The series of windows could only be appropriately concluded by one great name, "the protagonist on the great arena of modern poetry, and the glory of the human intellect" (De Quincey).

The Shakespeare window was presented by Sir Frederick Wigan, Bart., in memory of his brother-in-law, Arthur Cecil Blunt. It is a triplet, and displays in its central light an allegorical figure of "Poetry,"

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

Above the Muse the sacred Dove is hovering, symbolical of the divine inspiration which we may presume guided the poets in their work, and at the base is a quotation from Wisdom, viii, 4 (Vulgate): "Doctrix disciplinae Dei, et electrix operum illius."

The faces of Edmund Shakespeare[25] and A.C. Blunt are introduced in the quatrefoils of the heading, the former as buried in the church, the latter the gentleman commemorated by the donor.

William Shakespeare is known to have lived near the old Bear Garden and his own theatre, "The Globe," in Southwark, where his brother Edmund also lived while trying his fortune on the stage. The immortal name has, therefore, a direct a.s.sociation with St. Saviour's Church and parish, ent.i.tling it to the special memorial.

The =Choir= was erected by Peter de Rupibus in the early part of the thirteenth century. In its more mature and elaborate work it shows a considerable advance on the simplest form of Early English, though the apparently low elevation, and ma.s.siveness of the piers and lower arcading, are obviously not free from Norman influences. It is divided into five bays by alternate circular and octagonal piers, the dwarfed appearance of which is relieved by triple vaulting shafts on the north and south sides, and single shafts to support the arch mouldings. The central shafts are not of Purbeck, as in the nave, and they are not banded, except where crossed by the abacus moulding of the capitals and the triforium string-course. The piers have all plain capitals and well cut base mouldings. The triforium arcade, like that in the nave, consists of four arched openings in each bay, and, unlike the clerestory, has no continuous pa.s.sage along the choir wall. Each bay, however, has an opening at the back into the s.p.a.ce between the vault and roof of the aisle.

While both sides of the choir are alike in their main features, there is an interesting difference in detail, especially to be noticed in the greater simplicity of the south side, where the triforium capitals are less elaborate, and the dog-tooth ornament is omitted from the outer jambs of the openings.

On the south side, moreover, the arches have corbels, with sculptured heads, to support their inner mouldings, in place of the full-length shafts which occur on the responds at the ends, and on all the piers of the opposite side. These differences, though perhaps partly referable to the delightful vagaries of Gothic architecture, are supposed to have a special significance at St. Saviour's, where the north was the side of the Prior.

[Ill.u.s.tration: _Photo._ _G.P. Heisch._ THE CHOIR AND ALTAR SCREEN.]

The roof is not strictly original, most of it having been rebuilt in 1822-1824, when, however, the old material was worked in again as far as possible, and the old quadripart.i.te groining adhered to. It may be noticed that the vaulting is carried out very systematically and correctly, the only defect being that the wall-ribs die into the vaulting surfaces, instead of being brought down to the clerestory sill. The plough-share surfaces (as they are called) are nevertheless well cut back to concentrate the lateral pressures against the external b.u.t.tresses. In the nave the new vaulting has the wall-ribs properly supported by light shafts in the angles of the clerestory openings, whilst in the transepts the inner archivolt of the windows answers the same purpose.

[Ill.u.s.tration: _Photo._ _G.P. Heisch._ THE TRIFORIUM AND CLERESTORY OF THE CHOIR.]

It is highly probable that the choir formerly extended to the western side of the tower, as indicated by the step between the nave and tower pavement.

The =Altar-platform=, though raised seven steps above the nave pavement, gives the altar a rather low elevation as compared with the lofty Continental altars, whether abroad, or introduced here in recent years on the Continental example. Herein it exhibits a peculiarity of the English use, as ill.u.s.trated in many pre-Reformation churches, where the occasional deviations from rule can generally be accounted for by the lofty crypt beneath, as, _e.g._, at Canterbury.[26]

Behind the altar rises the magnificent =Screen=, erected by Bishop Fox in 1520, which almost fills the eastern end of the choir. This fine work had been more or less mutilated through the iconoclastic zeal of ultra-reformers, who deprived it of the sculptured figures in the niches. It was further ill-treated during the architectural supremacy of Sir Christopher Wren and his school, when the smaller canopies and other projections were pared off to make a level surface for the cla.s.sical piece of woodwork placed in front of it. When this incongruous structure was removed and the restoration taken in hand (in 1833) by Mr. Wallace, liberties were again taken with the unfortunate screen, more or less spoiling the design, though undertaken on a good motive. Perhaps the least objectionable of these innovations was the insertion of panels for the Creed, Lord's Prayer, and Ten Commandments, in perpetuation of those in the wooden altar-piece, where the formulae had been set up in the spirit of the Injunctions of 1536 and 1538. Above the stages Mr. Wallace introduced rows of angels, the highest row being surmounted by a cornice of strawberry-leaf ornament for which there was no sort of precedent, either in the original work here, or in other altar-screens of similar character elsewhere.[27]

