WW1 soldier's memorial

Most churches have memorials to members of the armed forces who died in WW1. Sometimes it is a list of all those in the parish who were killed. Then there are the stained glass windows commemorating an individual. But, by far the most numerous style of memorial are those in the form of a wall plaque in stone, brass or, sometimes, mosaic. The example above is a brass on marble memorial. What caught my eye here was the composition including the Lee Enfield rifles propped against the cross - something I've not seen before. It can be viewed at All Saints church at Hollybush, Worcestershire.

photo © T. Boughen     Camera: Nikon Z 5

Commemorated in brass

Elsewhere I have extolled the virtues of slate as a medium on which a person may be commemorated. Today I make the claim for brass - it is cheaper in terms of material, costs less to engrave and takes up less space. On the other hand it lasts longest when not exposed to the elements so the inside of a church is clearly the best location. The example above is in St Mary's, Ross on Wye. It was made at a time when English spelling had not been properly standardized. You might like to read it yourself before reading my copy of the text.

HERE LIETH THE BODY OF THOMAS BAKER, MERCER
THE LATE HVSBAND OF IANE HIS WIFE WHO
DECEASED THIS LIFE TO THE KINGDOM OF
HEAVEN THE 14 OF SEPTEMBER 1622

EVEN SVCH IS TIME WHICH TAKES IN TRVST
OVR YOVTH OVR IOIES & ALL WE HAVE
AND PAIES VS BVT WITH EARTH AND DVST
WITHIN THE DARKE AND SILENT GRAVE
WHEN WEE HAVE WANDRED ALL OVR WAIES
SHVTTS VP THE STORIE OF OVR DAIES
NOW FROM WHICH EARTH & GRAVE AND DVST
THE LORD WILL RAISE ME VP I TRVST
Vivat post funera vertus

The Latin inscription at the bottom translates as "Virtue outlives death".

photo © T. Boughen     Camera: iPhone

Alderman John Jones d.1630

One of the most interesting memorials in Gloucester Cathedral is that dedicated to Alderman John Jones. Its style shouts seventeenth century and its organisation attempts to bring the deceased back to life by having a painted half-length effigy framed in an oval out of which he projects. The figure is surrounded by details proclaiming his status and also the carved tools of his office. Behind each column are folded deeds dated 1581-1630. He holds a further deed in one hand and in the other is a book. To left and right are stands with writing materials. What is, I presume, a staff of office is streched across the memorial below him. Left and right of the columns are pairs of implements, the use of which is unknown to me. I have seen memorials in this style in many major churches and have always enjoyed the sense of theatre with which they have been deliberately imbued.

photo © T. Boughen     Camera: Nikon D5300

Monument to Sarah Morley by John Flaxman

In the north aisle of Gloucester Cathedral is a memorial to Sarah Morley by John Flaxman (1755-1826), one of the pre-eminent English sculptors of the Georgian period. Flaxman was known as a draughtsman as well as a sculptor of reliefs and stand-alone pieces, and after a difficult start to his career (where he designed for Wedgwood), he became much sought after for funerary monuments. The example shown in the photograph is one of his early commissions and is noteworthy for the fine composition and way the main figures are expressed in three dimensions rather than solely in relief. The text is very typical of this kind of monument and makes for an interesting read. (Remember that some letter "s" look like letter "f.

photo © T. Boughen     Camera: Nikon D5300