Monumental Brass Society

Catherine, wife of Thomas Palmer

Date of Brass:
1599
Place:
Ewelme
County:
Oxfordshire
Country:
Number:
XVI
Style:
Cure

Description

July 2022

There are many brasses surviving at Ewelme, Oxfordshire, from the mid-fifteenth century up into the early seventeenth. That of Catherine, wife of Thomas Palmer, shows her kneeling with her husband. Behind him are six sons, behind her just one daughter. Catherine died 26 June 1599 in childbed at the age of 34. What we learn of her is from the four lines of English at the base of the inscription but that reveals of him only his name. The rest of the inscription plate is taken up by ten lines of Latin verse. The heraldic achievement on a plate above the figures gives us arms and a crest, the former at first looking like it it might give us her arms but both coats relate to him, being the arms of the Palmer family of East Carlton, Northamptonshire (Argent on a bend sable five bezants or), quartered with those originally of Ward of Carlton (Sable a chevron or. between three crescents argent), from whom the Palmers inherited Easthall, part of Carlton, by the marriage of the lawyer William Palmer with Amy, daughter and heir of Nicholas Ward early in the fifteenth-century. The Palmers assumed the Ward arms while still keeping their own and buying the rest of Carlton. The arms were somehow reversed with those originally representing Ward getting precedence over the original arms of the Palmers. The crest is a griffin. The Latin motto Hominis gloria in vitro posita is not that usually associated with the Palmers.

The exact identities of this Thomas Palmer, his wife Catherine and his children are mysteries. How he connects to the Palmer family of East Carlton is totally unclear but the heraldry confirms the connection. No earlier members of the family have surviving monuments although there are a number of seventeeenth-century examples commemorating them in various locations in England.

The brass was designed in the Cure workshop in Southwark. The basic design is one that served from the late-1580s into the 1610s and was a very flexible one with components that could be combined on a rectangular plate or engraved on separate plates. In the instance of this brass, the figures, the achievement and the inscription each have a plate. The main figures face each other over a desk on which each has an open prayer book. The desk is draped with a cloth that covers the upper half but the lower half is undecorated. It is an optional extra as some otherwise similar brasses omit it. Thomas and Catherine kneel on cushions with their children kneeling behind them on a plain tiled floor. Behind the daughter the tiles stretch away to meet what can be assumed is a wall but it is left entirely plain. Mother and daughter are dressed identically but the sons are differentiated from their father by having collars rather than ruffs.

Many brasses that show the deceased as kneeling figures are mounted murally, sometimes set in a marble slab, sometimes in a simple stone frame but sometimes as a part of a larger monument, but the Palmer brassat Ewelme is on the floor. Was it always so?

 

Copyright: Jon Bayliss

 

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