Photo. G.P. Heisch.
THE AUSTIN MONUMENT (NORTH TRANSEPT).[ToList]
On the western wall of this transept there is a remarkable monument, which cannot be better described than in the words of John Strype:
"The Austin Monument," he says, "is emblematical of Christ and of the Resurrection, according to the pious fancy of the devout Mr. Austin, who set it up at first. First, there is the representation of a rock, upon which is writ 'Petra erat X.T.S.', i.e., the Rock was Christ. Down this rock runs a stream of water, and through this same rock is creeping a serpent; whereby he strips off his old skin, which hangs on that part which is not yet got through. At the foot of this rock, and out of it, grows up standing corn, on which is a label with these words, 'Si non moriatur, non reviviscit,' i.e., if it dieth not, it liveth not again. Underneath this corn, upon the basis, is this significant motto, 'Nos sevit, fovit, lavit, coget, renovabit,' i.e., He hath sown, cherished, washed us, and He shall gather us together, and renew us. Upon the top of this rock standeth an angel; in his left hand a sickle, his right hand pointing up towards the sun shining in his glory, with a label upon the lower rays of it, 'Sol Justitiae,' i.e., the Sun of Righteousness. On the right and left sides of this monument are instruments of husbandry hanging by a riband out of a death's head, as ploughs, whips, yokes, rakes, spades, flails, harrows, shepherds' crooks, scythes, etc., over which is writ, 'Vos estis Dei Agricultura,' i.e., ye are God's husbandry. On the outside of these, on the right and left, are two harvest men with wings, the one with a fork, the other with a rake behind him. They are in light garments, sitting, and leaning their heads upon their hands, their elbows resting upon their knees, as weary and tired, and resting after their harvest work; and having straw hats on, very comely; underneath them these words, 'Messores congregabunt,' i.e., the reapers shall gather. Under all this is a winnowing fan, within which is the representation of a sheet of parchment, as it were, stretched upon it; on which is writ the inscription."
The inscription (Latin) agrees in its figurative language with the character of the monument. It practically states that William Austin had the tomb constructed, while he was yet alive, as a burial-place for his wife, his mother (Lady Clarke), and himself, and that the three were laid there in succession in 1623, 1626, and 1633. William Austin was a barrister, who wrote a number of devotional pieces in verse and prose. He died on 16th January, 1633, and his second wife published them in 1635, "as a surviving monument of some part of the great worth of her ever-honoured husband." The son William, like his father a poet and a lawyer, was also buried at St. Saviour's.
Another noteworthy monument is that on the north wall to Lionel Lockyer, inventor and patentee of the miraculous pills, "Radiis Solis Extractae," to be taken early in the morning against fogs, contagious airs, and all diseases known and unknown, to improve personal beauty, and make old age delightful. The glowing epitaph of twelve lines is at once a eulogy on the man, and a bold advertisement of the medicine. Lockyer died on 26th April, 1672. An air of sanctimonious benevolence will be noticed on the face of the recumbent doctor—probably a faithful portrait—not unlike the expression given to the quack doctor in one of Hogarth's famous pictures. The face of the cherub above wears a look of intense agony, which frivolous people are wont to attribute to the panacea. Higher up on the same wall there is a Hatchment, with the armorial bearings of the person to whom it refers, and the motto Resurgam. The conspicuous place and large characters look as if specially chosen with reference to the fabric, to which the word may well be applied.
On the east wall hangs an escutcheon of the arms of Queen Anne, with the motto Semper eadem. The arms seem to have been painted over some previous heraldic achievement, which includes the figures of "Justice" and "Mercy," or two similar characters, standing on a platform in the middle of a Rotunda. There is a peculiarity also in the omission of the year, which is usually given with the Royal Arms hung up in churches. The escutcheon is said to have been brought from the neighbouring Sessions Court, and set up in the first instance in the choir, to commemorate the visit of Queen Anne, when she came to hear Dr. Sacheverell. Appearances seem to show that it was repainted, and the Queen's initials inserted, to suit the occasion.
The South Transept.—The solid panels, noticed outside as diminishing the effect of the great south window, are accounted for in the interior, where the mouldings of two lofty arches occupy the wall, their apices reaching to the window sill. These the restorer has wisely left intact, and the window, seen from within, appears in admirable proportion, and well suited to its place. It is of five lights, and occupies the entire breadth of the transept. The style is described by the architect, Sir Arthur Blomfield, as "Transitional between Flowing Decorated and Perpendicular." Presented by Sir Frederick Wigan, Bart., in memory of his daughter, the glazing of this fine window was entrusted to Mr. C.E. Kempe. He has taken as his subject the "Tree of Jesse," as a connecting link between the scripture subjects represented elsewhere, and the modern historical windows, whether commemorating distinguished clergy or laity of the Catholic Church.