DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.31962#0020
g
INTRODUCTION.
" It is one of the most striking features of the human mind, that it invariably embodies and gives
form to description, more or less strong and perfect, as the mind is gifted and cultivated; and it is
from this property in man that the study of antiquity, as connected with and illustrative of history, is
the source of some of the greatest intellectual pleasures we are capable of enjoying. By these means
we live in other ages than our own, and become nearly as well acquainted with them. In some mea-
sure we arrest the fleeting steps of Time, and again review those things his arm has passed over,
and subdued, but not destroyed. The researches of the Antiquary are worthless if they do not im-
part to us this power, or give us other advantages; it is not to admire any thing for its age or rust
that constitutes the interest of the object, but as it is conducive to our knowledge, the enlargement of
human intellect, and general improvement.
" Among the various antiquities which England possesses, there are none so immediately illustrative
of our history as its national monuments, which abound in our cathedrals and churches. Considered
with an attention to all they are capable of embracing, there is no subject can furnish more various-or
original information. Scattered in ail directions, and very remote fr om each other, they have hitherto
possessed but a negative value; it is therefore both useful and interesting, by means of the pencil, to
bring them together in the form of a collection; and in some degree, it is to be hoped, such an
attempt may give a check to, and serve to counteract, the unfeeling ignorance so prevalent in the
taste displayed for beautifying and whitewashing these vestiges; a custom which has already destroyed
so much, and still continues to make the most dreadful ravages among these records of past ages.
The destruction by time and accident bears, in comparison with this, but small proportion, although
it adds to the claim these subjects have upon our attention, to save them from total oblivion.
" The present work was undertaken Rom a conviction that nothing effectual towards this last-men-
tioned purpose had been accomplished, as well as to afford an interesting illustration of history, the
progress of art and sculpture, with the changes in costume of different periods in this country.
" Of the progress of sculpture I shall presently speak at large; and of costume I may here observe,
that we have many proofs that the various dresses which present themselves to us on our Monumental
Effigies, were not at all introduced by any inventive or whimsical fancies in the sculptor. Several
agree with our MS. illuminations of their various periods; and we never observe any thing, however
singular, but we are sure to detect it repeated in the same age on some other subject. It may be
also remarked, that, with very few exceptions, these effigies present the only existing portraits we
possess, of our Kings, our Princes, and the Heroes of ages famed for chivalry and arms. Thus con-
sidered, they must be extremely valuable, and furnish us not only with well-defined ideas of celebrated
personages, but make us acquainted with the customs and habits of the time. To history they give a
body and a substance, by placing before us those things which language is deficient in describing.
" Comparatively speaking, we shall be able to ascertain less in the few centuries into which our
inquiries lead us, than in the ages of the Greeks and Romans. The reason, I think, is obvious: as
the Arts in this country had their birth in religion, and were confined to the adornment of religious
edifices, Architecture, Painting, and Sculpture were no where to be found but under the Church,
supported by the munificence of Princes, and the vast revenues arising Rom Monasteries so richly
and splendidly endowed. How different was the spirit which animated the Pagan and the Gothic
ages! With the Greeks and Romans, not only the temples of their gods, but their cities, and even
their private houses, were adorned with works of art. Amongst our monkish historians, we neither
find a Diodorus Siculus nor a Strabo. Had the subject of the Gothic Arts been more political, his-
tory would have been imperfect, if it omitted accounts of things so intimately connected with it. I
intended, on the commencement of my work, to have given a history of the rise of Arts in this coun-
try, as far as they were connected with sculpture; but, on looking further into the subject, I found
materials too few; and those of such a nature, that the time required to make researches in this parti-
INTRODUCTION.
" It is one of the most striking features of the human mind, that it invariably embodies and gives
form to description, more or less strong and perfect, as the mind is gifted and cultivated; and it is
from this property in man that the study of antiquity, as connected with and illustrative of history, is
the source of some of the greatest intellectual pleasures we are capable of enjoying. By these means
we live in other ages than our own, and become nearly as well acquainted with them. In some mea-
sure we arrest the fleeting steps of Time, and again review those things his arm has passed over,
and subdued, but not destroyed. The researches of the Antiquary are worthless if they do not im-
part to us this power, or give us other advantages; it is not to admire any thing for its age or rust
that constitutes the interest of the object, but as it is conducive to our knowledge, the enlargement of
human intellect, and general improvement.
" Among the various antiquities which England possesses, there are none so immediately illustrative
of our history as its national monuments, which abound in our cathedrals and churches. Considered
with an attention to all they are capable of embracing, there is no subject can furnish more various-or
original information. Scattered in ail directions, and very remote fr om each other, they have hitherto
possessed but a negative value; it is therefore both useful and interesting, by means of the pencil, to
bring them together in the form of a collection; and in some degree, it is to be hoped, such an
attempt may give a check to, and serve to counteract, the unfeeling ignorance so prevalent in the
taste displayed for beautifying and whitewashing these vestiges; a custom which has already destroyed
so much, and still continues to make the most dreadful ravages among these records of past ages.
The destruction by time and accident bears, in comparison with this, but small proportion, although
it adds to the claim these subjects have upon our attention, to save them from total oblivion.
" The present work was undertaken Rom a conviction that nothing effectual towards this last-men-
tioned purpose had been accomplished, as well as to afford an interesting illustration of history, the
progress of art and sculpture, with the changes in costume of different periods in this country.
" Of the progress of sculpture I shall presently speak at large; and of costume I may here observe,
that we have many proofs that the various dresses which present themselves to us on our Monumental
Effigies, were not at all introduced by any inventive or whimsical fancies in the sculptor. Several
agree with our MS. illuminations of their various periods; and we never observe any thing, however
singular, but we are sure to detect it repeated in the same age on some other subject. It may be
also remarked, that, with very few exceptions, these effigies present the only existing portraits we
possess, of our Kings, our Princes, and the Heroes of ages famed for chivalry and arms. Thus con-
sidered, they must be extremely valuable, and furnish us not only with well-defined ideas of celebrated
personages, but make us acquainted with the customs and habits of the time. To history they give a
body and a substance, by placing before us those things which language is deficient in describing.
" Comparatively speaking, we shall be able to ascertain less in the few centuries into which our
inquiries lead us, than in the ages of the Greeks and Romans. The reason, I think, is obvious: as
the Arts in this country had their birth in religion, and were confined to the adornment of religious
edifices, Architecture, Painting, and Sculpture were no where to be found but under the Church,
supported by the munificence of Princes, and the vast revenues arising Rom Monasteries so richly
and splendidly endowed. How different was the spirit which animated the Pagan and the Gothic
ages! With the Greeks and Romans, not only the temples of their gods, but their cities, and even
their private houses, were adorned with works of art. Amongst our monkish historians, we neither
find a Diodorus Siculus nor a Strabo. Had the subject of the Gothic Arts been more political, his-
tory would have been imperfect, if it omitted accounts of things so intimately connected with it. I
intended, on the commencement of my work, to have given a history of the rise of Arts in this coun-
try, as far as they were connected with sculpture; but, on looking further into the subject, I found
materials too few; and those of such a nature, that the time required to make researches in this parti-