Historical sketches of old Charing. / The hospital and chapel of Saint Mary Roncevall. Eleanor of Castile, Queen of England, and the monuments erected in her memory.

Lincoln.

The cross at Lincoln was built by Richard de Stowe, who at the time was the master mason in charge of the work at Lincoln Cathedral. Stowe received sums on account of his work during the years 1291 to 1293 amounting to £106 13s. 4d.

Of Stowe’s design for the cross we have no record, but the presumption is that it agreed in its main features with the other crosses, for some of the finer decorative work and statues were sent to the cross from Westminster. They were entrusted to William of Ireland, the “Imaginator.” The accounts of this sculptor are specially noted. He received in all the sum of £23 6s. 8d. for making the statues of the Queen, the “virgæ, capita et annuli,” and for their carriage from Westminster to Lincoln. We know that he received the sum of five marks—£3 6s. 8d.—for each statue. The cross stood on Swine Green, opposite the Gilbertine Priory of St. Catherine, where the Queen’s body rested. The last traces of the cross at Lincoln have long since disappeared.

The tomb in Lincoln Cathedral was erected by Dyminge de Legeri and Alexander of Abingdon who was under the immediate influence of Westminster. Note is made of their receiving £18 6s. 8d. on account of their work at Lincoln, a sum, however, which includes a small amount to Alexander of Abingdon on account of making statues for the tomb at Blackfriars. Roger de Crundale was evidently associated with the work, as he is mentioned as receiving £1 16s. 8d. for marble supplied and work done at the tomb of the Queen. The most important feature of the Queen’s tomb, however, was the metal effigy made by William Torel, which was an exact replica of the effigy on the tomb in Westminster. The tombs at Westminster and Lincoln were probably similar in design. The Queen’s tomb occupied a position under the great east window of the cathedral, but now no relic of it survives.

In 1901 a monument in memory of the Queen, copying the original tomb, was placed on the southern side of the retro-choir by the late Mr. Joseph Ruston. Sufficient information was obtained from drawings of the original monument by Dugdale and Bishop Sanderson, now in the possession of the Earl of Winchilsea, to permit of this being done. This monument, however, could not be placed in the original position on the north side of the “Angel Choir” as the site had been used for a recent interment, and the Bishop’s Chair had been erected close to the site.^[42] No fragments of the original tomb were discovered when this work was being done.

Grantham.

No information is obtainable of the design, nor of the builder, of the cross at Grantham. Edmund Torner, writing in 1806, makes the following note:—

“On St. Peter’s Hill near the south entrance into the town stood the elegant cross erected by Edward I in memory of Eleanor, his Queen.”^[43]

A note in Camden is as follows:—

“Queen Eleanor’s Cross stood before Mr. Hacket’s house, called Peter Church Hill, where stood a Church dedicated to St. Peter, now demolished.”^[44]

The fragments of the cross which survived were destroyed by Cromwellian soldiery during the Civil War.

Stamford.

There is no information as to the builder and designer of the cross at Stamford. Richard Butcher, some time Town Clerk of Stamford, in a work published in 1717, states as follows:—

“Not far from hence upon the North side of the Town near unto York Highway, and about twelve score from the Town Gate, which is called Clement Gate, stands an ancient cross of Free Stone of a very curious Fabrick, having many ancient scutchions of arms insculpted in the stone about it, as the Arms of Castile Leon quartered, being the paternal coat of the King of Spain, and divers other hatchments belonging to that Crown, which envious Time hath so defaced, that only the Ruins appear to my eye, and therefore not to be described by my Pen.”^[45]

In Camden’s “Britannia” there is the note:—

“Not far from the Town without Clement Gate, stood a fine cross, erected by Edward I, in memory of his Queen Eleanor, but pulled down by the soldiers in the Civil War.”^[46]

Geddington.

