CHAPTER III

THE INTERIOR

The =Nave= was entirely rebuilt by Sir Arthur Blomfield in 1890-1897.

Not the least difficult part of the architect's work was the removal

of the unsatisfactory structure, of 1839-1840, without destroying the

few Norman and Early English features imbedded in the plaster and

brickwork, which it was desired to recover as far as possible, and

preserve intact and _in situ_. This has to a great extent been done,

thanks to the care with which the debased nave was taken to pieces,

every stone that was worth preserving being carefully released from

its accretions, measured, and reinstated in its proper place in the

new work. Fortunately the earlier nineteenth century builders had not

disturbed the bases of the old piers, but had contented themselves

with building round them, and when their superstructure was cleared

off, enough of the old work remained to show the position of every

pier, as well as the lines of the original ground plan. In nearly

every part also the old foundations were found satisfactory, though,

of course, they were thoroughly tested, and renovation generally

applied. The old lines have been adhered to throughout the

restoration, and the new nave is a practical reproduction of its Early

English predecessor in every detail, with the single exception to be

afterwards noticed. This minute adherence to the original includes

such intentional irregularities as the unequal distances between the

piers and the varying width of the aisles, which not only differ from

each other, but are not of the same width throughout in each case.

Ancaster stone has been chiefly employed, except in the roof, where

the ribs of the vaulting are of Bath stone, the filling being made up

of chalk and firestone.

The nave consists of seven bays on each side, divided by piers,

alternately circular and octagonal, like those in the choir, with

triple vaulting shafts on the north and south sides (the central shaft

in each case being of Purbeck), and a single shaft on the east and

west, corresponding with the interior order of the arches. The

vaulting shafts are banded. The deeply moulded arches are somewhat

loftier and more acutely pointed than those in the choir, placing the

triforia on a slightly higher level, but the triforia of nave and

choir are alike in that in both cases they consist of four arched

openings in each bay. Every bay is walled off from its neighbours on

either side, but has an opening at the back into a passage above the

aisles, which is continuous throughout nave and choir. In the

westernmost bay on either side, the triforium arcade has a wall

immediately behind the shafts. In the other bays it is recessed, and

open above the level of the aisle vaulting. In these respects the

architect has reversed the old arrangement, as in the original nave

the two westernmost bays had open triforia, the others simply

containing a shallow arcading. This arrangement, taken in conjunction

with traces of an incipient tower discovered within the two western

bays, seems to show that these bays were intended to form a narthex,

or vestibule, to the church, but it does not appear that the tower was

ever erected, or that the vestibule ever went beyond the conception.

The clerestory is lighted by plain lancet windows, enclosed in an

elegant arcading.

Entering the church by the great doorway at the south-west, and

looking towards the east, we get a fine perspective of over two

hundred feet, including the nave arcading in its three stages, the

groined and vaulted roof, and a good view of the choir, terminating in

Bishop Fox's fine stone screen, with the three-light window above it.

[Illustration: _Photo._ _G.P. Heisch._

THE CHOIR VAULT.]

In both aisles there is an interesting series of modern windows

intended to memorialise the great names associated with the Church,

the Borough of Southwark, and the history of England--all excellent

specimens of the revived art of glass-staining, and all at present

designed by Mr. C.E. Kempe. The visitor will find it convenient to

begin his examination of the interior at the =North Aisle=. The window

at the extreme west end of this aisle contains a figure of St.

Augustine of Hippo, as Patron of the Augustinian Canons, introduced

early in the twelfth century, when the Collegiate Church was

transformed into a monastery.

The next three windows are at present vacant, but they are already

destined for three great names included in the memorial scheme, viz.:

Oliver Goldsmith, Dr. Johnson, and Dr. Sacheverell, each of whom has a

place in the history of Southwark entitling him to commemoration in

the church. Goldsmith once set up as a medical practitioner at

Bankside. His friend Dr. Johnson was on friendly terms with the Thrale

family, whose successors (Messrs. Barclay, Perkins and Co.) still

retain the Doctor's chair on their premises. Dr. Sacheverell was

Chaplain at St. Saviour's from 1705 to 1709, and appears to have

engaged Johnson's attention, as a preacher, in his childhood.[22]

Beneath the Goldsmith window there is a fine relic in the shape of a

late =Norman Recess=, which has escaped serious mutilation. A

segmental arch, surmounted with a simple chamfered moulding with

quirks, supported at each end by a column with moulded base and

capital, would seem to indicate a seat rather than a tomb, and the

date as about the end of the twelfth century. Beneath the Johnson

window there is another Norman relic, of about the same date, in the

outline of the old =Canons' Doorway=, formerly connecting the aisle

with the cloisters. The extreme plainness of the moulding will be

contrasted with the elaborate work in the Prior's entrance further

east, on the exterior of the same wall. The next window contains a

memorial to Alexander Cruden, compiler of the Scripture Concordance,

who died on 1st November, 1770, and was buried in the parish. This

window is the gift of Mr. W.H. Francis.

John Bunyan is commemorated in the window beyond it, as having

preached and worked in Southwark, and as author of the immortal

"Pilgrim's Progress." The cost was defrayed by subscriptions from

children of the parish.

The next bay is occupied by a short two-light window (at present

plain), and by =John Gower's Tomb= in the space below. This fine

monument was removed to the east side of the south transept during the

destructive alterations of the early nineteenth century, but had been

worse treated by its friends in 1748, when a large sum was spent on

its "embellishment." Its history, combined with that of the Priors who

erected it, may be summed up in the opening words of the inscription

which was placed in a marble tablet at the back of the tomb to

commemorate the embellishment referred to, not without a touch of

sarcasm, though, of course, unintentional: "Hoc viri inter inclytos

memorandi." Gower died in 1408, eight years after his friend Chaucer.

He had been a liberal benefactor to the Church, and founded a chantry

in the Chapel of St. John the Baptist, where he was eventually buried.

The chapel and chantry are no more, but the monument marks the spot,

having been restored in 1894 to its first position. It is in the

Perpendicular style, and consists of an altar-tomb, with a dado,

ornamented by seven panels in front, on which lies the effigy of the

poet, surmounted by a canopy of three ogee arches, with an inner order

of five cusps, and terminating in crocketed pinnacles. There is a

pilaster set angle-wise at each end, banded at the separate divisions

of the monument, and also rising into crocketed pinnacles. There are

similar pinnacles between the arches of the canopy. Behind the canopy

is a screen, divided into open panels of three trefoil-headed lights.

The cornice at the top is modern, and the hands and nose of the figure

are restorations.

The poet is represented lying on his back, with his hands joined in

prayer, and his head resting upon the three volumes on which his fame

depends, the "Speculum Meditantis," "Vox Clamantis," and "Confessio

Amantis." He is vested in a long dark habit, buttoned down to the

feet, after the manner of a cassock, the ordinary dress of an English

gentleman at the time. There is a garland of four roses round his

head, and at his feet a lion couchant. The SS collar adorns the neck,

with a pendant jewel, on which a swan is engraved--the device of

Richard II, to whom Gower was Poet Laureate. On the wall of the

canopy, at the foot of the tomb, there is a sculptured and coloured

representation of the poet's own shield of arms, crest, and helmet. On

the back wall of the recess, above the effigy, there were formerly

three painted figures, representing Charity, Mercy, and Pity, each

bearing a scroll with an invocation, in Norman-French, for the soul of

the departed. After undergoing repainting more than once, with

modifications, the figures were scarcely recognisable in 1832, when

the monument was repaired, but the figures were unfortunately

obliterated. The inscription along the ledge of the tomb, which had

also been destroyed, is now replaced: "Hic jacet I. Gower, Arm. Angl:

poeta celeberrimus ac hoc sacro benefac. insignis. Vixit temporibus

Edw. III, Ric. II, et Henri IV." The short window above Gower's tomb

is not without suggestion in its vacancy. The last bay of the aisle

was occupied by the Prior's doorway, the existing fragments of which

are preserved _in situ_ on the exterior.

The window above it is most appropriately dedicated to Gower's

contemporary, Chaucer. It was presented by General A.W. Pigott in

memory of his sister, and was unveiled by the present Poet Laureate on

25th October, 1900, the fifth centenary of Chaucer's death. The artist

has succeeded in compressing a rather large subject into the single

lancet. The middle compartment depicts the pilgrims setting out from

the old "Tabard" inn, above which (in the upper division) rise the

tower of St. Saviour's and the spire of Canterbury, the starting-point

and the goal of the pilgrimage. The compartment beneath contains a

full-length figure of Thomas Becket, a study in ecclesiastical

vestments, his right hand raised in blessing, the left holding the

archiepiscopal cross. The whole is crowned with a medallion portrait

of the author of "The Canterbury Tales."

If the visitor will now turn to the right and take up a position

outside the chancel railings, he will probably be at the best point

for seeing the =East Window=, unless a strong light happens to be

behind it to bring out the details at a distance.

[Illustration: JOHN GOWER'S MONUMENT.

_From an engraving in the Crowle-Pennant Collection, British

Museum, 1801._]

It is placed in an elegant quintuplet arcading, the outer arches of

which are blind, leaving the central arches for the three lancets

composing the window. It contains the Crucifixion in the central

light, with the attendant figures of St. John and the Blessed Virgin

at the sides, the whole thus forming a pictorial substitute for the

rood-screen that formerly stood before the choir. The design of this

window is also by Mr. Kempe, but it shows a certain departure from his

characteristic style in that it is more of a picture and less of a

kaleidoscope than most of his other windows. In colouring and accuracy

of delineation (anatomical and otherwise) it is perhaps more modern

and less mediaeval in treatment than we should be led to expect from

the artist's better known manner. The predominant tone is blue,

relieved by a delicate base and canopy of amber, and the whole

composition is full of the devotional spirit of the old masters in

stained glass, though obviously subject to modern influences. A

complete contrast, in subject and in colouring, is presented in the

great =West Window=, by Mr. Henry Holiday. This window also consists

of three lancet lights, which, though considerably longer than those

at the east end, scarcely afford room for the many details of the

extensive theme that has been chosen. It is a combination of the six

"Days" of Creation with the _Benedicite omnia opera_ as a hymn of

praise from created nature. In some respects the treatment of the

subject suggests the influence of the school that we associate with

the names of Burne-Jones, William Morris, and Rossetti. This gift to

the Cathedral came from Mr. T.H. Withers. The space beneath the west

window, usually occupied by a porch, is lined with two series of

arched panels, seven in the higher row, nine in the lower. The latter

are less acutely pointed, and much shorter, than the others, and also

differ from them in that the shafts are of Purbeck marble.

On the inner south-west wall there are some extremely interesting

fragments of the ancient thirteenth-century wall arcade. The peculiar

construction can be inferred from the three arches that are left,

viz., that in every bay one of the three arches rested on a corbel,

while the others were supported by shafts, with moulded bases and

foliated capitals; a precedent which has been followed in the new

arcading on the west wall.

The =South Aisle.=--The window in the western wall contains a figure

of St. Swithun, in cope and mitre. He is here commemorated as having

converted the original "House of Sisters" into a College of Priests,

and, as it were, to balance the other conversion referred to in the

companion window in the north aisle.

[Illustration: _Photo._ _G.P. Heisch._

THE CHOIR FROM THE NAVE.]

