FOOTNOTES:

S.E. CHAPEL IN THE CRYPT.S.E. CHAPEL IN THE CRYPT.

The crypt consists of an apse, three small apsidal chapels—i.e.a N.E., an E., and a S.E. chapel, and also two chapels underneath the eastern chapels of the north and south transepts.

"The outer walls of the crypt are about 10 feet thick, and the aisle floor is on an average 8 feet below the level of the soil on the outside of the building. The centre part is divided by two rows of small columns, irregularly placed, from which spring arches carrying the floor of the choir above; the bases and capitals of these small capitals are much out of level from west to east, and from north to south, and in design they vary greatly as to their capitals, abaci, and bases. All of these are strikingly different to the half columns with cushion capitals attached to the outer walls, on which rest the ribs they mutually carry. So different, indeed, are they as to make it questionable if by far the larger portion of these columns does not belong to our earlier church."

"Great alterations have from time to time been made in the crypt. The large semi-circular columns against the walls, though of great antiquity, are not parts of the original structure, but are casings built round, and enclosing the former smaller piers, and the ribs springing from their capitals are builtunder, with a view to support the vaulting." (F. S. W.)

This strengthening work was rendered necessary owing to earthquake shocks which occurred, and possibly from the fact that the originally defective foundations on the south side of the crypt caused a slight settlement.

It may be noted here that the masons' marks found in the triforium on the Norman work are also found in the crypt on the later strengthening work, and not upon the Early Norman work. This fact has been considered to prove that the crypt was built by Aldred.

The first chapel—i.e.that below St. Andrew's Chapel—contains a double piscina with a shelf in good preservation. There are remains of hinge-posts (two sets), and the holes for the movable bar with which the doors could be fastened.

The second chapel—i.e.that underneath St. Philip's Chapel—contains an arcade of five plain arches with ornament above. There is also a double piscina with shelf in good preservation, and a large altar-step, 6 feet 2 inches by 4 feet.

The third or eastern chapel, which is under the vestibule leading into the Lady Chapel, contains portions of the building which have had to be replaced by recent work, and some fragments of tombstones, one bearing the inscriptionGilbertus.

PLAN OF THE CRYPT.PLAN OF THE CRYPT.From a Drawing by F. S. Waller, F.R.I.B.A.The dark tint on the walls represents the Early Norman Crypt.The second period of Norman work is shown by the double lines round the small shafts at A A, which denote masonry erected some time after, to carry the ribs which strengthen the vaulting.The parts sectionised were for the most part built in the fourteenth and fifteenth centuries to carry the walls above—notably s s, as foundations for the choir piers.]

PLAN OF THE CRYPT.From a Drawing by F. S. Waller, F.R.I.B.A.The dark tint on the walls represents the Early Norman Crypt.The second period of Norman work is shown by the double lines round the small shafts at A A, which denote masonry erected some time after, to carry the ribs which strengthen the vaulting.The parts sectionised were for the most part built in the fourteenth and fifteenth centuries to carry the walls above—notably s s, as foundations for the choir piers.]

PLAN OF THE CRYPT.From a Drawing by F. S. Waller, F.R.I.B.A.

The dark tint on the walls represents the Early Norman Crypt.

The second period of Norman work is shown by the double lines round the small shafts at A A, which denote masonry erected some time after, to carry the ribs which strengthen the vaulting.

The parts sectionised were for the most part built in the fourteenth and fifteenth centuries to carry the walls above—notably s s, as foundations for the choir piers.]

The fourth chapel, which is underneath Abbot Boteler's Chapel, also contains fragments, some of them very beautiful specimens of stonework. There is also a slab, upon which is to be read the words,Orate pro aia frîs Johîs. This slab was formerly in the south transept, and was (according to Mr Haine's transcription of the slab made thirty years ago) to the memory of John Lempster, who lived in Abbot Froucester's time.

A slab inscribedI Staunt, which used to be in the cloisters at the entrance to the chapter-house, is also in the crypt. This John de Staunton was akin to Abbot Staunton, who was buried in 1351.

The fifth chapel, which is underneath St. Paul's Chapel, was the chapel through which the Abbot had access to the crypt from the Abbot's cloister. The easternmost portion has some very good vaulting and decoration of the thirteenth century, and contains a very mutilated piscina. The groining of the roof is, unfortunately, falling away by degrees. There are traces of some fine bosses.

