FOOTNOTES:
[4] This was carefully replaced in its original position inclosed in a copper cylinder.
[5] Recently, however, anxiety has been again aroused, and the spire has been once more strengthened.
[6] This lantern story was removed in 1757 by order of the Dean and Chapter.
THE INTERIOR OF THE CATHEDRAL AND CHAPTER HOUSE.[ToC]
he ground plan of Salisbury is a well-proportioned double cross with the arms, of the choir transepts, more important than usual. Indeed, the exquisitely proportioned and balanced symmetry of every portion, as of the whole, which almost places Salisbury among classic buildings, is as marked in its ground plan as in any part of the building. As an appreciative student of the building has written: "This is the great beauty of Salisbury, the composition of its mighty body as a whole. So finely proportioned and arranged are its square masses of different heights and sizes, so splendid are the broad effects of light and shadow they produce, so appropriate is the slant of the roof lines, and so nicely placed and gracefully shaped are the simple windows, that for once we can give no thought of regret either to the circling apses of continental lands or the rich traceries and surface carvings and figures—sculptures of later generations. The whole effect is in the strictest sense architectural. Few large buildings teach so clearly the great lesson that beauty in a building depends first of all upon composition, not decoration; upon masses, not details; upon the use and shaping, not the ornamentation of features; and very few show half so plainly that mediæval architects could realize this fact. We are too apt to think that Gothic art cannot be individual without being eccentric, or interesting without being heterogeneous ... but Salisbury is both grand and lovely, and yet it is quiet, rational, and all of a piece, clear and smooth, and refined to the point of utmost purity. No building in the world is more logical, more lucid in expression, more restful to the mind and eye."[7]
THE NAVE, LOOKING WEST.
From a Photograph by Messrs. Poulton.[ToList]
The number of its pillars, windows, and doorways is said to equal the hours, days, and months of the year; hence the local rhyme, attributed, on the authority of Godwin, to a certain Daniel Rogers:
"As many days as in one year there be,
So many windows in this church we see;
As many marble pillars here appear
As there are hours throughout the fleeting year;
As many gates as moons one year does view—
Strange tale to tell! yet not more strange than true."
Fuller, speaking of these, by a curious lapse falls into the vulgar error of believing Purbeck marble to be an artificial product melted and poured into moulds, says: "The cathedral is paramount of its kind, wherein the doors and chapels equal the months, the windows the days, the pillars and pillarets of fusile marble (an ancient art now shrewdly suspected to be lost) the hours of the year; so that all Europe affords not such an almanac of architecture. Once walking in this church (whereof then I was prebendary) I met a countryman wondering at the structure thereof. 'I once,' said he to me, 'admired that there could be a church that should have so many pillars as there be hours in the year, and now I admire more, that there should be so many hours in the year as I see pillars in this church.'"
The Nave.—The first glimpse as we enter by the west door is undoubtedly impressive, notwithstanding the absence of colour and the lack of mystery for which the complete vista obtained at such a cruel cost by Wyatt is insufficient compensation. The whole scheme of decoration in its pristine state must have been extremely beautiful. "If you can imagine it with the walls and piers exhibiting strong contrasts of colour in the dark and polished Purbeck shafts and the lighter freestones, the arches picked out with colours, the groining elaborately decorated, and the whole lighted by brilliantly painted windows with a preponderance of dark blue and ruby, together with a flood of white light showing through the lancet of the centre, we may be allowed a doubt whether Tintern or York could have compared with it." Add to this picture the movable hangings and decorations of its many altars, and we cannot honestly attribute the coldness of the present effect to any fault in the original design. Elsewhere this austerity of monochrome is modified to a great extent by the variety (anachronisms though they be) of later architectural insertions. Salisbury, through the very purity of its design, especially suffers from its translation from chromatic harmony to monotone, for although possibly the architectural details are thereby rendered more apparent, yet the exaggeration of what is after all but the skeleton of the building, destroys the effect of the whole as its architect imagined it.
Clustered columns of unpolished Purbeck marble on a quatrefoil plan, with smaller detached shafts of lustrous marble at the cardinal points, support, on either side, the ten great arches of the first story of the nave. These polished shafts are generally in two pieces, with a brass ring covering the joint; Francis Price discusses, at great length, this constant feature of the whole building, and points out, that although most of the shafts were probably not in place until after the masonry was fairly set, yet frequently subsequent settlement has crushed them; although, in the nave, the main piers in small blocks laid according to the natural bed of the stone, are still perfectly sound. The large arches are gracefully moulded with masses of carved foliage at the intersections.
THE NAVE—SOUTH SIDE.[ToList]
In the nave of this cathedral we have a very uncommon feature in the connected base of the main columns, which was doubtless introduced to aid in distributing the weight over a larger surface, and so to overcome the treacherous character of the foundation.
The triforium, which, from its style, naturally suggests comparison with Westminster, and the Angel Choir of Lincoln, is simple, but extremely beautiful. Each of its rather flat-pointed arches, equalling in span that of the main arch below, is subdivided into pairs, which again each inclose two smaller ones. These are decorated with trefoils and quatrefoils, alternately with cinquefoils and octofoils. Immediately above the carving, at the intersection of the main arches, is a corbelled head, from which rises a triple vaulting-shaft with foliated capitals, on a line with the base of the clerestory. This upper story has, in each bay of the vaulting, simple lancet windows grouped in threes. The arches here, as in almost every instance throughout the building, are supported by Purbeck marble shafts. The nave aisles are lighted by double lancet-windows in each bay. The most noticeable feature of these aisles is the stone bench which extends the whole length of the building on both the north and south sides.
NORTH AISLE.[ToList]
The west wall is panelled in three main arches, with an upper story reaching to the height of the triforium base, and containing an arcade of four arches, subdivided each into two smaller trefoiled ones, with cinquefoil heads. Above these is the triplet lancet of the great west window. The effect of the nave looking west is clearly shown in the photograph here reproduced.
Of the chapels and altars once existing we have records in various documents. In the "Sarum Processional" twelve altars are mentioned, dedicated respectively to SS. Andrew, Nicholas, John the Baptist, Margaret, Mary Magdalene, Laurence, Michael, Martin, Catherine, Edward, Edmund the King, and Edmund, Archbishop of Canterbury. The sites of these so far as they can be traced appears to have been: St. Catherine and St. Martin in the north choir transept, St. Nicholas and St. Mary Magdalene in the south, and St. Edmund of Canterbury and St. Margaret respectively in the north and south great transepts.
Throughout the nave it is evident that the first plans were rigidly obeyed, although the severity of the early years of the style had become much modified before the work was finished. The absence of ornate decoration, the simplicity of the mouldings, and the plate-tracery of the triforium all indicate the first period of "Early English."
NAVE TRANSEPT.[ToList]
The dimensions of the nave are: 229 feet 6 inches long, 82 feet wide, and 81 feet high. The aisles are 17 feet 6 inches wide, and 39 feet 9 inches high.
The Nave Transepts are in three stories, with eastern aisles divided into three bays. The screens inclosing chapels in these were demolished by Wyatt. Above the entrances to the great transepts are arches inserted by Bishop Beauchamp (1450-1481) to withstand the side thrust of the great tower. These are of perpendicular work, with their spandrils panelled and their cornices battlemented, as shown in the engraving. Canterbury and Wells, in a far more prominent fashion, have similar features; in this instance the addition appears to have succeeded in its purpose to insure the stability of the tower. In the choir transepts these additional features take the form of an inverted arch, above the main arch. The vaulting of the tower roof is also in the perpendicular style and shows excellent groined work. Both Sir Christopher Wren and Francis Price, call its four main pillars the legs of the tower.
