Sometimes the original brass was appropriated as it lay, the figure being slightly altered to suit the style of costume prevalent at the later date. In other cases the engraver did not even trouble himself to alter the figure, and simply added a new inscription and shield of arms.
The wanton destruction and gross neglect of churchwardens, both before and after the Reformation, were very great. At St. Mary's Church, Reading, the accounts tell a sad tale of the disgraceful damage in the year 1547:--
"Receyvid of John Saunders for iii cwt lacking ix'li of metall that was taken upp of the graves, and of olde candlestycks at vi's the hundred xlvj's ii'd."
Evidently a clean sweep was made of most of the memorial brasses in the church, and few escaped destruction. The tale is too familiar. Most churches have suffered in the same way.
The study of brasses throws much light upon the costumes and fashions of the day when they were engraved. We see priests, who may be recognised by the tonsure and vestments, amongst which we find the alb, amice, stole, maniple, and chasuble. The pastoral staff, ring, mitre, sandals, tunic, dalmatic, and gloves mark the graves of bishops and mitred abbots.
A close skull-cap, a long robe with narrow sleeves, a hood, tippet, and mantle buttoned on the right shoulder, compose the dress of judges and officers of the law, as depicted on brasses. The changes in the fashion and style of armour, which took place between the fourteenth and the seventeenth centuries, are all accurately represented in these memorials; and also the picturesque costumes of ladies with their curious headgear; and the no less various fashions of the male civilian's dress. A study of brasses is an admirable guide to the prevailing style of dress during the periods of their construction.
The beautiful canopies over the heads of the figures are well worthy of attention, and also the inscriptions. These usually take the form of Latin verses; and although many were written by learned abbots and scholars, the classical knowledge displayed is somewhat faulty. Here are a few examples:--
Respice quid prodest precentis temporis aebum Omne quod est, nichil est, preter amare deum.
Sometimes the author of the inscription recorded his name, as did the learned Dame Elizabeth Hobby on a brass at Shottesbrooke, which runs--