The crypt was cleared, drained, and concreted in the course of the restoration that took place during the years 1853-1863.

Ambulatories of the Choir.—These aisles have nothing uncommon in their form or arrangement below, but above occurs the great peculiarity of this church. The side aisles and eastern chapels are, in fact, including the crypt, three storeys high, and all vaulted, and the upper range of chapels surrounding the choir is perhaps not to be met with in any other church in Europe.

Near the entrance to theS. Ambulatory of the Choira tomb and brass to the memory of Rev. John Kempthorn, B.D. (1838) will be found on the right, near the side entrance into St. Andrew's Chapel.

Close to it, upon the floor, is a modern brass, by Messrs Heaton, Butter & Bayne, to the memory of Rev. H. Haines, M.A., who for twenty-three years was second master in the cathedral school. He died in 1872. His book on the Cathedral, which he knew so thoroughly and loved so well, is one of the best guide-books to the building, but, unfortunately, no new edition has been issued since 1884.

Some of the piers in the south ambulatory of the choir will be found to show traces of colour decoration in certain lights.As a whole they retain more Norman work, unaltered, than perhaps any other portion of the building.

Near to the Kempthorn monument is the memorial window to Canon Harvey and his wife, who both died in the year 1889. The glass is by Kempe.

The second window, also by Kempe, is a memorial to the Rev. H. Law, who was Dean from 1862-1884. The figure drawing in this light will attract notice.

The third window, glass by Kempe, is a memorial to the Rev. Sir J. H. Culme Seymour, Bart., who was Canon of Gloucester for fifty-one years, and died in 1880.

The Triforium of the Choiris, perhaps, the finest triforium in existence, and is worthy of special examination. "It occupies the space over the ground floors of the aisles or ambulatory of the choir, and originally extended of a like width round the east end of the Norman Church, but at the time when the fourteenth-century work of the present choir was executed, the whole of the east end of the old Norman choir, with the corresponding part of the triforium, was removed in order to make room for the existing large window, the small east chapel being allowed to remain." (F. S. W.) The original shape of this part of the building will be more clearly seen by reference to the chapel (D), indicated by dotted lines on the plan, and to the extreme east chapel of the crypt. As the means of entrance to this east chapel of the triforium was now gone, the narrow gallery usually called the "Whispering Gallery" was made, and carried by segmental arches, marked BB, from the south-east to the east chapel, and from the east chapel to that on the north-east. The external appearance of the Whispering Gallery is shown on page 75. The casual observer frequently takes it to be a piece of Norman work, but it is in reality the material of Norman builders very skilfully re-used.

The triforium is reached by the staircases in the western turrets of the two transepts and by arcaded passages passing under the great windows of the transepts. Excellent views across the transepts are thence to be obtained. Still better views can be got from the corner of the triforium (near the painting of the Last Judgment), both across the organ to the north side of the nave, down the south aisle, and also across the choir.

The first chapel in the triforium contains two brackets with rich canopies, and there is a very well preserved double piscina. Ball-flowers in two rows will be found in the mouldings of the east window. Remains of two canopies in the jambs of the windows are also to be traced.

The massive Norman piers should be carefully studied, as the way in which the later casing work has been applied can be more easily seen in the triforium than elsewhere.

The picture on the west side of this part of the triforium was discovered in 1718, against the then eastern end of the nave, underneath the panelled wainscot at the back of the seats occupied by the clergy when the nave was used for service.

During the last few years it has lost much of its colour; it is paintedin temperaon a kind of gesso ground laid on a wooden planking nearly an inch thick. From the size of it—viz. 9 feet 10½ inches by 7 feet 7¼ inches—it was formerly thought to have formed part of the reredos.

