Roodscreens and roodlofts
Bond, Frederick Bligh, 1864-1945 | Camm, Bede, 1864-1942
z o > a a z o 5 > -d X < < g (Ih Q z <! Z « o CO Q O O PANELS OF DEVONSHIRE SCREENS 223 (22) An unknown clerk (ss. 7). This is a great puzzle. It is an old clerk with black cap, long white surplice and black cassock, holding two Mass cruets and the lavabo towel. He has the nimbus. Mr. Keyser suggests St. Vincent, D.M. This seems to us most unlikely (and Mr. St. John Hope, whom we consulted, agrees with us), though it is true the young Spanish . „ SVCH. £»' SIDCUeLU sr mAn.oAnjbXi, (puymtsaee) (PLiimiBfte^ ss. 13 SS. 14 SS. 15 deacon is sometimes represented carrying an ewer, or in one case (at Tor Brian) three small vessels, as also in his statue in Henrj' VII's chapel. But this is an old man, with no trace of deaconship or of martj-rdom. It has been suggested that it may be Sir John Schome, who appears at Alphington, Wolborough, and probably also at Portlemouth, but always with his usual emblem, the devil confined in a boot. Sir John Schome wears the robes of a doctor, whereas this figure represents a parish clerk. It is true that a deacon saint appears in a window at Peyhembury, a neighbouring parish to PljTntree, bearing the two cruets, but in this case it is a young deacon vested in dalmatic, like the figure at Tor Brian. We fear the mystery must still be considered unsolved. In any case it is a most dignified and beautiful figure. We give an illustration. (23) 5^. Sitha or Syth, the next (ss. 14), is also a very interesting figure : A virgin with long hair, red dress, white mantle ; in her left hand a shut book, and in her right hand a large ring, on which are hung keys, some of curious shapes, like a modem latch- key. I have no doubt that this represents St. Syth. Blessed Thomas More in his Dialogue (Bk. II, Cap. 10) says : " St. Sythe women get toseke their keys." This shows Vol. ii — 3 — (2239) 224 ROODSCREENS AND ROODLOFTS that she is popular, for he is speaking of the popular superstitions of the day ; anil explains the big bunch of keys. In fact we had better quote the passage, as it illustrates this screen in a remarkable way : " Saincte Apoline we make a tooth-drawer, and may speke to her of nothing but sore teeth. St. Sythe women get to seke their keys. Saint Roke we set to se to the great sykeness bycause he had a sore. And with him they joyne St. Sebastian because he was martired with arrowes." All these saints, except St. Apollonia, appear on the Plymtree screen. Mr. Ke3'ser identifies this and similar figures on Devon screens with St. Petronilla, or Pemelle, who, as the supposed daughter of St. Peter, is occasionally represented with a key. (On the roodscreen of North Elmham in Norfolk she bears a key and a clasped book.) But we are convinced that this figure with the bunch of keys must be St. Sitha. She also appears, with her keys, at Ashton and Tor Brian, and with rosary and keys at Hennock. There is a figure on the screen at Wolborough, holding what appears to be a large broom, which we identify with St. Petronilla, who is known to have this emblem. In the windows of Winchester Cathedral (north aisle) both St. Sitha and St. Petronilla are represented, with their names, and here St. Sitha has a book and a bunch of keys, and St. Petronilla has none. The next difficulty is to identify St. Sitha. There has been a good deal of confusion as to this for the name seems to have been used for two very different saints. According to most authorities, Sitha or Syth is short for St. Osyth, Queen, Abbess, and martyr of Essex {circa a.d. 653). She founded a monastery at Chick in honour of SS. Peter and Paul, and on her seal she is represented between a large key and a sword, the well-known emblems of these Apostles. Pere Cahier says that she is represented in art with a stag near her, and on her seal she carries her severed head. We do not believe that there is any reason for supposing that she is represented with a bunch of keys. But since she is an English saint who was much venerated in some parts of the country (her arm was one of the great relics of St. Paul's Cathedral) some have sought to identify the various figures of St. Sitha with St. Osyth. And as a matter of fact, it would appear that Sitha or Syth was used as a con- traction for St. Osyth's name. Thus we read in Machyn's Diary (p. 218) : " The same day was bered in sant Sythe parryche John Lyons sune and here," where St. Sythe is meant for St. Osyth. This church is first mentioned in 1122, when the Church of " St. Osyda " in the City of London, was rebuilt by one William de Sherehog, who added to the previous dedication the name of St. Benedict. It thus became generally known as the Church of St. Benet Sherehog. But the name of the East-Saxon Queen still lingered under the popular abbreviation of St. Syth. Thus Stow writes : " This small parish church of St. Syth hath also an addition of Benet Sherehog." The church perished in the great fire ; the name of St. Benet Sherehog is, however, preserved in the title of the united parish of "St. Stephen, Wallbrook, with St. Benet Sherehog." But what is more interesting to us is the fact that " Size Lane," near Cheapside, still commemorates the site PANELS OF DEVONSHIRE SCREENS 225 of the ancient church of St. Osyth, for Size Lane is but a corruption of " St. Syth's Lane." St. Osyth