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You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at <a href = "http://www.gutenberg.org">www.gutenberg.org</a></pre> +<p>Title: Bell's Cathedrals: The Cathedral Church of Salisbury</p> +<p> A Description of its Fabric and a Brief History of the See of Sarum</p> +<p>Author: Gleeson White</p> +<p>Release Date: November 30, 2007 [eBook #23668]</p> +<p>Language: English</p> +<p>Character set encoding: ISO-8859-1</p> +<p>***START OF THE PROJECT GUTENBERG EBOOK BELL'S CATHEDRALS: THE CATHEDRAL CHURCH OF SALISBURY***</p> +<p> </p> +<h3 class="pg">E-text prepared by Jeannie Howse, Jonathan Ingram,<br /> + and the Project Gutenberg Online Distributed Proofreading Team<br /> + (http://www.pgdp.net)</h3> +<p> </p> +<div class="tr"> +<p class="cen" style="font-weight: bold;">Transcriber's Note:</p> +<br /> +<p class="noin">Inconsistent hyphenation in the original document has been preserved.</p> +<p class="noin">Errors in the List of Illustration page numbers have been corrected.</p> +<p class="noin">Click on the images to see a larger version.</p> +</div> +<p> </p> +<hr class="full" /> +<p> </p> +<p> </p> +<p> </p> + +<p class="cen"><i>First Edition, December, 1896.</i></p> + +<p class="cen"><i>Second Edition, revised, and with Eighteen additional Illustrations, +1898.</i></p> + +<br /> +<br /> +<br /> +<br /> +<hr /> +<br /> +<br /> +<br /> +<br /> + +<div class="img"><a name="frontis" id="frontis"></a> +<a href="images/frontis.jpg"> +<img border="0" src="images/frontis.jpg" width="45%" alt="SALISBURY CATHEDRAL FROM THE BISHOP'S PALACE." /></a><br /> +<p class="cen" style="margin-top: .2em;">SALISBURY CATHEDRAL FROM THE BISHOP'S PALACE.<br /><i>From a Photograph by Catherine Weed Ward.</i><span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<br /> +<br /> +<br /> +<br /> +<hr /> +<br /> + +<h3 style="margin-bottom: -1px;">THE CATHEDRAL CHURCH OF</h3> + +<h1 style="margin-top: -1px; margin-bottom: -1px;">SALISBURY</h1> + +<h3 style="margin-top: -1px;">A DESCRIPTION OF ITS FABRIC<br /> +AND A BRIEF HISTORY OF THE<br /> +SEE OF SARUM</h3> + +<br /> + +<h3>BY GLEESON WHITE</h3> + +<br /> +<br /> + +<h4>WITH FIFTY ILLUSTRATIONS</h4> + +<div class="img"><a name="arms" id="arms"></a> +<a href="images/arms.jpg"> +<img border="0" src="images/arms.jpg" width="18%" alt="Arms of the Cathedral" /></a> +</div> + +<br /> + +<h5>LONDON GEORGE BELL & SONS 1898</h5> + +<br /> +<hr /> +<br /> +<br /> +<br /> +<br /> + + +<h5>CHISWICK PRESS:—CHARLES WHITTINGHAM AND CO.<br /> +TOOKS COURT, CHANCERY LANE, LONDON.</h5> + +<br /> +<br /> +<br /> +<br /> +<hr /> +<br /> + +<h3>GENERAL PREFACE.</h3> +<br /> + +<p>This series of monographs has been planned to supply visitors to the +great English Cathedrals with accurate and well illustrated guide +books at a popular price. The aim of each writer has been to produce a +work compiled with sufficient knowledge and scholarship to be of value +to the student of archæology and history, and yet not too technical in +language for the use of an ordinary visitor or tourist.</p> + +<p>To specify all the authorities which have been made use of in each +case would be difficult and tedious in this place. But amongst the +general sources of information which have been almost invariably found +useful are:—firstly, the great county histories, the value of which, +especially in questions of genealogy and local records, is generally +recognized; secondly, the numerous papers by experts which appear from +time to time in the transactions of the antiquarian and archæological +societies; thirdly, the important documents made accessible in the +series issued by the Master of the Rolls; fourthly, the well-known +works of Britton and Willis on the English Cathedrals; and, lastly, +the very excellent series of Handbooks to the Cathedrals, originated +by the late Mr. John Murray, to which the reader may in most cases be +referred for fuller detail, especially in reference to the histories +of the respective sees.</p> + +<p class="right"> +<span class="sc">Gleeson White.</span><br /> +<span class="sc">Edward F. Strange.</span><br /> +<i>Editors of the Series.</i></p> + +<br /> +<br /> +<br /> +<br /> +<hr /> +<br /> + +<h3>AUTHOR'S PREFACE.</h3> +<br /> + +<p>The authorities consulted in the preparation of this book are too +numerous to quote in detail. But the admirable works by the late Rev. +W.H. Jones have been proved so full of useful information that the +service they rendered must be duly acknowledged, although in almost +every instance further reference was made to the building itself—or +to officially authenticated documents. Nor must the help of one of the +cathedral cicerones be overlooked, in spite of his desire to remain +anonymous; for his knowledge of the building served to correct several +mistakes in the first edition. One moot point concerning the bishop +commemorated by an effigy in the North Choir Aisle is left an open +question. Local authorities insist that it should be attributed to +Bishop Poore, antiquarians of distinction affirm that it represents +Bishop Bingham.</p> + +<p>The illustrations, with the exception of a few details from Britton +and Carter, are from photographs most courteously placed at my +disposal by Mrs. H. Snowden Ward, or from the series published by +Messrs. S.B. Bolas and Co., Carl Norman and Co. (now The Photochrom +Company, Ltd.), Poulton and Sons (of Lee) and Witcomb and Son, of +Salisbury, in each case duly acknowledged below the engraving.</p> + +<p class="right">G.W.</p> + +<br /> +<br /> +<br /> +<br /> +<a name="toc" id="toc"></a><hr /> +<br /> + +<h3>CONTENTS.</h3> +<br /> + +<div class="centered"> +<table border="0" cellpadding="1" cellspacing="0" width="70%" summary="Table of Contents"> + <tr> + <td class="tdl" width="80%"> </td> + <td class="tdr" width="20%" style="font-size: 80%;">PAGE</td> + </tr> + <tr> + <td class="tdl"><a href="#HISTORY_OF_THE_CATHEDRAL">History of the Cathedral</a></td> + <td class="tdr">1</td> + </tr> + <tr> + <td class="tdl"><a href="#THE_CATHEDRAL_EXTERIOR">Description of the Exterior</a></td> + <td class="tdr">16</td> + </tr> + <tr> + <td class="tdlp">Tower and Spire</td> + <td class="tdr"><a href="#Page_18">18</a></td> + </tr> + <tr> + <td class="tdlp">West Front</td> + <td class="tdr"><a href="#Page_25">25</a></td> + </tr> + <tr> + <td class="tdlp">North Porch</td> + <td class="tdr"><a href="#Page_32">32</a></td> + </tr> + <tr> + <td class="tdlp">Nave and Choir</td> + <td class="tdr"><a href="#Page_32">32</a></td> + </tr> + <tr> + <td class="tdl"><a href="#THE_INTERIOR">Description of the Interior—Plan</a></td> + <td class="tdr">37</td> + </tr> + <tr> + <td class="tdlp">Nave</td> + <td class="tdr"><a href="#Page_39">39</a></td> + </tr> + <tr> + <td class="tdlp">Transepts</td> + <td class="tdr"><a href="#Page_42">42</a></td> + </tr> + <tr> + <td class="tdlp">Monuments in the Nave</td> + <td class="tdr"><a href="#Page_43">43</a></td> + </tr> + <tr> + <td class="tdlp">Monuments of the Boy Bishop</td> + <td class="tdr"><a href="#Page_49">49</a></td> + </tr> + <tr> + <td class="tdlp">Choir Screen</td> + <td class="tdr"><a href="#Page_52">52</a></td> + </tr> + <tr> + <td class="tdlp">Organ</td> + <td class="tdr"><a href="#Page_52">52</a></td> + </tr> + <tr> + <td class="tdlp">Choir and Presbytery</td> + <td class="tdr"><a href="#Page_52">52</a></td> + </tr> + <tr> + <td class="tdlp">Roof Paintings</td> + <td class="tdr"><a href="#Page_53">53</a></td> + </tr> + <tr> + <td class="tdlp">Choir</td> + <td class="tdr"><a href="#Page_54">54</a></td> + </tr> + <tr> + <td class="tdlp">Choir Stalls</td> + <td class="tdr"><a href="#Page_57">57</a></td> + </tr> + <tr> + <td class="tdlp">Reredos</td> + <td class="tdr"><a href="#Page_57">57</a></td> + </tr> + <tr> + <td class="tdlp">High Altar</td> + <td class="tdr"><a href="#Page_58">58</a></td> + </tr> + <tr> + <td class="tdlp">East Transept</td> + <td class="tdr"><a href="#Page_61">61</a></td> + </tr> + <tr> + <td class="tdlp">Eastern Aisle</td> + <td class="tdr"><a href="#Page_63">63</a></td> + </tr> + <tr> + <td class="tdlp">Lady Chapel</td> + <td class="tdr"><a href="#Page_63">63</a></td> + </tr> + <tr> + <td class="tdlp">Monuments in Choir, etc.</td> + <td class="tdr"><a href="#Page_65">65</a></td> + </tr> + <tr> + <td class="tdlp">Chapter House</td> + <td class="tdr"><a href="#Page_71">71</a></td> + </tr> + <tr> + <td class="tdl"><a href="#THE_CATHEDRAL_PRECINCTS">The Cathedral Precincts</a></td> + <td class="tdr">80</td> + </tr> + <tr> + <td class="tdlp">Cloisters</td> + <td class="tdr"><a href="#Page_80">80</a></td> + </tr> + <tr> + <td class="tdlp">Library</td> + <td class="tdr"><a href="#Page_82">82</a></td> + </tr> + <tr> + <td class="tdlp">Muniment Room</td> + <td class="tdr"><a href="#Page_84">84</a></td> + </tr> + <tr> + <td class="tdlp">The Close</td> + <td class="tdr"><a href="#Page_86">86</a></td> + </tr> + <tr> + <td class="tdlp">Bell Tower</td> + <td class="tdr"><a href="#Page_87">87</a></td> + </tr> + <tr> + <td class="tdlp">Hungerford Chapel</td> + <td class="tdr"><a href="#Page_88">88</a></td> + </tr> + <tr> + <td class="tdlp">Beauchamp Chapel</td> + <td class="tdr"><a href="#Page_89">89</a></td> + </tr> + <tr> + <td class="tdlp">The Stained Glass</td> + <td class="tdr"><a href="#Page_91">91</a></td> + </tr> + <tr> + <td class="tdl"><a href="#HISTORY_OF_THE_SEE">History of the See</a></td> + <td class="tdr">95</td> + </tr> + <tr> + <td class="tdl"><a href="#THE_DIOCESE_OF_SARUM">The Diocese of Sarum</a></td> + <td class="tdr">99</td> + </tr> + <tr> + <td class="tdlp">List of the Bishops</td> + <td class="tdr"><a href="#Page_99">99</a></td> + </tr> + <tr> + <td class="tdl"><a href="#THE_CLOSE_AND_CHURCHES">The Close and Churches</a></td> + <td class="tdr">115</td> + </tr> +</table> +</div> + +<br /> +<br /> +<br /> +<br /> +<a name="toi" id="toi"></a><hr /> +<br /> + +<h3>LIST OF ILLUSTRATIONS.</h3> +<br /> + +<div class="centered"> +<table border="0" cellpadding="2" cellspacing="0" width="70%" summary="Illustrations"> + <tr> + <td class="tdl" width="70%"> </td> + <td class="tdrsc" width="30%" style="font-size: 80%;">PAGE</td> + </tr> + <tr> + <td class="tdl">Salisbury Cathedral, from the Bishop's Palace</td> + <td class="tdr"><a href="#frontis"><i>Frontispiece</i></a> </td> + </tr> + <tr> + <td class="tdl">Arms of the Cathedral</td> + <td class="tdr"><a href="#arms"><i>Title</i></a> </td> + </tr> + <tr> + <td class="tdl">Salisbury Cathedral, the West Front</td> + <td class="tdr"><i>Face</i> <a href="#imagep001">1</a></td> + </tr> + <tr> + <td class="tdl">Salisbury, from Walpole's "British Traveller"</td> + <td class="tdr"><a href="#headpiece">1</a></td> + </tr> + <tr> + <td class="tdl">The Cathedral from the South</td> + <td class="tdr"><a href="#imagep003">3</a></td> + </tr> + <tr> + <td class="tdl">The Cathedral and Bell Tower, from an old print</td> + <td class="tdr"><a href="#imagep019">19</a></td> + </tr> + <tr> + <td class="tdl">Portals of the West Front</td> + <td class="tdr"><a href="#imagep027">27</a></td> + </tr> + <tr> + <td class="tdl">Details of Main West Portal</td> + <td class="tdr"><i>Face</i> <a href="#imagep030">30</a></td> + </tr> + <tr> + <td class="tdl">One Bay of the Nave, Exterior</td> + <td class="tdr"><a href="#imagep033">33</a></td> + </tr> + <tr> + <td class="tdl">The Choir Screen</td> + <td class="tdr"><a href="#imagep036">36</a></td> + </tr> + <tr> + <td class="tdl">The Nave--looking West</td> + <td class="tdr"><a href="#imagep038">38</a></td> + </tr> + <tr> + <td class="tdl">The Nave--South Side</td> + <td class="tdr"><a href="#imagep040">40</a></td> + </tr> + <tr> + <td class="tdl">North Aisle</td> + <td class="tdr"><a href="#imagep041">41</a></td> + </tr> + <tr> + <td class="tdl">Nave Transept</td> + <td class="tdr"><a href="#imagep042">42</a></td> + </tr> + <tr> + <td class="tdl">Effigy of a Bishop</td> + <td class="tdr"><a href="#imagep044">44</a></td> + </tr> + <tr> + <td class="tdl">The Choir--looking West</td> + <td class="tdr"><a href="#imagep055">55</a></td> + </tr> + <tr> + <td class="tdl">The Reredos and High Altar</td> + <td class="tdr"><a href="#imagep058">58</a></td> + </tr> + <tr> + <td class="tdl">The Choir--looking East</td> + <td class="tdr"><a href="#imagep059">59</a></td> + </tr> + <tr> + <td class="tdl">Portion of the old Organ Screen</td> + <td class="tdr"><a href="#imagep062">62</a></td> + </tr> + <tr> + <td class="tdl">Piscina in South Choir Aisle</td> + <td class="tdr"><a href="#imagep063">63</a></td> + </tr> + <tr> + <td class="tdl">Altar and Triptych Reredos in Lady Chapel</td> + <td class="tdr"><i>Face</i> <a href="#imagep064">64</a></td> + </tr> + <tr> + <td class="tdl">South Choir Aisle, showing Lady Chapel</td> + <td class="tdr"><a href="#imagep068a">68</a></td> + </tr> + <tr> + <td class="tdl">South Choir Aisle, showing Hungerford Chapel</td> + <td class="tdr"><i>Face</i> <a href="#imagep068b">68</a></td> + </tr> + <tr> + <td class="tdl">Chantry of Bishop Bridport</td> + <td class="tdr"><a href="#imagep069">69</a></td> + </tr> + <tr> + <td class="tdl">The Chapter House--Interior</td> + <td class="tdr"><i>Face</i> <a href="#imagep070">70</a></td> + </tr> + <tr> + <td class="tdl">The Chapter House--Exterior, and Bosses</td> + <td class="tdr"><a href="#imagep072">72</a></td> + </tr> + <tr> + <td class="tdl">The Chapter House--Details of Sculpture</td> + <td class="tdr"><a href="#imagep073">73</a></td> + </tr> + <tr> + <td class="tdl">The Chapter House--Details of Sculpture</td> + <td class="tdr"><a href="#imagep077">77</a></td> + </tr> + <tr> + <td class="tdl">The Chapter House--Painted Decoration</td> + <td class="tdr"><a href="#imagep079a">79</a></td> + </tr> + <tr> + <td class="tdl">Tomb of Sir John Montacute</td> + <td class="tdr"><a href="#imagep079b">79</a></td> + </tr> + <tr> + <td class="tdl">The Cloisters</td> + <td class="tdr"><a href="#imagep081">81</a></td> + </tr> + <tr> + <td class="tdl">The Cloisters looking North</td> + <td class="tdr"><a href="#imagep082">82</a></td> + </tr> + <tr> + <td class="tdl">Rings found in the Lady Chapel</td> + <td class="tdr"><a href="#imagep084">84</a></td> + </tr> + <tr> + <td class="tdl">Hanging Parapet in the Close</td> + <td class="tdr"><a href="#imagep086">86</a></td> + </tr> + <tr> + <td class="tdl">Old Wall Painting, "Death and the Gallant"</td> + <td class="tdr"><a href="#imagep088">88</a></td> + </tr> + <tr> + <td class="tdl">Interior of the demolished Beauchamp Chapel</td> + <td class="tdr"><a href="#imagep090">90</a></td> + </tr> + <tr> + <td class="tdl">Fragments of old Stained Glass</td> + <td class="tdr"><a href="#imagep092">92</a></td> + </tr> + <tr> + <td class="tdl">Tomb of William Longespée, 1st Earl of Salisbury</td> + <td class="tdr"><a href="#imagep094">94</a></td> + </tr> + <tr> + <td class="tdl">Tomb of the Boy Bishop</td> + <td class="tdr"><a href="#imagep098">98</a></td> + </tr> + <tr> + <td class="tdl">Monument attributed to Bishop Poore</td> + <td class="tdr"><a href="#imagep103">103</a></td> + </tr> + <tr> + <td class="tdl">North Choir Aisle with Bingham Monument</td> + <td class="tdr"><a href="#imagep104">104</a></td> + </tr> + <tr> + <td class="tdl">Brass of Bishop Wyville</td> + <td class="tdr"><a href="#imagep114">114</a></td> + </tr> + <tr> + <td class="tdl">The High Street Gate, North and South Fronts</td> + <td class="tdr"><i>Face</i> <a href="#imagep116">116</a></td> + </tr> + <tr> + <td class="tdl">The Church House</td> + <td class="tdr"><a href="#imagep117">117</a></td> + </tr> + <tr> + <td class="tdl">The Poultry Cross</td> + <td class="tdr"><a href="#imagep118">118</a></td> + </tr> + <tr> + <td class="tdl">Old Plan of Salisbury</td> + <td class="tdr"><a href="#imagep119">119</a></td> + </tr> + <tr> + <td class="tdl">Plan of the Cathedral</td> + <td class="tdr"><a href="#imagep121">121</a></td> + </tr> +</table> +</div> + +<br /> +<hr /> +<br /> +<br /> +<br /> +<br /> + + +<div class="img"><a name="imagep001" id="imagep001"></a> +<a href="images/imagep001.jpg"> +<img border="0" src="images/imagep001.jpg" width="40%" alt="SALISBURY. THE WEST FRONT." /></a><br /> +<p class="cen" style="margin-top: .2em;">SALISBURY. THE WEST FRONT.<br /> +<i>From a Photograph by Carl Norman and Co.</i><span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<br /> +<br /> +<br /> +<br /> +<a name="HISTORY_OF_THE_CATHEDRAL" id="HISTORY_OF_THE_CATHEDRAL"></a><hr /> +<span class='pagenum'><a name="Page_1" id="Page_1">[1]</a></span><br /> + +<div class="img"><a name="headpiece" id="headpiece"></a> +<a href="images/headpiece.jpg"> +<img border="0" src="images/headpiece.jpg" width="75%" alt="Salisbury Cathedral." /></a><br /> +<p><span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<br /> + +<h3>HISTORY OF THE CATHEDRAL CHURCH OF S. MARY.<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a><span class="totoc"><a href="#toc">ToC</a></span></h3> +<br /> + +<p class="hang"><img src="images/t1.png" align="left" border="0" alt="T" style="margin-right: .75em;" />here is probably no cathedral church in Europe, certainly no other +English one, that has such a clear record of its history as Salisbury. +Whereas in almost every other instance we have only vague legendary +accounts of the original foundation of the building, in this case +there is a trustworthy chronicle of its first inception and each +successive stage of its progress extant.</p> + +<p>Owing to reasons noted in another chapter, the former cathedral at Old +Sarum was condemned to be abandoned, and a new site chosen for its +successor; Bishop Richard Poore, through whose efforts the change of +locality was effected, is said to have hesitated long before he could +find one suitable. Wilton, then a place of some importance, attracted +him first. There is a more or less accurate MS. extant which professes +to give an account of his tentative attempts to induce the Abbess of +Wilton to permit him to build his church in a meadow of her domain. An +old sewing-woman (<i>quaedam <span class='pagenum'><a name="Page_2" id="Page_2">[2]</a></span>vetula filatrix</i>) is said to have +attributed his frequent visits to quite another motive; she inferred +that the Bishop had a papal dispensation to marry, and was a suitor +for the hand of the Abbess. The negotiations failed: "Hath not the +Bishop land of his own that he must needs spoil the Abbess? Verily he +hath many more sites on which he may build his church than this at +Wilton," was the reply of the Abbess to his demand. During his period +of indecision the Virgin appeared to him in a vision, and commanded +him to build his new church in a place called Myr-field, or, as some +accounts have it, Maer-field. He searched vainly for a piece of ground +by that name, that he might obey the supernatural edict, until by +chance he overheard a labourer (or a soldier, the legends vary,) +talking of the Maer-field, and then having, as he thought, identified +the place, which appears to have been within his own demesne, he +commenced to plan the present building. Another tradition ignores the +dream, and says the site of the cathedral was determined by an arrow +shot from the ramparts of Old Sarum.</p> + +<p>Misled by the similarity of sound, the name Maer-field has been, +naturally enough, interpreted to mean Mary-field. The apparently +obvious form "Miry-field,"—as, according to Leland, it appears on an +old inscription,—in spite of the marshy nature of the site, is +probably a mere coincidence. Nor is Thomas Fuller's "Merry-field, for +the pleasant situation thereof," better worth attention. The generally +accepted theory at present is that <i>maer</i>, the Anglo-Saxon word for a +boundary, supplies the clue. A hamlet, Marton, near Bedwin, another of +the same name now corrupted to Martin, near Damerham, might each be +truly described as boundary-towns. In Wiltshire to-day 'mere-stone' is +the local idiom for a boundary-stone. Mere is alike the name of a +hundred and of a parish in Wilts, both near its borders. The site of +the present cathedral is at the junction of three ancient +hundreds—Underditch, Alderbury, and Cawdon—the south-east wall of +the close being the boundary line which divides the cathedral +precincts from Cawdon.</p> + +<p>Not only from the fact that the site was given by the bishop may we +infer that the Poores were a wealthy family; but his brother Herbert, +who was his immediate predecessor in the see, is described in the +Osmund Register, as <i>dives et assiduus</i> (rich and painstaking), and +Richard Poore before his enthronement was a benefactor to the +monastery of Tarrant, in Dorsetshire, his native village. Later we +find he gave a large estate at Laverstock to his new cathedral. Hence +the old theory that his name was derived from Poor or Pauper, as it +appears in several old chronicles, is untenable. Possibly like the +Irish Poer or Power, it may be traced to the word <i>puer</i>, used in a +restricted sense to denote the sons of royal or noble families not yet +in possession of their heritage. A Prince of Wales in past times has +been known as Puer Anglicanus, the Spanish "Infanta," the prefix +"Childe," have all been cited in support of this theory. It is said +indeed that the Childes trace their descent from the Le Poers, and +Childe-Okeford and Poorstock, two villages in Dorset are quoted in +evidence<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a>.</p> + +<div class="img"><a name="imagep003" id="imagep003"></a><span class='pagenum'><a name="Page_3" id="Page_3">[3]</a></span> +<a href="images/imagep003.jpg"> +<img border="0" src="images/imagep003.jpg" width="95%" alt="THE CATHEDRAL FROM THE SOUTH." /></a><br /> +<p class="cen" style="margin-top: .2em;">THE CATHEDRAL FROM THE SOUTH.<br /> +<i>From a Photograph by Messrs. Poulton.</i><span class="totoi"><a href="#toi">ToList</a></span></p> +<span class='pagenum'><a name="Page_4" id="Page_4">[4]</a></span> +</div> + +<p><span class='pagenum'><a name="Page_5" id="Page_5">[5]</a></span>Whatever the origin of his name there is little doubt that the Bishop +was wealthy, and absolute certainty that he was a powerful and capable +ruler—the whole story of his successful efforts to carry out his +scheme proves this much, were other testimony wanting. Even his choice +of a site is justified by results, although earlier accounts +unanimously agree in saying it was little better than a swamp. That +such descriptions of the place were true is evident enough; the +subsidence of the tower piers show that their foundation was insecure, +and the curious feature of a continuous base to the piers of the nave +prove also that provision was taken from the first to overcome this +obstacle. We have frequent records of floods to the extent at times of +causing the daily service to be suspended owing to the water actually +being within the building itself; as late as 1763 there is an account +of a specially high one thus interrupting the daily ritual. The whole +valley of the Salisbury Avon to its sea-mouth at Christchurch, about +twenty-nine miles distant is still under water for months at a time +during a wet winter.</p> + +<p>Of course the abundance of water has evoked the usual comparison with +Venice. Thomas Fuller, who for the sake of his usual sagacity may be +forgiven an allusion so unfounded, says: "This mindeth me of an +epitaph made on Mr. Francis Hill, a native of Salisbury, who died +secretary to the English liege at Venice—'Born in the English Venice, +thou did'st die, dear Friend, in the Italian Salisbury.'"</p> + +<p><span class='pagenum'><a name="Page_6" id="Page_6">[6]</a></span>One of the reasons most frequently alleged for the abandonment of Old +Sarum was its lack of water; but if it was deemed unadvisable to +acknowledge the political and administrative reasons which really +decided the change, it is just possible that the superfluity of water +was found useful as a plausible explanation of the removal on hygienic +grounds; or it may even be that the whole story of the scarcity of +water at Old Sarum was a later invention to excuse its unwelcome +abundance in the new locality. Bishop Douglas is credited with the +saying, "Salisbury is the sink of Wiltshire plain, the close is the +sink of Salisbury, and the bishop's palace the sink of the close." +Certainly the site lacks the natural dignity of position such an +edifice demands, and which Lincoln, Durham, Ely, and many another +English cathedral, show was frequently deemed essential. Thomas +Fuller, who occupied a stall at Salisbury, has written, "The most +curious and cavilling eye can desire nothing in this edifice except an +ascent, seeing such as address themselves hither can hardly say with +David, 'I will go up to the house of the Lord.'"</p> + +<p>The temporary chapel of wood, commenced on the Monday after Easter in +1219, must have been a modest structure, since on the next Trinity +Sunday the Bishop celebrated mass, and the same day consecrated a +cemetery there.</p> + +<p>In the MS. by William de Wanda, precentor and afterwards dean of +Sarum, preserved in the Cathedral Library, we have a record of the +very first ceremonies connected with the Cathedral, which being +probably trustworthy in the main is so curiously interesting in +itself, that it deserves quoting freely, from the version given by +Francis Price, clerk of the works to the Cathedral, and author of a +very interesting monograph upon it, published in the latter part of +the last century. We find that in the year <span class="fakesc">A.D.</span> 1220, on the +day of St. Vitalis the Martyr, being the fourth of the calends of May +(which was the twenty-eighth of April), the foundations were laid by +Bishop Richard Poore. "On the day appointed for the purpose the bishop +came with great devotion, few earls or barons of the county, but a +great multitude of the common people coming in from all parts; and +when divine service had been performed, and the Holy Spirit invoked, +the said bishop, putting off his shoes, went in procession with the +clergy of the church to the place of foundation singing the litany; +then the litany being <span class='pagenum'><a name="Page_7" id="Page_7">[7]</a></span>ended and a sermon first made to the people, +the bishop laid the first stone for our Lord the Pope Honorius, and +the second for the Lord Stephen Langton, Archbishop of Canterbury and +Cardinal of the Holy Roman Church, at that time with our Lord the King +in the Marches of Wales; then he added to the new fabric a third stone +for himself; William Longespée, Earl of Sarum, who was then present, +laid the fourth stone, and Elaide<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a> Vitri, Countess of Sarum, the +wife of the said earl, a woman truly pious and worthy because she was +filled with the fear of the Lord, laid the fifth. After her certain +noblemen, each of them added a stone; then the dean, the chantor, the +chancellor, the archdeacons and canons of the church of Sarum who were +present did the same, amidst the acclamations of multitudes of the +people weeping for joy and contributing thereto their alms with a +ready mind according to the ability which God had given them. But in +process of time the nobility being returned from Wales, several of +them came thither, and laid a stone, binding themselves to some +special contribution for the whole seven years following."</p> + +<p>Another account, differing from the more generally accepted version +just quoted, says that: Pendulph, the Pope's legate, in 1216 laid the +first five stones; the first for the Pope, the second for the King, +the third for the Earl of Salisbury, the fourth for the countess, and +the fifth for the bishop. This statement is wrong in date, for Bishop +Poore was not translated to the see of Sarum until the year 1217. In +the charter of Henry I. the first stone is mentioned as having been +laid by the king, <i>i.e.</i>, in his name.</p> + +<p>"On the 15th of August, 1220, at a general chapter when the bishop was +present, it was provided that if any canon of the church failed paying +what he had promised to the fabric for seven years, that next after +fifteen days from the term elapsed, some one should be sent on the +part of the bishop and chapter to raise what was due from the corn +found on the prebend, and so long as he should remain there for that +purpose he should be maintained with all necessaries by the goods of +the said prebend. But if the prebend or any person failing in the +payment of what was promised be in any other bishopric than Sarum, +such canon should be denounced to that bishop by the letter of the +bishop and chapter for his contumacy, either to be suspended from +entering the church, or from celebration of <span class='pagenum'><a name="Page_8" id="Page_8">[8]</a></span>divine service, or +excommunicated according as the chapter shall judge it."</p> + +<p>In the year 1225, Richard Poore, Bishop of Sarum, "finding the fabric +of the new church was by God's alliance so far advanced that divine +service might be conveniently performed therein, he rejoiced +exceedingly, since he bestowed great pains and contributed greatly +towards it. Thereupon he commanded William the Dean to cite all the +canons to be present on the day of S. Michael following, at the joyful +solemnity of their mother church, that is to say, at the first +celebration of divine service therein. According on the vigil of S. +Michael, which happened on a Sunday, the bishop came in the morning +and consecrated three altars, the first in the east part, in honour of +the holy and undivided Trinity and All Saints, on which henceforth the +mass of the Blessed Virgin was appointed to be said every day. And the +said bishop offered that day for the service of the said altar and for +daily service of the Blessed Virgin, two silver basons and two silver +candlesticks which were bequeathed by the will of the noble lady +Gundria de Warren to the church of Sarum. Moreover the bishop gave out +of his property to the clerks that were to officiate at the said mass +thirty marks of silver a year until he settled so much in certain +rents, and likewise ten marks every year to maintain lamps round the +said altar. Then he dedicated another altar in the north part of the +church in honour of St. Peter, the prince of the apostles, and the +rest of the apostles; he also dedicated another altar in the south +part thereof to St. Stephen and the rest of the martyrs. At this +dedication were present: Henry, Bishop of Dublin, Stephen, Lord +Archbishop of Canterbury."</p> + +<p>We read further in the same chronicle that the bishops and their +retinues were entertained for a week by Bishop Poore at his sole +charge.</p> + +<p>The next day, the feast of SS. Michael and All Angels, the Archbishop +of Canterbury preached to a large company including many English and +foreign prelates, Otto, the Pope's nuncio, and others. On the Thursday +following, "Our Lord the King and Hubert de Burgh the justice came to +the church and the King there heard the mass of the glorious Virgin +and offered ten marks of silver and one piece of silk, and he granted +to the same place that every year there should be a fair." The same +day the justice made a vow that he would give a gold <span class='pagenum'><a name="Page_9" id="Page_9">[9]</a></span>text set in the +precious stones and the relics of divers saints in honour of the +Blessed Virgin Mary, and the service of the new church; afterwards the +King went down with many of his nobles to the Bishop's palace and were +entertained. On the Friday following Hubert de Burgh offered his +"texte after John, gilt with gold and having precious stones and +relics of divers saints."</p> + +<p>"On the Nativity of our Lord following, the King and his justice +Hubert de Burgh came to Sarum on the day of the Holy Innocents, and +there the King offered one gold ring with a precious stone called a +ruby, one piece of silk, and one gold cup of the weight of ten marks; +and when the mass was celebrated the King told the dean that he would +have that stone which he had offered and the gold of the ring applied +to adorn the text which the justice had before given; and then the +justice caused the text which he had given to be brought and offered +with great devotion on the altar."