Proc. Hampsh. Field Club Archaeol. Soc. 42, 1986, 147-153

THE BEVIS AND ASCUPART PANELS, BARGATE MUSEUM, SOUTHAMPTON

By ADRIAN B RANCE

ABSTRACT armour and a short skirt painted in a manner This paper examines the form and decoration of the that recalls Roman military uniform. He is oak panels depicting Bevis and Ascupart which once draped with a long cloak that falls over one arm, decorated the Bargate in Southampton. The panels the other arm carrying a rapier like sword with a are set in a context of fifteenth- and sixteenth-century decorative guard and quillon. Ascupart is simi­ civic pageantry. larly dressed but wears an eastern type of head- ress and carries a wooden club. FORM AND DECORATION The two panels carry inscriptions that iden­ The Bargate Museum, Southampton contains tify the figures represented. The Bevis panel two wooden panels decorated with painted carries the words Sr. BEVOIS across the top figures depicting Bevis of Hamtun and his planks while the Ascupart panel carries the squire, Ascupart. These panels are unique survi­ painted inscription ASCA PART, the word vors of a class of artefact known to have played being split in two by the intrusion of the figure's an important role in pageantry designed to headress. Additionally the Bevis panel carries a enhance civic pride and prestige during the 15th painted inscription by the giant's feet; on the and 16th centuries. A similar survivor is the bottom left hand corner is the date 1644; in the Round Table at the Great Hall, Winchester but middle of the panel are the letters MA, and on this is connected more with royal rather than the left hand side is the date 1319(?) which can civil pageantry. be taken to represent the supposed original date, The two panels are identical in size, measur­ which while being fanciful, at least suggests that ing 326cm by 99cm wide. Each is made up of a the 17th century restorer considered the panels number of tongued and grooved oak planks of to be of consideable antiquity when he under­ varying depths ranging from approximately took his work. The name of the painter is 32cm to approximately 12.5cm. The backs of the recorded in the Mayor's accounts for 1645-46 as panels have been covered in bituminous type a Mr Benger (SRO SC/5/3/19): paint and the joints of the planks have been November 14th paid more to Mr Benger for strengthened with strips of parchment. Both of new painting of the towne armes ijuxs these treatments presumably were undertaken to provide a protection against the weather. The The figures on the panels are now very difficult back has been strengthened in each case with to decipher due to paint loss and fading, but wooden vertical battens and later reinforced close examination shows that the figures gener­ with steel battens. The frames of each panel ally conform to the representation in an early appear to be recent. 19th century engraving based on the panels (Fig The painted figure in each case represents a 1). Recent work involving the examination and man of giant proportions a feature accentuated cleaning of the panels in the Conservation Stu­ by a low horizon behind the figures' legs. The dio of the Southampton Art Gallery and figures are painted in an Italianate renaissance Museums has brought to light evidence that can style with both Bevis and Ascupart appearing as be brought to bear in an examination of the date romanticised versions of classical figures. Bevis and origins of the panels. is wearing a plumed helmet, a breastplate of Photomicrographs of cross sections of the 148 HAMPSHIRE FIELD CLUB AND ARCHAEOLOGICAL SOCIETY

Fig 1. 19th century engraving depicting the figures on the Bargate Bevis and Ascupart Panels. RANCE: THE BEV1S AND ASCUPART PANELS, BARGATE MUSEUM, SOUTHAMPTON 149 paint layers show a greyish ground layer consist­ Later engravings show the Bargate decorated ing of coarsely ground black pigment particles with the two panels now inside the museum, the probably mixed with chalk, which have been two lions and a carved and painted representa­ bound in a drying oil. In one cross section there tion of the Royal Arms above the main carriage­ are also the minute remains of a white under- way. The Mayors accounts for the years 1593 to layer, possibly a thick chalk gesso. There are 1594 provide details of expenditure in 1594 that four different ages of painting, the earliest re­ show that at this time there was considerable maining only in traces and extremely worn, expenditure on all three of these decorative particularly in the background. The original elements outside the Bargate. Amongst other painting was probably much finer in detail than entries relating to these items, the following subsequent repaintings which are often out of items of expenditure are recorded (SRO SC/5/3/ 'synchronisation' with the earlier underlayers. 1): There is clear evidence that gold leaf was exten­ sively used in the original painting. The inscrip­ Payd for making ii new Lyons iiij li tions on each panel belong to one of the later repaintings, probably to a renovation carried To y= painter for painting the Lyons iiij s out in 1644 as suggested by the dates. An interesting feature of the examination is that it P1 for setting up yc Queenes Picture for 2 men revealed the presence of numerous lead pellets viiij days xs especially in the heads, indicating that the panels had been used for target practice at some For the new painting of Bevis and Ascapart stage of their life hanging on the north face of the payd the 2 day to y* Paynter towards his work Southampton Bargate. ij'Vs