Above the Early English arcading the westernmost bay contains a window

commemorating St. Paulinus. After the defeat of his patron, Edwin, at

the battle of Hatfield the saint fled from Northumbria into Kent

(_circa_ 633), where he acted as Bishop of Rochester till his death in

644. The connection of St. Saviour's with the See of Rochester, though

quite modern and now severed, is fittingly indicated by this memorial.

This extreme bay of the aisle constitutes the Baptistery, and the

scene chosen for illustration from the life of St. Paulinus represents

him in the act of baptizing a large number of people in a river.[23]

The =Font= stands below this window in its proper place near the

entrance. There was a time in the history of the English Church when

the symbolism of position was thought of less account than the

administration of the initial Sacrament "in the presence of all the

congregation" (_see_ the Rubric of 1549, repeated in Elizabeth's

Prayer Book), an object supposed to be defeated where the Baptistery

was at the west end, and enclosed, as was frequently the case. The

font was consequently removed in many churches towards the east, and

at St. Saviour's a special pew was provided near to it for the

sponsors. It was known as the "Christening Pew," but has long since

gone the way of the other incongruous wooden fittings. The new font,

in the old position, was presented by Mrs. Barrow in memory of her

husband, and designed by Mr. G.F. Bodley. It is made of Verde di Prato

marble, octagonal in shape, and rests upon a circular base surrounded

by detached pillars, all of the same material. The faces of the

octagon are concave, and without decoration, except that towards the

east, which displays a star in a sunk gilded panel.

=Dramatic Windows.=--The chief feature of this aisle is the fine

series of windows representative of the drama in the Golden Age of

Queen Elizabeth. The first of the series is devoted to Edward Alleyn

(1566-1626), who was "bred a stage player," and lived near the group

of theatres in Southwark, but is perhaps better known as the founder

of the splendid College of "God's Gift" at Dulwich.

The window was presented by the governor, old scholars, and friends of

the College, and was unveiled by the Duke of Connaught on 22nd June,

1898. Alleyn himself is represented as the central figure, reading the

charter of his foundation in the College Chapel, attended by Bacon,

Inigo Jones, and other contemporaries. The upper part of the window

contains Alleyn's portrait, and the lowest compartment a figure of

Charity holding a scroll with the appropriate quotation from Psalm

XXXIV, II.

The next three windows commemorate Francis Beaumont (1585-1616), John

Fletcher (1579-1625), and Philip Massinger (1583-1639). The first and

second of these great dramatists, so intimately associated in their

lives and in their writings, could hardly be separated in any

commemoration. They are accordingly here represented, not only in

adjacent windows, but combined by allegorical allusion in the first.

The design portrays David and Jonathan, with an inscription from the

opening verse of Psalm CXXXII (Vulgate): "Ecce quam bonum, et

jucundum: habitare fratres in unum."

[Illustration: _Photo._ _G.P. Heisch._

THE FONT AND THE THIRTEENTH-CENTURY WALL-ARCADE.]

The Scripture parallel was not quite verified in the case of the

poets. Fletcher certainly lies somewhere in St. Saviour's, but no man

knows the exact place of his burial. Beaumont lies in the more famous

Poets' Corner at Westminster. The "Beaumont" window was presented by

Mr. W.H. Francis, in memory of his father. The "Fletcher" window, in

the next bay, came from Mr. T.F. Rider, whose firm were the builders

of the nave. The subject chosen for illustration was suggested by the

dramatist's "Knight of Malta." St. John the Baptist stands in the

lower compartment, as Patron of the Knights of St. John, holding a

standard displaying the suitable word "Concordia." The ceremony of

Investiture, with attendant figures, fills the space above, surmounted

by the poet's head crowned with bay leaves.

The mantle of these great dramatists is acknowledged to have fallen on

Philip Massinger, commemorated in the next window. It was the first of

the series to be inserted, and was unveiled by Sir Walter Besant in

1896.[24] The subject is taken from Massinger's fine play, "The Virgin

Martyr," and represents an angel bearing flowers and fruits of

Paradise from the martyr (St. Dorothea) to a sceptical lawyer who had

asked for the token for his conviction. Below this central compartment

is a figure of St. Dorothea, and above it a medallion portrait of the

dramatist.

Massinger is buried in the church, as certified by an entry in the

"Parochial Monthly Accounts," but the same uncertainty attends his

remains as those of his friend Fletcher. There is a tradition that

they were both interred in one grave, which is not at all unlikely,

but no one knows where it is, their names on the chancel floor being

modern and counting for nothing.

The series of windows could only be appropriately concluded by one

great name, "the protagonist on the great arena of modern poetry, and

the glory of the human intellect" (De Quincey).

The Shakespeare window was presented by Sir Frederick Wigan, Bart., in

memory of his brother-in-law, Arthur Cecil Blunt. It is a triplet, and

displays in its central light an allegorical figure of "Poetry,"

supported by Shakespeare and Spenser in the lights on either hand.

Above the Muse the sacred Dove is hovering, symbolical of the divine

inspiration which we may presume guided the poets in their work, and

at the base is a quotation from Wisdom, viii, 4 (Vulgate): "Doctrix

disciplinae Dei, et electrix operum illius."

The faces of Edmund Shakespeare[25] and A.C. Blunt are introduced in

the quatrefoils of the heading, the former as buried in the church,

the latter the gentleman commemorated by the donor.

William Shakespeare is known to have lived near the old Bear Garden

and his own theatre, "The Globe," in Southwark, where his brother

Edmund also lived while trying his fortune on the stage. The immortal

name has, therefore, a direct association with St. Saviour's Church

and parish, entitling it to the special memorial.

The =Choir= was erected by Peter de Rupibus in the early part of the

thirteenth century. In its more mature and elaborate work it shows a

considerable advance on the simplest form of Early English, though the

apparently low elevation, and massiveness of the piers and lower

arcading, are obviously not free from Norman influences. It is divided

into five bays by alternate circular and octagonal piers, the dwarfed

appearance of which is relieved by triple vaulting shafts on the north

and south sides, and single shafts to support the arch mouldings. The

central shafts are not of Purbeck, as in the nave, and they are not

banded, except where crossed by the abacus moulding of the capitals

and the triforium string-course. The piers have all plain capitals and

well cut base mouldings. The triforium arcade, like that in the nave,

consists of four arched openings in each bay, and, unlike the

clerestory, has no continuous passage along the choir wall. Each bay,

however, has an opening at the back into the space between the vault

and roof of the aisle.

While both sides of the choir are alike in their main features, there

is an interesting difference in detail, especially to be noticed in

the greater simplicity of the south side, where the triforium capitals

are less elaborate, and the dog-tooth ornament is omitted from the

outer jambs of the openings.

On the south side, moreover, the arches have corbels, with sculptured

heads, to support their inner mouldings, in place of the full-length

shafts which occur on the responds at the ends, and on all the piers

of the opposite side. These differences, though perhaps partly

referable to the delightful vagaries of Gothic architecture, are

supposed to have a special significance at St. Saviour's, where the

north was the side of the Prior.

[Illustration: _Photo._ _G.P. Heisch._

THE CHOIR AND ALTAR SCREEN.]

The roof is not strictly original, most of it having been rebuilt in

1822-1824, when, however, the old material was worked in again as far

as possible, and the old quadripartite groining adhered to. It may be

noticed that the vaulting is carried out very systematically and

correctly, the only defect being that the wall-ribs die into the

vaulting surfaces, instead of being brought down to the clerestory

sill. The plough-share surfaces (as they are called) are nevertheless

well cut back to concentrate the lateral pressures against the

external buttresses. In the nave the new vaulting has the wall-ribs

properly supported by light shafts in the angles of the clerestory

openings, whilst in the transepts the inner archivolt of the windows

answers the same purpose.

[Illustration: _Photo._ _G.P. Heisch._

THE TRIFORIUM AND CLERESTORY OF THE CHOIR.]

It is highly probable that the choir formerly extended to the western

side of the tower, as indicated by the step between the nave and tower

pavement.

The =Altar-platform=, though raised seven steps above the nave

pavement, gives the altar a rather low elevation as compared with the

lofty Continental altars, whether abroad, or introduced here in recent

years on the Continental example. Herein it exhibits a peculiarity of

the English use, as illustrated in many pre-Reformation churches,

where the occasional deviations from rule can generally be accounted

for by the lofty crypt beneath, as, _e.g._, at Canterbury.[26]

Behind the altar rises the magnificent =Screen=, erected by Bishop Fox

in 1520, which almost fills the eastern end of the choir. This fine

work had been more or less mutilated through the iconoclastic zeal of

ultra-reformers, who deprived it of the sculptured figures in the

niches. It was further ill-treated during the architectural supremacy

of Sir Christopher Wren and his school, when the smaller canopies and

other projections were pared off to make a level surface for the

classical piece of woodwork placed in front of it. When this

incongruous structure was removed and the restoration taken in hand

(in 1833) by Mr. Wallace, liberties were again taken with the

unfortunate screen, more or less spoiling the design, though

undertaken on a good motive. Perhaps the least objectionable of these

innovations was the insertion of panels for the Creed, Lord's Prayer,

and Ten Commandments, in perpetuation of those in the wooden

altar-piece, where the formulae had been set up in the spirit of the

Injunctions of 1536 and 1538. Above the stages Mr. Wallace introduced

rows of angels, the highest row being surmounted by a cornice of

strawberry-leaf ornament for which there was no sort of precedent,

either in the original work here, or in other altar-screens of similar

character elsewhere.[27]

The screen is about thirty feet in height, and extends to the main

arcades on either side. Three tiers of canopied niches, ten in each

tier, divided down the centre by a perpendicular series of three

larger niches, all occupied by statues, made up a composition which

was at once "a thing of beauty" and an object lesson on the

Incarnation. The total number of niches (thirty-three) suggested a

mystic reference to the years of our Lord's earthly life, while the

image of the Pelican "in her piety," here and there, besides being a

reminder of Bishop Fox (whose peculiar device it was), also typified

the sacrament of the altar. The original materials of which the screen

was built are quoted as "Caen and fire-stone," for which Mr. Wallace

substituted stone from Painswick in Gloucestershire, as more easily

obtained and agreeing in colour with the old work.[28]

Above the altar the first architect had left a vacant panel (square)

possibly intending it for the reception of sculpture or mosaic. This

space, as well as some of the side panelling, was covered by the

Decalogue, etc., before mentioned. The space is now vacant, pending

the complete restoration of the screen, and is simply concealed by the

dorsal and lateral curtains. The doors on each side will be noticed,

with their depressed ogee headings, which indicate that this screen is

of somewhat later date than the corresponding one (also by Bishop Fox)

at Winchester. Another indication to the same effect has been detected

in the grotesque carvings in the spandrels, which are here of a

humorous character, whereas at Winchester the minor decorations are

entirely sacred, _e.g._, the Annunciation and Visitation.

On the north side of the choir, in the easternmost arch, is the

=Monument of Richard Humble=, erected by his son Peter in 1616. He

quotes his father in the inscription as "Alderman of London," which is

supposed to be inaccurate, as the prospective alderman, though

represented in the official gown, is said to have declined office for

political reasons. The monument is a good specimen of the Jacobean

style. Under an arched canopy, supported by Ionic pillars, Richard

Humble is kneeling at a small altar, or _prie-Dieu_, with his two

wives behind him, the second wearing a conical hat, his sons and

daughters being represented in bas-relief on the north and south sides

of the basement. On the altar side there are also some verses, by an

unknown author, in which human life is compared to "the damask rose

and blossom on the tree," with other images of its vanity and

shortness. There is a dash of Elizabethan vigour in the versification,

mixed with a certain quaintness which points to the decadence, and the

lines have been attributed to such different writers as Francis

Beaumont and Francis Quarles. The figures in the monument have been

"beautified" with imitations of marble and alabaster. The canopied

stalls for the Canons were erected as a memorial to Bishop Thorold,

from the diocese of Rochester, as notified on a plain brass tablet.