The screen is about thirty feet in height, and extends to the main arcades on either side. Three tiers of canopied niches, ten in each tier, divided down the centre by a perpendicular series of three larger niches, all occupied by statues, made up a composition which was at once "a thing of beauty" and an object lesson on the Incarnation. The total number of niches (thirty-three) suggested a mystic reference to the years of our Lord's earthly life, while the image of the Pelican "in her piety," here and there, besides being a reminder of Bishop Fox (whose peculiar device it was), also typified the sacrament of the altar. The original materials of which the screen was built are quoted as "Caen and fire-stone," for which Mr. Wallace subst.i.tuted stone from Painswick in Gloucestershire, as more easily obtained and agreeing in colour with the old work.[28]

Above the altar the first architect had left a vacant panel (square) possibly intending it for the reception of sculpture or mosaic. This s.p.a.ce, as well as some of the side panelling, was covered by the Decalogue, etc., before mentioned. The s.p.a.ce is now vacant, pending the complete restoration of the screen, and is simply concealed by the dorsal and lateral curtains. The doors on each side will be noticed, with their depressed ogee headings, which indicate that this screen is of somewhat later date than the corresponding one (also by Bishop Fox) at Winchester. Another indication to the same effect has been detected in the grotesque carvings in the spandrels, which are here of a humorous character, whereas at Winchester the minor decorations are entirely sacred, _e.g._, the Annunciation and Visitation.

On the north side of the choir, in the easternmost arch, is the =Monument of Richard Humble=, erected by his son Peter in 1616. He quotes his father in the inscription as "Alderman of London," which is supposed to be inaccurate, as the prospective alderman, though represented in the official gown, is said to have declined office for political reasons. The monument is a good specimen of the Jacobean style. Under an arched canopy, supported by Ionic pillars, Richard Humble is kneeling at a small altar, or _prie-Dieu_, with his two wives behind him, the second wearing a conical hat, his sons and daughters being represented in bas-relief on the north and south sides of the bas.e.m.e.nt. On the altar side there are also some verses, by an unknown author, in which human life is compared to "the damask rose and blossom on the tree," with other images of its vanity and shortness. There is a dash of Elizabethan vigour in the versification, mixed with a certain quaintness which points to the decadence, and the lines have been attributed to such different writers as Francis Beaumont and Francis Quarles. The figures in the monument have been "beautified" with imitations of marble and alabaster. The canopied stalls for the Canons were erected as a memorial to Bishop Thorold, from the diocese of Rochester, as notified on a plain bra.s.s tablet.

Those for the choir and cathedral officers were provided by an anonymous benefactor. The absence of "return stalls" is accounted for by the fact that St. Saviour's is a parish church as well as a cathedral, for which reason it is desired to keep the choir as open as possible.

[Ill.u.s.tration: _Photo._ _G.P. Heisch._ THE ALTAR AND THE HUMBLE MONUMENT.]

It may be here mentioned that the twelve boys who sing at the daily services are known as "the Wigan Chanters," after Sir Frederick Wigan, Bart., who has made provision for their salary, and the silver badges to be worn by them on Sundays and holy days. The badges are engraved on the face with the priory arms--"Argent, a cross fusilly gules: in the dexter chief, a cinquefoil gules"--with an inscription on the reverse.

The low wrought-iron chancel-railing was presented by Mr. Barclay; the holy table (a cla.s.sical wooden structure), by Mr. J.F. France, in place of the former table, also of cla.s.sical design, which has been transferred to the retro-choir. The chalice and paten, crosses, vases, books, embroidery, etc., have been bestowed from time to time by various friends and worshippers.

[Ill.u.s.tration: _Photo._ _G.P. Heisch._ THE LADY CHAPEL OR RETRO-CHOIR.]

The =Retro-choir= (now known as the =Lady Chapel=) was erected by Peter de Rupibus at about the same time as the choir, but in a much lighter and more graceful fashion, which places it among the best examples of Early English architecture in the country. The groined vault rests on six slender pillars, with detached shafts. The divisions thus formed make up twelve compartments of nearly equal size. Perhaps the best general prospect is to be obtained from the south-east corner, which takes in the whole length of the chapel, with the altar, now on the north, and the tomb of Bishop Andrewes on the western side. In the central bays on that side there were formerly two arches open to the choir, one on each side of the s.p.a.ce now occupied by the tomb. These were converted into triplet openings during the reign of Edward III, with flowing tracery in the head of each arch.

