Elite commemoration in Early Modern England: reading funerary monuments.

Elite commemoration in Early Modern England: reading funerary monuments. Early Modern funerary fu��ner��ar��y?adj.Of or suitable for a funeral or burial.[Latin fner monuments are polyvalent polyvalent/poly��va��lent/ (-va��lent) multivalent. pol��y��va��lentadj.1. Acting against or interacting with more than one kind of antigen, antibody, toxin, or microorganism.2. texts -- they haveartistic form, iconographic content, inscriptions conveying informationand ideas. They are common in churches but overlooked by many scholars,although their equivalents from other cultures command eager attention.British funerary monuments are material objects capable of offering richinsights into the culture that produced them. They are designed toprovide both explicit memorialization of an individual and, for thosewho understand, a subtle celebration of that person's life andachievements. In this paper I examine three monuments which feature SirHenry Savile Notable people named Henry Savile include: Henry Savile (Bible translator) Henry Savile (politician) (1549-1622), and the ways in which these objects enhanceour understanding of their cultural context. `Most Weighty Savile' Savile was a polymath pol��y��math?n.A person of great or varied learning.[Greek polumath : a pioneer in textual editing, distinguishedas an historian, a mathematician, a classicist clas��si��cist?n.1. One versed in the classics; a classical scholar.2. An adherent of classicism.3. An advocate of the study of ancient Greek and Latin.Noun 1. , a theologian and anacademic administrator. He was tutor in Greek to Elizabeth I Elizabeth I, queen of EnglandElizabeth I,1533–1603, queen of England (1558–1603).Early LifeThe daughter of Henry VIII and Anne Boleyn, she was declared illegitimate just before the execution of her mother in 1536, but in and servedon the committees that produced the King James Bible. His monumentalWorks of St John Chrysostom Noun 1. John Chrysostom - (Roman Catholic Church) a Church Father who was a great preacher and bishop of Constantinople; a saint and Doctor of the Church (347-407)St. , printed at Eton on the press he set upthere to produce it, using specially cast founts (Savile 1613 -- stillthe standard for most of Chrysostom's writings) was the first trulyscholarly edited text to be produced in England. As Warden of MertonCollege, Oxford he was responsible for building the Fellows'Quadrangle quadrangleRectangular open space completely or partially enclosed by buildings of an academic or civic character. The grounds of a quadrangle are often grassy or landscaped. , and he was concurrently a reforming Provost of Eton. Hecared about the deficiencies of contemporary English scholarship: hisfoundation of the Chairs of Geometry and Astronomy at Oxford which bearhis name was designed to remedy the almost total neglect of geometry --it is a measure of his sense of the wider academic community that hespecified that candidacy should be open to mathematicians from any partof Christendom. His correspondence shows the extent to which he wasaware of the need to provide support for the holders of his chairs -- healso bequeathed books for their use. He was an upholder of the highestscholarly standards, distrusting the merely flashy, and realizing thatthe best scholarship rests upon scrupulous attention to detail (Aubrey1962: 328): He could not abide Witts: when a young scholar was recommended tohim for a Good Witt, Out upon him, I'le have nothing to doe withhim; give me the ploding student. If I would look for witts, I would goeto Newgate: there be the Witts (For Savile's life, see the Dictionary of National Biography The Dictionary of National Biography (DNB) is a standard work of reference on notable figures from British history, published from 1885. The updated Oxford Dictionary of National Biography (ODNB ,and Maxwell-Lyte 1875: 190ff.) This admirable man died aged 73 at Eton in 1622 and features onthree memorials. Although he was buried in Eton Chapel, his widowarranged for a commemorative monument to be put up in Merton. He alsoappears on Lady Savile's own memorial at Hurst, Berkshire. Thethree memorials provide texts which comment on different aspects ofSavile's life, and demonstrate the differences between private andpublic commemorations of Early Modern elites. Merton In the explication ex��pli��cate?tr.v. ex��pli��cat��ed, ex��pli��cat��ing, ex��pli��catesTo make clear the meaning of; explain. See Synonyms at explain.[Latin explic of the `fair and stately honorary monument'to Savile in the chapel of Merton College (Bott bott?n.Variant of bot1. 