The "silent finger that points to heaven" has, beyond all comparison, its finest exemplar at Salisbury, and this record, although common as a household word, is, notwithstanding, none the less true and impressive, and ever returns with Tithonic vigour at each renewed contemplation. Graceful in the happiest degree in proportion, its great altitude gives a power to its slender beauty of form, altogether beyond the rivalry of its sister spires that spring with humbler charms from this land of ours. Thus it stands in grand isolated dignity, amid the long-swelling undulations of the Wiltshire hills, with base trending earth-ward, yet lost before touching the ground amid the blue mist that creeps with shrouding haze along the wolds,—but its fine-drawn point pierces with no uncertain intention the quiet amber of the evening sky.

It would be perhaps difficult to find any where, taken in sympathy with its peculiar associations, a picture more impressive and delightful. The purpose of its builders,—the object of its dedication,—its majesty of size and height, lifting itself as it were far from the busy haunts and homes of those, who living, nestle at its feet, or in death are laid beneath its protective shadow,—its dark-tinted, yet well-defined, heaven-ward rising, beautiful outline,—so suggestive in its form of the design of this life, scarce rooted in the earth, yet with apex cleaving the sky, and tinctured too akin with the gloomy tints of human uncertainty, summon a host of thoughts from the inner recesses of the soul, and bids the gazer on its fair proportion and upward glance ask himself as he views it, how far the resemblance reflects his own condition, what he was designed for, what he has made himself.

And now the attraction of its wonderful presence has drawn us nearer, and we are sitting contemplatively under one of the large elms in the Close where the grand proportions of the fine cathedral are before us. Almost oppressive for a while, is the realization of its great size, and the glance upward from the spirelets of the west front to the apex of the glorious spire, vanishing in the blue ether. But the eye must not dally with, nor dwell too lovingly on the delicate interlacery it is arrayed in, for however beautiful in itself, or when viewed alone, its decoration scarcely harmonizes with the bolder and more largely-defined ornamental details of the structure below; and the comparison at once assures us that this splendid addition was the offspring of a somewhat later age, but redolent of the truest and purest perception of architectural beauty, and was placed there with feeling akin to the tasteful hand that completes the cluster of gathered flowers with a tall spikelet of harmonious form, but of otherwise almost imperceptible contrasting beauty.

EFFIGY OF LORD CHENEY, SALISBURY CATHEDRAL
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What words may appropriately describe this almost unrivalled picture? Two lines from one of our greatest bards suggest themselves,—

"Simple, erect, severe, austere, sublime—
Relic of nobler days, and noblest arts!"

to which may be added that rare impression of unbroken harmony, and the pleasant satisfaction of this feeling clothes gratefully every aspect presented.

Singularly pleasant to the eye, also, and giving a sense of stability to this fine building, is the noble base-line of strong moulding that follows every length, angle, and recess, and adds the finish of completeness from spire to basement.

We enter, and within as without all is pure, severe, and uniform, the offspring of an age before men's minds and hands were wooed of their strength by the blandishments of ornament, and while yet they relied on the rare and noble simplicity of perfected outline, ever the most difficult of achievement, and, consequently when attained, ever the more enduring of pleasure. Those dark, slender shafts, with their deep-cut capitals, stand with airy but decided purpose from jutting quoin, or flank the strong arches, perfectly harmonizing with the contour of all about them; and while they relieve the monotony or severity of their surroundings, do not intrude on the eye, nor distract the attention further, but quietly and unobtrusively fill the true subsidiary position that should ever be assigned to ornament, and nothing beyond.