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 It has lately been replaced by a triptych designed by Sir Arthur Blomfield, with very beautiful panels painted by Mr.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.