Of the transept Fuller says: "The cross aisle of this church is the most beautiful and lightsome of any I have yet beheld. The spire steeple (not founded on the ground, but for the main supported by four pillars,) is of great height and greater workmanship. I have been credibly informed that some foreign artists beholding this building brake forth into tears, which some imputed to their admiration (though I see not how wondering could cause weeping): others to their envy, grieving that they had not the like in their own land."
Monuments in the Nave.[8]—The peculiar arrangements of the ancient monuments in two long rows on the continuous plinth that connects the bases of the pillars on each side of the nave is another of Wyatt's freaks during his terrible innovations in 1789. Not only did he sever the historical associations of centuries by these arbitrary removals, but paid so little attention to consistency that portions of monuments belonging to entirely different periods were combined with curious results, and remains transferred to other "receptacles" than those designed for them. It is true that the effect of the present arrangement is not entirely bad, but it was not worth achieving at such a cost.
The first monument on the south side as we enter by the great west door, is in memory of Thomas Lord Wyndham of Finglass, Lord Chancellor of Ireland, (1) who died in 1745; the marble figure of Hibernia which surmounts it is by Rysbrack. At the western base of the first south pillar is a Purbeck marble slab, (2) coffin-shaped, probably the oldest monument in the building. This is usually assigned to Bishop Herman, whose tomb it is supposed to have covered in Old Sarum; but no evidence exists to support this theory. In the first place his original burial-place is entirely unknown, and William de Wanda, who chronicles minutely the removal of the bodies of other bishops from the old cathedral, does not even mention Herman's name.
The next (3) is an effigy of a bishop in full pontificals, also believed to have been originally at Old Sarum. The carving is rich, and the design a fine example of the early Norman style. The chasuble is decorated with stars, and the dalmatic has a rich border. Elaborately carved foliage, with birds, frames the figure, which has its right hand raised in the attitude of benediction, and grasps a pastoral staff in the left. It is usually believed that it commemorates Bishop Jocelin, who died in 1184, and was probably removed from Old Sarum at the translation of the bodies of the three bishops. The head of the effigy is evidently a much later restoration, probably, from the style of the richly ornamented mitre, about the time of Henry III. or Edward I. As the face is cleanly shaven, while the seal of Bishop Jocelin depicts him as bearded, some antiquaries hold this monument to belong to Bishop Roger, and assign to Bishop Jocelin the one formerly attributed to Bishop Herman. If, however, differences of opinion exist concerning the identity of these two effigies, they are as nothing compared to the uncertainty regarding the next, (4) which represents a bishop holding a pastoral staff. Down the front of this cope are the words, "Affer opem devenies in idem." Hatcher and Duke believe that it represents Bishop Jocelin. Britton, Gough and Planché, prefer to think that it commemorates Bishop Roger. Its inscription on the edge of the slab runs:
"Flent hodie Salesberie quia decidit ensis
Justitie, pater ecclesiæ Salisberiensis
Dum viguit, miseros aluit, fastusque potentum
[45] Non timuit, sed clava fuit terrorque nocentum
De Ducibus, de nobilibus primordia duxit
Principibus, propeque tibi gemma reluxit."
A version given in the Wilts Archeo. Mag. vol. xvii. runs: "They mourn to-day at Salesberie because there has fallen the sword of justice, the Father of the Church of Salesberie. While he lived he sustained the oppressed and wretched, and feared not the arrogance of the powerful, but himself was the scourge (literally, the club) and terror of the guilty. He traced his ancestry from dukes and noble princes, who shone near thee as a precious gem." Another item of indirect evidence supplied by this inscription is worth noting, namely, the "l" in Salisberie. The period when this letter superseded the "r" was about the time of Jocelin's death. Only a single coin of Stephen's has the "l."
To Bishop Roger reference is made on page 100, and it is evident that even the fulsome praise of an epitaph would hardly go out of its way to describe him as "sprung from dukes and noble princes." Planché, despite this objection, does not deem it convincing, as poor priests were often of noble lineage. If, however, we assume it represents Bishop Jocelin, one of the house of Bohun, a great Norman family, and compare the effigy with the seal of that bishop, the later theory that deprives Bishop Roger of this much discussed monument will probably be chosen as the most acceptable. In a record at least three centuries old his burial-place is said to be near the chapel of St. Stephen; and in a plan of the Cathedral, dated 1773, and in Price's account, 1774, a plain slab with a cross upon it, in a shallow recess of the wall east of the north aisle, is assigned to Bishop Roger.
But this and the other disputed monuments are undoubtedly genuine memorials of the earliest bishops, and not merely interesting for that reason, but as (with the exception of two slabs dated 1086 and 1172 in Westminster Abbey) the earliest examples of their class in England. Although the question of their identity of the individuals they commemorate were best left to those few who are peculiarly concerned with the history of the period that includes them.
Near these effigies is a slab with faint traces of an incised figure, which may possibly have represented an abbot or prior. It can hardly be intended for a bishop, as no mitre can be traced, and the staff is held in the right hand. The monument (5) on the plinth under the next arch is also beyond identification.
Next in order comes the altar tomb (6) which now contains the remains of Bishop Beauchamp, who died in 1481. When this was removed from the aisle at the north end of the great transept it was empty, and showed no trace of its original dedication. During the wanton demolition of the Beauchamp chantry, where, "in marble tumbes," with his father and mother on either hand, the remains of Bishop Beauchamp had been unmolested for over three hundred years, his own tomb was "mislaid" and never recovered. It is pleasant to note that even the apologists for Wyatt felt this incident was beyond their sympathy. Dodsworth naïvely remarks, "After this the greatest possible care was taken that nothing of the kind should again occur," and so far as we know, not even a prior was subsequently lost. Of this bishop much is said elsewhere in this book, and his beautiful chantry described on page 90.
The elaborate effigy (7) beneath the next arch represents Robert Lord Hungerford clad in a superb suit of fifteenth century plate armour, with the collar of SS. round his neck, and with "his hair polled" in the fashion of Henry V. A superbly decorated sword and dagger hang from his jewelled girdle at his side, while his feet rest upon a dog wearing a rich collar. This monument was placed originally between the Lady Chapel and the (Hungerford) chantry founded by Margaret, his widow. By his will Lord Hungerford directed that his body should be interred before the altar of St. Osmund. The tomb beneath the effigy is made up from portions of the chapel.