1964: 84-5,111-13,quoting Wood 1786:85(1)) (FIGURE 1), we are fortunate in possessingbiographical information, but the material thus gained may be used inthe treatment of other monuments where the subjects' lives are lesswell documented. Originally it faced the great memorial to Savile'scolleague, Sir Thomas Bodley (see Wilson 1993), across the choir, Bodleyon the north and Savile the south, where at services they would havelooked down on the members of the College (for the idea of the image ofthe dead participating in church services in the form of an onlooker,see Llewellyn 1991:16-18). Those behind the choir were presented withthree objects of devotion -- the central altar flanked by two monumentsto Scholarship. The resiting of the memorials in the ante-chapel hasthus reduced their impact. [Figure 1 ILLUSTRATION OMITTED] At the centre of the monument is a half-effigy portrait of Savilewearing a scholar's gown, his left hand on a book. Above him,projecting from the rear of the memorial, is an arched canopy, supportedon gilded brackets and touch (black marble) columns. Behind him aredisplayed his arms. On either side of the effigy EFFIGY, crim. law. The figure or representation of a person. 2. To make the effigy of a person with an intent to make him the object of ridicule, is a libel. (q.v.) Hawk. b. 1, c. 7 3, s. 2 14 East, 227; 2 Chit. Cr. Law, 866. 3. , placed as thoughapproaching him, are the figures of Chrysostom and Ptolomey (dexter) andEuclid and Tacitus (sinister). The front face of the arch is decoratedwith a scene of astronomers gazing at the heavens, and it is surmountedby three figures -- at the top centre, Fame, blowing a trumpet andresting on a shield with Savile's arms with his owl crest, oneither side, a seated cherub cherub(chĕr`əb), pluralcherubim, kind of angel. Cherubim were probably thought of in the ancient Middle East as composite creatures like the winged creatures of Assyria. In Jewish tradition, they are described (Ezek. , dexter `beholding the face of the partyrepresented in a glass', sinister `writing his name in the book oflife' (Wood 1786. quoted Bott 1964: 84). The lower section of the monument has an inscribed centraldrum-shaped projection which supports the bust of Savile. On either sideis a picture, representing dexter Merton, sinister Eton, each surmountedby their arms. At the bottom, supporting the drum-shaped inscriptionpanel, is a quarter-globe marked with Magellan's route in red, theglobe itself being supported by two cherubs' heads and wings. Theinscription reads: MS (MERTONENSIS CVSTOS HENRICVS SAVILE MILES, COLLEGII (ETONENSIS PRAEPOSITVS FVI EXVVIAS CORPORIS FRVSTRA SIT QVI HIC QVAERAT SERVAT PRAENOBILE DEPOSITVM ETONA PERENNEM VIRTVTVM AC BENEFACTORVM MEMORIAM QVIBVS COLLEGIVM VTRVMQVE, ACADEMIAM INPRIMIS OXONIENSEM COMPLEXVS EST, IPSVMQVE ADEO MVNDVM HABET SIBI DEBENDI REVM AFFECTVS INSVPER PIENTISSIMAE VXORIS POSSIDET ISTE LAPIS B.M.P. Margareta conivx obseqventissima In hoc vno qvod posvit pie immorigera OBIIT [A.sup.o][D.sup.ni] M.D.C.XXI. FEBRVAR; XIX(2) The whole is executed in marble and touch, with painted detail. Visually the monument encapsulates Savile's life, physical,intellectual and professional. Read vertically, it places him within theuniverse, with the (bottom) of the globe at the bottom, supported byangels. This is surmounted by buildings, which are on the face of theearth. Above them are representations of the people who live on earth:Savile preeminent, but flanked by the subsidiary figures. This scheme isgeographically correct, in the sense that all this is represented in thenorthern hemisphere, where it and they existed: it is in some ways likea cinematic sequence in which the camera progressively pulls back, toreveal first the southern hemisphere small, then the buildings (sited inthe northern hemisphere) bigger, then the figures from the past athalf-scale, and finally Savile himself, representing the present, on themost expansive scale. Savile's worldly position is topped by hishonour, in the form of his achievement of arms. Above is arepresentation of astronomers on the earth studying the heavens, and thetop of the monument is concerned with the heavenly and eternal, with thecherubs representing heaven and Fame (who may also represent the angelof the last trumpet calling Savile to eternal life) eternity: we movefrom the temporal to the transcendent, and Savile is poised, as are allhuman beings, between earth and heaven. There is also a representation of the elemental structure of theuniverse. The southern hemisphere is mostly ocean, and the part of theglobe represented is the most ocean-covered aspect. Here are theelements of earth and water. The buildings stand on the earth, and theyand the persons represented exist in the realm of air, whose upperlimits are shown by the astronomers, who in studying the heavenly lightsmove into the realm of fire. Above all, beyond the elemental world, arethe angels and Fame. This is a scientifically correct representation ofthe medieval model of the the physical world which mortals inhabit andwhich Savile was dedicated to studying. Thus the vertical