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pews of the old church have been replaced by substantial stone walls, a well-proportioned tower, (terminated by a beautiful spire, with a gilt weather-cock ^,) and remarkably good oak seats, which may well be taken as a model for all church builders who have in view the power of kneeling without inconvenience. Yet Mr. KEBLE and Mr. Harrison the architect were so anxious to preserve all that was worth preserving in the old building, that the proportions of the old and new churches are in the main the same. The old tower remains, only it was in part rebuilt, heightened, and surmounted by its elegant spire, at a cost of £800, at the expense of the liberal Baronet who is the Patron of the living. This spire forms a beautiful object (as represented in the annexed photographs) from the vicarage garden, from the Walnut avenue in the park, and from various distant places. The most distant view of it is from the high ground on Chilworth Common, near Southampton, from whence the white stonework shews out clearly in

* “The cock at the summit of the church is a type of preachers. For the cock, ever watchful even in the depth of night, giveth notice how the hours pass, wakeneth the sleepers, predicteth the approach of day, but first exciteth himself to crow by striking his sides with his wings. There is a mystery conveyed in each of these particulars. The night is this world : the sleepers are the children of this world who are asleep in their sins. The cock is the preacher, who preacheth boldly, and exciteth the sleepers to cast away the works of darkness, exclaiming, Woe to them that sleep! Awake, thou that sleepest ! And these foretell the approach of day when they speak of the Day of Judgment, and the glory that shall be revealed : and like prudent messengers, before they teach others, arouse themselves from the sleep of sin by mortifying their bodies. Whence the Apostle, “I keep under my body.' And, as the weather-cock faceth the wind, they turn them. selves boldly to meet the rebellious by threats and arguments.”—Durandus, “On the Symbolism of Churches and Church Ornaments,” edited by Neale and Webb, (Rivington, 1843,) chap. i. sec. 22, p. 27


contrast with the dark trees forming the background. In the lower part of the tower may be seen evidences of the work of construction, destruction, and re-construction of former ages; many of the stones with mouldings of earlier date than the tower itself having been worked into the walls, as if on purpose to tell us of former buildings. The church consists of a tower, nave, chancel, and two aisles, of which that on the north side is equal in length to the chancel, but that on the south side is somewhat shorter, which irregularity of outline adds greatly to the beauty of the building.

In the construction of this church the Poet seems to have had in mind the general features of that at Fairford. Both these churches have a nave and side aisles, and in both of them we are reminded of the words of the Hymn for Trinity Sunday :

“Three solemn parts together twine

In harmony's mysterious line;
Three solemn aisles approach the shrine :

“Yet all are One-together all,

In thoughts that awe but not appal,
Teach the adoring heart to fall."

There are doors with porches on the north and south sides, as well as an entrance at the west end of the church, under the tower, and a small

door near the end of the south aisle.

Entering the church through the door in the tower, the visitor can hardly fail to be struck with the sombre and devotional appearance of the whole building. All seems to speak of peace, and rest, and heaven.

Of this beautiful church well may it be said, in the words of the sacred Poet himself :

“ The Saints are there—the living dead,

The mourners glad and strong ;
The sacred floor their quiet bed,
Their beams from every window shed,

Their voice in every song.

“And haply where I kneel, some day,

From yonder gorgeous pane,
The glory of some Saint will play:
Not lightly may it pass away,
But in my heart remain.”

(Lyra Innocentium, p. 265.)

All the windows (except those in the roof, which were added a few years ago to give more light in the nave) are filled with painted glass of the richest and most costly description, from the celebrated manufactory of Mr. Wailes, and nearly all of them were presented by different persons. Sir Williain and Lady Heathcote giving one, the Marchioness of Lothian another, and another having been presented by the Baronet's mother, who was a great benefactor to Hursley and Ampfield. The central west window, which is not a large one, and was the last painted window erected in the church (about the year 1858), represents the final Judgment, according to a very common custom in ancient churches. Our Lord is represented passing sentence on the dead, as in the great west window at Fairford; St. Michael holds the scales; those who are found wanting are placed on the left hand and rejected, while those on the right hand are accepted.

On the north side of the church, here as at Fairford, are represented subjects from the Old Testament. The east window of the north aisle represents the Circumcision of our Lord. The Crucifixion, and some of its attendant events, are depicted in the east window of the church. Special pains were taken with this window by Mr. KEBLE himself, by Mr. Butterfield, who corrected the design, and by Mr. Wailes : the colouring of it is considered to be peculiarly soft and good. All the windows on the south side of the church, including the west window of the south aisle, contain subjects from the New Testament, or connected with it, so that in looking at the windows in order, going round from the west end of the north aisle to the west end of the south aisle, we are presented with a kind of outline of Bible history, and are well furnished with much matter for profitable thought and holy meditations b.

In the foor of the chancel, in the exact spot upon which the body of Mr. KEBLE rested on the day of his burial, there has been placed, at the expense of the parishioners, an ornamented brass cross about 7 ft. long, after a design by W. Butterfield, Esq., executed by Messrs. Waller (of Balsover-street, Portland-place), Artists and Designers, authors of a work on “ Monumental Brasses." The symbols of the four Evangelists are engraved upon the Cross, and the sacred monogram is

b “The glass windows in a church are Holy Scriptures, which expel the wind and the rain, that is all things hurtful, but transmit the light of the True Sun, that is God, into the hearts of the faithful.”—Durandus, “On the Symbolism of Churches and Church Ornaments,” (Rivington, 1843,) p. 28.

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