COIMBRA.

STA. CLARA.]

has been the choir of the cathedral at Lisbon; the church had been much injured by an earthquake in 1344 and the whole east end was at once rebuilt on the French plan, otherwise unexampled in Portugal except by the twelfth-century choir at Alcobaca. Unfortunately the later and more terrible earthquake of 1755 so ruined the whole building that of Dom Affonso's work only the surrounding aisle and its chapels remain. The only point which calls for notice is that the chapels are considerably lower than the aisle so as to admit of a window between the chapel arch and the aisle vault. All the chapels have good vaulting and simple two-light windows, and capitals well carved with naturalistic foliage.

In one chapel, that of SS. Cosmo and Damio, screened off by a very good early wrought-iron grill, are the tombs of Lopo Fernandes Pacheco and of his second wife Maria Rodrigues. Dona Maria, lying on a stone sarcophagus, which stands on four short columns, and whose sides are adorned with four shields with the arms of her father, Ruy di Villa Lobos, has her head protected by a carved canopy and holds up in her hands an open book which, from her position, she could scarcely hope to read.[72]

[Sidenote: Royal tombs, Alcobaca. (Fig. 31.)]

Far more interesting both historically and artistically than these memorials at Lisbon are the royal tombs in the small chapel opening off the south transepts of the abbey church at Alcobaca. This vaulted chapel, two bays deep and three wide, was probably built about the same time as the cloister, and has good cl.u.s.tered piers and well-carved capitals. On the floor stand three large royal tombs and two smaller for royal children, and in deep recesses in the north and south walls, four others. Only the three larger standing clear of the walls call for notice; and of these one is that of Dona Beatriz, the wife of Dom Affonso III., who died in 1279, the same lady who married Dom Affonso while his wife the countess of Boulogne was still alive. Her tomb, which stands high above the ground on square columns with circular ringed shafts at the corners, was clearly not made for Dona Beatriz herself, but for some one else at least a hundred years before. It is of a white marble, sadly mutilated at one corner by French treasure-seekers, and has on each side a romanesque arcade with an apostle, in quite archaic style, seated under each arch; at the ends are large groups of seated figures, and on the sloping lid Dona Beatriz herself, in very shallow relief, evidently carved out of the old roof-shaped cover, which not being very thick did not admit of any deep cutting. Far richer, indeed more elaborate than almost any other fourteenth-century tombs, are those of Dom Pedro I. who died in 1367, and of Inez de Castro who was murdered in 1355. When only sixteen years old Dom Pedro, to strengthen his father Affonso the Fourth's alliance with Castile, had been married to Dona Costanca, daughter of the duke of Penafiel. In her train there came as a lady-in-waiting Dona Inez de Castro, the daughter of the high chamberlain of Castile, and with her Dom Pedro soon fell in love. As long as his wife, who was the mother of King Fernando, lived no one thought much of his connection with Dona Inez, or of that with Dona Thereza Lourenco, whose son afterwards became the great liberator, King Joo I., but after Dona Costanca's death it was soon seen that he loved Dona Inez more than any one had imagined, and he was believed even to have married her. This, and his refusal to accept any of the royal princesses chosen by his father, so enraged Dom Affonso that he determined to have Dona Inez killed, and this was done by three knights on 7th January 1355 in the Quinta das Lagrimas--that is, the Garden of Tears--near Coimbra. Dom Pedro, who was away hunting in the south, would have rebelled against his father, but was persuaded by the queen to submit after he had devastated all the province of Minho. Two years later Dom Affonso died, and after Dom Pedro had caught and tortured to death two of the murderers--the third escaped to Castile--he in 1361 had Dona Inez's body removed from its grave, dressed in the royal robes and crowned, and swearing that he had really married her, he compelled all the court to pay her homage and to kiss her hand: then the body was placed on a bier and carried by night to the place prepared for it at Alcobaca, some seventy miles away. When six years later, in 1367, he came to die himself he left directions that they should be buried with their feet towards one another, that at the resurrection the first thing he should see should be Dona Inez rising from her tomb. Unfortunately the French soldiers in 1810 broke open both tombs, smashing away much fine carved work and scattering their bones.[73] The two tombs are much alike in design and differ only in detail; both rest on four lions; the sides, above a narrow border of sunk quatrefoils, are divided by tiny b.u.t.tresses rising from behind the gables of small niches into six parts, each of which has an arch under a gable whose tympanum is filled with the most minute tracery. Each of these arches is cusped and foliated differently according to the nature of the figure subject it contains.