The cross at Geddington has withstood the ravages of time and has been disturbed less by restoration than the others. Its design differs greatly from that of the other remaining crosses, but it is so elegant in spite of its unusual structure, that it is very unfortunate that we have now no knowledge of its builders. No mention is made of Geddington Cross, nor of Stamford, nor Grantham in the Queen’s executry accounts. These Rolls, however, are not extant later than the year 1294. It is possible, therefore, that these three crosses were built a year or two later than the others.

The cross stands in the middle of the village, where the main road from Stamford to Northampton turns in a southerly direction to pass over the old bridge across the small river Ise. There is here a widening of the road caused by the junction of a road from the east, allowing of a clear space, so that the cross is well seen from all sides. The cross itself rises from a platform led up to by a series of eight steps, arranged in hexagonal form. It is exceptional in being triangular in section. The first story consists of three faces, each face being divided by firm mouldings into four panels. These panels show a beautiful example of stone carving in various diaper designs. Even now the effect is rich, but before the outlines had faded, the diaper work must have shown great firmness and strength. The upper panels of the lower story present the shields bearing alternately the arms of England, Castile and Leon quarterly, and Ponthieu, as in the case of the other crosses. The second story also gives the effect of a triangular outline, the angles corresponding with the middle of each side of the lower story. At each angle rises a beautifully moulded pillar which, with similar pillars from the other sides, support the series of canopies sheltering the three statues of the Queen. These tabernacles are richly ornamented in the characteristic style of decoration of the period. The third story continues the main column of the cross upwards, and consists of a cluster of pillars ending in decorated finials, repeating the designs of the tabernacle work below. The column may have been originally surmounted by a cross. Fortunately no attempt has yet been made to replace the terminal feature. The triangular design of the cross gives a very curious effect when it is looked at from certain directions. It will be evident that when seen from a line parallel to one of the faces of the second story, the whole of the cross presents a lop-sided aspect. Its symmetry of outline becomes obvious on changing the point of view a little to one side or the other.

Geddington Cross, like the others, suffered not only by exposure to the elements, but perhaps even more by neglect and wilful damage. It is mentioned that in ancient times, during the rough sports which were held on Easter Monday, it was the custom to catch squirrels in the neighbouring woods and turn them loose in the neighbourhood of the cross. The little animals naturally took refuge in its crevices and corners, whereupon the mob attempted to destroy the squirrels by stoning them, and many a decorated finial and beautiful piece of foliage must have been shattered on those days.

On the south side of the steps leading to the cross is a spring of water evidently used from time immemorial by the inhabitants. It is now covered in by a small square-headed stone cistern. This cross fortunately escaped the ruin which befell so many of the other memorial crosses during the Civil War. It was restored in 1868, and repairs were judiciously carried out in 1890.^[47]

Northampton.

The cross at Northampton is the only one remaining of the five built by John Battle and his partners. It occupies a site on the east of the main road leading south, at a distance of about a mile from the town, in the parish of Hardingston. The road rises slightly as it leaves the flat land of the Nene Valley, and on this little elevation the cross was erected. It was the proximity of the religious house of Cluniac nuns (S. Maria de Pratis), now Delapré Abbey, which determined the spot where the funeral procession stopped for the night. This cross stands quite in the open country, and its fine proportions can be easily seen. Unfortunately it has suffered much, both at the hands of time, but especially from the restorer, and much of the original decorative work has disappeared. Its strong, beautiful outlines give the observer a high idea of John Battle’s skill as a designer.

The cross is situated on a platform surrounded on all sides by an ascent of nine steps. From this the cross, which is of octagonal outline, rises. The lowest story is supported by buttresses at the angles, and the faces thus formed are divided into two panels by a perpendicular moulding. Surmounting the panels is a series of decorated gables. The panels show alternately shields with the arms of England, Castile and Leon quarterly, and Ponthieu. In addition, every alternate face is ornamented with an open book.

The second story is arranged also to give an octagonal outline, but consists really of the quadrilateral solid column of the cross, on each face of which stands the statue of the Queen, about 6 ft. in height, facing north, south, east and west. Attached to this solid column is a series of eight open tabernacles, elaborately and beautifully decorated.

