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 Planche 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.
[Illustration: ALTAR AND TRIPTYCH REREDOS IN THE LADY CHAPEL.
_From a Photograph by Witcomb and Son, Salisbury._]
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
archaeology 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.
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. Waaegen, 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."
In a niche of the east wall of the choir, behind an arcade of three
pointed arches with cinquefoil heads, is a Purbeck marble effigy (39)
of a bishop supposed by many to represent Richard Poore. It has been
ascribed to Bishop Bingham because its bearded face fails to agree
with that depicted on the seal of Bishop Poore, and also because an
entry in an old book of records says that he was buried on the north
side of the altar. This monument was removed by Wyatt to the
north-east transept, to what is supposed to have been its original
position. The effigy, whoever it represents, is a fine one, the
pastoral crozier of particularly graceful design; above it is an angel
supporting the circle of the sun and the crescent of the moon.
The slab which is believed to commemorate St. Osmund (40) is now
restored, and placed where his shrine stood formerly, between the
south choir aisle and Lady Chapel.
At the east end of the south aisle is the gorgeous monument (41) to
Edward, Earl of Hertford, son of the Protector Somerset, uncle of
Edward VI., and of his wife Catherine, sister to Lady Jane Grey. The
effigies are both in a praying attitude, the Earl in armour. It is
elaborately ornamented and splendid in gold and colours, restored by
order of the late Duke of Northumberland. It is more ornate than
modern taste desires, but still to call it "stately, though
tasteless," as does one chronicler, is somewhat harsher criticism than
is justified. It is seen in the illustration of the choir aisle given
here.
[Illustration: SOUTH CHOIR AISLE, LADY CHAPEL.
_From a Photograph by Norman._]
In the south wall is an altar tomb (42), now assigned to William
Wilton, Chancellor of Sarum (1506-23). On its cornice are shields
bearing the device of Henry VIII. and Catherine of Arragon, a rose and
a pomegranate; the arms of Bishop Audley, and those of Abingdon Abbey;
also the rebus W.I.L. and a Tun.
The monument (43) to Bishop Moberly, designed by Mr. Arthur Blomfield,
is an excellent example of the modern revival. The monument (44) to
Bishop Hamilton is also interesting as almost the last design prepared
by Sir George Gilbert Scott, and one well worthy of its author.
Next to the Hungerford iron chantry (45) is the monument (46)
ordinarily assigned to Bishop William of York, but, like many of the
bishops' tombs in this cathedral, without any certain clue to its
identity. It consists of a pointed, crocketed arch, terminating in an
elaborate finial; with a flat slab below, originally inlaid with a
brass.
[Illustration: SOUTH CHOIR AISLE, SHOWING THE HUNGERFORD
CHAPEL.
_From a Photograph by S.B. Bolas and Co._]
In the south choir transept is the very beautiful chantry (47) to
Bishop Giles de Bridport. On either side the gabled roof is carried by
two open elaborately moulded arches with quatrefoil heads, inclosing
two trefoil arches supported by clustered detached shafts. Each arch
has a triangular hood moulding, crocketed with carved finials. The
spandrils are ornamented with very interesting carvings. These have
been interpreted to mean: on the south side, the birth of the bishop,
his confirmation, his education, and possibly his first preferment; on
the north, the bishop doing homage for his see, a procession with a
cross-bearer (generally accepted as a memorial of the consecration of
the building by this bishop); his death; and finally his soul borne
up to heaven by an angel with outspread wings.
[Illustration: CHANTRY OF BISHOP BRIDPORT.
_From Britton's "Cathedrals."_]
The recumbent effigy has figures of censing angels at its head. The
whole style of this exquisite structure is akin to that of the
cloisters and the chapter house. The artists who executed the
sculptures are believed to have been contemporaries of Niccola Pisano.
A chantry was formerly attached to this monument, to the east of which
is a double aumbry, or cupboard, for the reservation of the sacrament.
Near this is a tablet to the memory of Canon Bowles, whose edition of
Pope plunged him into a bitter controversy with Lord Byron. He was
author of many books, including a Life of Bishop Ken. A large modern
monument to the late Bishop Burgess is against the south wall. On the
west wall is the monument (48) of Bishop Seth Ward, whose additions to
the palace, after the Restoration, are mentioned elsewhere. The Izaak
Walton, whose gravestone is near, was the son of the famous angler.
Near is one to the memory of the father of the poet Young, and a
modern tablet to Richard Hooker, author of "Ecclesiastical Polity."
