"Still points the tower, and pleads the bell, The solemn arches breathe in stone, Window and wall have lips to tell The mighty faith of days unknown;-- Yea! flood, and breeze, and battle shock Shall beat upon this Church in vain, She stands a daughter of the rock-- The changeless G.o.d"s eternal fane!"
R. S. HAWKER.
Ill.u.s.tration: Church of St. John the Baptist, Kidmore End
THE PAVEMENT
Ill.u.s.tration: Encaustic Tile, Brooke Church
Mr. Acres and his family attended Morning Prayer at St.
Catherine"s the day following the Vicar"s lecture; and after service they examined with greater interest than ever they had done before the floor of the church--indeed Mr. Acres confessed that till that morning he had never had the curiosity to walk up either of the aisles of the church with the view of finding any object of interest on the pavement.
In the course of their search they now discovered a large flat stone, hitherto unknown even to the Vicar; the stone, when cleansed from the dust which had acc.u.mulated upon it (for it was placed in a remote corner of the church), was very white; it was engraved with the figure of a priest, and the incised lines were filled with a black resinous substance, so that it almost looked like a large engraving on paper, or still more like one of the copies of bra.s.ses which Ernest had exhibited the night before[50]. But what most attracted their attention was the curious old _pavement tiles_, of various patterns, which they found in different parts of the floor of the church. Their admiration of these ancient works of art was soon so deeply engaged, and their desire to know more about them so excited, that Ernest was speedily despatched to the vestry to request the Vicar to come and satisfy their inquiries.
"I rejoice to see you, Mr. Vicar," said the Squire, as Mr. Ambrose approached; "pray come and save me from any further confessions of ignorance: the children have been persecuting me with a hundred questions about these ancient tiles, and I really am not able to answer one of them. We must again be dependent upon your kindness for some information on the subject."
"Then, if you please, we will walk and talk, as I must go this morning to see old Wood, at the Warren Lodge; the poor man is very ill."
"Oh, we shall enjoy that," exclaimed Constance, "and do, Mr. Ambrose, give us a nice lecture like you did last night."
"Well, my dear, if it is to be a real lecture, we will suppose this gravel path to be my platform, and your father and yourselves to be my highly respectable and most intelligent audience; and so, making my bow to the company, I will begin.--There is considerable uncertainty as to the origin of these tiles. Most people suppose that the old Roman tessellated pavement suggested the idea of representing figures on tiles. But we may imagine them to be merely the result of successive improvements. First, there was the rude tile or brick; then, in very early times, the makers impressed their own particular marks upon them; and from this simple practice we can easily imagine the gradual introduction of the elaborate patterns you were looking at in the church."
"If you please, Mr. Ambrose," said Constance, "will you tell us what was the Roman tessellated pavement?"
"It was composed of a number of square pieces of hard-burnt clay, like dice, of different colours; these were arranged to form a pattern, and then firmly fixed in very strong cement. They were exceedingly durable, and often of most elegant design. When found in the ruins of Roman villas, which they frequently are, they generally appear almost as fresh as when they were put down. Tessellated or mosaic pavements are to be found in a few old churches; the most beautiful now existing in England, are in Westminster Abbey, and in Canterbury Cathedral, near the tomb of Thomas a Becket."
"But don"t you think it probable," inquired Mr. Acres, "if these tiles date pretty nearly back to the time when the mosaic pavement was used, that the pavement suggested the tiles? there seems to be some similarity of pattern, and I noticed that in one part of the church there are _plain_ tiles of different colours arranged so as to form a pattern[51], which seems, on a larger scale, a close imitation of the mosaic pavement."
"It may be so; and this view seems confirmed by the circ.u.mstance that in some foreign churches the tiles are mixed in the same pavement with mosaic work. It certainly seems a natural transition from the one to the other.
Ill.u.s.tration: Encaustic Tile, Brooke Church
Encaustic tiles exist in abundance and great beauty in Normandy; and though, as I have said, we cannot fix a precise date to their introduction, it seems not improbable that we are indebted to that country for the first idea of using them in the pavement of our churches, since in some instances they appear to be coeval with the erection of the Norman churches in which they are found. Some have upon them the _semi-circular headed arch_, which is characteristic of Norman times; and as no doubt the later tiles frequently indicate by their patterns the period of ecclesiastical architecture to which they may be referred, most likely these may be equally relied upon as marking the Norman period. In Ireland, tiles of this date are more common than in this country. Their _general_ use, however, has prevailed among us from about A.D. 1250 to A.D. 1550, and the finest and most interesting specimens we have remaining are at Gloucester and Malvern.
There are several different kinds of ornamental pavement of which specimens remain. In the ruins of Fountains Abbey are specimens having the pattern pierced through the entire tile, and afterwards filled in with clay of another colour. At Canterbury there are circles of stone pavement with patterns cut in relief, the s.p.a.ces being filled in with dark cement. In the early stages of the art the pattern of the tiles was sometimes left in relief, the tile being of one colour only, but the uneven surface was found to be very inconvenient for walking upon.
Encaustic tiles--so called because the patterns are _burnt into_ them--are by far the most common sort of tile pavement in our English churches, especially in the southern and western counties."
"I suppose, Mr. Ambrose," said Constance, "that the tiles in our church are of that sort?"
"Yes, all of them, both the new and old, except the few of a different kind which Mr. Acres spoke of just now."
"And will you be so kind as to tell us how they contrived to make those pretty patterns on them?"
