Isabella, sister and coheiress of Richard le Despenser, to her husband Richard Beauchamp, Earl of Warwick. By a third marriage with a coheiress, the manor finally reverted to the crown in the person of Richard III. The tiles which commemorate these successive possessors of the manor, who, doubtless, were also benefactors of the priory, have been faithfully represented in the series of "Examples" published by Messrs. Nichols, and supply an interesting variety of elegant specimens of this application of heraldic ornament. Four similar tiles are required in each instance to compose a complete compartment, the scutcheons converging towards the centre; the three chevronels of Clare are first to be noticed, next the tile charged with two scutcheons, le Despenser, and the checky coat with a chevron ermine, attributed to the old Earls of Warwick; lastly, the cross-crosslets of Beauchamp. The bearing of Beauchamp, a fess between six cross-crosslets, occurs also with a crescent, as a difference, upon the fess; this tile is part of a compartment of sixteen, the central portion being this scutcheon four times repeated; it was used, and perhaps expressly fabricated, to form the decorative pavement of the chantry built on the north side of the choir in Tewkesbury abbey church, to the memory of Richard Beauchamp, Earl of Worcester, by his widow Isabella, and dedicated in 1438. The pavement of this interesting chapel, although now almost wholly defaced, may deserve attention as an example of general arrangement. Panels or compartments, formed of these sets of sixteen pieces, were arranged in the lozengy fashion, or "fretté," which was so much in vogue at the period, and surrounded by a single row of plain black tiles, separating each panel from those adjoining. The angles alone were connected by a single ornamented tile, on which appears a circle, like a collar, fashioned in imitation of the ragged staff of the Beauchamps. Such examples of arrangement are now very rare, and I have made this digression to notice the chantry at Tewkesbury, because the usual disposition ofornament in modern pavements of decorative tile has an unpleasing effect, and resemblance at first sight to floor-cloth. I believe

that this defect would be obviated if ancient models of arrangement were as faithfully imitated as the examples of separate portions of ornament have been. The continuous surface of decorative patterns does not produce, as perhaps had been anticipated, richness of effect; and I am persuaded that the ancient arrangement in separate compartments, divided by plain bands, either of white or dark colour, is very much to be preferred.

The arms of Richard Beauchamp, impaling those of Isabella, coheiress of le Despenser, were displayed on a set of four tiles, forming a scutcheon of large dimension, of which the lower quarter only is now to be seen at Malvern. The same corner-tile is found at Leigh, near Worcester, and in other churches in the vicinity; but I have never been able to meet with either of the other portions which were required to complete the design. The bearings exhibited on this scutcheon were, quarterly, 1 and 4, checky, a chevron ermine, Newburgh; and 3,

a fess between 6 cross-crosslets, Beauchamp; impaling, quarterly, Clare and le Despenser.

The cross between five martlets, attributed to Edward the Confessor, and assumed by the Abbey of Westminster, of which Great Malvern Priory was regarded as a cell, occurs repeatedly: on the large wall-tiles it may be noticed placed by the side of the arms of England; it occurs also in the angles of a compartment formed of sixteen pieces of remarkably elaborate design, which may still be seen in its perfect state in the choir of Gloucester Cathedral. On another compartment, composed of nine pieces, the same bearing is introduced alternately with the cross-keys and sword, the arms of the Abbey of Gloucester.

A tile of very elegant design, (plate III. fig. xiv.) merits especial notice, both on account of the ingenious manner in which the quarter of the compartment is designed so as to present alternately the single and the impaled coat, and also as the memorial of a benefactor to the fabric of the church, and ancestor of the noble house of Beauchamp, of Madresfield. tiles exhibit the bearing of Braci, Gules, a fess or, in chief two mullets argent, and the same, impaling a cross en

These

grailed (?Aylesbury.) Several individuals of the Braci family, established at the neighbouring manor of Madresfield, were benefactors, on the occasion of the rebuilding of the Priory church about 1450; their pious liberality was commemorated by the portraitures, as indicated by the names inscribed beneath, which were formerly displayed in the windows of the choir and its north aisle. Habingdon has preserved the memory of these, and many interesting memorials which are now sought in vain; two figures only of the Bracis still remain, one is to be seen in the great eastern window, in the first light of the lower row, under the transom, and nearest to the northern side; it is a small kneeling figure, in complete armour, with a tabard of the arms of Braci. The second, inscribed dominus Robertus de brací, is now placed in the great western window; it is in costume similar to the former, and around the neck is a golden collar of SS. Several figures of the Bracis, with scutcheons of their arms, were to be seen formerly, according to Habingdon's account, in the window nearest the eastern end of the north aisle of the choir; the figures are now lost, but two of the scutcheons still remain, one of which is the same as that which is found upon the tile, (fig. xiv.) namely, Braci impaling Azure, a cross engrailed argent (? Aylesbury.)

