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The various groups and figures we are now about to describe are irregularly distributed; they are of different sizes; refer to different subjects; are probably the production of different artists; and exhibit little unity of design. They harmonize chiefly by their general air of antiquity, and the quaintness which belongs to the efforts of a rude and superstitious age.
Several shrines adorn this oratory. The high altar, contrary to the usual practice, is on the western side. The shrine, and the legend of Saint Katharine, who appears to have been the patron saint of the place, are on the right and left of the high altar. The shrine of St. John Baptist {30} and St. Thomas à Becket (the patron saints of the Priory,) is on the southern side. The northern side exhibits the shrine and the legend of St. Christopher. The space between the effigy of St. Katharine and certain historical figures on the south-western side, is occupied by the effigies of St. Lawrence, St. Paul, the Holy Family, and the Flowering Cross. Various historical personages and scenes fill up the intervals; and the eastern side is the only part which appears to have been left without decoration.
We shall consider these sculptures in the following order.
The oldest and most venerated object must, of course, have been the High Altar. It is represented by a square tablet sunk into the wall, on which is carved the scene of the Crucifixion,—our Saviour extended on the Cross, the Virgin Mary on one side, and the beloved disciple on the other; a heart and a hand is cut on either side; the heart nearest the Virgin being composed of three lines, as indicative of most intense affection. The moulding of the tablet appears to have been removed at the bottom, to make room for the effigies of two royal persons, and a smaller crucifixion, which will be afterwards described. On the foot of the principal cross is cut a saltire or St. Andrew’s cross.
The position of this altar, in the west, instead of the east of the oratory, has given rise to much speculation. Stukeley supposed it to have been placed here in order to correspond, as nearly as possible, with the cross erected above; thus enabling the worshipper to do homage to both at the same time. Another reason might be suggested by the necessity of, leaving undisturbed the original entrance into the Cave, which was most probably by a ladder or steps descending from the eastern shaft: and that portion of the Cave may, also, have been thought to be desecrated by its original pagan use.
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In describing the several groups, we will begin with those on the right hand of the modern entrance, which occupy the northern side of the Cave.
Immediately beyond the projecting shoulder of the eastern shaft appears a group, consisting of two half-length personages above—one of them a female, the other a male clad in a toga or pallium; a large figure is seen kneeling on one knee beneath them, as if in the act of receiving a burden; and a small figure almost effaced, is bestriding his neck. These figures have been painted red, and appear to represent Joseph and Mary placing the infant Saviour on the neck of St. Christopher, who is preparing to cross a river. The river is represented by the groove of the northern shaft, which descends here, and appears to have been scored to imitate running water.
On the other side of the river, St. Christopher appears again as a gigantic personage, in a short garment tucked up, and a huge staff in his hand still carrying the infant Saviour on his shoulder. This figure is almost identical in form with that cut into the chalk at Guildford Castle. At an early period the effigy of St. Christopher was introduced into Christian churches. The legend was brought from the East by the Crusaders, and the saint having been a hermit found an appropriate place in this oratory. He is represented to have been a Syrian or Canaanite, of enormous bulk, who, after his conversion, built himself a cell by the side of a river, and employed his great stature for the glory of God, in carrying pilgrims across. The superstition of the age assigned to him the special privilege of preventing tempests and earthquakes. His effigy was usually placed near the entrance of sacred buildings, as symbolical of baptismal admission to the Christian faith, There seems {32} nothing unreasonable in supposing, with Stukeley, that these figures were cut about the year a.d. 1185, when there happened a terrible earthquake, such as was never known before in this country, followed by an eclipse of the sun, great thunderings, lightnings, and tempests, dreadful fires, and destruction of men and cattle. This saint being once on his travels, is reported to have struck his staff into the ground, which, in token of the truth of his doctrine, took root, and produced both flower and fruit.
We shall have occasion to remark a flowering staff, or cross, on the other side of the high altar, which Stukeley imagines, though perhaps incorrectly, has reference to this prodigy. Above the figure of St. Christopher is the entrance discovered by the town’s people in 1742.
