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No one can examine Mr. Dugdale's book without being impressed with the quiet unassuming modesty and worth of the author, and yet in the hands of those who have so often carelessly and unscientifically generalized from his studies, it has possibly brought more harm than good.
Dugdale had walked out of the window into the garden behind, where Miss Valery followed him, and they two were seen strolling up and down in close conversation. As they passed the window, Agatha noticed that. Anne Valery's cheeks were slightly flushed, and that Mr. Dugdale's "mistiness" of manner had assumed an unusual clearness. He was shaking his companion warmly by the hand.
Greenwood writes that "if I should be told that Dugdale's effigy represented an elderly farmer deploring an exceptionally bad harvest, 'I should not feel it to be strange! Neither should I feel it at all strange if I were told that it was the presentment of a philosopher and Lord Chancellor, who had fallen from high estate and recognised that all things are but vanity."
You find this in conjunction with the inscription of ownership; it is a Norwich book, you discover, that you have in hand, and all books showing press-marks of that form are consequently Norwich books too. Or you will find the name of a donor. "This book was the gift of John Danyell, Prior." Search in Dugdale's Monasticon will reveal, perhaps, that John Danyell was Prior of St.
Hall, if he was to give us the present bust, had to make an entirely new bust, and, to give us the present monument in place of that shown in Dugdale's print, had to construct an entirely new monument. Pour tout potage he had but 12 pounds, 10s. He could not do, and he did not do these things! he did not destroy "the original monument" and make a new monument in Jacobean style.
The scandalous state of Gray's Inn at this period is shown by the following passage in Dugdale's 'Origines: "In 23 Eliz. The stringency and severity of this order show a determination on the part of the authorities to cure the evil.
THE EXISTING OBJECT IS WHAT HE HAD; the monument in Dugdale is what, I hope, no architect of 1616-23 could have imagined or designed. Dugdale's engraving is not a correct copy of any genuine Jacobean work of art. Is Dugdale accurate in his reproductions of other monuments in Stratford Church? Mr.
Stopes, unluckily, is not content with what Hall was told to do, and what, according to Wheler, he did. He "could not help changing" the face, and so on. Now it was physically impossible to ADD a cloak, a pen, and manuscript to such a stone bust as Dugdale's man shows; to take away the cushion pressed to the stomach, and to alter the head. Mr.
It might hold, for its ancient furniture, a turret, termed a castle perhaps it held nothing in Dugdale's time: the modern is a gladiator, in the attitude of fighting, supported by a pedestal, containing the Bridgeman arms. Castle, probably, was added by the family of that name, lords of the place, to distinguish it from woody and little Bromwich.
His table and the floor were littered by them; a stack of the Rolls publications was on his right hand; a Dugdale's "Monasticon" lay open at a little distance; and curled upon a newspaper beside it lay a gray kitten. The kitten had that morning upset an inkstand over three sheets of the Canon's laborious handwriting.
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