</p> + +<p>On the 10th of January, 1226, William Longespée, Earl of Salisbury, +returned from Gascoigne, where he had resided twelve months with +Richard, the King's brother, for the defence of Bordeaux (after three +months on the channel between the Isle of Rhè and the coast of +Cornwall, owing to the tempestuous weather, that so long delayed his +landing), "and the said Earl came that day after nine o'clock to +Sarum, where he was received with great joy, with a procession for the +new fabric." The scandalous account of his death (as given by Stow), +which occurred at the castle of Old Sarum, on the 7th of March in the +same year, and the part played in the transaction by Hubert de Burgh +cannot be told here, beyond the fact that the justice was strongly +suspected of poisoning him. On the 8th of March, at the same hour of +the day on which he had been received with great joy, he was brought +to New Sarum with many tears and lamentations, and honourably buried +in the new church of the Blessed Virgin. Matthew Paris gravely records +that at his funeral, despite gusts of wind and rain, the candles +furnished a continual light the whole of the way. Of all secular +figures connected with this cathedral his is perhaps the most +prominent, nor is his fame merely local. He was active in public +affairs during the reign of King John, and one of the noticeable +heroes in an expedition to the Holy Land in 1220, when, at the battle +of Damietta, Matthew Paris tells us, he <span class='pagenum'><a name="Page_10" id="Page_10">[10]</a></span>resisted the shock of the +infidels like a wall. He fought both in Flanders and in France, was at +his King's side at Runnymede, and a witness to Magna Charta—a copy of +which famous charter, made probably for his special use, is still +preserved in the cathedral library.</p> + +<p>In 1226, on the Feast of the Holy Trinity, which was then the 18th day +of the calends of July, the bodies of the three bishops, Jocelin, +Roger, and Osmund (the latter not yet canonized), were brought from +Old Sarum. Whether their tombs were also brought, is not said, nor is +any mention made of Herman, who by popular report is credited with a +monument in the cathedral.</p> + +<p>A Charter of Henry III., dated 30th of January, 1227, gives certain +powers to make new roads and bridges, to inclose the city of New +Saresbury, to institute a fair from the Vigil of the Assumption of the +Blessed Mary to the octave of the same feast, etc., etc. This +development of the city, more especially by its roads and bridges, is +held to have been fatal to the prosperity of Wilton, which from that +time ceased to progress, and was over-shadowed by the now rapidly +increasing New Sarum.</p> + +<p>Bishop Poore was ably supported in his great undertaking by a group of +notable men, among whom were: William de Wanda, the Dean, who threw +his whole soul into the work, and traversed the diocese of London to +collect alms in its behalf, besides leaving us most elaborate accounts +of the various ceremonies; and the Precentor, Roger de Sarum, a man of +some weight, who soon after became Bishop of Bath and Wells; Henry de +Bishopston, a learned man and a scholar, should also be remembered, +and, if Leland could be credited, we should need to add another member +to this group, and find in Robert Hilcot, of Sarum, the author of the +"Philobiblon" so generally attributed to Richard de Bury.</p> + +<p>After Bishop Poore was translated to Durham, his three successors, +Bishops Robert Bingham (1229-1246), William of York (1247-1256), and +Giles of Bridport (1257-1262), continued the works of the new building +with great energy. In 1258 it was consecrated—some accounts say by +Bishop Giles of Bridport, "who covered the roof throughout with lead," +but more probably by Boniface of Savoy, Archbishop of Canterbury. +Henry III. and his queen were present at the consecration; and as +indulgences of a year and forty days were offered to all who should be +present during the octave of the dedication, vast <span class='pagenum'><a name="Page_11" id="Page_11">[11]</a></span>crowds visited it. +It was not entirely completed according to a note in a Book of +Statutes, until 1266, and it has been said that with all our modern +appliances we could hardly shorten the forty-six years it occupied. +The cost of the whole building, according to ancient authority, was +about 40,000 marks, equal to £26,666 13s. 4d., of the money of that +day, and probably equivalent roughly to half a million in our own +time. Among many benefactors, one, Lady Alicia Bruere, who according +to Leland contributed the marble and stone for twelve years, deserves +to be mentioned. The cloisters and chapter house were not commenced +until the episcopate of Bishop Walter de la Wyle (1263-1271) and +possibly not completed until some ten years later. From the will of +Robert de Careville, the treasurer in 1267, we find that there were +seven altars in the church at this date; he bequeathed seven pounds to +provide fourteen silver phials (each bearing a representation of three +keys) in order that each altar might have two. The erection of the +spire, evidently not included in the original plan, is often +erroneously assigned to Wyville (1336-1375), who certainly completed +the wall of the close, and enlarged the cloisters. The King granted +him a charter for this purpose, and also gave him the stones of the +old Cathedral, many of which, with the Norman work upon them, may be +seen plainly at the present time. (See <a href="#Page_22">p. 22.</a>)</p> + +<p>It is interesting to note that not only is Salisbury the most complete +example of its period in this country, but is also the first important +building carried out entirely in the style we now know as early +English. Henry III. is believed to have been so enthusiastic in his +admiration of Bishop Poore's new Cathedral that he set about the +rebuilding of Westminster Abbey, which was commenced in 1245 and +completed in 1269, as far as the east end of the choir. The early +English work at Salisbury has a certain poverty of detail when +compared with Westminster, and the "Angel Choir" of Lincoln +undoubtedly surpasses both; yet the effect of Salisbury has a +character of its own and a purity in its ornament that is in itself a +distinction. The Cathedral of Amiens, of exactly the same date, covers +71,000 square feet, Salisbury but 55,000; the vault of Amiens is 152 +feet high, Salisbury only 85; but, as Fergusson observes in his +"Handbook of Architecture," the fair mode of comparison is to ask +whether the Cathedral of Amiens is finer than Salisbury would be if +the latter were at least twice as large as it is.</p> + +<p><span class='pagenum'><a name="Page_12" id="Page_12">[12]</a></span>There has long been a tradition that Elias de Dereham was the +architect of this stately pile, and the information gathered together +by the Rev. J.A. Bennet, in a paper read before the British +Archæological Association at Salisbury on August 5th, 1887, certainly +does much to strengthen the belief. From this account, and other +sources, we find that Elias de Derham is first mentioned in the Rot. +Chartarum, Ap. 6 (6 John, 1208)? where he is described as one of the +King's clerks and Rector of Meauton. In 1206 he appears to have been a +royal official. In 1209 he is reported to have been the architect for +the repairs of King John's palace at Westminster. In 1212 he attached +himself to the opposite party, but was taken again into the King's +favour in the following year. We have specially interesting notice of +his work in 1220, when he was engaged upon the shrine of St. Thomas at +Canterbury. Matthew Paris, in his account of the translation of St. +Thomas, distinctly states that the shrine was the work of that +incomparable officer, Walter de Colchester, Sacrist of St. Albans, +assisted by Elias de Dereham, Canon of Salisbury. Leland mentions, in +an extract from an old "Martyrologie" of Salisbury, that he was +rector—or director—of the new church for twenty-five years from the +beginning, whether he means architect or clerk of the works is not so +clear. His name, as one of the Canons of the Cathedral, occurs eleven +times in the "Osmund Register" at Salisbury. There are also references +to him in the "Book of Evidences" (Liber Evidentiarum) among the +bishop's muniments, as the builder of the original Aula +Plumbea—Leden-hall—a famous old house in the close. The document is +entitled "<i>Scriptura de domibus de Leden-hall per Eliam de Dereham +sumptuose constructis</i>," "a deed concerning the house called +Leden-hall, built at great expense by Elias de Dereham." This +residence house remained six centuries after in the gift of the Bishop +of Sarum.</p> + +<p>During the year in which he accompanied Bishop Poore in his +translation to Durham, and from 1230 to 1238, he was employed upon +some architectural work connected with Durham Cathedral, which, when +Bishop Poore accepted it was a stately Norman fane with an apsidal +choir; he removed this east end, and remodelled it in the early +English manner. The chapel of the Nine Altars, as this portion is +called, is remarkably similar in its details to much of the work at +Salisbury. It is curious that two southern churches so near as +Salisbury and <span class='pagenum'><a name="Page_13" id="Page_13">[13]</a></span>Christchurch Priory should be found influencing or +influenced by the great northern cathedral, but the likeness between +Flambard's Norman work at Christchurch and the same bishop's work at +Durham is as strongly marked as the Early English of Bishop Poore at +both the churches in which he was enthroned. That Elias de Dereham is +responsible for much of the work of both cathedrals is also a fair +assumption. Curiously enough his name, hitherto hastily assumed to be +equivalent to Elias of Durham, has probably no connection with that +city; whether, however, his patronym should be traced to the Norfolk +Dereham, or the Gloucester Dyrham, it is impossible to say with any +certainty. On somewhat insufficient grounds it has been hazarded that +his portrait may be found in a figure on the east side of the +staircase buttress of what was formerly the great entrance to Wells +Cathedral.</p> + +<p>Owing to the fact that the original design of the building was fully +carried out, with the addition of a tower and spire, its architectural +history ceases just where most others begin their chequered career. At +the time of the Reformation it suffered but little, except in the +wholesale destruction of its stained glass. Dr. Pope, in his "Life of +Bishop Ward," says that even during the Civil War, when it was +abandoned, workmen were engaged to keep it in repair, who when +questioned as to the authority by which they worked, said, "Those who +employ'd us will pay us; trouble not your selves to inquire who they +are. Whoever they are, they do not desire to have their names known." +We find as evidence of the secret influence exerted in its behalf that +when one of Waller's officers sent up to the Parliament certain plate +and a pulpit cloth from Salisbury Cathedral, he was ordered to restore +them, as it was considered that he had overstepped his commission; all +that was retained being certain copes, hangings, and a picture of the +Virgin.</p> + +<p>At the Restoration, Bishop Ward, after a great thunderstorm in 1668, +when fears were entertained for the safety of the spire, called in Sir +Christopher Wren, who, after examining the tower, expressed his belief +"that a spire was not contemplated by its builders;" that "out of fear +to overburden the four piers of the tower, its inside was carried for +40 feet above the nave with a slender hollow work of pillars and +arches, nor hath it any buttresses; the spire itself is but 9 inches +thick, though the height be above 150 feet." This work of pillars and +arches led him to <span class='pagenum'><a name="Page_14" id="Page_14">[14]</a></span>conclude that the architect laid his first floor of +timber 40 feet higher than the vault beneath.</p> + +<p>Dr. Walter Pope, in his "Life of Bishop Seth Ward," 1697, describes +the restorations accomplished by this excellent prelate: "There being, +therefore, not much to be done as to reparation, he employ'd himself +in the Decoration of the Cathedral: First, at his proper charges +Paving the Cloyster. I mean that side of it which leads out of his +garden into the church. At his exhortation, and more than +proportinable (<i>sic</i>) expence the Pavement of the Church was mended +where it was faulty, and the whole Quire laid with white and black +squares of marble. The Bishops, Deans, and all the Prebendaries Stalls +made New & Magnificent, and the whole church was kept so clean, that +anyone who had occasion for Dust to throw on the Superscription of a +Letter, he would have a hard task to find it there.... His next care +was to repair, I might almost say rebuild his Palace, which was much +ruined, the Hall being pulled down, & the Greater part of the House +converted to an Inn ... what remained of the Palace was divided into +small Tenements and let out to poor Handicraft-men. This dilapidation +was the work of one Van Ling, a Dutchman, by trade a Taylor, who +bought it of Parliament when Bishop's lands were exposed to sale."</p> + +<p>In the minutes of the chapter for August 26th, 1789, we find +instruction given to Wyatt "to make new Canopies to the Stalls, to +build a new Pulpit and Bishop's Throne, to put new Iron Rails to the +Communion, with coping thereon, and set new blue stone steps to +receive the same, to put two Wainscot Screens across the Aisles, to +lay blue stone paving in the Lady Chapel, in squares to be cut out of +the old gravestones, and enrich the side walls according to the +drawings, to clean and colour the church from the East end of the +Transept, and make the Screen to the Western Side of the organ." They +also ordered "the beam in the choir to be removed, the North and South +Porches to be taken down, the south door near the Verger's house +stopped up, and another opened near the Chapter Vestry, to open out +the Chapel in the great North and South Transepts, and to convert the +north-east transept into a morning chapel, to remove certain monuments +in consequence of alterations in St. Mary's Chapel, & to take down the +Beauchamp & Hungerford Chapels, on the plea that they were in a state +as to greatly <span class='pagenum'><a name="Page_15" id="Page_15">[15]</a></span>exceed any ordinary or possible means of repair." These +formal instructions were not merely obeyed but exceeded, and the +demolitions of that time confront the student of the building in all +his researches. Of late years many minor alterations have been carried +out, with a view to restore monuments to their original site, and, as +far as possible, to obliterate Wyatt's damage; but the two superb +chantries, the bell tower, the painted glass, and many other important +features are hopelessly effaced, and the cathedral, spared by its +avowed foes, has met with its greatest disaster from the hands of +former guardians.</p> + +<p>For the last thirty years the work of restoration has been gradually +carried on until its recent completion. An arrangement was made in +1862 by which the Ecclesiastical Commissioners permitted the Dean and +Chapter to spend £10,000 on the building, as part of a payment in lieu +of transfer of their property. Sir G. Gilbert Scott had control of the +restoration. Owing to the necessary work proving far more costly than +the sum allowed was able to effect, a public meeting was held, +subscriptions were started, and ultimately sufficient money raised to +repair thoroughly the exterior of the building. The tower and spire +were strengthened by an ingenious system of iron ties planned by Mr. +Shields, the well-known engineer. The west front was restored, and +more than sixty statues placed in its vacant niches. In the interior +the Lady Chapel was restored, and its floor laid with encaustic tiles +from the designs of ancient examples in various parts of the +cathedral. The walls were cleaned, and the paintings of the roof +reproduced by Messrs. Clayton and Bell. The choir was restored in +memory of Bishop Hamilton, and the old choir stalls cleared. The +organ-screen built by Wyatt out of fragments of the Hungerford and +Beauchamp chapels was removed. Throughout the building the Purbeck +marble shafts have been most carefully preserved and repolished. +Besides this much decorative work of various sorts, including some +excellent examples of modern stained glass and metal work, has been +added from time to time. At present the interior has less obvious +evidence of age than any other English building of its date, but for +this the modern restorer is not entirely responsible, as Wyatt +rendered much alteration needful, and the design of the work has, as +we have remarked elsewhere, a curiously modern quality in its finish +and symmetry which is apt to mislead a casual observer.</p> + +<br /> +<hr style="width: 15%;" /> +<br /> + +<h4>FOOTNOTES:</h4> + +<div class="footnote"><p class="noin"><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> The headpiece is from an engraving in Walpoole's "British +Traveller."</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> A paper on this subject was printed in the Wiltshire +Archæological Mag., No. lvi.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> So misspelt in the text quoted.</p></div> + +<br /> +<br /> +<br /> +<br /> +<a name="THE_CATHEDRAL_EXTERIOR" id="THE_CATHEDRAL_EXTERIOR"></a><hr /> +<span class='pagenum'><a name="Page_16" id="Page_16">[16]</a></span><br /> + +<h3>THE CATHEDRAL—EXTERIOR.<span class="totoc"><a href="#toc">ToC</a></span></h3> +<br /> + +<p class="hang"><img src="images/s.png" align="left" border="0" alt="S" style="margin-right: .75em;" />alisbury stands alone among English cathedrals for unity of design. +To own its possession of this quality, which is undoubtedly both the +earliest and the most mature impression the cathedral imparts, is by +no means equivalent to unqualified praise. There are buildings of +equal and less importance, whence illustrations might be taken for a +complete history of every period of Gothic architecture; here the +examples would be limited not only to one style, but if we except the +upper stories of the tower and its spire, the cloisters, and a few +minor additions, to a very restricted use of Early English, as it was +practised from <span class="fakesc">A.D.</span> 1220 to 1258.</p> + +<p>Another uncommon feature not so apparent at first sight, but yet +almost, if not quite as rare, is that the present building was erected +on a virgin site. It is hard to find a mediæval church of any +importance in England that is not only upon the self-same site, but +more often in part upon the actual foundation of an earlier edifice. +Consistency is the especial character of Salisbury, and now, owing to +Wyatt's iconoclastic destruction of the two later chapels at its east +end, we have in Salisbury "the most typical English cathedral," which +is also our most complete example of Early English.</p> + +<p>That this artistic unity is as interesting as a design subsequently +modified by other influences, may be an open question. There are those +who think Salisbury "faultily faultless, icily regular, splendidly +null," yet they would hardly dare to continue the quotation and say it +was "dead perfection, no more." Even at a time when mediæval art was +not generally appreciated in England, this cathedral won admiration +from chance visitors such as Evelyn, who saw it in July, 1654, and +pronounced it <span class='pagenum'><a name="Page_17" id="Page_17">[17]</a></span>"the completest Gothic work in Europe." Pepys, who also +left his impressions of it, says: "The minster most admirable, as big +I think and handsomer than Westminster, and a most large close about +it and offices for the officers thereof, and a fine palace for the +bishop." In later times Motley, the historian, thought it "too neat." +Henry James calls it "a blonde beauty among churches," and even hints +that it is a little banal. Another American critic, Mrs. Van +Rensselaer, in a sympathetic study of the cathedral which appeared in +"The Century Magazine," says: "If we think it feeble, it will be +because we cannot see strength where it has been brought to perfect +poise and ease. If our verdict is 'banal,' it will be because we +cannot tell the commonplace from the simply and exactly right, or we +do not know how rare the latter is—because we long for eccentricity +as a proof of personality, and need what the French call <i>emphase</i> to +impress us; there is no over-emphasis about Salisbury, neither in its +effect as a whole, nor in any of its parts, neither in its design, nor +in its treatment. But just in this fact lies its greatest merit, and +just by reason of this fact, joined to its mighty size and its +exceptional unity, it is intensely individual, personal, distinct from +all other churches in the world."</p> + +<p>Dean Stanley, in comparing it with Westminster Abbey, hardly +overpraised it in saying: "Salisbury is all-glorious without, +Westminster is all-glorious within." Canon Venables considers it "as +an architectural composition, more especially as seen from the +outside, the most perfectly designed building in the world." Elsewhere +he speaks of it as "presenting none of those architectural problems so +baffling and perplexing at Canterbury, Lichfield, or Lincoln." Its +appearance from a distance has been the theme of poets, and a +favourite subject for artists. Constable especially delighted to paint +it. Among several of his different versions of the theme, the view +from the meadows (with the rainbow), made popular by Lucas' mezzotint, +is perhaps the best known.</p> + +<p>Studying the building more closely one feels it is not accident that +gives to it its peculiar charm, but pre-arranged design; the idea of +one conception carried to its logical completion. This striking unity +(despite the afterthought of the spire) certainly helps to impart an +air of modernity to the building, that is lacking in far less ancient +work, for oddly <span class='pagenum'><a name="Page_18" id="Page_18">[18]</a></span>enough it is often the decaying features of the +latest decorated style that impress the vulgar by their apparent age. +The extreme care in the masonry has imparted a machine-like finish. As +Professor Willis wrote: "The regularity of the size of the stones is +astonishing. As soon as they had finished one part, they copied it +exactly in the next, even though the additional expense was +considerable. The masonry runs in even bands, and you may follow it +from the south transept, eastward, round to the north transept, after +which they have not taken such great pains in their regularity. It is +almost impossible to distinguish where they could have left off, for +it is hardly to be supposed they could have gone on with all at the +same time."</p> + +<p>If at first sight this regular and symmetrical detail offers a +suspicion of mere mechanism, yet it is no less evident that after +longer study the charms of this exquisite structure tell with a +lasting power. Too subtle to extort admiration at first, it bewitches +a student of architecture who notes the scholarly reticence of its +detail, the masterly way in which, as a rule, the construction is +legitimately ornamented and the decoration made an integral part of +the whole design.</p> + +<div class="img"><a name="imagep019" id="imagep019"></a><span class='pagenum'><a name="Page_19" id="Page_19">[19]</a></span> +<a href="images/imagep019.jpg"> +<img border="0" src="images/imagep019.jpg" width="95%" alt="SALISBURY CATHEDRAL AND BELL TOWER." /></a><br /> +<p class="cen" style="margin-top: .2em;">SALISBURY CATHEDRAL AND BELL TOWER.<br /> +<i>From an Old Engraving.</i><span class="totoi"><a href="#toi">ToList</a></span></p> +<span class='pagenum'><a name="Page_20" id="Page_20">[20]</a></span> +</div> + +<p><b>The Tower</b>, with its famous spire, needs no apologist to justify its +claim to be considered the most beautiful, not merely in England, but +in Europe. From the time Leland naïvely wrote, "the tower of stone and +the high pyramis of stone on it is a noble and memorable 'peace' of +work," every critic of the cathedral praises the tower unreservedly, +although Defoe was anxious to improve it, for he said: "The beauty of +it is hurt by a thing easily to be remedied, which is this. The glass +in the several windows being very old, has contracted such a rust, +that it is scarcely to be distinguished from the stone walls; +consequently, it appears as if there were no lights at all in the +tower, but only recesses in the stone, whereas could the windows be +glazed with squares and kept clean, which might be done, they would be +plainly visible at a distance, and not only so, but from the adjacent +hills you would see the light quite through the tower, which would +have a very fine effect." It is curious to remember that perfectly as +it accords with the rest of the pile, so that it seems the very +central motive of the whole scheme, yet it is really an addition. Like +the touch of genius which by one word changes <span class='pagenum'><a name="Page_21" id="Page_21">[21]</a></span>a good poem to a +flawless lyric, so the creator of this crown to an already beautiful +building by his final touch seems to have imparted additional beauty +to that which already existed. The first idea was doubtless to add a +lantern after the style of Ely, or at most a wooden spire. That the +lower part of the tower is part of the original design, and intended +to be open to the church, is proved by the presence of a series of +detached Purbeck marble columns in the style of the rest of the +internal masonry, which, hidden by the groining, or half-concealed by +later masonry, were obviously meant to be part of the decoration of +the interior, but again, the original plan of the tower made no +provision for the huge weight of a stone spire. Indeed, it is quite +doubtful if in its first state it was able to support itself, for +curiously designed abutments are built in the triforium and clerestory +of the nave, choir, or transepts on each of its four sides. The +stonework of these is Early English, which if slightly later than the +first story of the tower, is yet considerably earlier than its two +upper stories. Notwithstanding the faulty construction that needed +additional work so soon after it was erected, about fifty years later +a daring architect super-imposed two stories, and added the lofty +spire, which still stands, despite an early settlement which deflected +it 23 inches out of the perpendicular. But its stability can hardly be +reckoned a tribute to the judgment of the architect, for many times +since complex arrangements of iron bands and ties have been added to +ward off such a disaster as that which lost Chichester its spire in +1861, and has caused many others to be rebuilt from the very +foundations. By a report of Sir Christopher Wren made in the time of +Bishop Seth Ward, two hundred years ago, it is evident that in his +time the deflection was not increasing, nor do quite recent +observations show any reason for serious anxiety. This haunting fear, +however, has led to curiously precise experiments for ascertaining the +state of the spire. Francis Price, at the end of the last century, +describes many of these, especially one carried out in the presence of +the bishop, on July 18th, 1717; he also illustrates an elaborate +system of additional bands and ties in his time. During the +restorations that were begun in 1863, a further arrangement of iron +bands, planned by Mr. Shields, the engineer, was introduced into the +lantern story of the tower.</p> + +<p>Parker, in his "Glossary," believes the date of the spire to <span class='pagenum'><a name="Page_22" id="Page_22">[22]</a></span>be about +1300; other authorities fix it thirty years later. Certain deeds in +the "Book of Evidences" preserved among the Cathedral muniments show +that in 1326 Edward III. granted a license for surrounding the close +with a wall, and in 1331 authorized the bishop and canons to use the +stones of the church of Old Sarum for that purpose. But against the +theory that the material thus obtained was used in the tower also, +there is the patent fact that while on many stones in the wall there +are traces of Norman mouldings and other evidence of former use, +neither in the tower nor spire do the stones betray any such origin. +Modern antiquaries are wellnigh agreed upon the earlier dates; for in +the Capitular Register, begun in 1329, there is no mention of the +spire, which could hardly have escaped record had so important a work +been then in progress. In support of this theory it is urged that from +1258 to 1297 the deans were men who took great interest in the fabric +and are entered in its calendar of benefactors. Three of these became +successively Bishops of Salisbury. But the deans who were appointed +after 1297 were chiefly foreigners, several being cardinals and +relatives of the Pope, whose duties elsewhere would have left them +little but a purely temporal interest in the building. One of them, +Peter of Savoy, was in conflict with his bishop, and evaded an +episcopal admonition ordering him to residence.</p> + +<p>Bishop Godwin, in his "Catalogue of Bishops," notes that in 1258 the +cathedral was rehallowed by Boniface, Archbishop of Canterbury, and +this fact is the basis of most of the argument for the earlier date of +the spire, the completion of which, according to some, could alone +have justified the ceremony.</p> + +<p>Remembering that Winchester had lost its central tower, which fell in +1107, we can understand the reasons which induced the original +architect to distrust a spire, and to adopt a lantern in its place. +If, however, timidity delayed it at first, when it was undertaken, its +builder left it not only the most lofty in England then and since, but +in actual effect the most lofty in the world. This is claimed in spite +of its 404 feet being exceeded by Amiens (422 feet), and Strasburg +(488 feet), and although it might appear special pleading to urge such +a theory against contradictory facts, yet since at Amiens the nave +roof is 208 feet high, against the 115 feet of Salisbury, it is +<span class='pagenum'><a name="Page_23" id="Page_23">[23]</a></span>obvious that the apparent height of the latter exceeds its French +rival. At Strasburg the excess of elaboration in the ornament is +detrimental to the effect of height, and the same may be said of +Antwerp or Mechlin, where the whole effect is not so much that of a +spire, as of an elaborately fretted finial, insubstantial if exquisite +in itself, but merely an added ornament, not appearing part of the +solid structure.</p> + +<p>Despite the somewhat ornate details of the upper stories and spire, +they accord well with the rest of the building, and, although typical +Early Decorated of the time of Edward III., fail to clash with the +more severe Early English work. These two stories have elaborately +canopied arcades running round them, the windows being pierced through +two of the arches on each façade and not emphasized by any special +treatment. Above each story is a traceried parapet of lozenge +decoration, the same design being repeated in the two bands that +encircle the spire itself. At each of the four angles of the tower is +an octagonal turret with crocketed spire. Amid a coronet of decorated +finials the great octagonal spire grows naturally with no abrupt +revelation of its change of plan. The whole cresting of the tower, and +the perfectly natural way in which its lines continue easily into the +graceful spire itself, are triumphs of successful design. The +silhouette of the mass against the sky so precisely reaches the ideal +effect that it is difficult to restrain oneself to sober criticism in +describing it, yet the result is achieved so naturally that until we +compare it with others, especially with modern ones, we hardly do +justice to the subtle beauty that gives it a right to the supremacy it +has won. The timber framework erected as a scaffold during the +progress of the building still remains inside the spire and helps to +impart strength to it; those curious in such matters will find a mass +of information and many plans and drawings of its internal +construction in Francis Price's "Antiquities of Salisbury, 1774." In +1762, during the progress of some repairs to the capstone and the +addition of a new copper vane, the workmen discovered a wooden box, +and inside it a round leaden one 5-½ inches in diameter and 2-¼ +inches deep, which contained a piece of woven fabric.