axis of the the diameter of the sphere which is perpendicular to the plane of the circle.See also: Axis monument shows the universe, thephysical world and Savile's place in it. On the level above thequarter globe, we are presented with Savile's biography, in theform of the pictures of the two places where he spent the most importantparts of his career -- Eton and Merton, represented without figures,possibly to suggest that with the death of Savile both are left empty.The inscription gives the location of Savile's physical remains andmentions his marriage, but this is a monument to a professional careerand ignores the personal. There is no mention of the date ofSavile's birth, his parentage, his age at death, his children. Thismonument deals with his appointments and his triumphs as a scholar. From Savile's life as an administrator, we move up on the nextlevel (where he is himself appropriately situated -- above the collegeshe dominated) to his intellectual life: the life of the mind whichtranscends the merely physical. Savile holds a book, and is flanked bythe figures of four scholars, the subjects of his most important works.Ptolomey and Euclid represent Astronomy and Geometry, the Chairs whichSavile endowed. They were also the subjects of his first and last seriesof lectures at Oxford. `On taking his M.A. degree on 30 May 1570 he read"his ordinaries in the Almagest of Ptolomey"' (DNB DNB Dictionary of National BiographyDNB Drum N Bass (music)DNB De Nederlandsche BankDNB Dun & Bradstreet (stock symbol)DNB Den Norske BankDNB David Nelson Band ,quoting Wood 1815: ii, 310), while `Savile himself gave in act week 1620the first lectures in geometry [under the aegis of the Chair he hadfounded[, which were published in 1621, together with some of hisearlier mathematical lectures [as] ... Praelectiones tresdecim inprincipium prin��cip��i��um?n. pl. prin��cip��i��aA principle, especially a basic one.[Latin prncipium; see principle.] elementorum Euclidis' (DNB). Chrysostom was the subjectof his great eight-volume edition, and he had published a highlyregarded edition and translation of Tacitus in 1591 (his firstpublication). He also left several works, both published andunpublished, on British history.(3) The figures thus mark the beginning, end and triumphs ofSavile's scholarly career. They indicate its breadth, representingthe different disciplines of Astronomy, Geometry, Theology and History,and its geographical and historical comprehensiveness -- Ptolomeyrepresents ancient Egypt Editing of this page by unregistered or newly registered users is currently disabled due to vandalism. , Euclid ancient Greece, Tacitus ancient Romeand Chrysostom (who was born in Antioch and Archbishop of Constantinopleand may represent Asia Minor) the early Church Fathers. They encapsulate en��cap��su��latev.1. To form a capsule or sheath around.2. To become encapsulated.en��cap the cultural strands -- Egyptian, Greek, Roman and Christian -- thatmade up western civilization at the point when Savile's monumentwas erected -- that made up Savile. (History's being represented byTacitus and Greece by Euclid possibly explains the omission from themonument of Xenophon, on whom Savile also did important work). This reading of the monument is supported by the dress anddisposition of the four figures. They seem to approach Savile as ifbearing gifts or offering homage. Each carries or carried either a bookor a rod and Euclid has a pair of compasses. Wood (1786: 22) describestheir attributes as Chrysostom: book, Ptolomey: `a rod pointing down tothe sphere', Euclid: `a rod in one hand, and a pair of compasses inthe other' and Tacitus: book. Their cultural diversity isreinforced by their costuming: Chrysostom wears canonicals ca��non��i��cals?pl.n. EcclesiasticalThe dress prescribed by canon for officiating clergy.canonicalsNoun, plthe official clothes worn by clergy when taking services , Ptolomey theturban and short open coat over a kaftan kaf��tan?n.Variant of caftan.kaftanor caftanNoun1. a long loose garment worn by men in eastern countries2. that was seen as typicaloriental dress, Euclid a long, hooded robe and a broad-brimmed hat,intended to represent the Greek petakos, and Tacitus a toga. In thecentre, on a much larger scale, is Savile, in the dress of a modernEnglish scholar. There are several mutually compatible readings of this assemblage.If the figures are taken as representing the individual writers, thenthey may be seen as welcoming Savile into a shared afterlife: he isjoining the Immortals. But the figures are posed as if slightlysubservient, bending towards Savile as if deferring to him, or offeringhim tribute. There may be a suggestion that, in devoting his life tobringing them before a modern public, whether through lectures, editionsor translations (all these aspects of his career are represented in thefour figures), Savile has earned their