Tailer's Family - journeying!
Project: Gloucestershire - Tewkesbury, with Worcestershire - Upton-upon-Severn.
No. 5 - 5: Exploring - the Abbey Church of Saint Mary the Virgin, Tewkesbury, Gloucestershire .
Choir Stalls and Sanctuary.
Some of the more important aspects of this photograph are, from left to right:-
Screen gate:
The gates were made by Clarke, of Brackley, and were designed by Mr. J.O. Scott for the donor, Rev. W.R.F. Hepworth. Intricate in their design, and cleverly wrought as they are, they seem slightly incongruous in this wooden screen. The shields bear the correct arms of the Abbey, and round the shields are intertwining iron rods. Scrolls with leaves and other devices are also introduced. Across the top of the gates is a band of square panels with varied design in pierced work, and on the top is an elaborate cresting.
On the inside of the gates, on the shields are the texts, "Serve the Lord with fear."; and "Rejoice unto Him with reverence."
Choir stalls
- with misericords under the seating = which we will be studying later.
Founders chantry
the Founder's Chapel. Fitz-Hamon, was buried in the Chapter House, but Abbot Forthington removed his body to this site in 1241.
The open screen-work, which was erected in 1397 by Abbot Parker, is an excellent specimen of early Perpendicular work. It is extremely light and graceful. The cresting of oak-leaves is finely wrought; below it is a frieze ornamented with roses.
It is unfortunate that the brass has disappeared from the marble top of the tomb.
On the cornice there used to be the following inscription:
"In ista capella jacet Dñus Robertus,
Filius Hamonis hujus loci Fundator."
The fan-tracery of the ceiling is a beautiful piece of work, and shows traces of its former decoration with colour and gold. There is fan-tracery at Gloucester, where it is thought to have originated, which is essentially the same as this. This specimen is one of the most beautiful in every way.
Brackets to support an altar remain in part, and there are faint traces of a fresco painting on the east wall, which is said to have represented scenes in the life of St. Thomas à Becket.
The easternmost panel of the chapel on the south side has been restored; the rest has been very little touched. Restoration was necessary because no access to the chapel could be obtained when the choir was all pewed, and the eastern end was ruthlessly cut away. Some of the cresting on the north side is also new.
The Dispenser Monument
The Despenser Monument.—Still further to the east is the tomb [C] of Sir Hugh Despenser, who died in 1349, and his widow, who died ten years later, having in the interval married Sir Guy de Brien, the tomb to whose memory is close at hand. This tomb is full of interest, and consists of a richly panelled base with trefoil arches (each of which must once have contained a statuette), in three sets of two each to correspond with the open tracery in the tier above.
On the tomb is a slab on which are two recumbent figures, carved in white alabaster. The knight is clad in armour, viz., a spherical bascinet, with a camail of chain-mail. His jupon is charged with his arms. The shirt is also of chain-mail, while the arms and legs are protected by plate armour. His head is resting upon a tilting helmet, his feet upon a lion. The Lady Elizabeth, who was a daughter of William Montacute, Earl of Salisbury, has a dog at her feet, and is robed in a long flowing dress, which, with the square head-dress, is characteristic of the time of Edward III.
The Decorated canopy is in two parts, viz., the arched portion which covers the two figures, and the tabernacle work in four tiers above. Three arches of marvellously delicate work support the arched roof, which is like fan-vaulting on a diminutive scale; the ribs have been indicated by colour.
The tabernacle work tapers very gradually, and forms a charming finish to one of the finest tombs to be seen anywhere. Trefoil-headed arches are used throughout the design, but with such consummate skill that no feeling of sameness is aroused. Of straight lines there are many, but of stiffness there is none. Formerly the whole work was painted with red, green, and gold, traces of which are to be seen on the side next to the choir and underneath the canopy.
The tomb is more perfect on the choir side than on the other.
Of the statues that formerly formed part of the canopy or canopies, no traces are left, but it is evident that they were removed with unusual care.
