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 A HISTORY OF NORTHAMPTONSHIRE Lord Spencer being carved under the sculp- tor's superintendence by Richard Hargravc for £i^, and that of Lady Spencer by John White for ^^15. Sir John Langham, died 167 1, and Mary his wife. Cottcibrooke. These white marble effigies lie upon coarse platted mattresses on a handsome tomb of black and white marble, with coats-of-arms on the north and south sides of the monu- ment. Sir John Langham is habited in an alderman's gown faced with fur, and wears his own hair. The moustaches are carefully brushed upwards in a series of small curls, and a wart sculptured on the right side of the face indicates a faithful portrait. The lady, a daughter of James Bunce, wears a coverchicf, a stomacher, and a gown embroidered at the bottom ; in the right hand she holds a rose. The fine condition of the monument, which is probably from the workshop of John Stone, is attributable to the original iron railings still surrounding it. Edward Gorges, Lord Dundalk, living 1634, and Katherine his wife. Maidwell. The stone effigy of Lord Dundalk is in- teresting as an example of civil dress. This consists of falling band, doublet with slashed sleeves, trunk hose fastened by points or ties finished with fancies or aglets. He has yellow nether stocks or stockings with white tops and carefully wrinkled boots. The lady, who was widow of Edward Haslewood and daughter and heir of Sir Robert Osborne, wears a coverchief, a gown with slashed sleeves, and the scarlet mantle of a peeress lined ermine. In the time of Bridges the monument stood in the chancel ; it was sub- sequently removed to the outside of the east end of the chancel, and protected to a certain extent by a framework of glass. Thus it remained until I 891, when it was taken back to its original site in the chancel. The monument consists of a semi-circular recessed arch containing the effigies, which lie under a canopy with a broken pediment, supported by two Corinthian columns. Sir John Germaine died 17 18, and Lady Mary Mordaunt his wife. Lowick. These white marble effigies are good ex- amples of a bad style — of the d^gr'ingolade of monumental art. He is shown in a suit of armour, which it is doubtful if he ever wore, and a full-bottomed periwig. The lady, dressed in a low and loose gown, has naked feet, holds a palm branch in her left hand, and, like her husband, is shown lolling with the right elbow on a cushion, which in her case is further embellished and supported, in the odd taste of the time, by a human skull. This queer monumental production — so strangely contrasting with the dignified monu- ments of early times — is probably the work of Francis Bird, a greatly abused and indus- trious sculptor, much employed for want of a better by Sir Christopher Wren at St. Paul's Cathedral. 422