gratitude: he has freed them fromobscurity and brought them into the light (the scene of greeting takesplace under the heavenly light studied by the astronomers on thecanopy). The virtues of the deceased were conventionally represented oncontemporary funerary monuments in the form of allegorical figures ofthe Theological or Cardinal Virtues. On monuments to scholars there maybe variations -- Bodley has the Seven Liberal Arts, the mathematicianJohn Blagrave at Reading the Five Regular Solids (Wilson 1998). HereSavile's scholarship becomes his Virtue. These are, in fact and ina visual pun, his Good Works. According to the Articles of Religion (no.12) of the Church of England Church of England:see England, Church of. , good works (although one cannot bejustified by them) are a sign of the soul's acceptability to God.As much as Justice on a lawyer's monument, Euclid on Savile'sassures the viewer that he is Saved. If the figures epitomize their various cultures, and Savile his,there is another ambivalent reading of the monument available. The FourWise Men bring their gifts to England, representing the strands thatwent to make up Early Modern English Early Modern English refers to the stage of the English language used from about the end of the Middle English period (the latter half of the 15th century) to 1650. Thus, the first edition of the King James Bible and the works of William Shakespeare both belong to the late phase culture. The discrepancy in thesize of the figures -- the Mages of the past dwarfed by the Sage of thepresent -- might relate to a contemporary controversy about Englishpotential. England was to be seen as the new Greece and Rome, butgreater than both; the Church of England a refoundation of the PrimitiveChurch, but without its weaknesses. This is a theme in much contemporarywriting.(4) The monument could be seen as a patriotic statement aboutthe superiority of English culture: History culminates in Savile. The upper levels, with their representations of the heavens andHeaven, deal with Savile's ultimate destination. Milton reminds us(Lycidas (1638) 11. 78-83) that Fame is no plant that grows on mortal soil, ... But lives and spreds aloft by those pure eyes, And perfet witness of all judging love; As he pronounces lastly on each deed ... This characterization of Fame as a heavenly attribute, only trulyto be found after the Last Judgement, is to be found on other monumentswhich conflate con��flate?tr.v. con��flat��ed, con��flat��ing, con��flates1. To bring together; meld or fuse: "The problems [with the biopic]include . . the Angel of the Last Trumpet with Fame (e.g. themonument to Henry (d. 1616) and William (d. 1625) Cavendish at Edensor,Derbyshire. See Wilson 1998:91-2 and notes). The figure on Savile'smonument, leaning as it does on a shield with Savile's arms &his owl crest, would seem to emphasize the Fame, rather than theJudgement, aspect. But the owl is an attribute of Minerva as well as ofSavile, and its presence here may be intended to indicate the presenceof that Goddess, thus paralleling the figure of Minerva/Wisdom onBodley's monument. If Anthony Wood's description of the two cherubs who flankFame is correct, and the dexter was once `beholding the face of theparty represented in a glass', then we are again in the realms oficonographical ambivalence. The term `glass' might refer either toa mirror or a crystal ball: either appropriate for Savile. A crystalball can be `symbolic of the divine world of light before the creationof the earth' (Ferguson 1961: 175). In the Ptolomaic universe,Earth is surrounded by a `series of hollow and transparent globes',one for each planet, one for the fixed stars, an outer one for thePrimum Mobile, and beyond that Heaven (See Lewis 1967: 96f.). It mayalso represent insight (as in the fortune-teller's crystal ball)and Prudence. The mirror is an alternative form of the attribute ofPrudence and may also be an attribute of Truth. Wood's wording, andthe pose of the damaged cherub, make a mirror seem a more likelyaccessory, although a crystal ball would provide an appropriate balancein the heavenly sphere to Savile's earthly scholarly interests. Themirror has a wide range of symbolic readings. Besides Prudence andTruth, it may actually refer, by means of etymology etymology(ĕtĭmŏl`əjē), branch of linguistics that investigates the history, development, and origin of words. It was this study that chiefly revealed the regular relations of sounds in the Indo-European languages (as described , to the study of theheavens (`The Latin word for mirror (speculum) has given us the verb"to speculate"; and originally speculation was scanning thesky and the related movement of the stars by means of a mirror ...'Chevalier & Gheerbrant 1994:657). The idea of the mirror as a symbolof the soul is found in Plato, Plotinus, St Athanasius and St Gregory ofNyssa Gregory of Nys��sa? , Saint a.d.335?