Those for the choir and cathedral officers were provided by an

anonymous benefactor. The absence of "return stalls" is accounted for

by the fact that St. Saviour's is a parish church as well as a

cathedral, for which reason it is desired to keep the choir as open as

possible.

[Illustration: _Photo._ _G.P. Heisch._

THE ALTAR AND THE HUMBLE MONUMENT.]

It may be here mentioned that the twelve boys who sing at the daily

services are known as "the Wigan Chanters," after Sir Frederick Wigan,

Bart., who has made provision for their salary, and the silver badges

to be worn by them on Sundays and holy days. The badges are engraved

on the face with the priory arms--"Argent, a cross fusilly gules: in

the dexter chief, a cinquefoil gules"--with an inscription on the

reverse.

The low wrought-iron chancel-railing was presented by Mr. Barclay;

the holy table (a classical wooden structure), by Mr. J.F. France, in

place of the former table, also of classical design, which has been

transferred to the retro-choir. The chalice and paten, crosses, vases,

books, embroidery, etc., have been bestowed from time to time by

various friends and worshippers.

[Illustration: _Photo._ _G.P. Heisch._

THE LADY CHAPEL OR RETRO-CHOIR.]

The =Retro-choir= (now known as the =Lady Chapel=) was erected by

Peter de Rupibus at about the same time as the choir, but in a much

lighter and more graceful fashion, which places it among the best

examples of Early English architecture in the country. The groined

vault rests on six slender pillars, with detached shafts. The

divisions thus formed make up twelve compartments of nearly equal

size. Perhaps the best general prospect is to be obtained from the

south-east corner, which takes in the whole length of the chapel, with

the altar, now on the north, and the tomb of Bishop Andrewes on the

western side. In the central bays on that side there were formerly two

arches open to the choir, one on each side of the space now occupied

by the tomb. These were converted into triplet openings during the

reign of Edward III, with flowing tracery in the head of each arch.

When Bishop Fox's screen was erected in the sixteenth century, these

openings were walled-up, and the doorways already mentioned inserted

below the tracery, in correspondence with the design of the screen, of

which they formed part, one on each side of the high altar.

Another good view is to be gained from the south-west corner, which

includes the series of triplet windows in the four eastern bays. The

northernmost of these was till recently occupied by the altar, but it

has been transferred to the central bay on the north side, thus

sacrificing the orientation for a supposed better position, in regard

to the general shape of the chapel, there being no central space for

it on the eastern side, where another altar was required to balance

the irregularity. Before the Reformation there certainly were two

altars on that side, one at each extremity, where piscinae were

discovered during the restorations of 1832. The piscina at the north

end was then restored, and is still in existence: as the other was too

far gone for repair, the space was filled up.

It has been conjectured that each of the four eastern bays formerly

contained an altar, one of them being dedicated to the Blessed Virgin.

This circumstance has probably contributed to the popular designation

of the retro-choir as the Lady Chapel, since the demolition of the

so-called "Bishop's Chapel," to which the title properly belonged.[29]

This "Little Chapel of Our Lady," as it was originally called,

extended eastwards from the bay (the second from the south), now

occupied by the "Benson" window, where two straight joints in the

masonry indicate the position of the arch that once led into it. In

the north-east angle is a slender shaft supporting a diminutive statue

of a bishop, in cope and mitre, with his right hand raised in the act

of benediction. This has taken the place of another figure, with

flowing hair, supposed to represent St. Mary Magdalene, to whom the

demolished church, adjoining the south choir-aisle, was dedicated.

Beneath this statue is a door, which used to give access to the

staircase in the turret already noticed in the angle outside. The

staircase, however, is destroyed. In the same bay on the north wall,

there is a stone bench, in the shape of a coffin, about nine feet

long. This has been assumed to be the burial-place of the Foundress,

but it is more probable that it was the base on which the "Easter

Sepulchre" was placed in Holy Week.

[Illustration: _Photo._ _G.P. Heisch._

TOMB OF BISHOP ANDREWES.]

In the south-west corner there is a small Gothic font. It was

presented by Mr. Charles Harris (Member for Southwark) in 1860, who is

himself commemorated in a tablet beneath the Jesse window in the south

transept. The font is still used for baptisms, the present Lady Chapel

being also the parish church.

The =Tomb of Bishop Andrewes=.--On the destruction of the so-called

"Bishop's Chapel" in 1830, the tomb was removed from its eastern end

to the honourable position it now occupies. There had been a fire in

1676, which destroyed the roof of the little chapel, and the canopy of

the monument, but the tomb and effigy were fortunately uninjured. The

canopy was not replaced, and the tablet which once stood at the feet

is now at the head of the recumbent figure. Otherwise the monument

remains in its original state, and is an interesting example of the

Renaissance style at a period of transition. There had been a doubt as

to the exact whereabouts of the Bishop's remains, some people thinking

they had been deposited in a vault beneath. The question was settled

at the removal, when the leaden coffin was found, resting on a cross

of brickwork, within the tomb. The coffin was exposed for a few days

for the public satisfaction, and then replaced in the interior of the

tomb, where it now lies. The painted figure above it represents the

Bishop vested in chimere and rochet, enveloped in a rich mantle, with

the cross of St. George, encircled by the Garter and motto of the

Order, "Honi soit qui mal y pense," embroidered on the left

shoulder--insignia to which Lancelot Andrewes was entitled as Bishop

of Winchester and Prelate of the Order. The head wears an academic

cap, and rests upon a cushion, and the right hand holds a book,

probably intended for the famous "Manual of Devotions."

The tablet at the head is surmounted by the arms of the See of

Winchester, impaled with the private arms of Dr. Andrewes, supported

by two figures in a sitting posture. These represent the cardinal

virtues, Justice and Fortitude, so conspicuous in the Bishop's life.

The figures formed part of the original decoration of the canopy. The

Latin inscription at the head is from an entry in Archbishop Laud's

"Diary," and shows a slight inaccuracy in grammar as well as in the

date. This is given as September 21st, 1626, whereas Dr. Andrewes is

known to have died on September 25th. The grammatical error is

unimportant, while the gist of the sentence sums up the life and

character of the departed in the brief form of an epigram: "Lumen

Orbis Christiani." The inscription at the foot simply refers to the

restorations of the monument in 1703 and 1810.

=The Windows in the Retro-Choir.= There is no ancient glass in the

Cathedral, the oldest being that in the windows here set up to the

memory of the Anglican martyrs, and chiefly remarkable as examples of

the art of glass staining at a bad period. Seven martyrs are thus

commemorated, viz., three in each of the extreme bays on the eastern

side, and one in the central bay on the south. Taking them in order,

the window at the north end is devoted to the Rev. Lawrence Saunders,

the Right Rev. Robert Ferrar, and the Rev. Rowland Taylor, each figure

occupying a separate light in the triplet. Entwined about the robes of

the third there is a scroll bearing the supplication from the Litany

in the early prayer-books against "the tyranny of the Bishop of Rome

and all his detestable enormities."

The corresponding window in the southernmost of the four eastern bays

contains the figures of the Rev. John Rogers, Bishop Hooper, and the

Rev. John Bradford.

[Illustration: _Photo._ _G.P. Heisch._

MARTYRS' WINDOW TO SAUNDERS, FERRAR, AND TAYLOR.]

The seventh of the martyrs is memorialised in the central window on

the south, viz., the Ven. Archdeacon Philpot, the three lights being

filled with pictorial scenes from his trial. He is here commemorated

as having suffered at the same time with the others, though he was

separately tried in the Bishop of London's house, by St. Paul's

Cathedral. The rest were tried in this very chapel, then (and still

occasionally) used as a Consistory Court. There is thus a peculiar

appropriateness in the local commemoration, and especially in the

position of the first window of the series, as it was in that

identical bay that the Royal Commissioners sat in judgement, and

pronounced sentence on the men they regarded as heretics. The lancet

on the eastern side of the "Philpot" window is dedicated to Grace

Pearse, and dated 1845. The other is at present filled with plain

glass awaiting a suitable commemoration. The two triplets between the

martyrs' windows on the east contain memorials to the Rev. W. Curling

(1879) and the Rev. S. Benson (1881), who were co-chaplains at St.

Saviour's.

These windows were contributed by the parishioners, and show some

advance on those to the martyrs in their scriptural subjects as well

as in their general treatment and colouring.

By far the best window is that of three lights on the north side. The

architecture is in the Decorated style with reticulated tracery, as

restored on the ancient model. The glass is modern, by Kempe, in his

best mediaeval manner, in which respect, as well as in subject matter,

the window presents a strong contrast to the earlier ones in its

neighbourhood. The three lights contain figures of King Charles I,

Thomas Becket, and Archbishop Laud, martyrs of another school, perhaps

equally worthy of remembrance, as having suffered for their opinions.

[Illustration: _Photo._ _G.P. Heisch._

WINDOW COMMEMORATING KING CHARLES I, LAUD, AND BECKET.]

On the western wall a granite tablet is to be noticed to the memory of

George Gwilt, the architect who did so much work at the church in his

day, and gave his services gratuitously during the restoration of this

chapel. He died at the age of eighty-one, in the year 1856, and is

buried in the family vault outside the southern wall.

The =Choir Aisles=, architecturally similar, differ very much in their

contents, which are more interesting in the north aisle. On the south

side of this aisle the Humble monument is conspicuously seen through

the choir railings. The opposite side is lighted by three windows,

more interesting in motive and association than in themselves. The

first of these was presented in 1867 by Mr. Benson, the chaplain

commemorated in the window already noticed in the retro-choir, and

represents St. Peter in the Chamber of Dorcas (Acts, ix, 39). The next

contains a picture of the Good Samaritan, erected in 1866 to the

memory of John Ellis. The third, of three lights, was inserted in 1858

to the memory of George Wood, surgeon, who was so much appreciated by

the parishioners that 670 of them contributed to the cost of his

memorial. The central light contains a picture of Christ healing a

cripple. The outer lights are at present plain.

In the wall beneath these windows two recesses will be noticed,

exactly alike in size, and in their segmental headed and traceried

canopies. Their proximity and close resemblance formerly led to the

conjecture that they were the tombs of the two Norman knights, William

Pont de l'Arche and William Dauncey, who co-operated with Bishop

Giffard in refounding the Priory. If this is the case, the tombs must

have undergone alteration at a later date, as the decoration is in the

Perpendicular style, and much more ornate than that of the recess at

the west end of the same wall, undoubtedly of late Norman, or

Transitional, design. The westernmost of the two, again, has been held

to be the burial-place of Thomas Cure, a local benefactor in the

reigns of Edward VI, Mary, and Elizabeth, who is commemorated by a

tablet within it. The Latin epitaph (1588) is a string of punning

allusions to his name. The most recent theory, and the most probable,

respecting the recesses, is that they mark the tombs of Priors

belonging to the Tudor period. The easternmost now contains the effigy

of a supposed _Crusader_, which, after undergoing many "translations"

from its unknown original place to the lumber of the church, and then

to a ridiculous upright position against the north wall, has now found

shelter in the recess which happens to hold it exactly. It is a

remarkably fine piece of oak carving, and represents a knight clad in

chain armour, consisting of a hauberk with sleeves, over which is

thrown a surcoat crossed by two belts, one round the waist for the

sword, the other crossing the body diagonally to hold the shield. The

cross-guard of the sword is of metal, and is probably a reparation.

