File:Surrey archaeological collections (1858) (14582399147).jpg

Identifier: p1surreyarchaeol37surr (find matches)
Title: Surrey archaeological collections
Year: 1858 (1850s)
Authors: Surrey Archaeological Society
Subjects:
Publisher: Guildford (etc.)
Contributing Library: Surrey Archaeological Society
Digitizing Sponsor: University of Toronto

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erSt. Edmund, King and Martyr, shot to death with arrowsby the Danes in 1016, or of St. Sebastian, who suffered thesame kind of martyrdom. The writers in the Archaeological Journal, whom I havequoted above, allude to the resemblance between the treat-ment of the legend of St. Margaret here and in the illumi-nated MS. known as Queen Marys Psalter, now in theBritish Museum. This is no chance or fancied resemblance.There is little doubt that the men who painted the walls ofour ancient churches were either trained in the scriptoriaof the monasteries or at any rate borrowed their ideas fromthe parchment illuminations that were always passing intothe outer world from those centres of light and learning.Thus, a travelling painter, walking or riding round thecountryside, would be hired to paint the newly plastered 1 It should be recorded here that I have discovered and opened out anEarly Norman window in the middle storey of the Tower, south wall, 3 feethigh by 1 foot wide externally. PLATE I
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CHARLWOOD CHURCH WALL PAINTINGS. face p.i CHARLWOOD CHURCH AND ITS WALL-PAINTINGS. 69 walls of the Aisle of Charlwood Church. He would have inhis wallet not only his brushes and pigments, but somescrolls of parchment or books of the Gospel stories andLives of the Saints, in outline and colour. He would suggestappropriate subjects for the paintings, having regard to thededication of the Church or its Chapels and the wishes ofhis patrons, and would sketch out or select from his sampledrawings a small-scale design or picture. Having measuredthe wall spaces to be painted, he would proceed to enlargeso many times from his small original on to the wall itself,using a stick of charcoal, a piece of red chalk or a lead pencil.He would either do this on the smooth lime-coated plasteror on a coat of lime-white laid on the wall surface; andhaving roughly outlined his subjects, he would fill in withthe reds, yellows, blue, green, brown umber, vegetablecharcoal, pink, flesh tint and white that cons

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