44 



THE WILTSHIRE ARCHAEOLOGICAL AND NATURAL HISTORY MAGAZESTE 



that the grooves for the cement had to be wider at 

 the top than at the bottom, and that the edges needed 

 to be roughened in order for the material to remain 

 in position. 



"These proposals are discussed in Victorian Church Art 

 (London : Victoria and Albert Museum, 1971), 86- 

 87 and Bellenger, 'Henri de Triqueti', 194-5. 



' For the Mayne family, see The Victoria History of the 

 Counties of England vol. XIII South-West Wiltshire: 

 Chalke and Dunworth Hundreds (Oxford University 

 Press, 1987: hereafter VCH XIII), 189; Sir Richard 

 Colt Hoare, Bart. The Modern History of South 

 Wiltshire vol. IV (London: J.B.Nichols & J.G. Nichols, 

 1829), 112-113. On J.T Mayne's death in 1843, the 

 manor was held by his wife Sarah (1800-1871) until 

 1852 when it passed to Emily Harriette. 



1 Pevsner, Wiltshire, 518; VCH XIII, 193; Church 

 Guidebook (1998), 5-6. 



1 Peter, 1st Count De Salis (1675-1749) and his 



descendants were created Counts of the Holy Roman 

 Empire by the Emperor Francis I of Austria in 1748 

 in recognition of his services at the Treaty of Utrecht. 

 His only son and heir, Jerome (1709-1794) was 

 naturalised in 1730 and in 1735 married the Hon. 

 Mary Fane, eldest daughter of 1st Viscount Fane. 

 Their grandson, Jerome, 4th Count (1771-1836) 

 (William's father) was granted the right to use the 

 surname of Fane and to bear the arms with the family 

 arms in 1835. Royal licence to bear the title Count in 

 England was granted in 1809. Rachel E.F. Fane De 

 Salis De Salis Family English Branch (Henley-on- 

 Thames: Higgs & Co., 1934); John P. De Salis The 

 De Salis Family in the British Commonwealth. 

 Geneological Tables and Short Notes on past and 

 present members (printed for private circulation, 

 1959). 



2 Rachel De Salis, De Salis Family, 179-209. William 



Fane De Salis published accounts of his travels: 

 Introductory Remarks to a residence in Australia, and 

 to Travels in China and India (c.1890) and 

 Reminiscences of Travel m China and India in 1 848 

 (Waterlow& Sons, 1892). 



' On Emily's death in 1896, the estate passed first to her 

 sister Margaret Helen Mayne (1824-1905), and then 

 to the youngest sister Ellen Flora Mayne (1 828-1 907), 

 wife of Maurice Keatinge (1816-1896). 



4 Rachel De Salis, De Salis Family, 261. 



3 Ibid; VCH XIII, 195; Lady K.L. Keatinge, Teffont and 



the Mayne Family, unpublished typescript, 101. 



6 Rachel De Salis, De Salis Family, 261. 



7 VCH XIII, 186. 



s Salisbury Journal, 31 October 1863, 8. The guidebook 

 to the church records that the 'badly deteriorated' 

 1 9th century stained glass was replaced between 1951 

 and 1960. Richard Kemm visited the church in 1868. 

 His interest was in memorials and inscriptions so, 

 whilst he noted the window and the brass plaque 

 underneath recording the circumstances of its 



donation, he made no reference to Triqueti's panel 

 which was in place by that date. Kemm Manuscript, 

 361, WAHNS Library. The brass plaque no longer 

 survives in the church. 

 20 The scrapbook, in a private collection, contains 

 newspaper cuttings about Boehm but also the 

 sculptors Albert Bruce Joy and Harry Hems. Boehm's 

 marble bust of William Fane de Salis was exhibited 

 at the Royal Academy in 1867 (no. 1056) but it was 

 sold in the 1940s, reputedly to a student who used it 

 as a practice block. (I am grateful to Mr. Rodolph de 

 Salis for this information) . 



30 The Art Journal, August 1859, 258. The Art Journal, 



July 1860, 222 refers to this piece being exhibited 

 again in 1860, together with other works by Triqueti. 

 The De Salis Faun was bequeathed by Emily to the 

 British Museum in 1896 (Emily De Salis's will, dated 

 1894, kindly provided by Mrs. Elrington) but has 

 not been traced (Bellenger ,'Henri de Triqueti', 200 

 illustrated). 



31 The exact date of the commission has not come to 



light but, judging from other examples, this panel 

 would have taken about one year to complete and, 

 therefore, was probably commissioned sometime in 

 1862. 



32 I am grateful to Mr. Rodolph De Salis for this 



information. 



33 See note 13. 



34 The Building News, 31 July 1863, 590. The Salisbury 

 Journal, 31 October 1863, 8 states that the panel was 

 also shown at a meeting of the Fine Arts Society held 

 at the Marquis d'Azeglio's in London where it 

 attracted considerable attention. 



33 The Salisbury Journal, 31 October 1863, 8. 



36 Ibid. This review was re-printed in The Builder, 31 



October 1863, 771. 



37 A volume of designs for the Marmor Homericum, 



compiled by Triqueti and presented by him to Grote 

 in 1871, is in Library Services, University College 

 London, Ms. Add. 332. The inside cover records that 

 the work was 'commande en novembre 1863', but a 

 letter on p. 2, dated 27 August 1863, records that 

 Triqueti and Grote had met that day in Basle to 

 discuss the project 'apres nos premieres ouvertures 

 de Londres', suggesting that the idea was mooted 

 earlier. 



The exhibition of the Teffont Evias panel was 

 probably one of many factors leading to this 

 commission. George Grote possibly saw Triqueti's 

 work at the 1862 International Exhibition or his wife 

 may have suggested the commission. In 1860 Mrs. 

 Grote had published a biography of the painter Ary 

 Scheffer (who had been responsible for the overall 

 design of the cenotaph of the due d'Orleans executed 

 by Triqueti in 1842-3) in which she referred to 

 Triqueti as 'a genuine artist and sculptor'. Mrs. Grote 

 Memoir of the Life of Ary Scheffer (1860), p.67. 



38 A commemorative volume of photographs was 