Above this tabernacle story rises the solid four-sided column of the cross, panelled and adorned with pointed tabernacle work, reproducing the designs of the story below. The column originally terminated, in all probability, in a cross-shaped finial. This no longer exists, the feeble effort to replace the terminal cross during the restoration of 1713 being happily removed.

The first restoration of the cross of which we have particulars was in 1713. It was carried out very badly, and certainly in bad taste. Further repairs were undertaken in 1762, during which the benefactions of the restorers were duly and pompously notified on the cross itself. Careful repairs were carried out in 1884, and now the care of the cross is vested absolutely in the Northampton County Council. In spite of the destruction due to early restorations, the Northampton cross remains a remarkable tribute to the skill of the architects and builders of the period, and a fine example of English decorated work.

It is difficult to obtain an idea of the cost of the crosses erected by Battle. The executry accounts give evidence of a sum of nearly £400 paid to Battle and his partners, but this money was on account of the five Midland crosses. We know that the accounts are incomplete, so that the amount spent was no doubt larger than this sum; possibly also a larger amount may have been spent upon the cross in such an important position as at Northampton than in certain other places.

In addition to the money which passed into the hands of Battle, considerable sums were paid to William of Ireland and Ralph of Chichester, who were entrusted with the sculpture of the statues of the Queen, and the finer ornamental work represented by the constantly recurring item, the “virgæ, capita et annuli.”

The building of the cross involved another very important piece of work at Northampton. The roadway from the town to the Queen’s cross passes over the flat marshes of the River Nene. Robert Harrison (Robertus filius Henrici) received £80 for the construction of a causeway across the marshy land, and certain sums were also expended in laying the pavement. The necessity for such a “rood-way” is obvious to anyone who has visited the spot, and the building of the causeway would have been regarded at the time as a work of piety.

Stony Stratford.

The cross at Stony Stratford was one of those built by John Battle and his partners. Ralph of Chichester was the sculptor employed to do the ornamental work. He is noted as supplying “virgis, capitibus et annulis.”

Dr. Lipscomb, writing in 1847, says:—

“The cross here was demolished about 1646, but an old inhabitant, William Hartley, told Mr. Cole that he remembered part of it remaining at the western extremity of the town.”^[48]

Woburn.

The cross was erected by John Battle and his partners, Ralph of Chichester being employed to make some of the ornamental carving. The puzzling détour of the procession from Watling Street to Woburn was no doubt due to the desire of the King to have the advantage of the religious services of the important Cistercian Abbey at this place.

Dunstable.

The cross at Dunstable was built by Battle of Northampton and his partners, part of the sculpture being supplied by Ralph of Chichester. It stood in the main street of Dunstable, where Watling Street crosses the Icknield Way. The Church and remains of the Augustinian Priory of Dunstable are situated a very short distance to the east, along the Icknield Way. Mention has already been made of the description given by the Dunstable annalist of the arrival of the funeral procession, and the ceremony of consecration of the site where the “lofty cross” was subsequently erected. The cross is said to have been demolished by troops under the Earl of Essex, in 1643. Parts of the foundation of the cross have been met with during recent alterations in the roadway.

St. Albans.

The cross was erected in what became the Market Place of St. Albans by John Battle and his partners, some of the sculpture being supplied by Ralph of Chichester. The visit of the procession to St. Albans is especially noteworthy on account of the record remaining of the elaborate religious services in the Church of the great Benedictine Abbey during the night the procession rested there. In 1596 the cross is described as “verie stately.” There can be no doubt, however, that already the cross had suffered much damage by the lapse of time, as well as by neglect. At any rate, scant ceremony was shown to the cross in later years. It is stated to have been partly destroyed by order of Parliament in 1643; fragments, however, stood in the market place till the year 1702. In 1703 an octagonal market house was built on its site; in 1765 this became a pump house, and in 1872 the present drinking fountain in the centre of St. Albans was built on the consecrated site of the “verie stately cross.”

Waltham.