Behind the tops of the gables and pinnacles of the b.u.t.tresses runs a small arcade with beautiful little figures only a few inches high: above this a still more delicate arcade runs round the whole tomb, interrupted at regular intervals by shields, charged on Dom Pedro's tomb with the arms of Portugal and on that of Dona Inez with the same and with those of the Castros alternately. At the foot of Dom Pedro's is represented the Crucifixion, and facing it on that of Dona Inez the Last Judgment.

Nothing can exceed the delicacy and beauty of the figure sculpture, the drapery is all good, and the smallest heads and hands are worked with a care not to be surpa.s.sed in any country. (Fig. 32.)

On the top of one lies King Pedro with his head to the north, on the other Dona Inez with hers to the south; both are life size and are as well wrought as are the smaller details below. Both have on each side three angels who seem to be just about to lift them from where they lie or to have just laid them down. These angels, especially those near Dom Pedro's head, are perhaps the finest parts of either tomb, with their beautiful drapery, their well-modelled wings, and above all with the outstretching of their arms towards the king and Dona Inez. There seems to be no record as to who worked or designed these tombs, but there can be little or no doubt that he was a Frenchman, the whole feeling, alike of the architectural detail and the figures themselves, is absolutely French; there had been no previous figure sculpture in the country in any way good enough to lead up to the skill in design and in execution here shown, nor, with regard to the mere architectural detail, had Gothic tracery and ornament yet been sufficiently developed for a native workman to have invented the elaborate cuspings, mouldings, and other enrichments which make both tombs so pre-eminent above all that came before them.[74] These tombs, as indeed the whole church, as well as the neighbouring convent of Batalha, are constructed of a wonderfully fine limestone, which seems to be practically the same as Caen Stone, and which, soft and easy to cut when first quarried, grows harder with exposure and in time, when not in a too shady or damp position, where it gets black, takes on a most beautiful rich yellow colour.

These tombs, beautiful as they are, do not seem to have any very direct influence on the work of the next century: it is true that a distinct advance was made in modelling the effigies of those who lay below, but apart from that the decoration of these high tombs is in no case even remotely related to that of the later monuments at Batalha; nor, except that the national method of church planning was more firmly established than ever, and that some occasional features such as the cuspings on the arch-mould of the door of So Francisco Santarem, which are copied on an archaistic door at Batalha, are found in later work, is there much to point to the great advance that was soon to be made alike in detail and in construction.

[Ill.u.s.tration: FIG. 31.

ALCOBAcA.

CHAPEL WITH ROYAL TOMBS.

(DOM PEDRO AND DONA BEATRIZ.)]

[Ill.u.s.tration: FIG. 32.

ALCOBAcA.

TOMB OF DOM PEDRO I.]

CHAPTER IV

BATALHA AND THE DELIVERANCE OF PORTUGAL

Towards the end of the fourteenth century came the most important and critical years that Portugal had yet known. Dom Pedro, dying after a reign of only ten years, was succeeded by his only legitimate son, Fernando, in 1367. Unfortunately the new king at his sister's wedding saw and fell in love with the wife of a northern n.o.bleman, and soon openly married this Dona Leonor Telles de Menezes, though he was himself already betrothed to a Castilian princess, and though her own husband was still alive. At the first court or Beja Manos held by Dona Leonor at Leca near Oporto, all the Portuguese n.o.bility except Dom Diniz, the king's half-brother and a son of Inez de Castro, acknowledged her as queen. But soon the evil influence she exercised over the king and the stories of her cruelty made her extremely unpopular and even hated by the whole nation. The memory of the vengeance she took on her own sister, Dona Maria Telles, is preserved by an interesting old house in Coimbra which has indeed been rebuilt since, in the early sixteenth century, but is still called the House of the Telles. To the dislike Queen Leonor felt for the sons of Inez de Castro, owing to Dom Diniz's refusal to kiss her hand, was added the hatred she had borne her sister, who was married to Dom Joo, another son of Dona Inez, ever since this sister Dona Maria had warned her to have nothing to do with the king; she was also jealous because Dona Maria had had a son while her own two eldest children had died. So plotting to be rid of them both, she at last persuaded Dom Joo that his wife was not faithful to him, and sent him full of anger to that house at Coimbra where Dona Maria was living and where, without even giving his wife time to speak, he stabbed her to death. Soon after Dona Leonor came in and laughed at him for having believed her lies so as to kill his own wife. Failing to kill the queen, Dom Joo fled to Castile.

