SALISBURY CATHEDRAL

Chichester

The Exterior

The best views may be obtained from the city wall to the north, also from West Street and East Street, and a fine distant prospect is observed from the Goodwood Downs. We will begin our inspection as usual with theWest Front, which consists of a gable with windows and porch, flanked by two towers. The upper part of the north-west tower is a recent construction, made in imitation of the south-west tower, and built on the ruins of the former tower. The south tower is of Norman workmanship, the upper part being Early English, and also the plain and heavy buttresses at the south-west corner. The basement and next storey are part of the original work of Bishop Ralph, and the rest of Bishop Seffrid II. The west porch is plain and deep, with double buttresses at the corners. The doorway consists of a wide arch, under which are two smaller ones divided by a single clustered column. These have been restored in imitation of the ancient design. The interior of the porch is very beautiful Early English work, the arcading of quatrefoils being very effective. The monuments have evidently been placed there in later times. Above the porch are three Early English windows, and above these a large modern window, and in the gable are two small Early English windows. The cross above is modern.

TheBell Tower, the only instance in England of a detached belfry, though not unusual abroad, is a massive and plain building, 120 feet high. The upper storey is octagonal and low, and resembles the great west tower of Ely, but is much inferior. Both these towers were built about the same time, at the beginning of the fifteenth century, and are in the Perpendicular style. The north side of the nave exhibits in the clerestory the round-headed windows of the original Norman church. The parapet is fourteenth-century work. Flying buttresses connect the clerestory with the outer wall. The windows of the chapels are Early Decorated, and were erected during the reign of Edward III. One of them is modern. TheNorthPorchis Early English work, and the dog-tooth ornament is observable in the arches. It has a parvise. TheNorth Transepton the west side has some of the original Norman wall and Norman windows, and on the north end there are thirteenth-century buttresses with octagonal turrets, a large window and a rose window over it. On the east side there are some Early English windows. Proceeding eastward we pass the Chapels of St. Edmund and St. John Baptist, of Early English design, with some Perpendicular windows, the same style prevailing in the presbytery. Flying buttresses support the main walls. The old Norman church ended in an apse, and traces of the curve can still be observed, and other remains of twelfth-century work can be seen. Two of the windows are Perpendicular in style, but have been much restored. The low Lady Chapel projects at the east end. Two western bays are twelfth-century work, the two eastern bays being added by Bishop Gilbert de St. Leofard at the end of the thirteenth century, and are Late Decorated. Much restoration has been found necessary here. Early English work prevails in the chapel on the south side. The south wall of the choir aisle has several points of interest and several styles of architecture are shown here. A consecration cross can be seen in one of the bays. The south transept is very similar to the north, and on the west of it is the sacristy. Norman walls are on the north and east, and Early English on south and west. On the south side of the Cathedral are theCloisters, which are curiously shaped. The Paradise is not square, the east walk being longer than the west. These cloisters are fifteenth-century work, having Perpendicular windows and flat roof. The south side of the nave is interesting, and resembles somewhat the north side. The arches of the windows in the aisles are Early Decorated, the tracery is modern. In the fourteenth century the buttresses were strengthened and enlarged, the parapet added. The Norman wall and windows remain in the clerestory, though later tracery has been inserted in two of these. The south porch leading to the west cloister has been much restored. The doorway in the south-west tower is Norman, and is adorned with chevron moulding, and beautifully designed. The window over it is also of the same date.

The Interior

The interior is more imposing than the exterior. The best view is perhaps obtained from north-east corner of the nave. Thewidth of the nave is the first peculiarity which we notice. It has double aisles on each side of the nave, a peculiarity shared only with Manchester, and some parish churches, such as Abingdon, Taunton and Coventry. There are some grand effects of light and shade, and the nave is well proportioned, and has a quiet dignity which is all its own. There are eight circular arches, supported by seven flat piers, isolated and flanked by half columns of cylindrical character with plain capitals and cable moulding. Purbeck marble is extensively used in the string-courses and capitals of the vaulting shafts. The triforium preserves its Norman character. Here are the Norman circular arches, containing two smaller arches resting on single shafts. The surface of the stone in the head is hatched as at Rochester. There is a striking analogy between Chichester and Peterborough, both in the nave and choir. Both were destroyed by fire, and both rebuilt about the same time. The main arcade and triforium are the work of Bishop Ralph de Luffa (1091-1124).

Bishop Seffrid II. (1180-1204) rebuilt the clerestory, and made it loftier than the triforium. The style is Early English. It will be noticed that the middle arch of the windows is round and higher than the side arches, which are pointed. The windows are separated by small shafts of Petworth marble, and the capitals are carved with leaves of palm trees. The Cathedral is dedicated to the Holy Trinity, and the builders seem to have wished to express symbolically the threefold nature of the Deity by the triplicity of the work. Triple clustered shafts appear everywhere. The vaulting is of stone, and is a little later than Seffrid's work. Alarmed by the fires, the architect determined to build a stone and chalk roof instead of wood. In the sixteenth century this vaulting was painted in gaudy colours by Bishop Sherbourne.