This tomb was formerly ascribed to George, Duke of Clarence, and also to Thomas Despenser. The arms on the tabard, however, settle the question definitely. If further confirmation be required apart from the style of the architecture and the arms, Leland writes: "Hugo le Despenser tertius ... sepultus est apud Theokesbury juxta summum altare in dextera parte." Of the Lady Elizabeth he says: "Sepulta est juxta Hugonem maritum apud Theokesbury."
It is interesting to note that the Dispenser's body has been found in an archaeological dig this year in London (2009). Identified by the anatomical details of one being 'hung, drawn and quartered' and certain parts said to have been sent to his widow.
Altar. —The Purbeck marble altar is supposed by some to have been the altar mentioned in the Abbey Chronicles of 1239, but any Early English features have been destroyed beyond recognition. It is reputed to be the largest altar in England, but, at any rate, it may be said to be the longest. Originally set up in its present situation, it seems to have been buried in the choir by the monks, perhaps by some who were not so mercenary as the rest. Sixty-eight years afterwards it was found, and its purpose being recognised, it was set up in the middle of the choir as a Communion table. In 1730 it was transferred to the aisle, the churchwardens' accounts stating that 12s. was paid for so doing, and that 2s. 6d. was given "to the men that did it for working all night." The "large entire blue stone" was then cut into two lengthwise, and was further desecrated by being converted into seats for the north porch. Earl Beauchamp, at his own expense, had the two slabs restored to their original use. Considering what the marble has gone through, its size has been well maintained. In 1607 it was 13 feet 8 inches by 3 feet 6 inches by 7 inches; and now it is 13 feet 6 inches by 3 feet 5 inches by 5 inches. It is supported by a massive framing of oak.
The Abbey Church of Tewkesbury ...... by H.J.L.J. Masse, M.A.
London George Bell & Sons 1906
To see Larger:
farm4.static.flickr.com/3526/3973481401_5c97e46eb2_b.jpg
Taken on:-
August 29, 2007 at 11:39 BST
Project: Gloucestershire - Tewkesbury, with Worcestershire - Upton-upon-Severn.
No. 5 - 5: Exploring - the Abbey Church of Saint Mary the Virgin, Tewkesbury, Gloucestershire .
Choir Stalls and Sanctuary.
Some of the more important aspects of this photograph are, from left to right:-
Screen gate:
The gates were made by Clarke, of Brackley, and were designed by Mr. J.O. Scott for the donor, Rev. W.R.F. Hepworth. Intricate in their design, and cleverly wrought as they are, they seem slightly incongruous in this wooden screen. The shields bear the correct arms of the Abbey, and round the shields are intertwining iron rods. Scrolls with leaves and other devices are also introduced. Across the top of the gates is a band of square panels with varied design in pierced work, and on the top is an elaborate cresting.
On the inside of the gates, on the shields are the texts, "Serve the Lord with fear."; and "Rejoice unto Him with reverence."
Choir stalls
- with misericords under the seating = which we will be studying later.
Founders chantry
the Founder's Chapel. Fitz-Hamon, was buried in the Chapter House, but Abbot Forthington removed his body to this site in 1241.
The open screen-work, which was erected in 1397 by Abbot Parker, is an excellent specimen of early Perpendicular work. It is extremely light and graceful. The cresting of oak-leaves is finely wrought; below it is a frieze ornamented with roses.
It is unfortunate that the brass has disappeared from the marble top of the tomb.
On the cornice there used to be the following inscription:
"In ista capella jacet Dñus Robertus,
Filius Hamonis hujus loci Fundator."
The fan-tracery of the ceiling is a beautiful piece of work, and shows traces of its former decoration with colour and gold. There is fan-tracery at Gloucester, where it is thought to have originated, which is essentially the same as this. This specimen is one of the most beautiful in every way.
Brackets to support an altar remain in part, and there are faint traces of a fresco painting on the east wall, which is said to have represented scenes in the life of St. Thomas à Becket.