The monument known as Lord Stourton's (8), removed from the east end of the Cathedral, is next in order. Its three apertures on each side are said to be emblematic of the six sources of the river Stour, which rises at Storrhead, the ancient family seat, from whence the name is derived. The whole shape of the tomb is so unusual that in spite of the theory that it represents the six sources of the Stour, the curious arched openings appear as if pierced to exhibit something behind them. Yet this could not have been an effigy, for the interior is divided by a solid partition of stone. The pillars which stood between the arches are gone. Lord Stourton, to whom it is attributed, was hanged with a silken cord on March 6th, 1556, in the Salisbury market-place. The tragedy is too long to give in detail, as it is told in the country histories and elsewhere, here a brief summary must suffice:—When his mother became a widow Lord Stourton attempted to induce her to sign a bond promising that she would never re-marry. The family agents, a father and son named Hartgill, sided with Lady Stourton and seemed to have influenced her in declining to assent to the scheme. The Hartgills after much physical maltreatment at the hands of Lord Stourton's mercenaries, took legal action against him, with the result that he was fined and imprisoned for awhile in the Fleet. When let out on parole he invited the Hartgills to meet him that he might pay them the fine. Upon their appearance at Kilmington Churchyard, the appointed place, they were seized by armed men, carried away and murdered in cold blood in full sight of Lord Stourton himself the same night. For this he was committed to the Tower, tried at Westminster and hanged with four of his men at Salisbury. So late as 1775 a wire twisted into a noose was suspended above his tomb.
The mutilated effigy (9) of Bishop de la Wyle (died 1271) rests on a base made up of portions of later work. The last monument on this side (10) is of the famous William Longespée, 1st Earl of Salisbury, the natural son of Henry II. by Fair Rosamond. This effigy still shows traces of the gorgeous ornament in gold and colours with which it was originally decorated. Westmacott, the sculptor, says: "The manly, warrior character of the figure is particularly striking even in its recumbent attitude, while the turn of the head, and the graceful flow of lines in the right hand and arm, with the natural heavy fall of the chain armour at the side, exhibit a feeling of art that would not do discredit to a very advanced school." The figure is clad in mail armour, which covers the mouth in a peculiar fashion, and wears a surcoat falling in simple folds, almost Greek in feeling, that are somewhat curious in connection with the rich mediæval luxuriance of the surface ornament. On his shield are borne six heraldic leopards or lions. The slab and effigy are stone, but the base is of wood encircled by an arcade of trefoiled arches. One of its compartments protected with glass yet shows a piece of the beautiful diaper work, in silver overlaid on white linen, remains of the rich colourings of two successive periods are present on the effigy itself. (See [p. 94.])
Crossing the nave, and following the northern base of the pillars, we find a very beautiful alabaster monument (11), with the effigy of Sir John Cheyney (died 1509) clad in military garb, and wearing the collar of SS. with the portcullis badge of Henry VII. suspended therefrom. Sir John Cheyney was the standard-bearer of Henry of Richmond at Bosworth Field. To quote from Hall's "Chronicle"—"King Richard set on so sharply at the first brount that he ouerthrew th'erle's standard and slew Sir William Brandon, his standard-bearer, and matched hand to hand with John Cheynye, a man of great strength, who would have resisted him, and the said John was by him manfully ouerthrowen." Wyatt, in his ghoulish explorations exhumed Sir John's bones, and confirmed the legend of his gigantic stature; the thigh-bone was found to be twenty-one inches in length, four inches more than the standard average. His original tomb was destroyed with the rest of the Beauchamp chapel, and his remains now lie beneath this effigy. Under the next arch to the westward are two tombs (12,13) deprived of the brasses they once bore, which represented Walter, Lord Hungerford, and his first wife, Catherine Peverell. The famous iron chapel has been removed to the choir by their descendant, the Earl of Radnor, who converted the monument into a family pew.
The plain altar tomb of St. Osmund, that, moved hither by Wyatt, stood until 1878 below the next arch of the nave; is now replaced in the Lady Chapel on its former site.
The effigy of Sir John de Montacute (14) (died 1389) clad in mail and chain armour, is, according to Meyrick, "a good specimen of highly ornamented gauntlets, of a contrivance for the easier bending of the body at the bottom of the breastplate, and of the elegant manner of twisting the hanging sword belt, pendant from the military girdle, round the upper part of the sword." The head of the figure reposes on a helmet, a lion couches at his feet. Armorial bearings appear on shields at the sides of the tomb. (See [p. 79.])
Then we come to Chancellor Geoffrey's tomb (15), and the next (16) has not been identified. The larger effigy (17) on the last portion of the northern plinth is of William Longespée, fourth Earl of Salisbury; the figure wears chain armour, and lies with its legs crossed and hands grasped upon his sword. He was twice a Crusader, in 1240-1242, and in 1249, when he served with St. Louis of France at Damietta, he fell in battle near Cairo in 1250, and was buried in the church of the Holy Cross near Acre. The night he was killed, according to Matthew Paris, his mother, the Countess Ela, saw in a vision "the heavens opened, and her son armed at all points, with the six lioncels on his shield, received in triumph by a company of angels." Many strange marvels were reported to have been worked by his bones.
The Boy Bishop.—Near this monument is the one (18) known as the "Boy Bishop." Hidden for a long time underneath some seats near the pulpit, it was brought to light in 1680, and moved to its present position. At first it was covered with a wooden box; for which later on, owing to the great curiosity shown by the public, the strong iron grating which now protects it was substituted. (See [p. 98.])
Notwithstanding that the ceremony of the Boy Bishop was observed at Salisbury for many centuries, there is no reasonable proof that this effigy has any connection therewith. Even John Gregory, whose famous treatise on the Boy Bishop is printed in "Gregorii Posthuma," 1649-1669, admits there that it might well seem impossible to everyone that either a bishop should be so small in person or a child so great in clothes. Thomas Fuller also echoes the same objection when he writes: "But the curiosity of critics is best entertained with the tomb in the north of the nave of the church, where lieth a monument in stone of a little boy, habited all in episcopal robes, a mitre upon his head, a crozier in his hand, and the rest accordingly. At the discovery thereof, formerly covered over with pews, many justly admired that either a bishop could be so small in person or a child so great in clothes; though since all is unriddled; for it was then fashionable in that church (a thing rather deserving to be remembered than fit to be done), in the depth of Popery, that the choristers chose a boy of their society to be a bishop among them from St. Nicholas' till Innocents' day." If the effigy represents a boy it is hard to explain why it is not life-size. Stothard in his "Monumental Effigies," in common with most later authorities, favours the idea that it is a miniature representation of a real bishop. Canon Jones suggests probably Walter Scammel, Henry de Braundeston, or William de la Corner. Mackenzie Walcott inclined to the belief that it represented Bishop Wykehampton, who died 1284. A small figure of Bishop Ethelman, 1260, about the same date, is in Winchester Cathedral; there is also one 14-½ inches long in Abbey Dore Church, Herefordshire, one at Ayot, St. Lawrence, Herts, 2 feet 3 inches, and other small effigies of knights and civilians elsewhere. According to Digby Wyatt the custom of burying different portions of the body in different places was common in the twelfth and thirteenth centuries; from which he infers that probably these figures commemorated the place of sepulture of the heart.