In the south choir aisle is a rather interesting monument (51) to
Bishop Davenant, who is usually credited with the honour of being one
of the translators of the Bible. It is of white marble with two black
Corinthian pillars, surmounted by a mitre and arms. There is also a
tablet in coloured relief to the memory of Mrs. Wordsworth, wife of
the bishop; and a brass, cruciform in shape, inserted in a polished
granite slab, which forms a memorial to Canon Liddon.
Many other monuments of ancient and modern date that concern forgotten
celebrities, or are of purely local interest, cannot be catalogued.
Nor is it needful to insist on morals they mostly enforce, that really
all recent works of this class lack the dignity which has given the
word monumental a new meaning.
On the bench opposite is the monument (52), an altar tomb with shields
and initials, of Bishop Salcot (or Capon), whose notoriety as a
"time-serving courtier" is mentioned in another chapter.
A pseudo-classical monument near (53), with vine-leaves and grapes in
green and gold entwined round black Corinthian pillars, is to the
memory of Sir Richard Mompesson, knight, who is represented in
armour, and Dame Katherine, his wife, clad in black robe with gold
flowers.
[Illustration: THE CHAPTER HOUSE.
_From a Photograph by Carl Norman and Co._]
Close to the south transept, in the choir aisle, is the altar tomb
(54) of Bishop Mitford, 1407, which Britton rightly calls a noble
monument. In the spandrils of the flat arch of its canopy are armorial
shields. Lilies and birds, holding in their beaks scrolls, inscribed,
"Honor Deo et gloria," are on its cornice. The shields on the north
bear the bishop's arms and those of his see; on the south are
quartered the arms of England and France, and the ensign of Edward the
Confessor--the cross _patonee_ surrounded by five martlets.
Here also is a modern altar tomb (55), from a design by Mr. G.E.
Street, to the memory of John Henry Jacob, and a fine Jacobean
monument with bust and Latin inscription to Lord Chief Justice Hyde.
Among many other post-reformation monuments are those to: Bishop
Fisher (56) on the east wall; a canopied altar tomb (57) in the Gothic
style to the memory of Edward and Rachel Poore (died 1780 and 1781),
the collateral descendants of the famous bishop, and a marble slab set
in a Gothic frame to Canon Hume (died 1834).
On the south wall of the nave (58) there is an effigy of Mrs. Eleanor
Sadler, who died July 30th, 1622, and was interred "according to her
owne desire under this her pew, wherein with great devotion she had
served God dailie almost L years." Amid other monuments on this wall,
dating from late in the seventeenth century to the present day, is a
small tablet (60) to one of the most famous Salisbury men in modern
times, the Right Hon. Henry Fawcett, M.P., late Postmaster-General,
who died in 1884.
=The Chapter House=, which is entered from the eastern walk of the
cloisters, dates probably from the time of Edward the First; later it
may be, but certainly not earlier than the commencement of his reign,
as, during certain excavations for underpinning the walls in 1854,
several pennies of that king were found below its foundations. The
architecture is somewhat later in style than that of the cloisters,
and if it be not, as its admirers claim, the most beautiful in
England, it has few rivals. Like Westminster, Wells, and other English
examples, except York and Southwell, it has a central pillar, from
which the groining of the roof springs gracefully in harmonious
lines. A raised bench of stone runs round the interior. At its back,
forty-nine niches of a canopied arcade borne on slight Purbeck marble
shafts mark out as many seats. They are apportioned as follows: those
at each side of the entrance to the Chancellor and Treasurer
respectively, the rest to the Bishop, Dean, Arch-deacons, and other
members of the chapter.
[Illustration: THE SOUTH SIDE OF THE CHAPTER HOUSE.]
[Illustration: BOSSES FROM THE CHAPTER HOUSE ROOF.]
The plan of the building is octagonal, about fifty-eight feet in
diameter and fifty-two feet in height. Each side has a large fanlight
window with traceried head. Below these windows and above the canopies
of the seats is a very remarkable series of bas-reliefs, noticed more
fully later on. The bosses of the roof are somewhat elaborately
carved; one north of the west doorway has groups of figures on it,
apparently intended to represent armourers, musicians, and
apothecaries, possibly commemorating guilds who were benefactors to
the building; the others have foliage chiefly with grotesque monsters.
On the base of the central pillar is a series of carvings taken
probably from one of the many books of fables so popular in the middle
ages. These were reproduced from the originals, which are preserved
in the cloisters.
