Baroque monument to Sir Thomas Spencer (died 1684), his wife and children attributed by Mrs Esdail to John Nost.
YARNTON
St Bartholomew***
Spencer tombs, historical glass
Most church buildings talk a dominant language. Yarnton’s is Jacobean. Most of the setting up is Norman or Early English, but over its stable tower and heat stone walls hovers the spirit of the 17th century. Yarnton Manor was among the the largest Jacobean homes in the county, now much lessened. Its gables and porch with fluted pilasters and obelisks provide as a backdrop to the churchyard, which is crammed with battered tombs. By the gate is an outdated cross, at which travelling friars stopped to perform providers. Yarnton is a monument to the taste and generosity of an Oxfordshire village. The Spencers reworked the aged church in 1611-16, erecting a tower, a porch and a chapel that contains a mausoleum for themselves. The monument to Sir William Spencer (d.1609) is attributed to the Dutch carver, Jasper Hollemans, who worked for the Spencers at Great Brington
(Northants). It is a canopied tomb chest, wealthy, brash and vulgar, with strapwork filling each house. Yet there are affecting aspects, this kind of as delicate veins on praying arms and winsome young children in attendance spherical the foundation.The adjacent memorial to Sir Thomas Spencer (d.1684) is a shallow wall monument and a comprehensive contrast. From the roast beef of old England we shift to a Restoration fop. Sir Thomas’s hose is neatly rolled at the knee, his shoe is significant-heeled, his hand rests effeminately on his hip. Son and spouse appear on adoring 4 daughters are relegated as mere supporters. The illustration of spouse and children teams was common beneath Charles I, but was uncommon in the reign of Charles II, who experienced no legit small children. Mild floods the chapel from higher Perpendicular windows, enriching the purple roof and spilling into the church by way of a splendid carved monitor. In the middle of the chapel stands a wood funeral bier, as if awaiting the arrival of however a lot more Spencers. Yarnton is full of treasures gathered mostly on the Continent by a nearby benefactor, Alderman William Fletcher, in the late 18th century. The reredos consists of 4 15th-century alabaster panels of the Nottingham university, displaying Bible scenes, including a Pieta. Two of this set were taken from Yarnton in the 1860s, and are now in the Victoria and Albert and British Museums. A seventh has been shed. Fletcher also introduced stained glass from Flanders and France. In the chancel home windows is a established of quarries depicting visitors uttering homilies at the funeral of Reynard the Fox, symbolizing the Devil. They are superb survivors of this after common art form.The church has admirable fashionable kneelers exhibiting the pub, manor, farm, railway junction and even the electrical power pylons.All Yarnton is beneath its knees. (Simon Jenkins)
Manor dwelling, vicarage and church sort a group. To the 13th-century church were being additional in 1611 an ashlar tower with mellifluous bells, a porch and a S.E. chapel by Sir Thomas Spencer, all late Perpendicular. In the church is significantly aged woodwork in pews, a Jacobean monitor to the Spencer chapel which has painted walls and roofs and grand 17th-century monuments. In chancel is alabaster 15th-century reredos and in aisle a medievalist brass of 1826, and in the home windows fragments of previous glass, English and Flemish.JB
Posted by Martin Beek on 2006-05-05 08:43:54
Tagged: , Architecture , Churches , Historic , England , Yarnton , Oxfordshire , periwig , monument , Spencer , Baroque , one thousand decades , english baroque , English Baroque Art and Sculpture , Baroque Architecture Sculpture and Design , English Art and Architecture 1635-1745 , Yarnton Manor and Church , Sculpture by means of the ages , sculpture , sculptural variety , Sculptural artwork , artwork
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