had, however, other popular designations, she was frequently known as Ousie, or Toosey. (Cf. Tooley for St. Olave and Tawdry for St. Audrey, or Etheldreda.) Mr. Kerslake, in his dissertation on St. Richard says : " Mr. Robert Dymond has found in the archives of St. Petrock at Exeter entries concerning a Guild of St. Syth ( = St. Osyth) in that church. St. Osyth was invoked against fire and water. He conjectures that this guild was established in consequence of a perilous fire which is known to have occurred on that spot." This would bring St. Osyth's cultus to Devonshire, which is an important point, or would be, if there were any proof that the St. Syth of the guild was really St. Osyth. There is, however, none. The Inde.x volume of Archceologia gives " St. Syth or St. Osyth," and Husenbeth's " Emblems of Saints " (ed. 1850) identifies these two saints. But when we consult Dr. Jessopp's edition of the latter work (1882) we find a significant change. It is true that he places among " the more quaint and puzzling modes of spelling the names of saints in ancient days " Sitha as a synonym for Osyth, but the list of representations or pictures of St. Osyth or Sytha which are found in the 1850 edition are now transferred bodily to " 5^ Sitha, Citha, or Zita, Virgin {17th April), date 1272," and we have no doubt whatever that this correction is justified. This edition of Husenbeth's magnificent work gives " St. Osyth or Osith, Queen, V. Abbess, M." in her due place, but with no English representations cited, except that on her priory seal. Another authority of great weight may be added. The late Rev. Daniel Henry Haigh, F.S.A., in his beautiful church of St. Thomas of Canterbury at Erdington (now the Abbey church) had the life of St. Zita or Sitha represented in the windows of a chapel dedicated to her. She is here pictured with her proper emblems, the rosary and bunch of keys. The present writer was at first surprised to find a somewhat obscure foreign saint so greatly honoured by Father Haigh, who was exceedingly patriotic in his devotional tastes, for he did not then know how greatly St. Sitha was honoured in England for about a century before the Reformation. St. Sitha, \'irgin (not martyr), is found in the Calendar of the Aberdeen Breviary, in a Calendar of the Bridgettines of Syon Abbey (fifteenth century), in a Calendar of Canterbury Cathedral (a.d. 1220-46), and in a martyrology of the same Cathedral also dating from the thirteenth century. As St. Zita did not die till 1272, the two last instances appear to refer to St. Osyth, but the other two probably indicate St. Zita. Leland mentions a chapel of St. Sitha on the bridge at Bradford (built about 1466), and a chapel was erected in honour of St. Sitha at Ely in 1456. The latter was certainly a chapel of St. Zita of Lucca, for it was built to hold a relic of this saint brought from Lucca to Ely by a knight of St. John. From this date, at any rate, the cultus of St. Zita under the name of Sitha or Syth must have spread rapidly in England. At Colne, in Lancashire, was a chantry chapel of Saint Cyte, a form which is nearer to Zita than the more common Syth. St. Zita was a holy servant-maid and she is greatly venerated as the patron of domestic 226 ROODSCREENS AND ROODLOFTS servants. She kept house for her master, and hence she bears a bunch of keys. The greater part of her time was spent in prayer, and thus the rosary is her fitting emblem. . If St. Osyth were meant, she would be represented with the emblems of royalty and dressed in her habit as an Abbess. She would probably also be shown as a martyr, for although there seems a doubt as to the truth of this tradition, she is certainly so represented on her priory seal. If any doubt yet remain in the reader's mind, we can give an absolutely conclusive proof that St. Zita of Lucca was known in England as St. Sitha. A very fine fifteenth century chasuble, of English workmanship, is still preserved at Stonyhurst College. It is described and figured in the Stonyhursi Magazine (Vol. Ill, February, 1888). It appears to date from about 1460. On the back of the chasuble is a Latin cross. On the upper part of this is embroidered the Annunciation, with the Eternal Father and the Holy Ghost. Then there are the coats of arms of the city of Lucca and of the Bonvisi family. Below these appears a representation of the Holy Face of Lucca (the famous crucifix venerated in that city) with the inscription, " The Rode of Lucca." Below this again appears a Virgin saint, with long flowing hair and mantle, holding a book and a rosary, while from her girdle hangs a bunch of keys. Under this figure is the inscription, " S. Sitha." There can therefore be no doubt that the figure at Plymtree which corresponds so closely to that on the chasuble must be Saint Sitha, and that this St. Sitha is St. Zita of Lucca and not St. Osyth. It may here be added that this chasuble (which bears in front the representations of St. Peter, St. Paulinus of Lucca, and St. Sebastian) has an interesting hsitory. An inscription below the coats of arms on the Cross runs Orate pro Ludovico Bonvisi. Now Ludovico Bonvisi was one of a well-known family of Lucca merchants settled in London. (Their name appears in the State papers as Bonvici, Bonvix, Bonvice, as well as Bonvisi.) Of Jerome Bonvix, protonotary Apostolic, the Cardinal of Pavia