payd to Wm Merryet grocer as appeareth by HISTORICAL REFERENCES his bill for gold and collo" for the Lyons and u s d The panels appear to have been designed to fit new painting Bevis and Askapart vj iij vi onto the buttresses that flank the central arch­ way of the north face of the Bargate {Fig 2). Payd Lewis Langley for mending ye frames of s They are known to have hung there from at least Bevis and Askapart vij the 17th century until they were removed and d placed inside the building for safekeeping in There must be p to Foster fore beere about ! 1881, at which time the Bargate Committee the picture and Lyons. vj gave instructions for the panels to be restored. The earliest descriptions of the panels, together Additionally there are several items of expendi­ with the lions at the Bargate come from a record ture to both new lions and the refurbishment of made by a Lieutenant Hammond who visited old lions at both the Watergate and at the Southampton in 1635 (Douch 1961): Bargate. So far as the panels are concerned the main question is whether the entries refer to the I entered at the North Gate thereof with no refurbishment of pre-existing painting, or little feare, betweene the Jaws of 2. ramping whether the panels are being constructed de novo Lions, and two thundrign warriors, Exipat, or as replacements for earlier panels. The pre­ that fearefull gyant on the one side and braue sence of gold leaf on the earliest age of painting Beuis of Southampton on the other, if aboue on the panels does lend support to the view that them had not beerie plac'd our late renowned, this painting can be dated to 1594 when it is vertuous Queen, Elizabeth to daunt their known that gilding was employed in the decora­ courage and quell their Fury, and to suffer tion of both lions and panels. In any case it peaceable Passengers to haue quiet and safe would appear that the reference to 'new' lions entrance. and paintings suggest that the Bargate was 150 HAMPSHIRE FIELD CL1 B \\I> ARCHAEOLOGICAL SOCIETY

