every link is there4 ,but there are facts on the other side which1 at any rate at ,melrose1 are beyond dispute or controversy4 ,in #ahdf a document was communicated to the ,society of ,antiquaries1 ,london1 from ,west ,flanders1 relating to a dispute at ,bruges between ,william ,carebis1 a ,scotch merchant1 and ,john ,crawfort1 a monk of ,melrose1 on the one hand1 and ,cornelius de ,aeltre1 citizen and master of the art of carpentry of ,bruges1 on the other hand4 ,the latter had contracted to supply certain stalls and to erect them in the abbey church of ,melrose1 after the fashion of the stalls of the choir of the abbey church of ,dunis in ,flanders1 with carving similar to that existing in the church of ,thosan near ,bruges4 ,the stipulated price had been paid1 and the master carpenter was called to account for delaying to complete the work2 whereupon he pleaded various excuses1 stating that the work had been impeded by popular commotions at ,bruges1 during which he had been deserted by his workmen and had suffered heavy losses4 ,it was decided that ,melrose abbey should bear the cost of its transport to the town of ,sluys and embarkation there for ,scotland1 and should make some allowance to ,cornelius towards his journey to ,melrose2 and that they should give him and his chief carver 7formiscissori7 a safe-conduct for their journey and return4 ,this document was dated #gth ,october1 #adda4cc #fi ,illustration3 ,windsor #gj ,no such wholesale example of foreign design occurs in ,england2 nevertheless there are two important instances in which ,flemish design is to be suspected2 viz41 in the ,royal chapels at ,windsor and ,westminster4 ,as regards the stalls in ,st ,george's chapel1 ,windsor1 it is known that the tabernacled canopies were begun in #adgg and were completed in #adhc2 thus they took six years to make 7#fi74cd ,the canopies are known to have been made in ,london2 the carvers being ,robert ,ellis and ,john ,filles1 apparently ,englishmen4 ,on the other hand the great ,rood1 with the statues of ,st ,george and ,st ,edward and others1 was made by ,diricke ,vangrove and ,giles ,vancastell1 who are just as evidently ,dutchmen2 for four images the two ,dutchmen were paid at the rate of #es4 per foot2 for six canopies the two ,englishmen received #dj1 say #dhj2 i4e41 about #hj of our money for each canopy4 ,now here we have ,dutch and ,english carvers engaged together on what was practically one work3 moreover the more artistic and difficult part of the work1 the figure sculpture1 is entrusted to the ,dutchmen4 ,it is to the latter probably that the general lines of the design are due4 ,the detail is sufficiently ,english2 not so the general design4 ,for the ,windsor stallwork is intermediate between that of ,chester 7c4 #acij7 and ,carlisle 7#adcc7 on the one hand1 and ,ripon 7c4 #adij7 and ,manchester 7#aejh7 on the other4 ,but it is not a development arising out of either of the earlier designs1 nor was the stallwork of ,ripon and ,manchester in any way a development from that of ,windsor4 #ga ,illustration3 ,windsor #gb ,all the larger stallwork of the fifteenth century was1 as we have seen1 designed in two stories1 rising into spirelets and pinnacles2 at ,windsor the double story1 the spirelet and the pinnacle are all alike lacking4 ,it is true that the original canopies were designed quite as much for the ,knights of the ,garter as for the ,windsor ,canons1 and in the case of the former the design had to be accommodated to provide supports for the knights' helmets1 mantles and swords2 nevertheless this might have been accomplished without utterly breaking away from current design4 ,the ,windsor design1 so far as ,english work goes1 has no ancestry2 its origin no doubt is to be found in the ,netherlands4 ,the ,windsor stalls have been much tampered with4 ,as ,hollar's engraving in ,ashmole's ,institution of the ,order of the ,garter 7#afgb7 shews1 over the westernmost bay on either side of the choir the canopies contained imagery and had a horizontal cresting2 and all the other canopies consisted alternately of towers and spirelets2 the knights being seated under the towers and the canons under the spirelets2 but since the enlargement of the ,order in #aghf all the spirelets have been converted into towers 7#ga74 ,all these towers are surmounted by wooden busts1 of which the earliest go back to the time of ,edward ,,iv42 on the bust were placed the knight's helmet1 crest and mantlings1 which hid the busts from view2 lower down1 in front1 hung his sword2 banners were not added till a later period4 ,at first the real sword and helm were put up2 later1 they were theatrical properties4 ,illustration3 ,bishop ,langton's ,chapel ,in ,winchester cathedral is stallwork of rare beauty in the ,lady ,chapel1 which was built in the time of ,bishop ,courtenay1 #adhf-adib4 ,in some of its details it resembles the ,windsor stalls1 which were completed in #adhc2 it is therefore feasible that some of the ,windsor carvers went on to ,winchester 7#gc74 ,south of the ,lady ,chapel is the chantry chapel of ,bishop ,langton1 #adic-aejj1 where also the screen and coved panelling are of great excellence 7#gb72 there are no stalls4 #gc ,illustration3 ,winchester ,cathedral ,illustration3 ,westminster ,abbey #gd ,henry the ,seventh's chapel at ,westminster was built partly as a ,lady ,chapel1 partly to be the mausoleum of ,henry ,,vii4 and his ,queen1 and of ,henry ,,vi4#ce ,here the canopies with tower-like form and single story and with the absence of pinnacle are plainly reminiscent of those of ,windsor1 and as plainly distinct from current ,english design1 as seen at ,manchester in #aejh and ,beverley ,minster in #aebj2 the ,westminster and ,manchester canopies were being made together2 but those of ,westminster have no connection with the grand ,northern series of consecutive designs 7#aca74 ,besides ,windsor influence there may be direct influence from the ,netherlands2 for some of the misericords are evidently from the design of a painter or engraver1 the subjects being too crowded to be properly carved in wood in so limited a space4 ,mr ,j4 ,langton ,barnard says1#cf ,while looking over some engravings on copper of ,albert ,durer1 ,i came across one which strikingly resembled the third misericord in the upper row on the north side2 the resemblance was extremely close1 especially in the arrangement and folds of the woman's dress2 this is stated by ,bartsch in his ,catalogue 7vii4 #ajc and #ic7 to be one of his earliest plates4 ,another plate of ,albert ,durer closely resembles the corresponding misericord in the lower row on the south side1 as regards the position of the limbs and the folds of the drapery2 while the seventh misericord of the lower row on the south side almost exactly resembles a plate by ,israel van ,meckenern1 of two monkeys and three young ones4 ,these stalls formerly occupied only the three western bays of the chapel2 another bay was filled with stalls when the ,order of the ,bath was revived by ,king ,george the ,first2 the canopy-fronts for an additional bay on each side being got by sawing off canopy-backs and putting them up as fronts4 ,the tabernacle work is of the richest and most diversified character1 varying in every canopy 7#gc74 99 99 99 99 99 #ge ,,chapter ,v ,,renaissance ,,stallwork ,thus far the stallwork has been wholly of ,gothic design1 or nearly so4 ,we now come to the great change of style1 the reversion to the ,classic art of ancient ,rome1 which goes by the name of the ,renaissance4 ,of this the chief representatives left to us are the stalls of ,christchurch1 ,hants2 ,king's ,college1 ,cambridge2 and ,cartmel1 ,lancashire4 ,the stalls and misericords of ,christchurch1 as we see them now1 are a patchwork of portions of work of several periods framed together at some more or less recent epoch2 there are at least two styles of ,renaissance work1 and three or more of ,gothic4 ,the earlier ,renaissance work1 which is seen in most of the misericords and on the stall backs is that of ,william ,eyre who was ,prior from #aejb to #aebj 7#b74 ,there are fifty-eight stalls2 of the misericords twenty-six have been stolen or destroyed4 ,the early date of this work makes it of exceptional importance in the history of the introduction of ,renaissance art into ,england4 ,one special feature of the work is the portrait panels4 ,these also occur in a cupboard preserved in ,louth church1 ,lincolnshire1 where the panels have what look very much like portraits of ,henry ,,vii4 and his queen1 ,elizabeth of ,york4 ,it goes by the name of the ,sudbury hutch and was the gift of ,thomas ,sudbury1 who was vicar from #adfa to #aejd3 it is therefore of the time of ,henry ,,vii4 ,these portrait cabinets had a great vogue in the reign of ,henry ,,viii41 and throughout the sixteenth century4 ,then come three important tombs by ,torrigiano1 executed between #aeji and #aeah1 that of ,henry ,,vii4 and his ,queen and that of ,margaret ,beaufort at ,westminster and that of ,dr ,young in the ,rolls chapel4 ,almost as early1 if not quite so1 is ,prior ,eyre's work at ,christchurch4 ,then comes ,cardinal ,wolsey's work at ,hampton ,court1 #aeae to #aebe2 the beautiful ,marney tomb at ,layer ,marney1 ,essex1 #aebc2 the mortuary chests in the cathedral1 and the screen work both in the cathedral and in ,st ,cross1 ,winchester1 c4 #aebe2 the chantry chapel of ,prior ,draper at ,christchurch1 #aebi1 and that of ,lady ,salisbury1 which may be a year or two earlier2 and the screen at ,swine church1 ,yorkshire1 dated #aeca4 ,then follow ,henry ,,viii4's hall at ,hampton ,court1 #aecd2 and the screen at ,king's ,college1 ,cambridge1 #aecc4 #gf ,illustration3 ,christchurch #gg ,illustration3 ,christchurch ,so that the ,christchurch work stands very high on the list and deserves much more attention than it has received4 ,the general outline of the stalls themselves is ,gothic1 the chief divergency being in the supports of the elbow rests and seats4 ,among the shafts are examples of the honeycomb form which is almost the only bit of ,renaissance detail in the canopies of the ,westminster stalls4 ,at the back of the stalls are very vigorous carvings of classical dragons1 serpents1 hounds and human faces 7#gf74 ,to these last fanciful attributions have been made2 e4g41 one has been imagined to represent ,catharine of ,arragon between ,cardinal ,wolsey and ,cardinal ,campeggio 7#gg74 ,these portrait busts have a wide distribution2 they occur in wood1 stone and terra cotta4 ,noble examples are those in terra cotta at ,hampton ,court1 which were undoubtedly imported by ,cardinal ,wolsey direct from ,italy4#cg ,others no doubt are the work of ,italians resident in ,england in the first half of the sixteenth century1 when ,italian art and ,italian literature were equally the fashion with the cognoscenti led by ,henry ,,viii4 and ,wolsey2 e4g41 the fine bust of ,sir ,thomas ,lovell by ,torrigiano1 now in ,westminster ,abbey4#ch ,these portrait busts have a wide range--from ,essex westward to ,somerset1 ,devon and ,cornwall2 e4g41 ,north ,cadbury1 ,somerset2 ,lapford1 ,devon1 and ,talland1 ,cornwall2 several also occur at ,hemingborough1 ,yorkshire4 ,the probability is that the ,italian artists entered the kingdom at ,southampton2 and that a few found work at ,christchurch and in the south-west1 but that the main body proceeded eastward to ,winchester1 ,basing1 ,london and ,layer ,marney2 they have left one memorial at ,oxford beneath a window at ,christ ,church4#ci #gh ,illustration3 ,king's ,college1 ,cambridge #gi ,next come the famous screen and stalls of ,king's ,college1 ,cambridge--the finest woodwork this side of the ,alps4 ,harmonious as is the general effect of the stallwork1 it was executed at three different periods4 ,the stalls were ordered to be made by ,henry ,,vi4 in his will1 but were not put up till much later4 ,about #aeae an estimate was obtained for #acj stalls1 which it was found would cost about #ab1jjj of our money1 i4e41 about #ib each4 ,on the screen1 which is part of the same work1 are the arms1 badge and initials of ,anne ,boleyn1 who was at the height of her influence between #aeca and #aece2 the stallwork may be ascribed to the same period1 but as yet the stalls had plain backs4 ,in #afcc ,mr ,thomas ,weaver presented the large coats of arms which are seen on the backs of the stalls 7#gh74 ,the cresting was made between #afge and #afgh by ,thomas ,austin1 following more or less the style of the work below4#dj ,the screen is more completely ,italian in treatment than any other work of the time1 all the moldings being ,classic2 it is practically certain that the general design and most of the work must have been done by ,italians4 ,the design of screen and stalls alike is to be regarded as an isolated example1 complete in itself4 ,it did not grow out of anything that went before it in ,england1 nor did it develop into anything else in ,england afterwards4#da ,more ,classical still in design--an entablature with architrave1 frieze and cornice superseding the semicircular arches of the ,cambridge stalls--is the superb woodwork at ,cartmel1 ,lancashire4 ,from the ,dissolution up to #afbj1 the choir of ,cartmel priory church was roofless2 the canopies of the stalls must have perished2 the stalls themselves remain1 bearing the mark of long exposure to the weather4 ,in #afbj it is recorded#db that ,george ,preston of ,holker1 who died in #afdj1 not only reroofed the chancel1 but decorated the quire and chancel with a profusion of curiously and elaborately carved woodwork 7#hj74 #hj ,illustration3 ,cartmel #ha ,illustration3 ,cartmel #hb ,cartmel was a priory church of ,austin ,priors1 with an income at the ,dissolution of #ij1 say #a1jjj4 ,there are twenty-six stalls2 above the doorways are inscriptions in gold letters from the ,psalms4 ,the architrave is supported by shafts which have ,corinthian capitals1 round which cling in delightful fashion delicate tendrils and fruit of the vine4 ,on the shafts also are emblems of the ,passion2 in the illustrations may be recognised the cross1 the ladder1 the buffet1 the pillar of scourging1 the hammer and the nails4 ,at the back is delicate tracery work1 reminding one of the ,gothic tracery of