Portions of the original frame remain, and they show traces of gilding upon them. The picture has been varnished to preserve it, and, although hung in a wretched situation for light, it is worth more than passing attention. Christ is represented in the centre, throned on a rainbow, attended by angels, and having a globe and a cross below Him. His mantle is red, with a jewelled border. On either side of His head are emblems —on the left a lily, emblematic of mercy; and on the right a sword, emblematic of justice. The lily inclines towards the righteous, and the sword points towards the wicked. Below on the left are six apostles, but above these is an angel holding a T cross and the crown of thorns. To balance this, on the right is an angel with a whipping-post, a scourge, and a spear. Over these figures are scrolls, one on the left inscribed "Come, O you blessed ...", and on the right, "Go, O you cursed ..." In the centre, under the globe, is an angel holding an open book, "The boke of côsciens "—i.e.the book of conscience. On either side are angels blowing upon trumpets, from which extend scrolls inscribed, "Aryse, you dede. Come to your judgement"; and below this the Resurrection is depicted. An angel (in the centre) is scaring away a horned demon from the soul borne up by the angel. On the right the wicked are being carried off by fiends; on the left the righteous are being led away by angels bearing crosses.

In the left-hand bottom corner are angels and inscriptions. "Before man lyfe and death. In all thy workes remêbre thy last, and never wilt thou offend." In the top corner on the left is represented the New Jerusalem. The architecture is classic in character.

SOUTH-EAST VIEW OF CATHEDRAL SHOWING WHISPERING GALLERY.SOUTH-EAST VIEW OF CATHEDRAL SHOWING WHISPERING GALLERY.

St. Peter and an angel are standing close to a gate into which the righteous are entering. A choir of angels with musical instruments are above.

In the bottom corner on the right the mouth of hell is represented, into which the lost are being thrust by attendant demons. There is a grim figure inside a globe, possibly intended for the Prince of this world, seizing a soul by the hair. At the bottom are other fiends helping to torture the unhappy lost.

TRIFORIUM OF THE CHOIR, LOOKING EAST.TRIFORIUM OF THE CHOIR, LOOKING EAST.

Sir G. Scharf, inArchæologia, vol. xxxvi., says that the picture is English, and is of great importance. He thinks it was painted during the latter years of the reign of Henry VIII. or during that of Edward VI., and points out that it is an epitome of the famous altar-piece at Dantzig, painted in 1467. It is remarkable that in this picture the Virgin and St. John the Baptist, who are usually associated in pictures with the Saviour, are altogether omitted.

The second, or south-eastern chapel, contains many interesting remains of coloured tiles, old carving, some being linenfold panels. There are also some finely-carved pilasters, which once formed part of the Queen Anne reredos, put up by Dean Chetwood about 1710. This reredos was taken down in 1807, and was for many years in the old church at Cheltenham. When, however, the church at Cheltenham fell into the hands of the restorer, parts of the carved work were brought back to Gloucester.

Passing towards the Whispering Gallery, the flying buttresses inserted to support the walls of the clerestory, which were weakened by the insertion of the great east window of the choir, 1347-1350, should be noticed.

TheWhispering Gallery, to which the ordinary visitor pays more attention than anything else in the building, has remarkable acoustic properties. A whisper (the lower in tone the better) can be easily and distinctly heard at the other end of the gallery, and to this peculiarity the following lines, by Maurice Wheeler (head-master of the King's School, 1684-1712) have reference:

"Doubt not but God, who sits on high,Thy secret prayers can hear,When a dead wall thus cunninglyConveys soft whispers to the ear."

Lord Bacon seems to have thought over the subject of the gallery, and his remarks are here quoted: "I suppose there is some vault, or hollow, or isle behind the wall, and some passage to it, towards the farther end of that wall against which you speak, so as the voice of him that speaketh slideth along the wall, and then entereth at some passage, and communicateth with the air of the hollow, for it is preserved somewhat by the plain wall: but that is too weak to give a sound audible till it has communicated with the back air."

The gallery is a passage of Norman work, very much altered and re-used. It is 74 feet long, 3 feet wide, 6-1/8 feet high, and is carried on segmental arches from the east end of the south triforium to the west wall of the Lady Chapel, and from thence in the same way to the north triforium. On page 75 will be seen the appearance of the little bridge thus made.

In passing through the gallery access is obtained to a chapel on the right, which is immediately over the entrance vestibule tothe Lady Chapel. From this chapel a very good general view of the Lady Chapel can be obtained. The bosses in the roof show to greater advantage, and it is possible to see more of the colour that remains on the walls.

This chapel is smaller than the others in the triforium, and was reduced in size when the west end of the Lady Chapel was built. The altar slab is original Norman work, and has three or four † inscribed in it.

SOUTH AMBULATORY OF THE CHOIR.SOUTH AMBULATORY OF THE CHOIR.