The head wears a conical helmet, and the feet rest upon a lion. The

legs are crossed at the knees, and the knight is in the act of placing

his sword in the scabbard, both of which details are open to various

interpretations. Conjecture has also been busy as to the person

represented, who is now thought to have been a member of the de Warren

family, several of whom were buried in the church, and the style of

armour, unless a clever imitation, points to the date of Edward I or

Edward II. After having been overlaid with successive coats of paint,

which completely blocked up and concealed the delicate chain-work, the

figure has been more or less redeemed, but not restored to its

original colour. This appears to have been mainly a pale blue, not

unlike the real armour, but it is now coated with bronze.[30]

[Illustration: _Photo._ _G.P. Heisch._

EFFIGY OF MAILED KNIGHT.]

[Illustration: _Photo._ _G.P. Heisch._

THE TREHEARNE MONUMENT.]

The most conspicuous monument in the aisle is that of =John

Trehearne=, servant to Queen Elizabeth and "Gentleman Portar" to

James I. Flanked by two pilasters, carved in the Italian style,

supporting a plainer canopy, the monument consists of three parts:

first a plain base; then a plinth, on the front of which (in

bas-relief) are the four children of the deceased in a kneeling

posture; and, lastly, on the top of the tomb, the kneeling figures of

Trehearne and his wife in the picturesque costume and ruff collars of

the age. The principal figures are holding a tablet between them

inscribed with a eulogistic epitaph in English, the moral of which is

that if Trehearne's royal master could have retained his services, his

heavenward progress would have been considerably delayed. The Vestry

minute for 15th October, 1577 (quoted by Dr. Thompson), shows the

deceased to have been a passive resister in the matter of tithes, for

which he had to pay double in the long run. He died on 22nd October,

1618, and was buried the very next day. His wife died on 22nd January,

1645. She was followed by the eldest son on 22nd of August in the same

year, and they were all buried in the one grave.

A door in the aisle communicates with the =Chapel of St. John the

Divine=, at present used as a clergy vestry. Fortunately it has not

shared the fate of the companion chapel of St. John the Baptist. Up to

a quarter of a century ago it had been turned to account as a

Magistrates' Court, and still retains the Royal Arms over the large

pew erected for the purpose. This, with the iron safe and wooden

cupboards set up against the walls, still gives the chapel some of the

appearance of a Committee room, and helps to conceal some most

interesting architectural features. A shaft had long been visible on

the exterior which was thought to show signs of Saxon workmanship.

This fragment, added to the known fact that the chapel was one of the

oldest parts of the church, if not the oldest of all, has led to a

fuller examination in recent years, revealing the outlines of three

Norman arches in the inner walls, and still more recently the shafts

of a wall-arcade on the eastern side, apparently indicating an apsidal

termination.

Henceforth the chapel will be associated with the name of John

Harvard, who was born in the parish, and baptized in the church on

29th November, 1607, and its restoration is intended to take the form

of a memorial to that great and good man. It is not unlikely, in

fact, that his name will popularly supersede the original dedication

(almost forgotten already) much in the same way as the "Little Chapel

of our Lady" was overshadowed by the great name of Bishop Andrewes.

The first practical step in this direction was taken by the Hon.

Joseph H. Choate, who manifested great interest in the ancient fabric

while he was American Ambassador, and presented the east window to the

chapel in commemoration of John Harvard, founder of the renowned

university which bears his name. The window, 'unveiled by Mr. Choate

on Monday, 22nd May, 1905, is of three lights, transomed, as designed

by Sir Arthur Blomfield and Sons, the glass being made in America

under the supervision of Mr. Charles F. McKim, the famous American

architect. The design is by Mr. John La Farge. In the central light of

the lower division the Baptism of Christ is depicted, attendant angels

occupying the sides. The upper division contains the arms of Emmanuel

College, Cambridge, where John Harvard was educated, and of the

Harvard University, with its mottoes, _Veritas_ and _Christo et

Ecclesiae_. The base bears the inscription, "In memory of John

Harvard, founder of Harvard University in America, baptized in this

church, Nov. 29, 1607."

[Illustration: _Photo._ _G.P. Heisch._

THE HARVARD WINDOW.]

The window is a noteworthy example of modern work, and the treatment

of the familiar subject is distinctly original, in which respect, as

well as in colouring, it presents a very striking contrast to the

other windows, especially to those of mediaeval character, throughout

the church. Perhaps it is fortunate that it occupies an isolated

position in the chapel, where the brilliance and peculiarity of the

colouring are seen to full advantage without detriment to the other

windows.

It is hoped that this generous gift inaugurates the restoration of the

old chapel to its original dignity, as a worthy memorial to him whose

name will henceforth be inseparable from it. The intention is to equip

it with an altar and other necessary fittings for use at early

celebrations and small gatherings of people, at present without

accommodation. A new vestry for the clergy is badly wanted, as well as

for the choir, whose cassocks and surplices now hang in the adjacent

aisle.

The =South Choir Aisle= is lighted by a small lancet above the

entrance porch representing the Good Shepherd; by another lancet to

the memory of John Herd, an inhabitant; and by a window of three

lights. The last commemorates George Gwilt, the distinguished

architect who did so much for the restoration of 1832-3, elsewhere

described.

Two tablets in the same aisle are worth noticing. The first is a

brass, dated 1652, on the pier between the choir and aisle entrance,

in memory of Susanna Barford, who died at the early age of ten years

and thirteen weeks. The inscription quotes her as, "The Non-such of

the world for Piety and Vertue in soe tender years." Below these words

there is an epitaph in rhyming couplets and complimentary terms,

separated from the inscription by a death's head and crossbones, and a

pair of wings supporting an hourglass, on the dexter and sinister

sides respectively. This is the only brass with any approach to

antiquity in the Cathedral, though the matrix of another, evidently

thought more worthy of a private collection, has been detected in one

of the recesses, lately described, in the opposite aisle. The other

memorial is a plain marble slab, scarcely seen in the darkness between

the windows. It commemorates Abraham Newland, the model chief cashier

of the Bank of England, whose strict notions of duty would not allow

him to sleep a single night off the premises during the twenty-five

years of his appointment. He died in 1807, two months after taking his

pension, leaving £60,000, in the funds, to his landlady. This

inexpensive memorial is a token of her gratitude.

The =Organ=.--On the south side of the aisle is the organ-chamber

erected by Sir Arthur Blomfield and Sons, after much discussion as to

a suitable place for the new instrument, for which it was eventually

decided to build the chamber over part of the site once occupied by

the Magdalen Church. The old organ used to stand in the gallery at the

west end of the debased nave, and was since removed to the north

transept. When it was finally taken down it was unsaleable as a

musical instrument, and had to go for what it would fetch as so much

wood and metal. Some relics of it have, however, been preserved in the

shape of the large gilded angels which adorned its front. These are

now stored above the tall iron safe in the Harvard chapel. The present

organ and the chamber which contains it were both presented by the

late Mrs. Robert Courage as a memorial to her husband.

The new organ, built by Messrs. Lewis and Co., Limited, is of

peculiarly rich and pleasant tone. It contains more than 4,000 pipes

and consists of four manuals, with a system of interchangeable

composition pedals, the whole embodying the most recent improvements

for altering and combining the stops, and working the instrument to

the best advantage with the least exertion. The action is

electro-pneumatic, and the wind is supplied by a rotary hydraulic

engine.[31]

Imbedded in the pavement at the entrance to this aisle there is an

interesting collection of =Roman tesserae=, which have been carefully

preserved as an evidence of the antiquity of the site.

=The Tower.=--A great difference is to be noticed between the arches

of the east and west sides and those of the north and south. The

former are evidently of the same age (thirteenth century) as the nave

and choir, while the others indicate that the transepts were not built

till the following century. There is an important difference also

between the north and south arches, in that the shafts of the former

stop considerably short of the ground, whilst those on the south are

carried down to the pavement.

The moulding of the western arch is supported by the heads of a king

and queen (uncertain), and on the southern side of the eastern, or

choir, arch there is the head of a bishop.

Above the arches there is an open arcade on the four sides of the

tower, which communicates with the roof above the nave, choir, and

transepts. The comparatively modern ceiling, which limited the view

upwards within the tower, has now been removed, and the roof raised to

its original level beneath the ringers' floor. This new roof is of

oak, in which some bosses from its fifteenth century predecessor have

been inserted. Pendent from it is the fine =Chandelier= of wrought

iron and brass, presented to the church in 1680 by Dorothy Applebee,

who was buried within the sanctuary two years later. This chandelier

had been transferred to the choir during the degradation of the old

church, in which position it was by no means without precedent in

ancient churches, but its original place here was in the tower, to

which it has been restored.

Sir Arthur Blomfield's work included the complete restoration of the

tower windows and the interior walls.

The =Pulpit= comes from a relative of the Rev. W. Curling, the

chaplain commemorated in one of the Lady Chapel windows, and is

intended as a personal memorial to the same man. It is a delicate

piece of carved oak, somewhat out of character with the massive

stone-work around it, and is approached by a staircase still more

slender in appearance. The carving, however, is well executed, and

many notable sermons have already been preached from it, which, thanks

to the sounding-board, have been tolerably well heard throughout the

church.

The =Lectern= was presented by Mrs. Richard Hunt, in memory of her

husband. It is of bronze with a brass pedestal, and represents an

eagle holding a dragon in his claws.

The =North Transept= differs materially from the south in the

dimensions and character of the windows, which in the south transept

are larger and more elaborate. In the north transept there are three

on each side, those next the tower being simple lancets, the others of

two lights without tracery. All these at present contain plain glass.

The two-light windows are exact reproductions of the originals, from

fragments of which they were first restored by Mr. Wallace in 1833.

The exceptionally large window on the north side is the gift of Mr.

F.L. Bevan, and was unveiled by the Duke of Connaught on 22nd June,

1898, in double commemoration of the Prince Consort and the Diamond

Jubilee of Queen Victoria. The present window, by Mr. Kempe, takes the

place of an inferior one set up in 1861 to the memory of Prince Albert

shortly after his death.

It contains in its four lights the figures of Gregory the Great, King

Ethelbert, Stephen Langton, and William of Wykeham. The subjects were

chosen as illustrating important stages in the history of England and

the National Church, which it is sought to epitomize in the decoration

of this representative Cathedral.

It is supposed that this transept once formed a chapel dedicated to

St. Peter, and was screened off from the tower for that purpose. This

probably accounts for the fact that the piers of the tower arch are

left plain to the height of about 12 ft., above which begin the six

clustered columns similar to those which rise from the ground level on

the south side. The conjecture is supported by the discovery of an

aumbrey at the eastern end of the north wall, which of course implies

an altar and a chapel. The transept is now used as a sort of

ecclesiastical museum for antiquities previously distributed about the

church. Perhaps the most interesting, certainly the most ancient, of

these is a stone coffin, with a portion of the lid of Purbeck marble,

discovered during the restorations. There was a skeleton within it,

but _whose_ it is impossible to say, though the ornamental design on

the lid points to the twelfth century, and to a person of importance.

