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 traced, and the staff is held in the right hand. The monument (5) on the plinth under the next arch is also beyond identification.

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 navely 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.

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.

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 part.i.tion 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 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 a.s.sent 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.

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 Longespee, 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 rec.u.mbent att.i.tude, 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 mediaeval 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 gla.s.s 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 p. 94.)

Crossing the nave, and following the northern base of the 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 bra.s.ses 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.

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.

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 p. 79.)

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 Longespee, 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 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.

=The Boy Bishop.=--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 subst.i.tuted. (See p. 98.)

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 14- 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.

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 a.s.sociated 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[9] 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 ma.s.s, 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 Almighty G.o.d, 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.

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.

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.

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 ma.s.se so each of them offer _one peny_ 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.

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.

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.

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 will attend. He is formally appointed by the bishop, who lays his hands upon him, and repeats a prescribed office.

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.

=The Choir Screen= 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 cla.s.s. 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.

=The Organ=, 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.

=The Choir and Presbytery= 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 five simply-pointed arches, below a triplet window in the gable, which is filled with stained gla.s.s, given by the Earl of Radnor in 1781, and representing "The Brazen Serpent," after a design by Mortimer.

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.

=The Decorations of the Roof= 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.

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; 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.

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 pa.s.sage 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.

[Ill.u.s.tration: THE CHOIR, LOOKING WEST.

_From a Photograph by Messrs. Carl Norman and Co._]

=The Choir.=--In the second bay from the east, on the north side of the choir, stands the chantry of Bishop Audley, 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 cla.s.s, 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.

Of modern fittings, the Bra.s.s Lectern was given by members of the late Dean Lear's family. A bra.s.s 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.

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.

=The Choir Stalls= 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.

=The Reredos= 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 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.

[Ill.u.s.tration: THE HIGH ALTAR AND REREDOS.

_From a Photograph by Messrs. Poulton._]

=The High Altar=, 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 bra.s.s, the grills of wrought iron, at each side of the reredos screen the choir partially from the Lady Chapel.

[Ill.u.s.tration: THE CHOIR, LOOKING EAST.

_From a Photograph by Messrs. Poulton._]

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 Archaeological Magazine," vol. xvii., in a way that supports the hypothesis advanced. A somewhat important piece of circ.u.mstantial evidence came to light during the late restoration, namely a windla.s.s 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.

Possibly the altar was moved when, owing to the early settlement of some of the piers, it was found necessary to wall up the s.p.a.ce 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.

=The East= (or =Choir=) =Transept=, 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 navely 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 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.

[Ill.u.s.tration: PORTION OF THE OLD ORGAN SCREEN.

_From a Drawing by H.P. Clifford._]

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 s.p.a.ce into six compartments; other aumbries in this church show similar features, but this alone retains its original wooden doors. The superb bra.s.s of Bishop Wyville (ill.u.s.trated on p. 114) is in the pavement of this transept. It is ill.u.s.trated in almost every work on monumental bra.s.ses 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.