the screen of ,st ,catharine's chapel in ,carlisle cathedral4 ,the whole design is full of grace and charm2 above all in the delicate tendrils of the vine coiling round the shafts2 one's first thought is to class it with the exquisite scrollwork of the churches of ,s4 ,maria dei ,miracoli at ,brescia and ,venice1 and with the work of the ,italian artists in ,england in the time of ,henry ,,viii4 ,for as a rule1 says ,mr ,gotch1#dc with the close of the first half of the sixteenth century we come to the end of pronounced ,italian detail such as pervades the tiles at ,lacock abbey and characterises other isolated features in different parts of the country4 ,the nature of the detail in the second half of the sixteenth century1 and in the seventeenth century1 is different2 it no longer comprises the dainty cherubs1 the elegant balusters 7cf4 the ,king's ,college stalls7 vases and candelabra1 the buoyant dolphins and delicately modelled foliage which are associated with ,italian and ,french ,renaissance work1 but indulges freely in strapwork curled and interlaced1 in fruit and foliage1 in cartouches and in caryatides1 half human beings1 half pedestals1 such as were the delight of the ,dutchmen who had superseded the ,italian artists4 ,in the ,cartmel stalls the one feature which is pre-eminently ,jacobean is to be seen in the character of the busts in the frieze2 if they are compared with those at ,christchurch 7#gg71 they are seen at once to be of seventeenth and not of sixteenth century design4 ,setting those aside1 the design is purely that of the ,early ,english ,renaissance1 as practised by ,italian artists4 ,it is one of the most remarkable examples of survival in design in the range of ,english art1 and as beautiful as it is belated--a whole century behind the times4 #hc ,illustration3 ,st ,paul's ,cathedral #hd ,in #afig the choir of ,st ,paul's cathedral was opened for public worship4 ,the stalls differ considerably in type from those of ,pre-,reformation days1 as it was necessary to provide seats for the ,lord ,mayor and ,corporation of ,london as well as closets at the back to accommodate the wives and families of the canons4 ,by the removal of the western screen in the time of ,dean ,melvill1 appointed #ahef1 the appearance of the choir has been completely changed4 ,the exquisite carvings of ,grinling ,gibbons1 says ,dean ,milman1#dd are not merely admirable in themselves1 but in perfect harmony with the character of the architecture4 ,he even goes so far as to say that they rival1 if they do not surpass1 all medival works of their class in grace1 variety and richness2 and keep up an inimitable unison of the lines of the building and the decoration4 ,in the words of ,horace ,walpole1 there is no instance of a man before ,gibbons who gave to wood the loose and airy lightness of flowers1 and changed together the various productions of the elements with a fine disorder natural to each species4 ,it is doubtful whether ,grinling ,gibbons was of ,dutch or ,english birth4 ,he was discovered by ,evelyn in a poor solitary thatched house near ,sayes ,court carving a ,crucifixion after ,tintoretto4 ,in this piece more than a hundred figures were introduced2 nor was there anything in nature so tender and delicate as the flowers and festoons about it2 and yet the work was strong4 ,he asked ,evelyn #ajj for it4 ,the frame1 says ,evelyn1 was worth as much4 ,evelyn introduced the incomparable young man to the ,king and to ,wren1 and his fortune was made4 ,malcolm in his ,londinium ,redivivum calculates that the payments made to ,gibbons for his work in ,st ,paul's amounted altogether to #a1ccg4 #gs4 #e;d4#de ,space fails to tell of many noble examples of eighteenth century stallwork4#df ,in spite of an enormous amount of destruction1 e4g41 by the vandals in charge of ,canterbury cathedral1 much still remains and awaits the historian4 ,a fine drawing of the stallwork put up in #agjd in ,canterbury choir will be found in ,dart's ,canterbury4 ,the throne1 carved by ,grinling ,gibbons1 was given by ,archbishop ,tenison2 the pulpit1 two of the stalls and other fittings by ,queen ,mary ,,ii42#dg all this has been swept away1 except some pieces worked into the return stalls1 to make way for stalls of the usual brand of ,victorian ,gothic4 99 99 99 99 99 #he ,,chapter ,,vi ,,stalls ,,in ,,parish ,,churches ,illustration3 ,sall ,illustration3 ,trunch ,stalls are found1 but rarely with canopies1 in many parochial1 as well as in monastic1 collegiate and cathedral churches4 ,in the latter of course the object of them is obvious2 they were intended to accommodate a large body of monks or canons with their vicars and the choristers4 ,but they are found sometimes in the churches of quite small parishes1 e4g41 ,sall1 ,trunch1 ,ludham1 ,burlingham ,st ,edmund's in ,norfolk1 ,weston-in-,gordano1 ,somerset1 ,norton in ,suffolk1 ,ivychurch#dh in ,romney ,marsh1 where it is pretty certain that in most cases the church was served by a single parish priest merely4 ,at ,ingham1 a parish in the ,norfolk ,broads1 there are ten stalls in the chancel2 at ,stowlangtoft1 ,suffolk1 there are six stalls2 and so with numerous others4 ,how early parochial chancels had stalls is difficult to say4 ,no existing examples are earlier than the thirteenth century4 ,but a curious fact about the growth of our parish churches1 to #hf which attention has not hitherto been directed1 may throw some light on the subject4 ,in early ,anglo-,saxon days the normal and most common type of parish church was one which had an aisleless nave and chancel4 ,in early ,norman days also this was the most common type4 ,in all the above churches1 whether ,anglo-,saxon or ,norman1 the chancel1 whether rectangular or apsidal1 was quite small4 ,comparatively few1 however1 of these chancels remain small4 ,in the vast majority of cases they have been enlarged4 ,either the old chancel has been retained but has been lengthened1 or it has been broadened as well as lengthened1 thus producing an entirely new chancel4 ,in most cases it happened that1 in the long history of the church1 aisles were thrown out afterwards1 or transepts1 that later the nave was lengthened westwards and was heightened to accommodate clerestory windows1 and still later a western tower was added and perhaps a spire4 ,but the enlargement of the chancel sometimes took place without any of the other alterations1 and where that is so1 i4e41 where the church retains a comparatively small nave1 the enlarged chancel bulks up very lofty and spacious1 seemingly quite out of scale to the rest of the church3 in some examples the chancel is actually loftier than the nave4 ,a church with a chancel so disproportionate strikes the attention at once as one demanding explanation4 ,large numbers of such abnormally big chancels survive4 ,in ,kent and ,sussex many of them are of the thirteenth century2 e4g41 ,littlebourne2 while over ,england one is struck with the very large number of lofty and spacious chancels of the fourteenth century2 e4g41 ,norbury1 ,derbyshire2 ,oulton1 ,suffolk4 ,in numerous cases the enlargements of the chancel took place more than once4 ,at ,boston the church was rebuilt with a fine chancel c4 #accj2 but by the end of the century even this vast chancel was judged inadequate1 and it was extended still further to the east4 #hg ,illustration3 ,hemingborough ,church #hh ,what then is the explanation of this furore for enlargement of chancels8 ,in considering the answer1 it must be borne in mind that1 ritualistically1 the ,english parish church was always tripartite2 consisting of nave1 choir and chancel4 ,in churches of the ,iffley type1 i4e41 with a central tower1 it was also architecturally tripartite4 ,but even in churches which architecturally were bipartite1 i4e41 which consisted merely of a nave and chancel1 the chancel was divided into two parts1 choir and sanctuary1 the distinction between them being marked by a change of level4 ,which part then was it that was found inadequate1 the sanctuary or the choir8 ,not the former2 it was not then cumbered with altar rails2 the purpose they serve nowadays was served by the screen which every church possessed1 guarding the entrance to the chancel2 and the sanctuary was quite large enough for the celebrant at the ,mass1 with as a rule a solitary assistant1 the parish clerk4 ,it must have been the choir that was too small for the seats which it was desired to place in it4 ,we conclude therefore that seats were common even in small village churches as early as the thirteenth century1 if not before4 ,documentary evidence to that effect we have not4 ,but in later days there is definite evidence as to the practice of putting stalls in the chancels of parish churches4 ,in ,hemingborough church1 ,yorkshire1 there remain stalls of graceful thirteenth century design 7#hg74 ,now this church in the thirteenth century was parochial2 it did not become collegiate till #adbf4 ,a series of entries of the cost of choir stalls is preserved for the parish church of ,st ,mary at ,hill in the ,city of ,london4 ,in the year #adbf there was paid to three carpenters for the stalls of the quire1 #bj;d4 ,in the following year there was paid for the stalls of the quire the large sum of #ab 7 #aej72 it would seem that it was about this time that a complete new set of stalls was put into the choir4 ,in the same year1 #adbg1 there was paid for stalls in the quire1 #afs4 #f;d42 and for a quire stool1 #gs4 #aj;d4 ,in #aeja a payment was made for mending of desks in the quire2 in #aeji for nails and mending of a bench in the quire1 #a;d4 ,in #aebc there was paid for a long desk for the quire1 #cs42 in #aebf for the stuff and making of a double desk in the quire1 #es4 ,then1 in ,protestant days1 there was paid for mending the desk and settles in the chancel1 #bs4 ,at this church the lower part of the bench was made to form a box or chest4 #hi ,illustration3 ,hereford ,st ,peter's ,who then sat in these stalls8 ,the common theory is that they were intended for the use of the rector or vicar and the parish clerk1 and of any chantry priests who might be attached to the church4 ,this no doubt is true as far as it goes4 ,at ,st ,maurice1 ,york1 a complaint was made at the visitation in #adaf to the effect that the desks in the choir1 viz41 those where the parish chaplain and the parish clerk were wont to sit1 are unhandsome and in need of repair3 ,dicunt quod deski in choro1 tam ex una parte quam ex alia1 ubi saltem capellanus parochialis et clericus parochialis sedere usi sunt1 nimis deformes et indigent reparacione4#di ,to many churches also1 but by no means to all1 chantry endowments were made2 i4e41 money was left that masses might be said for ever for the repose of the soul of the donor by a priest1 other than the rector or vicar1 specially appointed for that purpose4 ,it is commonly supposed that these chantry priests were concerned only with the special altars at which they ministered4 ,but that this was not the case1 at any rate universally1 is apparent from the terms of the institution of the ,willeby chantry in ,halifax parish church4 ,the deed is dated #ajth ,june #adid4 ,amongst other regulations it contains the provision that the chaplain is to attend in person in the choir of the church on every ,sunday and ,holy ,day in his surplice1 at matins1 mass and vespers1 and to take his part in the reading and chanting1 as directed by the vicar1 and in accordance with the constitutions of the ,metropolitan ,church4 ,item volo et ordino quod predictus ,tho4 ,gledhill1 ,capellanus modernus1 et omnes alii ,capellani1 444 temporibus futuris nominandi1 singulis diebus dominicis et festivis personaliter sint presentes in choro ejusdem ,ecclesie temporibus matutinarum missarum et vesperarum1 suis suppeliciis induti1 et legant et psallent1 prout ,vicario ejusdem ,ecclesie pro tempore existenti decenter et congrue videbitur expedire1 ut in constitutionibus ,ecclesie ,metropolitane proinde constitutis plenius liquet4 ,assuming #ij then that the same rule applied also to the incumbents of the other chantries1 there would be a regular body of clergy to take part in the choir offices4#ej ,instances might be multiplied to any extent of the obligation laid on chantry priests to attend and assist the rector or vicar in the services4 ,thus at ,rothwell in #adid the chantry priest attached to the altar of ,our ,lady was not only required by the foundation deed to celebrate ,mass and other service daily at this altar1 but was directed to be in the high choir all festival days at matins1 ,mass1 and evensong4 ,in #aeje ,margaret ,blade1 widow1 endowed a chantry of ,our ,lady in ,kildewick parish for a priest who1 in addition to his special duties1 was to help ,divine service in the choir and to help the curate in time of necessity4#ea ,sometimes quite a considerable number of chantry priests were attached to a parish church4 ,when all chantry endowments were confiscated by ,edward ,,vi41 the loss of the services of the chantry priests was in many cases severely felt4 ,at ,nottingham indeed the parishioners of ,st ,mary's made formal protest2 stating that in their parish there were #a1djj houseling people and that the vicar there had no other priest to help but the two chantry priests4#eb ,we may take it therefore that seats in the chancel were required not only for the parish priest and the parish clerk1 but in some cases for chantry priests as well4 ,but the above explanation does not cover the whole ground4 ,there are often many more stalls than could be used as above4 ,and in some churches there were no chantry priests at all1 and yet there are stalls4 ,who else then occupied seats in the chancel8 ,some of the stalls probably1 usually but a few1 may have been occupied by laymen even so early as the thirteenth century4 #ia ,illustration3 ,stowlangtoft ,as regards the occupancy of seats in the chancel it is quite clear that it has always been the wish of the ,church that they should be reserved for the clergy and that no laymen should be admitted4 ,it is equally clear that the ,church has never been able to carry out the injunction4 ,in the ,trullan ,council of #fhc or #fib it was laid down1 ,nulli omnium liceat1 qui quidem sit in laicorum