Two storeys of the south-west tower are original Norman work, with rude cushion capitals, and formed part of the first church finished by Bishop Ralph. This is used as a baptistry, and has a modern font, an imitation of that at Shoreham.

In theSouth Aisleare the Chapels of St. George and St. Clement. The latter has been restored in memory of the last good bishop, Durnford. The figures placed in the old wall arcade are SS. Anselm, Clement and Alphege. The old piscina and aumbrey remain, as also in the other chapel. The chapels were added in the second half of the thirteenth century. TheNorth Aisleresembles the south. Here were the Chapels of St. Anne, St.Theobald or the Four Virgins, and SS. Thomas and Edmund. The screen, pulpit and lectern are all modern, and also the glass. Themonumentshere are:—in the south aisle, Bishop Durnford (1895), and Captain Cromwell (Flaxman); and in the north aisle, Poet Collins, Richard Fitz-Alan, Earl of Arundel and his wife [the earl was a supporter of the Duke of Gloucester, uncle of Richard II., and was beheaded in 1397], an unknown lady, supposed to be Countess of Arundel (1270). This tomb is of Decorated design, and is beautifully executed.

ThePresbytery.

TheNorth Transeptwas once the Parish Church of St. Peter the Great. The main walls are part of Bishop Ralph's Norman church, and there are Norman windows on the west and arches of the same style on the east. These open into the old Chapel of St. John Baptist and St. Edmund, which has now been converted into theLibrary. The north and east walls are Early English, the vaulting is very beautiful, the ribs being ornamented with zigzag. The library has some early MSS., but is not particularly rich in its treasures. Entering the north choir aisle we see the monuments of Bishop Storey (1503), the builder of the Market Cross; Bishop King (1670), who suffered much from the Parliamentary soldiers; Carleton (1685); Grove (1691); Otter (1840), and an early slab of thirteenth century representing a heart burial. Formerly an inscription could be deciphered which told in Norman French: "Here lies the heart of Maud." At the end of this aisle is the Chapel of St. Katherine. This eastern end of the aisle is all Early English work. Here are preserved the paintings of the Bishops of Chichester and Kings of England made by Bernardi, which were much injured by the soldiers and restored by an indifferent artist. TheRetro-Choiris early thirteenth century, and has a fine vault which in style resembles that of some French churches. The piers are curious, and the shafts are further detached from the main piers than in any other known example. The capitals are most beautifully carved. The triforium is ornamented with rich tracery and carving and clustered shafts of Purbeck. It somewhat resembles Ely, the work of Bishop Hotham in 1235. The clerestory is later. Here stood the magnificent shrine of St. Richard, the glory of Chichester, and the resort of pilgrims. This St. Richard de la Wyche, who was the friend of Becket, died in 1245. He was remarkable for his zeal and charity. On his death his body was found wrapped in a shirt of horse hair and bound with rings of iron. Miracles being reported to have taken place at his tomb, he was canonised.TheLady Chapelin Norman times extended two bays eastward, and was extended by two bays by Bishop Gilbert de St. Leofard at the end of the thirteenth century (1288-1305). It was formerly used as the library, and Willis speaks of it as "having nothing to recommend it except a good collection of books." The east window has five lights, and all the windows have been restored. The vaulting is good and the fittings are modern. In the vault is a beautifully-painted design by Bernardi (1519). TheSouth Choir Aisleresembles the north. The Chapel of St. Mary Magdalene is at the east end, which has been restored. St. Richard's head was preserved here as a precious relic. Some modern paintings here represent scenes from the life of St. Richard and our Lord. Passing by the door into the cloisters we see on the north the tombs of Dean Hook (1875), and Bishop Daye (1552); and on the south, Bishop Sherbourne (1536). Here are two carved panels of very early character, which legendary lore tells were brought from Selsey when the bishop's stool was transferred to Chichester. It is quite possible that they are Saxon, and the style of art has a Byzantine appearance. The subjects are the Raising of Lazarus and Our Lord at Bethany with Mary and Martha. A door on the left leads to the vicar's vestry, and then we come to theSouth Transept, which resembles the north. The walls on both west and east are Norman. On the south is a very beautiful window inserted by Bishop Langton (1305-1337), one of the finest EarlyDecorated windows in England. The glass is modern and hideous. The paintings here on the back of the choir stalls are interesting. They are the work of Theodore Bernardi, an Italian artist, who settled in Flanders and afterwards came to England, and with his son lived at Chichester. Bishop Sherbourne employed him to decorate his Cathedral. The paintings here represent the foundation of the see at Selsey by Caedwalla, and the foundation of four prebends by the bishop and Henry VIII. The soldiers much injured the paintings, which were restored by Bishop Mawson, who employed an inferior artist and thus destroyed much of their merit. The saintly Bishop Richard has a monument here. On the east is the Chapel of St. Pantaleon, a Nicomedian martyr, which retains its piscina. It is now used as the canons' vestry. On the west is the entrance to theSacristy, a large room, now used as a music room, with a vaulted ceiling. Above this is the old consistory court where heretics were tried. Lollards were often examined and condemned here, and behind the seats there is a sliding door leading to what is commonly known as the Lollards' prison. It was probably either a treasury or evidence chamber. Langton's tomb, the builder of the beautiful window, is below that fine structure. He died in 1336.