"Oh, yes; it was a very simple process: very much in the same way as Bridget makes those pretty pats of b.u.t.ter we admire so much; quite the same, if Bridget would only fill in the s.p.a.ces between the patterns with b.u.t.ter of another colour. They first made the tile of clay, and then impressed it with a wooden stamp; then it was dried or burnt, then some thin clay or cement of another colour (usually white) was poured into the pattern, then it was glazed over and burnt, the glazing material making the white a rich yellow, and deepening the colour of the tile.
The pattern is sometimes perfect in a single tile, sometimes four, eight, or a large number are required to perfect the design. Several ancient kilns for their manufacture have been discovered[52]. Some of these manufactories, it is evident, were very popular; for we find that the same kiln sometimes supplied a great number of churches. Most of our old churches have at some time been paved with these encaustic tiles; but in all cases they have in great measure been destroyed or removed when other beauties of G.o.d"s house have been defaced, but often too where the hand of man has spared, the hand of Time has obliterated.
"We find every variety of pattern upon these tiles. At Malvern and elsewhere are many letters on single tiles: sometimes they are alphabetically arranged, sometimes they read backwards, and sometimes to a centre. Frequently the tiles have upon them texts of Scripture or other inscriptions, such as "The time is short," "Wait for the knell."
At Malvern is a very remarkable tile; it contains the following curious direction to executors, and was probably intended to be placed over a tomb:--
"Thenke . mon . i . liffe maij . not . cu . endure.
at . ow . dost . i . self Of . at . ow . art . sure.
but . at . ow . kepist un . to . i . sectur . care.
and . eu . hit . auaile . e hit . is . but . aventure[53]."
Sacred emblems are very common on encaustic tiles, and especially symbols of the Pa.s.sion; within a single shield is sometimes to be found the cross, crown of thorns, the nails, hammer, scourge, spear, ladder, dice, vessel for vinegar, sponge on a rod of hyssop, and rarely, a sort of bill, perhaps representing an instrument used in removing the Body from the cross. The cross alone, floriated, is frequently composed of many tiles; but it enters too into the great majority of those geometrical and floriated patterns which form so large a portion of the encaustic pavements of most churches. Armorial bearings and mottoes of benefactors, founders, and others are frequently met with. At Great Bedwyn, and in the ruins of Chertsey Abbey, have been found knights in armour and other most interesting figures, throwing considerable light on the history of the armour and costumes of the period. At Westminster are figures of a king, queen, and abbot, which are supposed to represent King Henry III., his Queen, and the Abbot of Westminster. Then I have often seen the c.o.c.k, the emblem of vigilance; the fox, the emblem of subtlety; the pelican, of piety."
"Why," quietly inquired Ernest, "is the pelican an emblem of piety?"
"There is an old legend which tells us that the young of a pelican were once saved from death by starvation by the parent bird tearing open her breast and feeding them with her own blood. This has from very early times been considered a very beautiful emblem of that Sacrifice which has been offered by Jesus Christ to save us from eternal death. Other emblems are--the circle, of eternity; the _fleur de lis_, of the Blessed Virgin; the triangle, of the Trinity; the fish, of the Second Person of the Trinity."
"Now do tell me what that means, please, Mr. Ambrose," said Constance; "I cannot see why the fish should be so sacred an emblem."
"As you don"t understand Greek, my dear, it is not a matter of surprise that you have not understood this oft-recurring emblem. You must know that the Greek word for fish is ????? [ichthys], and the letters in this word form the first letters of each word of a Greek sentence, of which this is the English translation:--"Jesus Christ, the Son of G.o.d, the Saviour;" hence the employment of this sacred symbol. Other devices are stags, hounds, antelopes, and other animals; swans, and other birds; emblems of trades, &c. Some appear ludicrous to us, though no doubt many of them were originally intended to teach some useful lesson. At Little Marlow is a fool"s head, or c.o.c.k"s comb; at G.o.dmersham, on several tiles is a bending old man, with a staff in his hand, and on his head a fool"s cap, representing age and folly. It would seem, however, that some of these grotesque figures were manufactured for no very useful purpose, as is evidenced by the penance once inflicted on a monk of Normandy for making tiles of this description[54]. Encaustic tiles have sometimes been used for memorials of the departed[55]. In the ruins of Evesham Abbey, _under_ a stone coffin, was found a pavement of tiles, on which were initials and a cross. _Above_ a stone coffin, in the ruins of Kirkstall Abbey, was found, in 1713, a pavement of similar tiles; in Gloucester Cathedral is a tile to the memory of John Hertford; and at Monmouth one to Thomas c.o.ke and Alice his wife. These works of art are not only to be admired as the most suitable decorations for the floors of G.o.d"s house; they are also interesting as specimens of art at various periods; frequently they throw light on the history of churches and religious foundations, and occasionally also of private families. I rejoice to see them again claiming the attention of modern artists and manufacturers, and finding a place once more in the churches, which on all sides are happily being restored to their former beauty and appropriateness.--But here we are at Wood"s cottage."
_CHAPTER XI_
THE WALLS
"Peace be within thy walls."
Ps. cxxii. 7.
"Now view the walls: the church is compa.s.s"d round, As much for safety, as for ornament: "Tis an enclosure, and no common ground; "Tis G.o.d"s freehold, and but our tenement.
Tenants at will, and yet in tail, we be: Our children have the same right to"t as we.
"Remember there must be no gaps left ope, Where G.o.d hath fenced, for fear of false illusions.
G.o.d will have all or none: allows no scope For sin"s encroachments, or men"s own intrusions.
Close binding locks His Laws together fast: He that plucks out the first, pulls down the last."
GEORGE HERBERT.
Ill.u.s.tration: St. Andrew"s Church, Halstead
THE WALLS