It bears a raised cross of unique pattern at the head of a stem which

obviously extended to the foot of the coffin. The arms of the cross

are of equal length and terminate in chain-work, the angles of

intersection being occupied by representations of the sun, crescent

moon, and stars. The symbolism of these figures has been variously

interpreted, and, as the coffin bears no date or inscription, it has

given rise to much speculation as to whether its occupant was one of

the Priors or a crusader. The skeleton, though said to have been

discovered in an almost perfect condition, contained no key to the

mystery.

A relic of the Norman age is preserved in the north wall, above the

aumbrey, viz., a portion of a string-course with billet moulding--a

further evidence of the age of this part of the church. The arches

between the choir and nave aisles are worth notice as architectural

curiosities. The former shows a strange angular introduction in the

moulding of its southern side. The latter has an acute arch, without

moulding, constructed within it, apparently to strengthen the walls.

On the floor by the eastern wall lies one of those charnel house

memorials, in the shape of a ghastly and desiccated human figure, of

the kind not uncommon in tombs of the sixteenth century. To whose

tomb this figure belonged there is no evidence to show.

Against the east and west walls are piled some curious bosses from the

old oak roof erected in 1469, after the stone roof had fallen down.

There were originally about a hundred and fifty of these grotesque

specimens of wood-carving, but there are now only about one-third of

them left, including those placed in the new roof within the tower.

[Illustration: _Photo._ _G.P. Heisch._

CARVED BOSSES FROM THE CEILING OF THE OLD NAVE

(FIFTEENTH CENTURY).]

The fine chest against the western wall was presented about the middle

of the sixteenth century by Hugh Offley and Robert Harding, Aldermen

and Sheriffs of London, who were related by marriage. The chest is

made of oak, with various fancy woods inlaid, _e.g._, walnut, pear,

cherry, box, rosewood, ash, yew, holly, and ebony, distributed over

the surface so as to bring their colours into agreeable contrast in

the design. This appears to represent the façade of a classical

building, the panels on the front of the chest being divided by the

pilasters of the architecture. The central panel contains the first

owner's initials, "H.H.O." The others hold the crests and armorial

bearings of the two families.

[Illustration: _Photo._ _G.P. Heisch._

THE AUSTIN MONUMENT (NORTH TRANSEPT).]

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.

There was formerly a doorway cut through one of the arches beneath

this window. The space is now filled up, restoring the arcading to its

original state, and the entrance transferred to the eastern wall,

where the inner porch occupies the space beneath the organ front.

There are three windows above, of three lights each, corresponding

with those on the opposite side, except in the tracery. The window

over the door, as well as that facing it, is in memory of Mr. Henry

Wood, Warden of the Great Account (1899-1900). The six divisions in

each contain the same number of figures from the Old Testament, viz.,

in the eastern window, Enoch, Noah, Moses, Abraham, Jacob, and Joseph;

and in the western, Isaiah, Jeremiah, Micah, Hosea, David, Ezekiel.

Both these windows are due to Sir Frederick Wigan, who presented them

in 1900.

Next to the "Wood" window, on the western side, there is another fine

one to the memory of Elizabeth Newcomen, a great benefactress to the

neighbourhood, buried in the church in 1675.[32]

This window came from the Governors and Scholars, past and present, of

the school which she founded, and from the parishioners. The glass is

by Kempe. The figures in the upper division are St. John Baptist,

Elijah, and Malachi; and in the lower, Zechariah, Solomon, and St.

Elizabeth, the last a tribute to the lady's own Christian name.

It will be seen from this description that there are three windows

awaiting subjects (and donors) in the south transept, two on the

eastern, and one on the western side. The whole series is intended to

illustrate the Gospel genealogy and the Incarnation, in continuation

of the idea suggested in the Jesse Tree.

The most important monuments in the south transepts are those of John

Bingham, Richard Benefeld, William Emerson, and the Rev. Thomas Jones.

The "Bingham" monument (1625) was formerly in the Magdalene Church,

whence it was removed to the west side of this transept when the

church was destroyed. An arched recess, flanked by consoles, contains

a half-length coloured effigy of the deceased, in gown and ruff. Below

this is a panel, surmounted by arches and supported by pilasters,

enclosing a tablet, with the inscription to John Bingham, Sadler to

Queen Elizabeth and James I. The spandrels of the arch above the

figure contain the arms of the City of London and the Sadlers'

Company. The family arms surmount the whole. Bingham is quoted in the

inscription as "a good benefactor to the parish and free school";

besides which he was one of the Trustees to whom the church was

conveyed by James I, and we have to thank him and his _confrères_ that

it has not gone the way of the Priory buildings formerly surrounding

it.

The "Benefeld" monument (1615) is chiefly interesting for its quaint

Latin epitaph. This speaks of his remains as purified by the

frankincense, myrrh, amber, etc., which symbolise the discipline of

life.

William Emerson and his family, ancestors of the better known Ralph

Waldo, were also good benefactors, especially to the poor of the

parish, who still enjoy the pensions founded by their bounty. The

inscription on William Emerson's monument (1575) describes him as

having "lived and died an honest man," and concludes with the warning,

_Ut sum sic eris_, illustrated by a small _memento mori_, in the form

of a skeleton, recumbent on the base.

An ornamental marble tablet (1762), on the south wall, commemorates

the Rev. Thomas Jones, who died of a fever contracted during his

parochial visitings, and was buried in a vault in the "Little Chapel

of Our Lady." He was chaplain at St. Saviour's from 1753 till he died

at the early age of thirty-three. A faithful and zealous evangelical

pastor at a period of general debility in the Church of England, he

was hampered throughout his ministrations by the governing body, who

not only had the right of selecting their ministers, but exercised a

jealous censorship on their teaching and practice, when they showed

any tendency to "unsoundness" or undue enthusiasm. Above the tablet

containing the inscription there is a bust of Mr. Jones, in the

clerical dress and necktie of his date, with a cherub on each side.

The architectural differences between the north and south transepts

are largely accounted for by the rebuilding of the latter, in the

fifteenth century, by Cardinal Beaufort.

On a pier by the transept door his work is commemorated in a

sculptured and coloured representation of his arms--the fleur-de-lis

of France, quartered with the lions of England--surmounted by a

cardinal's hat, with its tasselled strings, twisted into a

true-lover's knot, pendent on either side.

[Illustration: ARMS OF CARDINAL BEAUFORT.

_From "Church Bells."_]

Henry Beaufort, born in 1377, was a natural son of John of Gaunt by

Catherine, widow of Sir Hugh Swynford. His parents were married in

1396, and their issue legitimated by Richard II in the following year;

but the bastardy is supposed to be indicated in the _bordure compony_

surrounding the shield. Henry Beaufort was translated to Winchester in

1404, in succession to William Wykeham. He was raised to the

cardinalate in 1426, and died in 1447. Among the famous marriages that

have taken place in the church, perhaps the most famous is that

between James I of Scotland and the Cardinal's niece, Joan Beaufort,

in the year 1423, when the wedding banquet was served in the adjacent

Bishop of Winchester's palace.

In the restoration by Sir Arthur Blomfield, the windows of both

transepts were rebuilt, the pointed roofs raised to their old level,

and the walls underpinned and refaced (externally) with Box Ground and

Bath stone, in place of the inferior material employed in 1830, care

being taken to place the stone in the natural direction of the strata.

All whitewash and plaster facing have been stripped off the walls

throughout the old parts of the church, to make the restoration as

complete as possible, not only in the purity of the new work, but in

the removal of what was fictitious and incongruous from the old.

[Illustration: THE DIOCESE OF SOUTHWARK.]

FOOTNOTES:

[22] "When Dr. Sacheverell was at Lichfield (in 1712) Johnson was not

quite three years old. My grandfather Hammond observed him at the

Cathedral perched upon his father's shoulders, listening and gaping at

the much celebrated preacher. Mr. Hammond asked Mr. Johnson how he

could possibly think of bringing such an infant to church, and in the

midst of so great a crowd. He answered, because it was impossible to

keep him at home; for, young as he was, he believed he had caught the

public spirit and zeal for Sacheverell, and would have stayed for ever

in the church, satisfied with beholding him."--Boswell's "Life of

Johnson," Chap. I.

[23] Bede informs us that St. Paulinus baptized a number of people in

the Rivers Glen (= Bowent) and Swale, in Yorkshire. ("Eccles. Hist.,"

Book II, Chap. xiv.) The latter of these incidents is supposed to be

here depicted.

[24] Dr. Thompson gives a selection from the long list of subscribers,

which includes, besides nobility and clergy, many of the leading

actors, dramatic critics, and novelists of the day--showing the

widespread interest taken in the memorial.

[25] Edmund Shakespeare is described in the Burial Register as "a

Player," to which the Monthly Account adds that he was "buried in the

church with a forenoon knell of the great bell," costing 20_s._ (_Vide_

Dr. Thompson's "History.")

[26] The present elevation of the altar at St. Saviour's has been

criticised as above the level which a strict adherence to precedent,

here and elsewhere, required.

[27] _E.g._, Christ Church Priory, St. Alban's Abbey, All Souls',

Oxford, and Winchester Cathedral.

[28] See an interesting article signed "E.I.C." (E.J. Carlos), in the

"Gentleman's Magazine" for 1834, Part i, pp. 151-154.

[29] In Pennant "History of London" (1790), and Moss and Nightingale's

"History and Antiquities of St. Saviour's Church" (1817-1818), the

retro-choir is spoken of as "The Chapel of the Virgin Mary," in

distinction from that then known as "the Bishop's Chapel."

[30] In Seymour's "History" (1734), written when the figure was

standing upright, it is described as "new painted and flourished up,

and looking somewhat dreadful."

In Pennant's "History of London" (vol. i, edit. 1801), it is said to

have been removed from the north transept to make room for the Lockyer

monument (1672), and then set up against the north wall.

[31] For full particulars of the organ the reader is referred to the

specification in the Appendix, as furnished by the builders, Messrs.

Lewis and Co., Limited, Ferndale Road, Brixton, S.W.

[32] The veneration in which her name is held is further attested in

the parish, where the old street in the Borough, till recent years

known as King Street, has been renamed Newcomen Street.

CHAPTER IV

THE DIOCESE OF SOUTHWARK

The two dioceses with which St. Saviour's Church and parish have

hitherto been associated are Winchester and Rochester. The former was

originally one of the largest in England, extending as it did in one

direction from the south of London to the Channel Islands; the latter

the smallest of all, covering only a portion of the county of Kent.

Various changes have been made from time to time in the area of both

in attempts to equalise the duties of their Bishops, and to meet other

altering conditions. Of these changes the first that concerns us was

that made in August, 1877, when the parishes wholly or partly within

the parliamentary divisions of East and Mid Surrey (with two

exceptions) were transferred from the dioceses of Winchester and

London to Rochester. The Borough of Southwark, including St. Saviour's

Church, was thus brought from the jurisdiction of the first to the

last of these dioceses. In the following year the portion of Surrey

included in the transfer was formed into the new Archdeaconry of

Southwark; and a few months later (August, 1878) the patronage of the

benefices thus transferred, and hitherto held by the Bishops of London

and Winchester, was vested in the Bishop of Rochester. In 1879, in

1886, and again in 1901, the Rural Deaneries of Rochester were

rearranged, thus shifting more or less the boundaries of the Southwark

Archdeaconry. But the area of the Rochester Diocese was left

undisturbed till 1904, when "the Southwark and Birmingham Bishoprics

Act" of that year allowed the Diocese of Southwark to be formed out of

it. St. Saviour's had been popularly known as a _pro_-Cathedral for

some years previous to 1905, when it was formally constituted the

Cathedral of Southwark. The architecture of the fabric, with its long

history and associations, had long pointed to this fine church for the

purpose, for which it was further prepared by Sir Arthur Blomfield's

restoration, begun in 1890.