TheChoiris long and narrow and has been much restored. The design is Early English, though much of the old Norman piers was retained. The carving in the triforium is very beautiful. The screen is modern. The stalls were erected in Bishop Sherbourne's time, and are of carved oak and inferior to many. The dean's and precentor's stalls are new. The old throne was much defaced by the soldiers under Waller. A new one was given by Bishop Mawson (1740-1754) and this has given place to a modern one. The reredos and altar are modern.

Dimensions

Building Dates

Salisburyis one of the finest examples of Early English architecture in England. It was built for the most part in one style and at one period, and therefore does not present to us that varied conglomeration of the art of different ages which we see in most of our ecclesiastical edifices. The story of its building is full of interest, and we must look for the original home of the Salisbury diocese on the wind-swept fortified heights of Old Sarum, where Bishop Herman fixed his episcopal seat in Early Norman times. The early history of the sees of Southern England is somewhat complicated. When the Story of the Cross was first proclaimed here, and the savage Saxons became Christianised, the whole of Wessex and Sussex were comprised in the see of Dorchester, a small village in Oxfordshire. This huge bishopric was then divided into the two sees of Winchester and Sherborne. Then Selsey (afterwards Chichester) was taken out of Winchester, which diocese was again divided, and Ramsbury formed. Out of the diocese of Sherborne, Wells and Crediton were constituted, and then Bishop Herman in 1058 united the sees of Ramsbury and Sherborne, and formed the diocese of Salisbury, fixing his seat at Old Sarum, the Saxon town of Searobyrig. On this hill fortress seven prelates ruled, amongst whom were the saintly Osmund (1078-1099), who completed the first Cathedral, of which no stone remains, and compiled the famous "Use of Sarum," the model of all service-books in the South of England; Bishop Roger (1102-1107), a most powerful prelate and castle-builder; Jocelyn de Bohun (1142-1184), the opponent of Becket; Hubert Walter (1188-1193), a crusading bishop, the companion of Richard Cœur de Lion; Herbert le Poer or Poore (1194-1216), and then his brother or kinsman, Richard Poore (1217-1228), the founder of the present Cathedral. Various reasons are assigned for the transference of the see. Old Sarum lacked water. It was a lofty, barren height, swept by every wind of heaven, and "when the wind did blow they could not hear the priest say Mass." But the real reason was the quarrel between the clergy and the soldierswho guarded the castle of the king. On one occasion, when during Rogationtide the ecclesiastics went in solemn procession to the Church of St. Martin, on their return they found the gates closed against them, and had to remain without shelter during a long winter's night. Similar insults frequently being offered them, the bishop and his clergy determined to seek a new home. Whither should they go? Legends tell us of the arrow shot at random from the heights of Old Sarum, of the bishop's mysterious dream, wherein the Virgin appeared and told him to seek for the spot Mœrfield, of his talking with the Abbess of Wilton, and her reply that he had plenty of land of his own without seeking to spoil her. At any rate the bishop gave the land for his new Cathedral out of his own domain, and he began to build the stately edifice which we now see. The first stones were laid on the feast of St. Vitalis, April 28, 1220; one Elias of Dereham was the master-mason, and the work progressed rapidly until Bishop Poore was translated to Durham in 1228. There his "Chapel of the Nine Altars" attests to the love of building which he acquired at Salisbury, and the similarity of the styles of architecture. His successors continued to build with much zeal, and in the time of Bishop Giles de Bridport (1257-1262) the church was consecrated by Archbishop Boniface, of Savoy, in the presence of Henry III. and his court. The church was now complete. Only forty-six years were spent in its building—a marvellous achievement. The monastic buildings were begun by Bishop Walter Delawyle (1262-1270). As yet the tower was not so high as it is now, and there was no spire; but the fourteenth century had scarcely begun before the two upper storeys were added, and the lofty spire, which forms such a glorious crown of this beautiful structure. It was the work of the mason, Richard of Farleigh, who was at the same time engaged on work at Bath and Reading. In the time of Bishop Wyvil (1329-1375) Edward III. granted permission to fortify the close, and to use the stones from the Cathedral of Old Sarum for this purpose. Hence in the walls which surround the close we see Norman carvings which once adorned the ancient edifice. Of this Bishop Fuller says that "it is hard to say whether he was more dunce than dwarf, more unlearned or unhandsome, insomuch that Walsingham tells us that had the Pope everseenhim (as he no doubtfelthim in his large fees) he would never have conferred the place upon him." His curious brass tells of his recovering for his see the Castle of Sherborne andthe Chase of Bere, of which the bishopric had been wrongfully despoiled. Prominent among its bishops was Robert Hallam (1408-1417), who was present at the Council of Constance, which saw the burning of Huss and Jerome of Prague, and strove hard to avert their fate. Bishop Ayscough (1438-1450) was murdered by the rebel followers of Jack Cade at Edingdon. Bishop Beauchamp (1450-1481) built the great hall of the palace, and his chantry (destroyed by Wyatt). Here one of the unhappy Woodvilles, brother of Edward IV.'s queen, was bishop (1482-1485), and he had the unhappiness of seeing his brother-in-law, the Duke of Buckingham, beheaded at Salisbury, just before the battle of Bosworth (cf.Shakespeare'sRichard III.). Cardinal Campeggio was bishop just before the Reformation, and after Wolsey's disgrace was deprived of his see. There are no records to show what damage was done during that stormy period, but probably the niches of the west front were deprived of many of their images at this time, the windows broken, and the treasury shorn of its plate and relics. One of the best of the Salisbury bishops was Jewel, the author of theApology of the Church of England(1560-1571), who built the library over the cloisters. During the Civil War Ludlow's soldiers were quartered here, and garrisoned the belfry, but they seem to have behaved with extraordinary mildness. The Cathedral had powerful protectors, and when some of Waller's men carried off some church goods, the Parliament ordered that these should be restored. Bishop Seth Ward (1667-1688), one of the founders of the Royal Society, did much to repair his Cathedral, and restored the palace, which was ruinous, having been bought by one Van Ling from the Parliament, and partly converted into cottages. Unhappily the arch-destroyer, Wyatt, was turned loose on the building at the end of the eighteenth century, who wrought vast and irreparable destruction, which it is pitiable to see. Since his day there have been many efforts to obliterate his work; vast sums have been spent, and the Cathedral restored to much of its ancient glory and beauty.