The cross at Waltham was constructed by Dyminge de Legeri (de Reyns) and Roger Crundale. Crundale was a near relative, probably the brother, of Richard Crundale, the master mason at Westminster, and was obviously in close touch with the Westminster School. Dyminge de Legeri, of whom we have little knowledge—his name suggests a foreign origin—must have been a builder of recognized skill. It is possible that he may have been specially associated with Waltham Abbey.

The cross occupies a position on the main road at Waltham, where a side road branched off leading to the important Augustinian house of Waltham Abbey. The platform from which the cross arose seems originally to have had ten steps. As the result of restorations this number has been diminished to four. From this platform the cross, which is hexagonal in design, arises. Each side of the lower story is divided into two panels, which show alternately the shields charged with the arms of England, Castile and Leon quarterly, and Ponthieu. The panels are surmounted by pointed three-cusped arches supporting a quatre-foil decoration, and finally a gable-like ornament. The whole panel is richly decorated, the upper part with diaper work. The second story, which is separated from the first by a perforated battlement, consists of a series of open tabernacles in pairs, sheltering three statues of the Queen. The tabernacles terminated in profusely decorated triangular gables. The third story, still hexagonal in shape, is ornamented with tabernacle work, reproducing the designs of the story below. From this arose the shaft of the cross, which has been replaced during a recent restoration. Considering the ruinous state into which Waltham Cross had been allowed to pass in the beginning of the eighteenth century, it is almost a wonder that so much of the original structure still remains. The lowest story still gives a good representation of the original work. The Queen’s statues remain after having suffered many indignities. Most of the rest of the cross gives evidence of restoration.

In 1720 Dr. Stukeley remarked on its ruinous state, and prevailed upon the Society of Antiquaries to take steps for its preservation, and Lord Monson surrounded and strengthened the base of the cross with new brickwork in 1757. In early days the Four Swan Inn, at the junction of the road from Waltham Abbey, was the only house of any importance near, but other houses gradually arose. The cross and its site apparently belonged to no one, so the houses crowded on the cross, till at length they actually abutted on its eastern side, destroying much of its beautiful work and even endangering the solidity of the whole structure. The prints of the cross in the eighteenth century show the ruinous condition into which it had fallen.

In the beginning of last century a local committee undertook its restoration, £1,200 being expended at this time. This work was finished in 1834. In 1893 more complete restoration was carried out, nearly £1,200 being again expended on the cross.^[49] The Falcon Inn, which had encroached on the cross so as actually to be in contact, was set back, and now the roadway surrounds the cross on all sides, allowing its proportions to be seen, and aiding in its preservation. It is interesting to compare the sums expended on restoration with the amount noted as being paid to the original builders. The sum of a little over £90 can be traced into the hands of Dyminge de Legeri and Roger de Crundale. Alexander the Imaginator aided a little in its construction, and a good deal of the stone, especially the Caen stone, so much in use at the time, was conveyed directly from the works at Charing.

Chepe.

The cross in the City of London stood at the west end of Cheapside, opposite Wood Street. The construction of this cross was entrusted entirely to a distinguished architect Michael of Canterbury, who at the same time was engaged in building the Chapel of St. Stephen’s at Westminster. There is unfortunately no relic of the original design. In the Guildhall Museum, however, are two broken stone panels, which formed almost certainly a portion of the Eleanor Cross in Chepe. These panels show the characteristic heraldic shields emblazoned with the arms of England and of Leon and Castile. Portions of ornamental mouldings are also preserved on these panels. It is possible that these may be relics of the work of Michael of Canterbury, but it is more probable that they are of later date. In the case of Chepe Cross, we may gain the best idea of the amount of money spent on individual crosses. Michael of Canterbury evidently agreed to erect the cross for £300, and the Queen’s executry accounts give evidence of his receiving £226 13s. 4d.

By the year 1441, the cross “being by length of time decayed,” John Hatherley, Mayor of London, procured licence of King Henry VI to “edifie the same in more beautifull manner for the honor of the citie.” This restoration probably followed the main lines of the original structure, and was very slow in progress.