Whether the monument in question be connected with the Chorister Bishop or not, there are so many records of the function with which popular credence has associated it, that a short digression is almost unavoidable. The pamphlet by John Gregory is elaborately minute and much too long to be quoted fully, yet some of the facts he brought together may be briefly noted. It seems that on the feast of St. Nicholas, the patron saint of children, the choir-boys[9] elected one of their number, who from that day to the feast of the Holy Innocents, December 28th, bore the rank and exercised the functions of a bishop, the other choristers being his prebendaries. During his term of office he wore episcopal vestments. On the eve of the Holy Innocents he performed the entire office, excepting the mass, as a real bishop would have done. At Salisbury on that day the boy-bishop and his boy-prebendaries went in procession to the altar of the Holy Trinity, taking precedence of the dean and resident canons. At the first chapter afterwards the boy bishop attended in person and was permitted to receive the entire Oblation made at the altar during the day of his procession. The names of many of the choristers and the amounts of the oblations offered for the boy-bishops are the subject of many entries in the capitular registers of both English and continental churches. Bishop Mortival in his statutes, still preserved among the cathedral muniments, orders that the bishop of the choristers "shall make no visit (some commentators consider this has been misinterpreted, to infer that elsewhere he held visitations), nor keep any feast, but shall remain in the Common Hall, unless he be invited to the table of a Canon for recreation." The order of service in use in this diocese has been preserved (MS. No. 153 of the Cathedral Library); in it we find as a special collect, "O Almighty God, who out of the mouths of babes and sucklings," etc., not, however, quite in the form in which it appears in the Prayer Book of Ed. VI.
The spectacle was so popular, and attracted such great crowds, that by special edict it was prescribed that the penalty of the greater excommunication should be incurred by those who might interrupt or press upon the boys during their procession or in any part of their service.
In spite of the doubts thrown upon the monument at Salisbury, it is distinctly recorded that if a boy-bishop died during his term of power, he was to be buried in his vestments and have his obsequies celebrated with the pomp pertaining to an episcopal funeral.
This custom was not confined to this cathedral, but practised at many others in England and on the Continent, where we find records of much greater power being exercised by the boy-prelate, extending even to the presentation to prebends. At Winchester it was certainly observed. So far back as 1263 we find it described at St. Paul's Cathedral as an ancient custom. Several sermons preached by the boy-bishops are still preserved; one is reprinted in the Camden Society's "Miscellany," vol. vii. Dean Colet (once a prebendary of Sarum) in his statutes for St. Paul's school directs: "All these children shall every Childermas day come to Paules Church, and here the Childe-bishoppes sermon, and after be at high masse so each of them offer one peny to the childe bishoppe. And with the maisters and surveyors of the scoole in general procession when they be warned they shall go tweyne and tweyne togither soberly, and not singe oute, but saye devoutly tweyne by tweyne seven psalmes with letany." (Add. MS. 6174.) At York the mock prelate held office longer, and wielded far more power than his fellows of Sarum.
In 1299, on December 7th, a boy-bishop at Hoton, near Newcastle-on-Tyne, said vespers before Edward I., then on his way to Scotland.
At Salisbury in 1542 Henry VIII. forbade the ceremony by royal proclamation. It was revived under Queen Mary, and finally abolished on the accession of Queen Elizabeth.
Not entirely alien to the subject is the office of the bishop's boy, which is probably peculiar to Salisbury. His duty is to call at the palace before every service and inquire if the bishop will attend. He is formally appointed by the bishop, who lays his hands upon him, and repeats a prescribed office.
A nameless tomb (19), and a memorial (20) to Dr. Daubigny Turberville, an oculist of Salisbury, who died April 21st, 1696, complete the more important monuments of the nave. Several mural tablets on the aisle walls are of hardly sufficient general interest to need description. In Price's "Antiquities of Salisbury," and many of the numerous works devoted to the cathedral, copies of nearly all the epitaphs are given, but, except in very special instances, they form peculiarly depressing reading.
The Choir Screen was given as a memorial of the late Mr. Sidney Lear by his wife, to whom the cathedral is indebted for many of its modern enrichments. It is entirely of wrought metal, by Skidmore, of Coventry, and a good example of its class. It replaced the organ screen compiled by Wyatt from fragments of the Hungerford and Beauchamp chantries; to erect which he removed the original screen of exquisite workmanship, as may be seen by portions now placed along the west wall of the north-east transept.
The Organ, that stood on the old screen until lately, was built by Green, of Isleworth, and a gift from King George III. in his capacity as "a Berkshire gentleman," that county being included in the diocese of Sarum until 1836. It was given by the Dean and Chapter to the church of St. Thomas. The present organ, a fine instrument, built by Willis, was the gift of Miss Chafyn Grove, is placed in the second arcade on each side of the choir, the necessary connecting mechanism being in a tunnel below the pavement, while the larger pipes and the bellows are inclosed within a screen in the north transept. The oak case is from a design by the late Mr. Street.
The Choir and Presbytery are very similar to the nave in the main features of their design. The piers show a different plan, which provides for eight shafts of Purbeck marble to each. The inner mouldings of the arches exhibit the "dog-tooth" ornamentation of their period. The triforium and clerestory differ slightly from the corresponding parts of the nave. In each of the last two bays of the presbytery the triforium has five small cinquefoil arches. At the east wall of the choir above the reredos is an arcade of five simply-pointed arches, below a triplet window in the gable, which is filled with stained glass, given by the Earl of Radnor in 1781, and representing "The Brazen Serpent," after a design by Mortimer.
The choir still bears traces of Wyatt's destruction. He removed the original reredos behind the high altar and the screen before the Lady Chapel, so that both, with the low eastern aisle, were thrown into the choir. He shifted the high altar from the choir to the extreme east end of the Lady Chapel, sacrificing several chantries and tombs to do so. Views of the cathedral after his reign of terror fail to show any gain to compensate for so much loss; the extreme length is not apparently an advantage, while the bare look of the interior seems decidedly intensified by the increased vista that he was so delighted to obtain, and for which with a light heart he effaced the silent records of dead centuries.
The Decorations of the Roof of the choir and presbytery are reproductions by Messrs. Clayton and Bell of the original paintings, which dated probably from the thirteenth century. The series, commencing from the west, shows twenty-four prophets and saints, all, with the exception of St. John the Baptist, selected from the Old Testament. Taking them in lines parallel with the choir screen, the first row contains (reading from the left, as one faces the altar): Zechariah, Daniel, Ezekiel, and St. John the Baptist; the second: Zacharias, Joel, Hosea, and Zephaniah; the third: Job, Habakkuk, Nahum, David; the fourth: Moses, Micah, Jonah, and Jacob; the fifth: Malachi, Obadiah, Amos, and Isaac; and the sixth: Haggai, Jeremiah, Isaiah, and Abraham. In the square of the transept crossing are (following the same order): St. Thomas and St. Andrew, St. Matthew and St. John, St. Philip and St. Simon, St. Bartholomew and St. Matthias. At the left the last panel on that side contains St. Peter and St. Andrew, while another in the opposite corner has St. James and St. John. In the centre is a figure of Christ, in majesty, surrounded by the four evangelists.
From this point to the east the panels are devoted to secular subjects typifying the twelve months, "The signs of the Zodiac," Price calls them: January, warming at a fire; February, drinking wine; March, delving; April, sowing; May, hawking; June, flowers; July, reaping; August, threshing; September, fruit; October, brewing; November, cutting wood; December, killing the fatted pig. The originals were white, or rather buff-washed, in the last century. Owing to the tenacity of this wash, and the friable non-adhesive quality of the paint it covered, it was found impossible to remove the additional coating without destroying the original paintings. Tracings of some of them were made by Messrs. Clayton and Bell; but although the semi-transparent character of the buff wash allowed the subjects to be discerned from below; on nearer inspection the details became blurred and shapeless.