The Exterior

Salisbury Cathedral

As we enter the Cathedral precincts we are at once struck with the wondrous beauty and charm of this peaceful close, which surrounds, with its circling green sward, the magnificent Gothic pile. All writers have vied with each other in singing the praises of this grand achievement of Gothic art, and nowhere can we gaina better view of the grand proportions of this church, with its noble spire, than from the south-east or north-east corner of the close. Around us are the venerable walls of the fortifications, erected in the time of Edward III., who granted a license for this purpose, and gave leave to the bishop to pull down the walls of Old Sarum, in order to provide the stone. Embedded in the wall we find some stones with Norman carving, which bespeak their former location in the Norman buildings on the old stronghold of Sarum. The grandSpireis the highest in England (400 feet). The tower on which it stands is Early English as far as the first storey; the two higher storeys were added in the early part of the fourteenth century, and are Early Decorated. The whole structure is magnificent. On each side there is an arcade, richly canopied, and having double windows. At each angle there is a turret, with a small crocketed spire, and from a mass of richly-decorated pinnacles the great spire rises. In the capstone still remains a small leaden box containing a fragment of decayed silk or fine linen, doubtless a relic of the Virgin. The spire has sometimes caused anxiety, and has been strengthened by metal bands, but the Early English sub-structure has sustained with wonderful constancy the weight of the two higher storeys and the spire which the somewhat venturesome builders of the time of Edward III. forced them to bear.

TheWest Frontit is the fashion to abuse. It has been censured for its "parcellings" and "raggedness." Professor Freeman denies the honesty of such fronts, because they extend beyond the walls of the aisles and nave, and are what the professors of "true principles" call "shams." Such criticisms fail to recognise the real object of such screens, which was to set forth a chronicle in stone of the history of the church, and people the niches with figures of the great men and benefactors, the saints and heroes, whose memories are here enshrined. It is no "sham," and we must try to imagine it as it really was, not shorn of half its beauties, bereft of its images, or supplied with the works of modern art which do not always harmonise with their surroundings. Inferior it may be to the fronts of Wells or Lincoln, but it still possesses many merits, and is certainly impressive. It was the last completed portion of the Cathedral, as in the mouldings we see the ball-flower which is the sign-manual of the Decorated period. There is a central portion with a gable and buttresses, and a compartment on each side flanked by small towers with small spires. There are five storeys.In the lowest there is a triple porch, deeply recessed with canopies. The west window is large, and is a triplet divided by slender clustered shafts. There are about 100 niches which have been filled with some of the best examples of modern art by Mr. Redfern. Above all we see our Lord in glory, to whom all the others are offering their praise.