Fig 2. The north face of the Bargate c 1870 showing the Bcvis and Ascupart panels together with (he lions. RANCH: THE BEV1S AND ASCUPART PANELS, BARC.ATE MUSEUM, SOUTHAMPTON 151 decorated with both lions and panels prior to pageants employing figures from mythology, 1594. quasi-history, legend or the metrical romances, in the political relationships between boroughs and state, at least in the Tudor period. It PARALLELS remains only to establish the date of the first The existence of these artefacts outside the main erection of these figures on the Bargate and to gateway to the town must be seen in the context analyse the symbolism that they employ as an of the well documented use of legendary, indication of the likely occasion of their erection. mythical or romantic figures in pagentry de­ The departure of Henry V for the battle of signed to bolster the civic prestige of boroughs in Agincourt in 1415 would appear to be a suitable the later Middle Ages. The tradition goes back occasion for the use of such figures to promote at least to the early 15th century when Henry V, adventures abroad and recent research on the returning to London from Agincourt in 1415, Round Table at Winchester has established that was greeted at London Bridge by two giants, the Arthurian stories were used for just this and when the return of Henry V with his queen purpose well before this date. However, the style in 1421 was the occasion for a series of London of the figures on the Southampton panels would pageants at which time the giant's head on probably preclude a date much before 1500. London Bridge was replaced with a newly The visit of the Holy Roman Emperor carved one (cf Anglo 1969). Pageants designed Charles V of Spain to England in 1522 also to greet important visitors at the entrance to provides a context for the Bargate Panels. The boroughs played an important part in the first visit was celebrated with a magnificent series of Tudor progress held by Henry VII in 1486, a pageants that were mounted to celebrate progress designed to establish the authority of Charles' entry into London. The first pageant the new king, and the new dynasty. Henry and set at London Bridge, showed two giants, one his retinue were greeted at York by a series of representing Samson holding the jawbone of an pageants full of allegorical references to contem­ ass, the other Hercules armed with a mighty porary issues such as the union of the houses of club, an arrangement reflecting the tradition of York and Lancaster, and at the gates of the city giants on London Bridge going back to the time it was arranged by the organisers that the King of Henry V. In the middle of London Bridge was should be greeted by the founder of York, called a building of imitation masonry with towers and Ebrank, who would present the royal visitor gates above which were a fiery dragon and two with the keys of the city. In his speech to the fire-eating bulls together with Jason holding the king, Ebrank contrived to flatter the king with golden fleece, to represent the order of the the obeisance of the burgesses while reminding Golden Fleece, of which the Emperor was head, his listeners of ancient and independent founda­ just as Henry was the head of the Garter (Anglo tions of the city. 1969) A series of succeeding pageants accompa­ Similarly, ancient historical, or quasi- nied the royal progress through the City, each of historical figures were employed to flatter Henry which flattered the Holy Roman Emperor and VII at Worcester and at Hereford where Ethel-' the great Christian Prince, Henry VIII in diffe­ bert, ancient king of Kent presented himself as rent ways. The ceremonials served to underline the protector of the city and Cathedral. At the common dislike the two men had for the Bristol the pageant greeting the king was pre­ French and on June 16 a formal Anglo-Imperial sented by King 'Bremnius', who like Ebrank at Alliance was announced which had as its inten­ York, was assumed to be the ancient city found­ tion the invasion and division of France, which it er and who made a point of pleading the poverty was piously hoped would establish peace in the of the town whilst demonstrating its loyalty to Christendom and so allow an expedition to the new monarch. proceed against the Turks, who only two years The panels of Bevis and Ascupart can be seen before had laid seige to and had captured Bel­ to fit into this well documented tradition of grade. 152 HAMPSHIRE FIELD CLUB AND ARCHAEOLOGICAL SOCIETY

Charles then proceeded to Winchester where, Ascupart was also particularly appropriate in according to a Venetian observer, Paolo Giovo, the context of the work undertaken in 1593 on the Emperor was shown the Round Table which decorating the Bargate. Two years earlier had been specially re-painted to the occasion. Queen Elizabeth I had visited Southampton On 28 June 1522, the Imperial party arrived in and had been greeted by the Mayor and burges­ Southampton for departure to Santander on the ses outside the north face of the Bargate and had 6 July. been given the gift of a purse of money. The The anticipated arrival of the Emperor and subsequent decorating work on the Bargate his retinue of 2000 people and 1126 horse, involved the erection of the royal arms — the caused a flurry of activity in Southampton, Queen's Picture - for which both the panels and much of which is recorded in. the Steward's the lions were particularly appropriate accom­ accounts (SRO SC/5/l/32a). Prior to the arriv­ paniments. Bevis and Ascupart would have al, for instance, a Richard Prower was paid 12.S represented the ancient traditions of the \0d for spending three days with his cart in borough in the same way as other 'giants' had 'cleaning the keys aganste the Comynge of the done throughout the Tudor period at various emprower'. There then follows details of 'Ex- cities, but the lions also gave an intriguing clue pensys uppon Dressynge of the town yatts to the symbolism intended by this work. The ageynste and commynge of the Emprower the lions appear in the story of Bevis of Hamtun in a xxvii day of June'. The major expense was 4^ 8

REFERENCES

Manuscript sources Policy, Oxford. Southampton City Record Office (SRO) SC/5/l/32a. Douch, R 1961 Visitors Description: Southampton 1540- SRO SC/5/3/1. 1956, Southampton. SRO SC/5/3/19. Lister, A 1971 Sir Bevis of Hamtun, unpub MPhil c , C thesis, University of Southampton. secondary sources ' r Anglo, S 1969 Spectacle Pageantry, and Early Tudor

Author, Adrian B Ranee BA AMA, Southampton City Museums and Art Gallery, Civic Centre, Southampton

© Hampshire Field Club and Archaeological Society