In the course of time the citizens of London seem to have lost interest in the cross and its significance, and it is only necessary to refer to the pages of John Stow, published in 1603, to sympathize with this worthy’s indignation at the desecration which the cross had suffered even in his time. It had been partly restored on several occasions subsequent to the time of John Hatherley, including various re-gildings and re-burnishings in honour of various important royal functions, but in the year 1581 “diuers Juries” of the citizens having considered that it stood in the “highway to the let of carriages,” so much prejudice was aroused that on the night of 21st June a band of roughs destroyed the lowest images round the cross. These, however, were images totally different from those originally on the cross, and included one of the Virgin Mary. In the year 1595, according to Stow, this image “was againe fastened and repaired, and the yeare next following a new misshapen son born out of time all naked was laid in her arms.”

Later the cross was further desecrated by the addition of an alabaster image of Diana, which served the noble purpose of a water conduit for the benefit of the citizens. Attempts were made by certain members of Queen Elizabeth’s court to bring home to the Mayor and citizens the desecration of the cross which had been permitted. But shortly after Christmas, 1600, “the image of Our Lady was again defaced by plucking off her crown and almost her head, taking from her her naked child and stabbing her in the breast, &c.”^[50]

The cross by this time could only have presented a remote resemblance to the original work. The new statues which found a resting place on it had no reference to its original purpose. During the religious and political turmoils which followed, the crosses both at Chepe and Charing formed the subject of numerous political lampoons, which are interesting as giving some idea of the frenzy of destruction which possessed the extreme political sects. It can hardly, therefore, have been considered a matter of regret when the last scene of all was enacted.

The cross, mutilated and desecrated beyond recognition, was completely destroyed on 2nd May, 1643. The Parliament deputed a certain Robert Harlowe to do this work, who went with a troop of horse and two companies of foot, and carried it out completely. “At the fall of the top cross drums beat, trumpets blew, and multitudes of caps were thrown into the air, and a great shout of people with joy”; so runs a contemporary account.^[51]

The history of the cross in Chepe is important as giving an indication of the gradual process of decay which seriously damaged the crosses, long before the desecrating hands of political fanatics mutilated and finally destroyed the remaining fragments.

Charing.

The cross at Charing was the work of Richard de Crundale. He was responsible for the design of this cross, but his design no doubt influenced the ideas of the other builders, for we know that much of the finer work of the other crosses was executed under his observation. Most of the statues of the Queen were carved near Charing, and many of the ornaments so frequently referred to as the “virgæ, capita et annuli,” were also made by the Westminster artists. The cross was built approximately on the plot of ground now occupied by the statue of Charles I, facing the great thoroughfare now known as “Charing Cross.”

Richard Crundale himself died in 1293, and Roger Crundale came from Waltham to carry on his work. Nearly £700 can be traced as being paid to the Crundales for their work at Charing, but this sum obviously includes work done and materials supplied for other crosses. The finer materials used in the construction of the crosses, such as Caen stone, Purbeck stone and marble, seem to have been distributed to the other crosses by way of Charing. Considerable additional sums of money are mentioned as being paid to merchants of stone, such as William Canon, Robert Blunt, and others who brought the stone from Corfe, and Henry Mauger who supplied stone from Caen. Alexander of Abingdon, the “Imaginator,” carved the statues of the Queen for Charing; William of Ireland, also working at Charing, carved the statues of the Queen which found their way to the crosses built by John Battle and Richard Stowe; while Ralph of Chichester carved much of the fine stonework for the crosses.

