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windows are of the acutely-pointed form; the canopies over the arches, which are ornamented with the lozenge, rest on corbel-heads of kings; and the transoms form the lower compartment of each light into a plain unadorned parallelogram. The windows, however, are the grand attraction, for in these the story of English freedom is brilliantly told. They are thirteen in number, nine of which are finished, and filled with stained glass.

The great window illustrates the ratification of Magna Charta by King John, who, with an indignant but powerless frown, seems to pause in the act of affixing his signature to the instrument, ils if to upbraid the uncompromising patriotism of the Barons. On his right stand Cardinal Pandolfo, the Pope's Legate, and the Archbishop of Dublin, who turns his head in conve sation with other prelates behind him. On his left are seen Cardinal Langton, a mediator between the King and the Barons, but who administered an oath to the latter, never to pause in the struggle till they had obtained full concession of their liberty. Behind the Archbishop stands Almeric, Master of the Knights Templars *. In the foreground appears Baron Fitzwaltert, with his page ; and behind him are the Lord Mayor of London, and the attendant guards. In the background is a distant view of the Camp at Runnymede. For chasteness of drawing, depth of colouring, and sparkling brilliancy, this window is considered a masterpiece of modern art.

The other eight windows, executed by Edgington, the talented artist already mentioned, contain full-length figures of eight Barons, progenitors of the Norfolk family, who were instrumental in procuring the Great Charter |. They are habited in chain-armour, the military costume of the thirteenth century, each with his armorial bearings emblazoned on his surcoat and shield. The heads are actual portraits of various distinguished members of the house of Howard, some of whom are still living. The effect is superb, and, at first sight, there is some difficulty in drawing the distinction between the real and the ideal. The scenes are so finely isolated, and the single portraits so pro

* Portrait of Captain Morris.

+ The late Duke of Norfolk.
Henry Howard of Greystoke.

P H. C. Coombe, Esq. Alderman of London.
On the corner of a stone in this superb hall is the following votive inscription :-

“ LIBERTATI
PER BARONES REGNANTE JOHANNE

VINDICATÆ,
CAROLUS HOWARD NORFOLCIÆ DUX,

ARUNDELIÆ COMES

A.C. MDCCCVI.
ÆTATIS LX.”

D. D.

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