-394?.Eastern theologian and church father who led the conservative faction during the Trinitarian controversy of the fourth century. (Chevalier & Gheerbrant 1994: 659-60). When the cherub looksat Savile, represented in the glass, therefore, he is examiningSavile's soul, which is deemed worthy enough for the other cherubto be `writing his name in the book of life'. There may also in theglass-holding cherub be allusions both to St Paul's reference tothe true vision attainable in heaven -- `For now we see through aglasse, darkely, but then face to face: now I know in part, but thenshall I know, even as also I am knowen' (I Corinthians xiii,12) --and to the platonic doctrine of Forms. The image of Savile in the glassis a shadow -- an imperfect, earthly reflection of the heavenly truth.We may even be invited to read the cherub as Savile's soulcontemplating his earthly form in a mirror, thus submitring to theadmonition Any formal verbal statement made during a trial by a judge to advise and caution the jury on their duty as jurors, on the admissibility or nonadmissibility of evidence, or on the purpose for which any evidence admitted may be considered by them. nosce teipsum -- `know thyself'. The cherub who writesSavile's name in the Book of Life is less symbolically complex, buttogether these little heavenly twins provide a celestial summation ofSavile's life, dedicated as it was to knowledge (the glass) andwriting (the book). The framing of the monument between the heavens and the earth alsorefers to Savile's great legacy to Oxford-- the Chairs of Astronomyand Geography. Although he saw these subjects as neglected, they wereintensely fashionable at the turn of the 17th century, as is shown byJohn Donne's references to them (`The Good-Morrow'11.12-13,17-18). (The quarter-sphere on Savile's monument shows thesouthern half of the eastern hemisphere -- the better part of the worldas defined by Donne-- `without sharp North, without decliningWest'. Although Donne's poems were not published until 1633,the two men may have known each other). Savile is poised between hisChairs, and above his Seats of learning. The monument invites an elaborate and multi-layered reading. It isplaced in a space designed principally for the use of members of theCollege, who would know Latin, and might be expected to be aware ofSavile's history, achievement and patronage. This is the monumentas emblem, containing information about Savile's life and about hisintellectual interests and those of his contemporaries. Although itdeals with the public man, it is not a public monument, and there is aparadox in that on it what was overt in Savile's life becomesesoteric. There is an element of flattery, not only of Savile himself,but of the reader -- if the Mertonian who looks at the monument findshimself capable of reading it, then he may regard himself as in somesense a sharer of Savile's intellectual eminence. Like many contemporary monuments, Savile's is a piece ofdrama, a dumb-show on which characters act out a symbolic scene whichinvolves not just the figures represented, but the place in which themonument is situated, It is a memory-theatre, which keeps alive not justthe memory of Savile, but the corporate memory of Merton (and indeedEton) of whose history he formed a part. In viewing the memorial theMertonian sees History in action, but in addition he acts out history inreading his (Savile's and, corporately, his own) story. Hurst Savile features on another monument erected by his wife to herselfand some of her descendants (FIGURE 2). Gossip suggests that she wasconscious of the exigencies of being married to a scholar -- when Savilewas knighted in 1604 she complained that she had deserved an earlier anda greater honour (Maxwell-Lyte 1875: 187, quoting a letter from SirThomas Edmonds to Sir Ralph Winwood), but the evidence of the monumentsis that she adored her third husband. Even when she resented his work,she was able to recognize its importance, and her concern for herhusband's health is evidence of her love (Peck 1732: 49): [Figure 2 ILLUSTRATION OMITTED] I shall take here Leave to set down one Word or two more,concerning Sir Henry Savil's ... Pains.... he was so sedulous sed��u��lous?adj.Persevering and constant in effort or application; assiduous. See Synonyms at busy.