[35] The amices are here called "head-pieces," as they were properly little hoods which could be turned up so as to cover the head, and were actually so worn out of doors. The Dominican Friars still wear the amice on the head when approaching the altar at mass.

Sets of vestments often had copes belonging to them. The cope was required not only for use when censing altars at choir services, but also for the celebrant in the procession which (like our Litany) preceded the principal celebration of the Eucharist on Sundays.

[36] Fannelles = fanons or maniples.

[37] Cloth of gold.

[38] Hangings for lecterns.

[39] Probably the last Prior, alias Linstede.

[40] "Work-day vestments" means vestments for use on weekdays at low masses.

[41] A vestment with a Latin cross on the back of the chasuble; these were common in England in the sixteenth century.

[42] Vide the design on the coffin-lid now preserved in the North Transept (p. 89).

[43] A small banner which was hung on the processional cross.

[44] Probably curtains for hanging behind the rood.

[45] Canopies for hanging above the pyx, which contained the reserved Sacrament, and was, as usual in England, suspended over the high altar. N.B.—The Roman form of altar-tabernacle seldom if ever seems to have been used in England.

[46] Burses, to keep the corporals in.

[47] The "table of the high altar" was the reredos, only exposed on high days, this cloth or upper frontal concealing it at other times. The reredos must not be confused with the great altar screen: it was quite small, and was immediately at the back of the altar itself.

[48] "Hangings for altars above and beneath" include frontals and upper frontals, the latter taking the place of the reredos, or being used to cover it at ordinary times. Some of these hangings may be "riddels" or curtains to hang at the ends of the altar. These used to hang at right angles to the reredos, and close to the altar ends.

[49] I.e., a funeral pall.

[50] Shamrock or trefoil.

[51] A cushion to lay the altar book upon. Such cushions were often very rich and handsome, and in the days of large books and fine bindings were almost necessary. They were much more general than desks.

[52] I.e., a frontal; the same word is used in the Canon of 1603, which orders a frontal.

[53] Four great standard candlesticks to stand on the pavement before the altar. Large churches often had more than two standard lights. The pair of small standards (the next entry) were probably for one of the lesser altars.

[54] Probably included under "Latten" by mistake or carelessness.

[55] Ibid.

[56] Ibid.

[57] This ornament was used in one or two processions when the Holy Eucharist was carried. The "burrall" is the glass in the middle wherein the Sacrament was placed. Only rich churches possessed this ornament, which was of very late introduction. It is needless to add that the still more modern service of Benediction of the Blessed Sacrament was never in use in England.

[58] Probably to stand on the high altar.

[59] Perhaps held a relic.

[60] To stand on the high altar for ornament.

[61] Two censers were commonly carried side by side in procession in England.

[62] Incense-boat.

[63] The "maser" is quoted as "given to the Wardens when they meet to drink on."



V

SPECIFICATION OF THE ORGAN

(Furnished by the builders, Messrs. Lewis and Co., Limited)

CHOIR ORGAN, C C TO C. 61 NOTES.

Lieblich-gedact 16 feet Geigen Principal 8 " Salicional 8 " Dulciana 8 " Lieblich-gedact 8 " Salicet 4 feet Flauto Traverso 4 " Lieblich-gedact 4 " Lieblich-gedact 2 " Mixture (3 ranks) 2 "

Ten Key-touches for Couplers and fixed Combinations.

GREAT ORGAN, C C TO C. 61 NOTES.

Contra Viola 16 feet Bourdon 16 " Open Diapason, No. 1 8 " Open Diapason, No. 2 8 " Stopped Diapason 8 " Flute Harmonique 8 " Octave 4 " Flute Harmonique 4 feet Octave Quint 2-2/3 " Super Octave 2 " Cornet (3, 4, and 5 ranks) 2-2/3 " Mixture (4 ranks) 1-1/3 " Trumpet 8 "

Ten Key-touches for Couplers and fixed Combinations.

SWELL ORGAN, CC TO C. 61 NOTES.

