he
later date. In other cases the engraver did not even trouble himself to
alter the figure, and simply added a new inscription and shield of arms.

The wanton destruction and gross neglect of churchwardens, both before
and after the Reformation, were very great. At St. Mary's Church,
Reading, the accounts tell a sad tale of the disgraceful damage in the
year 1547:--

"Receyvid of John Saunders for iii cwt lacking ix'li of metall that was
taken upp of the graves, and of olde candlestycks at vi's the hundred
xlvj's ii'd."

Evidently a clean sweep was made of most of the memorial brasses in the
church, and few escaped destruction. The tale is too familiar. Most
churches have suffered in the same way.

The study of brasses throws much light upon the costumes and fashions of
the day when they were engraved. We see priests, who may be recognised
by the tonsure and vestments, amongst which we find the alb, amice,
stole, maniple, and chasuble. The pastoral staff, ring, mitre, sandals,
tunic, dalmatic, and gloves mark the graves of bishops and mitred
abbots.

A close skull-cap, a long robe with narrow sleeves, a hood, tippet, and
mantle buttoned on the right shoulder, compose the dress of judges and
officers of the law, as depicted on brasses. The changes in the fashion
and style of armour, which took place between the fourteenth and the
seventeenth centuries, are all accurately represented in these
memorials; and also the picturesque costumes of ladies with their
curious headgear; and the no less various fashions of the male
civilian's dress. A study of brasses is an admirable guide to the
prevailing style of dress during the periods of their construction.

The beautiful canopies over the heads of the figures are well worthy of
attention, and also the inscriptions. These usually take the form of
Latin verses; and although many were written by learned abbots and
scholars, the classical knowledge displayed is somewhat faulty. Here
are a few examples:--

Respice quid prodest precentis temporis aebum
Omne quod est, nichil est, preter amare deum.

Sometimes the author of the inscription recorded his name, as did the
learned Dame Elizabeth Hobby on a brass at Shottesbrooke, which runs--

O multum dilecte senex, pater atqz bocate,
Del quia grandaebis, bel quia probus eras.
Annos bixisti nobies decem, atqz satelles
Fidus eras regum, fidus erasqz tuis.
Iam satis functus baleas, sed tu, deus alme,
Sic mihi concedas b