The theory that the paintings of the choir had been re-painted before their defacement by buff wash seems hardly likely from the state reported by the restorers. The idea probably arose from an extract, itself possibly interpolated, frequently quoted from one edition of Defoe's "Tour through the Island of Great Britain:" "The choir resembles a theatre rather than a venerable choir of a church; it is painted white with the panels golden, and groups and garlands of roses and other flowers intertwined run round the top of the stalls; each stall hath the arms of its holder in gilt letters or blue writ on it; and the episcopal throne with Bishop Ward's arms upon it would make a fine theatrical decoration, being supported by gilt pillars and painted with flowers upon white all over. The roof of the choir hath some fresh painting, containing several saints as big as life, each in a circle by itself and holding a label in their hands telling who they are. The altar piece is very mean, and behind this altar, in the Virgin Mary's Chapel, are some very good monuments." But in the first edition of the same book Defoe himself says: "The inside is certainly hurt by the paltry old paintings in and over the choir, and the whitewashing badly done, wherein they have very stupidly everywhere drawn black lines to imitate joints of stone." In another edition of 1724 the passage reads: "The painting in the choir is mean and more like the ordinary method of Common Drawing Room or Tavern painting than that of a church." Whatever be the actual value of the painting on its own merits, as a record faithfully transcribed of very early roof-decoration, it has an interest of its own far beyond much more important work of later periods.
THE CHOIR, LOOKING WEST.
From a Photograph by Messrs. Carl Norman and Co.[ToList]
The Choir.—In the second bay from the east, on the north side of the choir, stands the chantry of Bishop Audley, who died in 1524. This excellent example of late Perpendicular work was built by the bishop himself in 1520. Its style is not unlike the chantry of Bishop Fox at Winchester with octagonal shafts, (similar to those of the Salisbury Chapel at Christchurch,) which impart a semi-Oriental touch that is so characteristic of this final development of Gothic art. The images it once enshrined are lost, but the original rich colouring is still distinguishable on the fan tracery of the roof. The arms and initials of its founder are borne on the shields of the cornice. In the corresponding bay on the south side is the chantry founded by Walter Lord Hungerford, in 1429, and removed from the nave in 1778 by his descendant, the Earl of Radnor, who converted it into a family pew. It has been re-decorated, and new emblazonments added. The arms of its founder and his two wives appear on the base. The superstructure is of iron, and a fine example of its class, which includes among the few still extant the chantry of Edward IV. (died 1483) at Windsor, and that of Henry VII. at Westminster Abbey (died 1509). The Audley and Hungerford chantries are the most important left in a cathedral once rich in their kind, as the report of the alienation of their endowments proves.
Of modern fittings, the Brass Lectern was given by members of the late Dean Lear's family. A brass eagle is mentioned by Price, and said to have been given in 1714 at a cost of £160. The pulpit is modern, with carved medallions on its sides.
The bishop's throne, a lofty modern structure, made by Earp of Lambeth, was presented by those clergymen who had been ordained in the cathedral. It replaced one given in 1763.
The Choir Stalls are made up from work of different periods, the seats and elbows being probably part of the original work; the poppy heads of the benches are of the time of Henry VIII. Much later Sir Christopher Wren added to the stalls, and still later Wyatt placed canopies over them, which have since been removed. The dean's seat has been said to be of the time of Charles I.
The Reredos is modern. It was given by Earl Beauchamp in memory of Bishop Beauchamp (1450-81), whose chantry Wyatt swept away. Its design is adapted from the old choir screen, now in the Lady Chapel, and the monument of Bishop Bridport. A large centre panel, eight feet in height, has a bas-relief of the Crucifixion, with the Virgin and St. John; in the head of the central arch are angels amid foliage. On each side are two storied canopied niches, containing statues of the two Maries, and of St. Osmund and Bishop Beauchamp. The whole rises up to a gable terminating in a gemmed and floriated cross. The back facing the Lady Chapel is richly panelled. The sides are also elaborately decorated with birds. The design by Sir Gilbert Scott was executed at a cost of about £1,800 by Messrs. Farmer and Brindley.
THE HIGH ALTAR AND REREDOS.
From a Photograph by Messrs. Poulton.[ToList]
The High Altar, the credence table, and sedilia, are excellent examples of modern work. The altar itself is of English oak. Its design comprises an arcade with seven openings, divided into three panels, with much elaborate carving. It was given by those who had received confirmation at the hands of Bishop Hamilton. The altar cloths, worked and given by Mrs. Sidney Lear, are highly finished examples of modern ecclesiastical needlework. The credence table, of somewhat elaborate design, is of carved oak with a marble top. The altar rails are of brass, the grills of wrought iron, at each side of the reredos screen the choir partially from the Lady Chapel.
THE CHOIR, LOOKING EAST.
From a Photograph by Messrs. Poulton.[ToList]
The definitely planned order of the subjects of the ceiling decoration is held to indicate originally a different place for the high altar than its present site, which is the same as that reported by Leland two hundred years ago, and until attention was drawn to this fact was generally accepted as its original position. From the rood screen the sequence of the figures of the patriarchs and prophets leads up to the climax of "Our Lord in Glory." At this point the capitals of the Purbeck shafts surrounding the pillars supporting the arch on which this figure is painted, are carved in foliage, unlike the others throughout the building, which are invariably moulded only. The whole subject is discussed at length in a paper printed in the "Wilts Archæological Magazine," vol. xvii., in a way that supports the hypothesis advanced. A somewhat important piece of circumstantial evidence came to light during the late restoration, namely a windlass close to the pier on the north side of the supposed original site of the altar, which was possibly intended to raise and lower a baldichino, or ciborium that hung originally over the altar, or still more probably the pyx, which as many instances show was usually suspended above it.
Possibly the altar was moved when, owing to the early settlement of some of the piers, it was found necessary to wall up the space between the arches opening into the choir transepts, and insert the perpendicular arches as a counter thrust to the strain of the central tower. It is hardly conceivable that the evidence offered by the roof paintings, and the solitary instance of carved capitals, can be misleading on this point.
The East (or Choir) Transept, which on the north side, screened as it is from the aisle, is used and known also as the Morning Chapel, has on its west wall a portion of a very beautiful screen of Early English work. Of this John Carter, from whose pages the accompanying sketch of a portion is reproduced, says that it was moved during Wyatt's restoration, as he naïvely puts it, "during the late dilapidatious innovations, and modern fanciful introductions so fatal to our study of antiquities." Other authorities consider its original position uncertain. Yet since its architecture is obviously coeval with that of the building, and the arches inserted by Bishop Beauchamp show proof of having been planned to rest on something at the base of the tower piers, there can be little doubt that when Wyatt removed the screen to re-erect a medley of his own composing made of fragments of the demolished chantries, he disturbed one more of the original features of the cathedral.
PORTION OF THE OLD ORGAN SCREEN.
From a Drawing by H.P. Clifford.[ToList]
A curious double aumbry in the north wall of this chapel is unusual, not merely in the pitch of its arches, which are triangular gables, but also in the solid stone shelves dividing its space into six compartments; other aumbries in this church show similar features, but this alone retains its original wooden doors. The superb brass of Bishop Wyville (illustrated on p. 114) is in the pavement of this transept. It is illustrated in almost every work on monumental brasses as a notable example. A canopied lavatory of beautiful design is upon the east wall to the right, the altar being not in the centre, but almost in the corner on the left-hand side.
The Eastern Aisle is not so important as similar "processionals" at Exeter, Winchester, and some other English churches; still, the grace of its clustered columns, like those of the Lady Chapel, give it a character of its own.