Mr. Armfield in hisLegend of Christian Artgives us the following detailed account of the various figures in the west front and the meaning of their several emblems:—

The Tier of Angels.—The celestial hierarchy have been divided into three classes, each class containing three grades. The first class consists of Seraphim, Cherubim and Thrones; the second of Dominions, Powers and Authorities; the third of Principalities, Archangels and Angels, Angels being thus the lowest order of celestial creation.

The Tier of Old Testament Worthies.—David, with the harp; Moses, carrying the Tables of the Law; Abraham, with the knife in his hand; Noah, with the ark in his left hand; Samuel; Solomon, with the sceptre in his right hand and the Church in his left hand.

The Tier of Apostles.—St. Jude, with the halberd; St. Simon Zelotes, with the saw; St. Andrew, with the cross; St. Thomas, with the builder's square; St. Peter, with the keys in his right hand; St. Paul, with the sword in his right hand; St. Luke and St. John. The figures of St. Peter and St. Paul are restorations of ancient figures which had been mutilated. St. James the Less, with the fuller's club; St. James the Greater, with the pilgrim's staff; St. Bartholomew, with the knife; St. Matthias, with the lance.

The Tier of the Doctors, Virgins and Martyrs.—St. Ambrose, Bishop of Milan; St. Jerome, in a Cardinal's hat; St. Gregory the Great, with the tiara of the Papacy; St. Augustine, Bishop of Hippo, in Africa; St. Augustine, of Canterbury; St. Mary the Virgin, St. Barbara, St. Catherine, St. Roch, St. Nicholas, St. George, the patron Saint of England; St. Christopher, St. Sebastian, St. Cosmo, St. Damian, St. Margaret, St. Ursula, St. John the Baptist; St. Stephen, the proto-martyr; and the four virgins—St. Lucy, St. Agatha, St. Agnes and St. Cecilia.

The Tier of Worthies distinctively belonging to the English Church.—Bishop Giles de Bridport, bishop of the diocese at the time of the consecration of the Cathedral; Bishop Richard Poore,founder of the present Cathedral; King Henry III., the monarch who granted the Charter for the building of the Cathedral; Bishop Odo; Bishop Osmund, who built the first Cathedral of Sarum; Bishop Brithwold; St. Alban, holding sword and cross; St. Alphege, Archbishop of Canterbury; St. Edmund, king and martyr; St. Thomas of Canterbury. A mutilated figure on the west side of north turret is probably that of St. Berinus. We notice several consecration crosses on the walls of the church.

TheNorth Porchis large and massive, and has a parvise in the upper storey. On the inside there is a double arcade with foliated arches, and the pinnacles on each side of the gable are very fine. TheNavepresents a perfect example of Early English workmanship. Notice the regularity of the masonry, which is one of its great peculiarities. The stones run in even bands throughout. The aisle windows have two lights; the clerestory has triple lancets, and each pair is flanked by flying buttresses. The fronts of the transepts are graced by beautifully-designed windows and are divided into four storeys. The porch on the north side was removed by Wyatt. The east front of the choir is a fine arrangement of lancets. There is great similarity between the north and south sides of the Cathedral. On the north side of the Lady Chapel formerly stood the Hungerford Chapel, ruthlessly destroyed by Wyatt; the Beauchamp Chapel on the south side shared the same fate. Bishop Beauchamp erected the flying buttresses on the south of the choir in 1450. The gates of the close are:—High Street Gate, built at the same time as the walls; St. Anne's Gate, and Harnham Gate, of which little remains. On the south of the nave is the cloister-court, which we will visit after seeing the interior. Salisbury possessed at one time a separate belfry at the north-west corner of the close. It was entirely destroyed and removed by Wyatt. ThePalaceis on the south-east. It was commenced by Poore. The hall was built by Bishop Beauchamp in the fifteenth century.

The Interior

Entering the building by the west door we obtain a grand view of the interior. The beautiful clustered columns of the fine arches, wrought of Purbeck marble, the fine triforium and clerestory, the distant view of the choir, all combine to make a very impressive scene. The oft-quoted lines tell us that

"As many days as in one year there be,So many windows in this church we see;As many marble pillars here appearAs there are hours throughout the fleeting year;As many gates as moons one year does view—Strange tale to tell! yet not more strange than true."

Strengthening Arches.East Transepts.