On two tiles, parts of distinct sets, may be noticed a bearing commemorative, probably, of some benefactor now unknown. It is a chevron between 3 crescents, impaling paly of several pieces, on a bend 3 cinquefoils pierced.

Two remarkable sets of tiles, decorated with coats of arms, remain to be noticed. The distinctive term walltiles may be applied to them, denoting the purpose for which they were fabricated. These tiles were intended to be affixed to the walls as a decorative facing, and are disposed so as to be arranged in upright bands, instead of quarterly compartments, like the greater part of those already noticed, which were destined to form pavements. The design was so adjusted that several upright bands united in juxta-position composed a rich decoration, similar in effect to tabernacle work or carved tracery of wood, in the

place of which these tiles were undoubtedly intended to be used, either as a reredorse of the altar, or enrichment of the walls of the choir. I am not aware that any similar example of the application of ornament of a fictile nature to the interior decoration of a church has hitherto been noticed, or exists in England. A small number of these wall-tiles may now be seen affixed to the face of the altar screen and adjoining walls, but they appear to have been so arranged in recent times: formerly the walls of the eastern end of the church were so decorated to a considerable extent.* Cole, in his

In

notes taken at his visit to Malvern in 1746, remarks, "there is a new and elegant altar-piece erected on the old one, which is standing, and a very fine and curious piece of work, which is semicircular, and covered both before and behind extreamly high from top to bottom by yellow tiles, with the arms of several of ye nobility." another place he describes the arms on "the tiles with which the back and fore part of ye altar is covered." Bishop Lyttelton makes the following note in 1752: "The back part of the choir wall is faced ten feet high with painted tiles, containing the arms of France and England, Clare, &c." (Minutes of) the Soc. of Antiqu.) Not many years have elapsed since a large number of these wall-tiles were to be seen in this part of the church, occupying the position for which they had originally

* In Dr. Hopkin's transcript of Habingdon's description of the parishes of Worcestershire, with additions by Dr. Thomas, (MS. in the library of the Soc. of Antiquaries, 143) the following description is given: "The eastern and upper parte of the faire quire of the Greater Malvern is closed round with quarreys of brick, whereon are painted the armes of England and Jerusalem, and underneath the like of Mortimir Earle of March, with an ineschochean ermin, and Bohun Earle of Hereford, and lowest of all the armes, Clare, Earle of Gloucester, the lord le Despencer, Beauchampe, Earle of Warwick, and Beauchamp, Baron of Powick; Anno Dom. 1453, and 32 Hen. 6. In one panell within is Gules, a bend voyded of the field betweene six lyons heads erased or, beeing the armes of Skull, once of Holt, com. Wigorn, and next the coate of Stafford of Grafton."

were

been fabricated; but it is now difficult to ascertain with precision to what extent they had been thus employed, Mr. Cliffe, in his account of Malvern. which is given in Brayley's Illustrator, describes the two circular ends of the church, partly faced with richly glazed tiles;" he apparently followed the observations of the architect, Mr. Tatham, who surveyed the dilapidated fabric in 1802. In the course of subsequent repairs these wall-tiles taken down, and this injudicious removal of so curious and unique an example of the application of fictile ornament is very much to be regretted. The tiles thus displaced were laid down in the north transept, and north aisle of the nave; from continual wear in a part of the church where they were most exposed to injury from the feet of the passing congregation, they are already almost defaced, and their curiously designed ornaments scarcely to be distinguished. The remarkable semicircular wall behind the altar opposite to the entrance of the Lady Chapel, under the great east window, remains, stripped of this curious decoration; the intention of this singular construction, and of the small œillet holes, pierced through the upper part of it, which seem to bear some analogy to the apertures termed by some hagioscopes, has not been explained, and deserves to be investigated.