<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a> This was +conjectured to be a relic of the Virgin Mary, the patron saint of the +church, which had been deposited there to guard the lofty spire from +danger by lightning or tempest. When tested on the 600th anniversary +of the <span class='pagenum'><a name="Page_24" id="Page_24">[24]</a></span>building the spire showed, it is said, no further deflection +from that registered two centuries earlier. Consequently the +settlement in the two western piers being so long at a standstill, and +the repeated additions of metal work to strengthen the spire being +apparently entirely successful, there seemed no reason to doubt but +that in the natural course of events it would remain for many +centuries a landmark to its neighbourhood and one of the greatest +triumphs of English mediæval workmanship.<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a> Richard de Farley, a +Wiltshire man, is supposed to have been the architect of the spire; +that his artistic instinct was right is evident to-day, but his +engineering foresight seems less certain, as in all probability the +settlement began almost immediately after the erection. Indeed it is +said that the efforts to obtain the canonization of Osmund were +started in 1387 to increase the popularity of the cathedral as a place +of pilgrimage, and thereby to augment its revenue, so that funds might +be forthcoming for the additional work needed to support the tower. +Frequent references to miracles at his shrine show that the saint was +popularly adored long before his canonization in 1456. A local +superstition says the tower was builded on woolpacks. According to +Pliny's account, the temple of Diana of Ephesus was made firm with +coats or fleeces of wool; but it is inconceivable that bags of wool +were employed in either case for the foundation. At Rouen in Normandy +a similar legend refers to butter as the foundation of one of the +western towers, which tradition, absurd though it be, supplies the +idea of a butter tax, which in turn suggests a wool tax, that in such +a district as this would have been naturally a profitable source of +revenue.</p> + +<p>Probably because of the early trouble with the foundation of the great +tower, there was from the first no intention of making it a belfry. +Even before the spire was decided upon, the oscillation of a mass of +swaying bells was obviously too dangerous to be seriously considered. +A special campanile, as at Chichester, was therefore built at the +north-west corner of the close. Its style was evidently similar to +that of the cloisters and the chapter house. Multangular in form, an +early historian calls it, but the engravings still existing show it to +have been a somewhat ordinary specimen of Early English design. Its +special feature was a single central pillar of Purbeck marble that +supported the weight of the bells and belfry. The spire was doubtless +of wood, and, <span class='pagenum'><a name="Page_25" id="Page_25">[25]</a></span>apparently, the upper lantern-like tower also.<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a> +Although its destruction is not ordered in the official document +wherein the Chapter gave Wyatt authority to do so much mischief, on +some pretext, probably his craze for what he called "vistas," it was +demolished in the terrible destruction of 1789, opening up a view of +the Cathedral that was entirely unnecessary, and wilfully destroying a +feature of the close that could ill be spared.</p> + +<p>The custom of climbing the spire during the Whitsun fair, to which +Francis Price, in a naïve description, attributes much damage to the +leadwork of the roofs, has only ceased in recent times, some sixty or +seventy years ago. Arnold, a watchmaker, wound up his watch while +leaning actually against the vane. When a lad, during a royal visit, +stood on his head on the capstone, George III. refused to reward him, +saying that he was bound to provide for the lives of his people. On +June 26th, 1741, the timber braces of the spire were found to be on +fire. According to Francis Price, "there was, about ten o'clock the +night before in a very great storm, a particular flash of lightning +observed by many of the inhabitants to strike against the tower with a +sort of smacking noise, and then to have been lost.... It may well be +called dreadful since, had it continued half an hour longer, all the +assistance on earth could not have prevented the total destruction of +the pile."</p> + +<p><b>The West Front</b> of the Cathedral was, beyond doubt, the last portion +of the original design to be carried out, for among its details the +ball-flower, a typical feature of the decorated style, frequently +occurs. The governing idea of its façade is indefensible. Not merely +because in common with Wells, Lincoln, and other churches, it does not +emphasize the construction of the nave and aisles, and hides them by a +screen, but because the screen itself poses as an integral part of the +building. Even considered solely as an architectural composition, +without regard to the building it professes to decorate rather than +hide, it is hardly good. The two western towers it unites are, in +themselves, not sufficiently important in comparison with the rest of +the edifice; in fact, they are little more than finials to the screen. +In many similar structures the unity of effect gained at the expense +of theoretical consistency justifies the departure; here it is merely +a huge surface adapted to display a great number of statues. Rich as +it appears now that its long empty niches are again repeopled, it is +of no remarkable <span class='pagenum'><a name="Page_26" id="Page_26">[26]</a></span>excellence either in mass or in detail. Its worst +fault, however, is that unlike Exeter, it does not content itself by +frankly assuming to be nothing more than a screen, but at first sight +appears to be the legitimate finish of the nave and aisles. A recent +critic, defending the façade in spite of its architectural isolation +from the building in its rear, points out that the chief objection to +the west front is that it is wanting in that repose and refinement of +detail which characterize the rest of the building, and that its +design is entirely out of keeping therewith, and also complains that +"the ragged outline at the angles produced by the high relief and +rather clumsy sections of the decorative detail has a very bad +effect." It has been suggested that as from the position of the site +there was never a chance of the building being seen from a +distance—owing to the level country around it, the projection of the +transepts and the group of the whole pile could never tell out as they +would had it been on a hill, therefore the form chosen was +deliberately adopted to give a factitious importance to the west front +on its own merits. The continental builders with much more lofty nave +and aisles, and with their habit of making the west door the principal +entrance, were able, by enriching its portal and decorating the +natural divisions of the building, to attain a stately form that +honestly fulfilled its purpose; here the magnificence is secured by +masking the low aisles of the nave with a wall that is a mere +theatrical adjunct, its simulated windows and its stringcourses +marking stories that do not exist. Apart from theoretical criticism, +it is not quite admirable in itself; the three doorways are hardly of +sufficient importance, the central window is somewhat larger than it +should be to accord with the scale of the whole façade, while the +apparently built up windows above the genuine windows of the nave +aisles, whose roofs have their apex about on a level with the sills of +the large central lancets, are as much frauds as any of those sham +windows in symmetrical Renaissance work, which so excite the ire of +ardent champions of Gothic purity.</p> + +<p>It consists of five bays, of which the lateral ones are square +turrets, covered with arcades, and terminated by spires. The lower +story of the central bay is composed of three pedimented porches +deeply recessed, each with a niche in its gable. Above these is a +story of canopied trefoiled arches, with quatrefoil lozenges in +their centres. Over this arcade is the large west window, a triplet of +lancets with slender shafts and chevron ornament. Above this again is +a band of quatrefoils at the foot of the gable, which is filled with +double couplets of lancets with quatrefoils above their heads; and in +the upper spandrils is a quatrefoiled aureole. The buttresses flanking +this central bay have similar arcading continued around them. The side +bays each have a triple porch, a two-lighted window with a quatrefoil +in the head, with a window of the same form above it, and higher still +the arcading continued from the towers.</p> + +<div class="img"><a name="imagep027" id="imagep027"></a><span class='pagenum'><a name="Page_27" id="Page_27">[27]</a></span> +<a href="images/imagep027.jpg"> +<img border="0" src="images/imagep027.jpg" width="42%" alt="PORTALS OF THE WEST FRONT." /></a><br /> +<p class="cen" style="margin-top: .2em;">PORTALS OF THE WEST FRONT.<br /> +<i>From a Photograph by S.B. Bolas and Co.</i><span class="totoi"><a href="#toi">ToList</a></span></p> +<span class='pagenum'><a name="Page_28" id="Page_28">[28]</a></span> +</div> + +<p><span class='pagenum'><a name="Page_29" id="Page_29">[29]</a></span>In 1863 the hundred and odd niches designed to contain statues were +either despoiled or had never been occupied, with the exception of +eight which held figures mutilated beyond certain recognition. Mr. +Cockerell conjectured that two on the buttress of the south tower +represented St. Peter and St. John the Baptist, on that to the north +St. Paul and St. John the Evangelist, while a figure facing north on +the same buttress he believed to represent Stephen Langton, Archbishop +of Canterbury. Other figures are supposed to commemorate Bishop Poore, +William Longespée, 1st Earl of Salisbury, St. Stephen, and Bishop +Giles de Bridport.</p> + +<p>A sketch by Hollar, dating from the beginning of the seventeenth +century, shows the niches completely filled; and Hatcher claims from +this evidence that we are warranted in assuming that the figures were +destroyed by Ludlow's troopers when he garrisoned the belfry. But such +an assumption requires many facts to support it which are not +forthcoming. We have no proof that Hollar's sketch was intended to be +a literal transcript of what he saw; it is quite possible that for the +sake of effect he preferred to complete the design according to the +supposed intention of its builders. We are not certain that the niches +were all filled originally; it is quite possible that some were +purposely left vacant for future benefactors. We know also that during +the Civil War the whole fabric of the Cathedral escaped serious +injuries. The Hyde family, powerful at that time, had friends on both +sides, and we find record of certain articles sent up to Parliament by +one of Waller's officers were ordered to be restored. On the other +hand, the Visitation of Cathedrals, ordered and undertaken during the +reign of Edward VI., had especial instructions to remove images. In +addition to these objections to attributing the destruction of the +figures to the Ludlow <span class='pagenum'><a name="Page_30" id="Page_30">[30]</a></span>soldiers, there is also to be considered the +natural decay of carving exposed to the open air, which might +reasonably account for the dilapidation of a certain number.</p> + +<p>However, whether wantonly destroyed or not, it is certain that the +present figures must be all regarded as modern, since the eight +actually left have been, with the exception of St. John the Baptist, +very much restored. Redfern, the well-known sculptor, is responsible +for the present statues. If not possessing the vigour of the old work, +which from fragments in other parts of the building was certainly +superior to these modern additions, yet they are creditable in design +and scholarly in treatment.</p> + +<p>The arrangement is probably in harmony with the original scheme. It +represents the orders of terrestrial and celestial beings mentioned in +the four verses of the hymn, "Te Deum Laudamus." In "The Legend of +Christian Art," by the Rev. H.T. Armfield, Minor Canon of Salisbury +(published in 1869), the symbolism and history of the whole design is +given at great length. Here it must suffice to quote a few of the more +salient points.</p> + +<p>The statues are arranged in five horizontal lines from north to south, +exclusive of the figure in the "vesica," the oval above. In the +principal niches of the top row is a tier of angels, below this a tier +of Old Testament patriarchs and prophets, then a tier of doctors, +virgins, and martyrs, and lowest of all a tier of worthies, including +princes, martyrs, bishops, and founders connected with the diocese and +the Cathedral.</p> + +<p>The Vesica contains a figure of our Lord seated, known technically as +a "Majesty." In the tier of angels below, noting them from left to +right, are the celestial hierarchies, Seraphim, Cherubim, and Thrones; +Dominions, Powers, and Authorities; Principalities, Archangels, +Angels. The Old Testament prophets are: David with the harp, Moses +with the Tables of the Law, Abraham with the knife, Noah with the ark, +Samuel with a sceptre, and Solomon with a church. The eight vacant +niches should contain figures of Isaiah, Ezekiel, Elijah, Melchizedek, +Enoch, Job, Daniel, and Jeremiah. The tier with the Apostles observes +this order: On the northern turret St. Jude with a halberd, St. Simon +Zelotes with a saw, St. Andrew with the cross that bears his name, St. +Thomas with a builder's square; on the north buttress St. Peter with +the keys; on the <span class='pagenum'><a name="Page_31" id="Page_31">[31]</a></span>southern buttress St. Paul with a sword (both +these are restorations of ancient figures); on the southern turret St. +James the Less with a club, St. James the Greater with a pilgrim's +staff, St. Bartholomew with the knife of his martyrdom and St. +Matthias with a lance.</p> + +<div class="img"><a name="imagep030" id="imagep030"></a> +<a href="images/imagep030.jpg"> +<img border="0" src="images/imagep030.jpg" width="43%" alt="DETAILS OF MAIN WEST PORTAL." /></a><br /> +<p class="cen" style="margin-top: .2em;">DETAILS OF MAIN WEST PORTAL.<br /> +<i>From a Drawing by H.P. Clifford.</i><span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p>The tier of the doctors, virgins, and martyrs, keeping to the same +order, shows: St. Ambrose, Bishop of Milan, with a scourge in his +right hand, and a bishop's staff in his left; St. Jerome in a +cardinal's hat, with a church in his right hand and a bible in his +left; St. Gregory in papal tiara, the legendary club on his shield, +his pastoral staff doubly crossed, and a book, typical of his +writings, on his left. On the smaller north buttress, near the turret, +is a restored figure removed from its original place, which represents +St. Augustine, wearing a bishop's mitre, and holding his hand as in +the act of benediction. On the greater north buttress is the figure of +St. Mary the Virgin, to whom the church is dedicated. This figure is +also restored. In the eleven niches over the central door are, with +their various symbols: St. Barbara, St. Catherine, St. Roche, St. +Nicholas, St. George of England, St. Christopher, St. Sebastian, St. +Cosmo, St. Damian, St. Margaret, and St. Ursula. On the greater south +buttress is St. John the Baptist, and on the lesser an old figure +unrestored, supposed to represent St. Bridget. On the southern turret +are St. Mary, St. Agatha, St. Agnes and St. Cecilia, each wearing the +martyr's crown. The tier of worthies comprises: Bishops Giles de +Bridport and Richard Poore, and King Henry III. as a founder. Bishop +Odo, with a wafer in his hand, commemorating the legend of his +miraculous proof of the transubstantiation of the Blessed Sacrament; +St. Osmund, Bishop Brithwold, St. Alban, St. Alphege, St. Edmund, and +St. Thomas of Canterbury.</p> + +<p>Another figure on the north side of the north-west turret, for some +time assumed to be St. Christopher, is now assigned to St. Birinus, or +possibly with more truth to St. Nicholas, who had an altar dedicated +to him, "probably just at the back of this spot."</p> + +<p>On the apex of the west front is an ancient carving of a bird on a +scroll, which has puzzled many specialists. Mr. Armfield believes it +to be intended for a dove, the emblem of the Holy Spirit, in a scroll +to typify The Word, and thus <span class='pagenum'><a name="Page_32" id="Page_32">[32]</a></span>with the "Majesty" near, to be a +representation of the three persons of the Trinity, in a mode in +accordance with English taste.</p> + +<p><b>The North Porch</b> is a massive structure of two stories. The upper, +now used as the dean's muniment room, has, like a similar example at +Christchurch, Hants, no certain indication of its original use. +Whether it was a dwelling for sacristans, a school, or a library, was +doubtful; but later opinion thinks it was unquestionably used by the +sacristans, since it is said that "the sub-treasurer of Sarum, who was +usually one of the vicars choral, pledged himself to see that the +clerks told off for given duties slept in the church in their +accustomed places; and for himself he promised that unless lawfully +excused, he would sleep each night in the treasury." Against this +theory, however, it might be urged that the muniment room at the angle +of the south-east transept is identified as the ancient treasury.</p> + +<p>This porch, sometimes called the Galilee, was possibly a place where +penitents met, and from which they were expelled from the church on +Ash-Wednesday until Maundy Thursday. Externally, although of exquisite +proportions, it has no very important details, yet its pinnacles +deserve notice; but the interior is very beautiful, the walls have +sunk panelling, a base arcade of foliated arches, and in the upper +tier large foliated circles with sub-arches, each comprising two +trefoiled arches with quatrefoil heads. Mr. G.E. Street, who +thoroughly appreciated this particular period of English Gothic as his +work at the New Law Courts proves, just before his death restored this +part of the cathedral admirably.</p> + +<p>Another porch, formerly the entrance to the north transept, removed by +Wyatt for the most trivial reason, is now in the grounds of the +college which occupies the site of the secular buildings belonging to +the church of St. Edmund, founded in 1268.</p> + +<p><b>The Exterior</b> of the <b>Nave</b> is simple, but with excellently disposed +features. The triple lancets of the clerestory occur in pairs between +flying buttresses with tall finials; below these, in the aisles, are +two two-light windows, divided by lesser buttresses terminating in +gables.</p> + +<div class="imgr" style="width: 33%;"><a name="imagep033" id="imagep033"></a> +<a href="images/imagep033.jpg"> +<img border="0" src="images/imagep033.jpg" width="67%" alt="ONE BAY OF THE NAVE (EXTERIOR), NORTH SIDE." /></a><br /> +<p class="cen" style="margin-top: .2em;">ONE BAY OF THE NAVE (EXTERIOR), <br />NORTH SIDE.<span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p>The fronts of the main transepts show four stories, the two lower +being divided into three bays by buttresses, and flanked <span class='pagenum'><a name="Page_33" id="Page_33">[33]</a></span>by pinnacled +buttresses at each side. The doors that had a ritual use have long +since been walled up both on the north and south sides. A triplet +window is in the lower stage, three-light windows with quatrefoil +heads occupying the second, while the third has an arcade of six +lancets below a floriated circle flanked by sunk panels and +quatrefoils. The windows in the gable consist of two lesser windows, +two-light, with quatrefoil heads, beneath a large octofoil, the whole +grouped with blank panels at the side, beneath a cinquefoil moulding. +The aisle has flying buttresses reaching to the clerestory, and good +angle-pinnacles. The choir transept has no dividing buttresses, and a +different grouping of windows. In the lower stage is a triple lancet; +there is a group of three two-light windows in the story above, and in +the upper one an arcade of four lancets grouped under a comprising +arch with a quatrefoil in the head. The gable is lighted by a triplet +window flanked with blind lancets, and terminates in a cross.</p> + +<p>The transepts differ slightly in detail on their north and south +fronts. It has also been pointed out that while in the one transept +the lancet form rules, in the other the free employment of the circle +and the quatrefoil almost foreshadows the Early Decorated <span class='pagenum'><a name="Page_34" id="Page_34">[34]</a></span>style. The +windows of both are so singularly pure in design and beautiful in +proportion, that they have often been selected as typical examples of +the best work in their style.</p> + +<p>The east front of the choir is flanked with square pinnacled +buttresses. Above the Lady Chapel is an arcade with five members +pierced with three windows, and in the gable a similar arrangement of +five lancets, three being windows, arranged in harmony with the +triangular space it fills. The flying buttresses on the south side +were added by Bishop Beauchamp in 1450-58.</p> + +<p>The east front of the Lady Chapel is divided by buttresses into three +bays, and has crocketed gables to each. The aisles show a lancet in +the lower story, with a blind couplet beneath a quatrefoil in the +gable; the central compartment has a triplet in each story.</p> + +<p>The south side corresponds in character to the north, but is partly +hidden by the chapter house, the muniment room, the library, and +cloisters. The walls of the latter are high, and the quadrangle they +inclose entirely separated from the building, the long narrow space +between being known as the Plumbery.</p> + +<p>Many consecration crosses of beautiful design are to be found on the +building marking the spots touched by the oil of unction at the +dedication of the edifice. (See initial letter, page 1.)</p> + +<p>The cathedral is built of freestone from the Chilmark quarries twelve +miles distant, with a lavish use of Purbeck marble in its interior. +The grey colour of the leaden roofs and the pure unstained tone of its +walls, impart a quasi-modern aspect to it, which, no matter how little +justified by facts, always presents Salisbury to one's mind, as a late +addition to the superb array of English churches; yet considering that +as we see it from the Close no portion (except possibly the spire) +later than the twelfth century comes into the picture, there is no +other cathedral that so little justifies such an impression, and one +cannot escape a return to the first reason advanced, namely, that its +singular unity has given it an aspect of perpetual youth.<span class='pagenum'><a name="Page_35" id="Page_35">[35]</a></span></p> + +<div class="img" style="clear: both;"><a name="imagep036" id="imagep036"></a><span class='pagenum'><a name="Page_36" id="Page_36">[36]</a></span> +<a href="images/imagep036.jpg"> +<img border="0" src="images/imagep036.jpg" width="55%" alt="THE CHOIR SCREEN." /></a><br /> +<p class="cen" style="margin-top: .2em;">THE CHOIR SCREEN.<br /> +<i>From a Photograph by Carl Norman and Co.</i><span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<br /> +<hr style="width: 15%;" /> +<br /> + +<h4>FOOTNOTES:</h4> + +<div class="footnote"><p class="noin"><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> This was carefully replaced in its original position +inclosed in a copper cylinder.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> Recently, however, anxiety has been again aroused, and +the spire has been once more strengthened.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span></a> This lantern story was removed in 1757 by order of the +Dean and Chapter.</p></div> + +<br /> +<br /> +<br /> +<br /> +<a name="THE_INTERIOR" id="THE_INTERIOR"></a><hr /> +<span class='pagenum'><a name="Page_37" id="Page_37">[37]</a></span><br /> + +<h3>THE INTERIOR OF THE CATHEDRAL AND CHAPTER HOUSE.<span class="totoc"><a href="#toc">ToC</a></span></h3> +<br /> + +<p class="hang"><img src="images/t2.png" align="left" border="0" alt="T" style="margin-right: .75em;" />he ground plan of Salisbury is a well-proportioned double cross with +the arms, of the choir transepts, more important than usual. Indeed, +the exquisitely proportioned and balanced symmetry of every portion, +as of the whole, which almost places Salisbury among classic +buildings, is as marked in its ground plan as in any part of the +building. As an appreciative student of the building has written: +"This is the great beauty of Salisbury, the composition of its mighty +body as a whole. So finely proportioned and arranged are its square +masses of different heights and sizes, so splendid are the broad +effects of light and shadow they produce, so appropriate is the slant +of the roof lines, and so nicely placed and gracefully shaped are the +simple windows, that for once we can give no thought of regret either +to the circling apses of continental lands or the rich traceries and +surface carvings and figures—sculptures of later generations. The +whole effect is in the strictest sense architectural. Few large +buildings teach so clearly the great lesson that beauty in a building +depends first of all upon composition, not decoration; upon masses, +not details; upon the use and shaping, not the ornamentation of +features; and very few show half so plainly that mediæval architects +could realize this fact. We are too apt to think that Gothic art +cannot be individual without being eccentric, or interesting without +being heterogeneous ... but Salisbury is both grand and lovely, and +yet it is <span class='pagenum'><a name="Page_38" id="Page_38">[38]</a></span>quiet, rational, and all of a piece, clear and smooth, and +refined to the point of utmost purity. No building in the world is +more logical, more lucid in expression, more restful to the mind and +eye."<a name="FNanchor_7_7" id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a></p> + +<div class="img"><a name="imagep038" id="imagep038"></a> +<a href="images/imagep038.jpg"> +<img border="0" src="images/imagep038.jpg" width="90%" alt="THE NAVE, LOOKING WEST." /></a><br /> +<p class="cen" style="margin-top: .2em;">THE NAVE, LOOKING WEST.<br /> +<i>From a Photograph by Messrs. Poulton.</i><span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p>The number of its pillars, windows, and doorways is said to equal the +hours, days, and months of the year; hence the local rhyme, +attributed, on the authority of Godwin, to a certain Daniel Rogers:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"As many days as in one year there be,<br /></span> +<span class="i0">So many windows in this church we see;<br /></span> +<span class="i0">As many marble pillars here appear<br /></span> +<span class="i0">As there are hours throughout the fleeting year;<br /></span> +<span class="i0">As many gates as moons one year does view—<br /></span> +<span class="i0">Strange tale to tell! yet not more strange than true."<br /></span> +</div></div> + +<p>Fuller, speaking of these, by a curious lapse falls into the vulgar +error of believing Purbeck marble to be an artificial product <span class='pagenum'><a name="Page_39" id="Page_39">[39]</a></span>melted +and poured into moulds, says: "The cathedral is paramount of its kind, +wherein the doors and chapels equal the months, the windows the days, +the pillars and pillarets of fusile marble (an ancient art now +shrewdly suspected to be lost) the hours of the year; so that all +Europe affords not such an almanac of architecture. Once walking in +this church (whereof then I was prebendary) I met a countryman +wondering at the structure thereof. 'I once,' said he to me, 'admired +that there could be a church that should have so many pillars as there +be hours in the year, and now I admire more, that there should be so +many hours in the year as I see pillars in this church.'"</p> + +<p><b>The Nave.</b>—The first glimpse as we enter by the west door is +undoubtedly impressive, notwithstanding the absence of colour and the +lack of mystery for which the complete vista obtained at such a cruel +cost by Wyatt is insufficient compensation. The whole scheme of +decoration in its pristine state must have been extremely beautiful. +"If you can imagine it with the walls and piers exhibiting strong +contrasts of colour in the dark and polished Purbeck shafts and the +lighter freestones, the arches picked out with colours, the groining +elaborately decorated, and the whole lighted by brilliantly painted +windows with a preponderance of dark blue and ruby, together with a +flood of white light showing through the lancet of the centre, we may +be allowed a doubt whether Tintern or York could have compared with +it." Add to this picture the movable hangings and decorations of its +many altars, and we cannot honestly attribute the coldness of the +present effect to any fault in the original design. Elsewhere this +austerity of monochrome is modified to a great extent by the variety +(anachronisms though they be) of later architectural insertions. +Salisbury, through the very purity of its design, especially suffers +from its translation from chromatic harmony to monotone, for although +possibly the architectural details are thereby rendered more apparent, +yet the exaggeration of what is after all but the skeleton of the +building, destroys the effect of the whole as its architect imagined +it.</p> + +<p>Clustered columns of unpolished Purbeck marble on a quatrefoil plan, +with smaller detached shafts of lustrous marble at the cardinal +points, support, on either side, the ten great arches of the first +story of the nave. These polished shafts are <span class='pagenum'><a name="Page_40" id="Page_40">[40]</a></span>generally in two pieces, +with a brass ring covering the joint; Francis Price discusses, at +great length, this constant feature of the whole building, and points +out, that although most of the shafts were probably not in place until +after the masonry was fairly set, yet frequently subsequent settlement +has crushed them; although, in the nave, the main piers in small +blocks laid according to the natural bed of the stone, are still +perfectly sound. The large arches are gracefully moulded with masses +of carved foliage at the intersections.</p> + +<div class="imgl" style="width: 25%;"><a name="imagep040" id="imagep040"></a> +<a href="images/imagep040.jpg"> +<img border="0" src="images/imagep040.jpg" width="85%" alt="THE NAVE: SOUTH SIDE." /></a><br /> +<p class="cen" style="margin-top: .2em;">THE NAVE—SOUTH SIDE.<span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p>In the nave of this cathedral we have a very uncommon feature in the +connected base of the main columns, which was doubtless introduced to +aid in distributing the weight over a larger surface, and so to +overcome the treacherous character of the foundation.</p> + +<p>The triforium, which, from its style, naturally suggests comparison +with Westminster, and the Angel Choir of Lincoln, is simple, but +extremely beautiful. Each of its rather flat-pointed arches, equalling +in span that of the main arch below, is subdivided into pairs, which +again each inclose two smaller ones. These are decorated with trefoils +and quatrefoils, alternately with <span class='pagenum'><a name="Page_41" id="Page_41">[41]</a></span>cinquefoils and octofoils. +Immediately above the carving, at the intersection of the main arches, +is a corbelled head, from which rises a triple vaulting-shaft with +foliated capitals, on a line with the base of the clerestory. This +upper story has, in each bay of the vaulting, simple lancet windows +grouped in threes. The arches here, as in almost every instance +throughout the building, are supported by Purbeck marble shafts. The +nave aisles are lighted by double lancet-windows in each bay. The most +noticeable feature of these aisles is the stone bench which extends +the whole length of the building on both the north and south sides.</p> + + +<div class="imgr" style="width: 45%;"><a name="imagep041" id="imagep041"></a> +<a href="images/imagep041.jpg"> +<img border="0" src="images/imagep041.jpg" width="85%" alt="NORTH AISLE." /></a><br /> +<p class="cen" style="margin-top: .2em;">NORTH AISLE.