When Dom Fernando himself died in 1383 he left his widow as regent of the kingdom on behalf of their only daughter, Dona Brites, whom they had married to Don Juan I. of Castile. It was of course bad enough for the nation to find itself under the regency of such a woman, but to be absorbed by Castile and Leon was more than could be endured. So a great Cortes was held at Coimbra, and Dom Joo, grand master of the Order of Aviz, and the son of Dom Pedro and Dona Thereza Lourenco, was elected king. The new king at once led his people against the invaders, and after twice defeating them met them for the final struggle at Aljubarrota, near Alcobaca, on 14th August 1385. The battle raged all day till at last the Castilian king fled with all his army, leaving his tent with its rich furniture and all his baggage. Before the enemy had been driven from the little town of Aljubarrota, the wife of the village baker made herself famous by killing nine Spaniards with her wooden baking shovel--a shovel which may still be seen on the town arms. When all was over Dom Joo dedicated the spoil he had taken in the Castilian king's tent to Our Lady of the Olive Tree at Guimares where may still be seen, with many other treasures, a large silver-gilt triptych of the Nativity and one of the silver angels from off the royal altar.[75]

Besides this, he had promised if victorious to rebuild the church at Guimares and to found where the victory had been won a monastery as a thankoffering for his success.

[Sidenote: Batalha.]

This vow was fulfilled two years later in 1387 by building the great convent of Sta. Maria da Victoria or Batalha, that is Battle, at a place then called Pinhal[76] in a narrow valley some nine or ten miles north of Aljubarrota and seven south of Leiria. Meanwhile John of Gaunt had landed in Galicia with a large army to try and win Castile and Leon, which he claimed for his wife Constance, elder daughter of Pedro the Cruel; marching through Galicia he met Dom Joo at Oporto in February 1387, and then the Treaty of Windsor, which had been signed the year before and which had declared the closest union of friendship and alliance to exist between England and Portugal, was further strengthened by the marriage of King Joo to Philippa, the daughter of John of Gaunt and of his first wife, Blanche of Lancaster. Soon after, the peace of the Peninsula was a.s.sured by the marriage of Catherine, the only child of John of Gaunt and of Constance of Castile, to Enrique, Prince of the Asturias and heir to the throne of Castile.

[Ill.u.s.tration: PLAN OF BATALHA]

But it is time now to turn from the history of the foundation of Batalha to the buildings themselves, and surely no more puzzling building than the church is to be found anywhere. The plan, indeed, of the church, omitting the Capella do Fundador and the great Capellas Imperfeitas, presents no difficulty as it is only a repet.i.tion of the already well-known and national arrangement of nave with aisles, an aisleless transept, with in this case five apsidal chapels to the east. Now in all this there is nothing the least unusual or different from what might be expected, except perhaps that the nave, of eight bays, is rather longer than in any previous example. But the church was built to commemorate a great national deliverance, and by a king who had just won immense booty from his defeated enemy, and so was naturally built on a great and imposing scale.[77]

The first architect, Affonso Domingues, perhaps a grandson of the Domingo Domingues who built the cloister at Alcobaca, is said to have been born at Lisbon and so, as might have been expected, his plan shows no trace at all of foreign influence. And yet even this ordinary plan has been compared by a German writer to that of the nave and transepts of Canterbury Cathedral, a most unlikely model to be followed, as Chillenden, who there carried out the transformation of Lanfranc's nave, did not become prior till 1390, three years after Batalha had been begun.[78] But though it is easy enough to show that the plan is not English but quite national and Portuguese, it is not so easy to say what the building itself is. Affonso Domingues died in 1402, and was succeeded by a man whose name is spelt in a great variety of ways, Ouguet, Huguet, or Huet, and to whom most of the building apart from the plan must have been due. His name sounds more French than anything else, but the building is not at all French except in a few details.