The uniformity of the architecture in the first beauty of Gothic conception, the long rows of sepulchral monuments of warriors and bishops, and the noble proportions of the building, add greatly to the charm of this building; and yet it lacks much of the beauty which once shone here. Little of its stained glass, which once shed wondrous light on all we see, has been saved from the wreck caused by Reformation zeal and the wanton destruction of Wyatt. The triforium with its flat-pointed arches, sub-divided into four smaller ones, ornamented with trefoils and quatrefoils, alternating with cinquefoils and octofoils, greatly resembles that at Westminster. The clerestory windows are triple lancets. The vaulting is plain, the arches rising from clustered shafts with foliated capitals, and resting on corbel-heads. The west wall has a triple-lancet window, and beneath this is an arcade of four arches, each of which contains two sub-arches. In the west window has been collected fragments of old glass saved from the wreck. It is possible to discover the figure of our Lord in Majesty, the Virgin,Zacharias in the Temple, the Adoration of the Magi. There is some Flemish glass also here. The glass in the west windows of the aisles is ancient (1240-1270), and we see here the arms of Bishop Jewell (1562) and John Aprice (1558). The aisles have double-lancet windows. There is a curious stone bench on each side of the nave, upon which the piers stand. This was so placed in order to distribute the great weight of the building resting on these piers, as the foundations were not laid upon any very firm ground, the nature of the soil being formerly marshy, and the situation liable to floods. This ingenious plan has evidently had the desired effect, as the building has stood for nigh 700 years. The nave contains a fine series of monuments which were arranged here by Wyatt in a barbarous fashion. This vandal was guilty of every enormity. Not only did he remove the monuments from their original positions, but he seems to have mixed up the effigies and put them on tombs to which they did not belong. Beginning at west end of south side, leaving the figure of Hibernia, which graces Lord Wyndham's monument (1745), we see the monuments of the following:—

1. Bishop Herman (1078), which was brought from Old Sarum.2. Bishop Jocelyn (1184), which was brought from Old Sarum (the head is later than the rest).3. Bishop Roger (1139), which was brought from Old Sarum. (There is some uncertainty about the identity of these.)4. Incised slab to an unknown personage.5. Bishop Beauchamp (1481), whose chantry was destroyed by Wyatt.6. Robert, Lord Hungerford (1459), whose chantry was destroyed by Wyatt. Notice the plate armour and collar of saints, also sword and dagger.7. Lord Stourton, hung in the market-place in 1556 for the murder of the Hartgills, accomplished in a brutal fashion. He was hung, as a concession to his noble birth, with a silken cord. The "wells" on each side allude to the six heads of the Stour river, which rise near the Stourton mansion.8. Bishop de la Wyle (1271), mutilated. The base is made up of fragments of much later date.9. William Longespée, first Earl of Salisbury of that name, son of Henry II. by Fair Rosamond (1226). Noticethe chain-armour and surcoat, shield with arms of Anjou, and the decoration of the tomb—silver diaper work. He fought in the Crusades and in France, and was present at the signing of Magna Charta.

1. Bishop Herman (1078), which was brought from Old Sarum.

2. Bishop Jocelyn (1184), which was brought from Old Sarum (the head is later than the rest).

3. Bishop Roger (1139), which was brought from Old Sarum. (There is some uncertainty about the identity of these.)

4. Incised slab to an unknown personage.

5. Bishop Beauchamp (1481), whose chantry was destroyed by Wyatt.

6. Robert, Lord Hungerford (1459), whose chantry was destroyed by Wyatt. Notice the plate armour and collar of saints, also sword and dagger.

7. Lord Stourton, hung in the market-place in 1556 for the murder of the Hartgills, accomplished in a brutal fashion. He was hung, as a concession to his noble birth, with a silken cord. The "wells" on each side allude to the six heads of the Stour river, which rise near the Stourton mansion.

8. Bishop de la Wyle (1271), mutilated. The base is made up of fragments of much later date.

9. William Longespée, first Earl of Salisbury of that name, son of Henry II. by Fair Rosamond (1226). Noticethe chain-armour and surcoat, shield with arms of Anjou, and the decoration of the tomb—silver diaper work. He fought in the Crusades and in France, and was present at the signing of Magna Charta.

Crossing to the north side we see the monuments of—

10. Sir John Cheyney (1509), standard-bearer of Henry of Richmond at battle of Bosworth, unhorsed by Richard III.11.} Walter, Lord Hungerford, and his wife.12.}13. Sir John de Montacute (1389), fought at Creçy and in Scotland under Richard II. Notice armour, especially gauntlets.14. Chancellor Geoffrey.15. Person unknown.16. Longespée, Earl of Salisbury (1250), son of the above-mentioned earl, a Crusader killed by the Saracens. The fact that this is a cross-legged effigy does not prove that all cross-legged effigies represent Crusaders.17. "Boy Bishop," the great attraction of the ordinary visitor and tourist. The ceremony of the boy bishop is well known. One of the choir boys was elected on St. Nicholas Day, and presided until Innocents' Day, and a special service and procession took place during his rule. The old idea was that this boy died during his brief episcopacy, and was thus honoured with an effigy. It is now generally believed that such small figures represent heart burials. In bygone times the body was usually buried at the place where the person died, and not infrequently the heart was conveyed to the special church associated with the family or life of the deceased. The library, however, contains the order of service of boy bishop, and the ceremony lingered on until the time of Elizabeth.18. Person unknown.