Bourdon 16 feet Open Diapason 8 " Rohr-floete 8 " Viole de Gambe 8 " Voix Celestes 8 " Geigen Principal 4 " Rohr-floete 4 " Flautina 2 " Mixture (4 ranks) 1-1/3 " Bassoon 16 " Horn 8 " Voix Humaine 8 " Oboe 8 " Clarion 4 "

Ten Key-touches for Couplers and fixed Combinations.

SOLO ORGAN, CC TO C. 61 NOTES.

Flute Harmonique 8 feet Vox Angelica 8 " Unda Maris 8 " Flute Harmonique 4 " Cor Anglais (Ten. C) 16 " Bombarde 16 " Clarionet 8 " Orchestral Oboe 8 " Tuba Magna 8 " Trompette Harmonique 8 "

Solo Organ is inclosed in a separate Swell Box.

Ten Key-touches for fixed Combinations and Solo Stops.

PEDAL ORGAN, C C C TO F. 30 NOTES.

Great Bass 32 feet Major Violon 32 " Great Bass 16 " Violon 16 " Sub Bass 16 " Dulciana Bass 16 " Violoncello 8 " Flute Bass 8 " Flute 4 " Contra Posaune 32 " Posaune 16 " Trombone 16 " Trumpet 8 "

COUPLERS.

Choir to Pedal. Great to Pedal. Swell to Pedal. Solo to Pedal. Choir to Great. Swell to Great. Solo to Great. Swell to Choir. Solo to Swell. Solo Octave.

Tremulant to Swell.

Six Pedals for Interchangeable Combinations.

Ordinary Swell Pedal for Solo Organ.

Balanced Pedal for Swell Organ.

Balanced Pedal for Crescendo over Entire Organ, including the Solo Swell Shutters.

The entire action is Electro-pneumatic. The Console is detached and placed behind the Choir Stalls.



INDEX

Aisles, choir, 81, et seq. Nave, North, 60. Nave, South, 64.

Alleyn, Edward, 66.

Altar, 71.

—— Screens, 18, 28, 72.

Andrewes, Bishop, 25, 28, 43, 77-78.

Anglican Martyrs, 22, 78-79.

Applebee, Dorothy, 88.

Architectural remains, Early English, 17, 64. Norman, 16, 52, 53, 60, 84, 89.

Barford, Susanna, Tablet, 86.

Beaufort, Cardinal, 17, 44, 95-97.

Beaufort, Escutcheon, 96.

Beaufort, Joan, 97.

Beaumont, Francis, 66.

Bells, 48.

Benson, Rev. S., 80, 81.

Blomfield, Sir Arthur, 34, 46, 48, 54, 57, 88, 93, 97.

Bosses from the old Ceiling, 90.

Browne, Sir Anthony, 38.

Bunyan, John, 61.

Chandelier, 88.

Chapels, the Bishop's, or Little Lady Chapel, 28, 30,43, 76, 77. Lady Chapel, or Retro-Choir, 21, 42, 44, 75 et seq. St. John the Baptist, 18, 61. St. John the Divine (Harvard), 16, 84.

Chaplains, introduction of, 24. List of, 104.

Chapter House, 36-38.

Chaucer, Geoffrey, 62.

Child, Alwin, 20.

Choir, exterior, 43. Interior, 69, et seq. Stalls, 74.

Coffin, ancient, 89.

Collegiate Church, 15 n.

—— Chapter, 35.

—— House, 36.

Cruden, Alexander, 60, 61.

Crusader, effigy of, 81-82.

Cure, Thomas, 81.

Curling, Rev. W., 80.

Dauncey, William, 14.

Davidson, Archbishop, 34, 100.

De la Roche (de Rupibus), Bishop, 17, 42, 49.

Dimensions of the Church, 115.

Dissolution of Monasteries, 19.

Dollman, F.T., 34 n., 47, 48.

Doorways, Norman, 52, 60. South-west, 49. West, 18, 51.

Easter Sepulchre, 77.

Emerson, William, 95.

Exterior of the Church, 41-43.

