BERKSHIRE

 



  


           
                

Aldworth - St Mary

These effigies represent members of the de la Beche family, lords of the manor in the 14th century, although it is not possible to identify them individually. The effigies are very mutilated but are non-the-less of great interest. Six of the effigies lie under canopies against the north and south walls - three on either side. These canopies were over restored by Aubin in 1817, although Earp did the actual carving. These monuments date from the 1340's. The other three effigies, which are of a similar date, although possible a little later, lie on tomb chests under the arcading between the south aisle and nave. 
South-West (left top) This very mutilated effigy is probably that of a civilian, this being  more certain when the  missing parts, which were once recorded,  are considered. The position of the damaged animal at the feet suggests that the legs (now lost) were once crossed. The arms are also lost but, judging from the remnants, were probably in the praying position.. Soft limestone.
South-Central (left next) This is of a lady; she turns outwards to regard the observer. Although this is the most complete of the effigies, it is very worn and damp. Her body sways slightly and her hands hold up her cloak. There appears to have been two angels (one now virtually gone) holding her pillow and, unusually, a third angel helping her hold her cloak on the right hand side. Oolitic limestone.
South-East (left next) This is a military effigy and very worn. His whole body now turns outwards, for which reason I have drawn him from the side. His head rests on a double pillow and he wears a helmet with the vizor raised. The left hand holds his shield well away from his body and the right hand his sword. Soft limestone.
North-West  (right top) A military effigy; his head, turned slightly outwards, rests on a single pillow. His left hand holds his shield and his right hand rests on his sword pommel. He wears a helmet and a long surcoat, cut short at the front. The mail shirt is visible but the mail is not represented. The legs, mostly missing, are crossed. Soft limestone.
North-Central (right-next) This effigy is similar to the one above but with interesting variations. His head rests on a large double pillow and he wears a helmet with mail for the neck. Again he turns outward to regard the lady opposite. He again wears a long surcoat, cut short at the front, but, once more, what would have been his mail shirt is not carved. His legs (more complete than those of his companion) are crossed and his feet rest on a large lion. His shield appears to be held be a strap and his left hand (which shows evidence of armour) rests on his sword. The right hand rests on his chest and appears to hold the strap supporting the shield. Soft limestone.
North-East (right-next) This military effigy is very different to the others and most unusual. His attitude is almost like a Jacobean effigy: he reclines on one side, leaning on his right elbow with the hand supporting the head - although rather he once did as this hand is now mainly lost as is the forearm. His legs are drawn up and his legs crossed below the knees. At his feet sits his page. There are effigies of a similar - but by now means as extreme - attitude in Exeter Cathedral (one shows a groom holding a horse as well as a page) and Bere Ferrers in Devon. A wooden effigy of very similar attitude may be seen in Chew Magna, Somerset; this is dated by Fryer to 1340-50; it is now very heavily painted . He wears an elaborately carved helmet with a raised visor and a long surcoat. This latter is held by a belt around the waist and there is a wider and more elaborately carved sword belt below. Plate armour encloses the limbs, which is again elaborately carved - except for the thighs which are enclosed in a quilted material. Between his legs can be seen the tails of a quilted garment. The effigy is in the round with no slab, although the detached page (once attached by dowels) does have such a slab. He may have rested on a shield. Oolitic limestone.

 


 

 

Centre-West Another military effigy with armour of a slightly later fashion. He lies in a more conventional fashion with straight legs (although now mostly lost) and hands in prayer. His head rests on a helmet and he wears a pointed bascinet with what was probably a mail tippet, although again there is no carving, falling onto his shoulders. The arms are enclosed in plate of which the straps and joints can be seen. He wears a short surcoat, which is tightly laced above the waist and loose below. There are remains of a sword which is held be a thick belt with an elaborate buckle. Oolitic limestone. No slab; the effigy rest on a tomb chest of Purbeck marble slabs.
Centre-East There are two effigies here - an knight and a lady. They lie on a tomb chest with  bases of pillars at each corner, indicating that there was perhaps once a canopy.
The lady is now headless. Her body sways delightfully, her right hand holds up her cloak or dress and the left holds the tie of her cloak which is tucked under her right arm. Her feet rest on an animal. No slab. Beerstone.
The military effigy is similar to that above but with interesting differences of detail. His head rests on a more complete helmet but his face has been neatly sliced away. This was almost certainly made from a separate (finer?) piece of stone which was glued, rather than pegged, onto the main part of the effigy. This was carried out with hot glue and when heating the pieces of stone to be joined; slight burning of the stone here in just visible. His surcoat is laced all the way down and the lower part is pleated instead of remaining loose. His legs are enclosed in plate armour and his feet rest on an animal. Underneath his legs lie two dogs curled up, another unusual feature. Coarser oolitic limestone.
There has been much speculation about these effigies and the last word certainly has not been said. The sculptor(s) certainly showed great imagination in producing this series of  very different effigies. Are all the effigies in their original medieval position? Do those against the wall face the central monuments, although these may be later? Why have different stones been used? When was the damage done?