<span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p>The west wall is panelled in three main arches, with an upper story +reaching to the height of the triforium base, and containing an arcade +of four arches, subdivided each into two smaller trefoiled ones, with +cinquefoil heads. Above these is the triplet lancet of the great west +window. The effect of the nave looking west is clearly shown in the +photograph here reproduced.</p> + +<p>Of the chapels and altars once existing we have records in various +documents. In the "Sarum Processional" twelve altars are mentioned, +dedicated respectively to SS. Andrew, Nicholas, John the Baptist, +Margaret, Mary Magdalene, Laurence, Michael, Martin, Catherine, +Edward, Edmund the King, and Edmund, Archbishop of Canterbury. The +sites of these so far as they can be traced appears to have been: St. +<span class='pagenum'><a name="Page_42" id="Page_42">[42]</a></span>Catherine and St. Martin in the north choir transept, St. Nicholas and +St. Mary Magdalene in the south, and St. Edmund of Canterbury and St. +Margaret respectively in the north and south great transepts.</p> + +<p>Throughout the nave it is evident that the first plans were rigidly +obeyed, although the severity of the early years of the style had +become much modified before the work was finished. The absence of +ornate decoration, the simplicity of the mouldings, and the +plate-tracery of the triforium all indicate the first period of "Early +English."</p> + + +<div class="img" style="clear: both;"><a name="imagep042" id="imagep042"></a> +<a href="images/imagep042.jpg"> +<img border="0" src="images/imagep042.jpg" width="50%" alt="NAVE TRANSEPT." /></a><br /> +<p class="cen" style="margin-top: .2em;">NAVE TRANSEPT.<span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p>The dimensions of the nave are: 229 feet 6 inches long, 82 feet wide, +and 81 feet high. The aisles are 17 feet 6 inches wide, and 39 feet 9 +inches high.</p> + +<p><b>The Nave Transepts</b> are in three stories, with eastern <span class='pagenum'><a name="Page_43" id="Page_43">[43]</a></span>aisles +divided into three bays. The screens inclosing chapels in these were +demolished by Wyatt. Above the entrances to the great transepts are +arches inserted by Bishop Beauchamp (1450-1481) to withstand the side +thrust of the great tower. These are of perpendicular work, with their +spandrils panelled and their cornices battlemented, as shown in the +engraving. Canterbury and Wells, in a far more prominent fashion, have +similar features; in this instance the addition appears to have +succeeded in its purpose to insure the stability of the tower. In the +choir transepts these additional features take the form of an inverted +arch, above the main arch. The vaulting of the tower roof is also in +the perpendicular style and shows excellent groined work. Both Sir +Christopher Wren and Francis Price, call its four main pillars the +legs of the tower.</p> + +<p>Of the transept Fuller says: "The cross aisle of this church is the +most beautiful and lightsome of any I have yet beheld. The spire +steeple (not founded on the ground, but for the main supported by four +pillars,) is of great height and greater workmanship. I have been +credibly informed that some foreign artists beholding this building +brake forth into tears, which some imputed to their admiration (though +I see not how wondering could cause weeping): others to their envy, +grieving that they had not the like in their own land."</p> + +<div class="imgl" style="width: 25%;"><a name="imagep044" id="imagep044"></a> +<a href="images/imagep044.jpg"> +<img border="0" src="images/imagep044.jpg" width="80%" alt="Effigy of a Bishop" /></a><br /> +<p><span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p><b>Monuments in the Nave.</b><a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a>—The peculiar arrangements of the ancient +monuments in two long rows on the continuous plinth that connects the +bases of the pillars on each side of the nave is another of Wyatt's +freaks during his terrible innovations in 1789. Not only did he sever +the historical associations of centuries by these arbitrary removals, +but paid so little attention to consistency that portions of monuments +belonging to entirely different periods were combined with curious +results, and remains transferred to other "receptacles" than those +designed for them. It is true that the effect of the present +arrangement is not entirely bad, but it was not worth achieving at +such a cost.</p> + +<p>The first monument on the south side as we enter by the great west +door, is in memory of Thomas Lord Wyndham of Finglass, Lord Chancellor +of Ireland, (1) who died in 1745; the marble figure of Hibernia which +surmounts it is by <span class='pagenum'><a name="Page_44" id="Page_44">[44]</a></span>Rysbrack. At the western base of the first south +pillar is a Purbeck marble slab, (2) coffin-shaped, probably the +oldest monument in the building. This is usually assigned to Bishop +Herman, whose tomb it is supposed to have covered in Old Sarum; but no +evidence exists to support this theory. In the first place his +original burial-place is entirely unknown, and William de Wanda, who +chronicles minutely the removal of the bodies of other bishops from +the old cathedral, does not even mention Herman's name.</p> + +<p>The next (3) is an effigy of a bishop in full pontificals, also +believed to have been originally at Old Sarum. The carving is rich, +and the design a fine example of the early Norman style. The chasuble +is decorated with stars, and the dalmatic has a rich border. +Elaborately carved foliage, with birds, frames the figure, which has +its right hand raised in the attitude of benediction, and grasps a +pastoral staff in the left. It is usually believed that it +commemorates Bishop Jocelin, who died in 1184, and was probably +removed from Old Sarum at the translation of the bodies of the three +bishops. The head of the effigy is evidently a much later restoration, +probably, from the style of the richly ornamented mitre, about the +time of Henry III. or Edward I. As the face is cleanly shaven, while +the seal of Bishop Jocelin depicts him as bearded, some antiquaries +hold this monument to belong to Bishop Roger, and assign to Bishop +Jocelin the one formerly attributed to Bishop Herman. If, however, +differences of opinion exist concerning the identity of these two +effigies, they are as nothing compared to the uncertainty regarding +the next, (4) which represents a bishop holding a pastoral staff. Down +the front of this cope are the words, "Affer opem devenies in idem." +Hatcher and Duke believe that it represents Bishop Jocelin. Britton, +Gough and Planché, prefer to think that it commemorates Bishop Roger. +Its inscription on the edge of the slab runs:</p> + +<div class="poem" style="clear: both;"><div class="stanza"> +<span class="i0">"Flent hodie Salesberie quia decidit ensis<br /></span> +<span class="i0">Justitie, pater ecclesiæ Salisberiensis<br /></span> +<span class="i0">Dum viguit, miseros aluit, fastusque potentum<br /></span><span class='pn'><a name="Page_45" id="Page_45">[45]</a></span> +<span class="i0">Non timuit, sed clava fuit terrorque nocentum<br /></span> +<span class="i0">De Ducibus, de nobilibus primordia duxit<br /></span> +<span class="i0">Principibus, propeque tibi gemma reluxit."<br /></span> +</div></div> + +<p>A version given in the Wilts Archeo. Mag. vol. xvii. runs: "They mourn +to-day at Salesberie because there has fallen the sword of justice, +the Father of the Church of Salesberie. While he lived he sustained +the oppressed and wretched, and feared not the arrogance of the +powerful, but himself was the scourge (literally, the club) and terror +of the guilty. He traced his ancestry from dukes and noble princes, +who shone near thee as a precious gem." Another item of indirect +evidence supplied by this inscription is worth noting, namely, the "l" +in Sa<i>l</i>isberie. The period when this letter superseded the "r" was +about the time of Jocelin's death. Only a single coin of Stephen's has +the "l."</p> + +<p>To Bishop Roger reference is made on page 100, and it is evident that +even the fulsome praise of an epitaph would hardly go out of its way +to describe him as "sprung from dukes and noble princes." Planché, +despite this objection, does not deem it convincing, as poor priests +were often of noble lineage. If, however, we assume it represents +Bishop Jocelin, one of the house of Bohun, a great Norman family, and +compare the effigy with the seal of that bishop, the later theory that +deprives Bishop Roger of this much discussed monument will probably be +chosen as the most acceptable. In a record at least three centuries +old his burial-place is said to be near the chapel of St. Stephen; and +in a plan of the Cathedral, dated 1773, and in Price's account, 1774, +a plain slab with a cross upon it, in a shallow recess of the wall +east of the north aisle, is assigned to Bishop Roger.</p> + +<p>But this and the other disputed monuments are undoubtedly genuine +memorials of the earliest bishops, and not merely interesting for that +reason, but as (with the exception of two slabs dated 1086 and 1172 in +Westminster Abbey) the earliest examples of their class in England. +Although the question of their identity of the individuals they +commemorate were best left to those few who are peculiarly concerned +with the history of the period that includes them.</p> + +<p>Near these effigies is a slab with faint traces of an incised figure, +which may possibly have represented an abbot or prior. It can hardly +be intended for a bishop, as no mitre can be <span class='pagenum'><a name="Page_46" id="Page_46">[46]</a></span>traced, and the staff is +held in the right hand. The monument (5) on the plinth under the next +arch is also beyond identification.</p> + +<p>Next in order comes the altar tomb (6) which now contains the remains +of Bishop Beauchamp, who died in 1481. When this was removed from the +aisle at the north end of the great transept it was empty, and showed +no trace of its original dedication. During the wanton demolition of +the Beauchamp chantry, where, "in marble tumbes," with his father and +mother on either hand, the remains of Bishop Beauchamp had been +unmolested for over three hundred years, his own tomb was "mislaid" +and never recovered. It is pleasant to note that even the apologists +for Wyatt felt this incident was beyond their sympathy. Dodsworth +naïvely remarks, "After this the greatest possible care was taken that +nothing of the kind should again occur," and so far as we know, not +even a prior was subsequently lost. Of this bishop much is said +elsewhere in this book, and his beautiful chantry described on page +90.</p> + +<p>The elaborate effigy (7) beneath the next arch represents Robert Lord +Hungerford clad in a superb suit of fifteenth century plate armour, +with the collar of SS. round his neck, and with "his hair polled" in +the fashion of Henry V. A superbly decorated sword and dagger hang +from his jewelled girdle at his side, while his feet rest upon a dog +wearing a rich collar. This monument was placed originally between the +Lady Chapel and the (Hungerford) chantry founded by Margaret, his +widow. By his will Lord Hungerford directed that his body should be +interred before the altar of St. Osmund. The tomb beneath the effigy +is made up from portions of the chapel.</p> + +<p>The monument known as Lord Stourton's (8), removed from the east end +of the Cathedral, is next in order. Its three apertures on each side +are said to be emblematic of the six sources of the river Stour, which +rises at Storrhead, the ancient family seat, from whence the name is +derived. The whole shape of the tomb is so unusual that in spite of +the theory that it represents the six sources of the Stour, the +curious arched openings appear as if pierced to exhibit something +behind them. Yet this could not have been an effigy, for the interior +is divided by a solid partition of stone. The pillars which stood +between the arches are gone. Lord Stourton, to whom it is attributed, +was hanged with a silken cord on March 6th, 1556, in the Salisbury +market-place. The tragedy is too long to <span class='pagenum'><a name="Page_47" id="Page_47">[47]</a></span>give in detail, as it is +told in the country histories and elsewhere, here a brief summary must +suffice:—When his mother became a widow Lord Stourton attempted to +induce her to sign a bond promising that she would never re-marry. The +family agents, a father and son named Hartgill, sided with Lady +Stourton and seemed to have influenced her in declining to assent to +the scheme. The Hartgills after much physical maltreatment at the +hands of Lord Stourton's mercenaries, took legal action against him, +with the result that he was fined and imprisoned for awhile in the +Fleet. When let out on parole he invited the Hartgills to meet him +that he might pay them the fine. Upon their appearance at Kilmington +Churchyard, the appointed place, they were seized by armed men, +carried away and murdered in cold blood in full sight of Lord Stourton +himself the same night. For this he was committed to the Tower, tried +at Westminster and hanged with four of his men at Salisbury. So late +as 1775 a wire twisted into a noose was suspended above his tomb.</p> + +<p>The mutilated effigy (9) of Bishop de la Wyle (died 1271) rests on a +base made up of portions of later work. The last monument on this side +(10) is of the famous William Longespée, 1st Earl of Salisbury, the +natural son of Henry II. by Fair Rosamond. This effigy still shows +traces of the gorgeous ornament in gold and colours with which it was +originally decorated. Westmacott, the sculptor, says: "The manly, +warrior character of the figure is particularly striking even in its +recumbent attitude, while the turn of the head, and the graceful flow +of lines in the right hand and arm, with the natural heavy fall of the +chain armour at the side, exhibit a feeling of art that would not do +discredit to a very advanced school." The figure is clad in mail +armour, which covers the mouth in a peculiar fashion, and wears a +surcoat falling in simple folds, almost Greek in feeling, that are +somewhat curious in connection with the rich mediæval luxuriance of +the surface ornament. On his shield are borne six heraldic leopards or +lions. The slab and effigy are stone, but the base is of wood +encircled by an arcade of trefoiled arches. One of its compartments +protected with glass yet shows a piece of the beautiful diaper work, +in silver overlaid on white linen, remains of the rich colourings of +two successive periods are present on the effigy itself. (See <a href="#Page_94">p. 94.</a>)</p> + +<p>Crossing the nave, and following the northern base of the <span class='pagenum'><a name="Page_48" id="Page_48">[48]</a></span>pillars, we +find a very beautiful alabaster monument (11), with the effigy of Sir +John Cheyney (died 1509) clad in military garb, and wearing the collar +of SS. with the portcullis badge of Henry VII. suspended therefrom. +Sir John Cheyney was the standard-bearer of Henry of Richmond at +Bosworth Field. To quote from Hall's "Chronicle"—"King Richard set on +so sharply at the first brount that he ouerthrew th'erle's standard +and slew Sir William Brandon, his standard-bearer, and matched hand to +hand with John Cheynye, a man of great strength, who would have +resisted him, and the said John was by him manfully ouerthrowen." +Wyatt, in his ghoulish explorations exhumed Sir John's bones, and +confirmed the legend of his gigantic stature; the thigh-bone was found +to be twenty-one inches in length, four inches more than the standard +average. His original tomb was destroyed with the rest of the +Beauchamp chapel, and his remains now lie beneath this effigy. Under +the next arch to the westward are two tombs (12,13) deprived of the +brasses they once bore, which represented Walter, Lord Hungerford, and +his first wife, Catherine Peverell. The famous iron chapel has been +removed to the choir by their descendant, the Earl of Radnor, who +converted the monument into a family pew.</p> + +<p>The plain altar tomb of St. Osmund, that, moved hither by Wyatt, stood +until 1878 below the next arch of the nave; is now replaced in the +Lady Chapel on its former site.</p> + +<p>The effigy of Sir John de Montacute (14) (died 1389) clad in mail and +chain armour, is, according to Meyrick, "a good specimen of highly +ornamented gauntlets, of a contrivance for the easier bending of the +body at the bottom of the breastplate, and of the elegant manner of +twisting the hanging sword belt, pendant from the military girdle, +round the upper part of the sword." The head of the figure reposes on +a helmet, a lion couches at his feet. Armorial bearings appear on +shields at the sides of the tomb. (See <a href="#Page_79">p. 79.</a>)</p> + +<p>Then we come to Chancellor Geoffrey's tomb (15), and the next (16) has +not been identified. The larger effigy (17) on the last portion of the +northern plinth is of William Longespée, fourth Earl of Salisbury; the +figure wears chain armour, and lies with its legs crossed and hands +grasped upon his sword. He was twice a Crusader, in 1240-1242, and in +1249, when he served with St. Louis of France at Damietta, he fell in +battle near Cairo in 1250, and was buried in the church of the <span class='pagenum'><a name="Page_49" id="Page_49">[49]</a></span>Holy +Cross near Acre. The night he was killed, according to Matthew Paris, +his mother, the Countess Ela, saw in a vision "the heavens opened, and +her son armed at all points, with the six lioncels on his shield, +received in triumph by a company of angels." Many strange marvels were +reported to have been worked by his bones.</p> + +<p><b>The Boy Bishop.</b>—Near this monument is the one (18) known as the +"Boy Bishop." Hidden for a long time underneath some seats near the +pulpit, it was brought to light in 1680, and moved to its present +position. At first it was covered with a wooden box; for which later +on, owing to the great curiosity shown by the public, the strong iron +grating which now protects it was substituted. (See <a href="#Page_98">p. 98.</a>)</p> + +<p>Notwithstanding that the ceremony of the Boy Bishop was observed at +Salisbury for many centuries, there is no reasonable proof that this +effigy has any connection therewith. Even John Gregory, whose famous +treatise on the Boy Bishop is printed in "Gregorii Posthuma," +1649-1669, admits there that it might well seem impossible to everyone +that either a bishop should be so small in person or a child so great +in clothes. Thomas Fuller also echoes the same objection when he +writes: "But the curiosity of critics is best entertained with the +tomb in the north of the nave of the church, where lieth a monument in +stone of a little boy, habited all in episcopal robes, a mitre upon +his head, a crozier in his hand, and the rest accordingly. At the +discovery thereof, formerly covered over with pews, many justly +admired that either a bishop could be so small in person or a child so +great in clothes; though since all is unriddled; for it was then +fashionable in that church (a thing rather deserving to be remembered +than fit to be done), in the depth of Popery, that the choristers +chose a boy of their society to be a bishop among them from St. +Nicholas' till Innocents' day." If the effigy represents a boy it is +hard to explain why it is not life-size. Stothard in his "Monumental +Effigies," in common with most later authorities, favours the idea +that it is a miniature representation of a real bishop. Canon Jones +suggests probably Walter Scammel, Henry de Braundeston, or William de +la Corner. Mackenzie Walcott inclined to the belief that it +represented Bishop Wykehampton, who died 1284. A small figure of +Bishop Ethelman, 1260, about the same date, is in Winchester +Cathedral; there is also one <span class='pagenum'><a name="Page_50" id="Page_50">[50]</a></span>14-½ inches long in Abbey Dore Church, +Herefordshire, one at Ayot, St. Lawrence, Herts, 2 feet 3 inches, and +other small effigies of knights and civilians elsewhere. According to +Digby Wyatt the custom of burying different portions of the body in +different places was common in the twelfth and thirteenth centuries; +from which he infers that probably these figures commemorated the +place of sepulture of the heart.</p> + +<p>Whether the monument in question be connected with the Chorister +Bishop or not, there are so many records of the function with which +popular credence has associated it, that a short digression is almost +unavoidable. The pamphlet by John Gregory is elaborately minute and +much too long to be quoted fully, yet some of the facts he brought +together may be briefly noted. It seems that on the feast of St. +Nicholas, the patron saint of children, the choir-boys<a name="FNanchor_9_9" id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a> elected one +of their number, who from that day to the feast of the Holy Innocents, +December 28th, bore the rank and exercised the functions of a bishop, +the other choristers being his prebendaries. During his term of office +he wore episcopal vestments. On the eve of the Holy Innocents he +performed the entire office, excepting the mass, as a real bishop +would have done. At Salisbury on that day the boy-bishop and his +boy-prebendaries went in procession to the altar of the Holy Trinity, +taking precedence of the dean and resident canons. At the first +chapter afterwards the boy bishop attended in person and was permitted +to receive the entire Oblation made at the altar during the day of his +procession. The names of many of the choristers and the amounts of the +oblations offered for the boy-bishops are the subject of many entries +in the capitular registers of both English and continental churches. +Bishop Mortival in his statutes, still preserved among the cathedral +muniments, orders that the bishop of the choristers "shall make no +visit (some commentators consider this has been misinterpreted, to +infer that elsewhere he held visitations), nor keep any feast, but +shall remain in the Common Hall, unless he be invited to the table of +a Canon for recreation." The order of service in use in this diocese +has been preserved (MS. No. 153 of the Cathedral Library); in it we +find as a special collect, "O <span class='pagenum'><a name="Page_51" id="Page_51">[51]</a></span>Almighty God, who out of the mouths of +babes and sucklings," etc., not, however, quite in the form in which +it appears in the Prayer Book of Ed. VI.</p> + +<p>The spectacle was so popular, and attracted such great crowds, that by +special edict it was prescribed that the penalty of the greater +excommunication should be incurred by those who might interrupt or +press upon the boys during their procession or in any part of their +service.</p> + +<p>In spite of the doubts thrown upon the monument at Salisbury, it is +distinctly recorded that if a boy-bishop died during his term of +power, he was to be buried in his vestments and have his obsequies +celebrated with the pomp pertaining to an episcopal funeral.</p> + +<p>This custom was not confined to this cathedral, but practised at many +others in England and on the Continent, where we find records of much +greater power being exercised by the boy-prelate, extending even to +the presentation to prebends. At Winchester it was certainly observed. +So far back as 1263 we find it described at St. Paul's Cathedral as an +ancient custom. Several sermons preached by the boy-bishops are still +preserved; one is reprinted in the Camden Society's "Miscellany," vol. +vii. Dean Colet (once a prebendary of Sarum) in his statutes for St. +Paul's school directs: "All these children shall every Childermas day +come to Paules Church, and here the Childe-bishoppes sermon, and after +be at high masse so each of them offer <i>one peny</i> to the childe +bishoppe. And with the maisters and surveyors of the scoole in general +procession when they be warned they shall go tweyne and tweyne +togither soberly, and not singe oute, but saye devoutly tweyne by +tweyne seven psalmes with letany." (Add. MS. 6174.) At York the mock +prelate held office longer, and wielded far more power than his +fellows of Sarum.</p> + +<p>In 1299, on December 7th, a boy-bishop at Hoton, near +Newcastle-on-Tyne, said vespers before Edward I., then on his way to +Scotland.</p> + +<p>At Salisbury in 1542 Henry VIII. forbade the ceremony by royal +proclamation. It was revived under Queen Mary, and finally abolished +on the accession of Queen Elizabeth.</p> + +<p>Not entirely alien to the subject is the office of the bishop's boy, +which is probably peculiar to Salisbury. His duty is to call at the +palace before every service and inquire if the bishop <span class='pagenum'><a name="Page_52" id="Page_52">[52]</a></span>will attend. He +is formally appointed by the bishop, who lays his hands upon him, and +repeats a prescribed office.</p> + +<p>A nameless tomb (19), and a memorial (20) to Dr. Daubigny Turberville, +an oculist of Salisbury, who died April 21st, 1696, complete the more +important monuments of the nave. Several mural tablets on the aisle +walls are of hardly sufficient general interest to need description. +In Price's "Antiquities of Salisbury," and many of the numerous works +devoted to the cathedral, copies of nearly all the epitaphs are given, +but, except in very special instances, they form peculiarly depressing +reading.</p> + +<p><b>The Choir Screen</b> was given as a memorial of the late Mr. Sidney Lear +by his wife, to whom the cathedral is indebted for many of its modern +enrichments. It is entirely of wrought metal, by Skidmore, of +Coventry, and a good example of its class. It replaced the organ +screen compiled by Wyatt from fragments of the Hungerford and +Beauchamp chantries; to erect which he removed the original screen of +exquisite workmanship, as may be seen by portions now placed along the +west wall of the north-east transept.</p> + +<p><b>The Organ</b>, that stood on the old screen until lately, was built by +Green, of Isleworth, and a gift from King George III. in his capacity +as "a Berkshire gentleman," that county being included in the diocese +of Sarum until 1836. It was given by the Dean and Chapter to the +church of St. Thomas. The present organ, a fine instrument, built by +Willis, was the gift of Miss Chafyn Grove, is placed in the second +arcade on each side of the choir, the necessary connecting mechanism +being in a tunnel below the pavement, while the larger pipes and the +bellows are inclosed within a screen in the north transept. The oak +case is from a design by the late Mr. Street.</p> + +<p><b>The Choir and Presbytery</b> are very similar to the nave in the main +features of their design. The piers show a different plan, which +provides for eight shafts of Purbeck marble to each. The inner +mouldings of the arches exhibit the "dog-tooth" ornamentation of their +period. The triforium and clerestory differ slightly from the +corresponding parts of the nave. In each of the last two bays of the +presbytery the triforium has five small cinquefoil arches. At the east +wall of the choir above the reredos is an arcade of <span class='pagenum'><a name="Page_53" id="Page_53">[53]</a></span>five +simply-pointed arches, below a triplet window in the gable, which is +filled with stained glass, given by the Earl of Radnor in 1781, and +representing "The Brazen Serpent," after a design by Mortimer.</p> + +<p>The choir still bears traces of Wyatt's destruction. He removed the +original reredos behind the high altar and the screen before the Lady +Chapel, so that both, with the low eastern aisle, were thrown into the +choir. He shifted the high altar from the choir to the extreme east +end of the Lady Chapel, sacrificing several chantries and tombs to do +so. Views of the cathedral after his reign of terror fail to show any +gain to compensate for so much loss; the extreme length is not +apparently an advantage, while the bare look of the interior seems +decidedly intensified by the increased vista that he was so delighted +to obtain, and for which with a light heart he effaced the silent +records of dead centuries.</p> + +<p><b>The Decorations of the Roof</b> of the choir and presbytery are +reproductions by Messrs. Clayton and Bell of the original paintings, +which dated probably from the thirteenth century. The series, +commencing from the west, shows twenty-four prophets and saints, all, +with the exception of St. John the Baptist, selected from the Old +Testament. Taking them in lines parallel with the choir screen, the +first row contains (reading from the left, as one faces the altar): +Zechariah, Daniel, Ezekiel, and St. John the Baptist; the second: +Zacharias, Joel, Hosea, and Zephaniah; the third: Job, Habakkuk, +Nahum, David; the fourth: Moses, Micah, Jonah, and Jacob; the fifth: +Malachi, Obadiah, Amos, and Isaac; and the sixth: Haggai, Jeremiah, +Isaiah, and Abraham. In the square of the transept crossing are +(following the same order): St. Thomas and St. Andrew, St. Matthew and +St. John, St. Philip and St. Simon, St. Bartholomew and St. Matthias. +At the left the last panel on that side contains St. Peter and St. +Andrew, while another in the opposite corner has St. James and St. +John. In the centre is a figure of Christ, in majesty, surrounded by +the four evangelists.</p> + +<p>From this point to the east the panels are devoted to secular subjects +typifying the twelve months, "The signs of the Zodiac," Price calls +them: January, warming at a fire; February, drinking wine; March, +delving; April, sowing; May, hawking; June, flowers; July, reaping; +August, threshing; September, fruit; <span class='pagenum'><a name="Page_54" id="Page_54">[54]</a></span>October, brewing; November, +cutting wood; December, killing the fatted pig. The originals were +white, or rather buff-washed, in the last century. Owing to the +tenacity of this wash, and the friable non-adhesive quality of the +paint it covered, it was found impossible to remove the additional +coating without destroying the original paintings. Tracings of some of +them were made by Messrs. Clayton and Bell; but although the +semi-transparent character of the buff wash allowed the subjects to be +discerned from below; on nearer inspection the details became blurred +and shapeless.</p> + +<p>The theory that the paintings of the choir had been re-painted before +their defacement by buff wash seems hardly likely from the state +reported by the restorers. The idea probably arose from an extract, +itself possibly interpolated, frequently quoted from one edition of +Defoe's "Tour through the Island of Great Britain:" "The choir +resembles a theatre rather than a venerable choir of a church; it is +painted white with the panels golden, and groups and garlands of roses +and other flowers intertwined run round the top of the stalls; each +stall hath the arms of its holder in gilt letters or blue writ on it; +and the episcopal throne with Bishop Ward's arms upon it would make a +fine theatrical decoration, being supported by gilt pillars and +painted with flowers upon white all over. The roof of the choir hath +some fresh painting, containing several saints as big as life, each in +a circle by itself and holding a label in their hands telling who they +are. The altar piece is very mean, and behind this altar, in the +Virgin Mary's Chapel, are some very good monuments." But in the first +edition of the same book Defoe himself says: "The inside is certainly +hurt by the paltry old paintings in and over the choir, and the +whitewashing badly done, wherein they have very stupidly everywhere +drawn black lines to imitate joints of stone." In another edition of +1724 the passage reads: "The painting in the choir is mean and more +like the ordinary method of Common Drawing Room or Tavern painting +than that of a church." Whatever be the actual value of the painting +on its own merits, as a record faithfully transcribed of very early +roof-decoration, it has an interest of its own far beyond much more +important work of later periods.</p> + +<div class="img"><a name="imagep055" id="imagep055"></a><span class='pagenum'><a name="Page_55" id="Page_55">[55]</a></span> +<a href="images/imagep055.jpg"> +<img border="0" src="images/imagep055.jpg" width="85%" alt="THE CHOIR, LOOKING WEST." /></a><br /> +<p class="cen" style="margin-top: .2em;">THE CHOIR, LOOKING WEST.