DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.31962#0038
18
INTRODUCTION.
For the portrait of the King himself, he made studies Rom his effigy in Westminster Abbey. This
picture was exhibited at Somerset Place in 1811.
In the same year he published his first Number of the Monumental Effigies of Great Britain,
the objects of which were detailed in the following advertisement, which accompanied the publi-
cation :
" It is a circumstance much to be regretted, that so important and interesting a subject as the
Monumental Effigies of our Kings, Princes, and Nobles, should have been treated with so much
neglect, as among all the works published with the intention of giving representations of them, there
is not one that can be relied on. Without possessing that simplicity and chastity which characterizes
the originals, they are not correct even as to particulars. It was partly on this account that this Work
was undertaken, with a view, by paying the most particular attention to the subject, to rescue Rom
the destroyer Time those Works of Art, introduced into our Cathedrals and Churches as Memorials
for the Dead, which, independent of their antiquity, are the greater part specimens of sculpture,
which, for grandeur, simplicity, and chastity of style, are not to be surpassed, if equalled, by any
nation in Europe.
" There are, though not generally known, as they have never been published, a few Etchings by the
Rev. T. Kerrich, of Cambridge,* Rom Monuments in the Dominicans' and other Churches in Paris,
which claim the highest praise that can be bestowed, as well for their accuracy as for the style in
which they are executed: these are mentioned as a tribute which they deserve, and as the sight of
them induced the proprietor of this Work to execute the Etchings for it himself
" Had it been but to remedy the above-mentioned defect, there would not, perhaps, have been sufficient
encouragement for entering on a Work of this magnitude, till it was found on consideration that
other very desirable points would be gained, which would make it more generally interesting. The
first of which was the great service these Monumental Effigies would render the Historical Painter, by
explaining the costume adopted at different periods in England, as they give more complete ideas on
the subject than can be drawn Rom any other source : the knowledge we now have in this respect has
been in general gathered R'om the illuminated MSS. in our public libraries; but either Rom the
minuteness of the Rgures in some, or the rudeness of the drawing in others that are on a larger scale,
they are too much generalized, and do not give us those smaller parts and ornaments which are so
interesting.
" The second point gained, was that of elucidating History and Biography, as most of those charac-
ters must in the course of this Work be brought in, who have been concerned in the civil and military
affairs of England Rom the earliest times to the reign of Henry the Eighth. This has also sug-
gested the idea of illustrating the Historical Plays of our great dramatic poet Shakspeare, in order to
assist the stage in selecting its costume with that propriety which will always add consequence to his
characters, and give that stamp of truth which they so highly deserve. We should not then see as
now the slashed doublet and cloak, peculiar to the sixteenth century, introduced without discrimina-
tion in the play of King John as well as that of Henry the Eighth; or the Bastard Faulcon-
bridge in armour, which would puzzle the most profound antiquary to know when or where such was
ever worn.
" If it be true that we may derive the above advantages R*om the Monumental Effigies of Great
Britain, they surely deserve to be saved from the oblivion in which so many have already sunk, and pre-
served as records of the splendour with which sculpture once flourished in England."
Mr. Stothard's undertaking procured for him the warm R iendship of the Rev. T. Kerrich, of whose
* Some of these etchings were afterwards communicated to the Society of Antiquaries by Mr. Kerrich, and inserted
in their Archseoiogia, vol. XVIII. p. 19A
INTRODUCTION.
For the portrait of the King himself, he made studies Rom his effigy in Westminster Abbey. This
picture was exhibited at Somerset Place in 1811.
In the same year he published his first Number of the Monumental Effigies of Great Britain,
the objects of which were detailed in the following advertisement, which accompanied the publi-
cation :
" It is a circumstance much to be regretted, that so important and interesting a subject as the
Monumental Effigies of our Kings, Princes, and Nobles, should have been treated with so much
neglect, as among all the works published with the intention of giving representations of them, there
is not one that can be relied on. Without possessing that simplicity and chastity which characterizes
the originals, they are not correct even as to particulars. It was partly on this account that this Work
was undertaken, with a view, by paying the most particular attention to the subject, to rescue Rom
the destroyer Time those Works of Art, introduced into our Cathedrals and Churches as Memorials
for the Dead, which, independent of their antiquity, are the greater part specimens of sculpture,
which, for grandeur, simplicity, and chastity of style, are not to be surpassed, if equalled, by any
nation in Europe.
" There are, though not generally known, as they have never been published, a few Etchings by the
Rev. T. Kerrich, of Cambridge,* Rom Monuments in the Dominicans' and other Churches in Paris,
which claim the highest praise that can be bestowed, as well for their accuracy as for the style in
which they are executed: these are mentioned as a tribute which they deserve, and as the sight of
them induced the proprietor of this Work to execute the Etchings for it himself
" Had it been but to remedy the above-mentioned defect, there would not, perhaps, have been sufficient
encouragement for entering on a Work of this magnitude, till it was found on consideration that
other very desirable points would be gained, which would make it more generally interesting. The
first of which was the great service these Monumental Effigies would render the Historical Painter, by
explaining the costume adopted at different periods in England, as they give more complete ideas on
the subject than can be drawn Rom any other source : the knowledge we now have in this respect has
been in general gathered R'om the illuminated MSS. in our public libraries; but either Rom the
minuteness of the Rgures in some, or the rudeness of the drawing in others that are on a larger scale,
they are too much generalized, and do not give us those smaller parts and ornaments which are so
interesting.
" The second point gained, was that of elucidating History and Biography, as most of those charac-
ters must in the course of this Work be brought in, who have been concerned in the civil and military
affairs of England Rom the earliest times to the reign of Henry the Eighth. This has also sug-
gested the idea of illustrating the Historical Plays of our great dramatic poet Shakspeare, in order to
assist the stage in selecting its costume with that propriety which will always add consequence to his
characters, and give that stamp of truth which they so highly deserve. We should not then see as
now the slashed doublet and cloak, peculiar to the sixteenth century, introduced without discrimina-
tion in the play of King John as well as that of Henry the Eighth; or the Bastard Faulcon-
bridge in armour, which would puzzle the most profound antiquary to know when or where such was
ever worn.
" If it be true that we may derive the above advantages R*om the Monumental Effigies of Great
Britain, they surely deserve to be saved from the oblivion in which so many have already sunk, and pre-
served as records of the splendour with which sculpture once flourished in England."
Mr. Stothard's undertaking procured for him the warm R iendship of the Rev. T. Kerrich, of whose
* Some of these etchings were afterwards communicated to the Society of Antiquaries by Mr. Kerrich, and inserted
in their Archseoiogia, vol. XVIII. p. 19A