Two distinct sets of wall-tiles may still be distinguished; the first is dated at the top, Anno d' m.cccc.liij. The upright band was formed of several tiles, each measuring 11 in. by 9 in. and in thickness, 24 in.; and it is obvious that, by repetition, bands of any desired length might be formed, arranged pale-wise. The uppermost tile is covered with elegant foliated tracery, under which are seen scutcheons surmounted by open crowns, and charged with the arms of the Confessor (or the Abbey of Westminster) and of England. Each successive tile of the band presents two scutcheons, with foliated ornament elegantly disposed; they exhibit the arms of some of the principal families of the counties surrounding Great Malvern, and were, no doubt, commemorative of benefactions

to the monastery. These are, 1. a bend cotised, between six lioncels, Bohun; 2. barry of eight, two pallets

in chief, between two esquires, an inescutcheon ermine, Mortimer; 3. three chevronels, Clare Earl of Gloucester; 4. a fess between six cross-crosslets, Beauchamp Earl of Warwick; 5. quarterly, the second and third quarters fretté, over all a bendlet, Le Despenser; 6. a fess between six martlets, Beauchamp of Powyck; 7. a bend voided, between six lions' (?) heads erased, Skull of Wichenford; 8. a chevron, with a canton ermine, Stafford of Grafton. A narrow band of quatrefoils and cruciform œillets, alternately, runs along the margin of the lowest tile, as a finish to the ornamental design. Representations of some of these interesting examples of decorative design have been given in Shaw's Encyclopedia of Ornament, but without the accuracy of detail which might be desired.

The second set is composed of tiles of somewhat smaller dimensions, measuring 84 in. by 61, and about 1 in thickness; five tiles of this series are now to be seen, which, when several bands are ranged in juxta-position, so as to give the full effect of the design, are highly ornamental. They represent tabernacle-work, with scutcheons and devices introduced at intervals, and the date is fixed by the following inscription which runs along the upper margin, Anno r. r. h. vj. rrxvi. (Anno regni regis Henrici VI. 36, 1456.) Of these tiles faithful representations, of the full size of the originals, have been given amongst the "Examples," and carefully reduced copies accompany my previous letter. (See plate II.) It must be noticed that the tile fig x. should be ranged third or fourth in the series, but, on account of the dimensions of the page, it has been placed by itself. Figures of a part of this set had been given by Carter in his Ancient Architecture; the remainder were probably overlooked by him, in consequence of their being indiscriminately scattered throughout the church; it is indeed now no easy task to reunite the scattered portions of these curious decorations, which present to the casual observer the appearance of hopeless confusion. On the east side of the ancient gateway of the Priory Close the external face of the parapet is covered with tiles of the set here described, 64 in num

ber; they are in fair preservation, exhibiting a remarkable proof of the durable quality of these glazed tiles, and shew how advantageously they might be employed externally for purposes of architectural decoration.

Under the head of personal devices or badges may be noticed the doubleheaded eagle, displayed, surrounded by a circular bordure bezanté (fig. xviii.); this tile was found in 1843 in the wall at the north-east corner of the church, and its date appears to be of the 14th century. The swan displayed, ducally gorged, and chained, adopted as a royal badge in token of descent from the Bohuns, whose device it had been, may be seen here, and also at Little Malvern church. (fig. xix.) The nave of a wheel, with the Stafford knot issuing from it, is likewise found in both churches. (fig. xvi.) Many examples of the introduction of the badge of the Stafford family as a decoration might be cited; it occurs on the gates at Maxtoke Castle, Warwickshire, which are clamped with ornamental iron-work; the tiles fabricated for Thornbury Castle, on which the nave of the wheel appears with flames issuing therefrom, have recently served as one of the ancient examples selected for imitation, according to the very successful revival of the process of making decorative pavements at the works of Messrs. Barr, and St. John, at Worcester.

On one tile, now much defaced, may be discerned a bird apparently standing on an heraldic wreath, as if intended for a crest; if the conjecture be correct, that it represents a pelican, it is doubtless the memorial of some member of the ancient family of the Lechmeres, of Hanley Castle, who had contributed to the fabric of the church of Great Malvern. Another benefactor, whose name arrests the eye with more than common interest, is commemorated by the figure of a talbot seiant, with the legend, Sir John Talbot (fig. xiii.); this tile occurs also at Leigh, and in other neighbouring churches.

I have been informed that a tile, formerly to be seen in the choir, was charged with the armorial bearings of the Lygons of Madresfield, and that it is now in the possession of Lord Beauchamp. I have not been able to

ascertain the fact. It has also been stated that the table tomb on which the ancient effigy, now placed in the north transept, is laid, was formerly faced with tiles, amongst which was to be found the bearing of Corbet. On this, or some equally vague and untenable conjecture, this effigy has been assigned to a member of that family.