When Bishop Fox's screen was erected in the sixteenth century, these openings were walled-up, and the doorways already mentioned inserted below the tracery, in correspondence with the design of the screen, of which they formed part, one on each side of the high altar.

Another good view is to be gained from the south-west corner, which includes the series of triplet windows in the four eastern bays. The northernmost of these was till recently occupied by the altar, but it has been transferred to the central bay on the north side, thus sacrificing the orientation for a supposed better position, in regard to the general shape of the chapel, there being no central s.p.a.ce for it on the eastern side, where another altar was required to balance the irregularity. Before the Reformation there certainly were two altars on that side, one at each extremity, where piscinae were discovered during the restorations of 1832. The piscina at the north end was then restored, and is still in existence: as the other was too far gone for repair, the s.p.a.ce was filled up.

It has been conjectured that each of the four eastern bays formerly contained an altar, one of them being dedicated to the Blessed Virgin.

This circ.u.mstance has probably contributed to the popular designation of the retro-choir as the Lady Chapel, since the demolition of the so-called "Bishop's Chapel," to which the t.i.tle properly belonged.[29]

This "Little Chapel of Our Lady," as it was originally called, extended eastwards from the bay (the second from the south), now occupied by the "Benson" window, where two straight joints in the masonry indicate the position of the arch that once led into it. In the north-east angle is a slender shaft supporting a diminutive statue of a bishop, in cope and mitre, with his right hand raised in the act of benediction. This has taken the place of another figure, with flowing hair, supposed to represent St. Mary Magdalene, to whom the demolished church, adjoining the south choir-aisle, was dedicated.

Beneath this statue is a door, which used to give access to the staircase in the turret already noticed in the angle outside. The staircase, however, is destroyed. In the same bay on the north wall, there is a stone bench, in the shape of a coffin, about nine feet long. This has been a.s.sumed to be the burial-place of the Foundress, but it is more probable that it was the base on which the "Easter Sepulchre" was placed in Holy Week.

[Ill.u.s.tration: _Photo._ _G.P. Heisch._ TOMB OF BISHOP ANDREWES.]

In the south-west corner there is a small Gothic font. It was presented by Mr. Charles Harris (Member for Southwark) in 1860, who is himself commemorated in a tablet beneath the Jesse window in the south transept. The font is still used for baptisms, the present Lady Chapel being also the parish church.

The =Tomb of Bishop Andrewes=.--On the destruction of the so-called "Bishop's Chapel" in 1830, the tomb was removed from its eastern end to the honourable position it now occupies. There had been a fire in 1676, which destroyed the roof of the little chapel, and the canopy of the monument, but the tomb and effigy were fortunately uninjured. The canopy was not replaced, and the tablet which once stood at the feet is now at the head of the rec.u.mbent figure. Otherwise the monument remains in its original state, and is an interesting example of the Renaissance style at a period of transition. There had been a doubt as to the exact whereabouts of the Bishop's remains, some people thinking they had been deposited in a vault beneath. The question was settled at the removal, when the leaden coffin was found, resting on a cross of brickwork, within the tomb. The coffin was exposed for a few days for the public satisfaction, and then replaced in the interior of the tomb, where it now lies. The painted figure above it represents the Bishop vested in chimere and rochet, enveloped in a rich mantle, with the cross of St. George, encircled by the Garter and motto of the Order, "Honi soit qui mal y pense," embroidered on the left shoulder--insignia to which Lancelot Andrewes was ent.i.tled as Bishop of Winchester and Prelate of the Order. The head wears an academic cap, and rests upon a cushion, and the right hand holds a book, probably intended for the famous "Manual of Devotions."

The tablet at the head is surmounted by the arms of the See of Winchester, impaled with the private arms of Dr. Andrewes, supported by two figures in a sitting posture. These represent the cardinal virtues, Justice and Fort.i.tude, so conspicuous in the Bishop's life.

The figures formed part of the original decoration of the canopy. The Latin inscription at the head is from an entry in Archbishop Laud's "Diary," and shows a slight inaccuracy in grammar as well as in the date. This is given as September 21st, 1626, whereas Dr. Andrewes is known to have died on September 25th. The grammatical error is unimportant, while the gist of the sentence sums up the life and character of the departed in the brief form of an epigram: "Lumen Orbis Christiani." The inscription at the foot simply refers to the restorations of the monument in 1703 and 1810.

