Page:The New Forest - its history and its scenery.djvu/106

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The New Forest: its History and its Scenery.

Inside, the red brick pillars of the arches of the aisles are clustered with black slate shafts, and banded with scroll-work of white Caen stone, the capitals carved with lilies, and primroses, and violets.[1] And above hangs a Perpendicular timbered roof, resting on the corbel heads of the martyrs and reformers of the Church—of Melancthon and Cranmer, and Luther and Latimer,—and the carved emblems of the Evangelists at the four corners.

In the choir and chancel the wall-colouring is more harmonious than in the nave, where there is a certain coldness and hardness, whilst the shafts are here wrought of rich Cornish marble. Over the communion-table is Mr. Leighton's fresco, a small piece of it now only completed—an angel standing with outstretched hands, keeping back those virgins who have come too late to the bridegroom's feast, the despair and anguish of their faces further typified by the rent wall, and the melancholy dreariness of the owl.[2]


  1. Let me especially call attention to the exquisite carving of some thorns and convolvuluses in the chancel. It is a sad pity that this part of the church should be disfigured by glaring theatrical candlesticks and coarse gaudy Birmingham candelabra.
  2. I have only seen but the slightest portion of this fresco, so that it is impossible to properly judge of even the merits of this part. No criticism is true which does not consider a work of Art as a whole. At present, the angel with outstretched hands, full of nervous power and feeling, seems to me very admirable, though the position and meaning of the cloaked and clinging figure below is, at the first glance, difficult to make out; but this will doubtless, as the picture proceeds, become clear. The richness, however, of the colouring can even now be seen under the enormous disadvantage of being placed beneath the strong white glare of light which pours in from the east window. Further, Mr. Leighton must be praised for his boldness in breaking through the old conventionalities of Art, and giving us here the owl as a symbol of sloth, and the wretchedness it produces.
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