How Rich The Interior Is In Its Atmosphere Of Tempered Light Or Tender Gloom!

How tall and graceful the columns holding up the high roof of white stone with its marvellous palm-leaf sculpture! What a vast expanse of beautifully stained glass!

I certainly gave myself plenty of time to appreciate it on this occasion, as I visited it every day, sometimes two or three times, and not infrequently I sat there for an hour at a stretch.

Sitting there one day, thinking of nothing, I was gradually awakened to a feeling almost of astonishment at the sight of the extraordinary number of memorial tablets of every imaginable shape and size which crowd the walls. So numerous are they and so closely placed that you could not find space anywhere to put your hand against the wall. We are accustomed to think that in cathedrals and other great ecclesiastical buildings the illustrious dead receive burial, and their names and claims on our gratitude and reverence are recorded, but in no fane in the land is there so numerous a gathering of the dead as in this place. The inscription-covered walls were like the pages of an old black-letter volume without margins. Yet when I came to think of it I could not recall any Bath celebrity or great person associated with Bath except Beau Nash, who was not perhaps a very great person. Probably Carlyle would have described him as a "meeserable creature."

Leaving my seat I began to examine the inscriptions, and found that they had not been placed there in memory of men belonging to Bath or even Somerset. These monuments were erected to persons from all counties in the three kingdoms, and from all the big towns, those to Londoners being most numerous. Nor were they of persons distinguished in any way. Here you find John or Henry or Thomas Smith, or Brown, or Jones, or Robinson, provision dealer, or merchant, of Clerkenwell, or Bermondsey, or Bishopsgate Street Within or Without; also many retired captains, majors, and colonels. There were hundreds more whose professions or occupations in life were not stated. There were also hundreds of memorials to ladies - widows and spinsters. They were all, in fact, to persons who had come to die in Bath after "taking the waters," and dying, they or their friends had purchased immortality on the walls of the abbey with a handful or two of gold. Here is one of several inscriptions of the kind I took the trouble to copy: "His early virtues, his cultivated talents, his serious piety, inexpressibly endeared him to his friends and opened to them many bright prospects of excellence and happiness. These prospects have all faded," and so on for several long lines in very big letters, occupying a good deal of space on the wall. But what and who was he, and what connection had he with Bath? He was a young man born in the West Indies who died in Scotland, and later his mother, coming to Bath for her health, "caused this inscription to be placed on the abbey walls"! If this policy or tradition is still followed by the abbey authorities, it will be necessary for them to build an annexe; if it be no longer followed, would it be going too far to suggest that these mural tablets to a thousand obscurities, which ought never to have been placed there, should now be removed and placed in some vault where the relations or descendants of the persons described could find, and if they wished it, have them removed?

But it must be said that the abbey is not without a fair number of memorials with which no one can quarrel; the one I admire most, to Quin, the actor, has, I think, the best or the most appropriate epitaph ever written. No, one, however familiar with the words, will find fault with me for quoting them here:

That tongue which set the table on a roar And charmed the public ear is heard no more. Closed are those eyes, the harbingers of wit, Which spake before the tongue what Shakespeare writ. Cold is that hand which living was stretched forth At friendship's call to succor modest worth. Here lies James Quin, deign readers to be taught Whate'er thy strength of body, force of thought, In Nature's happiest mood however cast, To this complexion thou must come at last.

Quin's monument strikes one as the greatest there because of Garrick's living words, but there is another very much more beautiful.

I first noticed this memorial on the wall at a distance of about three yards, too far to read anything in the inscription except the name of Sibthorpe, which was strange to me, but instead of going nearer to read it I remained standing to admire it at that distance. The tablet was of white marble, and on it was sculptured the figure of a young man with curly head and classic profile. He was wearing sandals and a loose mantle held to his breast with one hand, while in the other hand he carried a bunch of leaves and flowers. He appeared in the act of stepping ashore from a boat of antique shape, and the artist had been singularly successful in producing the idea of free and vigorous motion in the figure as well as of some absorbing object in his mind. The figure was undoubtedly symbolical, and I began to amuse myself by trying to guess its meaning. Then a curious thing happened. A person who had been moving slowly along near me, apparently looking with no great interest at the memorials, came past me and glanced first at the tablet I was looking at, then at me. As our eyes met I remarked that I was admiring the best memorial I had found in the abbey, and then added, "I've been trying to make out its meaning. You see the man is a traveller and is stepping ashore with a flowering spray in his hand.

Enter page number Go  Previous Next
Page 42 of 81
Words from 41869 to 42878 of 82198