says in a letter to Henry VII (July 15th, 1509), that he was more an Englishman than an Italian, and Henry VII promised him the Bishopric of Durham. Antonio Bonvisi was the intimate friend of Sir Thomas More, and when that great man left Crosby Hall for Chelsea, Bonvisi succeeded him in his famous city home. His life is given in the " Dictionary of National Biography." He ministered to his friend in prison and later on, when hving in exile for his fidelity to the old religion, he was the intimate friend and adviser of another martyr, Blessed John Storey. But to return to St. Sitha. She is found in two places, at least, together with St. Petronilla, i.e., as already noted, at Winchester Cathedral, and also on the screen at North Elmham, Norfolk. (Here St. Petronilla has a key and clasped book, and St. Sitha a rosary and large key.) St. Sitha is also found on the screen at Barton Turf, Norfolk, and on a screen formerly in St. James' Church, Norwich. The figure at Barton Turf is the most important, as it is named, Sea Citha, in black letter. She is in secular dress, wearing an apron, and holding in her left hand a rosary and in her right a bag-purse and PLATE LXXVI COMPAKATIVK HET All, IN CANOin' WORK (DEVON AND CORNWALL") ^>/^'7> (A) RoODLOFT : AlHERINGTON < ^ ^ UK^jf (,B) Pulpit; St ,\DNCESTON ^1 ^'t V- vs. .V I I'uLPiT : Coleridge (D) Pier-Casing: DuN'CHiDEOCK PANELS OF DEVONSHIRE SCREENS 227 bunch of keys. She occurs on the second panel from the north, and has been rightly identified with St. Zita of Lucca by the Rev. John Gunn.^ With two keys and three loaves she is found at Mells, in Somerset, with keys and a book at Tattershall in Lincoln- shire, with a key and book on Somerleyton screen, with book and rosary on the screen at Westhall in Suffolk, and with two keys in a window in the south-eastern chapel in the beautiful church of Norbury, Derbyshire. In Henry VII's Chapel is a statue of St. Sitha, bearing a book and a rosary. She has long hair and wears a turban head-dress. We have already referred to her other representations in Devon. The interest of clearing up a subject so confused will, we hope, obtain pardon for this long digression. We will only add that while St. PemeUe is found in Caxton's Golden Legend, neither St. Osyth nor St. Zita appear in it. A short hfe of St. Osyth may be found in the " Lives of the Women Saints of our Countrie of England," published by the E.E.T.S. (1886). As if to make confusion worse confounded, we are informed by the Rev. F. W. Weaver that at least in one place in the West-Country St. Syth was used as a form of St. Syre or Cyr (i.e., St. Quiricus, martyr). Tickenham Church, Somerset, was dedicated to SS. Quiricus and Julitta (who were martyred a.d. 304), and in Tickenham wills we find as follows : 1530 : " To St. Sythe for tithes forgotten 6s. 8d." 1533 : " Parish church of St. Syre of Tickenham." 1535 : " In churchyard of St. Syth of Tickenham." Of course this does not affect our argument, as St. Cyr was a boy martyr, and the paintings we are discussing cannot be meant for him, but it shows how much confusion there was about the name of St. Sitha, and no doubt many of our forefathers who invoked the saint's aid were not too clear as to who she really was. To sum up, we may claim to have proved, for the first time, that the saint represented as a young woman, bearing a rosary and a bunch of keys, or either, is meant for St. Sitha, Syth or Cyte, and that this saint is to be identified with St. Zita of Lucca, the holy servant-maid, who was honoured as the patron of housekeepers and domestic servants- (24) An Archbishop, probably St. Thomas of Canterbury (Mr. Mozley's list gives St. Anselm, which is not so likely). There is no special emblem ; he holds the archiepiscopal cross in left hand and blesses with the right. Green chasuble lined with red, yellow dalmatic. (25) St. Dorothy, V.M., a very favourite saint. White robe, short red tunic over it and green mantle, in left hand an open book, and in right a basket of flowers, the flowers and fruit which, according to her beautiful legend, she sent to Theophilus from Paradise after her martyrdom. St. Dorothy is found on at least eight other screens. (26) St. Michael, in armour, green tunic, red cope, wings white and green. Sword raised above his head in right hand, white dragon at his feet. A very fine figure. We ' " Illustrations of Roodscreen at Barton Turf." (Norwich, 1869.) 228 ROODSCREENS AND ROODLOFTS have only found St. Michael represented elsewhere at Bradninch and Ashton. This is the finest representation of the great Archangel. We now come to the doors of the south aisle. On these, as usual, there are four panels. (27) St. Sidwell (ss. 15), holding her head between her hands, and a scythe in right arm. Green dress, white mantle, nimbus over neck where head should be. St. Sidwell is a Virgin Martyr of E.xeter, where there is a church dedicated to her. She is also called Sithefully. She is said to have been martyred by the Danes about the year 740, and to have had three sisters, Guthwara, Edware, and Wilgith. She is naturally popular in her native county, and her picture is foimd on seven other screens. A well is often represented by her side. Her Latin name is Sativola, and her history is exceedingly obscure. She is represented in one of the windows of All Souls' College, Oxford. (28) St. Sebastian