The easternmost panel of the chapel on the south side has been restored; the rest has been very little touched. Restoration was necessary because no access to the chapel could be obtained when the choir was all pewed, and the eastern end was ruthlessly cut away. Some of the cresting on the north side is also new.
The Dispenser Monument
The Despenser Monument.—Still further to the east is the tomb [C] of Sir Hugh Despenser, who died in 1349, and his widow, who died ten years later, having in the interval married Sir Guy de Brien, the tomb to whose memory is close at hand. This tomb is full of interest, and consists of a richly panelled base with trefoil arches (each of which must once have contained a statuette), in three sets of two each to correspond with the open tracery in the tier above.
On the tomb is a slab on which are two recumbent figures, carved in white alabaster. The knight is clad in armour, viz., a spherical bascinet, with a camail of chain-mail. His jupon is charged with his arms. The shirt is also of chain-mail, while the arms and legs are protected by plate armour. His head is resting upon a tilting helmet, his feet upon a lion. The Lady Elizabeth, who was a daughter of William Montacute, Earl of Salisbury, has a dog at her feet, and is robed in a long flowing dress, which, with the square head-dress, is characteristic of the time of Edward III.
The Decorated canopy is in two parts, viz., the arched portion which covers the two figures, and the tabernacle work in four tiers above. Three arches of marvellously delicate work support the arched roof, which is like fan-vaulting on a diminutive scale; the ribs have been indicated by colour.
The tabernacle work tapers very gradually, and forms a charming finish to one of the finest tombs to be seen anywhere. Trefoil-headed arches are used throughout the design, but with such consummate skill that no feeling of sameness is aroused. Of straight lines there are many, but of stiffness there is none. Formerly the whole work was painted with red, green, and gold, traces of which are to be seen on the side next to the choir and underneath the canopy.
The tomb is more perfect on the choir side than on the other.
Of the statues that formerly formed part of the canopy or canopies, no traces are left, but it is evident that they were removed with unusual care.
This tomb was formerly ascribed to George, Duke of Clarence, and also to Thomas Despenser. The arms on the tabard, however, settle the question definitely. If further confirmation be required apart from the style of the architecture and the arms, Leland writes: "Hugo le Despenser tertius ... sepultus est apud Theokesbury juxta summum altare in dextera parte." Of the Lady Elizabeth he says: "Sepulta est juxta Hugonem maritum apud Theokesbury."
It is interesting to note that the Dispenser's body has been found in an archaeological dig this year in London (2009). Identified by the anatomical details of one being 'hung, drawn and quartered' and certain parts said to have been sent to his widow.
Altar. —The Purbeck marble altar is supposed by some to have been the altar mentioned in the Abbey Chronicles of 1239, but any Early English features have been destroyed beyond recognition. It is reputed to be the largest altar in England, but, at any rate, it may be said to be the longest. Originally set up in its present situation, it seems to have been buried in the choir by the monks, perhaps by some who were not so mercenary as the rest. Sixty-eight years afterwards it was found, and its purpose being recognised, it was set up in the middle of the choir as a Communion table. In 1730 it was transferred to the aisle, the churchwardens' accounts stating that 12s. was paid for so doing, and that 2s. 6d. was given "to the men that did it for working all night." The "large entire blue stone" was then cut into two lengthwise, and was further desecrated by being converted into seats for the north porch. Earl Beauchamp, at his own expense, had the two slabs restored to their original use. Considering what the marble has gone through, its size has been well maintained. In 1607 it was 13 feet 8 inches by 3 feet 6 inches by 7 inches; and now it is 13 feet 6 inches by 3 feet 5 inches by 5 inches. It is supported by a massive framing of oak.
The Abbey Church of Tewkesbury ...... by H.J.L.J. Masse, M.A.
London George Bell & Sons 1906
To see Larger:
farm4.static.flickr.com/3526/3973481401_5c97e46eb2_b.jpg
Taken on:-
August 29, 2007 at 11:39 BST