10. Sir John Cheyney (1509), standard-bearer of Henry of Richmond at battle of Bosworth, unhorsed by Richard III.

11.} Walter, Lord Hungerford, and his wife.12.}

13. Sir John de Montacute (1389), fought at Creçy and in Scotland under Richard II. Notice armour, especially gauntlets.

14. Chancellor Geoffrey.

15. Person unknown.

16. Longespée, Earl of Salisbury (1250), son of the above-mentioned earl, a Crusader killed by the Saracens. The fact that this is a cross-legged effigy does not prove that all cross-legged effigies represent Crusaders.

17. "Boy Bishop," the great attraction of the ordinary visitor and tourist. The ceremony of the boy bishop is well known. One of the choir boys was elected on St. Nicholas Day, and presided until Innocents' Day, and a special service and procession took place during his rule. The old idea was that this boy died during his brief episcopacy, and was thus honoured with an effigy. It is now generally believed that such small figures represent heart burials. In bygone times the body was usually buried at the place where the person died, and not infrequently the heart was conveyed to the special church associated with the family or life of the deceased. The library, however, contains the order of service of boy bishop, and the ceremony lingered on until the time of Elizabeth.

18. Person unknown.

Near the entrance is a monument to Dr. Turburville, an oculist of Salisbury (1696).

TheNorth Transeptis entered by a Perpendicular arch, by Bishop Beauchamp (1450-1481). It was designed to support the tower. The style of this transept resembles that of the nave.The two-light windows, which take the place of the triforium on the north side, and the beautiful clerestory windows, with their slender pilasters, should be noticed. There is an eastern aisle, divided into chapels, which Wyatt robbed of their screens. The monuments here are:—Brass to John Britton, the eminent antiquary; James Harris, author ofHermes, by Bacon; Earl of Malmesbury, by Chantrey; W.B. Earle, by Flaxman; Bishop John Blythe (?) (1499); Sir R. Hoare, the Wilts historian, by Lucas; Richard Jefferies, the charming modern writer on country life; Walter and William Long, by Flaxman; Bishop Woodville (1484).

TheSouth Transeptresembles the north. Here are monuments of:—Bishop Mitford (1407), a fine tomb of white marble; Bishop Fisher (1825); Edward Poore (1780).

TheChoir-Screenis good modern work, and replaced a patchwork structure of Wyatt's handiwork, made up of spoil taken from his destroyed chantries. The organ is modern.

TheChoir and Presbyterydiffer in no way from the architecture of the nave. The east end is beautifully designed. At the base of the reredos are three arches, and above five arches, with cinquefoil headings, and above these a triplet window. The roof is painted with an interesting series of designs, which are modern reproductions of thirteenth-century work. First there are series of Old Testament saints, the Forerunner of our Lord being ranked with the prophets. Then come the Apostles, with the figures of our Lord and the Evangelists; and further east are representations of the months, which are curious and interesting. January is represented by a man warming his hands; February, a man drinking wine; March, digging; April, sowing; May, hawking; June, flowers; July, reaping; August, threshing; September, gathering fruit; October, brewing; November, timber-felling; December, killing a pig.

TheChoir Stallsare a patchwork composition. There is some old Perpendicular work; some of the work is by Wren. Happily Wyatt's productions have been removed. The reredos is modern, is a very elaborate piece of work. All the other fittings of the choir are new. In the choir are the chantries of Bishop Audley (1524), a fine piece of Late Perpendicular work, which has a fan-vault and some traces of colour, and of Walter, Lord Hungerford (1429), removed here from the nave, and made into a family pew by Lord Radnor. The iron-work is good, and such chapelsare rare, the Chantry of Edward IV. at Windsor being the finest of its kind.

In theNorth Choir AisleandTranseptthere are two monuments of thememento moritype, the large tomb of a thirteenth-century bishop, either Bingham or Scammel, Bishop Wyvill (1375), Gheast (1576), and Jewell (1571), and the curious brass of Bishop Wyvill, who recovered for the see Sherborne Castle and the Bere Chase, seized by Stephen, and granted by Edward III. to the Earl of Salisbury. To decide the right the wager of battle was resorted to, and both bishop and earl chose a champion. The king, however, caused the matter to be settled amicably. The bishop is here shown in his castle, praying for his champion, and below are the hares and rabbits representing the chase. In this north-east transept is a fine Early Perpendicular lavatory, which is evidently not in its original position, part of an Early English screen, removed by Wyatt, and a curious aumbrey. In the aisle toward the east we see an effigy, said to be that of Bishop Poore, the founder of the Cathedral, and at the east end is the monument of Sir Thomas Gorges and his lady, who was a maid of honour to Queen Elizabeth. It is a cumbrous piece of work.

