A HISTORY OF NORTHAMPTONSHIRE 



fastened up under the chin, a long coverchief 

 falling over it in many folds. The hands are 

 in prayer, the head rests upon two pillows, and 

 the feet upon a dog. The mantle has been 

 diapered in two shades of red and white, in 

 alternatequatrefoils containing concentric folia- 

 tions, and circles intermittently decorated with 

 swans, and cinquefoils with the same florals 

 centres of a smaller size. Portions of this 

 pattern still remain in the deep folds of the 

 drapery. 



Sir William de Combemartyn. Died 

 1318. Alderton. 



The wooden eflSgy is a good example of a 

 work of art of this character and represents 

 the man in the usual hood, hauberk, chausses, 

 etc. It is accurately carved in an attitude of 

 easy repose, and though it has lost every particle 

 of colour and is sadly decayed, in its looped 

 and windowed raggedness it still exhibits 

 much that arrests the attention. The loose 

 fit of the mail about the right arm and neck 

 is well expressed, and the repair of the block 

 by the sculptor before he handed it over to 

 the painter is evident, as is also the straight 

 under-eye line, the favourite fashion of medieval 

 sculptors of this the best age. The effigy 

 formerly lay in the south aisle of Alderton 

 church, but when this was pulled down in 

 1848, it was relegated by the process of 

 ' restoration ' to an upper stage of the tower. 



Hawise de Keynes, living 1329. Dodford. 



Under an arch in the north wall lies a 

 neglected and dismembered wooden figure of 

 a lady who wears a veil, wimple originally 

 painted white, kirtle or cote-hardie, formerly 

 blue, and supertunic. This is doubtless the 

 effigy of Hawise, mother of the last Sir 

 Robert de Keynes, and who was living in 

 1329. On the wall at the back of the arch 

 is painted a representation of two angels bear- 

 ing away the departed spirit in the shape of 

 a small figure held up in a napkin, and five 

 shields of arms of which two only are legible. 



An entry is now made into a new period 

 of costume, with a new king very different 

 from the old one. It may here be mentioned 

 that the outer military garment for the body 

 had three developments. First, the ancient 

 surcote. This in its origin reached only to 

 the knees, it subsequently came to such a 

 length at the end of the thirteenth century 

 that, as has been already intimated, men 

 called upon suddenly to fight on foot got 

 their legs enraveled in the surcote's ample 

 folds and became easy victims to the foe. 

 The skirt was accordingly evenly reduced all 

 round, but still the shorter drapery was found 



to be an inconvenience. A new and strangely 

 unpractical garment was therefore formed by 

 cutting away the whole of the front of the 

 surcote up to the middle of the thighs, slit- 

 ting it up the sides to the hips, taking it in at 

 the body, and lacing it up on the right side. 

 Thus was formed the cyclas, which appears 

 to have been a purely English garment. 



It did not long find favour. The useless 

 hinder flapping part was an incumbrance, and 

 not more than fifteen monumental effigies in 

 the country, between 1 32 1 and J 346, repre- 

 sent it. As early as 1340 the long hinder 

 flap of the cyclas was cut off, it was fitted 

 tightly to the body, the lower edges of the 

 garment were finally quainted or dagged, it 

 was laced up at the side, and the jupon made 

 its appearance. These three stages of the 

 gradual growth of a garment from long and 

 loose to short and tight within two hundred 

 years are well exemplified in Northampton- 

 shire. Not less so is the gradual change of 

 the jupon to the heraldic tabard, as will also 

 duly appear. 



The effigies of which that of Sir Laurence 

 de Pavely is an excellent type may properly 

 be classed as belonging to the Transition 

 military equipment between the hauberk and 

 surcote effigies of the thirteenth century and 

 the camail and jupon figures of the latter part 

 of the fourteenth. As with the architectural 

 Transition, the monumental works now to be 

 considered have great beauty and interest. 

 The coming change has already been indicated 

 by the shortened skirts of the surcote, as seen 

 in the effigies of De Keynes, Le Lou, and 

 Combemartyn, and in the locketted scabbard 

 of Treylli; indeed, very gradual and strictly 

 chronological advance in armour and costume 

 may be clearly shown from the effigy of De 

 Vere to that of De Pavely, and although on 

 comparing the former figure with that pre- 

 sently to be noticed the latter shows itself as 

 something quite different after a lapse of 

 eighty years, it is noticeable how slowly so 

 complete a change has been brought about by 

 slight varying details and in almost imper- 

 ceptible modifications in the forms of the 

 different defences and costume. 



Sir Laurence de Pavely, living 1329, 

 and ... his wife. Paulerspury. 



The wooden effigies of Sir Laurence de 

 Pavely and his wife lie upon a high freestone 

 tomb, under the easternmost arch of the 

 chancel aisle, on the north side, with the 

 eastern end of the tomb abutting against the 

 respond of the arch. The north and south 

 sides are divided into five compartments with 

 plain shields within them, suspended altern- 



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