It must be remembered that brass effigies reflect the
individual symbolically, and not necessarily realistically, especially the
faces. It is therefore interesting
to note the detail the artist has given to Sir William’s face, and his beard,
which would be the correct style for his time. It is believed that the artist may have been working from a
portrait. Sir William de
Tendring’s brass effigy is five feet by eleven inches long and is in excellent
condition. The inscription is
missing, however, it is on record as Hic jacent tumulati D’ns Will’us
Tendring miles et D’na Cathering Clopton uxor eius qui obieront Anno D’ni 1408
quor’ a’i’abus p’pitiet’r Deus Amen.
His armor is an excellent example of the Mixed Mail and Plate
Period. Special note should be
made of the chain mail closely fitted about his neck. From Knights on Suffolk
Brasses, T. M. FelgateEast Anglian Magazine Limited, Ipswich, 1976, p.
120-121, Figures 46.
The elegant brass
effigy of Dame Katherine Mylde is shown wearing a rather unique form of a
Nebule’ pattern headdress. It is unusually
short and exposes her ears. An
interesting feature is her hair which falls to her shoulders where the ends
appear to be encased in a small net.
Her gown was originally inlaid with a colored mastic. The toes of her pointed shoes appear
peeking from beneath the hem. Her
sleeves are fastened with numerous closely spaced buttons. Ornamental clasps on her cloak secures
a cord. The inscription has
disappeared, but is preserved in church records as Hic jacet Catherina
Tendryng quonda’ uxor Thome Clopton que obijt D’ni Vereris ante festu’
Pentecostes a’o D’ni 1402. Her
effigy is four feet in length and is in good condition, with the exception of a
small piece of the headdress and the lower corners of the plate are
missing. Ladies on Suffolk Brasses, T. M. Felgate, East Anglian
Magazine Limited, Ipswich, 1989, p.
Lady Katherine Moleyns’ monumental brass was engraved about 1535, which
explains her Tudor costume instead of the Lancastrian period of her time. Her fingers are adorned with several
rings, a rarely seen feature on brasses.
Three of the Howard quarters – Brotherton, Howard, and Segrave – appear
on the dexter, or left, side of her robe.
The parental arms of the Moleyns are on the sinister, or right,
side. Beneath her Pedimental
headdress, her hair is bound in a net.
Suffolk Heraldic Brasses, T. M. Felgate, Eaast Anglian Magazine
Limited, Ipswich, p. 124-125, Plate 45.