<br /> +<i>From a Photograph by Messrs. Carl Norman and Co.</i><span class="totoi"><a href="#toi">ToList</a></span></p> +<span class='pagenum'><a name="Page_56" id="Page_56">[56]</a></span> +</div> + +<p><b>The Choir.</b>—In the second bay from the east, on the north side of +the choir, stands the chantry of Bishop Audley, <span class='pagenum'><a name="Page_57" id="Page_57">[57]</a></span>who died in 1524. +This excellent example of late Perpendicular work was built by the +bishop himself in 1520. Its style is not unlike the chantry of Bishop +Fox at Winchester with octagonal shafts, (similar to those of the +Salisbury Chapel at Christchurch,) which impart a semi-Oriental touch +that is so characteristic of this final development of Gothic art. The +images it once enshrined are lost, but the original rich colouring is +still distinguishable on the fan tracery of the roof. The arms and +initials of its founder are borne on the shields of the cornice. In +the corresponding bay on the south side is the chantry founded by +Walter Lord Hungerford, in 1429, and removed from the nave in 1778 by +his descendant, the Earl of Radnor, who converted it into a family +pew. It has been re-decorated, and new emblazonments added. The arms +of its founder and his two wives appear on the base. The +superstructure is of iron, and a fine example of its class, which +includes among the few still extant the chantry of Edward IV. (died +1483) at Windsor, and that of Henry VII. at Westminster Abbey (died +1509). The Audley and Hungerford chantries are the most important left +in a cathedral once rich in their kind, as the report of the +alienation of their endowments proves.</p> + +<p>Of modern fittings, the Brass Lectern was given by members of the late +Dean Lear's family. A brass eagle is mentioned by Price, and said to +have been given in 1714 at a cost of £160. The pulpit is modern, with +carved medallions on its sides.</p> + +<p>The bishop's throne, a lofty modern structure, made by Earp of +Lambeth, was presented by those clergymen who had been ordained in the +cathedral. It replaced one given in 1763.</p> + +<p><b>The Choir Stalls</b> are made up from work of different periods, the +seats and elbows being probably part of the original work; the poppy +heads of the benches are of the time of Henry VIII. Much later Sir +Christopher Wren added to the stalls, and still later Wyatt placed +canopies over them, which have since been removed. The dean's seat has +been said to be of the time of Charles I.</p> + +<p><b>The Reredos</b> is modern. It was given by Earl Beauchamp in memory of +Bishop Beauchamp (1450-81), whose chantry Wyatt swept away. Its design +is adapted from the old choir screen, now in the Lady Chapel, and the +monument of Bishop Bridport. A large centre panel, eight feet in +height, has a bas-relief <span class='pagenum'><a name="Page_58" id="Page_58">[58]</a></span>of the Crucifixion, with the Virgin and St. +John; in the head of the central arch are angels amid foliage. On each +side are two storied canopied niches, containing statues of the two +Maries, and of St. Osmund and Bishop Beauchamp. The whole rises up to +a gable terminating in a gemmed and floriated cross. The back facing +the Lady Chapel is richly panelled. The sides are also elaborately +decorated with birds. The design by Sir Gilbert Scott was executed at +a cost of about £1,800 by Messrs. Farmer and Brindley.</p> + +<div class="img"><a name="imagep058" id="imagep058"></a> +<a href="images/imagep058.jpg"> +<img border="0" src="images/imagep058.jpg" width="85%" alt="THE HIGH ALTAR AND REREDOS." /></a><br /> +<p class="cen" style="margin-top: .2em;">THE HIGH ALTAR AND REREDOS.<br /> +<i>From a Photograph by Messrs. Poulton.</i><span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p><b>The High Altar</b>, the credence table, and sedilia, are excellent +examples of modern work. The altar itself is of English oak. Its +design comprises an arcade with seven openings, divided into three +panels, with much elaborate carving. It was given by those who had +received confirmation at the hands of Bishop Hamilton. The altar +cloths, worked and given by Mrs. Sidney Lear, are highly finished +examples of modern ecclesiastical needlework. The credence table, of +somewhat elaborate design, is of carved oak with a marble top. The +altar rails are of brass, the grills of wrought iron, at each side of +the reredos screen the choir partially from the Lady Chapel.</p> + +<div class="img"><a name="imagep059" id="imagep059"></a><span class='pagenum'><a name="Page_59" id="Page_59">[59]</a></span> +<a href="images/imagep059.jpg"> +<img border="0" src="images/imagep059.jpg" width="85%" alt="THE CHOIR, LOOKING EAST." /></a><br /> +<p class="cen" style="margin-top: .2em;">THE CHOIR, LOOKING EAST.<br /> +<i>From a Photograph by Messrs. Poulton.</i><span class="totoi"><a href="#toi">ToList</a></span></p> +<span class='pagenum'><a name="Page_60" id="Page_60">[60]</a></span> +</div> + +<p><span class='pagenum'><a name="Page_61" id="Page_61">[61]</a></span>The definitely planned order of the subjects of the ceiling decoration +is held to indicate originally a different place for the high altar +than its present site, which is the same as that reported by Leland +two hundred years ago, and until attention was drawn to this fact was +generally accepted as its original position. From the rood screen the +sequence of the figures of the patriarchs and prophets leads up to the +climax of "Our Lord in Glory." At this point the capitals of the +Purbeck shafts surrounding the pillars supporting the arch on which +this figure is painted, are carved in foliage, unlike the others +throughout the building, which are invariably moulded only. The whole +subject is discussed at length in a paper printed in the "Wilts +Archæological Magazine," vol. xvii., in a way that supports the +hypothesis advanced. A somewhat important piece of circumstantial +evidence came to light during the late restoration, namely a windlass +close to the pier on the north side of the supposed original site of +the altar, which was possibly intended to raise and lower a +baldichino, or ciborium that hung originally over the altar, or still +more probably the pyx, which as many instances show was usually +suspended above it.</p> + +<p>Possibly the altar was moved when, owing to the early settlement of +some of the piers, it was found necessary to wall up the space between +the arches opening into the choir transepts, and insert the +perpendicular arches as a counter thrust to the strain of the central +tower. It is hardly conceivable that the evidence offered by the roof +paintings, and the solitary instance of carved capitals, can be +misleading on this point.</p> + +<p><b>The East</b> (or <b>Choir</b>) <b>Transept</b>, which on the north side, screened +as it is from the aisle, is used and known also as the Morning Chapel, +has on its west wall a portion of a very beautiful screen of Early +English work. Of this John Carter, from whose pages the accompanying +sketch of a portion is reproduced, says that it was moved during +Wyatt's restoration, as he naïvely puts it, "during the late +dilapidatious innovations, and modern fanciful introductions so fatal +to our study of antiquities." Other authorities consider its original +position uncertain. Yet since its architecture is obviously coeval +with that of the building, and the arches inserted by Bishop +<span class='pagenum'><a name="Page_62" id="Page_62">[62]</a></span>Beauchamp show proof of having been planned to rest on something at +the base of the tower piers, there can be little doubt that when Wyatt +removed the screen to re-erect a medley of his own composing made of +fragments of the demolished chantries, he disturbed one more of the +original features of the cathedral.</p> + +<div class="img"><a name="imagep062" id="imagep062"></a> +<a href="images/imagep062.jpg"> +<img border="0" src="images/imagep062.jpg" width="45%" alt="PORTION OF THE OLD ORGAN SCREEN." /></a><br /> +<p class="cen" style="margin-top: .2em;">PORTION OF THE OLD ORGAN SCREEN.<br /> +<i>From a Drawing by H.P. Clifford.</i><span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p>A curious double aumbry in the north wall of this chapel is unusual, +not merely in the pitch of its arches, which are triangular gables, +but also in the solid stone shelves dividing its space into six +compartments; other aumbries in this church show similar features, but +this alone retains its original wooden doors. The superb brass of +Bishop Wyville (illustrated on p. 114) <span class='pagenum'><a name="Page_63" id="Page_63">[63]</a></span>is in the pavement of this +transept. It is illustrated in almost every work on monumental brasses +as a notable example. A canopied lavatory of beautiful design is upon +the east wall to the right, the altar being not in the centre, but +almost in the corner on the left-hand side.</p> + +<p><b>The Eastern Aisle</b> is not so important as similar "processionals" at +Exeter, Winchester, and some other English churches; still, the grace +of its clustered columns, like those of the Lady Chapel, give it a +character of its own.</p> + +<div class="imgr" style="width: 45%;"><a name="imagep063" id="imagep063"></a> +<a href="images/imagep063.jpg"> +<img border="0" src="images/imagep063.jpg" width="85%" alt="PISCINA IN THE SOUTH CHOIR AISLE." /></a><br /> +<p class="cen" style="margin-top: .2em;">PISCINA IN THE SOUTH CHOIR AISLE.<span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p><b>The Lady Chapel</b>, originally separated from the choir, thrown into +the presbytery by Wyatt for the sake of his much overrated vista, is +once again partially hidden by the reredos and the grille work of the +screen on either side. As the earliest portion of the building, and +the only part Bishop Poore lived to see completed, it would not lack +interest, were it commonplace in character; but it is on the contrary +a particularly graceful example of its time. The whole chapel is +divided into a nave and side aisles by single and clustered shafts of +Purbeck marble. These extremely slender shafts look unequal to the +heavy groined roof they support; for although nearly thirty feet high, +the four largest are not quite ten inches in diameter, while the +clustered ones are mere rods. Francis Price, whose interest in the +building, as he showed throughout his monograph, was that of a +practical builder, was "amazed at the vast boldness of the architect, +who certainly piqued himself on leaving to posterity an instance of +such small pillars bearing so great a load. One would not suppose +them," he says, "to stand so firm of themselves as even to resist the +force of an ordinary wind." The modern colouring of this part of the +building, including the low eastern aisle immediately behind the +reredos, is claimed to be an exact restoration of the original, but it +is hardly agreeable. The black of the newly polished marble shafts, +the dull green of other <span class='pagenum'><a name="Page_64" id="Page_64">[64]</a></span>parts, with the red, green, and white of the +vaulting ribs, is more bizarre than beautiful. In regarding traces of +mediæval colouring one often forgets that time has blended +harmoniously a scheme otherwise entirely crude, and to modern taste +unpleasing. How far in English instances this is emphasized by the +absence of rich hangings, carpets, vestments, and pictures, it is not +within our subject to inquire; but since such restoration of the +primitive colouring offends one less in churches that still preserve +the more ornate furniture of the Roman Ritual, it is at least a moot +point.</p> + +<p>The triple lancet east window at the end of the Lady Chapel was filled +formerly with stained glass, representing "The Resurrection," after a +design by Sir Joshua Reynolds; it is now replaced by modern glass in +memory of the late Dean Lear. An altarpiece, composed of fragments of +the destroyed Hungerford and Beauchamp Chapels, was set up here by +Wyatt. It has lately been replaced by a triptych designed by Sir +Arthur Blomfield, with very beautiful panels painted by Mr. +Buckeridge. The seven-branched candlesticks in black-wood, silver +mounted, are by the same architect. The altar frontal, designed by Mr. +Sidney Gambier Parry, and worked by Mrs. Weigall, is so good that it +must not be overlooked. The altar itself is of stone from an old +altarpiece. Under the windows runs a series of niches, once in the +Beauchamp Chapel. Above these rich and delicate canopies, with foliage +and fan-tracery springing from corbelled heads, runs an exquisitely +sculptured frieze.</p> + +<p>In this place, after he was canonized in 1456, the shrine of St. +Osmund was erected. His supposed tomb, moved by Wyatt to the nave, is +now replaced between the Lady Chapel and the southern aisle. Of the +shrine no trace remains; but legends of the miracles worked at it, and +the special indulgences granted to the pilgrims who visited it, prove +that it existed on this spot. The date MXCIX. inscribed upon this slab +has been questioned, on the authority of a diary made by Captain +Symons (in 1644), now in the British Museum, in which an entry occurs +with reference to this inscription, "a blew stone rising four ynches +from the ground, the east end narrower than the west, this lately +written Anno MXCIX.," but whether he means to infer that it was lately +restored, or that the date itself was a later addition, is not quite +clear. The characters of the inscription Planché pointed out +correspond in form with those at the time of William the Conqueror, +and as sepulchral effigies <span class='pagenum'><a name="Page_65" id="Page_65">[65]</a></span>are uncommon until the middle of the +twelfth century, the presumption is in its favour; still it is +somewhat pathetic to find that the evidence which serves to connect +this otherwise unknown monument with the famous St. Osmund, the +greatest figure, not merely of the cathedral, but of the English +Church of his time, is not absolutely beyond suspicion. Yet even if +the Roman numerals were a later addition, it is hardly credible that +the shrine of so popular a saint could have been wrongly identified. +When Wyatt, according to his usual habit, explored the interior of the +tomb, nothing was found within it.</p> + +<div class="img"><a name="imagep064" id="imagep064"></a> +<a href="images/imagep064.jpg"> +<img border="0" src="images/imagep064.jpg" width="45%" alt="ALTAR AND TRIPTYCH REREDOS IN THE LADY CHAPEL." /></a><br /> +<p class="cen" style="margin-top: .2em;">ALTAR AND TRIPTYCH REREDOS IN THE LADY CHAPEL.<br /> +<i>From a Photograph by Witcomb and Son, Salisbury.</i><span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p>In 1540 Leland saw here a "ballet," which he transcribes for his +Itinerary, with an inscription commanding the faithful to pray for the +repose of the soul of Richard Poore.</p> + +<p><b>Monuments in the Transept, Choir and Lady Chapel.</b>—The most +important on the west wall of the north great transept is a brass (21) +in memory of John Britton, who did so much to revive a taste for +archæology and ecclesiastical art by his splendid series of monographs +on the cathedrals, and his topographical works. A fine monument of its +class is one by Bacon (22), which represents Moral Philosophy mourning +over a medallion of James Harris, author of "Hermes" and father of the +first Earl of Malmesbury; to whose memory close by is a full-length +portrait figure by Chantrey. A figure (23) of Benevolence lifting the +veil from a bas-relief of the good Samaritan, by Flaxman, commemorates +William Benson Earle, Esq., of the Close, Salisbury. On the north wall +of this transept is a canopied effigy (24) of a bishop said to +represent John Blythe, who died in 1499. It was originally in the +ambulatory of the Lady Chapel, behind the high altar, until Wyatt +removed it to its present site. In this transept is the statue (25) to +Sir Richard Colt Hoare, author of the "Histories of Modern and Ancient +Wiltshire," and other works. It is a seated figure not without +dignity, by R.C. Lucas, a native of Salisbury. A portrait bust to +Richard Jefferies, with a long and eulogistic inscription, is upon a +bracket on the west wall.</p> + +<p>Two other monuments by Flaxman deserve notice. That to Walter Long, +Esq. (26), a medallion supported by two figures representing Justice +and Literature, and one (27) to his brother, William Long, in florid +Gothic style, with figures of Science and Benevolence. Dr. Waägen, in +his "Art Treasures of Great <span class='pagenum'><a name="Page_66" id="Page_66">[66]</a></span>Britain," says: "The three monuments by +Flaxman (in Salisbury) two of which are in Gothic taste, prove that he +was superior to most English sculptors in knowledge of the +architectonic style. There is nothing extraordinary in the design, but +the workmanship is good, and there is real feeling in the heads."</p> + +<p>In the north choir aisle, at its junction with the great transept, is +a large Purbeck marble altar tomb (28), with panels and tracery, +despoiled of the brass legend and armorial bearings it formerly +exhibited. This is supposed to have commemorated Bishop Woodville, who +died 1484. Two marble slabs that until 1778 were in the floor of this +side beneath the first arch of the choir, and in the corresponding +place on the south side, have been also stripped of their brasses +which showed them to belong to Bishop Simon of Ghent, 1315, and Bishop +Mortival, 1330.</p> + +<p>On the bench of this aisle is a figure (29) of a skeleton said to +represent a man named Fox, who tried to fast forty days. A similar +legend is told of the next figure (30), in memory of Dr. Bennett, +Precentor of Salisbury (1541 to 1544). It is needless to say that both +stories are mere inventions; in many monuments the effigy of the hero +commemorated was shown in full pomp above, while in a niche below the +skeleton was depicted, by way of pointing a moral too obvious to need +further comment.</p> + +<p>A brass, in replica of the original, has been reinserted in the marble +slab that commemorates Bishop Jewell (1560-71) (31). The next monument +(32), for a long time attributed to Bishop Bingham (1229-47), has a +flat pointed arch terminating in a decorated finial, above which rises +a sort of pyramid of three stories, below is a slab formerly inlaid +with brass. Later antiquaries, in spite of the fourteenth century +character of its detail, assign it to Bishop Scammel (1284-87). The +Audley chapel (33) is entered from this aisle.</p> + +<p>In the north-east choir transept aisle are three gravestones of +Bishops Wyville (1375), Gheast (1576), and Jewell (1571), removed from +the choir when its marble pavement was laid down. In the floor of this +transept, which is known also as the morning chapel, is the famous +brass to Bishop Wyvill (34), one that has been repeatedly figured in +various works on memorial brasses, and it is generally ranked as one +of the most interesting <span class='pagenum'><a name="Page_67" id="Page_67">[67]</a></span>of existing examples. Near this is another +brass (35) commemorating Bishop Gheast. The lavatory (36) is noticed +elsewhere.</p> + +<p>In the Lady Chapel, under an arched niche in the north wall, is a +coffin-shaped tomb (37) assigned to Bishop Roger, by those who refuse +to accept the effigy in the nave as his monument.</p> + +<p>The monument (38) at the end of the north aisle of the Lady Chapel is +a typical example of the mixed classical style so dear to the early +seventeenth century taste. The effigies below its canopy, supported on +twisted Corinthian pillars, represent Sir Thomas Gorges and his widow, +a maid of honour to Queen Elizabeth. Its medley of obelisks, globes, +spheres, and images of the four cardinal virtues is more curious than +interesting. Interred near in the choir, and all without monuments are +many of the Earls of Pembroke and their wives, including "Sidney's +sister, Pembroke's mother."</p> + +<div class="imgl" style="width: 45%;"><a name="imagep068a" id="imagep068a"></a> +<a href="images/imagep068a.jpg"> +<img border="0" src="images/imagep068a.jpg" width="85%" alt="SOUTH CHOIR AISLE, LADY CHAPEL." /></a><br /> +<p class="cen" style="margin-top: .2em;">SOUTH CHOIR AISLE, LADY CHAPEL.<br /> +<i>From a Photograph by Norman.</i><span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p>In a niche of the east wall of the choir, behind an arcade of three +pointed arches with cinquefoil heads, is a Purbeck marble effigy (39) +of a bishop supposed by many to represent Richard Poore. It has been +ascribed to Bishop Bingham because its bearded face fails to agree +with that depicted on the seal of Bishop Poore, and also because an +entry in an old book of records says that he was buried on the north +side of the altar. This monument was removed by Wyatt to the +north-east transept, to what is supposed to have been its original +position. The effigy, whoever it represents, is a fine one, the +pastoral crozier of particularly graceful design; above it is an angel +supporting the circle of the sun and the crescent of the moon.</p> + +<p>The slab which is believed to commemorate St. Osmund (40) is now +restored, and placed where his shrine stood formerly, between the +south choir aisle and Lady Chapel.</p> + +<p>At the east end of the south aisle is the gorgeous monument (41) to +Edward, Earl of Hertford, son of the Protector Somerset, uncle of +Edward VI., and of his wife Catherine, sister to Lady Jane Grey. The +effigies are both in a praying attitude, the Earl in armour. It is +elaborately ornamented and splendid in gold and colours, restored by +order of the late Duke of Northumberland. It is more ornate than +modern taste desires, but still to call it "stately, though +tasteless," as does one chronicler, is somewhat harsher criticism than +is <span class='pagenum'><a name="Page_68" id="Page_68">[68]</a></span>justified. It is seen in the illustration of the choir aisle given +here.</p> + +<p>In the south wall is an altar tomb (42), now assigned to William +Wilton, Chancellor of Sarum (1506-23). On its cornice are shields +bearing the device of Henry VIII. and Catherine of Arragon, a rose and +a pomegranate; the arms of Bishop Audley, and those of Abingdon Abbey; +also the rebus W.I.L. and a Tun.</p> + +<p>The monument (43) to Bishop Moberly, designed by Mr. Arthur Blomfield, +is an excellent example of the modern revival. The monument (44) to +Bishop Hamilton is also interesting as almost the last design prepared +by Sir George Gilbert Scott, and one well worthy of its author.</p> + +<p>Next to the Hungerford iron chantry (45) is the monument (46) +ordinarily assigned to Bishop William of York, but, like many of the +bishops' tombs in this cathedral, without any certain clue to its +identity. It consists of a pointed, crocketed arch, terminating in an +elaborate finial; with a flat slab below, originally inlaid with a +brass.</p> + +<div class="img" style="clear: both;"><a name="imagep068b" id="imagep068b"></a> +<a href="images/imagep068b.jpg"> +<img border="0" src="images/imagep068b.jpg" width="42%" alt="SOUTH CHOIR AISLE, SHOWING THE HUNGERFORD CHAPEL." /></a><br /> +<p class="cen" style="margin-top: .2em;">SOUTH CHOIR AISLE, SHOWING THE HUNGERFORD CHAPEL.<br /> +<i>From a Photograph by S.B. Bolas and Co.</i><span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p>In the south choir transept is the very beautiful chantry (47) to +Bishop Giles de Bridport. On either side the gabled roof is carried by +two open elaborately moulded arches with quatrefoil heads, inclosing +two trefoil arches supported by clustered detached shafts. Each arch +has a triangular hood <span class='pagenum'><a name="Page_69" id="Page_69">[69]</a></span>moulding, crocketed with carved finials. The +spandrils are ornamented with very interesting carvings. These have +been interpreted to mean: on the south side, the birth of the bishop, +his confirmation, his education, and possibly his first preferment; on +the north, the bishop doing homage for his see, a procession with a +cross-bearer (generally accepted as a memorial of the consecration of +the building by <span class='pagenum'><a name="Page_70" id="Page_70">[70]</a></span>this bishop); his death; and finally his soul borne +up to heaven by an angel with outspread wings.</p> + +<div class="img"><a name="imagep069" id="imagep069"></a> +<a href="images/imagep069.jpg"> +<img border="0" src="images/imagep069.jpg" width="50%" alt="CHANTRY OF BISHOP BRIDPORT." /></a><br /> +<p class="cen" style="margin-top: .2em;">CHANTRY OF BISHOP BRIDPORT.<br /> +<i>From Britton's "Cathedrals."</i><span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p>The recumbent effigy has figures of censing angels at its head. The +whole style of this exquisite structure is akin to that of the +cloisters and the chapter house. The artists who executed the +sculptures are believed to have been contemporaries of Niccola Pisano. +A chantry was formerly attached to this monument, to the east of which +is a double aumbry, or cupboard, for the reservation of the sacrament.</p> + +<p>Near this is a tablet to the memory of Canon Bowles, whose edition of +Pope plunged him into a bitter controversy with Lord Byron. He was +author of many books, including a Life of Bishop Ken. A large modern +monument to the late Bishop Burgess is against the south wall. On the +west wall is the monument (48) of Bishop Seth Ward, whose additions to +the palace, after the Restoration, are mentioned elsewhere. The Izaak +Walton, whose gravestone is near, was the son of the famous angler. +Near is one to the memory of the father of the poet Young, and a +modern tablet to Richard Hooker, author of "Ecclesiastical Polity."</p> + +<p>In the south choir aisle is a rather interesting monument (51) to +Bishop Davenant, who is usually credited with the honour of being one +of the translators of the Bible. It is of white marble with two black +Corinthian pillars, surmounted by a mitre and arms. There is also a +tablet in coloured relief to the memory of Mrs. Wordsworth, wife of +the bishop; and a brass, cruciform in shape, inserted in a polished +granite slab, which forms a memorial to Canon Liddon.</p> + +<p>Many other monuments of ancient and modern date that concern forgotten +celebrities, or are of purely local interest, cannot be catalogued. +Nor is it needful to insist on morals they mostly enforce, that really +all recent works of this class lack the dignity which has given the +word monumental a new meaning.</p> + +<p>On the bench opposite is the monument (52), an altar tomb with shields +and initials, of Bishop Salcot (or Capon), whose notoriety as a +"time-serving courtier" is mentioned in another chapter.</p> + +<p>A pseudo-classical monument near (53), with vine-leaves and grapes in +green and gold entwined round black Corinthian pillars, is to the +memory of Sir Richard Mompesson, knight, <span class='pagenum'><a name="Page_71" id="Page_71">[71]</a></span>who is represented in +armour, and Dame Katherine, his wife, clad in black robe with gold +flowers.</p> + +<div class="img"><a name="imagep070" id="imagep070"></a> +<a href="images/imagep070.jpg"> +<img border="0" src="images/imagep070.jpg" width="45%" alt="THE CHAPTER HOUSE." /></a><br /> +<p class="cen" style="margin-top: .2em;">THE CHAPTER HOUSE.<br /> +<i>From a Photograph by Carl Norman and Co.</i><span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p>Close to the south transept, in the choir aisle, is the altar tomb +(54) of Bishop Mitford, 1407, which Britton rightly calls a noble +monument. In the spandrils of the flat arch of its canopy are armorial +shields. Lilies and birds, holding in their beaks scrolls, inscribed, +"Honor Deo et gloria," are on its cornice. The shields on the north +bear the bishop's arms and those of his see; on the south are +quartered the arms of England and France, and the ensign of Edward the +Confessor—the cross <i>patonée</i> surrounded by five martlets.</p> + +<p>Here also is a modern altar tomb (55), from a design by Mr. G.E. +Street, to the memory of John Henry Jacob, and a fine Jacobean +monument with bust and Latin inscription to Lord Chief Justice Hyde.</p> + +<p>Among many other post-reformation monuments are those to: Bishop +Fisher (56) on the east wall; a canopied altar tomb (57) in the Gothic +style to the memory of Edward and Rachel Poore (died 1780 and 1781), +the collateral descendants of the famous bishop, and a marble slab set +in a Gothic frame to Canon Hume (died 1834).</p> + +<p>On the south wall of the nave (58) there is an effigy of Mrs. Eleanor +Sadler, who died July 30th, 1622, and was interred "according to her +owne desire under this her pew, wherein with great devotion she had +served God dailie almost L years." Amid other monuments on this wall, +dating from late in the seventeenth century to the present day, is a +small tablet (60) to one of the most famous Salisbury men in modern +times, the Right Hon. Henry Fawcett, M.P., late Postmaster-General, +who died in 1884.</p> + +<p><b>The Chapter House</b>, which is entered from the eastern walk of the +cloisters, dates probably from the time of Edward the First; later it +may be, but certainly not earlier than the commencement of his reign, +as, during certain excavations for underpinning the walls in 1854, +several pennies of that king were found below its foundations. The +architecture is somewhat later in style than that of the cloisters, +and if it be not, as its admirers claim, the most beautiful in +England, it has few rivals. Like Westminster, Wells, and other English +examples, except York and Southwell, it has a central pillar, from +which the groining of the roof springs gracefully in harmonious +<span class='pagenum'><a name="Page_72" id="Page_72">[72]</a></span>lines. A raised bench of stone runs round the interior. At its back, +forty-nine niches of a canopied arcade borne on slight Purbeck marble +shafts mark out as many seats. They are apportioned as follows: those +at each side of the entrance to the Chancellor and Treasurer +respectively, the rest to the Bishop, Dean, Arch-deacons, and other +members of the chapter.</p> + + +<div class="imgl" style="width: 45%;"><a name="imagep072" id="imagep072"></a> +<a href="images/imagep072a.jpg"> +<img border="0" src="images/imagep072a.jpg" width="80%" alt="THE SOUTH SIDE OF THE CHAPTER HOUSE." /></a><br /> +<p class="cen" style="margin-top: .2em;">THE SOUTH SIDE OF THE CHAPTER HOUSE.<span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<div class="imgr" style="width: 45%;"> +<a href="images/imagep072b.jpg"> +<img border="0" src="images/imagep072b.jpg" width="85%" alt="BOSSES FROM THE CHAPTER HOUSE ROOF." /></a><br /> +<p class="cen" style="margin-top: .2em;">BOSSES FROM THE CHAPTER HOUSE ROOF.</p> +</div> + +<p style="clear: both;">The plan of the building is octagonal, about fifty-eight feet in +diameter and fifty-two feet in height. Each side has a large fanlight +window with traceried head. Below these windows and above the canopies +of the seats is a very remarkable series of bas-reliefs, noticed more +fully later on. The bosses of the roof are somewhat elaborately +carved; one north of the west doorway has groups of figures on it, +apparently intended to represent armourers, musicians, and +apothecaries, possibly commemorating guilds who were benefactors to +the building; the others have foliage chiefly with grotesque monsters. +On the base of the central pillar is a series of carvings taken +probably from one of the many books of fables so popular in the middle +ages. These<span class='pagenum'><a name="Page_73" id="Page_73">[73]</a></span><span class='pagenum'><a name="Page_74" id="Page_74">[74]</a></span> <span class='pagenum'><a name="Page_75" id="Page_75">[75]</a></span>were reproduced from the originals, which are preserved +in the cloisters.</p> + +<div class="img"><a name="imagep073" id="imagep073"></a> +<a href="images/imagep073.jpg"> +<img border="0" src="images/imagep073.jpg" width="38%" alt="DETAILS OF SCULPTURES IN THE CHAPTER HOUSE." /></a><br /> +<p class="cen" style="margin-top: .2em;">DETAILS OF SCULPTURES IN THE CHAPTER HOUSE.<br /> +<i>From Photographs by Catherine Weed Ward.