Dr. Anthony Wilson Thorold was appointed to the See of Rochester in

1877, and translated to Winchester in 1891. It was, therefore, in his

time that the first diocesan changes affecting St. Saviour's were

made, and the restoration of the church was actively taken in hand. By

far the most important part of this work was the rebuilding of the

nave, which he had the satisfaction of seeing well advanced before his

translation. Some of his predecessors had become alive to the

necessity of reducing the onerous duties of the See, but it was left

to him to give effect to their wishes by the creation of the

Archdeaconry of Southwark, with an eye to its forming the nucleus of a

separate diocese. His successor, Dr. Randall Thomas Davidson, now

Archbishop of Canterbury, lent his full energies to the work thus

begun, in which he was ably supported by the Suffragan Bishop of

Southwark, Dr. Huyshe Yeatman-Biggs, consecrated in 1891 and promoted

to the See of Worcester in 1905 in consequence of the episcopal

changes brought about by the Act of Parliament just mentioned. Before

Dr. Davidson's removal to Winchester in 1895, besides supervising the

restoration of Rochester Cathedral, he was able to do a good work more

directly concerning the Southwark Diocese, in the erection of the

Bishop's House by Kennington Park. The funds were provided by the

Ecclesiastical Commissioners from the sale of Danbury Palace, hitherto

the residence of the Bishops of Rochester, but now disposed of as

inaccessible and otherwise inconvenient. In place of it the new house

was built in the heart of the most thickly peopled part of the

diocese, within the Southwark Archdeaconry, and probably in view of

its ultimately becoming the residence of the Bishop of Southwark. Dr.

Davidson himself was not destined to occupy it, as it was not finished

till he was on the eve of translation. On 12th November, 1895, Edward

Stuart Talbot was enthroned as his successor in the See of Rochester,

and at once took up his abode at Kennington, where he will continue to

live at this easy centre of communication between him and his people

now that he is Bishop of Southwark.

It will be seen from the accompanying map that the new diocese has

been made to include the whole of the county of London south of the

Thames, and the Archdeaconry of Kingston, thus reducing the area of

Rochester to about half its previous size and relieving it of its

most thickly crowded portion.

The population of the diocese of Rochester at the census of 1901 was

2,254,947. The population of the Southwark Diocese at the present time

is roughly estimated at 2,000,000, rather more than less. It consists

of 294 parishes, ministered to by 687 licensed clergy, or about one to

every 3,000 people, except in South London, where the proportion is

about one to every 4,000.

Bounded on the north by the Thames, on the east, south, and west by

the dioceses of Canterbury, Chichester, and Winchester respectively,

the space enclosed presents an irregular figure varying from some

three miles in breadth, in its central portion, to about thirteen

along its southern frontier, and about twenty in its widest part

towards the north. Its greatest length in a straight line from London

Bridge to Felbridge is about twenty-five miles. Geographically the map

suggests a couple of small continents joined together by a sort of

isthmus in the middle, where the breadth is narrowed by the sweeping

bays, or inlets, formed by the encroaching dioceses on the right and

left.

By Letters Patent, dated 17th May, 1905, Dr. Edward Stuart Talbot,

previously Bishop of Rochester, was appointed to the newly-founded See

of Southwark. For its better organisation he lost no time in applying

to the Crown for the appointment of two Suffragan Bishops, suggesting

one for Woolwich, as a place of great national importance and a centre

of vigorous municipal and industrial life; the other for Kingston, as

representing the ancient and rural side of the diocese. By the

approval of His Majesty the appointments were made in the same month,

viz.: the Rev. John Cox Leeke, Hon. Canon of Rochester Cathedral and

Rural Dean of Woolwich, to be Bishop Suffragan of Woolwich; and the

Rev. Cecil Hook, Vicar of All Saints', Leamington, and Hon. Canon of

Worcester Cathedral, to be Bishop Suffragan of Kingston-on-Thames.

In one sense the most important difficulty to be overcome in the

formation of the new diocese was the raising of the capital to provide

for the endowment, a _sine qua non_ to the Parliamentary sanction. The

requisite sum was provided by voluntary contributions, great and

small, throughout the undivided diocese of Rochester, and throughout

the country; not the least interesting item being the "shilling fund,"

promoted by the Rev. T.B. Dover, Vicar of Maiden, which resulted in

an Easter offering of exactly £2,200. The capital was brought up to

£109,000 by the time the new appointments were made. It is intended to

provide a minimum income of £3,000 for the Bishop of Southwark, and a

house for his successor in the See of Rochester, in lieu of the house

at Kennington Park, transferred from the old to the new diocese. The

funds of the latter have since been augmented by a grant of £25,000

from the Bishop of London, out of the compensation money (£100,000),

paid by the City and South London Electric Railway Company for

undermining the City Church of St. Mary Woolnoth in order to build a

station. This sum of £25,000 is specially destined for church

extension, and Dr. Talbot set apart £2,000 of it, directly it was

granted, for that purpose in the Woolwich area.

Mr. Harry Lloyd, of Woodlands, Caterham, is acting as Hon. Treasurer

to the fund which has been opened for the complete equipment of the

diocese.

The Cathedral Church of St. Saviour is as yet without endowment, and

depends entirely upon voluntary offerings for its expenses. These were

estimated on the average at about £2,500 till last year, when the cost

of maintenance amounted to £3,096, besides which about £350 was

required for the College of Clergy. Attention was called to this

matter by the Ven. Archdeacon Taylor during his Visitation held in the

Cathedral on 25th May, 1905, when he made an earnest appeal to the

church people of the diocese for their help and sympathy on behalf of

the Cathedral, the Bishop and his Suffragans, and all concerned in the

work.

The duties before them, in the arrangement and control of the various

elements of which the diocese is composed, will obviously not be

light, but ought to be extremely interesting and rewarding. They will

have to deal with extremes, which may there be said to meet, in a

combination of rural and urban, ancient and modern, commercial,

industrial, and aristocratic life, a variety in unity such as the

Catholic Church itself presents, of which the diocese may be regarded

as a miniature.

"In veste varietas sit: scissura non sit."

[Illustration: THE PRIORY SEAL.

(OBVERSE. REVERSE.)]

APPENDIX

I

LIST OF THE PRIORS OF ST. MARY OVERIE

Appointed.

1. Aldgod 1106

2. Algar 1130

3. Warin 1132

4. Gregory 1142

5. Ralph 1150

6. Richard 1154

7. Valerianus 1163

8. William de Oxenford 1189

9. Richard de St. Mildred 1203

10. William Fitz Samari 1205

11. Martin 1206

12. Robert de Oseney 1218

13. Humphrey 1223

14. Eustachius 1240

15. Stephen 1253

16. Alan 1266

17. William Wallys 1283

18. Peter de Cheyham 1306

19. Thomas de Southwark 1326

20. Robert de Welles 1331

21. John de Peckham 1348

22. Henry Collingbourne 1359

23. John Kyngeston 1395

24. Robert Weston 1397

25. Henry Werkeworth 1414

26. John Bottisham 1452

27. Henry de Burton 1462

28. Richard Briggs 1486

29. John Reculver 1491

30. Richard Michell 1499

31. Robert Shouldham 1512

32. Bartholomew Linstede 1513

(_alias_ Fowle)

The last-named surrendered the Priory to Henry VIII in 1540, when he

was granted a pension of £100 per annum, and the use of a house within

the close. The aggregate granted to the other annuitants (eleven in

number), amounted to £70. The pensions were to be paid half yearly.

The annual value of the Priory at the surrender was estimated at £656

10_s._, from which "Reprisals," amounting to £32 3_s._ 6_d._, were

deducted by the Commissioners, leaving £624 6_s._ 6_d._ net.

II

THE PRIORY SEAL

The impressions given (p. 103) are taken from a fine, but imperfect,

sulphur cast in the British Museum (4050 lxxii, 66 and 67) of the Seal

in use in the twelfth century. It is circular, about 2-3/8 inches in

diameter, and contains, within a vesical compartment, a figure of the

Blessed Virgin, seated on a carved throne, holding a fleur-de-lis in

her right hand, and supporting with her left the Infant Saviour upon

her knee. The Holy Child is distinguished by a cruciform nimbus, while

that of the Virgin is a plain circle. The Child is raising the right

hand in benediction, and holds in the left an orb. The vesica is

bordered with a double dotted line, containing the salutation: "Ave:

Maria: gracia: plena: Dñs: tecum: benedicta." A similar border,

immediately within the circumference, holds the legend: "Sigillum

ecclesie sancte Marie de Suthewercha."

The space between the circumference and the vesica is occupied on each

side by two angels, with expanded wings, those above issuing from

waves, those below kneeling.

The reverse contains a small counterseal, 1-3/8 inch in diameter. The

figure is an angel, with nimbus and expanded wings, issuing from

waves, with (probably) an orb in the hands.

The inscription: "Ave: Mater: Misericordie."

It may be mentioned that the design of the seal varied with different

Priors. The British Museum possesses several casts, and an original in

red wax (attached to a deed), the design on which is indistinguishable.

The specimen chosen appears to be the most interesting and elaborate,

though not the most ancient, of those in the collection.

III

LIST OF THE CHAPLAINS OF ST. SAVIOUR'S

(Compiled by the Rev. Dr. Thompson, and here reproduced by his

permission.)

Appointed.

1. Rev. Kelle 1563

2. James Holyland 1564

3. Harman 1565

4. Styles 1578

5. Smythe 1582

6. Pattersle 1585

7. Hansonne 1585

8. Thos. Rattdcliffe 1585

9. M. Ed. Philips 1589

10. Butterton 1599

11. Marberry 1601

12. Currie 1603

13. Knapp 1604

14. Snape 1604

15. Church 1605

16. Symonds 1605

17. Francis 1606

18. James Archar 1614

19. Dr. Thomas Sutton 1615

20. Harris 1623

21. P. Micklethwaite 1625

22. Rev. Nicolas Morton 1627

23. Stephen Watkins 1654

24. Robert Knightly 1656

25. Dr. William Hoare 1678

26. Dr. Samuel Barton 1687

27. Dr. H. Sacheverell 1705

28. Dr. Thomas Horne 1709

29. Wainford 1724

30. Dr. Benj. Slocock 1725

31. John Smith 1729

32. Thomas Jones 1753

33. William Day 1762

34. Sambrook Russell 1768

35. Philip Batteson 1769

36. W. Winkworth 1794

37. W. Mann 1804

38. Thomas Bird 1807

39. Dr. W. Harrison 1808

40. W. Curling 1833

41. S. Benson 1843

42. Dr. W. Thompson 1879

NOTE.--An interval of over twenty years will be noticed between Nos.

24 and 25, during which the names of other "Ministers" appear in the

Registers.

It was the rule for two Chaplains to be in office at once till 1881,

when Dr. Thompson was made sole Chaplain. In 1885 he was appointed

Rector, and in 1897 Canon and Chancellor of the Collegiate Church.