The pieces of old glass formerly in this chapel have disappeared, and modern ornamental quarries and medallions, by Hardman, have taken their place.

The fourth chapel has nothing of note in it beyond the window tracery.

The fifth chapel, or the one nearest to the north transept, contains a double piscina, in very good preservation.

The triforium contains a few monuments, chiefly those thathave been removed from the nave. Bishop Benson's monument was formerly on the face of the buttress that passes through St. Andrew's Chapel.

The triforium seems a better resting-place than the crypt for monuments which are rejected from the nave and elsewhere. It is to be hoped that in the years to come no restorer will lay hold upon the monuments in the Lady Chapel and transepts, and consign them to oblivion in the neighbouring garden of the deanery. This was done in Dean Law's time, and may in part be the reason why the cathedral is so poor in specimens of monuments of the Queen Anne period.

TheSouth-East Chapel, which is dedicated to St. Philip, contains some interesting features. The arches are of a distinctly "pointed" character, and there are remains of the two bases of pillars which supported the stone altar slab.

This chapel was restored in memory of Sir C. W. Codrington, Bart., M.P., who died in 1864. Various incidents in the life of St. Philip have been painted on the vaulting by Burlison & Grylls, but the paintings have suffered somewhat from damp. The window, which is by Clayton & Bell, is of no special interest, and represents saints, principally British, and striking incidents in the life of each in the panel under each of the figures.

Near the piscina, at the base of a pier, will be found some dog-tooth moulding. This is repeated on the other side of the chapel, but not on the corresponding pier.

Before entering the Lady Chapel, a Perpendicular arch will be noticed, with two eye-shaped openings in the spandrels. The openings are well carved on their bevelled edges. The arch is of later date than the front of the chapel, and seems to have been necessary to support the triforium above. Nothing like it exists on the other side. There is an old cope-chest in this Ambulatory.

TheLady Chapel.—This beautiful chapel, which was built between the years 1457-1499 by the Abbots Richard Hanley and William Farley, stands on the site of a smaller building, dating back to 1224, and erected by Ralph de Wylington and Olympias, his wife, the architect of the work being Elias or Helias the Sacrist, a monk of the Gloucester monastery. As Mr Bazeley points out ("Records," vol. iii.pt. 1, p. 14), "The only architectural evidences of its former existence are two Early English windows in the crypt, in the central eastern chapel."

Mr Waller thinks that this Early English Lady Chapel was "probably not a new building, but simply an alteration of the old east apsidal chapels on each floor to suit the 'Early English' times, just as the fourteenth-century men afterwards recased the cathedral. The inserted windows of this date in the crypt seem to confirm this view."

On the site of this chapel must have stood the chapel and altar (or at any rate the altar) dedicated to St. Petronilla, as Ralph and Olympias gave rentals to provide lights to burn thereat during mass for ever.

The vestibule or entrance to the Lady Chapel is a beautiful piece of work, and is another instance of the genius of the builders shown in making use of existing work. Special interest attaches to this chapel as a whole, as it was the last addition to the fabric by the monks before the Dissolution.

Firstly the walls of the vestibule should be noticed: the lower portions of the west wall are parts of the old Norman apsidal chapel, and are pierced by the opening for the door and by two perpendicular windows; and the west end of the chapel is contracted in breadth, as it is also in height, so as to minimise the loss of light to the great window of the choir. The shape of the chapel will be easily understood from the plan (p. 61).

The lierne vaulting of the vestibule is very delicate (the ribs, it will be noted, are run differently in the four quarters of the roof), and the pendants form a cross. These latter, at the present time, look new, but they have only been freed from the whitewash that was thick upon them. One pendant has been renewed at the end. Over the vestibule is the small chapel which is entered from the Whispering Gallery (videpage 77).

The open tracery of the west end over the supporting arch is particularly graceful, especially the way in which the open lights are arranged in the central portion. The Lady Chapel is 91 feet 6 inches long, 25 feet 6 inches high, and 46 feet 6 inches high, and consists of four compartments or bays, which, as the wall of the chapel is so low, are chiefly composed of fine tracery and glass. All the wall below the windows is arcaded with foiled arches, with quatrefoils above them. Thewall between the windows is panelled with delicate tracery like that in the windows, and in its three chief tiers contains brackets for figures, with richly-carved canopies overhead. Many of these canopies (like the walls) show traces of colour.