numero1 intra septa sacri altaris ingredi1 nequaquam tamen ab eo prohibita potestate et auctoritate imperiali1 quandoquidem voluerit ,creatori dona offerre1 ex antiquissima traditione2 i4e41 ,no layman may enter the chancel1 except the ,emperor1 who by venerable tradition is allowed to do so when he wishes to present offerings to his ,maker4 ,but this does not explicitly allow the ,emperor to sit down in the chancel4 ,and even this much was objected to by many2 for a gloss follows3 ,nemo liceat laico intra1 c4 444 ,adulatione et timore victi1 per gravem errorem concedunt imperatori1 quod magna cum laude sanctorum patrum ,ambrosius ,theodosio negavit2 i4e41 ,the permission given to the ,emperor was given under the influence of adulation and timidity1 and the action of ,st ,ambrose in refusing it to the ,emperor ,theodosius was greatly applauded by the ,fathers4 ,but it was a perilous thing to exclude emperors1 and what was conceded to emperors was claimed by princes1 and what was conceded to princes was claimed by and had to be conceded to the nobility generally4 ,so in ,scotland in #abbe by an episcopal order the ,king and his nobles also were allowed to stand and to sit in the chancel3 ,ne laici secus altare1 quum sacra mysteria celebrantur1 stare vel sedere inter clericos presumant1 excepto domino rege et majoribus regni1 quibus propter suam excellentiam in hac parte duximus referendum4 ,and if the nobles1 then certainly the patron of the living could not be excluded from a parochial chancel4 ,so in the diocese of ,worcester in #abdj a canon was agreed to that patrons as well as high personages might stand in the chancel3 nec laici stent in ,cancellis dum celebrantur divina2 salva tamen reverentia patronorum et sublimium personarum2 in ,lincoln diocese also ,bishop ,grosstte in #abdj restricts the permission to the patron4 ,again in #abee in ,lincoln diocese the patron or any other venerable person was allowed to sit and stand in the chancel4 ,archbishop ,greenfield of ,york 7#acjd-acae7 found it necessary to make a rule against laymen intruding into the choir during service4 ,so also at ,ely1 ,simon ,langham in #acfd wrote3 ,lay people are not to stand or sit amongst the clerks in the chancel during the celebration of divine service1 unless #ib it be done to shew respect or for some other reasonable and obvious reason2 but this is allowed for the patrons of churches only4#ec ,then what had been claimed successfully by those of noble birth1 and by patrons in particular1 was claimed with equal success by any good ,churchman of consideration and wealth1 especially if he were a benefactor of the church4 ,for in the fourteenth century ,alan de ,alnewyk of ,york1 goldsmith1 wills that his body be buried in the quire of ,st ,michael ,belfry near the place where ,i used to sit 7ubi sedere solebam74 ,another century later1 ,robert ,constable of ,bossall1 leaves this direction in #aded3 ,first1 ,i devise my soul to ,god ,almighty and his mother ,blessed ,saint ,mary and to ,saint ,botolph and to the holy court of heaven2 and my body to be buried in the quire afore the place where my seat is4#ed ,in #aeaa ,robert ,fabyan1 the chronicler1 citizen and draper of ,london1 devises as follows3 ,i will that my corps be buried between my pew and the high altar1 within the quire of the church of ,allhallows1 ,theydon ,gardon1 ,essex4 ,finally1 at ,yatton1 ,somerset1 in #aebi1 #bs4 was paid for a sege in ye chaunsell4#ee ,it is to be remembered moreover that though it may have been unusual for laymen to have seats in the chancel1 yet it was by no means uncommon for them to stand or kneel there2 there are enough representations of laymen so standing to establish that point satisfactorily3 they are shewn standing or kneeling1 sometimes with lighted tapers in their hands4 ,at a ,st ,martin's mass in ,france in the fourteenth century1#ef two women are shewn near the altar steps1 one standing and attending to her duties1 the other inattentive and seriously distracting the attention of an acolyte kneeling near4 ,we know definitely that in ,salisbury cathedral laymen were allowed to be present in the sanctuary before the ,sunday procession2 for after the hallowing of the water it was ordered that the priest should asperge the laity in the presbytery as well as the clergy in the choir4 ,post aspersionem clericorum laicos in presbiterio hinc inde stantes aspergat4#eg ,at ,salisbury the ,sunday procession was marshalled in the ample space between the choir and the high altar1 which space the laity entered in order to follow the clerks in the procession4 #ic ,illustration3 ,brancepeth ,for women it was more difficult to get admission to the chancel4 ,tradition and usage were against them4 ,as early as ,a4,d4 #cfg the ,council of ,laodicea passed a canon that women ought not to come near the altar or enter the apartment where the altar stands4 ,in the ninth century a canon was passed at ,mantes that women must not approach the altar or act as server to the celebrant or stand in the chancel4 ,among the canons of the time of ,king ,edgar is one3 ,docemus ut altari mulier non appropinquet dum ,missa celebratur2 a woman must not come near the altar at ,mass4 ,in laying down regulations for the services in ,ripon ,minster ,archbishop ,greenfield says1 ,we permit no women at all1 religious or secular1 unless great ladies or ladies of high rank or others of approved honour and piety1 to sit or stand in a stall or elsewhere in the choir while the divine offices are being celebrated4 ,nullas omnino mulieres1 religiosas vel seculares1 nec laicos nisi magnas aut nobiles #id personas aut alias quarum sit honestas et devocio satis nota1 in stallo vel alibi in choro inter ministros ecclesiae stare vel sedere dum divina celebrantur officia permittimus4#eh ,the story told about ,sir ,thomas ,more shews that while he himself sat in the chancel1 ,lady ,more sat in the nave4 ,during his high ,chancellorship one of his gentlemen1 when service at the church was done1 ordinarily used to come to my ,lady his wife's pew-door and say unto her ',madame1 my ,lord is gone4' ,but the next holy day after the surrender of his office of ,lord ,chancellor1 and the departure of his gentlemen from him1 he came unto my ,lady his wife's pew himself1 and1 making a low courtesy1 said unto her1 ',madam1 my ,lord is gone4' ,but she1 thinking this at first to be but one of his jokes1 was little moved1 till he told her sadly he had given up the ,great ,seal4 ,and many other good ,churchmen at all times have retained the ancient usage of the exclusion of women from the stalls in the chancel4 ,at ,great ,burstead1 in ,essex1 in #affa1 an applicant was authorised to build a pew at the entrance to the chancel for the use of himself and sons and companions and friends of the male sex2 but to build another in the nave for his wife and her daughters and companions and friends of the female sex4 ,king ,charles ,i4 in #afbe wrote1 ,for mine own particular opinion ,i do not think 444 that ,women should be allowed to sit in the chancel1 which was instituted for ,clerks2 and in #afcc1 when he visited ,durham cathedral1 the choir was cleared of all the seats occupied by the ,mayor and ,corporation and the wives of the ,dean and ,prebendaries and other women of quality1 and his ,majesty gave orders that they should never again be erected1 that so the ,quire may ever remain in its ancient beauty4 ,even to this day in some cathedrals it is the usage to allow women to sit only in the lower desks of the choir and not in the stalls above4 ,nevertheless in plenty of instances the pertinacity of women prevailed2 and where the husband sat in the chancel1 there the wife insisted on sitting beside him4 ,thus in a suit instituted by ,lady ,wyche in #adfh1 the lady put it on record that she had a seat in the chancel3 jeo aye un lieu de seer en le chauncel4 ,in #adfh two ladies had seats in the chancel of ,rotherham church2 for the master of the grammar school willed that he be buried in south chancel#ei near the stall in which the wife of the ,bailiff of ,rotherham and the testator's wife sit4 ,in #aeec a new pew was made for ,sir ,arthur ,d',arcy and his wife at ,st ,botolph1 ,aldgate3 ,paid to ,mattram1 carpenter1 for three elm #ie boards for the two new pews in the quire where ,sir ,arthur ,darsey and his wife are set 444 ijs4 viijd4 ,the same parish in #aehg gave ,master ,dove permission to build a pew for himself1 another for his wife to sit in1 being in the chancel4 ,therefore we come to the conclusion that at any rate from the thirteenth century onward more and more seats were provided in the chancel for lay folk4 ,where1 as in the parish church of ,boston1 the stalls are very numerous--at ,boston there are sixty-four--it is likely that a considerable number of them were appropriated to various important gilds connected with the church4 ,but there is another purpose which parochial stalls subserved1 and that is the most important of all3 viz41 to accommodate a surpliced choir4 ,the introduction of surpliced choirs into chancels in modern days was an innovation at first deeply resented1 and seems to have been usually made in ignorance of the existence of medival precedent4 ,precedent there is1 however1 in abundance4 ,england was a merry1 tuneful land before the ,reformation1 and nowhere more than in the churches4 ,the musical part of the service grew more and more ornate1 especially in the last years immediately preceding the ,dissolution2 the parishes--village and town parishes alike--delighted in the cheerful noise of organs and fiddles and anthems1 and spent on music a very large part of the church income4 ,the early years of the sixteenth century were a glorious time for church music2 the parishioners loved it and would have it1 and were willing to pay for it2 it was not forced on them from above2 it was the people and the people's churchwardens who would have it4 ,what a joyful sound we should hear from the church doors if we could enter once more an ,english church of the sixteenth century and hear the surpliced men and boys a singing in the choir1 accompanied by organs and citterns and fiddles and crowdes and dulcimers and all instruments of music in the rood loft1 with perhaps an anthem or a solo on high festival days from distinguished vocalists of the neighbouring villages2 those were happy times4 ,take the churchwardens' accounts of ,st ,mary at ,hill1 ,london4#fj ,in this church in #aebc there was paid #ae;d4 for #f round mats of wicker for the clerks4 ,if we assume six more for the boys1 we get a regular choir of six men and six boys4 ,but besides these an extra choir of choirmen and boys was engaged for special days4 ,in #aebg there was paid #i;d4 at the ,sun tavern for the drinking of ,mr ,colmas and others of the ,king's chapel #if that had sung in the church of ,st ,mary at ,hill4 ,in #aeec there was paid #af;d4 to the gentlemen of the ,queen's chapel for singing a mass at ,st ,mary at ,hill4 ,again1 in #aebg there was paid #gs4 for bread1 ale and wine for the quire1 and for strangers at divers feasts in the year past2 these strangers would probably be singers hired from other churches4 ,the above entry shews that the choir was paid in kind as well as in money4 ,the choirmen received quite handsome salaries4 ,in #aebd ,morres1 the bass1 was receiving from the parish #bj nobles a year4 ,john ,hobbes was the most expensive member of the choir4 ,in #aeef there was paid to ,john ,hobbes #efs4 #h;d41 being one quarter's wages1 for his services in the choir4 ,this choirman therefore had a salary of #aa4 #fs4 #h;d4 per annum1 which would be equivalent to about #aac of our money4 ,sir ,john ,parkyns1 a bass1 received a quarterly salary of #aes4 #h;d4 for the help the quire when ,hobbes was dead1 and to have #h;d4 a day every holy day and ,sunday4 ,on the other hand there was paid #abs4 to ,mr ,hilton1 priest1 for three quarters of a year1 for keeping daily service in the quire in #aebh2 this was at the rate of #afs4 per annum2 this compares remarkably with ,john ,hobbes' salary of #aa4 #fs4 #h;d4 per annum2 even allowing for the fact that ,mr ,hilton had other sources of revenue1 we cannot but infer that priests were cheap and good singers dear in the sixteenth century4 ,the parishes were quite willing to pay for good music4 ,at ,braunton1 ,devon1 c4 #aehj1 i4e41 after the ,reformation1 the churchwardens were still paying four or five expensive choirmen1 as well as singing boys2 the highest salary for a choirman was #bfs4 #h;d42 say #ac4 #fs4 #h;d4 per annum2 the choir in this village church could not have cost the parish less than #ajj per annum of our money4 ,in all the choirs there seem to have been singing boys as well as men4 ,we hear in #adgg of four choristers being brought over to ,st ,mary at ,hill for a special service1 for which they received the modest sum of #a;d4 each4 ,at this church it was finally arranged to have a permanent choir1 and what we should call a choir school was established1 with ,john ,norfolk1 the organist1 at the head of it to train the boys3 for there was paid for making clean of a chamber in the ,abbot's ,inn to be a school for ,norfolk's children4 ,the same year ,mr parson gave the boys a playing week to make merry1 and the churchwardens kindly presented the boys and choirmen with #cs4 #d;d4 to spend on their holiday4 ,next year there was again a payment of #cs4 #d;d4 in the playing week after ,christmas to disport them4 ,both the boys and the men wore surplices1 bought at the expense of the parish4 ,in #adif there were at ,st ,mary at ,hill #h surplices for the quire1 of which #ig #b have no sleeves2 and #g rochets for children1 and #f albs for children4 ,in #adii there was paid #ab;d4 for the making of #f rochets for children that were in the quire4 ,at ,st ,nicholas'1 ,bristol1 in #aeba there was paid #a;d4 for making a child's surplice belonging to the quire2 and in #aedb iiis4 viid4 for material to make #b lads' surplices4 ,an inventory of ,huntingfield church1 ,suffolk1 shews that the church possessed vii rochettys ffor men and vii for chyldern1 and that the material of the rochets cost #f;d4 each2 it would seem that this ,suffolk village had seven men and seven boys in the