The initial motivation for the visit was to photograph the paper doves in the Cathedal, see the first item below. The Cathedral and Salisbury as a whole proved a delightful place to visit and to snap.
The Cathedral is a lovely place, but in the interior it is difficult to incorporate GT into shots as placement opportunities are limited and the lighting very varied.
Quote from the Daily Mail,
A 'flock' of 3,000 paper doves has arrived in the rafters of Salisbury Cathedral. The impressive display of white birds has flown all around the world from Jerusalem to Berlin and the US, before arriving in Salisbury. The paper origami birds by artist Michael Pendry have been suspended from the roof of Salisbury cathedral. According to the creator of the piece named 'Les Colombes' their presence represents hope and positivity.
Mr Pendry said: 'I call it an Art for Peace project, it's about creating a more peaceful world and finding a very simple picture and symbol that everybody understands. We're involving people with the folding of the doves and the flock is growing from place to place and country to country.' Jacqueline Cresswell from the Cathedral told Spire FM she was looking for a First World War commemorative piece when she found the birds. Salisbury is in need of positivity, she said, since it has made headlines for all the wrong reasons. dailymail.co.uk
Quite by coincidence and unaware of the relationship, two days earlier I had photographed the new statue of Henry's suffragist wife Millicent that had been unveiled in Parliament Square a few months before. I have not identified the sculptor. Quote from the Salisbury Journal, 12th June 2012.
VISITORS to Salisbury City centre this week may notice something a little bit different about the statue of Henry Fawcett in the Market Place. The statue was adorned with knitted decorations by a group calling itself the Ninja Knitters, marking Worldwide Yarn Bomb Day. Yarnbombing involves the decoration of free standing objects in public places with knitted, woven or crocheted items to highlight an issue or simply put a smile on people’s faces. A spokesman for the Ninja Knitters said: “We are a community arts project. We love Salisbury and want to make it a better, more colourful and more creative place to live.
“We wanted to decorate the statue of Henry Fawcett to celebrate the contribution that he made to the women’s suffrage movement.” The statue was decorated with a sash in the green, white and violet of the suffrage movement. A spokesman for Salisbury City Council said it will probably be removed if it starts to look worn but it has no major objections and it taking the new décor in the spirit it was intended. salisburyjournal.co.uk
Most call this Cloaked Figure IX, though the Cathedral has plaqued it "Walking Woman". Or I might have my plaque snaps mixed up. There were more Chadwicks at Sculpture in the Square.
Quote from the Salisbury Journal, 13th August 2014
SALISBURY Cathedral has boosted its growing reputation for visual art by displaying a sculpture by one of Britain’s most esteemed sculptors, Lynn Chadwick. The artwork went on show in the Cathedral Close on Monday. This year  is the centenary of Lynn Chadwick’s birth and a number of significant exhibitions have taken place around the world to recognise his international standing.
Cloaked Figure IX is one of the best known sculptures from his famous series of walking and standing cloaked figures created in the 1970s when he was at the height of his fame.
Jacquiline Creswell, visual arts advisor for the cathedral, said: “Cloaked Figure IX, has enormous presence. She evokes images of cardinals and other ecclesiastic figures as she makes her way majestically toward the huge west doors of the cathedral. “ It is an implied movement, her enveloping, protective cloak swept behind with her pyramidal head held high, surveying her new surroundings.” “This life-size entity in the Close will be a new member in our rolling arts programme and we are looking forward to opportunities to use this distinctive sculpture as a focus for community engagement.”
Cloaked Figure IX will be in excellent company. Already on display are Helaine Blumenfeld’s Angels: Harmony on Choristers’ Green, Elizabeth Frink’s Walking Madonna in the churchyard and Emily Young’s Angel Head in the cloister garth. [and snaps of all of those follow] salisburyjournal.co.uk
This was also seen a few weeks later at Sculpture in the Square. Quote from Sculpture Script,
In October 1981, the Dean of Salisbury Cathedral, Wiltshire, wrote to his parishioners to inform them that ‘a new resident will be observed in the Close.’1 The initially temporary figure subsequently became a permanent inhabitant of the genteel eighteenth-century Cathedral Close. At the centre of the Close is a sizable lawned square, surrounded by historic houses, including the Queen Anne period Mompesson House, which is now owned by the National Trust. Walking south towards the pale, pollution-tinged, Cathedral, along the east side of the Close, a substantial white painted gate stands ajar.
Within the Cathedral grounds, set on a truncated triangle of frayed and patch-worn grass, is the Walking Madonna. So slight that she is almost invisible – a mere shadow lost amongst the municipal clutter of four utility signs, the tall path light sited before the Cathedral porch and the apparently random rubble of large sandstone rocks on the east lawn. Her diminutive frame stands just less than 2 meters and is dominated by the scale of the Cathedral. Perhaps this tension of scale is a reference to humanity’s perceived insignificance against the presumed might of the Church. The dark patina of her bronze casting blends perfectly with the sombre gape of the huge perpendicular Gothic windows; her sun-tipped relief is lost in the reflected solar glint on the glass.
The tension of her suppressed anguish is visible in the slightest rise of her taut shoulders and grieving pinched-lip countenance; her modest demeanour echoes that of a nun, likened to Sister Raphael, the headmistress of the convent that Elisabeth Frink attended. The simplicity of the Madonna’s sackcloth textured clothing and waif-slender frame quietly proffers solace rather than chastisement for those who choose to meet her gaze or place their hand in her grasp-polished left hand. She is stilled by the depth of her thoughts, motionless, yet walking with resolute purpose. She strides forth into the Salisbury community, facing unexpectedly outwards, away from her spiritual home. sculpturescript.com