Gents Mag 1849 part 1 p.374

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	Gentleman's Magazine 1849 part 1 p.374 CROSTHWAITE CHURCH, CUMBERLAND, THE BURIAL-PLACE OF SOUTHEY, (Concluded from page 259.) THE east end of the south aisle of the chancel, generally known as the Derwentwater aisle, is divided from the chancel by an arch whose span is considerably wider than that of the opposite arch on the north aisle. Here, for unnumbered generations, for the origin and antiquity of the family is lost in the obscurity of unrecorded times, the ashes of the Derwentwaters reposed until exhumed previous to the renovation of the church. In this sanctuary also rested two of those attractive remnants of antiquity, their sculptured monumental figures, which erstwhile lay side by side upon enriched altar tombs long since destroyed; and in the same spot they are again replaced, to be, it is hoped, no more disturbed. The marble effigies are the oldest, and to secure them from further injury, as well as to gain additional accommodation for new sittings, they have been laid next to the south end of the altar rails, upon a deep slab of red sandstone placed upon the floor, and within an open screen-work of the same sort of stone. On the top lies a heavy slab of dark grey marble, and into it the sepulchral brass hereafter described is inlaid. The effigies which lie extended at full length are those of a knight and his lady, supposed to commemorate one of the Derwentwaters and his wife. Tradition however being altogether silent, and no relics or legend having been discovered that could throw light upon their history, all knowledge of the particular individuals whom such memorials were intended to honour would seem to be lost; though an antiquary familiar with the genealogical records of the northern counties, and versed in the history of the ancient periods of costume, might assign them as the effigies of Sir John de Derwentwater, the last of the name, and his wife, who lived in the reign of Henry IV. The male figure is habited in a long, high, loose, tunic or robe, with wide sleeves, secured round the waist by a belt, from which a pouch, or aulmoniere as it was called, hangs at the right side. The head is bare. The hair, formally parted on the forehead, is worn long behind, and an enriched collar is about the neck. The long, embroidered mantle of knighthood is secured on the shoulders by a band across the chest, and the hands are upraised upon the breast in that expressive attitude of humility and supplication which is so peculiarly affecting in the monumental effigies of other times. The lady's dress is a kirtle or close-bodied garment, low on the bosom, with long tight sleeves, and a long skirt. The head is surmounted by a sort of coronet, from underneath which a veil or hood, concealing the hair, flows down each side upon the shoulders. An ornamental collar and necklace are around the throat, from which a pendent jewel rests upon the bosom; and the waist is encircled by a girdle, attached to which is along cord, whose broken ends and tassels descend in front nearly to the feet. A long open mantle falls from the shoulders, where it is secured by a band across the bosom, fastened on each side to the mantle by a fermail or brooch, and the hands are likewsie joined in attitude of prayer. The heads repose on tasseled cushions once upheld by angels, and the knight's feet rest on the broken form of a hound, but what support the lady had for the feet has long since been worn away and destroyed. The countenances of both are defaced, and almost all the finer parts of the sculpture flattened and mutilated. the effigies seem originally to have been painted and gilt, the application of such polychromatic enrichment being still slightly perceptible, especially on the lady's collar. The other spulchral momento is a brass, laid down on a slab of dark grey Kendal marble. It is in tolerably perfect preservation, and its value is largely enhanced from the fact of its being one of the very few monumental
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	-- St Kentigern's Church
	-- (St Kentigern, Great Crosthwaite (MEMLinc))

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