TheRetro-Choiror processional path has beautiful clustered shafts and fine vault, and forms a graceful entrance to theLady Chapel, a most perfect piece of Early English building, and the oldest part of the church. At the east end is a triple lancet, with another lancet on each side, filled with modern glass. There is a new altar here, and modern colouring adorns the walls and ceiling. The canopies of the niches under the windows on the north and south were brought here from the Beauchamp Chapel destroyed by Wyatt. Here in former days stood the shrine of St. Osmund, the second Norman bishop, the saintly man to whom the diocese and the English Church owe much. His tomb remains here, but his shrine was plundered and destroyed at the Reformation. At the east end of the south choir aisle is the stately tomb of the unhappy Earl of Hertford (1621), who married Catherine, the sister of Lady Jane Grey, and thus incurred Queen Elizabeth's resentment, and was imprisoned. The poor lady, when released from the Tower, was separated from her husband, and died of grief. He survived her sixty years. Near here are the modern tombs of Bishops Moberly and Hamilton, and the Perpendicular tomb of William Wilton, Chancellor of Sarum (1506-1523). The old sacristy, now the vestry, is on the south of this transept; abovethis is the muniment room, the ancient treasury. In the transept is the remarkable monument of Bishop Giles de Bridport (1262), under whose rule the church was finished. It is the most interesting tomb in the church. The carvings in the spandrels record the chief events in the bishop's life—his birth, confirmation, education, and possibly his first preferment, his homage, a procession (probably referring to the dedication of this church), his death, and the presentation of his soul for judgment. Here are monuments also of Canon Bowles (1850); Bishop Burgess (1837); Bishop Seth Ward (1689), Hooker, the famous divine; Young, the father of the poet; Isaak Walton, the son of the angler; Bishop Davenant (1641); Mrs. Wordsworth, the wife of the bishop; and a brass to Canon Liddon's memory. Further on are the monuments of Bishop Salcot (1557), and Sir Richard Mompesson and his wife (1627). Notice the inverted strengthening arches in both choir transepts.

Passing through the south transept we enter theCloisters, which are considered to be "among the finest in England," and without doubt they can lay claim to be a great and beautiful architectural triumph. They are a little later than the Cathedral, having been begun directly after its completion, and finished during the rule of Bishop Wyvill, about 1340. The windows are finely constructed, and consist of double-arched openings, each arch having two sub-arches, while in the head is a large six-foiled opening. On the wall side is a blind arcade of graceful arches. An unfortunate restoration in 1854 did not improve the appearance of the cloisters. On the north side, between the cloister and the church, is the plumbery. The monuments here do not possess much interest. TheLibrary, over part of the east walk, was built by Bishop Jewell, and contains about 5000 volumes, and a valuable collection of MSS. One of the most interesting is a Gallican version of the Psalter (969A.D.), Geoffrey of Monmouth's Chronicles (twelfth century), a copy of Magna Charter (now in muniment room), and many others of much value and importance. TheChapter-Housewas built early in the reign of Edward I. It is a noble octagonal building, and can scarcely be surpassed by any other. The roof is modern. There is a central pillar, from which the vaulting springs. On each side there is a large window, resembling in tracery those in the cloisters. Below the windows is an arcade, and beneath this a stone bench, and at the east end a raised seat for the bishop and his officials. There is a remarkable series of sculptures above thearcade, which are extremely interesting and merit close study. The following are the subjects represented:—

In the vestibule the doorway is remarkable for its great beauty.In the voussoirs of the arch is another series of sculptures representing moralities, the triumph of virtue over vice. We see Concordia trampling on Discordia, Temperantia pouring liquor down the throat of Drunkenness, Bravery trampling on Cowardice, Faith on Infidelity, Virtue covering Vice with a cloak, while Vice embraces her knee with one hand and stabs her with the other. Truth pulls out the tongue of Falsehood, Modesty scourges Lust, and Charity pours coin into the throat of Avarice. These sculptures are of the very highest class of art, and are among the most interesting remains of Early Gothic carving in the world. All the glass in the chapter-house is modern, and also the tiling. A fine old specimen of fourteenth-century furniture is seen in the ancient table preserved here.

Dimensions

Principal Building Dates

Other buildings of interest in Salisbury—

The Guild Hall.Market Cross, called the Poultry.Churches of St. Martin, St. Edmund, St. Thomas à Becket.

In the neighbourhood are—

Old Sarum.Stonehenge.

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