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mattress, which rolls up to form a rest for his feet. The figure is bare-headed, but dressed in the armour of the period. A sword hilt and pommel are all that remain of weapons, but Fenton shows a long sword in his drawing ; it is attached to the left hip by a plain belt slung across the person.

The hair is long, curling at the ends, brushed well off the forehead, which is a high one. Sir John wear's beard and moustache; the turned-down ruff is tied by strings which terminate in a small pair of tassels. The covering of the upper part of the body is tightfitting, enriched with a central vertical band of chevron pattern. The epaulettes form a sort of


and extend across the shoulders nearly to the centre of the figure. They appear to be laminated and much riveted. Ridged brassarts cover the arms; there is a cuff at the wrist. A girdle encircles the waist; it is fastened by an ornamental buckle with two leaf-shaped wings. The thighs are covered in front by laminated scalloped tuilles, divided down the centre and strapped round the back of the full breeches. The legs are fully armed in jambs having genouillières, and ridged round the ankles; the feet are broken away.

Sir John was a wealthy man, his father, Thomas, having married Elizabeth Biccombe, heiress of Crowcombe, Somerset. After Sir John Perrot's attainder in 1592 Carew was granted to different persons on different tenures. James I regranted it to Sir John Carew (or his father), and he, Sir John, bought up certain interests, obtained the estate in fee from the Crown, and took up his residence in the old home of his fathers.

No. 33. Effigy of Dame Elizabeth Carew in Carew Church.?--Dame Carew is taller than her husband. She lies at full length, her head tilted forward on an

For previous mention, see No. 32.

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No. 33.-Effigy of Dame Elizabeth Carew, Carew Church

ornamental cushion like that which supports Sir John; her hands, which were raised in prayer, are gone. The hair, arranged in curls, is confined in a closely-fitting cap, which is surmounted by an upper head-dress, voluminous and widely spreading. It seems to be

. starched or wired, and has wings falling down behind the wearer's shoulders : inside it is trimmed with rich lace whose pattern suggests that known as “Honiton:” our dame came from Devon, so it is not unlikely. Ruff, bodice, and the long turned-back cuffs are all freely trimmed with this handsome garniture. The ruff, though still in rounded folds, falls down like a collar instead of standing up stiffly as it did in Elizabethan days. The bodice is very angular, with straight lines, perhaps pipings, of contrasting colour; a true lover's knot is placed on each shoulder and in the centre of the jacket, which is confined at the waist by a girdle of twisted stuff tied in a bow ; the basque below the waist is cut into tabs, the central one rounded, the others of squarer form. Loose sleeves hang to the elbows, and closer ones appear under them finished with six-sided cuffs. The long skirt is probably worn over a farthingale or hooped petticoat, as it is very wide; it opens down the front, having nine ornamental clasps arranged in groups of three. An over-skirt is draped at the sides of the figure ; both this and the skirt below have heavy folds. Rather large shoes, with flat heels, complete the costume. These effigies are very well executed, and compare favourably with Nos. 24, 25, and 26; they were not made on the spot, as, for convenience of carriage, the figures were constructed in two pieces, and the local workmen made a bad fit in Sir John's case when putting them together. The material used is an oolite stone.

This notice of Dame Elizabeth Carew concludes the series of recumbent lay effigies to be found in Pembrokeshire. In Rudbaxton Church there is a monument commemorative of the Howard family of Flether Hill, 1665-1685, which contains four figures, two male, two female; it is described in Arch. Camb., 1888, p. 132, by Sir Stephen Glyune, and illustrated by our late Editor, Arch. Camb., 1889, p. 271. These figures are, however, on a huge mural tablet, and if we represented them among our recumbent effigies, it would necessitate the introduction of wail tablets from Tenby, Carew, and other churches.

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