Next to St. Christopher is the legend of St. Katharine of Alexandria. It is related of this virgin and martyr, that, being imprisoned by a cruel tyrant for twelve days without food, a dove was sent down by Providence to administer to her necessities. Her prison is here represented by a recess cut into the wall, and painted of a dark blue colour, which still remains. She first appears at the entrance, in a disconsolate position, and in a dress of yellowish hue. At the farther end of the prison she again appears, lying on her back, her head placed on a pillow marked with a heart,
and her whole person resting on a colossal arm and hand, painted red, and engraved with a heart. It is presumed that these are symbols of her piety and dependence on Providence. Above the prison appears the same outstretched arm and hand, in the act of letting fly a dove, which hovers over the prisoner, with a wallet in its bill. The latter emblems are cut into the chalk, but not in relief, {33} and have been likewise painted red. Below the prison are two deep oven-shaped cavities of unequal sizes; one of them having a groove cut into the floor. They resemble other niches in different parts of the Cave, and were, probably, first designed for sepulchral deposits; but, in Christian times, they were appropriated to the service of the oratory, and were most likely used as piscinae for the high altar, and as niches for lights, on St. Katharine’s day, and other great festivals. Parkin has singularly mistaken the figure in prison for that of a man, and supposes the whole to represent the entombment of the Saviour, and Mary Magdalene waiting at the entrance.
Next in succession, comes the High Altar, already described.
Immediately beyond the High Altar appears the figure of St. Katharine in her beatified form, erect, holding the wheel, the instrument of her passion, in her right hand, and wearing a lofty crown, as being of the blood royal of Egypt. There is something singularly imaginative and spectral in this effigy. Occupying the place of honour in the oratory, we are led to conclude, that, to this sainted lady, it was chiefly dedicated—a conclusion rather confirmed by the existence at one time of an ancient inn close by, called the “Katharine Wheel”; where we may presume that pilgrims who came to honour her shrine were accustomed to resort, and end their devotions in the usual orthodox manner. Stukeley ascribes the preference shown to St. Katharine in this oratory to a great victory obtained by the Crusaders over Saladin and his hosts, on the plains of Ramleh, on St. Katharine’s day; 25th November, 1177; and as the celebrated William de Magnaville, Lady Rosia’s son, and lord in capite of this manor, was present on that memorable occasion, the conjecture seems by no means improbable.
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Moving round in the same direction the next object probably represents the Cross of St. Helena, the mother of Constantine the Great. Stukeley imagines it to be the staff of St. Christopher, commonly called the Palmer’s Staff. But as the pretended discovery of the true cross, by the first Christian princess, must have been deemed an event of greater consequence to the Romish church, than the private adventures of any respectable saint; and as the singular property ascribed by monkish writers to this cross, of perpetually renewing itself, seems aptly symbolized by the production of buds and flowers, we are disposed to conclude, that the “Invention” of the cross is here represented.
Beyond the cross the figures divide into two lines. In the upper line, nearest St. Katharine, appears the Holy Family,—Joseph, the Virgin, and the youthful Saviour. The leading idea of pilgrimage is here again portrayed; and this group, most likely, represents the journey from Jerusalem, after the feast of the Passover.
In the same line to the left is the effigy of St. Laurence with the instrument of passion in his hand. He wears a long garment, marked with a heart at the bottom. On his breast are cut two letters, I S, of somewhat doubtful antiquity. This saint suffered martyrdom in the reign of Gallienus, at Rome, and his death is celebrated on the 10th of August. The date is of considerable importance, as it will probably furnish the key to some of the historical portraits hereafter to be described.
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Immediately below the Holy Family, in the second line, appears a horse overthrown and resting on its haunches,—a man unhelmed, and still holding by the bridle, but in the act of falling,—and a small circular shield, with a sword of extravagant length, flying from him. Stukeley naturally concludes this to mean the conversion of St. Paul, kept on the 25th of January; and the length of the sword may be simply intended to remind the observer of the manner of his death. Parkin, however, rather absurdly as we think, discovers in this group the martyrdom of St. Hippolite, who was torn asunder by wild horses.
We can scarcely doubt that the primary allusion here was to St. Paul. But it may have been subsequently degraded into a satire on the family of William “Long Epée,” or “Long Sword.” This personage was allied by marriage to Lady Rosia, but opposed in politics to her family, and detested, both by priests and laity, for his inhumanity and sacrilege in asserting the rights of King John. The clerical historians of the time inform us that the first Long Epée died an unnatural death: the second perished in Palestine: and the last of his race, being unhorsed and indelibly disgraced at a great tournament, held in the year 1250, died despised and young. It seems not impossible that the monks of the Priory, with a mixture, by no means uncommon, of superstition and buffoonery, may have contrived, by lengthening the sword, and somewhat distorting the original figure, to make their devotion subserve their revenge, in perpetuating the disgrace of a fallen enemy.
In the same line with St. Paul, and immediately below the effigy of St. Laurence, appears the half-length figure of {36} a royal personage, wearing an antique crown, and with arms extended, in an attitude of surprise and alarm. On the breast are cut the ancient initials, “WR”; and the position, next to the falling saint, may not have been without its meaning. This figure seems to form part of an historical series, commencing on the southern side of the Cave. We shall postpone our reasons for considering it the portrait of William the Lion, until we reach it again from the other side.