Altogether it is not at all easy to say whence those peculiarities of tracery and detail which make Batalha so strange and unusual a building were derived, except that there had been in Portugal nothing to lead up to such tracery or to such elaboration of detail, or to the constructive skill needed to build the high groined vaults of the nave or the enormous span required to cover the chapter-house. Perhaps it may be better to describe the church first outside and then in, and then see if it is possible to discover from the details themselves whence they can have come.

The five eastern apses, of which the largest in the centre is also twice as high as the other four, are probably the oldest part of the building, but all, except the two outer apses and the upper part of the central, have been concealed by the Pateo built by Dom Manoel to unite the church with the Capellas Imperfeitas, or unfinished chapels, beyond.

Here there is nothing very unusual: the smaller chapels all end in three-sided apses, at whose angles are b.u.t.tresses, remarkable only for the great number of string courses, five in all, which divide them horizontally; these b.u.t.tresses are finished by two offsets just below a plain corbel table which is now crowned by an elaborately pierced and cusped parapet which may well have been added later. Each side of the apse has one tall narrow single-light window which, filled at some later date from top to bottom with elaborate stone tracery, has two thin shafts at each side and a rather bluntly-pointed head. The central apse has been much the same but with five sides, and two stories of similar windows one above the other. So far there is nothing unexpected or what could not easily have been developed from already existing buildings, such as the church at Thomar or the Franciscan and Dominican churches no further away than Pontevedra in Galicia.

Coming to the south transept, there is a large doorway below under a crocketed gable flanked by a tall pinnacle on either side. This door with its thirteenth-century mouldings is one of the most curious and unexpected features of the whole building. Excepting that the capitals are well carved with leaves, it is a close copy of the west door of So Francisco at Santarem. Here the horseshoe cuspings are on the out-most of the five orders of mouldings, and the chevron on the fourth, while there is also a series of pointed cusps on the second. Only the innermost betrays its really late origin by the curious crossing and interpenetrating of the mouldings of its large trefoiled head. All this is thoroughly Portuguese and clearly derived from what had gone before; but the same cannot be said for the crockets or for the pinnacles with their square and gabled spirelets. These crockets are of the common vine-leaf shape such as was used in England and also in France early in the fourteenth century, while the two-storied pinnacles with shallow traceried panels on each face, and still more the square spirelets with rather large crockets and a large bunchy finial, are not at all French, but a not bad imitation of contemporary English work. On the gable above the door are two square panels, each containing a coat-of-arms set in a cusped quatrefoil, while the vine-leaves which fill in the surface between the quatrefoils and the outer mouldings of the square, as also those on the crowns which surmount the coats, are also quite English.

The elaborate many-sided canopies above are not so much so in form though they might well have been evolved from English detail. Above the gable comes another English feature, a very large three-light window running up to the very vault; at the top the mullions of each light are carried up so as to intersect, with cusped circles filling in each s.p.a.ce, while the whole window to the top is filled with a veil of small reticulated tracery. Above the top of the large window there is a band of reticulated panelling whose shafts run down till they reach the crocketed hood-mould of the window: and above this an elaborately pierced and foliated parapet between the square pinnacles of the angle b.u.t.tresses, which like these of the apses are remarkable for the extraordinary number (ten) of offsets and string courses.

The next five bays of the nave as well as the whole north side (which has no b.u.t.tresses) above the cloister are all practically alike; the b.u.t.tresses, pinnacles and parapet are just the same as those of the transept: the windows tall, standing pretty high above the ground, are all of three lights with tracery evidently founded on that of the large transept window, but set very far back in the wall with as many as three shafts on each side, and with each light now filled in with horrid wood or plaster work. The clerestory windows, also of three lights with somewhat similar tracery, are separated by narrow b.u.t.tresses bearing square pinnacles, between which runs on a pointed corbel table the usual pierced parapet, and by strong flying b.u.t.tresses, which at least in the western bays are doubly cusped, and are, between the arch and the straight part, pierced with a large foliated circle and other tracery.