The Rev. Mr. Kelle was dismissed in January, 1564, for refusing to

wear a surplice at the Communion; but in consideration of his old age

he was presented with the sum of £4, "by the good wyllys" of the

Vestry and Churchwardens.

Messrs. Holyland and Harman were then elected, as of a more compliant

temper, their "wages" being fixed at £20 a year "and not the

christenings, and to leave at a fortnight's warning." Mrs. Holyland

was to receive "for her wages" ten shillings.

By far the most prominent in the list is Dr. Sacheverell. The two

sermons which led to his impeachment were preached at the Derby

Assizes on 15th August, and at St. Paul's Cathedral on 5th November,

1709. These, with his published Answer and the Speech in his Defence,

delivered at Westminster Hall on the 7th March, 1710, are still

exciting reading.

IV

VESTMENTS, PLATE, AND ORNAMENTS AT ST. SAVIOUR'S[33]

An examination was made on the 20th October, 1552, by the agents

"assigned and appointed by the Commissioners, and by them sworn truly

to enquire and find out the whole of all such plate, jewels, and

ornaments, as since the beginning of the King's reign that now is

belonged to the Church of Saint Saviour in Southwark, as far as in

them lieth."

The duty of the agents involved a comparison of the goods which they

actually found in the church with the existing inventories, the most

important of which was the inventory made on 26th February, 1548, by

the retiring Wardens, and handed to their successors in office with

the property transferred to their care at the same time. The contents

of this inventory are as follows; the entries, however, have been

shortened and the spelling modernised:

Two principal copes of blue tissue "with priest, deacon, and

sub-deacon, with all their apparel."[34]

Three other principal copes of the same material with _ut supra_.

Three principal copes of red tissue with _ut supra_.

A cope of cloth of gold with _ut supra_ (lacking two albes and two

head-pieces).[35]

A cope of blue velvet embroidered with flowers with _ut supra_.

Three copes of white camlet embroidered with flowers with _ut

supra_ (lacking two head-pieces and two "fannelles").[36]

Three copes of white damask, with holy-water "sprynkes" with _ut

supra_.

A cope of white damask with flowers.

A cope of blue tinsel.

A cope of red worsted with flowers, and his vestment of the same,

and a deacon of red damask, lacking an albe.

A cope of blue worsted with l. and x.

A cope of silk "bawdekyn"[37] for Sundays.

A cope of black worsted with priest, deacon, and subdeacon, with

all their apparel.

Two "desk-cloths"[38] of blue with x. and l.

Two "desk-cloths" of silk with images.

A cope of white tissue given by "Maister Fowle."[39]

WORKDAY VESTMENTS.[40]

A vestment of red damask with an albe.

A vestment of red velvet with a green cross.[41]

A vestment of blue velvet with x. and l. and his albe.

A vestment of red velvet embroidered with moons and stars.[42]

A vestment of satin of Bruges, with a green cross, and a picture

of Our Lady and her Son.

A vestment of red "bawdkyn," with a lion of gold.

A vestment of "bawdkyn," with a crucifix.

A "cross-cloth"[43] of purple damask, with an image of the Trinity

of gold.

A "cross-cloth" of the same material, with St. Margaret.

A "cross-cloth" of green sarcenet, with the Assumption of Our Lady

in gold.

Two "lawnes" for the cross,[44] one blue and one white, both

fringed with gold.

Two "canabye-cloths,"[45] one of cloth of gold, the other of blue

velvet with flowers of gold, both fringed.

Seven corporas-cases.[46]

A fore front of cloth of tissue.

Two pieces of blue velvet, with flower-de-luces.

A fore front of white damask embroidered.

Two cloths of tissue for the High Altar.

A fore front of red worsted.

A cloth of red and blue to hang over the table of the High

Altar.[47]

A veil for Lent in the chancel.

Two hangings for Our-Lady altar (above and beneath) of red tissue.

Hangings for the same altar[48] (above and beneath) of white and

green damask embroidered with flowers.

Hangings of the Trinity altar, of red damask with flowers of gold.

Hangings of red silk for the same altar, with a picture of the

Trinity and Our Lady.

Another hanging of white taffata, with the Passion of Christ.

A black hearse-cloth[49] of worsted, with a white cross.

ST. JOHN'S ALTAR.

Hangings, above and beneath, of cloth of gold.

Two hangings of blue damask embroidered.

Two hangings of white chamlet embroidered with flowers.

Hangings of russet sarcenet embroidered with "iij levyd

gresse."[50]

One hanging of "dornyx."

BANNER-CLOTHS.

Two streamers of sarcenet, one blue, the other green.

Fourteen "cross-cloths," banner-cloths of all sorts, good and bad,

silk and other.

ALTAR-CLOTHS, ETC.

Eight altar-cloths of diaper, and four plain.

Nine surplices.

Three towels--two of diaper and one plain.

A cushion of green silk.[51]

A carpet[52] before the high altar.

LATTEN.

One holy-water pot.

Two pair of great standards.[53]

One pair of small [standards].

The best hearse-cloth of St. Katherine.[54]

The Trinity hearse-cloth.[55]

Two other hearse-cloths, good and bad.[56]

PLATE.

A monstrance of silver and gilt,[57] with a "burrall" (= beryl).

Two candlesticks of silver and parcel gilt.[58]

A pax of silver and gilt, with a "burrall."[59]

Two basons of silver and parcel gilt.[60]

A pair of censers of silver parcel gilt.[61]

A ship[62] of silver parcel gilt.

A single cross of silver parcel gilt.

A "maser" with a border and a "knop" of silver all gilt.[63]

Two pieces of silver "knoppis which was in the brest of the image

of the Resurrection."

Other lists follow, and contain goods and ornaments that were

missing, or that had been sold by various churchwardens since

the beginning of the reign of Edward VI.

From these we learn that the church had also possessed such

vestments and ornaments as the following:

"Item a vestment of blewe velvyt with a crosse of redde

velvyt sprenged with gold with all thinges perteyninge to

the same."

"All thinges perteyninge to the same" here includes the vestments

for the assistants, and the stoles, maniples, and apparels.

"Item a vestment of white bustyan, with a redde cross and all

thinges perteyninge to the same."

Evidently vestments of coarse white stuff such as were universal in

England during the first four weeks of Lent, cf. the "ash-coloured,"

or white vestments still worn on weekdays in Lent in the South of

France.

"Item an altar cloth hanginge afore the altare of redde silke

with a crucyfix."

This was probably the frontal used in Passiontide, _i.e._, from

Passion Sunday until Easter. Other Lenten ornaments were the

following:

"Item iiij paynted clothes for altar clothes in Lent."

"Item iij paynted clothes to hange upon saynt Katerynes and

saynt Margarettes in Lent."

The following is an interesting description of a panelled or striped

frontal and frontlet:

"Item an altar cloth for the frontur of thalter of redde

velvyt and yelowe & redde damask in paynes with Kateryn

wheles in the bordour above."

The sales are quoted as realising in all £165 17_s._ 8_d._, but

an addition of the separate items does not result in this

total.

The difficulties in the way of an exact calculation are (1) lax or

ambiguous entries, _e.g._:

"Item iiij chalyces wayng liiij onz. wherof ij communyon

cuppis were made by the said Calton (purchaser of a

previous lot) waynge but lij onz.... xvijs viii.d"

(2) The omission of prices, and (3) the disappearance of articles

quoted as "myssinge at the praysement of the vestry stuff," or (4)

"myssinge and not delyveryd to the now Churche wardens neither sold or

accompted for to thuse of the Churche."

The conclusion arrived at by the representatives of the parish is thus

stated: "And where yt is a parcell of our othe to present howe and to

what use the moneye cummynge of the sale of our ornamentes and plate

is employd and in what place of our church it is bestowed, to that we

saye yt is not in our wyttes to tell ... and surly yf there be not

moche more reparacyons done upon the said churche shortly yt will

utterly dekay."

The list of "plate and other things" left in the church is as follows:

Two communion cups with a cover all gilt.

Nineteen albes and six amices, lacking all their apparel,

"whereof the wardens have made sixteen surplices for the

choir, which was all that could be made of them."

Towels and tablecloths, good and bad, diaper and plain xij.

A cushion of green silk.

Three hearse-cloths, one of Our Lady, another of Saynt

Katheryne, and one of blue and red velvet.

Six "bells of accorde" and one small bell.

Which bells the parish bought of the late king of famous

memory king Henry the eight at the purchesing of the hole

church.

A bible and a paraphrases.

Three communion books and four psalters printed.

Two pair of good organs furnished.

A chest with two locks for the alms for the poor.

Five "great pieces of leed squayr lyeinge upon the bellowes."

This is followed by a _Memorandum_, which is not without a touch

of humour under the circumstances, pointing out that "it

appears in the accounts of Nycholas Stokbrige and his

companions (Wardens of the first and second year) that they

have not charged themselves in their book a good carpet and a

chapel bell."

(_Signed by_) THOMAS DYSON,

ROGER PYLFOLD, and

THOMAS DOWMAN.

The Inventories are given _in extenso_ among the "Inventories of the

Goods and Ornaments of the Churches in the County of Surrey in the

reign of Edward VI," carefully edited by J.R. Daniel Tyssen, Esq.,

F.S.A., for the "Surrey Archaeological Collections," from the original

documents in the Public Record Office.

FOOTNOTES:

[33] The explanations in the footnotes have been kindly furnished by

Mr. F.C. Eeles, Secretary to the Alcuin Club.

[34] The term "vestment" was often used to include not merely the

chasuble, but also the other vestments of the celebrant and his

assistant ministers; sometimes it also included the vestments of the

altar, the frontal and upper frontal; it nearly always included the

apparels, sometimes also the albe and amice, but at other times these

were reckoned separately among the linen.

Sometimes the vestments for the celebrant, the gospeller, and the

epistoler, were called "priest, deacon, and subdeacon," instead of

chasuble, dalmatic, and tunicle. Sometimes the last two vestments

(often identical in appearance) were both called dalmatics, or

"deacons," or were both called tunicles.

Apparels were pieces of coloured or embroidered material sewn on to the

albe and amice; they were on the skirt and sleeves of the former, and

the amice apparel was like a large embroidered collar. These additions

to the albe and amice were always used in England, and of course lace

was unknown in old times.

[35] The amices are here called "head-pieces," as they were properly

little hoods which could be turned up so as to cover the head, and were

actually so worn out of doors. The Dominican Friars still wear the

amice on the head when approaching the altar at mass.

Sets of vestments often had copes belonging to them. The cope was

required not only for use when censing altars at choir services, but

also for the celebrant in the procession which (like our Litany)

preceded the principal celebration of the Eucharist on Sundays.

[36] Fannelles = fanons or maniples.

[37] Cloth of gold.

[38] Hangings for lecterns.

[39] Probably the last Prior, alias Linstede.

[40] "Work-day vestments" means vestments for use on weekdays at low

masses.

[41] A vestment with a Latin cross on the back of the chasuble; these

were common in England in the sixteenth century.

[42] _Vide_ the design on the coffin-lid now preserved in the North

Transept (p. 89).

[43] A small banner which was hung on the processional cross.

[44] Probably curtains for hanging behind the rood.

[45] Canopies for hanging above the pyx, which contained the reserved

Sacrament, and was, as usual in England, suspended over the high altar.

N.B.--The Roman form of altar-tabernacle seldom if ever seems to have

been used in England.

[46] Burses, to keep the corporals in.