[Illustration: DETAILS OF SCULPTURES IN THE CHAPTER HOUSE.
_From Photographs by Catherine Weed Ward._]
The quatrefoil over the doorway has an empty niche, and it is not
possible to say with certainty whether it was originally filled by a
crucifix, as Mr. Mackenzie Walcott infers from the symbols of the
Evangelists in the angles of the panel; or, with a seated figure of
our Lord in majesty; or, as a third archaeologist has suggested, a
coronation of the Virgin. Filling the voussoirs of the arch of the
doorway are fourteen small niches containing subjects from the
Psychomachia of Prudentius, the Battle of the Virtues against the
Vices. The figures are not easily identified, but Mr. Burges, whose
"Iconography of the Chapter House" is the most important monograph on
the subject, suggests that on the right-hand side the figures in the
third niche from the top appear to represent Concord triumphing over
Discord; in the sixth, Temperance is pouring liquor down the throat of
Intemperance; on the seventh, Fortitude tramples on Terror, who cuts
her own throat. On the left hand in the first niche Faith is trampling
on Infidelity; in the second, a Virtue covers a Vice with her cloak,
while the Vice embraces her knees with one hand and stabs her with a
sword held in the other. This incident is taken from Prudentius:
"Discord by stealth wounds Concord; she is taken and killed by" Faith,
which latter incident may be represented in the next compartment. In
the fourth niche, Truth pulls out Falsehood's tongue; in the fifth,
Modesty scourges Lust; in the sixth, Generosity pours coin into the
throat of Avarice. To quote the words of the author from whom these
interpretations are derived: "These sculptures are of the very highest
class of art, and infinitely superior to any work in the chapter
house; the only defect is the size of the heads: probably this was
intentional on the part of the artist. The intense life and movement
of the figures are worthy of special study." These allegories are
common in paintings and sculptures of this period; at Canterbury the
same subjects are incised on the pavement that surrounds the shrine of
St. Thomas a Becket.
On the spandrils of the continuous arcade, sculptures in high relief
once restored as far as possible in the original colours are now again
scraped clean, and with the new heads to the figures look so modern
that it is hard to believe they are contemporary with the building
they adorn, yet since on the whole the restoration has been
faithfully accomplished they may be studied as peculiarly valuable
examples of early mediaeval sculpture, showing certain naive qualities
that raise them far above the usual level of contemporary work. They
are supposed to have been defaced by the Commission sitting in this
building during the time of the Rebellion. The subjects are:
_West Wall._
1. A Representation of Chaos.
2. The Creation of the Firmament.
_North-west Wall._
3. The Creation of the Earth.
4. The Creation of the Planets.
5. The Creation of the Birds and Fishes.
6. The Creation of Adam and Eve.
7. The Seventh Day.
8. The First Marriage.
9. The Temptation of Eve.
10. Adam and Eve hiding.
_North Wall._
11. The Flight from Paradise.
12. The First Labour.
13. Cain and Abel's Offering.
14. The First Murder.
15. The Punishment of Cain.
16. The Command to Noah.
17. The Ark.
18. The Vineyard of Noah.
_North-east Wall._
19. Noah's Drunkenness.
20. The Building of Babel.
21. Angels appearing to Abraham.
22. Abraham entertaining the Angels.
23. The Destruction of the Cities of the Plain.
24. Lot's Escape.
25. Abraham and Isaac.
26. The Sacrifice of Isaac.
_East Wall._
27. Isaac and Jacob.
28. Esau and Isaac.
29. Rebecca and Jacob.
30. Jacob and Rachel.
31. Rachel, Jacob, and Laban.
32. Jacob and the Angels.
33. The Angel touching Jacob's thigh.
34. Jacob meeting Esau.
_South-east Wall._
35. Joseph's Dream.
36. Joseph relating his Dream.
37. Joseph in the Pit.
38. Joseph sold into Egypt.
39. Joseph's Coat brought to Jacob.
40. Joseph and Potiphar.
41. Potiphar's Wife.
42. Joseph accused.
_South Wall._
43. Joseph in Prison.
44. Pharaoh's Baker and Butler.
45. Pharaoh's Dream.
46. Pharaoh's Indecision.
47. Joseph before Pharaoh.
48. Joseph as Ruler.
49. Joseph's Brethren.
50. The Cup placed in Benjamin's Sack.
_South-west Wall._
51. The Discovery of the Cup.
52. His Brethren before Joseph.
53. Jacob on his Way to Egypt.
54. Joseph and his Brethren pleading.
55. Joseph protecting his Brethren.
56. Moses on Sinai.
57. The Miracle of the Red Sea.
58. The Destruction of the Egyptians.
_West Wall._
59. Moses striking the Rock.
60. The Law declared.
[Illustration: SCULPTURE IN THE CHAPTER HOUSE.]