comes next. He is naked, save for a white-green loin-cloth, and is pierced by eight arrows. He is tied to a tree. This is the usual representation of this great martjT, but at Bradninch and Tor Brian he is fully clothed in armour and bears a bow and arrows in his hands. This saint is also found at Ashton, Holne, Kenn, Kenton, Portlemouth, Whimple, and Widecombe, while at Ugborough there is a most curious group representing his martyrdom, which fills four panels. The executioners wear trunk hose, a costume which Mr. Keyser considers to date from the time of Elizabeth or James I, but the painting was more probably executed in the reign of Queen Mary. (29) St. Helen. Green dress, red mantle, white veil ; carries book in right hand and the holy cross in left (called erroneously by Mozley, " St. Bride or St. Frideswide "). St. Helen, who was believed to have been bom in Britain at Colchester, is very popular in Devon as in East Anglia. At Colchester her image is found on the Corporation Seal. She is represented on at least seven Devonshire screens, and was on the panels, now destroyed, at Trusham and Kingsteignton. (30) 5/. Jatnes Major (?) (ss. 8). Next is a very beautiful figure which we are still unable to identify with absolute certainty, although we have verj' little doubt it represents St. James the Greater. It is a bearded figure, with white-green tunic and hose, red book (?) hanging from red girdle, red shoes, green mantle clasped with red brooch on right shoulder. In right hand he carries staff and wallet, and his left hand rests on his girdle. He has a green cap or turban. He looks upw^ards, as if at an apparition. Mr. Keyser calls this St. Romauld (who was a Benedictine Abbot), which it certainly is not. However, Mr. Mozley's list calls it " St. Rumold with his staff against the plague." But we have not been able to find any St. Rumold, except a Scottish bishop, which this cannot be. The present Vicar of Pl\TTitree, who is a good antiquary, now agrees with us that it is St. James. We found a somewhat similar figure of this Apostle at Hennock, and of this also we give an illustration. The only thing against the identification of the Plymtree figure is that there is no trace of the scaUop-shell. It is not an objection that this Apostle already occurs on this screen, PANELS OF DEVONSHIRE SCREENS 229 holding her lamb. for that is in the older series of paintings, and, as we have seen, there are also two figures of St. John Baptist. Then come on the screen four more panels, much hidden by the high pew which encloses them. (This, however, we believe has been removed since our visit.) (31) St. Agnes (ss. 16). A very beautiful figure, in red robe and white mantle. This saint is found also at Kenton and perhaps at Wolborough. A saint with a dove at Kenn (ss. 103) may also, possibly, be intended for St. Agnes- It is strange that she is not more popular. (32) St. Edward the Confessor (ss. 17). A very fine and interesting figure. He is crowned and carries the sceptre in his left hand, and in his right the famous ring given by him to St. John the Evangelist. He wears red doublet and hose, with green tunic and gold girdle. Over all is a green mantle, with cape and borders of brown fur. St. Edward is not so common a figure as one might expect. In fact, I do not know of one other certain figure of him in Devon. A king, without distinctive symbol, occurs at Bradninch, South Milton, Hennock, and Portlemouth. St. Edward is found on the screen at Kelshall, Herts, with St. Edmund, K.M., and on several East Anglian screens, e.g., Ludham, Stalham, Barton Turf, Attleborough and Burlingham St. Andrew. (33) St. Barbara (?). Red shoes, green mantle, sword in right hand, book in left. This identification cannot be considered certain. It may be St. Lucy. (34) St. Stephen. Since my last visit to Plymtree this panel has been uncovered, and the Rector informs me that it represents St. Stephen the Protomartyr. It is in splendid preservation for the upper two-thirds, but the lowest part has shed most of its paint through damp. The saint is represented with nimbus and tonsured head, amice, alb, and plain red dalmatic, facing N. towards St. Barbara, who faces S. He has in his right hand a palm branch and in his left three stones. Before leaving this beautiful screen we must add that it is in bad repair, and that something ought to be done to prevent it getting worse. It may be interesting to note that at Plymtree our Blessed Lady's figure still looks do\\Ti from its niche in the tower, over the western door ; and that one of the bells still bears the inscription : Protege, Virgo Pia, Quos convoco, Sancta Maria. PL-ym-HRtt ss. 16 CCIOFt650R., (PLirmwet) ss. 17 230 ROODSCREENS AND ROODLOFTS The screen at Plymtree gives us almost all the more popular saints in Devon, with the notable exception of St. Apollonia. This saint, who was invoked as a patron against the tooth-ache, was evidently greatly venerated in Devon, as we see by a glance at the Appendix. In fact, with the exception of the Apostles, she was the most widely venerated of the saints. She usually bears a large pair of pincers which hold in their grip a formidable looking tooth. St. Ursula is also a popular saint who finds no place here. Of the saints at Pljontree, we should note that St. Thomas the Apostle is patron of masons, St. John