PISCINA IN THE SOUTH CHOIR AISLE.[ToList]
The Lady Chapel, originally separated from the choir, thrown into the presbytery by Wyatt for the sake of his much overrated vista, is once again partially hidden by the reredos and the grille work of the screen on either side. As the earliest portion of the building, and the only part Bishop Poore lived to see completed, it would not lack interest, were it commonplace in character; but it is on the contrary a particularly graceful example of its time. The whole chapel is divided into a nave and side aisles by single and clustered shafts of Purbeck marble. These extremely slender shafts look unequal to the heavy groined roof they support; for although nearly thirty feet high, the four largest are not quite ten inches in diameter, while the clustered ones are mere rods. Francis Price, whose interest in the building, as he showed throughout his monograph, was that of a practical builder, was "amazed at the vast boldness of the architect, who certainly piqued himself on leaving to posterity an instance of such small pillars bearing so great a load. One would not suppose them," he says, "to stand so firm of themselves as even to resist the force of an ordinary wind." The modern colouring of this part of the building, including the low eastern aisle immediately behind the reredos, is claimed to be an exact restoration of the original, but it is hardly agreeable. The black of the newly polished marble shafts, the dull green of other parts, with the red, green, and white of the vaulting ribs, is more bizarre than beautiful. In regarding traces of mediæval colouring one often forgets that time has blended harmoniously a scheme otherwise entirely crude, and to modern taste unpleasing. How far in English instances this is emphasized by the absence of rich hangings, carpets, vestments, and pictures, it is not within our subject to inquire; but since such restoration of the primitive colouring offends one less in churches that still preserve the more ornate furniture of the Roman Ritual, it is at least a moot point.
The triple lancet east window at the end of the Lady Chapel was filled formerly with stained glass, representing "The Resurrection," after a design by Sir Joshua Reynolds; it is now replaced by modern glass in memory of the late Dean Lear. An altarpiece, composed of fragments of the destroyed Hungerford and Beauchamp Chapels, was set up here by Wyatt. It has lately been replaced by a triptych designed by Sir Arthur Blomfield, with very beautiful panels painted by Mr. Buckeridge. The seven-branched candlesticks in black-wood, silver mounted, are by the same architect. The altar frontal, designed by Mr. Sidney Gambier Parry, and worked by Mrs. Weigall, is so good that it must not be overlooked. The altar itself is of stone from an old altarpiece. Under the windows runs a series of niches, once in the Beauchamp Chapel. Above these rich and delicate canopies, with foliage and fan-tracery springing from corbelled heads, runs an exquisitely sculptured frieze.
In this place, after he was canonized in 1456, the shrine of St. Osmund was erected. His supposed tomb, moved by Wyatt to the nave, is now replaced between the Lady Chapel and the southern aisle. Of the shrine no trace remains; but legends of the miracles worked at it, and the special indulgences granted to the pilgrims who visited it, prove that it existed on this spot. The date MXCIX. inscribed upon this slab has been questioned, on the authority of a diary made by Captain Symons (in 1644), now in the British Museum, in which an entry occurs with reference to this inscription, "a blew stone rising four ynches from the ground, the east end narrower than the west, this lately written Anno MXCIX.," but whether he means to infer that it was lately restored, or that the date itself was a later addition, is not quite clear. The characters of the inscription Planché pointed out correspond in form with those at the time of William the Conqueror, and as sepulchral effigies are uncommon until the middle of the twelfth century, the presumption is in its favour; still it is somewhat pathetic to find that the evidence which serves to connect this otherwise unknown monument with the famous St. Osmund, the greatest figure, not merely of the cathedral, but of the English Church of his time, is not absolutely beyond suspicion. Yet even if the Roman numerals were a later addition, it is hardly credible that the shrine of so popular a saint could have been wrongly identified. When Wyatt, according to his usual habit, explored the interior of the tomb, nothing was found within it.
ALTAR AND TRIPTYCH REREDOS IN THE LADY CHAPEL.
From a Photograph by Witcomb and Son, Salisbury.[ToList]
In 1540 Leland saw here a "ballet," which he transcribes for his Itinerary, with an inscription commanding the faithful to pray for the repose of the soul of Richard Poore.
Monuments in the Transept, Choir and Lady Chapel.—The most important on the west wall of the north great transept is a brass (21) in memory of John Britton, who did so much to revive a taste for archæology and ecclesiastical art by his splendid series of monographs on the cathedrals, and his topographical works. A fine monument of its class is one by Bacon (22), which represents Moral Philosophy mourning over a medallion of James Harris, author of "Hermes" and father of the first Earl of Malmesbury; to whose memory close by is a full-length portrait figure by Chantrey. A figure (23) of Benevolence lifting the veil from a bas-relief of the good Samaritan, by Flaxman, commemorates William Benson Earle, Esq., of the Close, Salisbury. On the north wall of this transept is a canopied effigy (24) of a bishop said to represent John Blythe, who died in 1499. It was originally in the ambulatory of the Lady Chapel, behind the high altar, until Wyatt removed it to its present site. In this transept is the statue (25) to Sir Richard Colt Hoare, author of the "Histories of Modern and Ancient Wiltshire," and other works. It is a seated figure not without dignity, by R.C. Lucas, a native of Salisbury. A portrait bust to Richard Jefferies, with a long and eulogistic inscription, is upon a bracket on the west wall.
Two other monuments by Flaxman deserve notice. That to Walter Long, Esq. (26), a medallion supported by two figures representing Justice and Literature, and one (27) to his brother, William Long, in florid Gothic style, with figures of Science and Benevolence. Dr. Waägen, in his "Art Treasures of Great Britain," says: "The three monuments by Flaxman (in Salisbury) two of which are in Gothic taste, prove that he was superior to most English sculptors in knowledge of the architectonic style. There is nothing extraordinary in the design, but the workmanship is good, and there is real feeling in the heads."
In the north choir aisle, at its junction with the great transept, is a large Purbeck marble altar tomb (28), with panels and tracery, despoiled of the brass legend and armorial bearings it formerly exhibited. This is supposed to have commemorated Bishop Woodville, who died 1484. Two marble slabs that until 1778 were in the floor of this side beneath the first arch of the choir, and in the corresponding place on the south side, have been also stripped of their brasses which showed them to belong to Bishop Simon of Ghent, 1315, and Bishop Mortival, 1330.
On the bench of this aisle is a figure (29) of a skeleton said to represent a man named Fox, who tried to fast forty days. A similar legend is told of the next figure (30), in memory of Dr. Bennett, Precentor of Salisbury (1541 to 1544). It is needless to say that both stories are mere inventions; in many monuments the effigy of the hero commemorated was shown in full pomp above, while in a niche below the skeleton was depicted, by way of pointing a moral too obvious to need further comment.
A brass, in replica of the original, has been reinserted in the marble slab that commemorates Bishop Jewell (1560-71) (31). The next monument (32), for a long time attributed to Bishop Bingham (1229-47), has a flat pointed arch terminating in a decorated finial, above which rises a sort of pyramid of three stories, below is a slab formerly inlaid with brass. Later antiquaries, in spite of the fourteenth century character of its detail, assign it to Bishop Scammel (1284-87). The Audley chapel (33) is entered from this aisle.