Ferthing, Aleyn, 20.

Fletcher, John, 67, 68.

Font, 66.

—— In Lady Chapel, 77.

Foster Hall, 36.

Fox, Bishop, 18, 47, 72-73.

Giffard, Bishop, 15, 20, 49.

Goldsmith, Oliver, 60.

Gower, John, 17, 18, 61-62.

Gwilt, George, 30, 32, 42, 43, 47, 48, 54. Burial-place, 44. Memorial Tablet, 44, 80. Memorial Window, 86.

Harvard, John, 84-86. Memorial window, 54, 84-86.

Holy-water Stoup, 53.

Horne, Bishop, 23 n.

James I, of Scotland, 97.

Johnson, Dr. Samuel, 60 n.

Jones, Rev. Thomas, 95.

Lectern, 88.

Linstede, Bartholomew, 13, 19.

Massinger, Philip, 67, 68.

Muniment chest, 90.

Nave, exterior, North Side, 52. Nave, exterior, South Side, 48. Nave, exterior, West Front, 51. Nave, exterior, Interior, 57-59.

Newcomen, Elizabeth, 94.

Newland, Abraham, tablet, 86.

Organ, 86-87. Specification of, 111.

Ornaments and Vestments, sale of, under Queen Elizabeth, 23, 24. Inventories and sales (Edward VI), 105, et seq.

Overy, John, 15.

Overy, Mary, 14, 15.

Pews, introduced at the Church, 26.

Pont de la Arch, William, 14.

Priors of St. Mary Overie, 103.

Priory Seal, 104.

Pugin, A.W., quoted, 32.

Pulpit, 88.

Queen Anne, Escutcheon, 93.

Restorations, 33, 34, 48, 97.

Roman relics, 14, 54, 87.

Sacheverell, Dr., 60 n., 93.

St. Margaret, Church of, 20.

St. Mary Magdalene, Church of, 17, 21, 30, 44, 46, 76.

St. Mary Overie, etymology of, 15. Traditional origin of, 13.

St. Thomas, Church of, 36.

St. Thomas's Hospital, 17.

Shakespeare, Edmund, 68-69.

Shakespeare, William, 68-69.

Southwark, Diocese of, 99, et seq.

Sumner, Bishop, 32.

Talbot, Bishop, 34, 100-101.

Thorold, Bishop, 33, 34, 100.

Tombs and Monuments, Bishop Andrewes, 43, 77-78. William Austin, 92. Richard Benefeld, 95. John Bingham, 94. William Emerson, 95. John Gower, 18, 61-62. Richard Humble, 73. Rev. Thomas Jones, 95. Lionel Lockyer, 92. John Trehearne, 83-84.

Tower, exterior, 47. Interior, 87.

Transepts, North, 17, 88, et seq. South, 17, 44-47, 93, et seq.

Vestrymen, 20, 21, 22.

Wallace, Robert, 30, 44-46.

Wigan, Sir Frederick, Bart., 34, 74, 93, 94.

Windows, East, 62. West, 64. In Nave, North Aisle, 60-61. In Nave, South Aisle, 64-68. In Choir, North Aisle, 81. In Choir, South Aisle, 86. In Lady Chapel, 78, et seq. Harvard, 84, et seq. In North Transept, 88. In South Transept, 93.

Wood, George, 81.

Yeatman-Biggs, Bishop, 100.

CHISWICK PRESS: PRINTED BY CHARLES WHITTINGHAM AND CO. TOOKS COURT, CHANCERY LANE, LONDON.



DIMENSIONS

Length of nave internal 104 feet. Length of choir internal 78 " Retro-choir from east to west internal 41 " Total length internal 248 " Breadth, including aisles internal 60 " Retro-choir from north to south internal 61 " Transepts from north to south internal 116 " Transepts from east to west internal 26 " Height of nave internal 55 " Height of choir internal 53 " 6 inches. Height of tower 129 " 6 " (exclusive of the pinnacles, which rise 34 feet above it). Area internal 17,113 sq. "





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