Part 7

19. Noah's Drunkenness. 20. The Building of Babel. 21. Angels appearing to Abraham. 22. Abraham entertaining the Angels. 23. The Destruction of the Cities of the Plain. 24. Lot's Escape. 25. Abraham and Isaac. 26. The Sacrifice of Isaac.

_East Wall._

27. Isaac and Jacob. 28. Esau and Isaac. 29. Rebecca and Jacob. 30. Jacob and Rachel. 31. Rachel, Jacob, and Laban. 32. Jacob and the Angels. 33. The Angel touching Jacob's thigh. 34. Jacob meeting Esau.

_South-east Wall._

35. Joseph's Dream. 36. Joseph relating his Dream. 37. Joseph in the Pit. 38. Joseph sold into Egypt. 39. Joseph's Coat brought to Jacob. 40. Joseph and Potiphar. 41. Potiphar's Wife. 42. Joseph accused.

_South Wall._

43. Joseph in Prison. 44. Pharaoh's Baker and Butler. 45. Pharaoh's Dream. 46. Pharaoh's Indecision. 47. Joseph before Pharaoh. 48. Joseph as Ruler. 49. Joseph's Brethren. 50. The Cup placed in Benjamin's Sack.

_South-west Wall._

51. The Discovery of the Cup. 52. His Brethren before Joseph. 53. Jacob on his Way to Egypt. 54. Joseph and his Brethren pleading. 55. Joseph protecting his Brethren. 56. Moses on Sinai. 57. The Miracle of the Red Sea. 58. The Destruction of the Egyptians.

_West Wall._

59. Moses striking the Rock. 60. The Law declared.

[Illustration: SCULPTURE IN THE CHAPTER HOUSE.]

[Illustration: DECORATIONS IN THE GROINING OF THE CHAPTER HOUSE.]

The modern decoration of the chapter house includes stained glass of a geometrical pattern in the eight windows, which, if not peculiarly good, is harmless enough. Some diaper wall painting, shown in the photograph reproduced here, which until lately decorated the back of the arcade is now entirely cleaned off. The tiles of the floor have been reproduced from the designs of the original Norman pavement. The vaulted roof is re-painted in exact accordance with its original design. The marble shafts of the arcade are re-polished, and the central shaft has also been re-worked to a smooth surface. Gilding has been applied freely to the bosses of the roof and the capitals of the pillars. The ancient table, shown in the engraving, has also been restored; it is a very interesting specimen of early decorated furniture.

[Illustration: TOMB OF SIR JOHN MONTACUTE. _From a Photograph by Catherine Weed Ward._]

FOOTNOTES:

[7] "The Century Magazine," March, 1888.

[8] The numerals in brackets refer to the position of each monument as shown on the plan.

[9] In 1448 Nicholas Upton the precentor tried to limit the choice of the choristers to three candidates selected by the chapter; but this attempt to curtail their privilege was successfully resisted by the boys.

THE CATHEDRAL PRECINCTS.

The common practice of writers who are describing any one of our more important cathedrals is to declare that altogether it may be fairly called the most beautiful. So great is the fascination exercised by continual study of a single mediaeval building which has escaped destruction, or over-restoration, that such a statement may be advanced in all good faith. In claiming, however, that the cloisters of Salisbury are on the whole the most beautiful in England, it is merely re-asserting what many critics of Gothic architecture have already decided to be true. The cloisters of Gloucester are far richer, the space they cover at Wells (like Salisbury, not a monastic establishment) is greater, and in other details these may not be the finest. But, as a whole, their beautiful proportion and the general symmetry of their design make them worthy adjuncts to a building which is pre-eminent for these special qualities.