               

 Barkham - St James

Lady (1250-1310) wood, very worn, in porch. (shown)

 

Burghfield - St Mary

Knight (1290-1325) wooden with cross legs.
Knight/Lady (1410-1470) alabaster and very mutilated. Said to represent the Yorkist Richard Neville, Earl of Salisbury and his Countess; he was executed or murdered (the accounts differ) at Pontefract after the Battle of Towton in 1460. However recent thought believes the lady not to belong, being an earlier Countess of Salisbury; because there are three possible candidates from this period, it has not been possible to identify her. (infomation from Jon Bayliss)These effigies are said to have been brought from Bisham Abbey at the Dissolution. Certainly the dress of the effigies fit and the Neville arms can be faintly made out on the tabard. (shown)

 

Childrey - St Mary

Knight (early 14th century) cross legs, drawing sword. A V B Norman reports heraldry.(shown)
William Feteplace (ob 1516) and Wife. Brasses against back wall show them kneeling in shrouds. Purbeck marble tomb with tomb chest and canopy.
William Fynderne (ob 1444) and Wife fragmentary brasses with canopy and inscriptions
Priest (c. 1450) headless brass
John Kyngeston (ob 1514) and Wife brasses with Trinity above
Joan Walrond, Mrs Strongbow (ob 1507) brass - shrouded, with Trinity above.

Sparsholt - Holy Cross

 

Knight (1290-1340)  cross legs, praying hands. In chancel tomb recess. (shown)
Knight (1350-1380) wood. Legs not crossed
Lady (1330-1350) wood (shown)
Lady (1330-1350) wood
These are said to be a knight and his two ladies which are now separated. Now in south transept.
William Herleston (early 15th century) brass of priest in top of cross
Lady (1510-20) brass
Male Civilian (1510-20) brass, upper half
Sir George Hyde (ob 1623) tablet
John Pleydell (ob 1591) & Wife (ob 1623) oval tablet with much carving.


 

 

Englefield - St Mark

Knight (1330-50) cross legs
Lady (1330-50) (shown)
These effigies, which are recut, are under very low arches in the south aisle.
Mrs Benyon (ob 1777) carved scene of death by Thomas Carter
1789 tablet
1805 tablet
Sir Thomas Englefield (ob c 1500) Purbeck marble monument of tomb chest and canopy; the brasses were on the east wall.
Marquess of Winchester (ob 1675) large black and white marble tablet without date or name. A poem and a quotation from Dryden.
Richard Benyon (ob 1854) relief of the Three Maries at the Sepulchre.
John Englefield, Wife & Son (1605) alabaster tablet with one recumbent effigy and two kneeling below.
Milburg Alpress (ob 1803) tablet with kneeling woman with son by urn.

Hatfield

 

 

Lambourn - St Michael

John of Estbury (ob 1372) & Son brasses, demi-figures
Sir Thomas Grandison & Wife brasses, demi-figures (shown)
John Estbury (ob 1508) brass on tomb chest
Sir Thomas Essex (ob 1558) & Wife Alabaster effigies on tomb chest; he has a dolphin at his feet
Thomas Garrard (ob 1583) & Wife tablet with kneelers
Thomas Garrard (ob 1619) & Wife brasses
Charles Garrard (ob 1710) tablet with putto heads

 

 East or Little Shefford - Old Church

Sir Thomas Fettisplace (ob c 1442) & Beatrice (ob 1447) Alabaster effigies of about 1440-50. Tomb chest of alabaster with angels holding shields.
John Fettisplace (ob 1524) Purbeck marble recess with tomb chest and canopy. Kneeling brasses against the back wall

 

Wantage - St Peter and St Paul

Sir William FitzWarren (ob 1361) & Amicia  Alabaster of 1330-65. Note Fitzwarren arms on jupon. Legs are crossed - unusual for this date.
Sir IvesFitzwarren (ob 1414) brass
Priest (c 1330) brass
Male Civilian (early 16th century) brass
Walter Talbot  (ob 1522) & Two Wives brass
William Wilmot (ob 1684) Tablet with columns and pediment, supported on three angel busts Two frontal demi-figures with a baby upright between them. By William Bird of Oxford.
John Stamp (ob 1728) and Wife (ob 1741) by John Townsend Jnr


 This section will be extended in due course: contributions most welcome! The photographs, drawings and the Aldworth etchings are by the Publicity Officer. Other illustrations from Hollis and Boutell.