The last three bays on the south side are taken up by the Founder's Chapel (Capella do Fundador), in which are buried King Joo, Queen Philippa, and four of their sons. This chapel, which must have been begun a good deal later than the church, as the church was finished in 1415 when the queen died and was temporarily buried before the high altar, while the chapel was not yet ready when Dom Joo made his will in 1426, though it was so in 1434 when he and the queen were there buried, is an exact square of about 80 feet externally, within which an octagon of about 38 feet in diameter rises above the flat roof of the square, rather higher than to the top of the aisles. Each exposed side of the square is divided into three bays, one wider in the centre with one narrower on each side. The b.u.t.tresses, pinnacles and corbel table are much the same as before, but the parapet is much more elaborate and more like French flamboyant. Of the windows the smaller are of four lights with very elaborate and unusual flowing tracery in their heads; small parts of which, such as the tracery at the top of the smaller lights, is curiously English, while the whole is neither English nor French nor belonging to any other national school. The same may be said of the larger eight-light window in the central bay, but that there the tracery is even more elaborate and extravagant. The octagon above has b.u.t.tresses with ordinary pinnacles at each corner, a parapet like that below, and flying b.u.t.tresses, all pierced, cusped and crocketed like those at the west front. On each face is a tall two-light window with flowing tracery packed in rather tightly at the top.

As for the west front itself, which has actually been compared to that of York Minster, the ends of the aisles are much like the sides, with similar b.u.t.tresses, pinnacles and parapet, but with the windows not set back quite so far. On each side of the large central door are square b.u.t.tresses, running up to above the level of the aisle roof in six stories, the four upper of which are panelled with what looks like English decorated tracery, and ending in large square crocketed and gabled pinnacles. The door itself between these b.u.t.tresses is another strange mixture. In general design and in size it is entirely French: on either side six large statues stand on corbels and under elaborate many-sided canopies, while on the arches themselves is the usual French arrangement of different canopied figures: the tympanum is upheld by a richly cusped segmental arch, and has on it a curiously archaistic carving of Our Lord under a canopy surrounded by the four Evangelists.

Above, the crocketed drip-mould is carried up in an ogee leaving room for the coronation of the Virgin over the apex of the arch. So far all might be French, but on examining the detail, a great deal of it is found to be not French but English: the half octagonal corbels with their panelled and traceried sides, and still more the strips of panelling on the jambs with their arched heads, are quite English and might be found in almost any early perpendicular reredos or tomb, nor are the larger canopies quite French. (Fig. 33.)

Above the finial of the ogee runs a corbel table supporting a pierced and crested parapet, a little different in design from the rest.

Above this parapeted gallery is a large window lighting the upper part of the nave, a window which for extravagance and exuberance of tracery exceeds all others here or elsewhere. The lower part is evidently founded on the larger windows of the Capella do Fundador. Like them it has two larger pointed lights under a big ogee which reaches to the apex of a pointed arch spanning the whole window, the s.p.a.ce between this ogee and the enclosing arch being filled in with more or less ordinary flowing tracery. These two main lights are again much subdivided: at the top is a circle with spiral tracery; below it an arch enclosing an ogee exactly similar to the larger one above, springing from two sub-lights which are again subdivided in exactly the same manner, into circle, sub-arch, ogee and two small lights, so that the whole lower part of the window is really built up from the one motive repeated three times. The s.p.a.ce between the large arch and the window head is taken up by a large circle completely filled with minute spiral tracery and two vesicae also filled in with smaller vesicae and circles. Now such a window could not have been designed in England, in France, or anywhere else; not only is it ill arranged, but it is entirely covered from top to bottom with tracery, which shows that an attempt was being made to adapt forms suitable in a northern climate to the brilliant summer sun of Portugal, a sun which a native builder would rather try to keep out than to let in. Above the window is a band of reticulated tracery like that below, and the front is finished with a straight line of parapet pierced and foliated like that below, joining the picturesque cl.u.s.ters of corner pinnacles. The only other part of the church which calls for notice is the bell-tower which stands at the north end of a very thick wall separating the sacristy from the cloister; it is now an octagon springing strangely from the square below, with a rich parapet, inside which stands a tall spire; this spire, which has a sort of coronet rather more than half-way up, consists of eight ma.s.sive crocketed ribs ending in a huge finial, and with the s.p.a.ce between filled in with very fine pierced work.[79] From such of the original detail which has

[Ill.u.s.tration: FIG. 33.

BATALHA.

WEST FRONT OF CHURCH.