</i><span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p>The quatrefoil over the doorway has an empty niche, and it is not +possible to say with certainty whether it was originally filled by a +crucifix, as Mr. Mackenzie Walcott infers from the symbols of the +Evangelists in the angles of the panel; or, with a seated figure of +our Lord in majesty; or, as a third archæologist has suggested, a +coronation of the Virgin. Filling the voussoirs of the arch of the +doorway are fourteen small niches containing subjects from the +Psychomachia of Prudentius, the Battle of the Virtues against the +Vices. The figures are not easily identified, but Mr. Burges, whose +"Iconography of the Chapter House" is the most important monograph on +the subject, suggests that on the right-hand side the figures in the +third niche from the top appear to represent Concord triumphing over +Discord; in the sixth, Temperance is pouring liquor down the throat of +Intemperance; on the seventh, Fortitude tramples on Terror, who cuts +her own throat. On the left hand in the first niche Faith is trampling +on Infidelity; in the second, a Virtue covers a Vice with her cloak, +while the Vice embraces her knees with one hand and stabs her with a +sword held in the other. This incident is taken from Prudentius: +"Discord by stealth wounds Concord; she is taken and killed by" Faith, +which latter incident may be represented in the next compartment. In +the fourth niche, Truth pulls out Falsehood's tongue; in the fifth, +Modesty scourges Lust; in the sixth, Generosity pours coin into the +throat of Avarice. To quote the words of the author from whom these +interpretations are derived: "These sculptures are of the very highest +class of art, and infinitely superior to any work in the chapter +house; the only defect is the size of the heads: probably this was +intentional on the part of the artist. The intense life and movement +of the figures are worthy of special study." These allegories are +common in paintings and sculptures of this period; at Canterbury the +same subjects are incised on the pavement that surrounds the shrine of +St. Thomas à Becket.</p> + +<p>On the spandrils of the continuous arcade, sculptures in high relief +once restored as far as possible in the original colours are now again +scraped clean, and with the new heads to the figures look so modern +that it is hard to believe they are contemporary with the building +they adorn, yet since on the whole the <span class='pagenum'><a name="Page_76" id="Page_76">[76]</a></span>restoration has been +faithfully accomplished they may be studied as peculiarly valuable +examples of early mediæval sculpture, showing certain naïve qualities +that raise them far above the usual level of contemporary work. They +are supposed to have been defaced by the Commission sitting in this +building during the time of the Rebellion. The subjects are:</p> + +<br /> + +<div class="block"> +<p class="pad"><i>West Wall.</i></p> + +<p class="noin"> 1. A Representation of Chaos.<br /> + 2. The Creation of the Firmament.</p> + +<p class="pad"><i>North-west Wall.</i></p> + +<p class="noin"> 3. The Creation of the Earth.<br /> + 4. The Creation of the Planets.<br /> + 5. The Creation of the Birds and Fishes.<br /> + 6. The Creation of Adam and Eve.<br /> + 7. The Seventh Day.<br /> + 8. The First Marriage.<br /> + 9. The Temptation of Eve.<br /> +10. Adam and Eve hiding.</p> + +<p class="pad"><i>North Wall.</i></p> + +<p class="noin">11. The Flight from Paradise.<br /> +12. The First Labour.<br /> +13. Cain and Abel's Offering.<br /> +14. The First Murder.<br /> +15. The Punishment of Cain.<br /> +16. The Command to Noah.<br /> +17. The Ark.<br /> +18. The Vineyard of Noah.</p> + +<p class="pad"><i>North-east Wall.</i></p> + +<p class="noin">19. Noah's Drunkenness.<br /> +20. The Building of Babel.<br /> +21. Angels appearing to Abraham.<br /> +22. Abraham entertaining the Angels.<br /> +23. The Destruction of the Cities of the Plain.<br /> +24. Lot's Escape.<br /> +25. Abraham and Isaac.<br /> +26. The Sacrifice of Isaac.</p> + +<p class="pad"><i>East Wall.</i></p> + +<p class="noin">27. Isaac and Jacob.<br /> +28. Esau and Isaac.<br /> +29. Rebecca and Jacob.<br /> +30. Jacob and Rachel.<br /> +31. Rachel, Jacob, and Laban.<br /> +32. Jacob and the Angels.<br /> +33. The Angel touching Jacob's thigh.<br /> +34. Jacob meeting Esau.</p> + +<p class="pad"><i>South-east Wall.</i></p> + +<p class="noin">35. Joseph's Dream.<br /> +36. Joseph relating his Dream.<br /> +37. Joseph in the Pit.<br /> +38. Joseph sold into Egypt.<br /> +39. Joseph's Coat brought to Jacob.<br /> +40. Joseph and Potiphar.<br /> +41. Potiphar's Wife.<br /> +42. Joseph accused.</p> + +<p class="pad"><i>South Wall.</i></p> + +<p class="noin">43. Joseph in Prison.<br /> +44. Pharaoh's Baker and Butler.<br /> +45. Pharaoh's Dream.<br /> +46. Pharaoh's Indecision.<br /> +47. Joseph before Pharaoh.<br /> +48. Joseph as Ruler.<br /> +49. Joseph's Brethren.<br /> +50. The Cup placed in Benjamin's Sack.</p> + +<p class="pad"><i>South-west Wall.</i></p> + +<p class="noin">51. The Discovery of the Cup.<br /> +52. His Brethren before Joseph.<br /> +53. Jacob on his Way to Egypt.<br /> +54. Joseph and his Brethren pleading.<br /> +55. Joseph protecting his Brethren.<br /> +56. Moses on Sinai.<br /> +57. The Miracle of the Red Sea.<br /> +58. The Destruction of the Egyptians.</p> + +<p class="pad"><i>West Wall.</i></p> + +<p class="noin">59. Moses striking the Rock.<br /> +60. The Law declared.</p> +</div> + +<br /> + +<div class="img"><a name="imagep077" id="imagep077"></a><span class='pagenum'><a name="Page_77" id="Page_77">[77]</a></span> +<a href="images/imagep077.jpg"> +<img border="0" src="images/imagep077.jpg" width="85%" alt="SCULPTURE IN THE CHAPTER HOUSE." /></a><br /> +<p class="cen" style="margin-top: .2em;">SCULPTURE IN THE CHAPTER HOUSE.<span class="totoi"><a href="#toi">ToList</a></span></p> +<span class='pagenum'><a name="Page_78" id="Page_78">[78]</a></span> +</div> + +<div class="imgr" style="width: 45%;"><a name="imagep079a" id="imagep079a"></a> +<a href="images/imagep079a.jpg"> +<img border="0" src="images/imagep079a.jpg" width="75%" alt="DECORATIONS IN THE GROINING OF THE CHAPTER HOUSE." /></a><br /> +<p class="cen" style="margin-top: .2em;">DECORATIONS IN THE GROINING OF THE CHAPTER HOUSE.<span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p><span class='pagenum'><a name="Page_79" id="Page_79">[79]</a></span>The modern decoration of the chapter house includes stained glass of a +geometrical pattern in the eight windows, which, if not peculiarly +good, is harmless enough. Some diaper wall painting, shown in the +photograph reproduced here, which until lately decorated the back of +the arcade is now entirely cleaned off. The tiles of the floor have +been reproduced from the designs of the original Norman pavement. The +vaulted roof is re-painted in exact accordance with its original +design. The marble shafts of the arcade are re-polished, and the +central shaft has also been re-worked to a smooth surface. Gilding has +been applied freely to the bosses of the roof and the capitals of the +pillars. The ancient table, shown in the engraving, has also been +restored; it is a very interesting specimen of early decorated +furniture.</p> + +<div class="img" style="clear: both;"><a name="imagep079b" id="imagep079b"></a> +<a href="images/imagep079b.jpg"> +<img border="0" src="images/imagep079b.jpg" width="85%" alt="TOMB OF SIR JOHN MONTACUTE." /></a><br /> +<p class="cen" style="margin-top: .2em;">TOMB OF SIR JOHN MONTACUTE.<br /> +<i>From a Photograph by Catherine Weed Ward.</i><span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<br /> +<hr style="width: 15%;" /> +<br /> + +<h4>FOOTNOTES:</h4> + +<div class="footnote"><p class="noin"><a name="Footnote_7_7" id="Footnote_7_7"></a><a href="#FNanchor_7_7"><span class="label">[7]</span></a> "The Century Magazine," March, 1888.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_8_8" id="Footnote_8_8"></a><a href="#FNanchor_8_8"><span class="label">[8]</span></a> The numerals in brackets refer to the position of each +monument as shown on the plan.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_9_9" id="Footnote_9_9"></a><a href="#FNanchor_9_9"><span class="label">[9]</span></a> In 1448 Nicholas Upton the precentor tried to limit the +choice of the choristers to three candidates selected by the chapter; +but this attempt to curtail their privilege was successfully resisted +by the boys.</p></div> + +<br /> +<br /> +<br /> +<br /> +<a name="THE_CATHEDRAL_PRECINCTS" id="THE_CATHEDRAL_PRECINCTS"></a><hr /> +<span class='pagenum'><a name="Page_80" id="Page_80">[80]</a></span><br /> + +<h3>THE CATHEDRAL PRECINCTS.<span class="totoc"><a href="#toc">ToC</a></span></h3> +<br /> + +<p class="hang"><img src="images/t1.png" align="left" border="0" alt="T" style="margin-right: .75em;" />he common practice of writers who are describing any one of our more +important cathedrals is to declare that altogether it may be fairly +called the most beautiful. So great is the fascination exercised by +continual study of a single mediæval building which has escaped +destruction, or over-restoration, that such a statement may be +advanced in all good faith. In claiming, however, that the cloisters +of Salisbury are on the whole the most beautiful in England, it is +merely re-asserting what many critics of Gothic architecture have +already decided to be true. The cloisters of Gloucester are far +richer, the space they cover at Wells (like Salisbury, not a monastic +establishment) is greater, and in other details these may not be the +finest. But, as a whole, their beautiful proportion and the general +symmetry of their design make them worthy adjuncts to a building which +is pre-eminent for these special qualities.</p> + +<p>Situated, according to the usual custom, on the south-west side of the +cathedral, with their western wall in a line with its west front, they +are exceedingly picturesque. Even so far back as the time of Leland, +we find him declaring that "the cloister on the south side of the +church is one of the largest and most magnificent in Britain." Yet, as +a recent critic has observed, from a purely technical point of view, +there is "too great a mass of blank wall above the arcade." The green +sward of the large garth, 140 feet square, with its covered walks, 181 +feet long, on each side, and the fine group of cedars in the centre, +showing against the cool grey of the stonework realize the ideal of +that cloistered solitude so dear to the poets; it should not be +forgotten, however, that the arrangements of this cathedral are not +monastic, for it was never aught but a collegiate building. The style +is late thirteenth century with windows of exceedingly graceful +design; double arches with quatrefoils above, united in pairs with a +large six-foiled circle in the main head. The <span class='pagenum'><a name="Page_81" id="Page_81">[81]</a></span>upper portions of the +tracery had, not so long ago, traces of coloured glass here and there, +but whether this feature was part of the original scheme is very +doubtful. The shafts, originally of Purbeck marble (replaced in 1854 +by stone) both between and in the centres of the windows have simply +moulded capitals; while those of the clustered columns at the main +angles are carved. Modern opinion is inclined to date the beginning of +the work between 1260 to 1284; but so late as 1338, as a dated charter +in Bishop Wyville's time which refers to the enlargement of the +cloisters shows, they were not quite completed; hence it is inferred +that a part, possibly only one side, was built at first. The north +arcade is entirely independent of the south wall of the nave, the long +space between being known as the Plumbery. The garth is used as a +burial ground, and in the cloisters are many monuments, but none of +more than local interest, except possibly a tablet to the memory of +Francis Price (died Mar. 20th, 1753, aged 50), the cathedral +architect, whose excellent monograph devoted to the building is still +one of the most useful books of reference on the subject. The <span class='pagenum'><a name="Page_82" id="Page_82">[82]</a></span>drawing +here reproduced from Britton's "Salisbury," shows the work before its +restoration by Bishop Denison; but it has been chosen because it +suggests the peculiar beauty of the place better than any photograph. +From the cloisters a very charming glimpse of the spire may be +obtained.</p> + +<div class="img"><a name="imagep081" id="imagep081"></a> +<a href="images/imagep081.jpg"> +<img border="0" src="images/imagep081.jpg" width="85%" alt="THE CLOISTERS." /></a><br /> +<p class="cen" style="margin-top: .2em;">THE CLOISTERS.<br /> +<i>From a Photograph by Messrs. Poulton.</i><span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + + +<div class="img"><a name="imagep082" id="imagep082"></a> +<a href="images/imagep082.jpg"> +<img border="0" src="images/imagep082.jpg" width="53%" alt="THE CLOISTERS, LOOKING NORTH." /></a><br /> +<p class="cen" style="margin-top: .2em;">THE CLOISTERS, LOOKING NORTH.<span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p>The <b>Library</b> occupying the upper story that extends over part of the +eastern arcade is an important collection, its manuscripts alone +filling a hundred and eighty-seven volumes. These (with one exception, +bequeathed by Bishop Denison, a splendidly illuminated breviary +<i>circa</i> <span class="fakesc">A.D.</span> 1460, containing among other specially +interesting matter the order of service for the installation of the +Boy-bishops,) have been in the possession of the <span class='pagenum'><a name="Page_83" id="Page_83">[83]</a></span>dean and chapter at +least four hundred years, and range in date, according to the best +authorities, from the ninth to the fourteenth centuries.</p> + +<p>Among the most important is (No. 150) A Psalter, of the Gallican +Version, on vellum, 160 folios, tenth century. The decorations of this +MS. are somewhat rude, the initials and colouring throughout being +chiefly in red. Internal evidence fixes its date about <span class="fakesc">A.D.</span> +969. A Psalter (No. 180) on 173 folios, contains in parallel columns +the Gallican and Hebrew of Jerome's translation, and other matter, +with ornamental initials and devices; a Lectionary on vellum, 190 +folios (No. 153) is a finely written manuscript, with elaborate +initials in gold and colours, this is about <span class="fakesc">A.D.</span> 1277. A +fifteenth century "Processional for the Use of Sarum," on vellum, 50 +folios (No. 148) contains some entries that throw light on various +local customs, as for example, the distribution of the carpet used in +the enthronement of the bishop, which was laid from <i>ostio hospicii +agni</i> to the altar in the treasury. The unique "Tonale secundum usum +Sarum" bound with an "Ordinale secundum usum Sarum" (No. 175) is of +the fourteenth century, on 214 folios of vellum. In a volume (No. 39) +is a copy of the Gospel of Nicodemus in an English version beginning, +"Whanne Pylatus was reuler and justyse of ye Jewerye, and Rufus and +Leo were consuls." Another book of more than ordinary interest is +Chaucer's translation of Boethius' "De Consolatione Philosophiæ," on +vellum in double columns, fifteenth century. A twelfth century MS. of +the "Historia Regum Brittaniæ," by Geoffrey de Monmouth (No. 121); and +the "Historia Miscella" of Paul Warnefrid, are among many others that +deserve mention.</p> + +<p>Among the printed books of the Library are about a score belonging to +the fifteenth century, and one hundred of the sixteenth. Some of these +are of extreme rarity. In a copy of Sibbes' "Returning Backslider" is +this couplet (attributed to Doddridge) in the handwriting, with +autograph, of Isaac Walton:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Of this blest man let this just praise be given,<br /></span> +<span class="i0">Heaven was in him before he was in heaven."<br /></span> +</div></div> + +<p>Bishop Gheaste was a benefactor to the library, and left it a large +legacy, the foundation of the present collection of printed books.</p> + +<p><span class='pagenum'><a name="Page_84" id="Page_84">[84]</a></span>The library is shown to the public on certain days, and the clergy of +the diocese have the privilege of borrowing books therefrom.</p> + +<p>According to the "Inventory of the Riches of the Cathedral Church of +Sarum," made by Master Thomas Robertson, treasurer of the same church +in 1536, 28th year of Henry VII., we find images, "of God the Father +with our Saviour young, of silver and gilt with gold, ornate with red +stones weighing 74 ounces." Others of Our Lady, including a "grate and +fair ymage sitting in a chaire ... her child sits in her lap very +costly and fair to look upon." Reliques of the 11,000 virgins, in four +purses; Pyxides of Ivory of Chrystal, and silver gilt, "Cruces" of +Gold and Silver. And a great Cross silver and gilt with images on the +crucifix, Mary and John, and the left part of the cross—weighing 180 +ounces. Calices (chalices), Fereta, Candelabra, Philateria, +Tabernucla, Ampulæ, Thuribula, Chrismatones, Copes and Chasubles, +Mitres, Basons, Garlands, and hangings, Morses and many other items. +Also the textus, which was given by Hubert de Burgh, here described as +"A text after Matthew having images of St. Joseph, and our Lady and +our Saviour all in a bed of straw, in every corner is the image of an +apostle," and a huge list of items not merely interesting in +themselves, but as evidence of the wealth of the cathedral.</p> + +<div class="imgl" style="width: 45%;"><a name="imagep084" id="imagep084"></a> +<a href="images/imagep084.jpg"> +<img border="0" src="images/imagep084.jpg" width="85%" alt="RINGS FOUND IN THE LADY CHAPEL." /></a><br /> +<p class="cen" style="margin-top: .2em;">RINGS FOUND IN THE LADY CHAPEL.<span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p><b>The Muniment Room</b>, which is approached from the south choir +transept, is part of a two-storied building, octagonal in plan. The +ground floor, formerly the sacristy, is now used as a vestry for the +canons; the upper one, a dimly-lighted room, with an oak roof +supported by a central column of wood, is the muniment chamber. Traces +of a cross on the central pillar support the theory that the "Altar in +the Treasury," referred to in various early documents, stood here. The +solidity and strength of the building, and the fact that it was +undoubtedly the store house for the vestments and treasures of the +church, leaves little doubt that the supposition is true.</p> + +<p><span class='pagenum'><a name="Page_85" id="Page_85">[85]</a></span>A very fine cope chest, reproduced by Mr. William Burges in his +"Architectural Drawings," 1870, until lately preserved in the vestry, +now in the north choir aisle, has a quaintly-carved capital on one of +its shafts that suggests a very early date for its construction. The +heavy lid was originally lifted by a rope and windlass. Although +possessing no traces of painting or gilding, and but little carving, +it is both curious and interesting as a specimen of woodwork coeval +with the cathedral itself. A somewhat similar one exists in +Westminster Abbey, in both the lifting lids worked on very slight +pivots. At Westminster the chains remain. In 1834 a writer described +the room as "a feast for moths and spiders;" now it is kept in +admirable order. The most important of its extremely valuable +documents have been printed in a volume devoted to Sarum in the +"Master of the Rolls Series," in the late Canon Jones' "Fasti +Ecclesiæ: Sarisberiensis." In addition to these historic papers there +is an immense quantity of Chapter Registers and other MSS. of more +local interest. Many of the chests and presses date from early times, +when the three keys needed to open each were severally in the charge +of three of the cathedral dignitaries. The contemporary copy of Magna +Charta, made for William Longespée, first Earl of Salisbury, and +referred to elsewhere, is sometimes exhibited here.</p> + +<p>The documents which contain "the statutes and ordinances" by which the +cathedral is governed, extend over six centuries, commencing in 1091 +and ending 1697. These were edited by Dr. Edward A. Dayman, and the +late Rev. W.H. Rich Jones, Vicar of Bradford-on-Avon, whose researches +in the past history of not merely the cathedral, but the whole +district, were so extended, that it is impossible to do justice in +every instance to many facts which have been taken from his pages in +the preparation of this handbook. The privately printed volume, +published in 1883, contains the Latin text with English notes of these +various documents. The details of most of these, although of immense +value to antiquarians, are too technical to be available for quotation +here, but the indirect allusions to customs and manners of the past, +makes many a paragraph pleasant reading, although the whole document +may refer to merely the working details of administration. The +statute, dated <span class="fakesc">A.D.</span> 1319, relating to the rights of the boy +bishop, is one of the few that have more than local interest.</p> + +<div class="imgl" style="width: 45%;"><a name="imagep086" id="imagep086"></a><span class='pagenum'><a name="Page_86" id="Page_86">[86]</a></span> +<a href="images/imagep086.jpg"> +<img border="0" src="images/imagep086.jpg" width="85%" alt="HANGING PARAPET ON THE EAST WALL OF THE CLOSE." /></a><br /> +<p class="cen" style="margin-top: .2em;">HANGING PARAPET ON THE EAST WALL OF THE CLOSE.<span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p><b>The Close</b> is certainly a fit setting for the jewel it surrounds, and +with full remembrance of the superb position of Durham, the +picturesque eminence of Lincoln, the dignity that marks the isolated +hill whereon Ely towers over the fens around it, the harmonious +environment of Wells, and many another site made memorable by its +cathedral, Salisbury is, in its own way, not less beautiful. The quiet +tranquillity of the large lawn, the half-hidden houses that nestle +among its trees, the sense of being completely shut off from the +work-a-day world, impress one as much as the apparent vastness of the +area thus devoted to the cathedral. Leland, in his "Itinerary," was +equally struck with its beauty, although, as the frontispiece shows, +the surroundings were very different before Wyatt's exploits, and +probably in Leland's time preserved still more of their mediæval +aspect. He says: "The great and large embatelid waulle of the palace +having 3 gates to entre into it thus namyd: the close gate as +principale by north ynto the town, Saint Anne's gate by est, and +Harnham gate by south toward Harham bridge. The close wall was never +ful finished as in one place evidently apperith I redde that in Bishop +Rogers days as I remembere a convention was between him and the Canons +of Saresbyri de Muro clausi."</p> + +<p>Whether the builders of our great churches were conscious of the +beauty of their surroundings, or whether no little of that loveliness +is but the slow result of centuries of care and the accident of +natural growth, need not be discussed. That to an American especially +this peculiar beauty tells with great force we can readily believe, +and Mrs. Van Rensselaer, whose paper on Salisbury has been quoted +before in this book, expresses admirably the feeling, which, whether +it be true or only imaginary, is no doubt the impression of such a +place as the Close of Salisbury on many an educated visitor. +"Salisbury," <span class='pagenum'><a name="Page_87" id="Page_87">[87]</a></span>she writes, "is the very type and picture of the Church +of the Prince of Peace. Nowhere else does a work of Christian +architecture so express purity and repose and the beauty of holiness, +while the green pastures that surround it might well be those of which +the Psalmist writes. When the sun shines on the pale grey stones, and +the level grass, and the silent trees, and throws the long shadow of +the spire across them, it is as though a choir of seraphs sang in +benediction of that peace of God which passeth understanding. The men +who built and planted here were sick of the temples of Baalim, tired +of being cribbed and cabined, weary of quarrelsome winds and voices. +They wanted space and sun, and stillness, comfort and rest, and +beauty, and the quiet ownership of their own; and no men ever more +perfectly expressed, for future times to read, the ideal they had in +mind."</p> + +<p>The <b>Bell Tower</b>, a striking feature of the close as it was before +1789, is shown on page 19, in the facsimile of an engraving originally +published in 1761, and re-engraved in the superb County History in +1804(?). This shows the campanile standing at the north-west corner of +the inclosure.</p> + +<p>In style it was about the same period as the chapter house and +cloisters. The plan appears to have been square, although one writer, +frequently quoted, calls it multangular; the stone tower was in two +massive stories with lancet windows in the lower, and windows with +plate tracery above, with a spire apparently of wood crowning the +whole. Leland speaks of it as "a notable and strong square tower for +great belles, and a pyramis on it, in the cemiterie." It was evidently +massive enough to have stood for centuries, and the single pillar of +Purbeck marble, "lying in its natural bed," which was the central +support that carried the bells, the belfry, and the spire, is +specially mentioned by Price as perfectly sound, but he owns that the +leaden spire, and a wooden upper story, were decayed, and puts forward +a design of a sham classic dome which he hopes might be erected in its +place. When the cathedral was visited in 1553 by the Royal Commission +there remained a peal of ten bells, and the re-casting in 1680 of the +seventh and eighth by the Purdues, local founders, is recorded among +the muniments. The sixth is now the clock bell of the cathedral, but +the fate of the others is absolutely unknown.</p> + +<div class="imgl" style="width: 45%;"><a name="imagep088" id="imagep088"></a><span class='pagenum'><a name="Page_88" id="Page_88">[88]</a></span> +<a href="images/imagep088.jpg"> +<img border="0" src="images/imagep088.jpg" width="85%" alt="DEATH AND THE GALLANT." /></a><br /> +<p class="cen" style="margin-top: .2em;">DEATH AND THE GALLANT.<span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p>Several of Wyatt's iconoclastic blunders have been already mentioned; +we now come to his chief iniquity. The <b>Hungerford Chapel</b>, demolished +by Wyatt, stood at the east end of the building on the north side of +the Lady Chapel, with which it was connected by openings cut in the +main wall. This chapel was one of those of which Fuller so quaintly +wrote, "A chantry was what we call in grammar an adjective, unable to +stand of itself, and was therefore united for better support to some +... church." An addition to the building in a much later style, it was +founded by Margaret (daughter and sole heir of William, Lord +Botreaux,) in 1464; she was interred within its walls in 1477. Her +history, too full to note here, is a sad one, the loss of her movable +goods by "fyre" in Amesbury Abbey being but a small incident among her +many troubles. A peculiarly interesting inventory of the ornaments and +furniture that she gave to this chantry has been preserved; it is +printed in Dugdale's "Baronage," vol. ii., p. 207, and also in "The +Wiltshire Archæological Magazine," vol. xi. The chapel, in the +somewhat florid late Perpendicular style, had a large east window of +five lights, and three of triple lights in its north wall. The outside +was adorned with shields and devices of the family, and crested with +battlements. Within it had a richly-groined roof, and underneath a +large arch cut in the north wall of the Lady Chapel, and therefore +opening into the hall of the chantry, stood the monument of Lord +Hungerford, surmounted by an ornamental four-arched canopy. This altar +tomb, now devoid of the gold and colour that once enriched it, is in +the nave. Its armour, "like a lobster," with its peculiar pattern, its +large shoulders and elbow-pieces, and its jewelled girdle, is quoted +by Meyrick as a very fine <span class='pagenum'><a name="Page_89" id="Page_89">[89]</a></span>example of its period. Above were eight +niches of demi-quatrefoiled arches, with a fascia of quatrefoils +surmounted by a cornice of oak leaves. Between the monument and the +doorway was a series of wall-paintings of great interest. One, "Death +and the Gallant," has been engraved, and the dialogue below it +preserved. As the verses are archaic in spelling, it may be best to +follow a more modern version ("Wilts Archæological Magazine," vol. +ii., p. 95):</p> + +<br /> + +<div class="poem" style="clear: both;"><div class="stanza"> +<span class="i0">"Alas, Death alas! a blissful thing thou were<br /></span> +<span class="i0">If thou wouldst spare us in our lustiness,<br /></span> +<span class="i0">And come to wretches that be of heavy cheer<br /></span> +<span class="i0">When they thee ask to lighten their distress.<br /></span> +<span class="i0">But out, alas, thine own self-willedness<br /></span> +<span class="i0">Harshly refuses them that weep and wail<br /></span> +<span class="i0">To close their eyes that after thee do call.<br /></span> +</div><div class="stanza"> +<span class="i0">Graceless Gallant in all thy lust and pride<br /></span> +<span class="i0">Remember this, that thou shalt one day die,<br /></span> +<span class="i0">Death shall from thy body thy soul divide—<br /></span> +<span class="i0">Thou mayst him escape not certainly,<br /></span> +<span class="i0">To the dead bodies (here) cast down thine eye;<br /></span> +<span class="i0">Behold them well, consider too and see,<br /></span> +<span class="i0">For such as they are, such shalt thou too be."<br /></span> +</div></div> + +<p>Of this Mr. Francis Douce, in his volume "The Dance of Death," says it +was "undoubtedly a portion of the Macaber Dance, as there was close to +it another compartment belonging to the same subject. This painting +was made about the year 1460, and from the remaining specimen its +destruction is greatly to be regretted, as judging from the dress of +the young gallant the dresses of the time would be correctly +exhibited."</p> + +<p>There were other wall paintings, including a large St. Christopher +with the Christ Child on his shoulder, and an Annunciation, said to +have been a fine work. An interesting memorial of the chapel as it +stood in the middle of the seventeenth century, is to be found in an +MS. pocket-book, still preserved in the British Museum (Harl. MS. +939), which belonged to a Captain Symons, of the Royalist Army. When +he visited Salisbury in 1644 he made many notes and sketches of the +armorial bearings in this chantry.</p> + +<p><b>The Beauchamp Chapel.</b>—The interior view here reproduced from +"Gough's Sepulchral Monuments of Great Britain" although not very +clear is curiously interesting, conveying as it does trustworthy +evidence of the building so wantonly swept away.</p> + +<div class="img"><a name="imagep090" id="imagep090"></a><span class='pagenum'><a name="Page_90" id="Page_90">[90]</a></span> +<a href="images/imagep090.jpg"> +<img border="0" src="images/imagep090.jpg" width="85%" alt="INTERIOR OF THE DEMOLISHED BEAUCHAMP CHAPEL." /></a><br /> +<p class="cen" style="margin-top: .2em;">INTERIOR OF THE DEMOLISHED BEAUCHAMP CHAPEL.<span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p>Of the Beauchamp Chapel, on the south side of the Lady Chapel, there +appears to be no exterior view extant, but from sketches of its +interior, and descriptions, it must have been a fine specimen of its +period, and worthy of its designer, the builder of St. George's +Chapel, Windsor. It was larger and more elaborate in detail than the +Hungerford chantry, but like it in plan, and similarly lighted by one +large east window, and three in the side wall. The remains of its +founder, Bishop Beauchamp, reposed in a plain tomb in the centre. In +the wall on the north side were exquisite canopies above the tombs of +the father and mother of the bishop. An altar tomb of Sir John Cheyne, +now in the nave, stood formerly at the south-west corner (see <a href="#Page_48">page +48</a>). There was a custom that on Christmas Day and all holy days the +wives of the mayor and aldermen and gentry of the city, came to +prayers in the Beauchamp chapel in the evening with flambeaux and +torches, excepting on Innocents' Day, when they went to their own +parish churches. In an interesting Guide to the Cathedral, now in the +British Museum, annotated in the last century by some <span class='pagenum'><a name="Page_91" id="Page_91">[91]</a></span>visitor, we +find an entry concerning this chapel, "The ceiling is of Irish oak, +and never known to have spiders or cobwebs in it."