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Under colour of this order, these persons, and those who sympathized in their work, gave vent to their zeal in many excesses, battering down and breaking up everything of an ornamental or sculptured character, including tombs and even the stained windows. Moreover we are told by Weever that the commission was made the excuse for digging up coffins in the hope of finding treasure.
Its aim is rather to promote in others the desire which actuates the author to follow up and develop the new field of antiquarian research which it has attempted to introduce. As old Weever says, in his quaint style: "I have gained as much as I have looke for if I shall draw others into this argument whose inquisitive diligence and learning may finde out more and amende mine."
The inscription is on a slab of black marble, and is very fresh, as it was restored in 1833. The question whether the body of Sir Thomas More lies in the family vault will probably never be definitely answered. Weever in his "Funeral Monuments" strongly inclines to the belief that it is so.
This checked, but did not wholly cure, the mischief; and, although in her fourteenth year of sovereignty she issued another and sterner edict on the subject, the havoc was perpetuated chiefly by a sect or party whom Weever describes as "a contagious brood of scismaticks," whose object was not only to rob the churches, but to level them with the ground, as places polluted by all the abominations of Babylon.
Weever complains of the practice, and says, "it could be wished that walking in the middle isle of Paul's might be forborne in the time of diuine service." Steevens, note to Shakspeare. See his character of Mr. "En cuerpo, a man without a cloak." Pineda's Dictionary, 1740.
Whether this covering was to save it from the Roundhead soldiery or from earlier iconoclastic reformers is not known. Alluding to the bishop, Bishop Weever wrote, in 1631, "his portraiture is in the wall over his place of buriall."
Wales, 75, 76, 104, 108. Walker, Dr., epitaph, 108. Walker, Dr. Walthamstow, 45. Wanstead, 25, 44, 45. Warwickshire, 75. Weald of Kent, 16. Weever, antiquary, 35, 52, 53. West Ham, 6, 34, 44. West Wickham, 19, 29. White, Kirke, 75. Wickham, East, 10, 24. Wickham, West, 19, 29. Widcombe, Bath, 3. Wilmington, 24, 25 . Woolwich, 24, 27, 43, 44. Worcester, 109. York, 27. Zurich, Canton, 91. at 25s.
We have here an evident reference to this effigy, and I think that Weever probably used "in" in its most literal sense, implying that "the portraiture" was already walled up in this time, though it has been taken to express merely the position within an arch of the choir wall.
John Weever, whose "Ancient funerall Monuments" was published in 1631, agrees with our Norwich lieutenant as to the dilapidated state of the older monuments in the church in his time.
In Dulwich College there was another library to which Mr. Cartwright the actor gave a collection of plays and many excellent pictures; and 'here comes in, says Oldys, 'the Queen's purchase of plays, and those by Mr. Weever the dancing-master, Sir Charles Cotterell, Mr. Coxeter, Lady Pomfret, and Lady Mary Wortley Montague'; and here we might mention the sad case of Mr.
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