[From Latin s athis Study, that his lady thereby thought herself neglected; & comingto him one Day, as he was in his Study, saluted him thus. `Sir Henry Iwould I were a Book too, & then you would a little more respectme.' Whereto where��to?adv.To what place; toward what end.conj.To which. one, standing by, replied, `Madam, you must then be anAlmanack, that he might change every Year.' Whereat she was not alittle displeased. The same his lady, a little before Chrysostome wasfinished (when Sir Henry lay sick) said, `if Sir Harry died, she wouldburn Chrysostome, for killing her Husband.' Which Mr. Bois hearing[he] answered, `That so to do were great Pity.' To whom she replied`Why? Who was Chrysostome?' To which he answer'd, `One of thesweetest preachers since the Apostles Times.' Wherewith where��with?pron.The thing or things with which.conj.By means of which.adv. ObsoleteWith what or which. she was sosatisfied, `that, she said, she would not do it for all the World.' The monument which Lady Savile erected at St Nicholas Hurst was alavish gift to the daughter and son-in-law with whom she lived duringher widowhood WidowhoodDouglas, Widowadopted Huck Finn and took care of him. [Am. Lit.: Mark Twain Huckleberry Finn]Gummidge, Mrs. “a lone lorn creetur,” the Pegotty’s house-keeper. [Br. Lit. . This explains the selection of figures and theirarrangement. There are three bays, the middle projecting, surmounted bya canopy from which hang curtains held back and up by figures of angelsand cherubs to reveal three sets of figures. The whole is surmounted bythree achievements of arms on cartouches. The inscription panel underthe central figures readsHERE RESTETH IN EXPECTATION OF A IOYEFVLL RESVRRECTION [Y.sup.e]LADY MARGARET SAVILE DAVGHTER TO GEORGE DACRES ESQUIER;DESCENDED FROM [Y.sup.e] [R.sup.t] NOBLE & ANCIENT FAMILY OF THE BARONSDACRES OF [Y.sup.e] NORTHSHE HAD THREE HUSBANDSTHE FIRST GEORGE GARRARD ESQ. SECOND SONNE TO [S.sup.r] WILL: GARRARD[KN.sup.t] SOMETIMES [L.sup.d] MAIOR OF LONDON. THE SECOND IOHN SMITH ESQ:[sic, but there seems to be a line missing on the inscription,which one would expect to read, `son to -- Smith, of --']IN THE COVNTY OF ESSEX THE THIRD THE HONORABLE & MOSTFAMOVS KNIGHT BOTH FOR THE STVDYES & ADVANCEMENT OF LEARNING[S.sup.r]. HENRY SAVILE READER TO QVEENE ELIZABETH OF BLESSEDMEMORYE WARDEN OF MERTON COLLEDG IN OXFORD, & PROVOST OF EATON, WHERE HE LYETH INTERRED AND BY THEM NINE CHILDRENBY HER FIRST HUSBAND THREE DAVGHTERS THE ELDEST [Y.sup.e] LADYANNE CARLETON, WIFE TO THE LORD CARLETON VICECOVNTDORCHESTER; THE SECOND DYED IN HER INFANCY. THE YOUNGESTTHE LADY FRANCES HARISON, WIFE TO [S.sup.r]. RICHARD HARISON KNIGHT,BY HER SECOND HVSBAND THREE SONNES, ALL [WC.sup.ch] DECEASED IN THEIR INFANCYBY HER THIRD HVSBAND TWO SONNES, [W.sup.ch]. DYED YOUNGE AND ONEDAVGHTER [Y.sup.e] LADY ELIZABETH SIDLEY, WIFE TO [S.sup.r] JOHN SIDLEY [BARRONE.sup.t].SHE ERECTED THIS MONUMENTWHILST SHE WAS YET LIVINGE FOR HER SELFE & HERSBEINGE DESIROVS TO DEPOSITE HER BODY IN [Y.sup.e] PLACEWHERE LIVEINGE SHE HAD FOVND SOE MVCH CONTENT& SOE SWEET A REPOSE OF HER AGESHEE WAS BORNE AT CHESHUNT IN HARTFORDSHEIRE & DYED [A.sup.o] DOM 1631AETATIS SVAE 73 Lady Savile intended both a memorial to herself and an ancestralmonument to the Harrison family, with whom she lived. That such a giftwould be acceptable is indicated by her son-in-law Sir RichardHarrison's having already placed brasses to some of his ancestorsin the church. The figures shown are, in the centre, Lady Savile withSir Henry, facing each other at a prie-dieu, dexter Lady Anne Carletonand Lady Elizabeth Sidley, and sinister Sir Richard and Lady Harrison,with their children below (Kemp 1984: 3-5; West 1983: 9f). The monumentseems to show only Lady Savile's living descendants (the only deadfigure is Sir Henry) and therefore almost certainly pre-dates 1627, whenLady Carleton died. Lady Savile does not seem to have erected monumentsfor either her first or her second husband, and it is interesting thateven though Lady Harrison was the daughter of George Garrard, it is herstep-father Sir Henry Savile who is shown on the monument. The presenceof Sir Henry, as well as the celebration of him on Lady Savile'sinscription, does suggest that she held him in warm affection and valuedhim more highly than her previous spouses. Since the monument wasessentially intended for the Harrisons, the absence of her two othersons-in-law should not be taken as indicating a lack of affection, butthe figures and the wording of the inscription together do suggest thatthis monument is designed to celebrate the place and people who wereclosest to Lady Savile's heart -- her three daughters, her Harrisongrandchildren, Sir Richard Harrison, and her third husband. In contrast to the esoteric memorial celebrating Sir HenrySavile's professional life, we have here a public memorial to LadySavile's emotional life. In a parish church, rather than a privatechapel, its inscription is in English rather than the more exclusiveLatin. Lady Savile sees her husband's life in terms of what he did,her own in terms of what she felt. (For another example of a17th-century woman celebrating her emotional life, see Wilson 1997). The two monuments, together with the surviving portraits of SirHenry Savile, show a consistency in his depiction that makes it certainthat his figure on both the monuments is based on portraits, suggestingthat the other figures are also authentic representations. The degree towhich figures on monuments may be seen as portraits, rather thandepictions of the idea of the person -- a gentlewoman GENTLEWOMAN. This word is unknown to the law in the United States, and is but little used. In England. it was, formerly, a good addition of the state or degree of a woman. 