=The Windows in the Retro-Choir.= There is no ancient gla.s.s in the Cathedral, the oldest being that in the windows here set up to the memory of the Anglican martyrs, and chiefly remarkable as examples of the art of gla.s.s staining at a bad period. Seven martyrs are thus commemorated, viz., three in each of the extreme bays on the eastern side, and one in the central bay on the south. Taking them in order, the window at the north end is devoted to the Rev. Lawrence Saunders, the Right Rev. Robert Ferrar, and the Rev. Rowland Taylor, each figure occupying a separate light in the triplet. Entwined about the robes of the third there is a scroll bearing the supplication from the Litany in the early prayer-books against "the tyranny of the Bishop of Rome and all his detestable enormities."

The corresponding window in the southernmost of the four eastern bays contains the figures of the Rev. John Rogers, Bishop Hooper, and the Rev. John Bradford.

[Ill.u.s.tration: _Photo._ _G.P. Heisch._ MARTYRS' WINDOW TO SAUNDERS, FERRAR, AND TAYLOR.]

The seventh of the martyrs is memorialised in the central window on the south, viz., the Ven. Archdeacon Philpot, the three lights being filled with pictorial scenes from his trial. He is here commemorated as having suffered at the same time with the others, though he was separately tried in the Bishop of London's house, by St. Paul's Cathedral. The rest were tried in this very chapel, then (and still occasionally) used as a Consistory Court. There is thus a peculiar appropriateness in the local commemoration, and especially in the position of the first window of the series, as it was in that identical bay that the Royal Commissioners sat in judgement, and p.r.o.nounced sentence on the men they regarded as heretics. The lancet on the eastern side of the "Philpot" window is dedicated to Grace Pea.r.s.e, and dated 1845. The other is at present filled with plain gla.s.s awaiting a suitable commemoration. The two triplets between the martyrs' windows on the east contain memorials to the Rev. W. Curling (1879) and the Rev. S. Benson (1881), who were co-chaplains at St.

Saviour's.

These windows were contributed by the parishioners, and show some advance on those to the martyrs in their scriptural subjects as well as in their general treatment and colouring.

By far the best window is that of three lights on the north side. The architecture is in the Decorated style with reticulated tracery, as restored on the ancient model. The gla.s.s is modern, by Kempe, in his best mediaeval manner, in which respect, as well as in subject matter, the window presents a strong contrast to the earlier ones in its neighbourhood. The three lights contain figures of King Charles I, Thomas Becket, and Archbishop Laud, martyrs of another school, perhaps equally worthy of remembrance, as having suffered for their opinions.

[Ill.u.s.tration: _Photo._ _G.P. Heisch._ WINDOW COMMEMORATING KING CHARLES I, LAUD, AND BECKET.]

On the western wall a granite tablet is to be noticed to the memory of George Gwilt, the architect who did so much work at the church in his day, and gave his services gratuitously during the restoration of this chapel. He died at the age of eighty-one, in the year 1856, and is buried in the family vault outside the southern wall.

The =Choir Aisles=, architecturally similar, differ very much in their contents, which are more interesting in the north aisle. On the south side of this aisle the Humble monument is conspicuously seen through the choir railings. The opposite side is lighted by three windows, more interesting in motive and a.s.sociation than in themselves. The first of these was presented in 1867 by Mr. Benson, the chaplain commemorated in the window already noticed in the retro-choir, and represents St. Peter in the Chamber of Dorcas (Acts, ix, 39). The next contains a picture of the Good Samaritan, erected in 1866 to the memory of John Ellis. The third, of three lights, was inserted in 1858 to the memory of George Wood, surgeon, who was so much appreciated by the parishioners that 670 of them contributed to the cost of his memorial. The central light contains a picture of Christ healing a cripple. The outer lights are at present plain.

In the wall beneath these windows two recesses will be noticed, exactly alike in size, and in their segmental headed and traceried canopies. Their proximity and close resemblance formerly led to the conjecture that they were the tombs of the two Norman knights, William Pont de l'Arche and William Dauncey, who co-operated with Bishop Giffard in refounding the Priory. If this is the case, the tombs must have undergone alteration at a later date, as the decoration is in the Perpendicular style, and much more ornate than that of the recess at the west end of the same wall, undoubtedly of late Norman, or Transitional, design. The westernmost of the two, again, has been held to be the burial-place of Thomas Cure, a local benefactor in the reigns of Edward VI, Mary, and Elizabeth, who is commemorated by a tablet within it. The Latin epitaph (1588) is a string of punning allusions to his name. The most recent theory, and the most probable, respecting the recesses, is that they mark the tombs of Priors belonging to the Tudor period. The easternmost now contains the effigy of a supposed _Crusader_, which, after undergoing many "translations"

from its unknown original place to the lumber of the church, and then to a ridiculous upright position against the north wall, has now found shelter in the recess which happens to hold it exactly. It is a remarkably fine piece of oak carving, and represents a knight clad in chain armour, consisting of a hauberk with sleeves, over which is thrown a surcoat crossed by two belts, one round the waist for the sword, the other crossing the body diagonally to hold the shield. The cross-guard of the sword is of metal, and is probably a reparation.

