in a diplomatic capacity, in Scotland. He was, with Humphrey his brother, one of the Knights Founders of the Garter. He seems, indeed, to have enjoyed the uninterrupted favour of Edward III. and to have been constantly near the King's person. It is worthy of remark that, on several occasions, in consequence of the King being unable (because of the wars) to pay to this Earl certain large sums of money due to him for his various services, he received licence to export wool into Britany: in the year 1342 it is expressly specified, that he should export two hundred sacks of wool, each sack to weigh twenty-six stone, and cach stone to be equal to fourteen pounds. This nobleman married Elizabeth, daughter of Bartholomew de Badlesmere (a Baron of great power and dignity), sister and co-heiress to Giles de Badlesmere, and widow of Edmund Lord Mortimer: he died Sept. 16, 1360, and was buried in Walden Abbey in Essex, leaving one son and one daughter, Humphrey and Elizabeth de Bohun: The brother and sister were entrusted to the guardianship of Richard ninth Earl of Arundel, a comrade of their father at Cresci, and a participator with him in many most important services to their sovereign and their country. Elizabeth de Bohun afterwards became the wife of her guardian's eldest son and successor, Richard, the gallant but unfortunate tenth Earl of Arundel; from which marriage the Howards, Dukes of Norfolk, &c. derive their descent. (See p. 74.) The youthful

Humphrey de Bohun, the eleventh and last who bore that name, succeeded to his father, as second Earl of Northampton,

and to Humphrey de Bohun his uncle, in the earldoms of Hereford and Essex, the lordship of Brecknock, and the high office of Constable of England. He thus saw the rank, dignity, and wealth of his noble and ancient house concentrated in his person; but he did not live long to enjoy his great honours. Having married Joane Fitzalan, daughter of his guardian, he died A.D. 1372.* Of the eventful fortunes of his two sole daughters and co-heiresses, the Ladies Alianore and Mary de Bohun, a sketch has already been given.

THE BRASS AT Enfield is to the memory of Jocosa or Joice Charlton, Lady Tiptoft, who died A.D. 1446. It lies, in its original position, above the vault, upon a raised tomb which fills the space covered by the easternmost arch on the north side of the chancel. Accordingly, towards the south, this tomb appears inclosed within the communion-rails, while towards the north it is approached from a chapel now used as a vestry.† The slab, which is of Purbeck, remains in a good condition; and the Brass itself has lost but a part of the finial to one of its secondary pinnacles, together with three of the Evangelistic emblems. Parts

*See Appendix, p. 110, note.

With the view to inclose the chancel from the vestry, the arch-opening above the tomb is filled with a window-sash in a frame of wood. One half of the Brass is thus excluded from the church: and, less fortunate than the other moiety, it has been used as the depository for a miscellaneous collection of vestry requi

sites.

of the inscription, which is incised on fillets set on the upper surface of the slab, are also shut out from view, as I shall presently have occasion to explain.

The composition of this Brass, in its various details, appears to have been very closely adapted from the memorial to Alianore de Bohun: in the treatment of these details, however, a very decided contrast may be observed between the two works. The later Brass is richly ornamented, and on the whole it produces a good general effect, but a close examination will shew it to be deficient in purity of de

sign, and in that truly artistic treatment which distinguishes the carlier memorial. This is particularly apparent in the architectural composition of the canopy; in the adjustment of the several members which compose the shafts, and in the springing of the canopyarches from them; in the character of the crockets and finials,

and also in the drawing of both the effigy and the heraldic accessories, together with the adjustment of the shields and the forms of the shields themselves. The quality of the metal, though good, is not equal to that employed in the de Bohun Brass, and the engraver's work has lost almost every trace of the masterly handling of the earlier artist.

The costume of the effigy is both characteristic and valuable, as an example illustrative of the period: it consists of the customary long and flowing robe or tunic, which is here deeply bordered with ermine, and is without long sleeves; over this appears the sideless cote-hardi (the peculiarly formed jacket which

Boss:

Canopy of Tiptoft Brass.

was so long in favour in Plantagenet and Tudor times), which is sleeveless, and, like the tunic, enriched with ermine; an heraldic mantle is worn above all, and is secured by a heavily jewelled and tasselled cordon. This mantle displays the armorial ensigns of Tiptoft, Powys, and Holland, the wearer's husband, father, and mother; and strange, indeed, must have been the appearance of these great lions, thus displaying their heraldic peculiarities upon a lady's dress. The coiffure is an elaborate composition of the "horned" form, surmounted by an

ample coronet; and, with a coverchef, it carefully and completely removes from the sight that headcovering which is so far more beautiful than diapered goldsmiths' work-the hair. A very rich necklace supports a pendent jewel; there are narrow bracelets about the wrists, and rings on the fingers of the right hand. The countenance is large, and its features convey a somewhat peculiar expression.

The uppermost shield of arms on the dexter side bears the arms of CHERLTON DE Powys,-Or, a lion rampant gules. Upon the third shield in this group are emblazoned the arms of TIPTOFT, -Argent, a saltire engrailed gules. And the central shield exhibits TIPTOFT impaling Powys, which is itself impaled by HOLLAND,-Gules, three lions of England, within a bordure argent.* This impaling of HOLLAND with Powys is very singular, the correct positions of the two coats being reversed.f On the sinister side of the canopy, the first shield bears TIPTOFT impaling Powys. The central shield displays Powys and HOLLAND quarterly-the personal arms of Lady Tiptoft. And the last shield repeats Powys.

* Suprà, note at page 72.

There are
There are no heraldic accessories

† A similar instance occurs in the fine Brass to Sir John Harsyck and Lady (A.D. 1384), at Southacre, Norfolk, figured in Mon. Brasses of England.

H

+

introduced into the actual
composition of the canopy:
the three circles which ap-
pear within the principal
spandrils severally contain
the words-

Mercy Jhu grafce.

After every word of the in-
scription there is either a
leaf, a flower, an animal or
bird, or some celestial figure;
the legend itself commences
with an initial cross, above
the effigy, on the dexter side,
and, so far as it is accessible,
it may be read as follows:-

Part of Inscription: Tiptoft Brass.

na. Jorosa. quondam. filia. et. bna. hered. Caroli. dni. Powes. aceciam. filia. et. bna. hered. honorabilissime. d'ne. Marchie. et. bror. famosissimo. Milit[i. Johanni. Typtoft. que. obijt. rr]ijo. die Septe'ber. o. d'ni. M. cccc. xlvj. cuius. anime. et. omniu' . fideliu' defunctor'. Ehs'. pro. sba. sacratissima. passione. misereat.

*

The words and letters within brackets are given from Gough.*

Sepul. Mon. ii. pp. 136-141. On the 23rd of October, 1788, Gough paid a visit to Enfield church for the purpose of "examining" the tomb of Lady Tiptoft, and searching in the vault beneath it for her remains. He has given a minute description both of the monument itself and of this most improper search. The vault had been previously opened, and evidently for the purpose of successive interments. Gough mentions that in 1789, during repairs, a stone, having carved on it the date A.D. 1531, in Arabic numerals, was discovered built into the east battlements of the vestry this may, perhaps, give the period at which the second monumental structure, described in the text, was erected.