Situated, according to the usual custom, on the south-west side of the cathedral, with their western wall in a line with its west front, they are exceedingly picturesque. Even so far back as the time of Leland, we find him declaring that "the cloister on the south side of the church is one of the largest and most magnificent in Britain." Yet, as a recent critic has observed, from a purely technical point of view, there is "too great a mass of blank wall above the arcade." The green sward of the large garth, 140 feet square, with its covered walks, 181 feet long, on each side, and the fine group of cedars in the centre, showing against the cool grey of the stonework realize the ideal of that cloistered solitude so dear to the poets; it should not be forgotten, however, that the arrangements of this cathedral are not monastic, for it was never aught but a collegiate building. The style is late thirteenth century with windows of exceedingly graceful design; double arches with quatrefoils above, united in pairs with a large six-foiled circle in the main head. The upper portions of the tracery had, not so long ago, traces of coloured glass here and there, but whether this feature was part of the original scheme is very doubtful. The shafts, originally of Purbeck marble (replaced in 1854 by stone) both between and in the centres of the windows have simply moulded capitals; while those of the clustered columns at the main angles are carved. Modern opinion is inclined to date the beginning of the work between 1260 to 1284; but so late as 1338, as a dated charter in Bishop Wyville's time which refers to the enlargement of the cloisters shows, they were not quite completed; hence it is inferred that a part, possibly only one side, was built at first. The north arcade is entirely independent of the south wall of the nave, the long space between being known as the Plumbery. The garth is used as a burial ground, and in the cloisters are many monuments, but none of more than local interest, except possibly a tablet to the memory of Francis Price (died Mar. 20th, 1753, aged 50), the cathedral architect, whose excellent monograph devoted to the building is still one of the most useful books of reference on the subject. The drawing here reproduced from Britton's "Salisbury," shows the work before its restoration by Bishop Denison; but it has been chosen because it suggests the peculiar beauty of the place better than any photograph. From the cloisters a very charming glimpse of the spire may be obtained.

[Illustration: THE CLOISTERS. _From a Photograph by Messrs. Poulton._]

[Illustration: THE CLOISTERS, LOOKING NORTH.]

The =Library= 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 _circa_ A.D. 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 dean and chapter at least four hundred years, and range in date, according to the best authorities, from the ninth to the fourteenth centuries.

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 A.D. 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 A.D. 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 _ostio hospicii agni_ 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 Philosophiae," on vellum in double columns, fifteenth century. A twelfth century MS. of the "Historia Regum Brittaniae," by Geoffrey de Monmouth (No. 121); and the "Historia Miscella" of Paul Warnefrid, are among many others that deserve mention.

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:

"Of this blest man let this just praise be given, Heaven was in him before he was in heaven."

Bishop Gheaste was a benefactor to the library, and left it a large legacy, the foundation of the present collection of printed books.

The library is shown to the public on certain days, and the clergy of the diocese have the privilege of borrowing books therefrom.

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, Ampulae, 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.

[Illustration: RINGS FOUND IN THE LADY CHAPEL.]

=The Muniment Room=, 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.

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 Ecclesiae: 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 Longespee, first Earl of Salisbury, and referred to elsewhere, is sometimes exhibited here.

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 A.D. 1319, relating to the rights of the boy bishop, is one of the few that have more than local interest.

[Illustration: HANGING PARAPET ON THE EAST WALL OF THE CLOSE.]

=The Close= 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 mediaeval 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."

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," 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."

The =Bell Tower=, 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.

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.

[Illustration: DEATH AND THE GALLANT.]

Several of Wyatt's iconoclastic blunders have been already mentioned; we now come to his chief iniquity. The =Hungerford Chapel=, 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 Archaeological 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 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 Archaeological Magazine," vol. ii., p. 95):

"Alas, Death alas! a blissful thing thou were If thou wouldst spare us in our lustiness, And come to wretches that be of heavy cheer When they thee ask to lighten their distress. But out, alas, thine own self-willedness Harshly refuses them that weep and wail To close their eyes that after thee do call.

Graceless Gallant in all thy lust and pride Remember this, that thou shalt one day die, Death shall from thy body thy soul divide-- Thou mayst him escape not certainly, To the dead bodies (here) cast down thine eye; Behold them well, consider too and see, For such as they are, such shalt thou too be."

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."

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.

=The Beauchamp Chapel.=--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.

[Illustration: INTERIOR OF THE DEMOLISHED BEAUCHAMP CHAPEL.]

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 page 48). 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 visitor, we find an entry concerning this chapel, "The ceiling is of Irish oak, and never known to have spiders or cobwebs in it."