Unfortunately no adequate idea can now be obtained of Charing Cross. It is admitted, however, to have been the finest of the series; but it must have been subject to the same vicissitudes as its neighbour in Chepe, and the sketches which exist, purporting to be Charing Cross, can only have been obtained from the mutilated structure which survived to the middle of the seventeenth century. The drawing in the Crowle Collection of the British Museum, which has been reproduced by Wilkinson, is one of these. The suggestion of the cross in van den Wyngaerde’s view of London gives, perhaps, a better idea of its probable appearance.^[52] John Norden’s account is that of an eye witness, and tells of its condition about the year 1590. He speaks of it as “an old weather-beaten monument erected about 1290 by Edward I. Amongst all the crosses which the King caused to be built ... Charing Cross was most stately, though now defaced by antiquity.”^[53]

Charing Cross suffered many indignities in the Parliamentary period. After many years of neglect, it was sentenced by Parliament to be taken down in 1643. An old rhyme mentions the event:—

Lilly,^[54] writing in 1715, says that part of the stones were employed in paving the front of Whitehall, whilst some other stones were made into knife hafts and other articles which, when polished, looked like marble.

The cross in the forecourt of the South Eastern Railway station at Charing Cross was erected from the designs of the late Mr. Edward Middleton Barry in 1864-1865, and is the result of his own desire to have the opportunity of reproducing the Eleanor memorial at Charing. Mr. Barry was a learned as well as a distinguished architect, and visited Northampton and Waltham Crosses many times before deciding on the design of the monument he proposed to erect. It is well worthy of careful study as expressing the ideas formed by a conscientious artist and student of the appearance of the old cross; especially it shows the desire to give the idea of the original builders, and to avoid the travesties of construction which have not infrequently been erected purporting to be after the fashion of an Eleanor Cross. Unhappily the motive which renders the crosses at Geddington, Northampton and Waltham so entirely appropriate, and which adds so much to their interest, cannot be transferred to the new site.^[55]

Blackfriars, London.

It was a custom of the time for devout persons to desire that the heart should be removed after death, and taken to some peculiarly holy place. Queen Eleanor had taken special interest in the community of the Black Friars, and especially in the Church which they had just built in London. By her own special request her heart was to be taken to this church, and Edward took special pains that a tomb should be erected worthy of containing this relic.

There is little knowledge of the design for this monument. A certain John le Convers seems to have been a clerk dealing with the payments, while Adam, a well-known goldsmith of the time, and much in the confidence of the King and Queen, was asked to make an angel to support the casket containing the heart. In addition to this figure, which was of metal and gilt as were Torel’s great effigies, statues ornamented the tomb. These were no doubt of the same design as those erected in other places. They were the work of Alexander the “Imaginator” and Dyminge de Legeri, and very probably of the same character as those at Lincoln. Alexander also constructed certain iron work around this monument. William de Suffolk made three small images in metal for the Blackfriars tomb.

One of the most interesting features of the monument were the paintings by Walter of Durham. This artist received the large sum of £46 13s. 4d., according to the Queen’s accounts, for his work at Blackfriars. Part of the stonework, consisting of a crista, perhaps an ornamented stone canopy, was built by William de Hoo.

All traces of the tomb disappeared at the time of the dissolution of the monasteries. The responsibility for the final act of destruction seems to rest on the shoulders of the same Sir Thomas Cawarden into whose clutches there also fell the Church and possessions of St. Mary Roncevall.

Westminster.

On the tomb at Westminster a special amount of care was devoted by the artists and workmen employed by Edward. The design was that of a large chest formed by slabs of Purbeck marble, in which was placed the body, and the top of the chest was arranged to support the bronze-gilt effigy of the Queen.

The tomb itself seems to have been designed by Richard Crundale, and the work was completed by himself and his brother Roger. Under their supervision the stone chest was ornamented with the characteristic decorated carving of the period, and with the shields bearing the arms which are so prominent on all the Eleanor memorials. Walter of Durham was employed to decorate the tomb with paintings, while Thomas de Leighton, a skilful worker in metal, made the iron grille protecting the effigy. The perishable part of the stonework is unfortunately fast disappearing, and faint shadows only of the paintings may be observed.

