Stothard, Charles Alfred; Kempe, Alfred John: The monumental effigies of Great Britain: selected from our cathedrals and churches ; for the purpose of bringing together, and preserving correct representations of the best historical illustrations extant, from the Norman conquest to the reign of Henry the Eight (London, 1817)

INTRODUCTION,

It
The figure of Stratford Archbishop of Canterbury gives a faithful representation of the pontifical
habit of a later day; the rich jewelled and more elevated mitre, crocketted with goldsmiths' work; the
pall, maniple, chasuble, cope, jewelled gloves, &,c. The costly ornaments of the episcopal oiRce are
touched upon in the Plowman's Tale :
" Miters thei werin, mo than two,
Iperlid as the Queene's head;
A staff of golde and pirrie,* lo !
As hevie as it were made of ledde;
With cloth bothe new and redde ;
With glitterande gold, as grene as gall/'
The mitred Abbot of the Monks of Westminster^ is a fine example of the costume of his order,
Had Mr. Stothard survived to complete his work, no doubt he would have added to it the habits of
other ecclesiastical orders. It is, however, matter of satisfaction that he has left so little unnoticed by
his pencil, which could illustrate the progress of our national costume, regal, ecclesiastical, civil, and
military.
In closing these prefatory notes, which the antiquarian reader will no doubt amplify from his own
store of knowledge, and by examination of the plates (which ever will be found a faithful volume
speaking for themselves); it may be acceptable that some short account of the author's life should be
added.^

CHARLES ALFRED STOTHARD was the eldest surviving son of Thomas Stothard, Esq. R. A.; he
was born July 5th, 1787.
At an early age he exhibited a strong propensity for study, and a genius for drawing. The latter
was more particularly developed in various clever miniature scenes which he executed for his school-
boy model of a stage. On leaving school he entered, by his own wish, as a student in the Royal Aca-
demy, where he soon attracted notice for the chaste feeling and accuracy with which he drew from the
antique sculptures.
In 1802 he accompanied his father to Burleigh, the seat of the Marquis of Exeter, the grand
staircase of which the latter was employed in decorating by his masterly pencil. Mr. Stothard senior,
suggested to his son that he might All up his time by making drawings of the monuments in the
neighbouring churches, as useAil authorities for designing costume. This circumstance gave the Arst
bias of Mr. Charles Stothard's mind towards the subject which afterwards became his pursuit.
In 1808 he received his ticket as student in the Life Academy, and formed a resolution to become
an historical painter. Circumstances which subsequently arose, however, changed this determination.
Having formed an attachment for the young lady who aAerwards became his wife, he feared that
as an historical painter he might not acquire sufficient pecuniary independence to enable him pru-
dently to become a married man. He resolved, therefore, to turn his attention exclusively to the illus-
tration of our national antiquities, more particularly in a path which had hitherto been but imperfectly
pursued—the delineation of the sculptured EfAgies erected in our churches as memorials for the dead,
in such manner as they might be referred to and depended on as accurate authorities, illustrating our
national history and ancient costume.
In 1810 Mr. Charles Stothard painted a spirited picture, representing the murder of Richard the
Second in PonteA'act Castle, in which the characteristic dresses of the time were strictly adhered to.
* for p^errerte, jewelry,
f See Print of William of Colchester.
F