DOI Page / Citation link:
https://doi.org/10.11588/diglit.6887#0175
132 HISTORY OF
Thus it must appear, even from this inadequate description, that, when Sebert's
monument was complete and entire; when the tapers which stood before it, dis-
played, by their light, the paintings within its recess ; and when the glass of dif-
ferent colours on the front of the canopy, reflected the blaze which illuminated
the high altar near which it stood; it must have been one of the most splendid
shrines that Westminster Abbey or any other church could boast*.
(154) . Richard Tufton--This monument is affixed to the pillar which di-
vides the chapel of St. Nicholas from that of St. Edmund. The busto possesses
considerable expression, and gives an exact representation of the costume of
the time in which he lived. The inscription describes him as being the third son
of Sir John Tufton, of Hothfield in Kent, Baronet, and brother of Nicholas
Earl of Thanet. He died October 4, 1631; and his brother, Sir Henry Tufton,
Knight, caused this marble to be erected to his memory.
(155) . Sir Robert Acton, Knight.--This monument is attached to the wall
at the corner of Henry V.th's chapel. It is of black marble, and designed with
some elegance. The busto is of brass, with the figures of Apollo and Minerva
holding a wreath over it. His epitaph, which is in Latin, speaks highly of his
learning and his virtues. He was gentleman of the privy chamber to James I.
and employed as the minister of his sovereign at the court of the Emperor
of Germany. He died in the sixty-eighth year of his age, 1638.
(156) . Lionel Earl of Middlesex.-On a gravestone near the foot of
* If it should be thought that the description of these figures, which is taken from Sir Robert
Ayloff's account of them, should not be exactly answered by the colouring of the plate, it may be
readily accounted for, in the different situations and opportunities of the antiquary and the artist,
without diminishing the accuracy of either. The former saw and examined them at leisure, when
they were displayed to the light of day; while the other could only examine them iu an incon-
venient position, in the obscurity of their present situation, and amidst the accumulated dust of many
years.
Thus it must appear, even from this inadequate description, that, when Sebert's
monument was complete and entire; when the tapers which stood before it, dis-
played, by their light, the paintings within its recess ; and when the glass of dif-
ferent colours on the front of the canopy, reflected the blaze which illuminated
the high altar near which it stood; it must have been one of the most splendid
shrines that Westminster Abbey or any other church could boast*.
(154) . Richard Tufton--This monument is affixed to the pillar which di-
vides the chapel of St. Nicholas from that of St. Edmund. The busto possesses
considerable expression, and gives an exact representation of the costume of
the time in which he lived. The inscription describes him as being the third son
of Sir John Tufton, of Hothfield in Kent, Baronet, and brother of Nicholas
Earl of Thanet. He died October 4, 1631; and his brother, Sir Henry Tufton,
Knight, caused this marble to be erected to his memory.
(155) . Sir Robert Acton, Knight.--This monument is attached to the wall
at the corner of Henry V.th's chapel. It is of black marble, and designed with
some elegance. The busto is of brass, with the figures of Apollo and Minerva
holding a wreath over it. His epitaph, which is in Latin, speaks highly of his
learning and his virtues. He was gentleman of the privy chamber to James I.
and employed as the minister of his sovereign at the court of the Emperor
of Germany. He died in the sixty-eighth year of his age, 1638.
(156) . Lionel Earl of Middlesex.-On a gravestone near the foot of
* If it should be thought that the description of these figures, which is taken from Sir Robert
Ayloff's account of them, should not be exactly answered by the colouring of the plate, it may be
readily accounted for, in the different situations and opportunities of the antiquary and the artist,
without diminishing the accuracy of either. The former saw and examined them at leisure, when
they were displayed to the light of day; while the other could only examine them iu an incon-
venient position, in the obscurity of their present situation, and amidst the accumulated dust of many
years.