The chief glory, however, of the tomb still remains, namely, the great bronze effigy of the Queen, the work of William Torel, goldsmith and citizen of London. Torel designed and cast not only the effigy at Westminster, but the replica which reposed on the tomb at Lincoln. Records remain of enormous quantities of wax and of metal supplied to Torel for this purpose. The effigies appear to have been cast in one mould, and the work must have been difficult to execute. After their completion the bronze castings were gilt, and special reference is made to the purchase of gold florins for this purpose. These coins appear to have come from abroad, and were obtained from the merchants of “Luka” and others. The figure shown is of so noble a design that the wish arises that it might be regarded as a portrait of the Queen. The evidence, however, seems to be complete that the effigy represents Torel’s ideal of a queen’s statue; nevertheless it remains to this day perhaps the most remarkable example of a statue in metal dating from the early “decorated” period of English art (fig. 12). Special financial provision was made for the purpose of the religious services at Queen Eleanor’s tomb, including gifts of land and money to the Abbey, the proper employment of which was subsequently the source of much discussion in the chapter.^[56]

The anniversary service in memory of the Queen took place on November 29, the eve of St. Andrew’s Day, and was continued up to the time of the dissolution of the Benedictine community.

To obtain an idea of the appearance of this monument, it must be recollected that not only was the tomb itself formed of finely decorated stonework, but was surrounded with elaborate paintings, while the great gilt effigy of the Queen was studded with the jewellery and enamels which Edward gathered from the East and abroad. These he lavished with the utmost profusion in decorating this, perhaps the principal, monument to his wife.^[57]

During the history of the next three hundred years, references are made to the magnificence of the tomb and of the religious celebrations in memory of the Queen. A distinguished foreign visitor to the Church in the fourteenth century describes how “the radiant lights like the glory of the starry sky exhilarated the souls of the beholders with joyousness.”

Bibliography.

Information respecting Eleanor of Castile and her Memorials is widely scattered. Examination of the references will give an excellent introduction to the study of the social history of an interesting period. The attempt to do this cannot be made in this place, but the following references will indicate the sources from which these notes are derived, and afford the writer an opportunity of expressing his great obligation to the work of others on the subject.

(1) THE EARLY CHRONICLES, especially—

Rishanger, William of, at St. Albans; Rolls Series, by H. T. Riley.

Wykes, Thomas, Monk of Osney; Rolls Series, by Luard.

Hemingburgh, Walter of; English Historical Society. H. C. Hamilton.

Dunstable, Annals of; Rolls Series, by Luard.

Walsingham, Thomas of, a St. Albans Monk, writing in the fifteenth century, quotes the earlier Chronicles in the Historia Anglicana; Rolls Series, by Riley.

(2) General historical information may be referred to in:—

Rymer, “Fœdera,” Record Edition.

Gough, Henry, “Itinerary of King Edward I.”

Ramsey, Sir J. H., “Dawn of the Constitution,” a careful detailed account of the period.

(3) SPECIAL REFERENCES:—

“Liberationes factæ per Executores Dominæ Alianoræ Consortis Edwardis Regis Angliæ primi.”

These Rolls have the following reference numbers in the Record Office;—

“King’s Exchequer Accounts, 352/27, 353/1, 353/9, 353/19”, and have been transcribed with a most useful introduction in the volume entitled “Manners and Household Expenses of England,” presented to the Roxburghe Club by Beriah Botfield, 1841, edited by T. Hudson Turner. A photograph showing a specimen of these Rolls may be seen in the Souvenir of the St. Albans Pageant, 1907.

“Vetusta Monumenta.” Plates vii, xii, xiii, xiv, xv, xvi, xvii, and corresponding letterpress.

Hunter, Rev. Joseph, “On the Death of Eleanor of Castile,” “Archæologia,” vol. xxix, page 167, 1842.

Abel, John, “Memorials of Queen Eleanor,” published by the author, 1864.

Scott, George Gilbert, “Gleanings from Westminster Abbey,” Oxford and London, 1863.

Lethaby, W. R., “Westminster Abbey and the King’s Craftsmen,” London, 1906, gives much original and suggestive information.