In the north-east choir transept aisle are three gravestones of Bishops Wyville (1375), Gheast (1576), and Jewell (1571), removed from the choir when its marble pavement was laid down. In the floor of this transept, which is known also as the morning chapel, is the famous brass to Bishop Wyvill (34), one that has been repeatedly figured in various works on memorial brasses, and it is generally ranked as one of the most interesting of existing examples. Near this is another brass (35) commemorating Bishop Gheast. The lavatory (36) is noticed elsewhere.
In the Lady Chapel, under an arched niche in the north wall, is a coffin-shaped tomb (37) assigned to Bishop Roger, by those who refuse to accept the effigy in the nave as his monument.
The monument (38) at the end of the north aisle of the Lady Chapel is a typical example of the mixed classical style so dear to the early seventeenth century taste. The effigies below its canopy, supported on twisted Corinthian pillars, represent Sir Thomas Gorges and his widow, a maid of honour to Queen Elizabeth. Its medley of obelisks, globes, spheres, and images of the four cardinal virtues is more curious than interesting. Interred near in the choir, and all without monuments are many of the Earls of Pembroke and their wives, including "Sidney's sister, Pembroke's mother."
SOUTH CHOIR AISLE, LADY CHAPEL.
From a Photograph by Norman.[ToList]
In a niche of the east wall of the choir, behind an arcade of three pointed arches with cinquefoil heads, is a Purbeck marble effigy (39) of a bishop supposed by many to represent Richard Poore. It has been ascribed to Bishop Bingham because its bearded face fails to agree with that depicted on the seal of Bishop Poore, and also because an entry in an old book of records says that he was buried on the north side of the altar. This monument was removed by Wyatt to the north-east transept, to what is supposed to have been its original position. The effigy, whoever it represents, is a fine one, the pastoral crozier of particularly graceful design; above it is an angel supporting the circle of the sun and the crescent of the moon.
The slab which is believed to commemorate St. Osmund (40) is now restored, and placed where his shrine stood formerly, between the south choir aisle and Lady Chapel.
At the east end of the south aisle is the gorgeous monument (41) to Edward, Earl of Hertford, son of the Protector Somerset, uncle of Edward VI., and of his wife Catherine, sister to Lady Jane Grey. The effigies are both in a praying attitude, the Earl in armour. It is elaborately ornamented and splendid in gold and colours, restored by order of the late Duke of Northumberland. It is more ornate than modern taste desires, but still to call it "stately, though tasteless," as does one chronicler, is somewhat harsher criticism than is justified. It is seen in the illustration of the choir aisle given here.
In the south wall is an altar tomb (42), now assigned to William Wilton, Chancellor of Sarum (1506-23). On its cornice are shields bearing the device of Henry VIII. and Catherine of Arragon, a rose and a pomegranate; the arms of Bishop Audley, and those of Abingdon Abbey; also the rebus W.I.L. and a Tun.
The monument (43) to Bishop Moberly, designed by Mr. Arthur Blomfield, is an excellent example of the modern revival. The monument (44) to Bishop Hamilton is also interesting as almost the last design prepared by Sir George Gilbert Scott, and one well worthy of its author.
Next to the Hungerford iron chantry (45) is the monument (46) ordinarily assigned to Bishop William of York, but, like many of the bishops' tombs in this cathedral, without any certain clue to its identity. It consists of a pointed, crocketed arch, terminating in an elaborate finial; with a flat slab below, originally inlaid with a brass.
SOUTH CHOIR AISLE, SHOWING THE HUNGERFORD CHAPEL.
From a Photograph by S.B. Bolas and Co.[ToList]
In the south choir transept is the very beautiful chantry (47) to Bishop Giles de Bridport. On either side the gabled roof is carried by two open elaborately moulded arches with quatrefoil heads, inclosing two trefoil arches supported by clustered detached shafts. Each arch has a triangular hood moulding, crocketed with carved finials. The spandrils are ornamented with very interesting carvings. These have been interpreted to mean: on the south side, the birth of the bishop, his confirmation, his education, and possibly his first preferment; on the north, the bishop doing homage for his see, a procession with a cross-bearer (generally accepted as a memorial of the consecration of the building by this bishop); his death; and finally his soul borne up to heaven by an angel with outspread wings.
CHANTRY OF BISHOP BRIDPORT.
From Britton's "Cathedrals."[ToList]
The recumbent effigy has figures of censing angels at its head. The whole style of this exquisite structure is akin to that of the cloisters and the chapter house. The artists who executed the sculptures are believed to have been contemporaries of Niccola Pisano. A chantry was formerly attached to this monument, to the east of which is a double aumbry, or cupboard, for the reservation of the sacrament.
Near this is a tablet to the memory of Canon Bowles, whose edition of Pope plunged him into a bitter controversy with Lord Byron. He was author of many books, including a Life of Bishop Ken. A large modern monument to the late Bishop Burgess is against the south wall. On the west wall is the monument (48) of Bishop Seth Ward, whose additions to the palace, after the Restoration, are mentioned elsewhere. The Izaak Walton, whose gravestone is near, was the son of the famous angler. Near is one to the memory of the father of the poet Young, and a modern tablet to Richard Hooker, author of "Ecclesiastical Polity."
In the south choir aisle is a rather interesting monument (51) to Bishop Davenant, who is usually credited with the honour of being one of the translators of the Bible. It is of white marble with two black Corinthian pillars, surmounted by a mitre and arms. There is also a tablet in coloured relief to the memory of Mrs. Wordsworth, wife of the bishop; and a brass, cruciform in shape, inserted in a polished granite slab, which forms a memorial to Canon Liddon.
Many other monuments of ancient and modern date that concern forgotten celebrities, or are of purely local interest, cannot be catalogued. Nor is it needful to insist on morals they mostly enforce, that really all recent works of this class lack the dignity which has given the word monumental a new meaning.
On the bench opposite is the monument (52), an altar tomb with shields and initials, of Bishop Salcot (or Capon), whose notoriety as a "time-serving courtier" is mentioned in another chapter.
A pseudo-classical monument near (53), with vine-leaves and grapes in green and gold entwined round black Corinthian pillars, is to the memory of Sir Richard Mompesson, knight, who is represented in armour, and Dame Katherine, his wife, clad in black robe with gold flowers.
THE CHAPTER HOUSE.
From a Photograph by Carl Norman and Co.[ToList]
Close to the south transept, in the choir aisle, is the altar tomb (54) of Bishop Mitford, 1407, which Britton rightly calls a noble monument. In the spandrils of the flat arch of its canopy are armorial shields. Lilies and birds, holding in their beaks scrolls, inscribed, "Honor Deo et gloria," are on its cornice. The shields on the north bear the bishop's arms and those of his see; on the south are quartered the arms of England and France, and the ensign of Edward the Confessor—the cross patonée surrounded by five martlets.
Here also is a modern altar tomb (55), from a design by Mr. G.E. Street, to the memory of John Henry Jacob, and a fine Jacobean monument with bust and Latin inscription to Lord Chief Justice Hyde.
Among many other post-reformation monuments are those to: Bishop Fisher (56) on the east wall; a canopied altar tomb (57) in the Gothic style to the memory of Edward and Rachel Poore (died 1780 and 1781), the collateral descendants of the famous bishop, and a marble slab set in a Gothic frame to Canon Hume (died 1834).