_From a photograph by E. Biel & Co., Oporto._]

survived the beautiful alterations of Dom Manoel, the details of the cloister must have been very like those of the church. The refectory to the west of the cloister is a plain room roofed with a pointed barrel-vault; but the chapter-house is constructively the most remarkable part of the whole convent. It is a great room over sixty feet square, opening off the east cloister walk by a large pointed door with a two-light window each side. This great s.p.a.ce is covered by an immense vault, upheld by no central shaft; arches are thrown across the corners bringing the square to an octagon, and though not very high, it is one of the boldest Gothic vaults ever attempted; there is nowhere else a room of such a size vaulted without supporting piers, and probably none where the b.u.t.tresses outside, with their small projection, look so unequal to the work they have to do, yet this vault has successfully withstood more than one earthquake.

The inside of the church is in singular contrast to the floridness of the outside. The cl.u.s.tered piers are exceptionally large and tall; there is no triforium, and the side windows are set so far back as to be scarcely seen. The capitals have elaborate Gothic foliage, but are so square as to look at a distance almost romanesque. In front of each pier triple vaulting shafts run up, but instead of the side shafts carrying the diagonal ribs as they should have done, all three carry bold transverse arches, leaving the vaulting ribs to spring as best they can.

Each bay has horizontal ridge ribs, though their effect is lost by the too great strength of the transverse arches. The chancel, a little lower than the nave and transepts, is entered by an acutely pointed and richly cusped arch, and has a regular Welsh groined vault, with a well-developed ridge rib. Unfortunately almost all the church furniture was destroyed during the French retreat, and of the stained gla.s.s only that in the windows of the main apse survives, save in the three-light window of the chapter-house, a window which can be exactly dated as it displays the arms of Portugal and Castile quartered. This could only have been done during the life of Dom Manoel's first wife, Isabel, eldest daughter and heir of Ferdinand and Isabella. Dom Manoel married her in 1497, and she died in 1498 leaving a son who, had he lived, would have inherited the whole Peninsula and so saved Spain from the fatal connection with the Netherlands inherited by Charles V. from his own father. (Fig. 34.)

The most elaborate part of the interior is not unnaturally the Capella do Fundador: though even there, the four beautiful carved and painted altars and retables on the east side, and the elaborate carved presses on the west, have all vanished from their places, burned for firewood by the invaders in 1810. In the centre under the lantern, lie King Joo who died in 1433, and on the right Queen Philippa of Lancaster who died seventeen years before. The high tomb itself is a plain square block of stone from which on each side there project four lions: at the head are the royal arms surrounded by the Garter, and on the sides long inscriptions in honour of the king and queen. The figures of the king and queen lie side by side with very elaborate canopies at their heads.

King Joo is in armour, holding a sword in his left hand and with his other clasping the queen's right hand. The figures are not nearly so well carved as are those of Dom Pedro and Inez de Castro at Alcobaca, nor is the tomb nearly as elaborate. On the south wall are the recessed tombs of four of their younger sons. The eldest, Dom Duarte, intended to be buried in the great unfinished chapel at the east, but still lies with his wife before the high altar. Each recess has a pointed arch richly moulded, and with broad bands of very unusual leaves, while above it rises a tall ogee canopy, crocketed and ending in a large finial. The s.p.a.ce between arch and canopy and the sills of the windows is covered with reticulated panelling like that on the west front, and the tombs are divided by tall pinnacles. The four sons here buried are, beginning at the west: first, Dom Pedro, duke of Coimbra; next him Dom Henrique, duke of Vizeu and master of the Order of Christ, famous as Prince Henry the Navigator; then Dom Joo, Constable of Portugal; and last, Dom Fernando, master of the Order of Aviz, who died an unhappy captive in Morocco. During the reign of his brother Dom Duarte he had taken part in an expedition to that country, and being taken prisoner was offered his freedom if the Portuguese would give up Ceuta, captured by King Joo in the year in which Queen Philippa died. These terms he indignantly refused and died after some years of misery. On the front of each tomb is a large panel on which are two or three shields--one on that of Dom Henrique being surrounded with the Garter--while all the surface is covered with beautifully carved foliage. Dom Henrique alone has an

[Ill.u.s.tration: FIG. 34.

CHURCH, BATALHA.

INTERIOR.]

[Ill.u.s.tration: FIG. 35.

BATALHA.

CAPELLA DO FUNDADOR AND TOMB OF DOM JOO I AND DONA FILIPPA.]

effigy, the others having only covers raised and panelled, while the back of the Constable's monument has on it scenes from the Pa.s.sion.