Next to the north wall, on the left of the poet’s grave, is that of his wife, who died on August 6, 1623; a Latin inscription on a small brass plate marking the spot. Close by are also buried Thomas Nash, the first husband of Elizabeth Hall, Shakespeare’s grand–daughter, who died in 1647; Dr. John Hall, who died in 1635; and Susannah Hall, Shakespeare’s daughter, who died in 1649. The original lines on the grave of the latter were obliterated some time at the beginning of the eighteenth century, and an inscription to some one else put in their place. The lines were, however, restored in 1836.
Witty above her sexe, but that’s not all,
Wise to salvation was good Mistris Hall.
Something of Shakespeare was not that but this
Wholy of him with whom she’s now in blisse.
Then, passenger, ha’st ne’re a teare
To weepe with her that wept with all?
That wept, yet set her selfe to chere
Them up with comforts cordiall.
Her love shall live, her mercy spread,
When thou ha’st ne’re a teare to shed.
The stained glass in the east window dates from 1895. The “American” window, presented in 1885, is situated on the north side of the chancel, the subject of which is “The Seven Ages of Man.” The choir stalls are very handsomely carved, and contain grotesques on their misereres. The fine stained–glass window unveiled in 1896 by Mr. Bayard, the then American ambassador to this country, is another gift of admirers of the poet in the United States. The chancel screen, which now occupies a position across the chancel archway, was originally in the nave, and the former screen is placed in the north transept and forms the vestry.
In the Clopton Chapel are to be found a number of excellent memorials of the family, one of the finest being one against the wall of George Carew, Earl of Totnes, and Baron Clopton and Joyce his wife. The effigies of the Earl and Countess, which are of coloured alabaster, lie under an arch supported by Corinthian columns. The Earl is in armour, and the weapons and other warlike objects represented on the tomb commemorate the fact that he was the Master of Ordnance of James I. The High Tomb, which is without effigy or inscription, has numerous panels formerly adorned with “latten” shields. It was thought that this tomb was intended for Sir Hugh Clopton, Lord Mayor of London in 1492, from the fact that he left directions that if he died at Stratford he was to be buried there. He was, however, buried in St. Margaret’s, Lothbury.
Another interesting memorial placed against the north wall is that of William Clopton and his wife Ann. The recumbent effigies are respectively in armour and in a low–bodiced robe. William Clopton has his head resting upon his helmet, whilst on the head of his wife is a close–fitting hood with a peaked front. The tomb also has upon it effigies of their children, some of whom are depicted as in swaddling bands, indicating that they must have died in infancy.
Amongst the other objects of universal interest in this fine church are the old font, in which Shakespeare is supposed to have been baptized; and the ancient register of the church, wisely protected by a glass case placed at the western end of the north aisle, containing the entries of Shakespeare’s baptism and burial, and many other records of interest.
The Shakespeare Memorial buildings, which stand adjoining the Bancroft Gardens at the foot of Chapel Lane by the river, form an imposing and fairly picturesque pile in the Elizabethan style of architecture; but which, frankly, to most people must in its newness appear somewhat out of character with the general atmosphere of the old town. The buildings contain a Library; Theatre, capable of seating nearly 900 persons; a Picture Gallery; and Central Tower. The idea of a national memorial to the nation’s poet had been several times brought forward prior to the autumn of 1874, when Mr. Charles E. Flower presented the fine site on which the Memorial stands, and the sum of £1000, coupled with the suggestion that the Memorial should take the form of a Theatre. A committee was formed, and the first stone was laid on Shakespeare’s Day, April 23, 1877. The Theatre portion was opened on the same day two years later, and the whole building was completed in 1883. Many years before, David Garrick had made the suggestion that a “school for actors” should be founded at Stratford, but this idea—with several others mooted at various times—was never proceeded with.
In the Library, which is on the ground floor, are more than 10,000 volumes relating to Shakespeare, his works and times; a collection alike valuable to the student of the poet and to those who would seek to know what were the modes of life and manners of the Elizabethan age. The Picture Gallery contains some interesting portraits of famous actors and actresses, a copy of the Davenant bust of the poet, and a portrait of Shakespeare, from which some authorities claim that the Droeshout engraving was made. Whether this latter supposition is correct or not is still in dispute; and, indeed, around the whole question of its authenticity has raged a fierce battle, in which many artists and antiquarians of note have at various times taken part. The portrait is on an elm panel, and bears date 1609. The most interesting point is what became of the portrait from which Droeshout engraved his? For many years it had been untraceable, but some few years ago the picture in question was presented to the Memorial by Mrs. Flower. Such well–known authorities as Mr. Sidney Lee and Mr. Salt Brassington are inclined, for reasons into which it is impossible to enter here, to accept the portrait as that from which Droeshout engraved his, with which Shakespeare’s friend Ben Jonson would appear to have been satisfied as being a good representation of his dead friend. If authentic, it is unnecessary to add that it forms the most important relic of Shakespeare we have.
Of the many other pictures in the Gallery, the several portraits of Garrick by Reynolds, Pine, and others; the one of John Kemble by Sir Thomas Lawrence; Bell’s fine picture of Miss Ada Rehan as Katharina in “The Taming of the Shrew,” and subject pictures by Reynolds, Nomney, Opie, Smirke, and others claim especial notice.