Evangelist of papermakers and bookbinders, St. Catherine of rope makers and spinsters, St. Roch is invoked against epidemics, St. Luc}' is the protectress of peasants, St. Sitha of servant maids and housekeepers, St. John Baptist of tailors and farriers, St. Sebastian of archers and against epidemics, while St. SidweU is the protectress of the Cathedral city of Exeter. St. Barbara is invoked for a good death, and she is also held to be the patroness of architects, builders, and artillerymen. But to proceed. A popular treatment of the panels was to put Apostles alternatively with prophets. This is stiU found at Chudleigh, Kenton, Bove)^ Tracey, Ipplepen, Stoke Gabriel, and Bradninch. At the two first named the Apostles have inscribed beneath them (or on a scroll) the article of the creed which they are said by tradition to have composed, before their dispersion over the world, while the prophets have each a corresponding prediction. Thus at Chudleigh the series begins with St. Peter, who has Credo in Deum patrem onmipo- tentem creator em coeli et terrm. Next comes Jeremias, who has Patrem invocabitis qui fecit coelmn et terram (III, 19). Next comes St. Andrew with Et in J esum Christum, etc., and then David (ss. 66c) with the prediction, Deus dixit ad me, filiiis mens es tu, ego hodie genni te (II, 7). Then St. James Major, Qui concepttis est de Spiritu sancto, natus ex Maria virgine, and Isaias with Ecce virgo concipiet et pariet filium (VII, 14), and so on. The screen does not extend across the south aisle, so the last two prophets and apostles ^'" B/^R&HOLODieUi ss. ISA mic«M. ss. 18b PLATE LXXVII SPECIMF.MS OF C\NOPY-\VORK IN DEVONSHIKF. SCREENS (converted into a cresting) > I ' •i*" *v*" ^i*" -i-A* ' *'aT.*,*'^>' ®^^ ^^^"»^---- :*;^^. (A) KOODSCKEFN' ' unrestored portion) ODSCREEN : I'iLID.'., X. DEVON PANELS OF DEVONSHIRE SCREENS 231 are missing. The Vicar of Chudleigh told us that they were removed to Buckland-in-the- Moor, but there is no trace of them there now. The figures were covered up with plaster and only found at the restoration in 1869. They are on a white ground, which is unusual but is also found at Ipplepen and Bere Ferrers. The ordinary colour is red or green. At Kenton the arrangement is somewhat different. Jeremias comes first, Patreni vocabis me (III 19), then St. Peter with the first article of the Creed. Then follows Daniel, Filius hominis venit (VII, 13), and St. Andrew with the second article. Then Isaias, Ecce Virgo concipiet el pariet Filium, with St. James Major. Next Zacharias, Tunc videhimt quern crucifixerimt (XII, 10), and St. John. Then Osee (Hosea) with two texts [Morsus funs cro (XII, 14), and Et in die tertia suscitabit (VI, 2), and St. Thomas with the descent into hell and the resurrection. Then Amos, Qui cBdificat in coelo ascensum suum (IX, 6), and St. James Minor ; Joel, In valle Josaphat judicabit omnes genies (III, 2), and St. Philip with the article on the Judgment : Aggeus (Haggai), Spiritus meus exit in medio vcstrum (II, 6), and St. Bartholomew with Credo in Spiritum satictuni. Next comes Sophonias (Zephaniah), Qucb est civitas gloriosa quce descendit de coelo (II, 15, curiously blended with Apocalypse XXI, 2), and St. Matthew with Sanctum ecclesiam, sanctorum communionem . Then Malachias, Cum odio habueris, dimitte (II, 16), and St. Simon with remissioncm peccatorum ; Ezechiel with Suscitabo te (probably referring to Chapter 37, the vision of the dry bones), and St. Jude with Carnis resurrectionem ; Abdias (Obadiah), Et erit Domino regnnm sempiternum (v. 21), and St. Matthias with vitam etcrnam. sr m^x,HeLU. SS. 1 8c Vol. ii — 4 — (2239) aoeu. SS. 18d SS. 18e 232 ROODSCREENS AND ROODLOFTS It should be noted that the quotations from the prophets do not always follow the Vulgate text, but offer some readings which will interest students of the old Latin version, in use before St. Jerome ; this version is said to have always retained great influence in England. Nor do the quotations always agree with those at Chudleigh. Thus the Chudleigh version of Zacharias XII, 10, runs : Aspicient illi quern crucifixerunt , which is not according to the Vulgate either. St P€&eR.. ^ PROPMtTa. AW <^P0S5L.e. ^ PROPHfcC). SS. 19 Nor are the prophets and apostles always paired in the same way. The apostles preserve their traditional portions of the Creed in each case, but at Chudleigh, Malachi accompanies St. Philip instead of Joel with the text Ascendam ad vos in judicio et ero vobis testis (apparently meant for Chapter III, v. 5). Joel at Chudleigh goes with St. Bartholomew, while that apostle is, at Kenton, accompanied by Haggai. At Chudleigh, Micah goes with St. Simon, at Kenton Malachi. Joel at Chudleigh has the text : Effundatn de spiritu meo super omnein carnem (II. 28), and Micah has Deponet dominus omnes iniqtdtates vestras (VII, 19). Daniel at Kenton takes the place of David at PANELS OF DEVONSHIRE SCREENS 233 Chudleigh. In our illustrations we have selected the most typical figures from both classes, and have not troubled to put the pairs together as they come on the screen. This same arrangement of alternate prophets and apostles is found on the fine (but much restored) screen at Bovey Tracey. It seems almost incredible, but it is a fact that this series of figures has been interpreted as representing phases of the quarrel between Henry