[47] The "table of the high altar" was the reredos, only exposed on

high days, this cloth or upper frontal concealing it at other times.

The reredos must not be confused with the great altar screen: it was

quite small, and was immediately at the back of the altar itself.

[48] "Hangings for altars above and beneath" include frontals and upper

frontals, the latter taking the place of the reredos, or being used to

cover it at ordinary times. Some of these hangings may be "riddels" or

curtains to hang at the ends of the altar. These used to hang at right

angles to the reredos, and close to the altar ends.

[49] _I.e._, a funeral pall.

[50] Shamrock or trefoil.

[51] A cushion to lay the altar book upon. Such cushions were often

very rich and handsome, and in the days of large books and fine

bindings were almost necessary. They were much more general than desks.

[52] _I.e._, a frontal; the same word is used in the Canon of 1603,

which orders a frontal.

[53] Four great standard candlesticks to stand on the pavement before

the altar. Large churches often had more than two standard lights. The

pair of small standards (the next entry) were probably for one of the

lesser altars.

[54] Probably included under "Latten" by mistake or carelessness.

[55] _Ibid._

[56] _Ibid._

[57] This ornament was used in one or two processions when the Holy

Eucharist was carried. The "burrall" is the glass in the middle wherein

the Sacrament was placed. Only rich churches possessed this ornament,

which was of very late introduction. It is needless to add that the

still more modern service of Benediction of the Blessed Sacrament was

never in use in England.

[58] Probably to stand on the high altar.

[59] Perhaps held a relic.

[60] To stand on the high altar for ornament.

[61] Two censers were commonly carried side by side in procession in

England.

[62] Incense-boat.

[63] The "maser" is quoted as "given to the Wardens when they meet to

drink on."

V

SPECIFICATION OF THE ORGAN

(Furnished by the builders, Messrs. Lewis and Co., Limited)

CHOIR ORGAN, C C TO C. 61 NOTES.

Lieblich-gedact 16 feet

Geigen Principal 8 "

Salicional 8 "

Dulciana 8 "

Lieblich-gedact 8 "

Salicet 4 feet

Flauto Traverso 4 "

Lieblich-gedact 4 "

Lieblich-gedact 2 "

Mixture (3 ranks) 2 "

Ten Key-touches for Couplers and fixed Combinations.

GREAT ORGAN, C C TO C. 61 NOTES.

Contra Viola 16 feet

Bourdon 16 "

Open Diapason, No. 1 8 "

Open Diapason, No. 2 8 "

Stopped Diapason 8 "

Flûte Harmonique 8 "

Octave 4 "

Flûte Harmonique 4 feet

Octave Quint 2-2/3 "

Super Octave 2 "

Cornet (3, 4, and 5 ranks) 2-2/3 "

Mixture (4 ranks) 1-1/3 "

Trumpet 8 "

Ten Key-touches for Couplers and fixed Combinations.

SWELL ORGAN, CC TO C. 61 NOTES.

Bourdon 16 feet

Open Diapason 8 "

Rohr-flöte 8 "

Viole de Gambe 8 "

Voix Célestes 8 "

Geigen Principal 4 "

Rohr-flöte 4 "

Flautina 2 "

Mixture (4 ranks) 1-1/3 "

Bassoon 16 "

Horn 8 "

Voix Humaine 8 "

Oboe 8 "

Clarion 4 "

Ten Key-touches for Couplers and fixed Combinations.

SOLO ORGAN, CC TO C. 61 NOTES.

Flûte Harmonique 8 feet

Vox Angelica 8 "

Unda Maris 8 "

Flûte Harmonique 4 "

Cor Anglais (Ten. C) 16 "

Bombarde 16 "

Clarionet 8 "

Orchestral Oboe 8 "

Tuba Magna 8 "

Trompette Harmonique 8 "

Solo Organ is inclosed in a separate Swell Box.

Ten Key-touches for fixed Combinations and Solo Stops.

PEDAL ORGAN, C C C TO F. 30 NOTES.

Great Bass 32 feet

Major Violon 32 "

Great Bass 16 "

Violon 16 "

Sub Bass 16 "

Dulciana Bass 16 "

Violoncello 8 "

Flute Bass 8 "

Flute 4 "

Contra Posaune 32 "

Posaune 16 "

Trombone 16 "

Trumpet 8 "

COUPLERS.

Choir to Pedal.

Great to Pedal.

Swell to Pedal.

Solo to Pedal.

Choir to Great.

Swell to Great.

Solo to Great.

Swell to Choir.

Solo to Swell.

Solo Octave.

Tremulant to Swell.

Six Pedals for Interchangeable Combinations.

Ordinary Swell Pedal for Solo Organ.

Balanced Pedal for Swell Organ.

Balanced Pedal for Crescendo over Entire Organ, including the Solo

Swell Shutters.

The entire action is Electro-pneumatic. The Console is detached and

placed behind the Choir Stalls.

INDEX

Aisles, choir, 81, _et seq._

Nave, North, 60.

Nave, South, 64.

Alleyn, Edward, 66.

Altar, 71.

---- Screens, 18, 28, 72.

Andrewes, Bishop, 25, 28, 43, 77-78.

Anglican Martyrs, 22, 78-79.

Applebee, Dorothy, 88.

Architectural remains, Early English, 17, 64.

Norman, 16, 52, 53, 60, 84, 89.

Barford, Susanna, Tablet, 86.

Beaufort, Cardinal, 17, 44, 95-97.

Beaufort, Escutcheon, 96.

Beaufort, Joan, 97.

Beaumont, Francis, 66.

Bells, 48.

Benson, Rev. S., 80, 81.

Blomfield, Sir Arthur, 34, 46, 48, 54, 57, 88, 93, 97.

Bosses from the old Ceiling, 90.

Browne, Sir Anthony, 38.

Bunyan, John, 61.

Chandelier, 88.

Chapels, the Bishop's, or Little Lady Chapel, 28, 30,43, 76, 77.

Lady Chapel, or Retro-Choir, 21, 42, 44, 75 _et seq._

St. John the Baptist, 18, 61.

St. John the Divine (Harvard), 16, 84.

Chaplains, introduction of, 24.

List of, 104.

Chapter House, 36-38.

Chaucer, Geoffrey, 62.

Child, Alwin, 20.

Choir, exterior, 43.

Interior, 69, _et seq._

Stalls, 74.

Coffin, ancient, 89.

Collegiate Church, 15 _n._

---- Chapter, 35.

---- House, 36.

Cruden, Alexander, 60, 61.

Crusader, effigy of, 81-82.

Cure, Thomas, 81.

Curling, Rev. W., 80.

Dauncey, William, 14.

Davidson, Archbishop, 34, 100.

De la Roche (de Rupibus), Bishop, 17, 42, 49.

Dimensions of the Church, 115.

Dissolution of Monasteries, 19.

Dollman, F.T., 34 _n._, 47, 48.

Doorways, Norman, 52, 60.

South-west, 49.

West, 18, 51.

Easter Sepulchre, 77.

Emerson, William, 95.

Exterior of the Church, 41-43.

Ferthing, Aleyn, 20.

Fletcher, John, 67, 68.

Font, 66.

---- In Lady Chapel, 77.

Foster Hall, 36.

Fox, Bishop, 18, 47, 72-73.

Giffard, Bishop, 15, 20, 49.

Goldsmith, Oliver, 60.

Gower, John, 17, 18, 61-62.

Gwilt, George, 30, 32, 42, 43, 47, 48, 54.

Burial-place, 44.

Memorial Tablet, 44, 80.

Memorial Window, 86.

Harvard, John, 84-86.

Memorial window, 54, 84-86.

Holy-water Stoup, 53.

Horne, Bishop, 23 _n._

James I, of Scotland, 97.

Johnson, Dr. Samuel, 60 _n._

Jones, Rev. Thomas, 95.

Lectern, 88.

Linstede, Bartholomew, 13, 19.

Massinger, Philip, 67, 68.

Muniment chest, 90.

Nave, exterior, North Side, 52.

Nave, exterior, South Side, 48.

Nave, exterior, West Front, 51.

Nave, exterior, Interior, 57-59.

Newcomen, Elizabeth, 94.

Newland, Abraham, tablet, 86.

Organ, 86-87.

Specification of, 111.

Ornaments and Vestments, sale of, under Queen Elizabeth, 23, 24.

Inventories and sales (Edward VI), 105, _et seq._

Overy, John, 15.

Overy, Mary, 14, 15.

Pews, introduced at the Church, 26.

Pont de la Arch, William, 14.

Priors of St. Mary Overie, 103.

Priory Seal, 104.

Pugin, A.W., quoted, 32.

Pulpit, 88.

Queen Anne, Escutcheon, 93.

Restorations, 33, 34, 48, 97.

Roman relics, 14, 54, 87.

Sacheverell, Dr., 60 _n._, 93.

St. Margaret, Church of, 20.

St. Mary Magdalene, Church of, 17, 21, 30, 44, 46, 76.

St. Mary Overie, etymology of, 15.

Traditional origin of, 13.

St. Thomas, Church of, 36.

St. Thomas's Hospital, 17.

Shakespeare, Edmund, 68-69.

Shakespeare, William, 68-69.

Southwark, Diocese of, 99, _et seq._

Sumner, Bishop, 32.

Talbot, Bishop, 34, 100-101.

Thorold, Bishop, 33, 34, 100.

Tombs and Monuments, Bishop Andrewes, 43, 77-78.

William Austin, 92.

Richard Benefeld, 95.

John Bingham, 94.

William Emerson, 95.

John Gower, 18, 61-62.

Richard Humble, 73.

Rev. Thomas Jones, 95.

Lionel Lockyer, 92.

John Trehearne, 83-84.

Tower, exterior, 47.

Interior, 87.

Transepts, North, 17, 88, _et seq._

South, 17, 44-47, 93, _et seq._

Vestrymen, 20, 21, 22.

Wallace, Robert, 30, 44-46.

Wigan, Sir Frederick, Bart., 34, 74, 93, 94.

Windows, East, 62.

West, 64.

In Nave, North Aisle, 60-61.

In Nave, South Aisle, 64-68.

In Choir, North Aisle, 81.

In Choir, South Aisle, 86.

In Lady Chapel, 78, _et seq._

Harvard, 84, _et seq._

In North Transept, 88.

In South Transept, 93.

Wood, George, 81.

Yeatman-Biggs, Bishop, 100.

CHISWICK PRESS: PRINTED BY CHARLES WHITTINGHAM AND CO.

TOOKS COURT, CHANCERY LANE, LONDON.

DIMENSIONS

Length of nave internal 104 feet.

Length of choir internal 78 "

Retro-choir from east to west internal 41 "

Total length internal 248 "

Breadth, including aisles internal 60 "

Retro-choir from north to south internal 61 "

Transepts from north to south internal 116 "

Transepts from east to west internal 26 "

Height of nave internal 55 "

Height of choir internal 53 " 6 inches.

Height of tower 129 " 6 "

(exclusive of the pinnacles,

which rise 34 feet above it).

Area internal 17,113 sq. "

[Illustration: St. SAVIOUR'S CATHEDRAL--SOUTHWARK.

SIR A. BLOMFIELD AND SONS _fect._]

* * * * *

+-----------------------------------------------------------+

| Typographical errors corrected in text: |

| |

| Page 67: CENTUNY replaced with CENTURY |

| Page 109: pertenyinge replaced with perteyninge |

| |

+-----------------------------------------------------------+