TRANSACTIONS. MEDIEVAL MONUMENTAL EFFIGIES REMAINING THE IN CHESHIRE. By Fred. H. Crossley, F.S.A., F.R.A.I. Read 14 February, 1924. HE English mediæval effigy had its beginnings in the twelfth century, when the pictorial representation on the coffin lid grew, with the artist's power of delineation, from incised work into relief. At first only a flat modelling of the figure cut in arbitrary lines in a sunk panel on the slab, it gradually developed into an effigy surrounded by an architectural setting; then as the influence of the mason ceased to be felt, the setting gradually disappeared and in later periods is but seldom found. During the early part of the medieval period masoncraft predominated in effigy making, and during the first half of the thirteenth century no attempt was made to give the effigy a recumbent attitude, the figure being treated as architectural statuary, upright in character, the attitude and drapery being facsimiles of the mason's formula, used in the decoration of the great west fronts of the monastic and cathedral churches erected at that time. The bishops hold a staff and give the benediction, the knights are straight-legged and grasp a sword, the animal at the feet suggesting the corbel upon which the figure stood; the only note of recumbency is a pillow placed beneath the head. After 1240 the recumbent attitude was frankly adopted, and knights were carved with their legs crossed, partly to strengthen the figure at its weakest place, and also to show ease of position. This was B essentially an English feature, continuing for about a century. The majority of the thirteenth and fourteenth century examples were carved in Purbeck marble, from the king's quarries in the Isle of Corfe, being a dun-coloured shelly limestone, polishing to a dark hue. The marblers worked near the quarries, shipping their wares by sea, as England was devoid of good roads. In the north a similar stone was found at Frosterly in Durham, known as Stanhope marble, much used in the decoration of Durham Cathedral. Until 1250 the Purbeck marblers set the pose and style of effigy working, having ten years before introduced into their architectural framing the stiff-leaf foliage so well adapted for cutting in this particular material; but the vogue of Purbeck marble ceased by the commencement of the fourteenth century, other influences being in the ascendent. From 1250 onwards coloured decoration becoming fashionable a more tractable material was found in the various free-stones used for building. The quality of the stone was the chief factor in producing local differences of style. Dundry oolite was quarried in thin blocks, resulting in a flat posture, the head unraised. Beerstone was obtained in large blocks, the figures boldly cut. In the north-eastern district, magnesian limestone, also in large blocks easily worked, resulted in large handling. The Midlands (including Cheshire) worked in a soft red sandstone of coarse grain, resulting in a bluntness of carving and a heavy style; but in reviewing these freestone effigies, it must be remembered that what we now see was only the bed upon which was placed the applied decoration in gesso, enriched with gold and colours, forming a skin of beautiful detail, making it difficult at the present day to judge the finished art of this period. Timber was also used as the foundation for gesso-coated effigies, and was well adapted for distribution over the rough cart tracks, being lighter than stone, and less liable to fracture; of these over ninety effigies are still extant, though not a single example survives in Cheshire. Bronze and laton were also used through the whole period, but the majority of these effigies have disappeared owing to the value of their material. The time between 1250 and 1350, covering the change from Purbeck to alabaster, is the most interesting of the whole medieval period. The earlier part covered a wide field of production, ruled by materials as well as local conditions. The knight effigies are of varying pose, and include the sword-sheathing type; the quieter crosslegged type of easy attitude with the hands joined in prayer, and a lion at the feet, and a series of realistic figures, either lying as if asleep, raised on the elbow, or ready to spring up grasping a sword: these form a series which by their unconventional attitudes, their freedom of pose and the life-like modelling of the figures reach the high-water mark of English memorial craftsmanship. Figures of ecclesiastics are portrayed either with the hands crossed, or as blessing with the right hand and holding a crozier in the left. The figures of priests and deacons are represented with hands joined in prayer, a chalice or open book placed upon the breast. Civilians before 1350 are rare, as up to this time effigies were almost exclusively used for royalty, prelates and nobles. The majority of the heads of these figures are placed upon cushions, but by 1350 the helm is introduced under the head of the knight. The fateful time for English art was the middle of the fourteenth century, when this country was visited by the scourge of the Black Death, sweeping away as it did seventy per cent. of the population and thus proscribing every form of industry and art. When at last ordinary life was resumed, it was under sobered conditions and with a changed outlook. The first half of the fourteenth century had been the art of the master-sculptor, shown by the largeness of handling, the flow of the drapery, and the decoration of the tomb; but after 1350 a gradual process of disassociation set in, the various crafts separating, and becoming either gild or shop productions. The technical excellence of this later work far surpassed that of the earlier period, but its inspiration was governed by the specialist, and as the crafts perfected themselves. genius declined. This process was helped by the discovery of a new material for the execution of effigies and tombs, found in the upper Keuper beds of Derbyshire, Staffordshire and Notts., a sulphite of lime called alabaster, which by the third quarter of the fourteenth century had practically usurped the place of other materials in the manufacture of tombs and effigies. Local schools of tomb-makers rapidly sprang up near the quarries, and the Chellaston and Nottingham centres became famous not only for their memorials, but for the panelled reredoses and images of saints, which were distributed throughout England and the continent. The type of figure, its pose and setting out, altered little during the whole of the alabaster period, the format being under the control of the shop trade, who were content to add only to the technical excellence of their craft, their productions gradually becoming a little drier and less interesting by reason of constant repetition. After the first series, the main interest centres in the accurate delineation of the changing fashions in armour and costume, and in the various methods employed to decorate the tombs. The usual pose of the knight was one of rigidity, the head resting on his helm, the feet upon an animal, the body forming a slight arc; the parallel pose of the lady being obtained by the cushioned support with attendant angels, and the elaborate head-dress; the general attitude was stately, with the hands joined in prayer. In addition to tombs and effigies the alabaster |