II and St. Thomas of Canterbury (ss. 19) ! The only pretext for this extraordinary mistake is the fact that the church is dedicated to St. Thomas and was founded, it is said, by the Tracey who was one of the saint's murderers. The prophets in their curious caps and fur are supposed to represent the King, and the apostles the Archbishop. It is true that they do not bear scrolls or emblems, nor are their names appended, and the pairs are represented with some dramatic power, looking towards each other, with what the artist considered appropriate gestures. But how any educated person could take them for anything but what they are, especially when there is a similar series at Chudleigh three miles away, passes all beUef . However, so it is, and although the myth is no longer propagated by the authorities of the church at Bovey, the present writer was invited by a clergyman to admire the skill with which the various phases of the quarrel were represented ! The legend is repeated by the guide-books, and is fast attaining the proportions of an ancient tradition. We find it in the latest book on old Devonshire churches, published in 1908. In order the better to stamp it out, we append an illustration of four of the figures at Bovey, compared with others at Chudleigh (ss. 18a, b, c, d). At Ipplepen the figures were only found at the restoration of the screen by Mr. Herbert Read. They are a very interesting series, beautifully drawn, and very different from the rude daubs which disfigure rather than adorn the magnificent screen at Kenton. Here the series has various peculiarities, but many of the figures are missing. Jonah, Habakkuk, Moses, and Nathan (?) who figure here are unique in Devonshire. The figures bear their names on scrolls but have no texts. The best preserved figure is that of Ezekiel which had been hidden by the pulpit and thus escaped injury. There is also an interesting female figure, inscribed Sihilla (ss. 20). The Apostles with the Creed (it may be noted) occur in Norfolk frequently, e.g., at Gooderstone, Mattishall, Ringland St. Peter, Thetford, and Weston Longville ; they are accompanied by the prophets at Harpley (repainted), Poringland, and Thomham. Out of sixty painted screens in East AngHa no less than twenty-two bear representations of the Apostles. The reader may consult Mr. George E. Fox's most valuable article in the Victoria County History of Norfolk (Vol. II, pp. 529-555). SIBILLA. (^IPPUPtn^ ss. 20 234 ROODSCREENS AND ROODLOFTS SS. 21 The Sibyl at Ipplepen brings us naturally to the consideration of this interesting subject. Sibyls are found on several screens. The most remarkable and interesting series is that at Bradninch (ss. 21 and 22), where, however, the figures have been much tampered with in the course of modem and ignorant " restoration." Here all the twelve are represented, and the figures are most quaint and charming, with a strong suggestion of Flemish in- fluence. We give several illustrations. At Ugborough the twelve Sibyls also occur, and very ugly they are, it must be confessed (ss. 23). There is a very valuable article on the " Iconography of the Sibyls" attached as an appendi.x to Jessopp's edition of Husenbeth's " Emblems." It is by Mr. W. Marsh. The Sibyls were supposed to be inspired prophetesses, who, in Pagan times, predicted the coming of Christ. We are stiU reminded of their ancient cultus when we sing the Dies Irce. At Bradninch they run as follows (the names we take from Husenbeth), though we are not sure that we have identified all correctly, so many of the sibyls share their sjinbols with others. (1) Samia (with iron crib or cradle) ; (2) Erythraea (red rose) ; (3) Persica (lantern) ; (4) Europa (sword) ; (5) Agrippa (scourge) ; (6) Tiburtina (hand) ; (7) Libyca (chalice or ewer and basin) ; (8) Hellespontina (?) (a cross) ; (9) Cumana (sponge) ; (10) Cimmeria (?) (pincers and nails) ; (11) Delphica (horn) ; (12) Phrygia (cross and banner). H 2 UJ tj >■ K Q O C5 > H 'A e; •A J ^ J a. W a H Pi < X CLh o > B S- u o rt o a.>- go o S — o oi: C « y 5) i§ i « ^ s S o s| u = ■= 5 « -a u u c — _ 1- ^S8 ^s ^ r. > *- J tS -' c — 2. Si o « PANELS OF DEVONSHIRE SCREENS 235 At Heavitree, a suburb of Exeter, in a pretentious brand-new church, was, till quite recently, part of the old screen in a very dark place under the western tower, as if it were something to be ashamed of. It is, however, now being re-erected elsewhere in the church. There are nine very quaint sibyls represented, which we managed to make out with the aid of a candle. Here are to be found Sibylla A grip pa with two scourges, Cimmeria with three nails, Libyca [?) with the pillar of flagellation, Hellespontina with the Holy Cross and a trident (perhaps the triple candle used for the blessing of the new fire on Easter Eve), and others. Mr. Worthy has identified the last two as St. Michael and St. Dunstan respectively. Such is the force of imagination ! Owing to Mr. Herbert Read's kindness we are able to give illustrations of some of these very interesting figures (ss. 24). Other sets of figures which may be taken together are the four Evangelists, the four Latin Doctors of the Church, and the mysteries of the Life of Our Lord and our Lady, commonly known as the Mysteries of the Rosary. It is usual to find on one of the pairs of doors the four Evangelists painted, and on another