2 Inst. 667. , a scholar -- is amatter of some dispute; with this monument there is enough comparativematerial to support its authenticity. The workshop/s which produced the monuments have not yet beenidentified, but they are high quality metropolitan work, and indicatethe prosperity of the family. Savile, who started off as the younger sonof a high-achieving Yorkshire family, ended up a rich man. Lady Savilewas also from a cadet branch of an old northern family. We are heredealing with the gentry and the meritocracy mer��i��toc��ra��cy?n. pl. mer��i��toc��ra��cies1. A system in which advancement is based on individual ability or achievement.2. a. of the period, rather thanthe aristocracy: it is noteworthy, on the basis of of these monuments,which represent very conspicuous consumption, just how prosperous thatsection of Early Modern society was. Savile's life may have beenintellectual, but he made a great deal of money with his mind. Eton Savile's memorial at Eton, where he is buried, is a plainfloor-slab, with the inscription (Fuller 1840: III, 432), HIC JACENT OSSA ET CINERES HENRICI SAVILL, SUB SPE SPE - Software Practice and Experience CERTARESURRECTIONIS, NATUS APUD APUD(a mine p recursor u ptake and d ecarboxylation) see APUD cells, under cell . BRADLEY IUXTA HALIFAX, IN COMITATU EBOR EBOR Europejski Bank Odbudowy i Rozwoju (Poland)EBOR Eboracum (York)EBOR European Business Organization Law ReviewEBOR Eboracensis (of York). ANNODOMINI ANNO DOMINI, in the year of our Lord, abbreviated, A. D. The computation of time from the incarnation of our Saviour which is used as the date of all public deeds in the United States and Christian countries, on which account it is called the "vulgar vera." 1549, ULTIMO ul��ti��mo?adv. Abbr. ult.In or of the month before the present one.[Latin ultim (m DIE MENSIS NOVEMBRIS, OBIIT IN COLLEGIO ETONENSI.ANNO DOMINI 1621, XIX DIE MENSIS FEBRURARII.(5) This plain statement of the limits of his life is felt appropriatefor the place where his body is buried.(Savile seems to have been buriedat Eton not just because he died there, but because his son, whose deathwas the deciding factor in his resolution to devote his fortune toeducational purposes (DNB), is buried there: Wood (1813: II, 315) saysthat he was buried in the chapel at Eton `near to the body of Henry hisson (who died 1604, aged 8 years) ...'. There is, however, amonument associated with him originating at Eton in the form of themonumental frontispiece to his edition of Chrysostom (FIGURE 3). Thisshows the twin foundations of Eton (the representation is the basis forthe painting of Eton on his memorial) and King's College,Cambridge, and the whole takes the form of a magnificent triumphal arch,embellished with figures of theologians, and topped with obeliskscelebrating Oxford and Cambridge. Perhaps this was felt to be asufficient monument, or perhaps his physical, if deliquescent del��i��quesce?intr.v. del��i��quesced, del��i��quesc��ing, del��i��quesc��es1. a. To melt away.b. To disappear as if by melting.2. , presenceat Eton, was felt to preclude the need for him to be memorialized therein any elaborate way. [Figure 3 ILLUSTRATION OMITTED] Nigel Llewellyn (1991) has argued that we should understand EarlyModern funerary practices in terms of the social and the natural bodies.The Savile monuments suggest that this division may be too simple. SirHenry's natural body is at Eton, and it is there that the essentialfacts about that natural body are recorded -- date and place of birth,and date and place of death. The monument to his social body is atMerton, where his career is recorded in an elaborate visual code. ButLady Savile's monument deals with the missing factor of thetwo-fold classification of the person -- the familial and emotional body-- and it is there that Sir Henry is joined to the wife whom heundoubtedly exasperated, but who loved him and took pride in hisachievements and position. The biographical information available about the Saviles makes iteasy to read their monuments. But these material objects add greatly toour understanding of the cultural, intellectual and financial milieu inwhich they lived, and suggest the riches available from incorporating anawareness of the importance of such objects into the study of historicalarchaeology. Acknowledgements. I am grateful to Professor N.D.C. Hammond, whoread a draft of this paper, made various useful suggestions, andfurnished me with some technical vocabulary, and also toANTIQUITY's anonymous referees. Any errors are, of course, my own. (1) In 1813: ii, 316, Wood describes the monument