Ralph and Agnes Segrym
Brass Rubbing
1472 (made), first quarter 20th century (made)
1472 (made), first quarter 20th century (made)
Artist/Maker | |
Place of origin |
Monumental brasses are commemorative plaques that served as effigies and were most commonly found in churches. The earliest examples come from the thirteenth century but they were popular up until the seventeenth century and then again in the Victorian Gothic Revival. Surviving brasses from the medieval period are limited due to the turbulent history of the Church but they do survive in considerable numbers in the East of England, Germany and Flanders. Made from an alloy of copper and zinc, a material known as latten, they were laid into church floors and walls. Monumental brasses are historically and stylistically significant because they record dress, architecture, armoury, heraldry (coats of arms and insignia) and palaeography (handwriting) in a dated object. In addition they tell the story of memorial and patronage.
The practice of recording brasses through a process of rubbing originates from the Victorian Gothic Revival. An early method of pouring printer’s ink into engraved lines and then placing damp tissue paper over the brass was replaced around the mid-nineteenth century with the more effective technique of using black shoemaker’s wax, known as heel ball. Brass rubbing continued to be a popular hobby into the twentieth century before the process was understood to cause damage to the brasses.
The practice of recording brasses through a process of rubbing originates from the Victorian Gothic Revival. An early method of pouring printer’s ink into engraved lines and then placing damp tissue paper over the brass was replaced around the mid-nineteenth century with the more effective technique of using black shoemaker’s wax, known as heel ball. Brass rubbing continued to be a popular hobby into the twentieth century before the process was understood to cause damage to the brasses.
Object details
Categories | |
Object type | |
Title | Ralph and Agnes Segrym (generic title) |
Materials and techniques | Wax rubbing of monumental brass on paper |
Brief description | Rubbing of the effigies of Ralph Segrym and Agnes, his wife, dated 1472, with a modern inscription, in the Church of St. John Maddermarket, Norwich |
Physical description | Rubbing of 3 parts, made up of the two effigies of Ralph Segrym and his wife Agnes, and a modern inscription. Ralph Segrym is depicted in civil dress and Agnes wears a head-dress. Both figures have their hands held to the chest in prayer and both costumes are decorated with the same floral band. Between the two figures a modern inscription identifies the couple. Beneath their feet a shield with a merchant's mark has been added to the same sheet but was not recorded in the original accession register. |
Dimensions |
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Marks and inscriptions | 'IN MEMORY OF RALF SEGRYM
M.P. 1419 AND MAYOR 1451,
ALSO OF AGNES HIS WIFE WHO
WERE BURIED IN THIS CHAPEL
OF SAINT MARY. DATE CIRCA 1472.' (Later inscription added to the 15th century effigies.) |
Credit line | Given by Ernest W. Morley, Esq. |
Object history | Rubbing taken at the Church of St. John Maddermarket, Norwich, 3 on 1 sheet, and given by Mr. Ernest W. Morley. A rubbing of a shield with merchant's mark has been added to the sheet. |
Association | |
Summary | Monumental brasses are commemorative plaques that served as effigies and were most commonly found in churches. The earliest examples come from the thirteenth century but they were popular up until the seventeenth century and then again in the Victorian Gothic Revival. Surviving brasses from the medieval period are limited due to the turbulent history of the Church but they do survive in considerable numbers in the East of England, Germany and Flanders. Made from an alloy of copper and zinc, a material known as latten, they were laid into church floors and walls. Monumental brasses are historically and stylistically significant because they record dress, architecture, armoury, heraldry (coats of arms and insignia) and palaeography (handwriting) in a dated object. In addition they tell the story of memorial and patronage. The practice of recording brasses through a process of rubbing originates from the Victorian Gothic Revival. An early method of pouring printer’s ink into engraved lines and then placing damp tissue paper over the brass was replaced around the mid-nineteenth century with the more effective technique of using black shoemaker’s wax, known as heel ball. Brass rubbing continued to be a popular hobby into the twentieth century before the process was understood to cause damage to the brasses. |
Bibliographic references |
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Collection | |
Accession number | E.1442-1926 |
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Record created | June 30, 2009 |
Record URL |
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