02896cam a22003373u 450000100060000000300070000600500170001300600020003000700050003200800410003704000110007804100170008905000070010610000560011324500120016926400510018130000470023233600260027933700260030533800360033149000510036750000310041850801700044952017070061953400610232665300120238783000510239985600460245085600430249699900190253978728UtSlPG20260610134827.0mcr n260607r20261912utu|||||o|||||||||||||| d  aUtSlPG 7aen2iso639-1 4aNB1 aWard, J. S. M.q(John Sebastian Marlow),d1885-194910aBrasses 1aSalt Lake City, UT :bProject Gutenberg,c2026  a1 online resource :bmultiple file formats  atextbtxt2rdacontent  acomputerbc2rdamedia  aonline resourcebcr2rdacarrier1 aThe Cambridge manuals of science and literaure  aRelease date is 2026-05-22  adeaurider and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)  a"Brasses" by J. S. M. Ward is a handbook on monumental brasses written in the early 20th century. Aimed at general readers, it explains what brasses are, how to classify them by historical period, and how to read their artistic and archaeological details, with many examples drawn from the author’s own rubbings. The focus falls on English brasses—contrasted with Continental work—and on how to identify armour, costume, ecclesiastical vestments, inscriptions, and canopies.

The opening of the volume states its purpose and method, then moves chronologically from the earliest English brasses to outline how armour evolves (from mail to plate, through camail, jupon, taces and later peascod cuirasses), how women’s headgear and dress change (wimple, horned/mitred and butterfly styles, then kennel hoods and farthingales), and how civilian types (notably woolmen and lawyers) appear. It surveys clergy in mass, choir, and academic dress; bishops and abbots; monastic pieces and vowesses; and explains “palimpsest” brasses reused after the Dissolution. Tudor chapters note a great rise in output, heraldic tabards and armorial mantles, chrysom children, and the transition under Edward VI and Mary; Elizabethan and Jacobean sections describe wall-mounted plates, ruffs and tassets, and a partial revival before Caroline decline. Special motifs (Trinity, Annunciation, Resurrection scenes, hearts, shrouds, skeletons) are outlined, as are the Flemish and North German schools that influenced a handful of English examples. The section closes by turning to architectural features, especially canopies, which frame many of the finest compositions. (This is an automatically generated summary.)  pOriginally published:cCambridge: University Press, 1912  aBrasses 0aThe Cambridge manuals of science and literaure4 uhttps://archive.org/details/brasses00ward40uhttps://www.gutenberg.org/ebooks/78728  c119446d119446