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]