A few personal devices may merit attention, such as the monogram composed of the interlaced letters R and E, (fig. xii.) which is possibly the memorial of Richard de Estone, Prior of Malvern, who died 1300; this tile may also be seen at Leigh, and in other churches. On the inscribed circular bordure are the words In te d'ne f... (? speravi). A single tile, now wholly defaced, exhibited the curious canting device of Tydeman de Winchcomb, Bishop of Worcester, 1395-1401. It represents a sort of capstan, with a rope wound around, bars being inserted at intervals for the purpose of turning it, and a large comb; this whimsical expression of the name Winch-comb is surmounted by the mitre and pastoral staff. The same device is thus noticed by Anthony Wood as existing at Oxford : The farthermost lodging at Gloucester Hall did one Winchcomb build, but I rather thinke that one Compton did build it, for there is a perfect allusion of his name, viz. a combe and a ton; and that he was a bishop, I suppose, because there is a miter over the aforesaid allusion." (Hearne, Liber Niger, App. ii. 584.) The occurrence of the device of this prelate at Great Malvern is in some measure explained by the fact of his grant to the Priory, regarding the appropriation of the church of Upton Snodbury, in consideration of hospitalities exercised by the monks; the particulars are given by Thomas in his Hist. of Malvern, and Nash, Hist. Worc. II. 440.

much have we hoped) appears on the bordure. It has been suggested to me by an obliging correspondent, that the monogram 1. N., introduced in various parts of Bristol cathedral, denotes Abbot John Newland, elected 1481, and that the place of his birth, from which his name was taken, was possibly Newland, the chapelry adjoining to Great Malvern, part of the possessions of the Priory. Although the tiles have the appearance of being of a somewhat earlier date, and the obvious intention of the device would be Nail-heart, a name which occurs in these parts of England, I cannot wholly reject the supposition that these little memorials may appertain to Abbot Newland.

I can offer no satisfactory explanation of the tile, pl. i. fig. vi. The scutcheons are evidently humble imitations of heraldry, presenting the implements of the artizan or the husbandman, the axe and hammer, and so forth. The sacred monograms ihe and xpe appear in intervening spaces, and the inscription Benedictus deus in donis suis (blessed be God in his gifts) runs along the margin. May not these representations of the implements of rural toil have been fanciful bearings assumed by some local gild or fraternity in humble life, whose unostentatious contribution to the fabric of God's house was recorded by this simple memorial stamped with the aspiration of pious gratefulness?

There are some small tiles here, as also in the north aisle of the Lady Chapel at Worcester cathedral, which may possibly present the marks or initials of the artificers by whom these pavements were fabricated. On one at Malvern may be noticed the letters,

WHIL

LAR

on another, the letters s and w, unless the latter be a fanciful device or symbol. The occasional introduction of inscriptions, formed with small tiles, each stamped with a single letter, has been already noticed; an example, curious on account of its late date, formerly existed at Malvern, of which the two letters BO, large Roman capitals, impressed on the clay, and filled in with white earth, precisely according to the ancient method of fabrication, still exist. An undeniable evi

dence is hereby afforded that this process of producing fictile decorations had not been totally disused in Worcestershire as late as 1640. When Cole visited Malvern church, June 25, 1746, the inscription, of which these letters formed a part, was perfect: it marked the resting-place of an incumbent of the parish. Cole notices the ancient effigy, now placed in the north transept, which then lay near the wall, under the window nearest the east end of the south aisle of the choir. Adjoining to this, as he states, lay a black marble slab to the memory of Francis Moreton, 1714, and close to this, on the north, was this inscription, on tiles, all round the verge of a grave;

HERE LYETH THE BODY OF EDMUND REA LATE VICAR OF MUCH MALVERNE DECEASED THE 23 OF DEC. ANNO DO. 1640. (Cole's MSS. vol. x. 126.) Numerous are the varieties of elegant and elaborate design, presenting no sacred or commemorative allusion, which may still be distinguished on the defaced and neglected tiles in the church of Malvern. In some instances, complete sets of these may still be seen in the choir at Gloucester cathedral, the work of Abbot Sebrok, which presents the most striking example that exists of pavements of this kind, executed during the fifteenth century. It appears probable that the Malvern manufactory supplied this and numerous other similar decorations, of which traces are found in churches of the adjacent counties. It may interest some natives of Worcestershire to be reminded, that from an early period this manufacture had flourished in the county, as appears by the discoveries of kilns, previously noticed. The more choice and elegant productions of the porcelain works of later times are far more generally attractive, but those who care to investigate the progressive industry of their forefathers will not overlook the singular fact, that from the period when the red ware, usually termed Samian, introduced by the Romans into Britain, had ceased to be used, until the times of the rénaissance, when the tasteful maiolica of the Italians was imported from Venice, and the use of pottery, as one of the elegancies of life, had been introduced by intercourse with