as `mostsumptuous'. (2) `MS/Sir Henry Savile, Warden of Merton, Provost of Eton/Iwas/Anyone who would look for his bodily remains here would bedisappointed/Eton guards that most distinguished trust/the imperishable im��per��ish��a��ble?adj.Not perishable: imperishable food; imperishable hopes.im��per memory of his virtues and of the benefactions/which embraced both hisColleges, (and) most notably the University/of Oxford, and by whichindeed/he holds the whole world in his debt/and also the affection ofhis most loving wife/(these things) this stone has in its keeping/B[ene] M[erenti] P[osuit] Margaret, his most devoted consort/In this oneact of setting up this (monument) lovingly disobedient' I amgrateful to Professor E.J. Kenney, FBA FBA Federal Bar AssociationFBA Functional Behavior AssessmentFBA Fibre Box Association (North America)FBA Forms Based Authentication (Microsoft Outlook Web Access)FBA Florida Bicycle Association , for supplying me with thistranslation. nunc primum editi (1618), Tract of the original of themonasteries (Bodleian MS. 3499, art.17) and Tract concerning the unionof England and Scotland, written at the command of the king (BodleianMS. 3499, art. 22). Savile's Tacitus was well-enough regarded toattract commendatory com��men��da��to��ry?adj.Serving to commend. verses by Ben Jonson (`To Sir Henry Savile'Epigrams XCV). (3) For Savile's bibliography, see DNB and Wood (1813: ii,317). The works concerned with Britain are Rerum Anglicarum Scriptorespost Bedam praecipui ... primum in lucem editi (1596); ThomaeBradwardini Arch. olim Cantuariensis de causa Dei contra Pelagium et devirtute causarum ad suos Mertonenses, libri tres ex scriptis codicibus (4) E.g. Ben Jonson: `TO THE MEMORY OF MY BELOUED, THE AVTHOR MR.WILLIAM SHAKESPEARE: AND WHAT HE HATH LEFT VS' ll. 19-54; SamuelDaniel: `Musophilus' 11. 939-968. (5) `Here lie, in the sure hope of resurrection, the bones andashes of Henry Savile, born at Bradley near Halifax, in Yorkshire, AD1549, on the last day of the month of November, died in Eton College, AD1621, on the 19th day of the month of February.' References AUBREY, J. 1962 [1669-1696]. Brief Lives [ed. O. Lawson Dick).Harmondsworth: Penguin. BOTT, A. 1964. The monuments in Merton College chapel. Oxford:Blackwell. CHEVALIER, J. & A. GHEERBRANT. 1994. A dictionary of symbols(trans. J. Buchanan-Brown). Oxford: Blackwell. FERGUSON, G. 1961. Signs & symbols in Christian art. London:Oxford University Press. FULLER, T. 1840. The History of the Worthies of England (ed. P.Austin Nuttall). London: Thomas Tegg. KEMP, B. 1984. The monuments in Hurst Church, Berkshire. Hurst: StNicholas Hurst Church. LEWIS, C.S. 1967. The discarded image. Cambridge: CambridgeUniversity Press Cambridge University Press (known colloquially as CUP) is a publisher given a Royal Charter by Henry VIII in 1534, and one of the two privileged presses (the other being Oxford University Press). . LLEWELLYN, N. 1991. The art of death. London: Reaktion. MAXWELL-LYTE, H.C. 1875. A History of Eton College 14401875.London: Macmillan. PECK, F. 1732. Desiderata de��sid��er��a��ta?n.Plural of desideratum.desiderataa list of books sought by a collector or library.See also: Books Curiosa cu��ri��o��sa?pl.n.Books or other writings dealing with unusual, especially pornographic, topics.[New Latin c . London: T. Evans. SAVILE, H. 1613. S. Ioannis Chrysostomi Opera Graece. Eton: JohnNorton. WEST, D.M. 1983. The parish church of St Nicholas Hurst. Hurst: StNicholas Hurst Church. WILSON, J. 1993. The memorial by Nicholas Stone to Sir ThomasBodley, Church Monuments 8: 57-62. 1995. The archaeology of Shakespeare. Stroud: Sutton. 1997. Patronage and pietas Pietasgoddess of faithfulness, respect, and affection. [Rom. Myth.: Kravitz, 192]See : Faithfulness : the monuments of Lady Anne Clifford Lady Anne Clifford (January 30, 1590 – March 22, 1676) was the only surviving child of George Clifford, 3rd Earl of Cumberland (1558–1605) by his wife Margaret Russell, daughter of Francis Russell, 2nd Earl of Bedford. ,Journal of the Cumberland and Westmorland Archaeological Society97:119-42 1998. Ethics girls: the personification personification,figure of speech in which inanimate objects or abstract ideas are endowed with human qualities, e.g., allegorical morality plays where characters include Good Deeds, Beauty, and Death. of moral systems on earlymodern English monuments, Church Monuments 13: 87-105. WINWOOD, SIR R. 1725. Memorials of Affairs of State in the Reignsof Q. Elizabeth and K. James I (ed. Edmund Sawyer). London: T. Ward. WOOD, A. 1786. The history and antiquities of the colleges andhalls in the University of Oxford. Oxford: Clarendon Press 1813. AthenaeOxonienses (new edition). London: F.C. & J. Rivington, etc. JEAN WILSON(*) (*) Wholeway, Harlton, Cambridge CB3 7ET, England. Received 25 August 1999, accepted 9 November 1999, revised 15February 2000.