the four Doctors. This is also common in East Anglia. SIBYLS SS. 23 ICJCBORDCiGH) &\K^m\ cum/vtA s>ititUL^ acrippa. ss. 24 236 ROODSCREENS AND ROODLOFTS tHt flm7unci«t.ion. (rtSM&on.) SS. 25 The Doctors are usually represented thus : St. Gregory as Pope (his head and tiara have sometimes been obhterated), St. Jerome as Cardinal, St. Ambrose as Bishop, and St. Augustine in Doctor's robes. Thus at Ashton (of which set we give illustrations) St. Augustine wears red robes with borders of white fur, and a doctor's biretta or square cap. He holds a book. (See list following.) Sometimes, though not in Devon, the Evangelistic s\Tnbols are paired with the Doctors. Thus on Bloxham screen, in Oxfordshire, St. Jerome is paired with St. John's eagle, St. Luke's symbol has been obliterated because it accompanied Pope St. Gregory. The same interesting treatment is found in the exquisite glass of the ante-chapel of All Souls College, Oxford. The central doors of the screen often portray one or other of the mysteries of the Rosary, as we have seen at Plymtree. Most remarkable of all are Holne, Tor Brian, and Portlemouth, where still may be seen in all her glory, Our Lady crowned by her Divine Son. This group is usually attended by angels. At Ugborough we find the Assumption of the Blessed Virgin, attended by worshipping angels. It seems almost miraculous that these groups should have survived the iconoclastic fury of Reformers, Puritans, and " Restorers," though it is true that all these places are very remote. Of the ten representations of the I Annunciation, the most beautiful is perhaps that at Ashton (ss. 25), of which we give an illustration, though Plymtree is a formidable rival. The treatment at Buckland-in-the- Moor is somewhat different, but verj' fine. The Visitation (or Salutation) also occurs at Ashton and Plymtree, and we give a drawing of the former (ss. 26) . It is exceeding!}' beautiful in treatment. (The hair of St. Elizabeth in the original, it may be noted, is white.) This painting is much admired by artists. The Nativity of Our Lord occurs only at Exeter Cathedral among t/Ht VI^ICjA^OuI?,. (/^iaHDOn) ss. 26 PANELS OF DEVONSHIRE SCREENS 237 the Post-Reformation paintings on the great stone pulpitum. (Mr. Keyser most unaccountably refers these paintings to the reign of Henrj' VII. They are Jacobean, but no doubt replaced an older set.) The Adoration of the Magi occurs at Buckland, Plymtree, and Ugborough. We have given illustrations of the two former. The Buckland painting is ver\' interesting, and the Madonna and Child have a curiously modem look, recalling Bume-Jones. Taking the screens in alphabetical order, we may now point out the more remarkable figures, or those which are especially difficult to identify. At Alphington is a figure which has much puzzled archaeolo- gists. It is identified by i\Ir. Keyser as St. Norbert or St. Gilbert of Sempringham. But it is neither the one nor the other. It represents a White Friar, i.e., a Carmehte, vested in his habit and bearing a crozier. It is distinctly the Carmelite habit, and not the Premonstratensian habit which St. Xorbert would wear, nor that of the Canons of Sempringham. St. Gilbert, too, would not carry a crozier. But what Carmelite saint can it be? One would naturally sup- pose it to be meant for the famous English General of the Order, St. Simon Stock. But the crozier is a difficulty. It is, therefore, probably St. Albert, Patriarch of Jerusalem and compiler of the Carmelite rule. He had previously been Bishop of Vercelli in Italy. He was assassinated in 1214, and is honoured by his order on the 8th of April. We give an illustration (ss. 27). Two other figures at Alphington are interesting, and we illustrate them also. One is the very quaint and unique picture representing St. Dunstan seizing the devil by the nose with a pair of tongs (ss. 28 a, b), the other is St. Denis /^Leeac (/^LPMIRCl&OO) S5. 27 SS. 28a SS. 28b 238 ROODSCREENS AND ROODLOFTS bearing in his hands his severed head (ss. 29). St. Denis also occurs at Cheriton Bishop. St. Denis (or Dionysius) it may be noted, is the patron saint of Bradninch, but he does not occur on the screen there. St. Thomas of Canterbury invoked him while dying. He was Bishop of Paris and the patron saint of France, and in the Middle Ages was confounded with Dionysius the Areopagite, the convert of St. Paul. The common representation of this saint with his head in his hands, the symbol of the fact that he had been decapitated for Christ, gave rise to the legend that he had taken it up and thus walked for a considerable distance after his martyrdom. It was this episode which inspired the famous saying, " Ce n'est que le premier pas qui coute." Another noteworthy figure at Al- phington is that of Sir John Schorne, a holy priest and doctor. Rector of Long Marston in Berks, who died about 1308. He was greatly venerated by pilgrims both at Long Marston and St. George's Chapel, Windsor, where he had a famous shrine. Though never formally canonized, his cultus was exceedingly popular down to the change of religion. He holds a large boot in his hand, in which he has imprisoned the devil, being known as " Sir John Schorne, gentleman born, who conjured the devil into a boot." He also occurs at Portlemouth and Wolborough, but this is by far the best figure, and we therefore give an illustration (ss. 30a). Sir John is found on several Norfolk screens. Barton Turf, Binham Abbey, Cawston, Gateley, Litcham, and Ludham. We have also at Alphington St. Francis, showing his stigmata, and a puzzling figure (the last on the screen) of a lady in robes trimmed with ermine, apparently holding a dagger and book who may possibly be meant for St. Catherine, V.M. (ss. 30b). The paintings which were laid bare at the restoration of the screen, though much defaced, are beautifully executed. St. Helen (ss. 30c) is also represented. At Bradninch, besides the sibyls, already described, are some very interesting figures on a chantry screen, which is now placed under the tower arch. Of several of these we give illustrations. St. Christopher (ss. 31), strange to say, is unique. The probable reason is that he was so popular that he was already portrayed on the walls of most churches, and so it was not thought necessary to repeat him on the screens. His gigantic 2>' oenife. (Mtpwnc&oa) ss. 29 SIB. 30Ha SCHORner ss. 30a X X < Qh < a a o a o o X z o > b) Q _^ > r >- a i < = i 5 § " 3 > H 5 z H 7 Z Ed ^ s X 3 PANELS OF DEVONSHIRE SCREENS 239 stature, too, may have been thought unsuitable for this position. Here, too, is a youthful saint clad in annour. He holds a large sword, and has light hair, and an ermine cap surmounted by four scarlet plumes. His name is obliterated except the last four letters, apparently a>ius. Mr. Keyser sug- gests it is St. Adrian. The object he is holding may possibly be an anvil, which would be St. Adrian's usual symbol. It may, however, be meant for St. Alban. It makes a good pendant to the remarkable St. Sebastian a little further on (ss. 32 B), and may be compared with the St. Victor at Tor Brian. We think that it is pretty clear that the same artist painted both figures. Ne.xt to him comes St. Giles with'his hart, also a unique figure. This is strange, as St. Giles was exceedingly popular in England. Then a most interesting group of St. Francis receiving the stig- mata, which has greatly puzzled the guide - book makers. It occupies two panels. But we need not describe it, as we give a good illustration (ss. 32c). The legend is closely adhered to, save that the Crucified Seraph has but two wings. (This subject occurs also at Kenn, but there in one panel only.) St. Gabriel is repre- sented a little further on, blowing a long horn, which is unusual, except where he S'CHRis^OPHfca forms part of the subject (BMDnincHj Qf » i^ ^yj^^^g mystique:' SS. 31 ^ ^ (■/^LPMiaCBOfl) ss. 30b sr HCLea. ss. 30c (BFwonincH) ss. 32a (BRflDnincH) ss. 32b Vol. ii — 5 — (22J9 ) 240 ROODSCREENS AND ROODLOFTS Turning to the main screen at Bradninch, we find the four doctors on the doors of the north aisle, and the Annunciation and Visitation on the central doors. Next come some unique figures, the Temptation and Fall of Man, the Expulsion from Paradise, and a figure holding a jaw-bone and standing over a prostrate soldier, which is, of course, meant for Samson. Then follow some figures whose identity it is impossible to establish, as they have no distinctive emblems. At Buckland-in-the-Moor there are some curious grotesque figures painted on the east face of the screen, as well as some interesting saints on the western side. They are described by Mr. Keyser under the account of that screen. The screen is now (1908) taken down, and is lying in the workshops of the Misses Pinwill at Plymouth with a view to its restoration. Unfortunately, the beautiful paintings have suffered very greatly from ill-treatment. At Hennock, perched on the summit of an almost (BR<«oniocH) &cicm(«OA OF &r FRAncib SS. 32c inacces- sible hill, high above the valley of the Teign, is an old church with a screen still beautiful in decay. (It belonged of old to the Abbot and Convent of Torre.) The screen bears a series of charming little figures, very delicately drawn, like miniatures in an illuminated manuscript. Four are now most cruelly hidden by the steps of a modem pulpit. All were preserved, we may note, by being concealed (o jelix culpa !) under the green baize that lined the high pews which formerly abutted on the screen. Here we find St. Sitha, veiled with a rosary and keys ; St. Erasmus, a most gruesome figure, bearing his entrails wound around a windlass ; St. Roch showing his plague-spot, and a very quaint treatment of the Annunciation. Here, too, is a very interesting figure, which at first puzzled us greatly, and of which we also give an illustration. It is a saint clad in the Dominican SS. 33 PANELS OF DEVONSHIRE SCREENS 241 habit, with a sword in his head and a processional cross in his hand. Tlie difficulty was to decide if it were meant for St. Tliomas of Canterbury or St. Peter, Martyr. At first we were inclined to the former, but after two visits to study this figure, we came to the conclusion that it was undoubtedly the Dominican Martyr, St. Peter of Verona (ss. 33). Mr. Keyser gives in his list " St. Thomas of Canterbury "(?). But he did not give sufficient weight to the Dominican habit. The cross is puzzling, as it certainly suggests an Archbishop, but since then we have found other representations of Dominican friars carry-ing a processional cross. It is probably meant for a preaching cross. There is another figure of St. Peter, Martyr, in Devon, at Portlemouth, where he holds a large knife (ss. 34). 