Wax Model for the Restoration of William of Wykeham’s Tomb By Richard Cockle Lucas
DOUGLAS PAGE
This painted wax model by Richard Cockle Lucas from 1847 is one of two made to illustrate the sculptor’s proposals for the restoration of William of Wykeham’s tomb and chantry chapel. The model can be found in the former Headmaster’s House at Winchester College. The other one, now at New College, Oxford, depicts the Chantry. The wax model was originally accompanied by a pamphlet, see right. Wykeham, Bishop of Winchester and Founder of Winchester College and New College, Oxford, built many things. In the South Nave Arcade of Winchester Cathedral, on the site of an altar dedicated to the Virgin Mary, in 1403, one year before his death, Wykeham built an open-work chantry chapel, see far right.
Inside the chapel is Wykeham’s ornate tomb. Notably, at his feet are three praying Benedictine monks. Wykeham provided revenue for three monks from the cathedral priory to celebrate three masses in his chapel daily. Perhaps they are portraits of the very monks who originally said his masses.
Wykeham’s epitaph runs around his tomb along the slip of red enamelled brass. You can read a translation of it in this booklet. The tomb and chantry had been altered many times, before Lucas’s attempted intervention. Lucas reports in his pamphlet, and it is for this reason that the pamphlet is so useful, that: ‘the angels placed at his head […] have been entirely destroyed, and since evidently restored, from the inferiority of their work, and [… the] plaster composition’; ‘the shields painted on the tomb are entirely wrong, both in design and treatment’; and ‘some figure, emblem or design, must have filled the niches round the tomb; as at the base of all of them, except the two at the east [right] are marks of chiselling.’ William Cave & Son, painters, were paid in 1797 for the elaborate repainting and gilding of his tomb and chantry in the Cathedral. Lucas says that it gives the tomb a ‘tawdry appearance’ and that the artist was led into mistakes, ‘by copying too closely the costume of a Romanist bishop of his own day, instead of examining the ancient examples we have still remaining’.
The model of the chantry, left, was sold from New College in 1995 and began to reside in a private library. The model is about four feet high, two and a half wide and two deep. The doors to the chantry are open and one can see much, from the flooring, to Wykeham’s tomb itself. In the accompanying pamphlet, Lucas claims to have discovered fragments of the statues that would have originally filled the niches. He talks about which statues he has chosen to go where. In the model, the saints are shown restored. It is unknown whether the fragments still exist and if so where they are. In 1893, the Quincentenary Committee, for the celebration of 500 years since the foundation of Winchester College, was made responsible for refilling the niches, a role which they undertook in haste, as below. The statues, however, are similar to what Lucas recommended, with the Virgin Mary attended to by two angels.
Lucas’s proposals, in all their historical correctness, were never carried out, although his vision remains. He wrote about it in his autobiography: “A visit to Winton [Winchester] suggested to me that the sculptures which had once adorned William of Wykeham’s chantry would be great work if it could be replaced. I went to the College and Warden Barter encouraged me and said that it was the duty of the College to restore the sculptures of their founder. I went to work and spent a year making two models, my thoughts being that if I was beaten in getting the work to do in the Cathedral that the Library of Wykeham’s great colleges would be a home for my models. I left one in the College of St. Mary at Winton [Winchester College]. The other I took to New College, Oxford. Warden Williams opposed and defeated my project and refused to allow my model to remain in the Library — saying that if it was once there it could not be turned out. Thus I was frustrated at the senior college and had no success at the junior one at St. Mary’s. I made an effort to interest Warden Barter — he was a good man, yet without appreciation of art.” The reason for his project’s defeat is primarily due to its controversy. The restoration was viewed as an attempt to revive an artefact of the Catholic Church.
Wax Portrait of Warden Barter, 1850, by Richard Cockle Lucas
Wax Portrait of Warden Barter, c. 1850, by Richard Cockle Lucas
Here, overthrown by death, lies William, surnamed Wykeham. He was Bishop of this Church, which he repaired. He was unbounded in hospitality, as the rich and poor alike can prove. He was also an able politician, and a counsellor of the State. By the colleges which he founded his piety is made known; The first of which is at Oxford and the second at Winchester. You, who behold this tomb, cease not to pray That, for such great merits, he may enjoy everlasting life. Translation of the Epitaph of William of Wykeham Wykeham around thy venerable tomb With fond affections still thy children come, And tho’no more the loud voiced hymn they sing, Still silent prayers, and heartfelt wishes bring
That thy departed spirit, secure and blest, May with the destined heirs of glory rest. And for thy pious bounty here bestowed, Treasure in Heaven may have and joy in God. By William Crowe
About Richard Cockle Lucas Richard Cockle Lucas, born in Salisbury, began sculpting as an apprentice to his uncle in Winchester, before studying at the Royal Academy. He exhibited at the Great Exhibition, 1851, and became well-known for a relief of Leda and the Swan and his portrait medallions, such as the earlier ones of Warden Barter. He found huge fame in art circles as the possible creator of a wax bust of Flora, ascribed by the Berlin Museum to Leonardo da Vinci. Whilst talented and influential, he was also rather eccentric, believing his wife to be of ‘fairy origin’.
Produced by Douglas Page in 2021
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