</p> + +<p>Much of the carved work in both these chantries was employed elsewhere +in the buildings. The plea put forward for their removal was founded +on a report by Francis Price thirty-six years before, wherein he +considered them unsafe. When the Hungerford Chantry was added one of +the outside buttresses of the Lady Chapel aisle was removed to make +room for it; the opening pierced through the main walls of the +cathedral into both the chapels were also sources of weakness. Wyatt +seized upon these facts, and with the precedent of Price's report, +declared the chapels unsafe, and also, which was no doubt his real +motive for action, that "their lack of uniformity" injured the +appearance of the buildings. Wyatt's ideal virtues were of the lowest +order, to obtain neatness and tidiness he was prepared to sacrifice +any and every thing, and the two chapels were obviously not in the +style of the cathedral, nor, unluckily (for had they been they might +yet be standing), precisely symmetrical in effect, so they were swept +away. These actions at Salisbury, and similar destruction at Lincoln, +Hereford, and elsewhere, have made Wyatt's name odious; but deserving +though he be of all blame, it must not be forgotten that restorers of +to-day, even at Salisbury, have effaced much interesting work of past +time on the same pretext: that it failed to accord with the rest of +the work to which it was obviously a late addition. This plea, +specious and even excellent in theory, has probably done more +irreparable injury to our ancient buildings than even the iconoclasts +of the Reformation. A shattered ruin may convey a clear idea of its +original state, while a smooth, pedantic restoration will obliterate +it entirely.</p> + +<p><b>The Stained Glass</b> throughout the whole building survives but in a +few instances, and these, with two exceptions, not in their original +places. Of its wholesale destruction we have sad evidence extant in a +letter, dated 1788, from John Berry, glazier, of Salisbury, to Mr. +Lloyd, of Conduit Street, London. It may be transcribed in full, to +show how reckless the custodians of the fabric were at that +time:—"Sir. This day I have sent you a Box full of old Stained & +Painted glass, as you desired me to due, which I hope will sute your +Purpos, it his the best that I can get at Present. But I expect to +Beate to Peceais a <span class='pagenum'><a name="Page_92" id="Page_92">[92]</a></span>a great deal very sune, as it his of now use to +me, and we do it for the lead. If you want more of the same sorts you +may have what thear is, if it will pay for taking out, as it is a Deal +of Truble to what Beating it to Peceais his; you will send me a line +as soon as Possoble, for we are goain to move our glasing shop to a +Nother plase, and thin we hope to save a great deal more of the like +sort, which I ham your most Omble servant—John Berry."</p> + + +<div class="img"><a name="imagep092" id="imagep092"></a> +<a href="images/imagep092.jpg"> +<img border="0" src="images/imagep092.jpg" width="85%" alt="PORTIONS OF THE OLD STAINED GLASS." /></a><br /> +<p class="cen" style="margin-top: .2em;">PORTIONS OF THE OLD STAINED GLASS.<span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p>The fragments that survived were collected some fifty years since, and +placed in the nave windows, and in parts of some of the others. The +most important are in the great west triple lancet, wherein the glass +ranges in date from the twelfth to the fifteenth century. Mr. Winston, +in his Paper read in 1849 before the Archæological Institute and +printed in the Salisbury volume for that year, considered that the +earliest fragments are from a Stem of Jesse about 1240, and some +medallions about 1270. He describes two of the ovals that are on each +side of the throned bishop, a prominent figure in the lower half of +the central light, one of the Christ enthroned, the other of the +Virgin. The two medallions below them he believes represent "Zacharias +in the Temple," and "The Adoration of the Magi." The later glass now +in the same window may be either Flemish work brought hither from +Dijon, or possibly partly from Rouen, and partly from a church near +Exeter. It has been conjectured that in the south lancet the figures +represent SS. Peter and Francis, in the central one the Crucifixion, +the Coronation of the Virgin, and the Invention of the Cross, and in +the north light the Betrayal of Christ and St. Catherine. In two of +the <span class='pagenum'><a name="Page_93" id="Page_93">[93]</a></span>side windows of the nave are the arms of John Aprice (1555-1558) +and Bishop Jewell (1562).</p> + +<p>The stained glass in the north choir aisle includes a window executed +by Messrs. Clayton and Bell, in memory of Archdeacon Huxtable, with +figures of archangels and angels in the upper lights, and the Angel +appearing to Gideon, and the Vision of Isaiah, in the lower panels. +Also a window by Clayton and Bell to the memory of the wife of the +Rev. Chancellor Swayne, having for its subject the reply of our Lord +to his disciples. In the east side of the Morning Chapel is a window +by Messrs. Burleson and Gryles to the memory of Mrs. W.R. Hamilton, +with the Nativity, Crucifixion, Resurrection, and the three +archangels, Gabriel, Michael, and Raphael.</p> + +<p>In the south choir aisle are two Clayton and Bell windows, to the +memory of George Morrison, and two others excellently treated, both +designed by Holiday, and executed by Powell. In the one eight panels +represent four holy women of the Old Testament, and the four Maries. +This is to the memory of the late Countess of Radnor. In the other, to +the memory of Jacob, the 4th Earl of Radnor, a similar screen of +decoration embodies figures of eight prophets.</p> + +<p>In the south-east transept is a window erected to the officers of the +Wiltshire Regiment who fell in the Sutlej Campaign in 1845-6, and in +the Crimean War of 1854-5; also one of "The Raising of Lazarus." In +the upper windows of this transept is a quantity of old glass of +different dates, which had been stored away for over a century in the +roof of the Lady Chapel, until lately collected and placed where it +now is.</p> + +<p>The south choir aisle has a window in memory of the late Duke of +Albany, "Jacob's Dream," and two of the intended six windows of a +hierarchy of angels—the Angeli Ministrantes and the Angeli +Laudantes—designed by Sir E. Burne-Jones, and executed by William +Morris, which are notably among the most superb examples of the art of +glass painting since mediæval times. Next in order towards the east is +a window of fine design to the memory of the late Duke of Albany.</p> + +<p>In the south-west transept there are three Clayton and Bell windows: +in memory of Archdeacon Macdonald, with three subjects from the Life +of Christ; in memory of Bishop Douglas, and in memory of C.G. +Verrinder; also one to the <span class='pagenum'><a name="Page_94" id="Page_94">[94]</a></span>memory of Sir G.A. Arney, with Moses and +the Tables of the Law, and the Sermon on the Mount; and the large +south window, by Bell, to the memory of Dean Hamilton.</p> + +<p>Above the altar is a fine light window of last century work, +singularly good of its kind—bad though the kind may be.</p> + +<p>In the south aisle of the nave is a window to the memory of Mr. W.M. +Coates, with subjects, the miracles of healing, executed by Messrs. +Clayton and Bell.</p> + +<p>In 1890 a fine modern window, from a design by Henry Holiday, was +inserted in the south aisle of the nave. This has for its subject, +"Suffer little children to come unto me." It is to the memory of John +Henry Jacob and his wife.</p> + +<p>In 1620 Dr. Simpson mentions "three great windows newly glazed in rich +colours to make the story of St. Paul."</p> + +<p>Throughout the cathedral, and in the Chapter House, were many +specimens of geometrical painted glass, some of which are figured in +Mr. Winston's Paper, before referred to. These have served as motives +for much modern design, which, faithfully as it may have copied the +forms, has generally missed the softened colour that distinguishes the +original work.</p> + +<div class="img"><a name="imagep094" id="imagep094"></a> +<a href="images/imagep094.jpg"> +<img border="0" src="images/imagep094.jpg" width="85%" alt="TOMB OF WILLIAM LONGESPÉE, 1ST EARL OF SALISBURY" /></a><br /> +<p class="cen" style="margin-top: .2em;">TOMB OF WILLIAM LONGESPÉE, 1ST EARL OF SALISBURY (P. 47).<br /> +<i>From a Photograph by Catherine Weed Ward.</i><span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<br /> +<br /> +<br /> +<br /> +<a name="HISTORY_OF_THE_SEE" id="HISTORY_OF_THE_SEE"></a><hr /> +<span class='pagenum'><a name="Page_95" id="Page_95">[95]</a></span><br /> + +<h3>HISTORY OF THE SEE.<span class="totoc"><a href="#toc">ToC</a></span></h3> +<br /> + +<p class="hang"><img src="images/t3.png" align="left" border="0" alt="T" style="margin-right: .75em;" />he site of old Sarum—Searobyrig, the dry city, as the Saxons called +it—is about a mile to the north of the present New Sarum, or +Salisbury, to use the more familiar name. It was probably a fortified +place from very early times, long before it became the Roman station +of Sorbiodunum. William of Malmesbury says that "the town was more +like a castle than a city, being environed with a high wall, and +notwithstanding that it was very well accommodated with other +conveniences, yet such was the want of water that it sold at a great +rate." This latter statement, although repeated by every chronicler, +is not supported by investigations of recent explorers, who found an +ample supply in divers wells. Francis Price concludes that "it was +frequented by Roman Emperors from the coins of Constantine, Constans +Magnentius, Crispus, and Claudius, being found frequently among its +ruins." This statement also lacks probability. A legend of the visit +of a single emperor might have been barely credible; but the lavish +variety the otherwise trustworthy historian offers is fatal to one's +belief. Its early history, more or less legendary, need not be +chronicled here. Probably Kenric the Saxon, who captured it in 553, +lived there, and it seems to have been kept in his line until Egbert +united the whole Heptarchy. King Alfred ordered Leofric, Earl of +Wiltunscire, to add to its fortifications, which appear to have fallen +into decay after the Romans held it. In 1003 Svein, King of Denmark, +pillaged and burnt it, but the religious establishments if not spared +were soon re-established, for we find that Editha, Queen of Ædward +<span class='pagenum'><a name="Page_96" id="Page_96">[96]</a></span>the Confessor, conveyed the lands of Shorstan to the nuns of St. Mary, +Sarum. At this time it appears to have possessed a mint, as a coin of +Ædward the Confessor bears an inscription showing that it was struck +by Godred at Sarum.</p> + +<p>From the time of St. Aldhelm, in 705, to that of Herman, in 1058, +there are no other facts of its secular history sufficiently pertinent +to our purpose to warrant their quotation here, as the record of the +place is so woven into the lives of its bishops, that the brief +summary of the ecclesiastics who held the see includes all we need of +the history of the city. In this kingdom within a kingdom, a cathedral +surrounded by a fortress, its inhabitants were naturally split into +factions; the soldiers and the clergy failed to agree, and in spite of +the document quoted below, there is little doubt that political rather +than climatic reasons led to the removal of the cathedral. Whether, as +some writers think, it was but an insignificant structure, it is +certainly recorded that the church erected by Osmund took fifteen +years to build. Five days after its consecration, on April 5th, 1092, +it was partially destroyed by a thunderstorm. We find in Robert of +Gloucester's "Chronicle" (Hearnes ed., p. 416) this allusion to the +disaster:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"So gret lytnynge was the vyfte yer, so that it al to nogte,<br /></span> +<span class="i0">The rof the Church of Salesbury it broute<br /></span> +<span class="i0">Rygt evene the vyfte day that he yhalwed was."<br /></span> +</div></div> + +<p>Whether the sentence in an old chronicler that Roger "made anew the +church of Sarum" means it was so seriously damaged by the lightning +that he actually rebuilt it, or merely that he restored it, is not +clear. Roger was the great architectural genius of his time, and from +the evidence of its ground plan, traced in the foundations revealed in +the singularly dry summer of 1834, it may be that the stately edifice, +270 feet long by 75 feet wide, on the plan of a Latin cross, was in +its last state not the work of Osmund. During the excavations at this +time, various fragments of stained glass and several keys were +discovered, also what was apparently the original grave of St. Osmund +before his body was moved to Sarum. An extract from Harrison's +"Description of Britain," prefixed to Hollinshed's "Chronicle" shows +clearly enough the principal events that produced the crisis which +doomed Old Sarum to desolation. "In the time of ciuile warres the +souldirs of the castell <span class='pagenum'><a name="Page_97" id="Page_97">[97]</a></span>and chanons of Old Sarum fell at ods, +inasmuch that often after brawles they fell at last to sadde blowes. +It happened therefore in a rogation weeke that the cleargie going in +solemn procession a controversie fell between them about certaine +walkes and limits which the one side claimed and the other denied. +Such also was the hot entertainment on eche part, that at last the +Castellans espieing their time gate betweene the cleargie and the +towne and so coiled them as they returned homewards that they feared +anie more to gang their boundes for that year. Hereupon the peope +missing their belly-chere, for they were wont to haue banketing at +every station, a thing practised by the religious in old tyme, they +conveyed forthwith a deadly hatred against the Castellans, but not +being able to cope with them by force of arms, they consulted with +their bishop ... that it was not ere the chanons began a church upon a +piece of their own ground.... And thus became Old Sarum in a few years +utterly desolate."</p> + +<p>By other accounts we find there was insufficient room for all the +canons to live within the walls, and the right of free egress being +disputed the position became so intolerable, that Bishop Richard +Poore, a man of great force of character, who succeeded his brother, +took up the design Herbert had set aside, and commenced negotiations +in earnest, the result of which is best explained by the following +document:</p> + +<p>"Honorius, bishop, Servant of the servants of God to our rev. brother +Richard, bishop, and to our beloved sons the Dean and Chapter of +Sarum, health and apostolical benediction. My sons the dean and +chapter, it having been heretofore alleged before us on your behalf, +that forasmuch as your church is built within the compass of the +fortifications of Sarum, it is subject to so many inconveniences and +oppressions, that you cannot reside in the same without corporal +perils: for being situated on a lofty place, it is, as it were, +continually shaken by the collision of the winds; so that while you +are celebrating the divine offices, you cannot hear one another the +place itself is so noisy: and besides the persons resident there +suffer such perpetual oppressions, that they are hardly able to keep +in repair the roof of the church, which is constantly torn by +tempestuous winds. They are also forced to buy water at as great a +price as would be sufficient to purchase the common drink of the +country: nor is there any <span class='pagenum'><a name="Page_98" id="Page_98">[98]</a></span>access to the same without the licence of +the Castellan. So that it happens on Ash Wednesday when the Lord's +Supper is administered at the time of the Synods, and celebrations of +orders, and on other solemn days, the faithful being willing to visit +the said church, entrance is denied them by the keepers of the castle, +alleging that the fortress is in danger, besides you have not there +houses sufficient for you, wherefore you are forced to rent several +houses of the laity; and that on account of these and other +inconveniences many absent themselves from the service of the said +church."</p> + +<p>This mandate, dated at "the Lateran, 4th of the calend of April, in +the second year of our Pontificat," concludes by giving formal power +for the translation of the church to another convenient place.</p> + +<p>After the cathedral was removed the prosperity of the place quickly +waned. The new roads and bridges made access to the new city more +convenient. Wilton suffered from the growth of its new rival, but +Sarum ceased to be even a ruin, as the very stones of its cathedral +were ultimately taken to build a wall around the precincts of the new +church, and oblivion soon overtook the ancient city, which to-day is +not even a hamlet, but at most a geographical expression. As a +specimen of an early "burgh," or hill fortress, its form well deserves +study. Its circular walls, and various ditches and ramparts, are shown +in plans in the County History, in Francis Price's book, and +elsewhere.</p> + +<div class="img"><a name="imagep098" id="imagep098"></a> +<a href="images/imagep098.jpg"> +<img border="0" src="images/imagep098.jpg" width="85%" alt="TOMB OF "THE BOY BISHOP"." /></a><br /> +<p class="cen" style="margin-top: .2em;">TOMB OF "THE BOY BISHOP" (P. 49).<br /> +<i>From a Photograph by Catherine Weed Ward.</i><span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<br /> +<br /> +<br /> +<br /> +<a name="THE_DIOCESE_OF_SARUM" id="THE_DIOCESE_OF_SARUM"></a><hr /> +<span class='pagenum'><a name="Page_99" id="Page_99">[99]</a></span><br /> + +<h3>THE DIOCESE OF SARUM.<span class="totoc"><a href="#toc">ToC</a></span></h3> +<br /> + +<p class="hang"><img src="images/s.png" align="left" border="0" alt="S" style="margin-right: .75em;" />o far as its history concerns us here, it suffices to note that the +greater part of Wiltshire, and those portions of Dorset and Somerset +which had been comprised in the see of Winchester, were, about the +year 705, during the reign of Ina, King of the West Saxons, included +in the new diocese of Sherbourne, which in its turn, about two hundred +years after, <i>circa</i> 905-9, was sub-divided into those of Wells, for +Somerset, and Crediton, for Devon. About 920, a new see was allotted +to Wiltshire, whose bishop took his title from Ramsbury, near +Marlborough, on the borders of the county; and with this was soon +after re-united the smaller diocese of Sherbourne, and in 1075, the +episcopal seat was removed to the fortress of Old Sarum, whence in +1218 it was again removed to the present city. In 1542, part of the +see was devoted to the new diocese of Bristol. The see of Sherbourne, +ruled over by St. Aldhelm from 705 to 709, was a much larger one than +the second diocese of the same name which in 1058 was united to +Ramsbury, under Herman, who held it from 1058 to 1078. The eight +previous bishops are more or less well known, and in the admirable +"Diocesan History" and in the "Fasti Ecclesiæ Sarisburiensis," both by +the late Rev. W.H. Jones, there is much interesting detail of the +earlier rulers of the diocese now called Salisbury.</p> + +<p><b>Herman</b>, by birth a Fleming, was one of the ecclesiastics brought +over by Edward the Confessor. His record is unmarked by events that +left lasting results. He made a bold but fruitless attempt to annex +the Abbey of Malmesbury. During his time, as an old writer quaintly +phrases it, "it is agreed by all authors, both printed and in +manuscript, that there was not yet <span class='pagenum'><a name="Page_100" id="Page_100">[100]</a></span>any cathedral, church, or chapter, +either within or without the King's Castle [of Old Sarum], but only a +chapel and a dean." Later authorities, however, assign to him the +commencement, at least, of a cathedral. In Benson and Hatcher's +"Wiltshire," we find it has been conjectured that Herman, on removing +his see to Sarum, found there a chapel and a dean, and that in +exchange for this building he transferred the two cathedrals of +Sherborne and Sunning to the Dean to whose peculiar jurisdiction they +have since belonged; other evidence, however, points to the church +having been begun and finished by Osmund, his successor, whose own +words in the charter of foundation run: "I have built the church at +Sarum and constituted canons therein." An epistle of Gregory IX. to +the bishops of Bath and Wells states that, "Osmund of pious memory had +employed great care as well in temporals as in spirituals, so that he +had magnificently builded the said church from its foundations and +enriched it with books, treasures, ... and lands from his own +property." Herman, like other English bishops who were his +fellow-natives Leofric at Exeter, and Giso at Wells, was not deprived +of his see after the Conquest; but in 1075, in obedience to the decree +of the Council of London that bishops' sees should be removed from +obscure to more important places, he chose the hill of Sarum. His +remains are said to have been transferred to a tomb in the present +cathedral, but later antiquarians decline to endorse the tradition.</p> + +<p><b>Osmund</b>, who is believed to have been the nephew of William the +Conqueror, was son of Henry, Count of Seez, in Normandy; he was +created Earl of Wiltshire soon after the Conquest, before he became an +ecclesiastic; Camden speaks of him as the "Earl of Dorset." As the +author of the "Consuetudinariam," the ordinal of offices for the use +of Sarum, wherein he collated the various forms of ritual in use at +many churches, both in England and on the Continent, he won a fame far +more than the building of Old Sarum, were it never so stately a +cathedral, could have secured him. His famous "Sarum Use" was adopted +by almost the whole of England, and reflected glory upon the church +that instituted it, so that in the words of an old historian, "like +the sun in his heavens, the church of Salisbury is conspicuous above +all other churches in the world, diffusing the light everywhere and +<span class='pagenum'><a name="Page_101" id="Page_101">[101]</a></span>supplying their defects." The original manuscript of this great work +is one of the choicest treasures of the cathedral library exhibited to +those who have access to that collection; it is also available to the +ordinary student in a volume entitled, "The Church of our Fathers," +published by Dr. Rock in 1849. "As a man," says William of Malmesbury, +"Osmund was rigid in the detection of his own faults, and unsparing to +those of others." Although his body and his tomb were moved to the +Lady Chapel of the new cathedral in 1226, and his name adored +popularly, he was not canonized until over two hundred years later. +Pope Callistus, the first of the Borgias, issued the bull on January +1st, 1456, but not, according to rumour, until ample funds had been +supplied to facilitate his action. Some interesting correspondence +relating to it has been lately printed in the "Sarum Charters and +Documents," issued under the direction of the Master of the Rolls. The +bull itself, in the keeping of the chapter, has been printed in Volume +iii. of the great collection of Papal bulls edited by Cocqueline, and +published in Rome, 1743. On July 15th, 1457, according to the +authority of a writer in "Archæologia," Vol. xiv., the translation of +his body was completed, principally at the expense of the bishop, a +huge concourse of people being present at the festival. From the +plentiful accounts of miracles worked at his shrine long before he was +officially canonized, there is but little doubt but that it had become +a favourite place of pilgrimage. He died in 1099, and in spite of his +tomb being removed to the cathedral in 1226 and a stately shrine +erected later, a stone with no inscription but a date of doubtful +authenticity—MXCIX—is all that commemorates him there to-day.</p> + +<p>The next bishop was <b>Roger</b>, who was elected in 1102, consecrated in +1107, and died in 1139. If his fame as an ecclesiastic is not so +assured as that of his illustrious predecessor, in architecture and in +secular history he has left a decided mark. He was a poor Norman +priest, who won his mitre by singing a hunting mass quickly before +Henry I. Made chaplain by the king on his accession, he afterwards +became first chancellor, and then justiciary. He organized the Court +of Exchequer, which has preserved the earliest official records known +to us. His castles at Devizes, Sherborne, and Malmesbury excited the +jealousy of the nobles; his son was <span class='pagenum'><a name="Page_102" id="Page_102">[102]</a></span>chancellor, one nephew Bishop of +Ely, and another nephew Bishop of Lincoln. Besides much work, now +destroyed, at Old Sarum (so that whether he merely restored the damage +caused by lightning, or rebuilt it from the foundations, according to +the Norman custom, we cannot tell), his additions to Sherborne Minster +are still memorable as a new departure in Norman architecture; in +fact, he has been called the great architectural genius of the +thirteenth century. "Unscrupulous, fierce, and avaricious," he is a +type of the great feudal churchmen when they were veritable rulers. +According to William of Malmesbury, "was there anything contiguous to +his property which might be advantageous to him, he would directly +extort it either by entreaty or purchase, or if that failed, by +force." Although after King Henry's death Henry, Bishop of Winchester, +persuaded him to open the vast treasure of the late king to Stephen, +yet in the fourth year of his reign Stephen imprisoned him, and the +Bishop of Lincoln, his nephew, and seized their castles of Devizes and +Sherborne, Newark, and Sleaford. Bishop Roger the same year, according +to one chronicler, "by the kindness of death, escaped the quartan ague +which had long afflicted him, and died broken-hearted." But another +version says that "he starved to death through a promise to King +Stephen that his castle of Devizes should be surrendered to him before +he eat or drank; but his nephew, the Bishop of Ely, who then had +possession of it, kept it three days before he made the surrender to +the king."</p> + +<p><b>Jocelin de Bohun</b>, or, as he is sometimes called, de Bailleul (1142 +to 1184), is best known from his quarrel with Thomas à Becket, of +Canterbury. For his share in framing the "Constitutions of Clarendon," +he was excommunicated by the archbishop. On the death of Roger, in +1139, King Stephen nominated Philip de Harcourt, but the canons +preferred Jocelin, who was not, however, consecrated until 1142. After +the murder of A'Becket he "purged himself by oath of his offences" +towards his late foe. In 1184 he retired to a Cistercian monastery, +and died shortly afterwards. A monument on the south side of the +cathedral nave is attributed to him.</p> + +<p>The see was now left vacant for five years, when Hubert Walter, was +consecrated, in 1189; he shortly after went to the Holy Land to join +Richard I. in his crusade. While at Acre he was nominated to the +vacant archbishopric of Canterbury, to <span class='pagenum'><a name="Page_103" id="Page_103">[103]</a></span>which he returned in 1193. He +exercised a powerful influence on both king and people; the latter, +with whom he had never been popular, found at his death that "they had +lost the only bulwark strong enough to resist or break the attack of +royal despotism."</p> + +<p><b>Herbert de la Poer</b>, or Poore (1194-1217), who succeeded him, ruled +in a troubled period, when the realm was under the interdict of Pope +Innocent III. Compelled to quit Old Sarum, he died at Wilton in 1217.</p> + + +<div class="img"><a name="imagep103" id="imagep103"></a> +<a href="images/imagep103.jpg"> +<img border="0" src="images/imagep103.jpg" width="70%" alt="MONUMENT LOCALLY ACCREDITED TO BISHOP POORE." /></a><br /> +<p class="cen" style="margin-top: .2em;">MONUMENT LOCALLY ACCREDITED TO BISHOP POORE.<span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p>With <b>Richard Poore</b>, who was consecrated Bishop of Chichester in +1215, and in 1217 Bishop of Old Sarum, where he had been dean, begins +the record of the bishops immediately connected with the building. His +history is so intimately bound up with that of the cathedral, that +here it is sufficient to note that he ruled at Old Sarum and Salisbury +until 1229, when he was translated to Durham.<a name="FNanchor_10_10" id="FNanchor_10_10"></a><a href="#Footnote_10_10" class="fnanchor">[10]</a> His distinct +influence upon the architecture of that cathedral, in connection with +Elias de Derham, is noticed elsewhere. He died at his <span class='pagenum'><a name="Page_104" id="Page_104">[104]</a></span>birthplace, +Tarrant (Tarent Crawford<a name="FNanchor_11_11" id="FNanchor_11_11"></a><a href="#Footnote_11_11" class="fnanchor">[11]</a>), in Dorsetshire, where he had founded a +Cistercian nunnery, in which his heart is said to have been interred; +his body was taken to Durham, and a monument with his effigy erected +in the new cathedral at Salisbury. The names of St. Osmund and Richard +Poore stand out beyond all others in connection with this see. The one +for the indirect glory he conferred upon it by his memorable ordinal; +the other by his removal of the cathedral and the superb fabric he +left to commemorate his fame. With them, excepting possibly Bishop +Hallam, the record of men of mark ceases; of their successors hardly +one has had a reputation beyond his diocese, and certainly there is +not one whose fame has spread beyond his native land.</p> + + +<div class="img"><a name="imagep104" id="imagep104"></a> +<a href="images/imagep104.jpg"> +<img border="0" src="images/imagep104.jpg" width="80%" alt="NORTH CHOIR AISLE, WITH BISHOP BINGHAM'S MONUMENT." /></a><br /> +<p class="cen" style="margin-top: .2em;">NORTH CHOIR AISLE, WITH BISHOP BINGHAM'S MONUMENT.<span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p><b>Robert Bingham</b> (1229-1246) finished the work of the <span class='pagenum'><a name="Page_105" id="Page_105">[105]</a></span>cathedral +during his eighteen years' rule; but when he died he left it in debt +1,700 marks. His monument, with effigy, is now in the north choir +aisle.</p> + +<p><b>William of York</b> (1247-1256) was one of the chaplains to Henry II.; +by his renewal of the vexatious custom of attending the lord's courts, +he became very unpopular. Matthew Paris mentions him as one of the +favourites of the king, and Bishop Godwin says that he was better +versed in the laws of the realm than in those of God.</p> + +<p><b>Giles of Bridport</b>, or de Bridlesford (1257-1262), who held also the +Deanery of Wells by a faculty "in Commendam," for Pope Honorius, +continued the works of the cathedral until it was consecrated, in +1258, by Boniface, Archbishop of Savoy, the brother of the queen of +Edward I. He also founded the college of Vaux. In 1260, during his +bishopric, there is a curious entry in a document, lately printed, +which refers to Nicholas of York, Canon of Salisbury, <i>Le engineur</i>.</p> + +<p>In the same volume (Rolls Chronicles, 1891), there is a note of this +bishop granting 200 lbs. of wax annually from his wardrobe for +increasing the lights in the church, as he had been told that amount +would be sufficient to double the number of the candles at each +ministration.</p> + +<p><b>Walter de la Wyle</b> (1263-1271), the founder of the church of St. +Edmund of Abingdon, has a mutilated effigy assigned to him in the +cathedral.</p> + +<p><b>Robert de Wykehampton</b> (1274-1284), although elected by the canons, +the monks of Canterbury, and the king, was opposed by the archbishop, +who, after four years' interval and an appeal to Rome, was forced to +consecrate him. He is said to have become blind in 1278.