church choir4 ,at ,st ,mary at ,hill there was paid in #aebc for making #ab surplices for men at #f;d4 each1 #fs42 and for #ab surplices for children at #e;d4 each1 #es42 this was a rich city parish1 and could afford to have a pair for each choir man and boy1 one to be in use1 the other at the wash4 ,then music had to be paid for4 ,in the same church in #aebc there was paid for #d hymnals and a processioner1 noted1 for the clerks in the quire1 #fs4 #h;d42 in the same year there was paid for two quires of paper to prick songs in1 #h;d4 ,in #aeee at ,st ,mary the ,great1 ,cambridge1 there was paid #cs4 #d;d4 for the copy of the service in ,english set out by note2 and #as4 #d;d4 for writing and noting part of it to sing on both sides of the quire2 i4e41 they sang antiphonally4 ,there are numerous entries as to the cost of the organ and of the constant repairs which it required4 ,lastly1 there was the organist's salary1 which if it was anything like the sum received by ,john ,hobbes1 would be a heavy item4 ,an eminent organist like ,john ,norfolk1 who was in charge of a choir school1 would expect and no doubt get a large salary4 ,in village churches1 however1 the boys would be trained1 sometimes by a chantry priest if he was under statutory obligation to do so1 more often by the parish clerk4 ,the latter was a permanent official with a freehold1 as he is still1 and a person of much importance and dignity4 ,before the ,reformation1 in addition to serving at the daily ,mass in a village church1 carrying holy water and blessed bread round the parish1 and many other functions1 he was more especially in charge of the musical part of the services4 ,he was expected to sing or chant himself1 especially the psalms2 he had to read the epistles2 and1 at any rate in the sixteenth century1 he had to train the choir boys4 ,it was ordered at ,faversham in #aejf that the clerks1 or one of them1 so much as in them is1 shall endeavour themselves to teach children to read and sing in the quire4 ,and at ,st ,giles'1 ,reading1 in #aedd there was a payment of #abs4 to ,whitborne the clerk towards his wages1 and he to be bound to teach #b children for the quire4 #ih ,illustration3 ,hambleton ,beside the professional choirmen and the parish clerks there were sometimes amateurs also giving help4 ,sir ,thomas ,more used to sing in ,chelsea church like any parish clerk4 ,god's body1 said the ,duke of ,norfolk1 coming on a time to ,chelsea and finding him in ,chelsea church1 singing at ,mass in the choir1 ,god's body1 my ,lord ,chancellor1 what turned parish clerk8 ,put these items together--the wages of choirmen and boys1 and now and then of extra help1 the making1 mending and washing of surplices1 the cost of music1 the salaries of the organist and parish clerk and the cost of the choir school1 and it will be seen that the services of a large town church must have been1 musically1 on quite a grand scale2 it is equally plain that the love of church music and the willingness to pay for it were equally great in the villages4 ,it is not possible here to go further into this matter of the church music4 ,it may be said briefly1 however1 that the plain chant of the ,divine ,office and of the ,mass would be sung in the chancel1 and that for this the permanent village choir of men and boys would suffice4 ,every parish that could afford it seems to have had a rood loft and an organ in it4 ,but the organ would not be used to accompany the plain song1 but for what we call voluntaries in the various intervals of the ,mass and other services4 ,the #ii organ again would be employed when there was singing of motets1 i4e41 anthems1 whether the singers were in the choir or the rood loft4 ,on great days when minstrels playing all manner of instruments were got together to help out the organ1 they would no doubt be placed in the rood loft1 with any extra vocalists for whom place could not be found in the choir below4 ,illustration3 ,chaddesden ,summing up1 we may say that in a parochial chancel seats were required 7#a7 for the parish priest1 the parish clerk and any chaplains or chantry priests2 7#b7 for the patron and a few of the leading churchfolk of the village2 7#c7 for a choir of men and boys which was occasionally enlarged by choirmen and choristers borrowed from neighbouring churches4 ,altogether quite a considerable number of seats would be required2 and we need not be surprised that there are so many stalls in small village churches1 but rather that they are not more2 no doubt1 however1 additional forms or benches would be introduced on days of great festival4 ,not every parish church could afford to have a set of stalls made1 cathedral fashion1 for its chancel4 ,in many cases probably the seats were but benches or settles2 and the naked1 desolate #ajj look of many spacious chancels is no doubt due to the removal of these seats4 ,desks1 or as they were ,latinised deski1 there must have been1 at least one at each side1 on which to place the anthem book1 processioner and other music4 ,we hear of a double desk at ,st ,mary at ,hill2 but only the richest parishes seem to have provided desks for the choir boys as well as for the men4 ,in poor parishes the men had not armed stalls1 but merely a bench to sit on4#fa ,the boys sometimes had a bench2 sometimes1 as at ,stowlangtoft1 ,suffolk 7#ia71 the bench was framed into the desk behind4 ,at the back of the choirmen's seats1 there might be bare wall2 or it might be panelled1 as at ,sall1 ,norfolk 7#he71 or arcaded1 as at ,chichester ,cathedral 7#cf74 ,in richer examples there might be above the panelling a coved cornice1 as at ,stowlangtoft and ,balsham1 ,cambridge 7#c74 ,a still more sumptuous design was to erect a horizontal canopy above the stalls1 as at ,st ,peter's 7#hi7 and ,all ,saints' 7#de71 ,hereford1 and ,brancepeth1 ,john ,cosin's church1 ,durham 7#ic74 ,the return stalls1 facing east1 would be those of the parish priest and his clerical helpers1 and were often more spacious and lofty than the rest1 and backed on to the screen1 as at ,chaddesden1 ,derbyshire 7#ii71 and ,trunch1 ,norfolk 7#he74 ,the workmanship of the best stalls is quite first rate4 ,at ,all ,saints'1 ,hereford1 the timber of the stalls is good sound ,english oak1 all either cleft or cut in the quarter1 proving that the trees were converted into the smallest possible sizes before being sawn from either end1 the very rough saw-kerfs meeting at an angle in the centre of the board4#fb ,the stalls frequently stand on stone plinths1 pierced for ventilation2 e4g41 at ,sall and ,trunch 7#he74 99 99 99 99 99 #aja ,,part ,,ii ------ ,,chapter ,,vii ,,bishops' ,,thrones ,in the next chapter we deal with movable chairs and thrones1 descendants more or less of the sella curulis and the sella gestatoria4 ,more important still are the fixed thrones of ,early ,christian days4 ,these were not of wood or ivory1 but of masonry1 usually marble4 ,in shape they were just high-backed chairs of marble4 ,now countless numbers of such marble chairs or stalls were in use in the theatres1 therm and amphitheatres of ,pagan ,rome2 the therm of ,caracalla alone possessed #fjj such marble stalls4 ,doubtless many a bishop's throne1 like those at ,st ,john ,lateran1 ,st ,clement and ,cosmedin1 ,rome1 was actually taken from one of the ,roman therm4 ,similar bishops' chairs1 cut out of the solid rock1 occur in the catacombs of ,rome4 ,the position of the fixed marble throne of an ,early ,christian bishop was high up in the centre of the back wall of the apse of the church4 ,in ,dalmatia and ,istria several thrones retain their original position4 ,at ,parenzo there remains the semicircle of marble seats for the clergy with the episcopal throne in the centre2 a work of the first half of the sixth century4 ,at ,aquileia1 in the centre of the east end1 is the ,patriarch's throne of veined white marble1 inlaid with serpentine2 it is made up of portions of an older throne of genuine ,byzantine work4 ,at ,grado the marble throne at the east end of the church seems to have been made up in the ninth century2 it is surmounted by a stone tester4 ,at ,zara in the same position is another marble chair1 raised on five steps4 ,at ,trau the bench of the clergy remains1 but the bishop's throne has been destroyed4 ,at ,ossero also is a marble throne made up of fragments of older work4#fc ,in the apse of the twelfth century church of ,s4 ,stefano1 ,bologna1 is a bishop's throne ten steps above the choir4 ,another remains in situ in ,vaison cathedral1 ,provence4 ,another episcopal chair of marble is now placed on the north side of the sanctuary of ,avignon cathedral2 on it are carved the emblems of the ,evangelists 7#ajd74 #ajb ,illustration3 ,exeter #ajc ,illustration3 ,exeter #ajd ,in the ,victoria and ,albert ,museum is a throne1 painted and gilded1 dated #aggi1 from a church in ,cyprus4 ,in ,norwich cathedral in the centre of the apse wall of the presbytery there are the fragments of the original stone seat built for the use of the bishop1 and on the pavement and adjoining piers there are traces of the steps by which his throne was reached4 ,when ,blomfield wrote his ,history of ,norfolk1 #agci-agge1 the steps of the throne had not been disturbed2 the ancient bishop's throne ascended by three steps1 and when built1 before a rood screen was erected1 the bishop had an uninterrupted view down the whole church to the west end of the nave4#fd ,illustration3 ,avignon ,in ,canterbury cathedral is a stone chair1 which as at ,norwich was originally at the back of the ,high altar2 it was removed from that position by ,archbishop ,howley c4 #ahdj1 but has recently been replaced2 it consists of three blocks of ,purbeck marble 7#aje74 ,the chronicler ,eadmer1 writing of the ,pre-,conquest cathedral burnt down in #ajfg1 says that the pontifical chair in it was constructed with handsome workmanship and of large stones and cement4 ,the description would apply very well to the present chair3 but the monk ,gervase states that in ,lanfranc's cathedral1 finished in #ajgg1 the patriarchal seat1 on which the archbishops were wont to sit during the solemnities of the ,mass1 until the consecration of the ,sacrament1 was of a single stone4 ,it would seem therefore that the ,anglo-,saxon chair perished in the fire of #ajfg1 and that its successor experienced the same fate in #aagd4 ,the probability is therefore that the present chair was made between the fire of #aagd and the consecration of #aahd4 ,a decisive argument against a ,pre-,conquest date is the fact that the throne is made of ,purbeck marble--for this material seems not to have come into use till after the middle of the twelfth century in the ,norman house at ,christchurch on the ,avon1 in ,st ,cross'1 ,winchester1 and in ,william of ,sens' work at ,canterbury4 #aje ,illustration3 ,canterbury ,the position of the pontifical throne at ,canterbury has varied at different periods4 ,eadmer states that the cathedral burnt down in #ajfg was orientated to the east1 where was the presbytery containing the ,high altar4 ,but at the west end of the church was the altar of ,our ,lady1 and behind this altar was the throne adjoining the west wall4 ,this unusual position is only explicable by the assumption that the first cathedral at ,canterbury was orientated to the west1 and that the site occupied in #ajfg by the altar of ,our ,lady was originally that of the ,high altar4 ,the western position so postulated for the ,high altar and the throne was originally that of most of the ,early ,christian basilicas at ,rome1 in particular the ancient basilica of ,st ,peter4 ,at a later period the orientation was often reversed1 e4g41 in ,st ,paul extra muros1 ,rome2 what happened in this latter church seems also to have happened in ,anglo-,saxon times at ,canterbury4 ,a similar change has occurred in the ,french cathedral of ,nevers2 where1 however1 though in ,gothic days a presbytery and ,high altar were constructed at the east end of the church1 the early #ajf ,romanesque presbytery1 crypt1 and two bays of the nave have been allowed to remain to this day4 ,illustration3 ,beverley ,minster ,what looks like a survival of the marble chair of the bishop is to be seen in the frithstols of ,hexham and ,beverley 7#ajf74 ,these also are of masonry1 and are so similar in design to the ancient marble thrones that one is tempted to speculate that the original usage of sanctuary was for the offender to fly to and occupy the actual throne of the bishop or archbishop4 ,as has been said1 in the ,early ,christian churches both the altar and the seats of the bishop and his clergy were usually at the west end of the church to the west of the ,high altar1 so that the clergy faced towards the east1 while the congregation faced towards the west4 ,but early examples occur of churches with the modern orientation4 ,when this was the case1 the congregation faced east2 and where the ancient position of the throne and benches was retained1 the clergy were left in an anomalous position facing west4 ,this led1 first to the clergy1 then the bishop1 migrating elsewhere4 ,the higher clergy took up their position in the return stalls of the choir1 facing east2 the lower clergy occupied stalls north and south of the choir4 ,as for the bishop1 he could not seat himself as before1 facing the altar1 for his throne would have blocked the entrance into the presbytery4 ,he therefore set up his throne on the south side of the choir1 at the eastern end of the southern range of stalls4 ,and this is where we find him in ,gothic days4 ,there is one chief exception4 ,in cathedrals served by monks1 the bishop was the titular abbot of the house1 though the superintendence of the monastery had necessarily to be left mainly in the hands of the prior2 and so to this day in some churches the bishop has no throne1 but occupies the ancient abbot's stall--at ,ely the stall of the ,benedictine abbot1 at ,carlisle the stall of the ,augustinian abbot4 #ajg ,illustration3 ,durham ,the change of position from the back of the ,high altar to the front of it was a complete break with tradition4 ,equally complete was the break in design4 ,in the design of the ,gothic throne there is no reminiscence whatever of the marble chairs of the ,early ,christian