On the south wall of the nave (58) there is an effigy of Mrs. Eleanor Sadler, who died July 30th, 1622, and was interred "according to her owne desire under this her pew, wherein with great devotion she had served God dailie almost L years." Amid other monuments on this wall, dating from late in the seventeenth century to the present day, is a small tablet (60) to one of the most famous Salisbury men in modern times, the Right Hon. Henry Fawcett, M.P., late Postmaster-General, who died in 1884.
The Chapter House, which is entered from the eastern walk of the cloisters, dates probably from the time of Edward the First; later it may be, but certainly not earlier than the commencement of his reign, as, during certain excavations for underpinning the walls in 1854, several pennies of that king were found below its foundations. The architecture is somewhat later in style than that of the cloisters, and if it be not, as its admirers claim, the most beautiful in England, it has few rivals. Like Westminster, Wells, and other English examples, except York and Southwell, it has a central pillar, from which the groining of the roof springs gracefully in harmonious lines. A raised bench of stone runs round the interior. At its back, forty-nine niches of a canopied arcade borne on slight Purbeck marble shafts mark out as many seats. They are apportioned as follows: those at each side of the entrance to the Chancellor and Treasurer respectively, the rest to the Bishop, Dean, Arch-deacons, and other members of the chapter.
THE SOUTH SIDE OF THE CHAPTER HOUSE.[ToList]
BOSSES FROM THE CHAPTER HOUSE ROOF.
The plan of the building is octagonal, about fifty-eight feet in diameter and fifty-two feet in height. Each side has a large fanlight window with traceried head. Below these windows and above the canopies of the seats is a very remarkable series of bas-reliefs, noticed more fully later on. The bosses of the roof are somewhat elaborately carved; one north of the west doorway has groups of figures on it, apparently intended to represent armourers, musicians, and apothecaries, possibly commemorating guilds who were benefactors to the building; the others have foliage chiefly with grotesque monsters. On the base of the central pillar is a series of carvings taken probably from one of the many books of fables so popular in the middle ages. These were reproduced from the originals, which are preserved in the cloisters.
DETAILS OF SCULPTURES IN THE CHAPTER HOUSE.
From Photographs by Catherine Weed Ward.[ToList]
The quatrefoil over the doorway has an empty niche, and it is not possible to say with certainty whether it was originally filled by a crucifix, as Mr. Mackenzie Walcott infers from the symbols of the Evangelists in the angles of the panel; or, with a seated figure of our Lord in majesty; or, as a third archæologist has suggested, a coronation of the Virgin. Filling the voussoirs of the arch of the doorway are fourteen small niches containing subjects from the Psychomachia of Prudentius, the Battle of the Virtues against the Vices. The figures are not easily identified, but Mr. Burges, whose "Iconography of the Chapter House" is the most important monograph on the subject, suggests that on the right-hand side the figures in the third niche from the top appear to represent Concord triumphing over Discord; in the sixth, Temperance is pouring liquor down the throat of Intemperance; on the seventh, Fortitude tramples on Terror, who cuts her own throat. On the left hand in the first niche Faith is trampling on Infidelity; in the second, a Virtue covers a Vice with her cloak, while the Vice embraces her knees with one hand and stabs her with a sword held in the other. This incident is taken from Prudentius: "Discord by stealth wounds Concord; she is taken and killed by" Faith, which latter incident may be represented in the next compartment. In the fourth niche, Truth pulls out Falsehood's tongue; in the fifth, Modesty scourges Lust; in the sixth, Generosity pours coin into the throat of Avarice. To quote the words of the author from whom these interpretations are derived: "These sculptures are of the very highest class of art, and infinitely superior to any work in the chapter house; the only defect is the size of the heads: probably this was intentional on the part of the artist. The intense life and movement of the figures are worthy of special study." These allegories are common in paintings and sculptures of this period; at Canterbury the same subjects are incised on the pavement that surrounds the shrine of St. Thomas à Becket.
On the spandrils of the continuous arcade, sculptures in high relief once restored as far as possible in the original colours are now again scraped clean, and with the new heads to the figures look so modern that it is hard to believe they are contemporary with the building they adorn, yet since on the whole the restoration has been faithfully accomplished they may be studied as peculiarly valuable examples of early mediæval sculpture, showing certain naïve qualities that raise them far above the usual level of contemporary work. They are supposed to have been defaced by the Commission sitting in this building during the time of the Rebellion. The subjects are:
West Wall.
1. A Representation of Chaos.
2. The Creation of the Firmament.
North-west Wall.
3. The Creation of the Earth.
4. The Creation of the Planets.
5. The Creation of the Birds and Fishes.
6. The Creation of Adam and Eve.
7. The Seventh Day.
8. The First Marriage.
9. The Temptation of Eve.
10. Adam and Eve hiding.
North Wall.
11. The Flight from Paradise.
12. The First Labour.
13. Cain and Abel's Offering.
14. The First Murder.
15. The Punishment of Cain.
16. The Command to Noah.
17. The Ark.
18. The Vineyard of Noah.
North-east Wall.
19. Noah's Drunkenness.
20. The Building of Babel.
21. Angels appearing to Abraham.
22. Abraham entertaining the Angels.
23. The Destruction of the Cities of the Plain.
24. Lot's Escape.
25. Abraham and Isaac.
26. The Sacrifice of Isaac.
East Wall.
27. Isaac and Jacob.
28. Esau and Isaac.
29. Rebecca and Jacob.
30. Jacob and Rachel.
31. Rachel, Jacob, and Laban.
32. Jacob and the Angels.
33. The Angel touching Jacob's thigh.
34. Jacob meeting Esau.
South-east Wall.
35. Joseph's Dream.
36. Joseph relating his Dream.
37. Joseph in the Pit.
38. Joseph sold into Egypt.
39. Joseph's Coat brought to Jacob.
40. Joseph and Potiphar.
41. Potiphar's Wife.
42. Joseph accused.
South Wall.
43. Joseph in Prison.
44. Pharaoh's Baker and Butler.
45. Pharaoh's Dream.
46. Pharaoh's Indecision.
47. Joseph before Pharaoh.
48. Joseph as Ruler.
49. Joseph's Brethren.
50. The Cup placed in Benjamin's Sack.
South-west Wall.
51. The Discovery of the Cup.
52. His Brethren before Joseph.
53. Jacob on his Way to Egypt.
54. Joseph and his Brethren pleading.
55. Joseph protecting his Brethren.
56. Moses on Sinai.
57. The Miracle of the Red Sea.
58. The Destruction of the Egyptians.
West Wall.
59. Moses striking the Rock.
60. The Law declared.
SCULPTURE IN THE CHAPTER HOUSE.[ToList]
DECORATIONS IN THE GROINING OF THE CHAPTER HOUSE.[ToList]
The modern decoration of the chapter house includes stained glass of a geometrical pattern in the eight windows, which, if not peculiarly good, is harmless enough. Some diaper wall painting, shown in the photograph reproduced here, which until lately decorated the back of the arcade is now entirely cleaned off. The tiles of the floor have been reproduced from the designs of the original Norman pavement. The vaulted roof is re-painted in exact accordance with its original design. The marble shafts of the arcade are re-polished, and the central shaft has also been re-worked to a smooth surface. Gilding has been applied freely to the bosses of the roof and the capitals of the pillars. The ancient table, shown in the engraving, has also been restored; it is a very interesting specimen of early decorated furniture.
TOMB OF SIR JOHN MONTACUTE.
From a Photograph by Catherine Weed Ward.[ToList]