[Illustration: DECORATIONS IN THE GROINING OF THE CHAPTER
HOUSE.]
The modern decoration of the chapter house includes stained glass of a
geometrical pattern in the eight windows, which, if not peculiarly
good, is harmless enough. Some diaper wall painting, shown in the
photograph reproduced here, which until lately decorated the back of
the arcade is now entirely cleaned off. The tiles of the floor have
been reproduced from the designs of the original Norman pavement. The
vaulted roof is re-painted in exact accordance with its original
design. The marble shafts of the arcade are re-polished, and the
central shaft has also been re-worked to a smooth surface. Gilding has
been applied freely to the bosses of the roof and the capitals of the
pillars. The ancient table, shown in the engraving, has also been
restored; it is a very interesting specimen of early decorated
furniture.
[Illustration: TOMB OF SIR JOHN MONTACUTE.
_From a Photograph by Catherine Weed Ward._]
FOOTNOTES:
[7] "The Century Magazine," March, 1888.
[8] The numerals in brackets refer to the position of each monument as
shown on the plan.
[9] In 1448 Nicholas Upton the precentor tried to limit the choice of
the choristers to three candidates selected by the chapter; but this
attempt to curtail their privilege was successfully resisted by the
boys.
THE CATHEDRAL PRECINCTS.
The common practice of writers who are describing any one of our more
important cathedrals is to declare that altogether it may be fairly
called the most beautiful. So great is the fascination exercised by
continual study of a single mediaeval building which has escaped
destruction, or over-restoration, that such a statement may be
advanced in all good faith. In claiming, however, that the cloisters
of Salisbury are on the whole the most beautiful in England, it is
merely re-asserting what many critics of Gothic architecture have
already decided to be true. The cloisters of Gloucester are far
richer, the space they cover at Wells (like Salisbury, not a monastic
establishment) is greater, and in other details these may not be the
finest. But, as a whole, their beautiful proportion and the general
symmetry of their design make them worthy adjuncts to a building which
is pre-eminent for these special qualities.
Situated, according to the usual custom, on the south-west side of the
cathedral, with their western wall in a line with its west front, they
are exceedingly picturesque. Even so far back as the time of Leland,
we find him declaring that "the cloister on the south side of the
church is one of the largest and most magnificent in Britain." Yet, as
a recent critic has observed, from a purely technical point of view,
there is "too great a mass of blank wall above the arcade." The green
sward of the large garth, 140 feet square, with its covered walks, 181
feet long, on each side, and the fine group of cedars in the centre,
showing against the cool grey of the stonework realize the ideal of
that cloistered solitude so dear to the poets; it should not be
forgotten, however, that the arrangements of this cathedral are not
monastic, for it was never aught but a collegiate building. The style
is late thirteenth century with windows of exceedingly graceful
design; double arches with quatrefoils above, united in pairs with a
large six-foiled circle in the main head. The upper portions of the
tracery had, not so long ago, traces of coloured glass here and there,
but whether this feature was part of the original scheme is very
doubtful. The shafts, originally of Purbeck marble (replaced in 1854
by stone) both between and in the centres of the windows have simply
moulded capitals; while those of the clustered columns at the main
angles are carved. Modern opinion is inclined to date the beginning of
the work between 1260 to 1284; but so late as 1338, as a dated charter
in Bishop Wyville's time which refers to the enlargement of the
cloisters shows, they were not quite completed; hence it is inferred
that a part, possibly only one side, was built at first. The north
arcade is entirely independent of the south wall of the nave, the long
space between being known as the Plumbery. The garth is used as a
burial ground, and in the cloisters are many monuments, but none of
more than local interest, except possibly a tablet to the memory of
Francis Price (died Mar. 20th, 1753, aged 50), the cathedral
architect, whose excellent monograph devoted to the building is still
one of the most useful books of reference on the subject. The drawing
here reproduced from Britton's "Salisbury," shows the work before its
restoration by Bishop Denison; but it has been chosen because it
suggests the peculiar beauty of the place better than any photograph.
From the cloisters a very charming glimpse of the spire may be
obtained.