basilicas and the ,pagan ,therm4 ,the ,gothic thrones are but glorified versions of such stalls and spirelet-tabernacles as those of ,lincoln2 they are spacious stalls1 sometimes1 as at ,st ,david's1 big enough to hold a bishop and two chaplains1 and crowned with a spire of open woodwork4 ,the earliest and grandest is that of ,exeter cathedral2 the ,fabric ,rolls shew that in #acab during the episcopate of ,bishop ,stapledon there was paid for timber for the bishop's seat #f4 #abs4 #h;d4 ,the oak was kept four years before it was used4 ,then #d was paid to ,robert de ,galmeton for making the bishop's seat by contract4 ,there was also a charge of #cjs4 for #ajh painting1 and there must have been one for carving the statues in the canopy4 ,the whole cost would be about #ac2 say #bjj in our money2 a sum surprisingly small for work of such magnitude and delicate detail4 ,the throne was evidently intended to have a chair placed under it1 and probably seats for the bishop's chaplains to the right and left4 ,it is #eg feet high2 at present its niches look somewhat unsubstantial and meagre2 but that is because all the niches were tenanted with statues1 and all have disappeared4 ,the carved foliage is of exceptional excellence1 and the corners of the pinnacles are occupied with small heads of oxen1 sheep1 dogs1 pigs1 monkeys and other animals 7#ajb74 ,illustration3 ,st ,david's #aji ,illustration3 ,st ,david's #aaj ,not much later is the throne in ,hereford cathedral4 ,that at ,wells is fifteenth century work1 and by a pretty fancy of the restorers its tracery is filled with modern plate glass1 and the door is a solid swinging stone6 ,that at ,st ,david's is nearly #cj feet high4 ,of the throne erected by ,bishop ,gower c4 #acdb there remains in situ only the low partition surrounding it2 the present throne was probably put up by ,bishop ,morgan between #adif and #aejd 7#aji74fe ,the throne at ,durham is of masonry1 and in two parts of different dates4 ,the lower portion contains an altar tomb surmounted by a recumbent effigy of the bishop in richly worked robes beneath a rich lierne vault4 ,no doubt ,bishop ,hatfield as usual put this up during his lifetime2 he was bishop from #acde to #acha4 ,this lower part is an exquisite example of the design in vogue before the advent of the ,black ,death of #acdi-ej4 ,on the tomb is the pulpit1 which bears unmistakable marks of the change of style which became general after #acej4 ,the drawing shews the throne as it was in #ahdc 7#ajg74 99 99 99 99 99 #aaa ,,chapter ,,viii ,,chairs ,,in ,,churches ,hardly anything in a cathedral has so venerable a history as the throne and chair of the ,bishop1 of wood or ivory4 ,the origin of this type of ,bishop's chair goes back to ,pagan ,rome4 ,there the greater officials had two official chairs1 both portable2 one1 the sella curulis in which they sat while administering justice2 the other1 the sella gestatoria in which they were carried in procession4 ,the sella curulis was a folding chair with crossed legs like the chair of ,dagobert in the ,hotel ,cluny1 ,paris3 chairs of this form are still in use in many ,continental cathedrals4 ,the sella gestatoria was a kind of sedan chair1 shaped like a settle2 with high back and usually without arms2 it was provided with rings through which were passed staves when it was borne in procession4 ,similar is the ,pope's chair in ,st ,peter's1 ,rome1 last shewn in #ahfg 7#aab74 ,it is said to have belonged to the ,senator ,pudens and to have been used by ,st ,peter4 ,whether that be so or not1 it is undoubtedly very ancient1 and its legs may be of the ,apostolic age2 they are of yellow oak1 worm-eaten1 and chipped by pilgrims who carried away bits as relics2 the seat and back are of acacia wood and are of a later period4 ,this back is ornamented with ivory panels carved to represent the ,labours of ,hercules2 the panels are probably of the ninth century1 for among the decorations is a bust with a crown bearing fleurs de lis1 and what seems to be a portrait of ,charles the ,bald4#ff ,very similar is the chair in which ,st ,silvester is represented as seated in the dome of the apse of ,st ,john ,lateran1 where the mosaics are those of #abia1 copied probably from the original ones executed in #dbh4 ,similar chairs also appear in the mosaics of ,sta4 ,pudentiana and other ,roman basilicas1 and in those of ,santa ,sophia1 ,constantinople4 #aab ,illustration3 ,pope's ,chair #aac ,in the ,archbishop's chapel at ,ravenna is preserved a chair made for ,maximian who was ,archbishop of ,ravenna from #edf to #eef4 ,it is in wood entirely covered with plaques of ivory1 arranged in panels1 with ,scriptural subjects--among others the story of ,joseph--and figures of saints richly carved in high relief4 ,the plaques have borders with foliated ornaments1 birds and animals1 flowers and fruit1 filling the spandrels4 ,illustration3 ,pope's ,chair ,at ,lincoln is a wooden chair1 which appears to be c4 #acjj2 it has recently been placed in the ,chapter ,house and is now used by the bishop at diocesan synods 7#aad74 ,it is possible that since several ,parliaments met at ,lincoln1 between #abfe and #acbg1 that this may be the royal chair3 it may well have been used also at the great trial of the ,knights ,templars1 which was held in the ,chapter ,house in #acaj4 ,it is only original up to the level of the arms2 the lions1 the back and the canopy are modern4 #aad ,illustration3 ,lincoln ,illustration3 ,hereford ,cathedral #aae ,in ,hereford cathedral is an ancient wooden chair1 once coloured in red and gold2 it is composed of fifty-three pieces2 not counting the seat of two boards and the two circular heads in front2 it has been variously ascribed to the twelfth or fourteenth century2 but no doubt is ,jacobean1 belonging to the same class of chairs as those enumerated in the following paragraph 7#aad74fg ,at ,stanford ,bishop church1 ,hereford1 is a rude chair or settle1 of oak without nails4 ,it is said to have been traditionally called ,old ,horstin's chair1 and therefore has been supposed1 very improbably1 to be the identical chair seated on which ,st ,augustine received the ,british bishops in ,herefordshire c4 #fjj ,a4,d41 greatly exciting the ire of the irascible ,celts by not rising from his seat to receive them4 ,in the ,canterbury ,museum ,dr ,cox has recently deposited a medival chair believed to be of great antiquity4#fh ,illustration3 ,wells ,illustration3 ,wells ,a few examples remain of what are supposed to have been abbots' chairs4 ,in the ,bishop's ,palace at ,wells is preserved a chair of remarkable type1 said to have been used by the ,abbot #aaf of ,glastonbury4 ,in the ,college1 ,manchester1 is or was an ancient chair of the same baluster shape2 and a very similar one formerly was to be seen in ,agecroft ,hall1 ,manchester4 ,in the cottage at ,zaandam1 ,holland1 is a baluster chair1 formerly used by ,peter the ,great4 ,another chair of this type1 but of simpler form1 is that once used by ,john ,bunyan1 and now preserved1 together with his pulpit1 in the meeting house of the ,independent ,congregation at ,bedford4 ,in the ,victoria and ,albert ,museum is an arm-chair with balusters of turned ash4 ,all these chairs are of seventeenth century date2 no abbot of ,glastonbury can have sat in the chair in the ,bishop's ,palace at ,wells 7#aae1 on the left74 ,illustration3 ,dunmow ,illustration3 ,winchfield ,a chair from ,glastonbury1 bearing an inscription1 and in date c4 #aecj1 is now in the chapel of the ,bishop's ,palace at ,wells2 modern copies of it may be seen in hundreds of churches4 ,it is inscribed ,monachus ,glastonie and ,johannes ,arthurus2 a similar chair was formerly in ,southwick ,priory1 ,hampshire 7#aae74 ,an abbot's chair1 reputed to have belonged originally to ,peterborough cathedral1 stands in the south chapel of ,connington church1 ,hunts1 where it is said to have been brought from the collegiate church of ,fotheringhay1 and is said to have been the last chair in which ,mary1 ,queen of ,scots1 sat previous to her execution4 ,from ,little ,dunmow priory came the chair now in ,great ,dunmow church1 ,essex2 its trefoiled arcading shews that it was made in the thirteenth century4 ,in it1 up to #aijg1 were chaired the married couple who had not repented them1 sleeping or waking1 of their marriage in a year and a day4 ,the first recorded claim for the happy-marriage prize was made at the ,priory in #adde 7#aaf74 #aag ,illustration3 ,coventry #aah ,illustration3 ,bishop's ,cannings #aai ,a magnificent and well-preserved seat is to be seen in ,st ,mary's ,hall1 ,coventry1 and is assigned to the middle of the fifteenth century3 it is of oak4 ,from the mortices at one end and the discontinuance of the lower pattern it would seem to have been attached to a set of stalls1 and to have belonged therefore originally to some church or chapel 7#aag74fi ,illustration3 ,jarrow ,illustration3 ,beeston ,regis ,in ,bishop's ,cannings church1 ,wiltshire1 is a remarkable seat believed to be a carrel1 or desk and seat1 such as used to be employed by monks when at study in their cloister2 it may have been brought from some monastic house4 ,it consists of an upright panel1 with some fifteenth century moldings at the #abj top and sides2 against this panel is constructed a seat1 facing sideways1 with a flooring1 a back the ordinary height of a pew1 a door facing the panel1 and a sloping desk facing the seat4 ,with this description may be compared that of the monastic carrels given in the ,rites of ,durham2 ,in the north side of the cloister from the ,corner over against the ,church ,door to the corner over against the ,dorter door was all finely glazed from the height to the sole within a little of the ground into the cloister garth1 and in every window three pews or carrels where every one of the old monks had his ,carrel1 several by himself1 that when they had dined they did resort to that place of cloister1 and there studied upon their books1 every one in his carrel1 all the afternoon unto evensong time2 this was their exercise every day4 ,all their pews or ,carrels was all finely wainscotted and very close1 all but the forepart1 which had carved work that gave light in at the carrel doors of wain scot4 ,and in every ,carrel was a desk to lie their books on2 and the ,carrels was no greater than from one stanchion of the window to another4 ,illustration3 ,lutterworth ,on the inner side of the large panel are a variety of brief admonitory sentences1 painted in ,latin black letter on the thumb and four fingers of a rudely outlined hand1 inscribed at the cuff ,manus meditationis2 beginning on the thumb with ,nescis quantum1 ,nescis quoties1 ,deum offendisit4 ,below the hand with its pious sentences on the respective points of each finger1 two cocks are painted1 the one white and the other black2 from their beaks proceed two labels1 bearing further ejaculations 7#aah74gj #aba ,illustration3 ,westminster ,abbey #abb ,illustration3 ,winchester ,cathedral ,in ,st ,paul's church1 ,jarrow1 is a very rude seat known as the chair of the ,venerable ,bede2 he was a monk of ,jarrow1 and died in #gdb2 only the sides and seat and the crossbar at the top are original4 ,mr ,mickethwaite was of opinion that it was originally a settle2 and it seems hardly likely that the chair can have survived from the eighth century1 especially as the monastery of ,jarrow was repeatedly burnt by the ,danes2 but it is of an exceptionally hard oak1 and bears marks of fire1 and has had its present designation for several centuries4#ga ,it will be noticed that the standards have been whittled away by relic hunters 7#aai74 ,at ,lutterworth is a well-known chair2 the tradition is that it was used by ,john ,wyclif1 and that he was smitten with paralysis while sitting in it hearing mass1 on ,holy ,innocents' day1 #achd1 and was carried in it to the rectory hard by1 where he died on the last day of that year4 ,a brass plate on it records the tradition2 but the chair is plainly ,jacobean and of domestic origin2 there is another chair in the chancel of exactly the same shape and pattern 7#abj74 #abc ,illustration3 ,mainwaring ,chapel ,illustration3 ,higher ,peover #abd ,at ,kidderminster ,baxter's chair is preserved2 on it is the following inscription3--,rev4 ,rd ,baxter born nr ,shrewsbury in #afae and died at ,london in #afia4 ,chaplain to ,king ,charles ,,ii4 ,rev4 ,t4 ,doolittle1 ,m4,a4 ,sr ,h4 ,ashurst ,bt1 ,kidderminster1 ,a4 #afej ,d4 ,baxter speaks of ,mr ,thomas ,doolittle1 born in ,kidderminster1 as a good schollar1 a godly man1 of an upright life and moderate ,principles1 and a very profitable serious ,preacher4 ,to ,sir ,henry ,ashurst1 ,bart41 ,sylvester dedicated his ,reliquiae ,baxterianae1 #afif4 ,he also stood by ,baxter in the day of his trial and distress1 paid the fees for his six counsel1 and when the trial before ,judge ,jeffries was over1 led ,baxter through the crowd1 and conveyed him away in his coach4 ,he was also ,baxter's executor1 and it is possible the chair may originally have belonged to him4 ,at ,beeston ,regis1 ,norfolk1 is a fine old seat1 now used by the parish clerk 7#aai72 it would seem to be of the period of the work at ,balsham and elsewhere 7#c74 ,at ,winchfield1 ,hampshire1 is another old seat of rude and early design 7#aaf74 ,illustration3 ,puddletown ,stone seats are occasionally found4 ,where they are placed south of the altar1 they are probably sedilia2 but not when they are placed in the western bay or bays of the chancel or in the nave4 ,at ,barnack the remains of a stone seat were found on the west wall of the ,pre-,conquest tower2 it had formerly an oak seat and oak slabs on either side3 a stone seat occurs also in the west wall of the nave of ,old ,radnor church4 ,a stone seat is not uncommon in the western bays on the south side of chancels2 the object of this is not clear2 perhaps it was to provide a seat for the priest while reading his office2 in later days1 as we have seen1 oak stalls were common in parish chancels1 and the priest would read his office in one of these4 ,several examples occur4 ,there is a rude example in the ,pre-,conquest church of ,corhampton1 ,hampshire4 ,others1 probably #abe of thirteenth century date1 occur at ,warlingham1 ,surrey1 and ,halsham and ,sprotborough1 ,yorkshire4 ,at ,lenham1 ,kent1 is one with solid stone arms1 and with a cinquefoiled canopy of later date4 ,illustration3 ,redenhall ,illustration3 ,redenhall ,last1 we have the ,coronation chair at ,westminster1#gb which has a long1 if somewhat unreliable history behind it4 ,the stone beneath it is said to have been the one on which ,jacob's head rested at ,bethel2 from whence it travelled to ,egypt1 and thence to ,spain1 ,ireland and lastly ,scotland4 ,king ,kenneth of ,scotland had the following inscription engraved on it in ,latin verse3-- ,ni fallat fatum1 ,scoti quocunque locatum ,invenient lapidem regnare tenentur ibidem2 a prophecy curiously fulfilled on the accession of ,james ,i4 to the ,english throne 7#aba74 ,on the upper surface of the stone is a rectangular groove large enough to receive an inscribed plate4 ,edward ,i4 found the stone in #abif at ,scone abbey1 where the ,scotch kings had always been crowned on it4 ,he carried it to ,london1 and in #acjj ,master ,adam1 the king's goldsmith1 was working at a bronze chair to hold it4 ,but when this was nearly #abf finished1 the king altered his mind and had a copy of it made in wood--the present chair--which cost #ajjs41 by ,master ,walter1 the king's painter4 ,the chair has lost the quatrefoils in front1 and the lions are of recent date4 ,it originally stood in the same position as a bishop's chair1 i4e41 at the back of the ,high altar and in front of the shrine of ,edward the ,confessor1 and facing to the west4 ,it is made of oak1 fastened together with pins2 the surface was first covered over with the usual gesso2 then gold was applied by means of white of egg1 and burnished2 then minute dots1 forming diapers of foliage1 beasts1 birds1 c41 were pricked on the surface of the gold1 taking care not to penetrate it1 with a blunt instrument before the ground and gilding had lost their elasticity2 a most tedious and delicate process4 ,a second chair1 modelled on the older one1 was made on her coronation for ,mary ,,ii41 ,queen of ,william ,,iii4 ,it used to stand by the side of the king's chair1 but has been moved to the easternmost recess of ,henry ,,vii4's chapel4 ,in ,winchester cathedral is the chair which was used by ,mary ,i4 on her marriage with ,philip of ,spain1 which was solemnised in the ,lady chapel3 it is now placed in ,bishop ,langton's chapel 7#abb74 ,very similar is a chair preserved in ,york ,minster1 which1 owing to the shield attached in front1 is probably not older than the time of ,richard ,,ii43#gc the cushion is stuffed1 and covered with green velvet2 the shield also is covered with leather1 the upper part of which has been torn away1 and the lines upon it are but slightly stamped4 ,at ,constance is shewn a similar chair of ,martin ,v41 who was elected ,pope there in #adag4 ,illustration3 ,much ,hadham #abg ,illustration3 ,cartmel ,in addition to the above1 chairs are often placed in the presbytery to the north of the altar4 ,these were occupied by the preacher during morning or evening service1 till his turn came to ascend the pulpit and deliver the sermon4 ,of these the greater number no doubt have been presented by the owner of some manor house or parsonage1 or have been picked up in recent years in some second-hand furniture shop4 ,this is probably the case with the interesting chair which is known to have been for nearly a century in the ,mainwaring chapel of ,higher ,peover church1 ,cheshire2 it bears not only the name1 but the portrait and initials of the owner4 ,the inscription is ,,dorathy ,,maynwaring2 she married ,sir ,richard ,mainwaring of ,ightfield1 ,salop1 ,high ,sheriff of that county in #aede4 ,most of the chair is older than her time2 ,dorothy seems to have had it put together of old bits of carving1 adding her name and portrait1 and the raven1 the crest of her father1 ,sir ,robert ,corbet4 ,she lived at ,ightfield1 and it was probably when that branch of the family became extinct that the chair was brought to ,higher ,peover church1 and placed in the ,mainwaring chapel4 ,at the top are holes for holding sconces in which tapers would be placed 7#abc74 #abh ,illustration3 ,suffolk ,illustration3 ,halsall ,at ,penshurst there used to be a chair with a bust on the inner panel of the back2 the tradition was that it belonged to ,sir ,philip ,sidney4#gd ,at ,puddletown1 ,dorset1 a chair has been in the chancel for very many years2 it is of ,elizabethan date1 and was probably brought from some hall or manor house4 ,the tall narrow back1 the broadening seat1 the vertically straight1 but horizontally angled arms are those of the ,french caqueteure type rarely seen in ,england4 ,the strap carving of the back is of the best2 while the twin greyhounds with averted heads that fit the curved top of the chair no doubt have reference to the original owner 7#abd74ge ,at ,upton1 near ,castor1 there #abi are two chairs in the chancel2 on one of which is inscribed ,a4,d4 #agjj--;,joane ,browne--,want ,not4 ,the other has the initials ,j4 ,d42 the ,doves were ,lords of the ,manor at that time 7#acj74gf ,in ,redenhall church1 ,norfolk1 is one of two chairs brought there from ,canterbury cathedral by ,archbishop ,sancroft on his expulsion from the see in #afae2 it is of a curious pattern common in the latter part of the seventeenth century1 in which the back is hinged and can be turned over to convert the chair into a table4 ,archbishop ,sancroft is buried at ,redenhall1 which1 by the way1 possesses perhaps the finest church tower of any village in ,england and an exceptionally fine ring of ancient bells4 ,the other chair is kept at ,gawdy ,hall1 the seat of the ,sancrofts 7#abe74 ,in many cases the chair is a composite product1 made up of fragments of screens1 bench ends and the like2 this seems to be the case with the chairs in the churches of ,bridford1 ,devon1 and ,othery1 ,somerset2 that at ,much ,hadham1 ,hertfordshire1 appears to be put together out of the fragments of a screen 7#abf74 ,in the ,chapter ,house of ,gloucester cathedral are two chairs1 on the inner panels of the back of which are carved ,the ,last ,supper and ,the ,ascension respectively2 the panels were presented in the time of ,dean ,law1 and1 provided with a framework1 now form part of two chairs4 ,illustration3 ,combmartin ,where1 however1 the chair has a representation of some ecclesiastical subject1 the presumption is that it was made for the church in which it is placed4 ,in ,cartmel ,priory church is a fine chair on the back of which is represented the ,resurrection2 below are seen the ,roman soldiers2 above1 ,christ shews the wounds in ,his hands 7#abg74 ,at ,sanderstead1 ,surrey1 ,abraham #acj with uplifted sword is about to slay ,isaac2 on the right is shewn the ram1 on the left an angel4 ,the same subject appears1 better carved1 on the back of one of two chairs brought from a church in ,suffolk1 now pulled down2 on the other chair is a representation of what looks like the ,temptation 7#abh74 ,in ,halsall church1 ,lancashire1 are two beautiful chairs with the initials ,,ihs2 beneath them is a scroll on which is inscribed ,ecce quomodo amabat 7#abh74 ,in the ,victoria and ,albert ,museum is a similar winged chair1 which bears the initials ,,ipi and the date #afgj4 ,in the chancel of ,combmartin church1 ,devon1 is a mahogany chair with wheat and grapes1 apparently referring to the sacramental bread and wine2 it had been for many years in the family of the present incumbent1 ,rev4 ,f4 ,w4 ,jones1 and was presented by him to the church2 it is possible that it was originally made for a church 7#abi74 ,illustration3 ,upton #aca ,illustration3 ,henry the ,seventh's ,chapel1 ,westminster 99 99 99 99 99 #acc ,,index ,,to ,,places ,,and ,,illustrations ------ ,numbers followed by the name of the ,photographer or the ,draughtsman refer to ,illustrations ------ ,aberdeen1 ,king's ,college1 #bi1 #fh ,abergavenny ,priory1 ,monmouth1 #df1 ,g4 ,g4 ,buckley4 #bi1 #dj1 #dg ,amiens1 #aa ,aquileia1 #aja ,avignon1 #ajd1 ,f4 ,bond4 #ajd ,balsham1 ,cambs41 #c1 ,g4 ,g4 ,buckley4 #a1 #e1 #ajj1 #abd ,barnack1 ,northants1 #abd ,basing1 ,hants1 #gi ,bedford1 #aaf ,beeston ,regis1 ,norfolk1 #aai1 ,c4 ,f4 ,nunneley4 #abd ,belgium1 #bi1 #ca ,beverley ,minster1 ,yorks41 #c1 #ad1 #ad2 ,c4 ,goulding4 #g1 ,alan ,potter4 #bg1 #fc1 #fd1 and frontispiece2 ,w4 ,e4 ,wigfall4 #fd1 #fe1 #ajf2 ,f4 ,h4 ,crossley4 #e1 #g1 #bf1 #bi1 #dj1 #ea1 #fe1 #ff1 #fh1 #gd1 #ajf ,beverley ,st ,mary1 #b1 ,f4 ,h4 ,crossley4 #a1 #e ,bishop ,auckland1 ,durham1 #ca1 #fg ,bishop ,cannings1 ,wilts41 #aah1 ,wilts4 ,archological ,society4 #aai ,blythburgh1 ,suffolk1 #aa1 ,s4 ,gardner4 #g ,bologna1 ,st ,stefano1 #aja ,bossal1 ,yorks41 #ib ,boston1 ,lincs41 #hf1 #ie ,brancepeth1 ,durham1 #ic1 ,f4 ,bond4 #ca1 #fg1 #ajj ,braunton1 ,devon1 #if ,brescia1 ,sta4 ,maria dei ,miracoli1 #hb ,bristol ,cathedral1 #bi1 #ej4 ,st ,nicholas1 #ig ,bruges1 #fh1 #gj ,burlingham ,st ,edmund1 ,norfolk1 #he ,cambridge1 ,great ,st ,mary1 #ig4 ,king's ,college ,chapel1 #gh1 ,f4 ,r4 ,taylor4 #e1 #bi1 #ge1 #gg1 #gi1 #hb ,canterbury ,cathedral1 #aje1 ,s4 ,gardner4 #bc1 #ca1 #cf1 #ec1 #hd1 #ajd1 #aae ,carlisle ,cathedral1 #ba1 ,r4 ,billings4 #ei1 ,f4 ,bond4 #bc1 #bi1 #ea1 #eh1 #fa1 #ff1 #fh1 #gj1 #hb1 #ajf ,cartmel1 ,lancashire1 #hj1 #ha1 #abg2 ,f4 ,h4 ,crossley4 #e1 #ca1 #ge1 #gi1 #abi ,chaddesden1 ,derbyshire1 #ii1 ,g4 ,h4 ,widdows4 #ab1 #ajj ,chelsea1 #id1 #ih ,chester ,cathedral1 #i1 ,w4 ,m4 ,dodson4 #aj1 #bd1 #ec1 #ee1 #ef2 ,f4 ,h4 ,crossley4 #e1 #f1 #g1 #aj1 #ab1 #bc1 #bf1 #bi1 #ea1 #ed1 #eh1 #fa1 #ff1 #fh1 #gj ,chichester ,cathedral1 #cf1 ,p4 ,m4 ,johnston4 #e1 #bf1 #bi1 #cf1 #ch1 #dg1 #ajj ,christchurch1 ,hants1 #b1 ,g4 ,f4 ,gillham4 #gf1 #gg2 ,f4 ,h4 ,crossley4 #a1 #e1 #bi1 #ge1 #gg1 #gi1 #hb1 #aje ,cockersand ,abbey1 ,lancs41 #dc ,combmartin1 ,devon1 #abi1 ,w4 ,m4 ,dodson4 #acj ,connington1 ,hunts41 #aaf ,constance1 #abf ,constantinople1 ,santa ,sophia1 #aaa ,corhampton1 ,hants1 #abd ,coventry1 ,st ,mary's ,hall1 #aag1 ,anon4 #aai ,cyprus1 #ajd ,dalmatia1 #af1 #aja ,dinant1 #ca ,dunblane1 ,scotland1 #fg1 ,w4 ,maitland4 #e1 #bi1 #fg ,dunis1 ,flanders1 #fh ,dunmow1 ,essex1 #aaf1 ,f4 ,r4 ,taylor4 #aaf #acd ,durham ,cathedral1 #bb1 #ajg2 ,r4 ,billings4 #ff1 ,f4 ,bond4 #ae1 #ca1 #ea1 #ff1 #fh1 #id1 #aaj4 ,castle1 #e ,ely ,cathedral1 #cg1 ,g4 ,h4 ,tyndall4 #ac1 #bj1 #bi1 #cf1 #cg1 #ch1 #dj1 #dc1 #dg1 #di1 #ea1 #fa1 #ff1 #fh1 #ia1 #ajf ,etwall1 ,derbyshire1 #ac1 ,g4 ,h4 ,widdows4 #h ,exeter1 #ajb1 ,e4 ,k4 ,prideaux4 #ajc1 ,g4 ,h4 ,widdows4 #ab1 #ae1 #bc1 #ajg ,faversham1 ,kent1 #ig ,flanders1 ,west1 #fh1 #gj ,fotheringhay1 ,northants1 #aaf ,france1 #ca1 #fg1 #fh1 #ib1 #aje ,fressingfield1 ,suffolk1 #h ,gawdy ,hall1 ,norfolk1 #abi ,gendron-,celles1 #ca ,glastonbury1 ,somerset1 #aae1 #aaf ,gloucester ,cathedral1 #ch1 ,oscar ,clark4 #bc1 #bi1 #cc1 #ch1 #dj1 #abi ,grado1 #aja ,great ,burstead1 ,essex1 #id ,halifax1 #hi ,halsall1 ,lancashire1 #abh1 ,g4 ,g4 ,buckley4 #acj ,halsham1 ,yorkshire1 #abe ,hambleton1 ,worcester1 #ih1 ,g4 ,h4 ,poole4 #ajj ,hampton ,court1 ,middlesex1 #ge1 #gg ,hastires1 #ca ,hemingborough1 ,yorks41 #hg1 ,c4 de ,gruchy4 #cc1 #gg1 #hh ,hereford ,cathedral1 #dc1 ,g4 ,b4 ,atkinson4 #aad1 ,a4 ,j4 ,wilson4 #ac1 #bj1 #bf1 #bi1 #dj1 #dd1 #ajh1 #aae4 ,all ,saints'1 #dd1 ,g4 ,g4 ,buckley4 #de1 ,w4 ,m4 ,dodson4 #e1 #bi1 #dj1 #dg1 #ajj4 ,st ,peter1 #hi1 ,g4 ,g4 ,buckley4 #bi1 #di1 #ajj ,hexham1 ,northumberland1 #bc1 #bi1 #ajf ,higham ,ferrers1 ,northants1 #bi ,higher ,peover1 ,cheshire1 #abc1 ,f4 ,h4 ,crossley4 #abg ,huntingfield1 ,suffolk1 #ig ,iffley1 ,oxon41 #hf ,ightfield1 ,salop1 #abh ,ingham1 ,norfolk1 #he ,istria1 #af1 #aja ,ivychurch1 ,kent1 #he ,jarrow1 ,durham1 #aai1 ,w4 ,maitland4 #abj ,kidderminster1 #abb ,kildwick1 #ij ,kilpeck1 ,herefordshire1 #abb ,kirkstall1 ,yorks41 #bj1 #bc ,lacock1 ,wilts41 #hb ,lancaster1 #ci1 #da1 #db2 ,f4 ,h4 ,crossley4 #bi1 #dj1 #ed ,lapford1 ,devon1 #gg ,layer ,marney1 ,essex1 #ge1 #gi ,lenham1 ,kent1 #abe ,lincoln ,minster1 #e1 #eb1 #aad2 ,s4 ,smith4 #ag1 ,hugh ,mc,lachlan4 #e1 #aj1 #ac1 #bc1 #be1 #bf1 #bh1 #bi1 #ea1 #ed1 #eh1 #ei1 #fa1 #ff1 #fh1 #ia1 #ajf1 #aac ,littlebourne1 ,kent1 #hf ,london1 #gj1 #gi4 ,christ ,church1 ,newgate ,street1 #d1 ,f4 ,r4 ,taylor4 #e4 ,hampton ,court1 #ge1 #gg4 ,rolls ,chapel1 #ge4 ,st ,botolph1 ,aldgate1 #id4 ,st ,mary-at-,hill1 #hh1 #ie1 #if1 #ig1 #ajj4 ,st ,paul's1 #hc1 ,f4 ,j4 ,hall4 #bh1 #ca1 #hb4 ,old ,st ,paul's1 #bc4 ,victoria and ,albert ,museum1 #ajd1 #aaf1 #acj4 ,see ,westminster ,abbey ,louth1 ,lincs41 #ge ,ludham1 ,norfolk1 #he ,lutterworth1 ,leicester1 #abj1 ,e4 ,h4 ,day4 #abb ,manchester ,cathedral1 #f1 #fb2 ,f4 ,h4 ,crossley4 #e1 #g1 #bi1 #ea1 #fa1 #fe1 #ff1 #fh1 #gj1 #gd4 ,agecroft ,hall1 #aaf4 ,college1 #aaf ,mantes1 #ic ,melrose1 #fh ,milan1 ,st ,ambrogio1 #af ,much ,hadham1 ,herts41 #abf1 ,a4 ,w4 ,anderson4 #abi ,nantwich1 ,cheshire1 #eg1 ,f4 ,h4 ,crossley4 #bi1 #ea1 #eh1 #ei1 #fa1 #fh ,nevers1 #aje ,newark1 #bi ,norbury1 ,derbyshire1 #hf ,north ,cadbury1 ,somerset1 #gg ,norton1 ,suffolk1 #he ,norwich1 #dh1 ,s4 ,gardner4 #ac1 #ai1 #be1 #bf1 #bi1 #dj1 #dc1 #dg1 #ajd ,notre ,dame de la ,roche1 #ca ,nottingham1 #ij #ace ,old ,radnor1 ,radnorshire1 #abd ,ossero1 #aja ,othery1 ,somerset1 #abi ,oulton1 ,suffolk1 #hf ,oxford1 #bi1 #gi ,parenzo1 #aja ,paris1 ,hotel ,cluny1 #aaa ,penshurst1 ,kent1 #abh ,peterborough1 #cb1 ,h4 ,plowman4 #ae1 #cc1 #aaf ,poitiers1 #ca ,puddletown1 ,dorset1 #abd1 ,w4 ,wonnacott4 #abh ,ratzburg1 #ca ,ravenna1 #aac ,reading1 ,st ,giles'1 #ig ,redenhall1 ,norfolk1 #abe1 ,c4 ,f4 ,nunneley4 #abi ,ripon ,minster1 #h1 ,w4 ,maitland4 #fj1 ,j4 ,h4 ,bayley4 #e1 #f1 #g1 #ae1 #bc1 #bf1 #bi1 #ea1 #fa1 #fe1 #ff1 #fh1 #gj1 #ic ,rochester ,cathedral1 #cj1 ,p4 ,m4 ,johnston4 #bc1 #bi1 #ca ,rome1 #af1 #ai1 #bc1 #aja1 #aje1 #aaa4 ,baths of ,caracalla1 #aja4 ,s4 ,clemente1 #ai1 #aja4 ,st ,john ,lateran1 #aja1 #aaa4 ,s4 ,maria in ,cosmedin1 #ai1 #aja4 ,st ,paul extra ,muros1 #ai4 ,st ,peter's1 #aaa4 ,old1 #aje4 ,sta4 ,pudentiana1 #aaa ,rotherham1 ,yorks41 #id ,rothwell1 ,northants1 #ij ,st ,asaph1 #ea1 #fa ,st ,david's1 #ajh1 #aji2 ,w4 ,m4 ,dodson4 #ae1 #bi1 #ej1 #ajg1 #aaj ,st ,gall1 #bj1 #bc ,st ,paul's1 #hc1 ,f4 ,j4 ,hall4 #bh1 #ca1 #hb ,salisbury1 #ib ,sall1 ,norfolk1 #he1 ,f4 ,bond4 #he1 #ajj ,sanderstead1 ,surrey1 #abi ,saulieu1 #ca ,scotland1 #fg1 #fh1 #ia ,sedgefield1 ,durham1 #ca1 #fg ,sees1 ,st ,martin1 ,normandy1 #dc ,sherborne1 ,dorset1 #di1 ,g4 ,g4 ,buckley4 #bi1 #di ,sherburn ,hospital1 ,durham1 #ca1 #fg ,sion ,abbey1 ,middlesex1 #dc ,sluys1 #gj ,snettisham1 ,norfolk1 #dj ,southampton1 #gi ,southwell1 ,notts41 #be1 #bf1 #ej ,southwick ,priory1 ,hants1 #aaf ,sprotborough1 ,yorks41 #abe ,stanford ,bishop1 ,herefordshire1 #aae ,stirling1 #fh ,stowlangtoft1 ,suffolk1 #ia1 ,c4 ,f4 ,nunneley4 #e1 #g1 #bi1 #di1 #he1 #ajj ,suffolk1 #abh1 ,j4 ,c4 ,stenning4 #di1 #he1 #acj ,sutton ,coldfield1 ,warwickshire1 #hd ,swine1 ,yorks41 #gg ,talland1 ,cornwall1 #gg ,theydon ,gardon1 ,essex1 #ib ,trau1 #aja ,trunch1 ,norfolk1 #he1 ,f4 ,bond4 #e1 #he1 #ajj ,upton1 ,northants1 #acj1 ,g4 ,c4 ,druce4 #abh ,vaison1 ,provence1 #aja ,venice1 ,st ,mark's1 #af4 ,sta4 ,maria dei ,miracoli1 #hb ,walpole ,st ,peter1 ,norfolk1 #ab1 ,s4 ,gardner4 #g ,warlingham1 ,surrey1 #abe ,wells ,cathedral1 #aae1 ,g4 ,w4 ,saunders4 #g1 #aa1 #ac1 #bj1 #bf1 #bh1 #bi1 #aaj4 ,bishop's ,palace1 #aae1 #aaf ,westminster ,abbey1 #ca1 ,sandford4 #aba1 ,a4 ,gardner4 #ba1 #bc1 #be1 #bi1 #ca1 #cc1 #ea1 #gg1 #abe1 #gc2 ,henry ,,vii4's ,chapel1 ,a4 ,w4 ,pugin1 #gc2 ,d4 ,weller1 #aca4 #aj1 #be1 #gj1 #gd1 #ge4 ,weston in ,gordano1 ,somerset1 #he ,winchelsea1 ,sussex1 #cf ,winchester ,cathedral1 #cd1 #abb2 ,c4 ,e4 ,s4 ,beloe4 #ce1 ,s4 ,gardner4 #gb1 ,j4 ,f4 ,hamilton4 #gc1 ,j4 ,britton4 #e1 #ac1 #bc1 #bi1 #cc1 #dj1 #dc1 #gb1 #ge1 #gi1 #abf4 ,st ,cross1 #ge1 #aje ,winchfield1 ,hants1 #aaf1 ,g4 ,c4 ,druce4 #abd ,windsor1 ,st ,george's ,chapel1 #fi1 ,lysons' ,magna ,britannia4 #ga1 ,alan ,potter4 #ab1 #bi1 #ea1 #gj ,wingfield1 ,suffolk1 #df1 ,c4 ,f4 ,nunneley4 #bi1 #dg ,worcester1 #bc1 #hd1 #ia ,yatton1 ,somerset1 #ib ,york ,minster1 #ah1 #eh2 ,j4 ,britton4 #bc1 #eh1 #abf4 ,st ,maurice1 #hh4 ,st ,michael ,belfry1 #ib ,zara1 #aja ,zaandam1 ,holland1 #aaf 99 99 99 99 99 #acf ,,index ,,rerum ,abbot1 place in choir1 #ac1 #ajf ,accounts 7see also ,cost71 #ie ,arcading1 #dj1 #ed1 #ajj ,arms and armour1 #cf1 #dh1 #ed 7see also ,heraldry7 ,arrangements of stalls1 #ab1 #af1 #bf ,back of ,stalls1 #e1 #aj1 #ae1 #bf1 #bh 7see ,panelling7 ,badges1 #dg ,baluster chairs1 #aae1 #aaf ,bath1 order of the1 #gd ,battlements1 #cf1 #ch1 #dg1 #ea1 #ed1 #fa ,baxter's chair1 #abd ,benches1 #di1 #ii ,benefactors1 #ib ,bishop's chair1 #ac1 #ai ---- throne1 #aja ,black ,death1 #dj1 #dg1 #eh1 #aaj ,boys1 #if 7see ,children of the ,choir7 ,brattishing1 #dg1 #fc ,busts1 #gj1 #gg ,buttresses1 #ed ,canons1 resident and non-resident1 #aa1 #be1 #bh ,canopies1 construction of1 #a1 #aj1 #cc1 #ed ---- ogee1 #aj1 #cc1 #cf1 #dc1 #de1 #dg1 #ej1 #ec1 #ed1 #ei1 #fe1 #fh ---- bowing ogee1 #aj1 #ch1 #de1 #dg1 #ea ---- compound ogee1 #ed ---- ,lincoln ogee1 #ed ---- tiers or stories of1 #ch ---- varieties of1 #a1 #bi1 #ea1 #gd1 #ajj ,capitals1 #aj1 #fa1 #hb ,capping1 #aj ,carrel1 #aai ,carvers1 #fh1 #gj1 #gd1 #gg ,carving1 #e1 #cc1 #ch1 #ec1 #ed1 #fa1 #fh1 #gj1 #gg1 #gi1 #hb1 #ajh ,centaurs1 #fh ,chairs1 abbots'1 #aae ---- bishops'1 #ac1 #aaa ---- church1 #aaa ---- marble1 #aja ---- popes'1 #aaa ---- stone1 #aja1 #abd ---- winged1 #acj ,chancels1 #af1 #bj ---- enlargement of1 #hf ,chantries and ,chantry priests1 #h ,children of the ,choir1 #be1 #if ,choir1 #ac1 #af1 #bj ,choristers1 #a1 #be1 #bf1 #he1 #ie ,chronological order of stalls1 #bi ,churchwardens' accounts1 #ie 7see ,cost7 ,classical design1 #fg1 #gi ,clerk1 parish1 #ig1 #abd ,construction of stalls and canopies1 #a1 #h1 #aj1 #cc1 #ed 7see also ,canopies7 ,cornice1 #a1 #dj1 #dg1 #di1 #ej1 #fc1 #ajj ,coronation chair1 #abe ,cost1 #aa1 #gi1 #hd1 #hh1 #ajg ,costume1 #cf ,cresting1 #bi1 #cf1 #de1 #fe1 #gb1 #gi ,crockets1 #aj1 #cc1 #dd1 #dg1 #ea ,crossing1 #bj1 #bc ,crypts1 #bc ,cusps1 #cc1 #cf1 #dc1 #dg1 #di1 #fa ,dagobert1 chair of1 #aaa ,dates of stalls1 #e1 #bi ,dean's stall1 #ac1 #ej1 #ed ,design1 #aj1 #ch1 #fh1 #gj1 #gd ,desks1 #a1 #e1 #g1 #dg1 #hh1 #ajj1 #aai ,dorothy ,mainwaring1 #gi1 #abg ,dove1 #ie1 #abi ---- of ,st ,botolph's1 ,aldgate1 #ie ---- of ,upton1 #abi ,dutch carvers1 #gj ,edmund ,crouchback1 #cc ,edmund1 ,saint1 #g ,elbows of stalls1 #a1 #e1 #aj1 #gg ,ends of stalls1 #e1 #h ,entablature1 #gi1 #hb ,epistle1 place of reading1 #ac #acg ,finials1 #cc1 #ea ,flamboyant1 #dj ,flemish work1 #fh1 #gj ,fleur de lis1 #fh ,flying buttresses1 #aj1 #ed ,foreign design and workmen1 #fh1 #gg1 #gi1 #hb ,frithstols1 #ajf ,gables1 #aj1 #cc1 #ed1 #fa1 #fe 7see ,canopies7 ,galleries1 #bi ,garter1 ,knights of ,order of1 #gb ,gilds1 #h1 #ie ,glastonbury chairs1 #aaf ,gospel1 desks1 and place of reading1 #ac ,grinling ,gibbons1 #hd ,hawks1 #dg ,heraldry1 #e1 #f1 #dg1 #dh1 #ej1 #gi ,hipknobs1 #aj ,honeycomb1 #gg ,honour1 place of1 #ac ,inscriptions1 #bf1 #bh1 #hb ,italian workers1 #gg1 #gi1 #hb ,jacobean chairs1 #aae1 #abb ,kemp1 ,archbishop1 #ec ,knights of the ,bath1 #gd ,knights of the ,garter1 #gb ,laity1 #a1 #af1 #ai1 #ij ,lincoln ogee1 #ed ,mainwaring1 ,dorothy1 #gi1 #abg ,marble chairs1 #aja1 #ajf ,masks1 #e1 #dd ,mayor's stall1 #f1 #ae1 #hb1 #id ,maximian1 chair of1 #aac ,minstrels1 #ii ,misericords1 #a1 #dh1 #ej1 #ec1 #ed1 #fa1 #fe1 #gd1 #ge ,moldings1 #dj ,more1 ,sir ,thomas1 #id1 #ih ,music in churches1 #ie ,niches1 #aj1 #ch1 #ea1 #ed1 #eh1 #ei1 #fa1 #fc1 #fe ,nobility in chancel1 #ia ,north side1 #ac1 #ae ,number of stalls1 #be1 #bf1 #ej1 #ge ,oak1 #fh ,occupants of stalls1 #a1 #hh ,ogee1 #aj1 #cc1 #cf1 #dc1 #de1 #dg1 #ea1 #ec1 #ed1 #ei1 #fe1 #fh ,orientation1 #af1 #aje ,organs and ,organists1 #if1 #ih ,panelling1 #e1 #ej1 #fh1 #gd1 #ajj ,parish churches1 planning1 growth of1 #af1 #bc1 #be1 #he1 #hf 7see ,chancel7 ---- stalls in1 #di1 #he ,parish clerk1 #ig1 #abd ,passion1 emblems of1 #hb ,patrons1 in chancels1 #ia ,pediment1 #cc1 #dc1 #ea ,pews in chancels1 #ie ,pinnacles1 #aj1 #ch1 #ea1 #ec1 #ed1 #eh1 #ei1 #fa1 #ff1 #gd1 #ajh ,place of honour1 #ac ,planning1 #af1 #bj1 #bc1 #be1 #he ,plinth1 #ajj ,poppyheads1 #f1 #g ,portrait busts1 #gg ---- panels1 #ge ,position of stalls1 #a1 #af ,prebendaries1 #be1 #bh ,processions1 #ac1 #be1 #ib ,projection of canopies1 #dg ,psalter1 recitation of1 #bf1 #bh ,purbeck marble1 #aje ,removals from other churches1 #dc ,renaissance1 #ff1 #ge ,restorers and restorations1 #bj1 #bi1 #ch1 #hd ,return stalls1 #ab1 #ac1 #be1 #ajj1 #ajf ,rochets1 #ig ,rood loft1 #ie1 #ih ,rows of stalls1 #be ,sancroft1 ,archbishop1 #abi ,screens1 #aj1 #ab1 #ai1 #bj1 #ej1 #ge1 #gi1 #ajj ,scrollwork1 #e1 #hb ,seats1 #a1 #aj1 #dh1 #gg ---- marble and stone1 #aaa1 #abd ,sedilia1 #abd ,sella curulis and gestatoria1 #aja1 #aaa ,shafts1 #aj1 #cc1 #ea1 #ei1 #gg1 #hb ,shields1 #e1 #f ,shoulders of stalls1 #a1 #e1 #ei ,singers1 #a1 #af1 #ie 7see also ,boys1 ,children of the ,choir1 ,choristers7 #ach ,south side1 #ac1 #ae ,spires and spirelets1 #a1 #aa1 #ch1 #dj1 #di1 #ea1 #ec1 #ed1 #eh1 #fa1 #fc1 #ff1 #gb1 #ajf ,stalls in greater churches1 #a1 #ac ---- in parish churches1 #di1 #he1 #ij ---- object of1 #he ,stall-wages1 #bf ---- work1 earliest1 #ca ---- thirteenth century1 #ca1 #hh1 #ij ---- fourteenth century1 #cc1 #ej1 #ea1 #ec1 #eh ---- fifteenth century1 #dh1 #ej ---- sixteenth century1 #gi ---- ,renaissance1 #ff1 #ge ---- eighteenth century1 #hd ,standards1 #h ,stanley legend1 #fa ,statues1 #aj1 #ea1 #fa ,stone chairs and seats1 #aja1 #abd ---- versus wood1 #ea ,stories of stalls1 one1 #ch1 #dc1 #dd1 #ea1 #ei1 #gb1 #gd ---- two1 #aj1 #ch1 #dg1 #ea1 #ec1 #eh1 #fa1 #fe1 #gb ,string-course1 #eh1 #ei1 #fa1 #fe1 #ff ,sudbury hutch1 #ge ,sunday and other processions1 #be1 #ib ,supermullions1 #dj1 #dg ,supports1 #e1 #gg ,surplices1 #hi1 #if ,tabernacled spires and canopies1 #a1 #aj1 #ea1 #ec1 #ff1 #ajf ,tester1 coved1 #dg1 #fc ,thirteenth century work1 #ca1 #hh1 #ij1 #aaf1 #abe ,thistle1 ,scottish1 #fh ,three-gabled canopies1 #ch1 #ea1 #ed1 #ei ,throne1 bishop's1 #ac1 #af1 #ai1 #aja1 #aje ,tiers of canopies1 #ch ,tracery1 #cc1 #cf1 #dj1 #dc1 #de1 #ea1 #ed1 #eh1 #ei1 #fa1 #fc1 #fe1 #fh1 #hb ,vicars choral1 #bf ,ventilation1 #ajj ,vine1 #fh ,winged chairs1 #acj ,women in stalls1 #ib ,wood versus stone1 #ea ,workmanship1 #ajj ,wyche1 ,lady1 #id ,wiclif1 #abb ------ ,printed at ,,the ,,darien ,,press1 ,edinburgh4 99 99 99 99 99 ,,by ,,the ,,same ,,author ,,screens ,,and ,,galleries ,,in ,,english ,,churches ,a ,,handsome ,,volume1 ,,containing #bjd ,,pp41 ,,with #aeb ,,illustrations1 ,,reproduced ,,from ,,photographs ,,and ,,measured ,,drawings4 ,,octavo1 ,,strongly ,,bound ,,in ,,cloth4 ,,price #f,s4 ,,net4 ,,london3 ,,henry ,,frowde1 ,oxford ,university ,press ---------- ,,some ,,press ,,notices ,builder4--,when we look at the detailed photographs we realise the richness of the field which ,mr ,bond has traversed1 and congratulate him on the choice of his subject4 ,his method is one of singular thoroughness from the ecclesiological standpoint4 ,journal of the ,architectural ,association4--,as a record of the screens remaining in our churches it cannot be valued too highly4 ,no book till now has brought such a number together1 or traced their development in so full and interesting a manner4444 ,a most delightful book4 ,builders' ,journal4--,the author may be congratulated on the production of a book which1 in text as well as in illustrations1 is of striking and inexhaustible interest2 it is the kind of book to which one returns again and again1 in the assurance of renewed and increased pleasure at each reperusal4 ,tablet4--,the numerous excellent illustrations are of the greatest interest1 and form a veritable surprise as to the beauty and variety of the treatment which our forefathers lavished upon the rood screen4 ,british ,weekly4--,the book abounds with admirable illustrations of these beautiful works of art1 so perfect even in the minute details that any one interested in the art of woodcarving could reproduce the designs with ease from the excellent photographs which occur on almost every page4 ,there is also a series of 'measured drawings' of great beauty and interest4 ,new ,york ,nation4--,it is not easy to praise too highly the simple and effective presentation of the subject and the interest of the book to all persons who care for ecclesiology or for decorative art4 ,bibliophile4--,this excellent book is a sign of the times2 of the reawakened interest in the beautiful and historic4444 ,a model of scholarly compression4 ,of the finely produced illustrations it is difficult to speak in too high terms of praise4 ,daily ,graphic4--,mr ,bond has produced a work on our ecclesiastical screens and galleries which1 like his larger work on the ',gothic ,architecture of ,england1' is in the first degree masterly4 ,his knowledge of his subject1 exact and comprehensive1 is compressed into a minimum amount of space1 and illustrated by a series of photographs and measured drawings which render the work of permanent value4 ,bulletin ,monumental4--,aprs avoir analys1 aussi exactement que possible1 l'intressant tude de ,m4 ,bond1 nous devons le fliciter de nous avoir donn ce complment si utile son grand ouvrage4 99 99 99 99 99 ,,by ,,the ,,same ,,author ,,fonts ,,font ,,covers ,a ,,handsome ,,volume ,,containing #cfd ,,pages1 ,,with #dbf ,,illustrations ,,reproduced ,,from ,,photographs ,,and ,,measured ,,drawings4 ,,octavo1 ,,strongly ,,bound ,,in ,,cloth4 ,,price #ab,s4 ,,net4 ,,london3 ,,henry ,,frowde1 ,oxford ,university ,press ---------- ,,some ,,press ,,notices ,guardian4--,mr ,bond is so well known by his monumental work on ',gothic ,architecture in ,england1' and by his beautiful book on ',screens and ,galleries1' that his name alone is a sufficient guarantee for this new volume on ',fonts and ,font ,covers1' the most complete and thorough that has yet appeared4 ,church ,times4--,the finest collection of illustrations of fonts and font covers yet attempted4444 ,a real delight to the ecclesiologist4 ,commonwealth4--,a sumptuous monograph on a very interesting subject2 complete and thorough4 ,church ,quarterly ,review4--,it is most delightful1 not only to indulge in a serious perusal of this volume1 but to turn over its pages again and again1 always sure to find within half a minute some beautiful illustration or some illuminating remark4 ,irish ,builder4--,this book on ',fonts and ,font ,covers' is a most valuable contribution to medival study1 put together in masterly fashion1 with deep knowledge and love of the subject4 ,westminster ,gazette4--,every one interested in church architecture and sculpture will feel almost as much surprise as delight in ,mr ,bond's attractive volume on ',fonts and ,font ,covers4' ,the wealth of illustrations and variety of interest are truly astonishing4 ,journal of the ,society of ,architects4--,the book is a monument of painstaking labour and monumental research2 its classification is most admirable4 ,the whole subject is treated in a masterly way with perfect sequence and a thorough appreciation of the many sources of development2 the illustrations1 too1 are thoroughly representative4 ,to many the book will come as a revelation4 ,we all recognise that the fonts are essential1 and in many cases beautiful and interesting features in our ancient churches1 but few can have anticipated the extraordinary wealth of detail which they exhibit when the photographs of all the best of them are collected together in a single volume4 ,outlook4--,mr ,francis ,bond's book carefully included in one's luggage enables one1 with no specialist's knowledge postulated1 to pursue to a most profitable end one of the most interesting1 almost1 we could say1 romantic1 branches of ecclesiastical architecture4444 ,this book1 owing to its scholarship and thoroughness in letterpress and illustrations1 will doubtless be classic2 in all its methods it strikes us as admirable4 ,the bibliography and the indexes are beyond praise4 99 99 99 99 99 ,,by ,,the ,,same ,,author ,,visitors' ,,guide ,,to ,,westminster ,,abbey #ic ,,pages ,,of ,,text1 ,,abridged ,,from ,,the ,,eighteenth ,,and ,,nineteenth ,,chapters ,,of ,,the ,,author',s ,,larger ,,work ,,on ,,westminster ,,abbey1 ,,consisting ,,chiefly ,,of ,,description ,,of ,,the ,,tombs1 ,,monuments1 ,,and ,,cloisters1 ,,with #ae ,,plans ,,and ,,drawings ,,and #cb ,,photographic ,,illustrations4 ,,price #a,s4 ,,net4 ,,london3 ,,henry ,,frowde1 ,oxford ,university ,press ---------- ,,some ,,press ,,notices ,guardian4--,there is probably no better brief handbook4 ,mr ,bond's qualifications for the task are beyond question4 ,by the use of varied type1 ingenious arrangement1 and excellent tone-blocks and plans1 the book attains a high standard of lucidity as well as of accuracy4 ,building ,news4--,this little work is characterised by its terseness1 directness1 and practical treatment4 ,a carefully compiled and scholarly guide-book4 ,architect4--,this book will excellently and admirably fulfil its purpose4444 ,a splendid itinerary1 in which almost every inch of the way is made to speak of its historical connections4 ,birmingham ,daily ,post4--,concise1 informative1 reliable1 and admirably illustrated4 ,western ,morning ,news4--,by his key plan and very clear directions as to where to find the numerous side chapels1 historic monuments1 and other objects of interest1 ,mr ,bond makes it possible for a visitor to find his way round the building at his leisure4 ,it refreshes one's knowledge of ,english history1 and is supplemented by thirty-two excellent plates1 which by themselves are worth the shilling charged for it4 ,scotsman4--,a more complete and dependable guide to the ,national ,pantheon could not be desired4 ,architectural ,review4--,this is an excellent little text-book4 ,mr ,bond is to be congratulated in having introduced into it an interesting element of history4 ,the notes in small print should make the visit to the ,abbey both more profitable and more interesting4 ,the key plan and the numerous small plans are extremely clear and easily read4 ,the information given is concise and to the point1 and a word of special praise must be given to the plates at the end2 the subjects of these are well chosen and are illustrated by very good photographs4 ,antiquary4--,this little book1 strongly bound in linen boards1 gives concisely and clearly all the information the ordinary visitor is likely to require4 ,cheap1 well arranged1 well printed1 abundantly illustrated and well indexed1 this handy book1 which is light and 'pocketable1' is the best possible companion for which a visitor to our noble ,abbey can wish2 it is an ideal guide4 99 99 99 99 99 ,,by ,,the ,,same ,,author ,,westminster ,,abbey ,a ,,handsome ,,volume1 ,,containing #cdh ,,pages1 ,,with #bgj ,,photographs1 ,,plans1 ,,sections1 ,,sketches1 ,,and ,,measured ,,drawings4 ,,octavo1 ,,strongly ,,bound ,,in ,,cloth4 ,,price #aj,s4 ,,net4 ,,london3 ,,henry ,,frowde1 ,oxford ,university ,press ---------- ,,some ,,press ,,notices ,oxford ,magazine4--,all who love the ,abbey will be grateful for the skill and affection bestowed on this admirable work4 ,birmingham ,post4--,with the history of the ,abbey the author interweaves the life of the ,benedictines1 peopling the building with its occupants in the centuries when ,england was a ,catholic country1 and does it with such skill than one can almost imagine oneself at the services4 ,englishman4--,the writer handles his subject with consummate skill1 and his reward will lie in the unmeasured praise of his many readers4 ,guardian4--,a book which brings fresh enthusiasm1 and will impart a new impetus to the study of the ,abbey and its history4 ,scotsman4--,at once instructive and delightful1 it more than justifies its existence by its historical and architectural learning4 ,liverpool ,daily ,courier4--,we found the earlier parts of the book most fascinating1 and have read them over and over again4 ,architectural ,association ,journal4--,bright and interesting2 evincing the author's invariable enthusiasm and characteristic industry4 ,western ,morning ,news4--,to say that the book is interesting is to say little2 it is a monument of patient and loving industry and extreme thoroughness1 an inexhaustible mine of delight to the reader1 general or technical4 ,outlook4--,the author discusses the architecture with a minuteness that might terrify the inexpert if it were not for the sustained ease and interest of his style2 great is the fascination of the expert hand when its touch is light4 ,saturday ,review4--,mr ,bond leaves us more than ever proud of what is left to us of the stately ,benedictine house of ,god1 which is to the entire ,english-speaking world a common bond and home4 ,antiquary4--,it has a wealth of capital illustrations1 is preceded by a bibliography1 and is supplied with good indexes to both illustrations and text4 ,journal des ,savants4--,certains clichs1 comme ceux des votes1 des tombeaux et de quelques dtails de sculpture sont de vritables tours de force4 ,le choix des illustrations est trs heureux1 comme d'ailleurs dans les autres ouvrages de ,m4 ,bond4 99 99 99 99 99 ,,by ,,the ,,same ,,author ,,wood ,,carvings ,,in ,,english ,,churches ,i4 ,,misericords ,a ,,handsome ,,volume1 ,,containing #beg ,,pages1 ,,with #bda ,,illustrations4 ,,octavo1 ,,strongly ,,bound ,,in ,,cloth4 ,,price #g,s4 #f;,d4 ,,net4 ,,london3 ,,henry ,,frowde1 ,oxford ,university ,press ---------- ,,some ,,press ,,notices ,morning ,post4--,the subject is one of the first importance to medival popular history1 and we welcome this very admirable and thorough monograph with special gratitude4 ,athenum4--,mr ,bond has put his rare industry in all that pertains to ecclesiology to excellent service in his latest book on ,misericords4 ,antiquary4--,an authoritative and1 at the same time1 delightful and instructive volume4 ,really the first attempt to deal comprehensively with the great variety of carvings on misericords4 ,new ,york ,herald4--,one of the quaintest1 most fascinating1 and at the same time most learned volumes that a reader would happen upon in a lifetime4 ,church ,times4--,an indispensable guide to the subject4 ,the illustrations are worthy of all praise4 ,architectural ,association ,journal4--,the blocks1 taken from photographs1 are of an excellence really amazing1 when the difficulties such subjects present to the camera are considered4 ,a most delightful book4 ,yorkshire ,post4--,another of the valuable series of monographs on ,church ,art in ,england1 and the most entertaining of all4 ,architects' and ,builders' ,journal4--,an exceedingly interesting volume both in illustrations and subject-matter1 and full of curious information4 ,glasgow ,herald4--,mr ,bond's scholarly and most interesting book brings us very near to popular life in the ,middle ,ages4 ,liverpool ,courier4--,another of the admirably written and illustrated art handbooks for which the author is famous4 ,birmingham ,post4--,this well illustrated volume is not only a valuable technical monograph1 but also an important contribution to the history of social life and thought in the ,middle ,ages4 ,mr ,bond's treatment of the subject is exceptionally charming and successful4 ,the general excellence of the book is great4 ,outlook4--,many there must be to whom ,mr ,bond's new book will be welcome4 ,into all the details of this varied and most puzzling subject he goes with thoroughness and a pleasant humour4 ,the bibliography and indexes1 as usual in ,mr ,bond's work1 are admirable4 99 99 99 99 99 ,notes #a ,harry ,sirr in ,art ,journal1 #ahhc1 #cbi4 #b ,wickenden1 ,archological ,journal1 #ahha1 pp4 #dc-fa4 #c ,canon ,church in ,archologia1 lv4 #cbf4 #d ,dictionnaire raisonn1 viii4 #dfd4 #e ,c4 ,r4 ,peers in ,victoria ,county ,history of ,northants1 ii4 #dde4 #f ,illustrated in the writer's ,screens and ,galleries1 #b4 #g ,faber's ,poems1 pp4 #bbg-bbi4 #h ,see the writer's ,westminster ,abbey1 #dh4 #i ,for plans of ,st ,gall1 ,kirkstall1 ,westminster1 ,canterbury1 ,exeter1 ,york1 see the writer's ,gothic ,architecture in ,england4 #aj ,for an account of the working of the system of ,secular ,canons in the ,english cathedrals see ,canon ,church's paper in ,archologia1 lv42 ,professor ,freeman's ,cathedral ,church of ,wells2 ,mr ,a4 ,f4 ,leach on ,beverley ,minster in vols4 #ih and #ajj of the ,surtees ,society1 and on ,southwell ,minster in the #ahia volume of the ,camden ,society2 and ,rev4 ,j4 ,t4 ,fowler1 ,d4,c4,l41 on ,ripon ,minster in vols4 #fd1 #gd1 #gh1 #ha of the ,surtees ,society4 #aa ,see ,mr ,a4 ,f4 ,leach's ,memorials of ,beverley ,minster1 ,surtees ,society1 vols4 #ih and #ajh4 #ab ,views of galleried choirs may be seen in ,britton's ,cathedral ,antiquities2 ,norwich1 ii4 #ac1 ,oxford1 ii4 #aj4 #ac ,illustrated in ,maeterlinck1 ,la genre satirique dans la sculpture flamande et wallonne1 page #ab4 #ad ,see ,viollet-le-,duc's ,dictionnaire1 viii4 #dfd4 #ae ,see ,c4 ,r4 ,b4 ,king in ,index to ,spring ,gardens ,sketch ,book1 ii4 #df1 and ,plate ,,xlvi4 #af ,hope's ,rochester ,cathedral1 pp4 #aaj1 #aaa4 #ag ,it is illustrated in ,professor ,lethaby's ,westminster ,abbey1 p4 #bc1 from ,sandford's ,coronation of ,james ,,ii41 and is reproduced above4 #ah ,illustrated in ,gothic ,architecture in ,england1 #dha4 #ai ,see ,john ,o',gaunt's ,sketch ,book1 vol4 i4 #bj ,here1 as always1 one has to recognise the technical and artistic excellence of ,mr ,crossley's photography2 he has even reproduced the cobwebs4 #ba ,they are ascribed to the fourteenth century by ,mr ,octavius ,morgan in ,monuments of ,abergavenny ,church4 #bb ,my attention was directed to these arms by ,mr ,w4 ,h4 ,st ,john ,hope4 #bc ,jones and ,freeman's ,st ,david's1 pp4 #hg and #ia4 #bd ,illustrated in ,dart's ,canterbury ,cathedral1 #ade and #afj4 #be ,e4 ,mansel ,sympson's ,lincoln1 #bgg4 #bf ,illustrated in the writer's ,gothic ,architecture in ,england1 p4 #bfi4 #bg ,a photograph of the north range of the ,chester stalls forms the frontispiece of the writer's ,misericords4 #bh ,mr ,c4 ,h4 ,purday4 #bi ,illustrated in ,murray's ,welsh ,cathedrals1 page #bfg4 #cj ,illustrated in the writer's ,fonts and ,font ,covers1 #bif4 #ca ,ecclesiastical ,architecture of ,scotland1 ii4 #aje4 ,drawings by ,mr ,j4 ,b4 ,fulton appeared in the ,builder1 #ast ,oct4 #ahih and #bnd ,dec4 #ahic2 and by ,mr ,a4 ,s4 ,robertson in the ,builders' ,journal1 #adth ,jan4 #aijc4 #cb ,macgibbon and ,ross4 ,castellated and ,domestic ,architecture of ,scotland1 v4 #edc2 and ,builder1 lxxv4 #bic1 in which are measured drawings by ,mr ,j4 ,b4 ,fulton4 #cc ,proceedings of the ,society of ,antiquaries1 i4 #aab4 #cd ,for information relating to the ,windsor stalls ,i am indebted to ,mr ,w4 ,h4 ,st ,john ,hope3 see his paper ,on a remarkable series of ,wooden ,busts surmounting the stall-canopies in ,st ,george's chapel1 ,windsor1 in ,archologia1 liv4 #aae1 and the building accounts to be published in his forthcoming work on ,windsor ,castle4 #ce ,see the writer's ,westminster ,abbey1 #adf4 #cf ,sacristy1 i4 #bff4 #cg ,the ,hampton ,court busts are by ,giovanni de ,majano1 who in #aeba demanded payment for ten medallions of terra cotta4 ,they cost #b4 #fs4 #h;d4 each4 ,r4 ,blomfield's ,history of ,renaissance ,architecture in ,england1 #c4 #ch ,illustrated in the writer's ,westminster ,abbey1 #aig4 #ci ,see also the illustration of the chair made c4 #aede for ,dorothy ,mainwaring1 page #abc4 #dj ,see ,willis and ,clark1 i4 #eaf-ebb4 #da ,gotch's ,early ,english ,renaissance1 #bi1 #bed4 #db ,annales ,caermoclenses1 by ,james ,stockdale2 ,ulverston1 #ahgb1 p4 #gf4 #dc ,early ,renaissance ,architecture in ,england1 #ch4 #dd ,annals of ,st ,paul's1 #ddg4 #de ,measured drawings of the stalls of ,st ,paul's by ,mr ,c4 ,w4 ,baker appeared in the ,building ,news1 #ahia1 pages #ajh and #ceh4 #df ,the ,renaissance woodwork ousted from ,worcester cathedral by ,sir ,gilbert ,scott found a resting-place in the church of ,sutton ,coldfield 7,r4 ,a4 ,d474 #dg ,willis' ,canterbury ,cathedral1 #ajg4 #dh ,these are illustrated in ,archologia ,cantiana1 vol4 xiii4 #di ,york ,fabric ,rolls1 #ce1 #bdh4 #ej ,canon ,savage's pamphlet1 #cfi4 #ea ,cutts' ,parish ,priests1 #dff4 #eb ,gasquet's ,parish ,life in ,medival ,england1 #if4 #ec ,gasquet1 ,parish ,life in ,medival ,england1 #de4 #ed ,it is of course possible that both ,alan de ,alnewyk and ,robert ,constable sat in the chancel in surplice either as a member of a gild or of the choir4 #ee ,this1 however1 may have been for one of the choirmen or choristers4 #ef ,reproduced in ,gasquet1 ibid41 #dg1 from ,didron4 #eg ,wordsworth's ,salisbury ,ceremonies and ,processions1 #bj4 #eh ,inhibitions of ,archbishop ,william of ,york in #acjh and #acab in ,rev4 ,dr ,fowler's ,memorials of ,ripon ,minster1 ,surtees ,society1 vol4 #gh4 #ei ,south chancel may mean the chapel south of the chancel4 #fj ,admirably edited by ,mr ,littlehales for the ,early ,english ,text ,society2 vols4 #bj and #bd4 #fa ,at ,hambleton 7#ih7 the chancel was remodelled1 and the simple desks with linen pattern may be of that date4 ,but the seats behind were never more than rough movable benches4--,g4 ,h4 ,p4 #fb ,r4 ,h4 ,murray on ,ancient ,church ,fittings1 #ab4 #fc ,mr ,t4 ,graham ,jackson's ,dalmatia3 iii4 #cai1 #dbg1 #aje3 i4 #bgb and ii4 #abc4 #fd ,stewart in ,archological ,journal1 xxxii4 #ah4 #fe ,jones and ,freeman's ,st ,david's1 #ij-ic4 #ff ,padre ,garrucci in ,proceedings of ,society of ,antiquaries1 iv4 #dj1 and illustrations in ,vetusta ,monumenta1 vol4 vi4 ,the perspective sketch is by ,carlo ,fontana and is in the ,royal ,library at ,windsor2 the measured drawing is by ,signor ,s4 ,a4 ,scardonelli1 and was made in #aghd4 #fg ,measured drawings of the ,hereford chair by ,mr ,w4 ,h4 ,brierley appeared in the ,british ,architect1 xxiii4 #aad4 #fh ,described by ,dr ,cox in ,english ,church ,furniture1 p4 #bej4 #fi ,shaw's ,ancient ,furniture1 #ca4 #gj ,wiltshire ,archological ,society's ,magazine1 vi4 #adg-adi1 quoted in ,english ,church ,furniture1 #bec4 #ga ,archologia liana1 xvii4 #dg1 and ,proceedings of the ,society of ,antiquaries1 xvii4 #bch4 ,there are four similar chairs at ,kilpeck4 #gb ,for descriptions and illustrations see ,mr ,j4 ,hunter's ,edward the ,first's ,spoliations in ,scotland1 ,a4,d4 #abif in ,arch4 ,journal1 vol4 xiii42 ,mr ,w4 ,burges' paper in ,gleanings from ,westminster ,abbey1 p4 #aba2 and ,mr ,lethaby's ,westminster1 pp4 #ah1 #bfe1 #big4 #gc ,henry ,shaw's ,ancient ,furniture1 ,plate ,,vi4 #gd ,illustrated in ,hone's ,year ,book1 #adc4 #ge ,rev4 ,arthur ,helps from ,country ,life1 #abth ,march #aiaj4 #gf ,communicated by ,rev4 ,r4 ,m4 ,serjeantson