</p> + +<p><b>Walter Scammel</b> (1284-1286). Although on his election the monks of +Canterbury appealed to the Pope against it, they subsequently withdrew +their opposition. He was buried near the Audley Chapel.</p> + +<p><b>Henry de Braundeston</b> (1287), who died the same year, was buried, +according to Leland, in the Lady Chapel.</p> + +<p><b>Walter de la Corner</b> (1289-1291) was one of the chaplains of the +Pope. He was buried in the middle of the choir, "nearly under the +eagle."</p> + +<p><b>Nicholas Longespée</b> (1292-1297) was fourth and youngest son of the +first Earl of Salisbury, and Countess Ela.</p> + +<p><span class='pagenum'><a name="Page_106" id="Page_106">[106]</a></span><b>Simon of Ghent</b>, or de Gand (1297-1315), first empowered the mayor +and citizens to fortify the city. According to a document printed in +the "Rolls Chronicles," 1891, the visitation of many of the churches, +about 1300, compares badly with a similar record for 1220; ignorance +of the clergy, gross neglect of the fabric, insufficient and +dilapidated books and vestments, with other evidences of lack of +energy, are very frequent.</p> + +<p><b>Roger Mortival</b> (1315-1330) founded a collegiate establishment at +Knowsley, his birthplace. The Library of Merton College, Oxford, +contains many manuscripts, his gift while he was Archdeacon of +Leicester. He is said also to have drawn up the statutes by which the +cathedral is still partly governed.</p> + +<p><b>Robert Wyville</b>, or Wivil (1330-1375), was, by Walsingham's account, +not merely destitute of learning, but so deformed and ugly, "it is +hard to say whether he was more dunce or dwarf, more unlearned or +unhandsome," that had the Pope seen him he would never have endorsed +his appointment. He was a militant bishop, and in 1355 instituted a +suit against William de Montacute, and sent his champion clothed in +white to try wager of battle with him. He recovered for his see 2,500 +marks and the ancient castle of Old Sarum, also that of Sherborne. He +obtained permission to fortify his manors of Sarum, Sherborne, +Woodford, Chardstock, Potterne, Canning, Sunning, and his mansion in +Fleet Street (now Salisbury Court), "in the suburbs of London." His +brass is in the Morning Chapel.</p> + +<p><b>Ralph Erghum</b> (1375-1388) was probably of Flemish birth. He was +translated to Bath and Wells in 1388, where he died in 1400. He is +said to have erected the City Cross as a penance, but the Sarum +register seems rather to indicate that he compelled the Earl of +Salisbury to do so.</p> + +<p><b>John Waltham</b> (1388-1395) was Master of the Rolls in 1382, and Keeper +of the Privy Seal in 1391. For a time he resisted the metropolitan +visitation of Archbishop Courtney, notwithstanding that the Bishop of +Exeter had been forced to yield in a similar contest, but when the +archbishop excommunicated him he was compelled to submit. He was +specially in the favour of his king, Richard II., and died Lord High +Treasurer in 1305. He was buried ("not without much general +dissatisfaction," according to Walsingham,) in Westminster Abbey, +where his brass can be seen in the floor of the chapel of the +Confessor, to the right of King Edward's tomb.</p> + +<p><span class='pagenum'><a name="Page_107" id="Page_107">[107]</a></span><b>Richard Mitford</b> (1395-1407) was the favourite, and confessor of +Richard II., but during the so-called "wonderful" parliament he was +imprisoned in Bristol Castle, until released by the King on his +re-assumption of power. In 1389 he was nominated to the see of +Chichester, and translated therefrom to Salisbury in 1395. His tomb +stands in an angle of the south transept.</p> + +<p><b>Nicholas Bubwith</b> (1407), at one time Treasurer of England, held +Salisbury for three months only, between the bishoprics of London and +Bath and Wells. He died at Wells, 1424.</p> + +<p><b>Robert Hallam</b> (1407-1417). Notwithstanding his brilliant career, +both the origin and birthplace of this prelate are unknown. "Born in +England of royal blood," says one chronicler, but there is no +corroborative evidence. Prebendary of York, Archdeacon of Canterbury +in 1401, Chancellor of Oxford 1403, he left England in 1406 for Rome, +and was nominated by Pope Gregory XII. to be Archbishop of York; this +latter preferment was withdrawn, but in its stead he became Bishop of +Salisbury in 1407. He was at the Council of Pisa in 1409, and, in +1411, was created a cardinal by Pope John XXIII. At the famous Council +of Constance, 1415-1417, he was one of the foremost champions of +religious liberty, and almost alone in condemning the punishment of +death for heresy. Indeed, the whole future of the Roman church is said +to have been changed by his death at the Castle of Gotlieb in 1417, +and the supremacy of the Italian party assured by the decease of its +most formidable opponent. The brass that marks his burial place in +Constance cathedral is supposed to have been executed in England, and +sent thence some time after his death. It is engraved in Kites' +"Monumental Brasses of Wiltshire."</p> + +<p><b>John Chandler</b> (1417-1426) is remembered chiefly for his brief life +of William of Wykeham.</p> + +<p><b>Robert Neville</b> (1427-1438) was the nephew of Henry IV.; after +holding the see of Salisbury for ten years he was translated to +Durham. He founded the monastery at Sunning.</p> + +<p><b>William Ayscough</b> (1438-1450), who has left little record of his +life, met his death during a local rising in 1450, the year of the +Jack Cade rebellion. On the feast of SS. Peter and Paul his church at +Edingdon, near Westbury, one of his palaces, was attacked by a mob, +who seized the bishop in the vestments wherein he had just said mass, +and, dragging him to <span class='pagenum'><a name="Page_108" id="Page_108">[108]</a></span>a hill-top near, there they stoned and beheaded +him, stripping off his garments and dividing them among themselves for +memorials. His body was afterwards interred at Edingdon. Possibly his +scholarship, which separated him from his people, was the real cause +of his unpopularity, which is, however, generally attributed to his +frequent absence with King Henry VI., to whom he was Confessor.</p> + +<p><b>Richard Beauchamp</b> (1450-1481) was translated from the bishopric of +Hereford. Son of Sir Walter, and grandson of Lord Beauchamp of Powick, +he was sent on diplomatic missions to various courts, including +Burgundy. In 1471 he was one of the signatories of the truce with the +Duke of Brittany. In 1477 he became Dean of Windsor, and was appointed +by Edward IV. master of the works then in progress, which included the +rebuilding of St. George's Chapel. At Salisbury he left the great hall +of the bishop's palace and his own superb chantry as memorials of his +architectural skill. Elsewhere in this book is a fuller description of +this beautiful tomb demolished by Wyatt. He himself was buried at +Windsor; in an arch opposite his tomb was a missal carved in stone +with a quaint inscription, beginning, "Who leyde this boke here." He +is said to have been the first chancellor of the Order of the Garter, +although Dr. Milner assigns that honour to William de Edingdon. +Whether the first or not, he and his successors in the see held it by +charter of Edward, until they were deprived in the reign of Henry +VIII. In 1671 it was again awarded to the see of Salisbury, but +passed, in 1836, with Berkshire to that of Oxford.</p> + +<p><b>Lionel Woodville</b>, or Wydville (1482-1484), nephew of Elizabeth, +queen of Edward IV., was appointed to the see in 1482. His +brother-in-law, the Duke of Buckingham, was beheaded in Salisbury +market place just before the battle of Bosworth. Woodville is said to +have died of grief occasioned by the downfall of the fortunes of his +house on the accession of Richard III.</p> + +<p><b>Thomas Langton</b> (1485-1493) is best remembered as a patron of +literature, for which he has been called a second Mæcenas, yet, +despite the "fostering hand he always afforded to learned men," he was +an opponent of Wicklif's heresies, and did his best to stamp them out +in his see when they had gained a number of adherents.</p> + +<p><span class='pagenum'><a name="Page_109" id="Page_109">[109]</a></span><b>John Blyth</b> (1494-1499) was Chancellor of Ireland in 1499. An effigy, +assumed to be his, is in the north transept.</p> + +<p><b>Henry Dean</b>, or Denny, or Syer (1500-1501), was translated to +Canterbury shortly after his appointment to Salisbury. He is believed +to have been one of the victims of the Great Plague, and to have died +at Lambeth in 1503.</p> + +<p><b>Edmund Audley</b> (1502-1524) was Bishop of Rochester in 1480, +translated to Hereford in 1492, and to Salisbury in 1502. His +beautiful chantry still remains in its original position. St. Mary's, +Oxford, contains a pulpit said to be his gift.</p> + +<p><b>Lorenzo Campegio</b>, Cardinal of St. Anastatius, was nominated by Pope +Clement in 1524. He was sent to England to join Cardinal Wolsey in +adjudicating upon the royal divorce. In 1535, when Henry VIII. +disgraced Wolsey, Campegio was also deprived of his see by Act of +Parliament. At Rome, however, he was regarded as Bishop of Salisbury +until his death; and "for some time after" an independent succession +was maintained by the Pope in two English bishoprics, namely, +Salisbury and Worcester.</p> + +<p><b>Nicholas Shaxton</b> (1535-1539) was President of Gonville Hall, +Cambridge, and for a while a sturdy supporter of the king. At the time +of Latimer's resignation he also resigned in common with many other +bishops. He was imprisoned, and in 1546 condemned to be burnt, for +denying the real presence; but recanting became prominent as opponent +of the reformers, preaching fiery sermons at the martyrdom of Anne +Askew and others. After he resigned his see he became suffragan to the +Bishop of Ely. He died at Cambridge in 1556.</p> + +<p><b>John Capon</b>, or <b>Salcote</b> (1539-1557), had been Bishop of Bangor. His +record is notorious for its greed and time-serving. First orthodox, +then Protestant, and one of the revisers of the Liturgy under Edward +VI., again changing under Mary, and one of the judges at the trial of +Bishop Hooper of Gloucester. Fuller impeaches him with Veysey, or +Harman, of Exeter, saying, "it seems as if it were given to binominous +bishops to be impairers of their churches."</p> + +<p><b>Peter Peto</b> (1557), a cardinal nominated by the Pope, was refused +possession by Queen Mary, who appointed Francis Malet, Dean of +Lincoln, in his stead, but he in turn, before his consecration, was +ejected by Elizabeth, who had succeeded to the throne meanwhile.</p> + +<p><span class='pagenum'><a name="Page_110" id="Page_110">[110]</a></span><b>John Jewel</b> (1560-1571) is one of the few Protestant bishops +connected with this see who can claim more than diocesan fame. He was +born at Berry Narbor, Devonshire, in 1522, and appears to have +belonged to a good old family. When a Fellow of Corpus, at Oxford, his +adherence to the doctrines of the Reformation caused him to be +expelled; but so greatly was he beloved for his pure life and his +profound scholarship there, that in spite of his expulsion he was +chosen to be Public Orator at his University. His life is too widely +known to need an epitome here. Among his writings, the most famous, +the "Apology for the Church of England," published in 1562, was +quickly translated into every language in Europe. In episcopal matters +he took great interest, and built the library over the cloisters,<a name="FNanchor_12_12" id="FNanchor_12_12"></a><a href="#Footnote_12_12" class="fnanchor">[12]</a> +besides devoting great care to the education of students, having +always a number of poor lads in his house, and maintaining others at +Oxford, one of whom was the famous "Judicious Hooker." Fuller praises +him in terms that seem, however extravagant, to be generally admitted +by his contemporaries to be fully deserved, and the famous sentence, +"It is hard to say whether his soul or his ejaculations arrived first +in heaven, seeing he prayed dying, and died praying," shows that he +was reverenced by the Reformed Church as a veritable saint. He died at +Monkton Fairleigh in 1571, his tombstone, despoiled of its brass, is +now near that of Bishop Wyvil, whence it was removed from its former +place in the choir.</p> + +<p><b>Edmund Gheast</b>, or <b>Gest</b> (1571-1577), the first Protestant Bishop of +Rochester, was translated to Salisbury, where he gave a fine +collection of books to the new library of the cathedral. His tombstone +is in the north choir aisle.</p> + +<p><b>John Piers</b> (1577-1589) preached before Queen Elizabeth at the solemn +thanksgiving for the defeat of the Spanish Armada. He was translated +to York in 1589.</p> + +<p><b>John Coldwell</b> (1591-1596), a physician before he became a cleric, is +also noticeable as the first married bishop who held the see. He was +accused of wasting its revenues, and is responsible for the loss of +Sherborne Castle, which he alienated, says Fuller, "owing to the wily +intrigues of Sir Walter Raleigh."</p> + +<p><b>Henry Cotton</b> (1598-1615) was one of the chaplains of Elizabeth, and +a godson of the Queen, of whom she is reported to have remarked that +"she had blessed many of her godsons, now one should bless her." Sir +John Harrington says, "he <span class='pagenum'><a name="Page_111" id="Page_111">[111]</a></span>had nineteen children by one wife, which is +no ordinary blessing, and most of them sonnes. His wife's name was +Patience; the name of which I have heard in few wives, the quality in +none." As the second married bishop he certainly appears to have +supported fully the Protestant opposition to the celibacy of the +clergy.</p> + +<p><b>Robert Abbott</b> (1615-1618) was the elder brother of George, +Archbishop of Canterbury. Fuller says, "George was the more plausible +preacher, Robert the greater scholar; George the abler statesman, +Robert the deeper divine. Gravity did frown in George, and smile in +Robert." As one might infer from so strong an opponent of Laud, amid +the large number of his published works most are polemical and +Anti-Romish.</p> + +<p><b>Martin Fotherby</b> (1618-1620) held the see but a year, and hence left +no lasting impression upon it.</p> + +<p><b>Robert Townson</b> (1620-1621), who attended the execution of Sir Walter +Raleigh, and has left a graphic and touching account of his last +hours, was but ten months bishop when he died, says Fuller, who was +his nephew, of a fever contracted by "unseasonable sitting up to +study," when preparing a sermon to preach before Parliament.</p> + +<p><b>John Davenant</b> (1621-1641) attended the Synod of Dort at the bidding +of James I., and was the author of many theological works.</p> + +<p><b>Brian Duppa</b>, or <b>de Uphaugh</b> (1641-1660) was tutor to the sons of +Charles I., and appointed to Salisbury just before the Commonwealth; +he was deprived almost immediately, and lived in seclusion at Richmond +until, at the Restoration, he was translated to Winchester. His +memorial tablet is in Westminster. Of him Izaak Walton said, "he was +one of those men in whom there was such a commixture of general +learning, of natural eloquence, and Christian humility, that they +deserve a commemoration by a pen equal to their own, which none have +exceeded."</p> + +<p><b>Humphrey Henchman</b> (1660-1663) was appointed at the Restoration, no +doubt as a reward for his great services to King Charles after the +battle of Worcester. After holding the see three years he was +translated to London.</p> + +<p><b>John Earles</b> (1663-1665), appointed Bishop of Worcester at the +Restoration, was translated to Salisbury in 1663. One <span class='pagenum'><a name="Page_112" id="Page_112">[112]</a></span>of his books, +"The Microcosmographie, or a Piece of the World Discovered in Essays +and Characters," first published anonymously in 1628, was extremely +popular, and ran through many editions; it is still read as a faithful +picture of its times. Hallam in his "Literary History" praises it +highly, Clarendon in his "Memoirs" also eulogizes its author, and +Izaak Walton in his "Life of Hooper" speaks of his innocent wisdom, +sanctified learning, and pious, peaceable, and primitive temper. +Earles was constantly with Prince Charles during his exile, and hence +one of the first ecclesiastics to receive preferment.</p> + +<p><b>Alexander Hyde</b> (1665-1667) was first cousin to the famous Lord +Chancellor Clarendon. A portrait, alleged to represent this prelate, +was found by Bishop Fuller in an obscure cottage; it is now in the +Bishop's palace.</p> + +<p><b>Seth Ward</b> (1667-1689), who was made Bishop of Exeter at the +Restoration, and translated to Salisbury in 1667, took great interest +in the fabric, and restored the bishops' palace. The survey of the +cathedral by Sir Christopher Wren was undertaken by his request and at +his own cost. He regained for his see the Chancellorship of the Order +of the Garter, lost for a century and a half. He founded the College +of Matrons, and at his death at Knightsbridge in 1688, was buried in +the south choir aisle. Dr. Walter Pope's biography of this bishop is +an interesting record of an eventful life.</p> + +<p><b>Gilbert Burnet</b> (1689-1715). Lord Macaulay has summed up the +character of this bishop in terms, that if they convey an impression +of a vain, indiscreet, and somewhat blundering partisan, yet do +justice to the vigour and strength of his character, while of the +"History of his Own Times," and many other volumes yet remembered, he +says: "A writer whose voluminous works in several branches of +literature find numerous readers one hundred and thirty years after +his death, may have had great faults, but must also have had great +merits."</p> + +<div class="imgl" style="width: 35%;"><a name="imagep114" id="imagep114"></a> +<a href="images/imagep114.jpg"> +<img border="0" src="images/imagep114.jpg" width="65%" alt="BRASS OF BISHOP WYVILLE." /></a><br /> +<p class="cen" style="margin-top: .2em;">BRASS OF BISHOP WYVILLE <br />(<a href="#Page_66"><i>see</i> P. 66</a>).<span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p><b>William Talbot</b> (1715-1721) was of the house of Shrewsbury, and +father of Lord Chancellor Talbot. He was translated to Durham in 1721.</p> + +<p><b>Richard Willis</b> (1721-1723) held the see for two years, when he was +translated to Winchester.</p> + +<p><b>Benjamin Hoadly</b>, Bishop of Bangor 1716, Hereford <span class='pagenum'><a name="Page_113" id="Page_113">[113]</a></span>1721, Sarum 1723. +Owing to the controversy raised by one of his sermons, Convocation was +suspended for 150 years.</p> + +<p><b>Thomas Sherlock</b> (1734-1748) was appointed to Bangor in 1727, +translated to Salisbury in 1734, declined the Archbishopric of +Canterbury in 1747, and was translated to London in 1748. In the most +apathetic time of the Anglican Church he is a striking example of +activity and earnestness.</p> + +<p><b>John Gilbert</b> (1749-1757) was a turbulent bishop whose record is full +of disputes with the civic authorities at Salisbury.</p> + +<p><b>John Thomas</b> (1757-1761), Bishop of Peterborough 1746, and afterwards +Bishop of Winchester, was married four times, and is reported to have +said that he had killed three wives by never contradicting them.</p> + +<p><b>Robert Hay Drummond</b> (1761) was translated to the Archbishopric of +York four months after his appointment to Salisbury. He preached at +the coronation of George III.</p> + +<p><b>John Thomas</b> (1761-1766), elected Bishop of St. Asaph in 1743, but +consecrated to Lincoln, was eighty years old when translated to +Salisbury.</p> + +<p><b>John Hume</b> (1766-1782), Bishop of Bristol 1756, Bishop of Oxford and +Dean of St. Paul's 1758.</p> + +<p><b>Shute Barrington</b> (1782-1791), translated to Durham. Excepting Bishop +Wilson, his fifty-six years' tenure of office is the longest in the +Anglican Church. He died in 1826.</p> + +<p><b>John Douglas</b> (1791-1807) was present as an army chaplain at the +battle of Fontenoy, in which he very nearly took an active part, but +was so laden with valuables left in his care by officers, that he was +compelled to refrain and be content to remain a non-combatant, and +remove his treasures to a safe place. As author of "The Criterion, or +Rules by which True may be distinguished from Spurious Miracles," +1754, and many other books, he established for himself a sound +literary reputation. Made Bishop of Carlisle in 1787, and translated +to Salisbury in 1791; he was also Dean of Windsor from 1780 to his +death, when he was buried in St. George's Chapel.</p> + +<p><b>John Fisher</b> (1807-1825). Exeter, 1803, Preceptor to Princess +Charlotte.</p> + +<p><b>Thomas Burgess</b> (1825-1837). St. David's, 1803.</p> + +<p><b>Edward Denison</b> (1837-1854). Brother of a late Speaker of the House +of Commons, Viscount Ossington.</p> + +<p><b>Walter Kerr Hamilton</b> (1854-1869). Author of a <span class='pagenum'><a name="Page_114" id="Page_114">[114]</a></span>"Letter on Cathedral +Reform," which followed his exhaustive contribution to the Cathedral +Commission Reports, 1853.</p> + +<p><b>George Moberley</b> (1869-1885). Head Master of Winchester, 1835-1866.</p> + +<p><b>John Wordsworth</b> (1885).</p> + + +<br /> +<hr style="width: 15%; clear: both;" /> +<br /> + +<h4>FOOTNOTES:</h4> + +<div class="footnote"><p class="noin"><a name="Footnote_10_10" id="Footnote_10_10"></a><a href="#FNanchor_10_10"><span class="label">[10]</span></a> 14th May, 1228. <i>Vide</i> "Hist. Dunelm. Script.," App. +lii.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_11_11" id="Footnote_11_11"></a><a href="#FNanchor_11_11"><span class="label">[11]</span></a> Others say Tarrant Monkton.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_12_12" id="Footnote_12_12"></a><a href="#FNanchor_12_12"><span class="label">[12]</span></a> This statement is open to doubt.</p></div> + +<br /> +<br /> +<br /> +<br /> +<a name="THE_CLOSE_AND_CHURCHES" id="THE_CLOSE_AND_CHURCHES"></a><hr /> +<span class='pagenum'><a name="Page_115" id="Page_115">[115]</a></span><br /> + +<h3>THE CLOSE AND CHURCHES.<span class="totoc"><a href="#toc">ToC</a></span></h3> +<br /> + +<p class="hang"><img src="images/t2.png" align="left" border="0" alt="T" style="margin-right: .75em;" />he <b>King's House</b>, which faces the west front, on the western side of +the Close, is a stately building, wherein, tradition says, monarchs +have dwelt. Richard III. is said to have been housed there when the +Duke of Buckingham was brought prisoner to Salisbury; and in the reign +of James I. its owner, Sir Thomas Sadler, was often honoured by visits +from that monarch. Underneath the great gateway which pierces the +building, in the north wall, is the shaft of a "sack lift," a curious +relic of mediæval times. The fine proportions and sturdy treatment of +the architecture of this house deserve study. It is now used as a +training establishment for school mistresses. Close by is the Deanery, +and to the south a building known as the <b>Wardrobe House</b>; which name +is supposed to indicate its use in connection with the King's House; +still farther south is <b>Leden Hall</b> (or Leyden Hall), hidden behind +trees, so that from the Close you can but catch a glimpse of the +building by Elias de Derham, to which reference has been made earlier +in this book. In the other direction are the <b>Theological College</b>, a +very lovely and spacious building, the <b>Choristers' School</b>, and many +private houses of great antiquity and considerable beauty. Indeed, it +is possible that at no other place could you find such a display of +English domestic architecture, from mediæval to Georgian times. The +beauty of the Close, well wooded as it still is, despite the havoc +wrought by the terrible gale in March, 1897, is not to be put into +words. No matter how praise were lavished in a description, it would +yet be inadequate. But whether you see it for the first time, or after +many visits, it still keeps its place as the most perfect thing of its +sort in the world.</p> + +<p><span class='pagenum'><a name="Page_116" id="Page_116">[116]</a></span>The <b>High Street Gate</b>, which from its position may be regarded as the +chief entrance to the Close, is an embattled structure of two stories, +built, as the pieces of Norman stone work clearly show, from material +brought from Old Sarum. In the niche above the arch on the south side +is a figure, popularly supposed to represent Charles I., although its +proportions more nearly resemble those of James I. It is said that a +statue of Henry III. originally occupied the niche. To the left, as +you have passed the gateway, stands the picturesque <b>Matron's College</b> +founded and endowed by Bishop Seth Ward in 1685. Also on the left is a +house formerly occupied by Canon Bowles, and still earlier by +Archdeacon Cole, both Salisbury worthies with more than local +reputation.</p> + +<p><b>St. Ann's Gate</b> is in the east wall of the Close, in the southern +angle. It is a long, low two-storied building, with two light +perpendicular windows in the upper story, and from the street outside, +where a projecting window is a noticeable feature, is very +picturesque. In common with the other gates and with the walls of the +Close, Norman stones moulded and carved are visible in many places. A +house near the south side was occupied by Fielding, who moved +afterwards next door to the Friary in St. Ann's Street, and finally to +another at Milford Hill, where he wrote "Tom Jones."</p> + +<p><b>Harnham Gate</b> near the south boundary is but a fragment, an embattled +archway devoid of an upper story. Near this gateway, just outside the +precincts, stood the ancient college of De Vaux, founded in 1260 by +Bishop Bridport.</p> + +<p><b>The Bishop's Palace</b> is not visible from the Close, but can be seen +through a doorway in the cloisters. It is set in the midst of +delightful gardens, a rambling picturesque building dating from many +periods. Bishop Poore began it—Bishop Beauchamp built its great hall; +within its walls are portraits of all the bishops of Salisbury since +the Restoration.</p> + +<p><b>The Hospital of St. Nicholas</b> is situated between Harnham Gate and +Harnham Bridge. The charter of its endowment dates from the castle of +Old Sarum in September, 1227. It still shelters a dozen inmates in a +most picturesque house, part of the original structure. On an islet is +a more modern building, which is on the foundation of the chapel of +St. John, suppressed at the Reformation.</p> + +<p><b>The Church House</b>, as it is now called, was formerly <span class='pagenum'><a name="Page_117" id="Page_117">[117]</a></span>known as +Audley House, and belonged to the Earl of Castlehaven who was beheaded +in 1631, and his property divided between the bishop and others. It is +most picturesquely placed by Crane Bridge.</p> + +<div class="img"><a name="imagep116" id="imagep116"></a> +<a href="images/imagep116.jpg"> +<img border="0" src="images/imagep116.jpg" width="95%" alt="SOUTH FRONT. NORTH FRONT. HIGH STREET GATE." /></a><br /> +<p class="cen" style="margin-top: .2em;">SOUTH FRONT. HIGH STREET GATE. NORTH FRONT.<br /> +<i>From Photographs by Carl Norman and Co.</i><span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p><b>The Poultry Cross</b> is still standing near the Market Place. At one +time a sundial and ball crowned the structure, but these have been +replaced by a cross. Close by it and scattered frequently throughout +the streets of the city are overhanging houses that betray their +antiquity at a glance.</p> + +<div class="img"><a name="imagep117" id="imagep117"></a> +<a href="images/imagep117.jpg"> +<img border="0" src="images/imagep117.jpg" width="85%" alt="THE CHURCH HOUSE." /></a><br /> +<p class="cen" style="margin-top: .2em;">THE CHURCH HOUSE.<br /> +<i>From a Photograph by Witcomb and Son, Salisbury.</i><span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p><b>The Guildhall</b>, a very interesting building as engravings show, was +demolished at the end of the eighteenth century. The Joiners Hall, the +Tailors Hall, the Hall of John Halle, the Old George, are still +standing, with some of their features modified but not sufficiently +altered to deprive them of interest.</p> + +<p><b>The Church of St. Thomas à Becket</b> is a most picturesque structure, +and, placed as it is in a square of old tiled houses, makes a +delightful picture. It consists of a nave with two aisles, a chancel +with aisles, and a vestry room. It was built in 1240 by Bishop +Bingham. The embattlemented tower has in its south front two niches +containing much mutilated <span class='pagenum'><a name="Page_118" id="Page_118">[118]</a></span>figures of the Virgin and Child and St. +Thomas à Becket. In the porch is a very curious panel with a biblical +subject rudely carved by Humphrey Beckham, who died, aged +eighty-eight, in 1671, and left this as his memorial. The most +striking feature of the interior is the large painting above the +chancel arch, representing the Day of Judgment, in the naïve manner of +its <span class='pagenum'><a name="Page_119" id="Page_119">[119]</a></span>time. A reproduction will be found in Hoare's "Modern Wiltshire" +(vol. 6), and most works on ecclesiastical mural decoration mention it +as one of the most important examples that have come down to us. Other +paintings in the south aisle were brought to light by Mr. G.E. Street +during the restoration in 1867. Without and within it is a building +hardly less worth study than the cathedral itself.</p> + +<div class="img"><a name="imagep118" id="imagep118"></a> +<a href="images/imagep118.jpg"> +<img border="0" src="images/imagep118.jpg" width="58%" alt="THE POULTRY CROSS." /></a><br /> +<p class="cen" style="margin-top: .2em;">THE POULTRY CROSS.<br /> +<i>From a Photograph by Carl Norman and Co.</i><span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p><b>St. Edmund</b>, founded by Bishop de la Wyle in 1268 for a Provost and +twelve secular canons, is at the north-east of the city. To the east +of its churchyard is the college of St. Edmunds, on the site of the +convent founded in 1268 by the same bishop. In the grounds of the +college stands the old north transept porch of the cathedral, a +picturesque ruin whose architecture at once disposes of the theory +that it came from Old Sarum.</p> + + +<div class="img"><a name="imagep119" id="imagep119"></a> +<a href="images/imagep119.jpg"> +<img border="0" src="images/imagep119.jpg" width="83%" alt="OLD PLAN OF SALISBURY." /></a><br /> +<p class="cen" style="margin-top: .2em;">OLD PLAN OF SALISBURY.<span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p><b>St. Martin</b> is another church of very ancient foundation, containing +an interesting Norman font.</p> + +<p><span class='pagenum'><a name="Page_120" id="Page_120">[120]</a></span>It is impossible to close even the most brief note of objects of +interest at, or near, Salisbury, without naming George Herbert's +church, Bemerton, and Stonehenge; two places which attract pilgrims +from all parts of the world. Yet no space is left to describe them, or +to refer to Henry Lawes, musician, and Philip Massinger, dramatist, +two of the many famous men who had the city for their birthplace. The +cathedral has been the main object of this volume, and other matters, +interesting though they may be, must needs be left untouched here.</p> + + +<br /> +<br /> +<br /> + +<h4>THE END.</h4> + +<br /> + +<div class="img"><a name="imagep121" id="imagep121"></a> +<a href="images/imagep121.jpg"> +<img border="0" src="images/imagep121tn.jpg" width="45%" alt="PLAN OF SALISBURY CATHEDRAL." /></a><br /> +<p class="cen" style="margin-top: .2em;">PLAN OF SALISBURY CATHEDRAL.<span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p> </p> +<p> </p> +<hr class="full" /> +<p>***END OF THE PROJECT GUTENBERG EBOOK BELL'S CATHEDRALS: THE CATHEDRAL CHURCH OF SALISBURY***</p> +<p>******* This file should be named 23668-h.txt or 23668-h.zip *******</p> +<p>This and all associated files of various formats will be found in:<br /> +<a href="http://www.gutenberg.org/dirs/2/3/6/6/23668">http://www.gutenberg.org/2/3/6/6/23668</a></p> +<p>Updated editions will replace the previous one--the old editions +will be renamed.</p> + +<p>Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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