The head wears a conical helmet, and the feet rest upon a lion. The legs are crossed at the knees, and the knight is in the act of placing his sword in the scabbard, both of which details are open to various interpretations. Conjecture has also been busy as to the person represented, who is now thought to have been a member of the de Warren family, several of whom were buried in the church, and the style of armour, unless a clever imitation, points to the date of Edward I or Edward II. After having been overlaid with successive coats of paint, which completely blocked up and concealed the delicate chain-work, the figure has been more or less redeemed, but not restored to its original colour. This appears to have been mainly a pale blue, not unlike the real armour, but it is now coated with bronze.[30]

[Ill.u.s.tration: _Photo._ _G.P. Heisch._ EFFIGY OF MAILED KNIGHT.]

[Ill.u.s.tration: _Photo._ _G.P. Heisch._ THE TREHEARNE MONUMENT.]

The most conspicuous monument in the aisle is that of =John Trehearne=, servant to Queen Elizabeth and "Gentleman Portar" to James I. Flanked by two pilasters, carved in the Italian style, supporting a plainer canopy, the monument consists of three parts: first a plain base; then a plinth, on the front of which (in bas-relief) are the four children of the deceased in a kneeling posture; and, lastly, on the top of the tomb, the kneeling figures of Trehearne and his wife in the picturesque costume and ruff collars of the age. The princ.i.p.al figures are holding a tablet between them inscribed with a eulogistic epitaph in English, the moral of which is that if Trehearne's royal master could have retained his services, his heavenward progress would have been considerably delayed. The Vestry minute for 15th October, 1577 (quoted by Dr. Thompson), shows the deceased to have been a pa.s.sive resister in the matter of t.i.thes, for which he had to pay double in the long run. He died on 22nd October, 1618, and was buried the very next day. His wife died on 22nd January, 1645. She was followed by the eldest son on 22nd of August in the same year, and they were all buried in the one grave.

A door in the aisle communicates with the =Chapel of St. John the Divine=, at present used as a clergy vestry. Fortunately it has not shared the fate of the companion chapel of St. John the Baptist. Up to a quarter of a century ago it had been turned to account as a Magistrates' Court, and still retains the Royal Arms over the large pew erected for the purpose. This, with the iron safe and wooden cupboards set up against the walls, still gives the chapel some of the appearance of a Committee room, and helps to conceal some most interesting architectural features. A shaft had long been visible on the exterior which was thought to show signs of Saxon workmanship.

This fragment, added to the known fact that the chapel was one of the oldest parts of the church, if not the oldest of all, has led to a fuller examination in recent years, revealing the outlines of three Norman arches in the inner walls, and still more recently the shafts of a wall-arcade on the eastern side, apparently indicating an apsidal termination.

Henceforth the chapel will be a.s.sociated with the name of John Harvard, who was born in the parish, and baptized in the church on 29th November, 1607, and its restoration is intended to take the form of a memorial to that great and good man. It is not unlikely, in fact, that his name will popularly supersede the original dedication (almost forgotten already) much in the same way as the "Little Chapel of our Lady" was overshadowed by the great name of Bishop Andrewes.

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

Joseph H. Choate, who manifested great interest in the ancient fabric while he was American Amba.s.sador, and presented the east window to the chapel in commemoration of John Harvard, founder of the renowned university which bears his name. The window, 'unveiled by Mr. Choate on Monday, 22nd May, 1905, is of three lights, transomed, as designed by Sir Arthur Blomfield and Sons, the gla.s.s being made in America under the supervision of Mr. Charles F. McKim, the famous American architect. The design is by Mr. John La Farge. In the central light of the lower division the Baptism of Christ is depicted, attendant angels occupying the sides. The upper division contains the arms of Emmanuel College, Cambridge, where John Harvard was educated, and of the Harvard University, with its mottoes, _Veritas_ and _Christo et Ecclesiae_. The base bears the inscription, "In memory of John Harvard, founder of Harvard University in America, baptized in this church, Nov. 29, 1607."