THE LADY CHAPEL.THE LADY CHAPEL.

Vaulting shafts of great beauty support one of the grandest Perpendicular roofs that has ever been made. Each boss in the roof is worth minute inspection, and since the restoration (1896) it is possible to see the bosses in practically the same condition as they were when they left the masons' hands in the fifteenth century. With three exceptions they are allrepresentations of foliage, and it would be a hard task to arrange them in order of merit.

It has been said above that the chapel is cruciform. The arms of the cross are represented by the two side chapels, like diminutive transepts on the north and south sides, with oratories above them, to which access is given by small staircases in the angles of the wall. Both these side chapels contain some exquisite fan-tracery vaulting, which is supported upon flying arches, fashioned in imitation of the graceful flying arches in the choir.

On the north side the chapel contains a full-length effigy of Bishop Goldsborough (who died in 1604) robed in his white rochet, black chimero, with lawn sleeves, scarf, ruff, and skull-cap.

The east window in this chapel is in memory of Lieut. Arthur John Lawford (1885), and is dedicated to St. Martin.

The chapel above has a vaulted roof with bosses of foliage, and there are small portions of ancient glass.

Bishop Nicholson's tomb, which was formerly in the south chapel, where it blocked up the east window, is at present in pieces in this upper chapel. It is to be re-erected in another place.

There are some interesting scribblings on the walls of this chapel. On the shelf for books is a representation of a Cromwellian soldier with a dog, apparently in pursuit of a deer. There are also scribblings with devices, dating to 1630-1634. One love-sick swain described an equilateral triangle with a † rising from the vertex, and then inscribed the initials of hisfiancéeand also his own.

TheSouth Chapelcontains an altar tomb to Thomas Fitzwilliams, who died 1579, and there is a wooden tablet, painted with an inscription to tell that it was repaired in 1648.

A window has been put up in memory of S. Sebastian Wesley, a former organist of the cathedral, who died in 1876.

In the south chapel there are scribbles, dating back to 1588 and 1604. Both of these chapels have shelves for books, but it is probable that one was for a small choir and the other for an organ.

TheLady Chapelis one of the largest in the kingdom, and is said, at the time of the Dissolution, to have been one of the richest. A great part of it is said to have been gilded and gloriouslyornamented. Traces of the colour can be seen in the mouldings of the panellings and in the carving upon the walls.

WEST END OF LADY CHAPEL.WEST END OF LADY CHAPEL.

TheReredos, judging from the traces that are left, must have been a gorgeous sight, and literally a blaze of colour. Appliqué work has been lavishly employed in its decoration.Anyone who is privileged to examine it very closely will note the writing on the stonework, which has been laid bare in the niches by the ruthless removal of the figures. At present what the present Dean, in his article on the Great Abbeys of the Severn Lands, calls its "pathetic scarred beauty," is temporarily veiled by a very modern screen. The reredos, though a ruin, has a charm all its own, and it is better to leave it frankly as it is now than to partly hide it. There are some, no doubt, who would restore it, but it is to be hoped that funds will not be forthcoming. Restoration has effectually marred the beauty of the pavement of the choir, and given us a flashy reredos there, of which the less said the better; but every one with a particle of feeling must feel that restoration and decoration of the Lady Chapel reredos would be a crime.

Bishop Benson covered the reredos with stucco, and put up a huge gold sun in front of it. Portions of this are now at Minsterworth. An engraving of it may be seen in Bonnor's "Perspective Itinerary," published in 1796, and this plate also shows the long rows of pews removed from the choir by the same bishop.

The sedilia are very fine, and worthy of careful inspection.

TheEast Windowconsists of nine lights, and has been terribly mutilated, partly by fanatics, partly owing to lack of care within the last century. In design the window resembles the windows on the north and south sides of the chapel. It was erected in Abbot Farley's time (1472-1479), and possibly by a Thomas Compton, seeing that in the quatrefoiled circles in the heads of the lower lights there are rebuses—a comb with TÕ, and CÕ with a TON (for Compton), as well as two intertwining initials. Much of the glass seems to have been put in after removal from other windows in the cathedral, and this makes the deciphering of this window no easy undertaking.

The tiles in the Lady Chapel are of great interest, and one cannot help regretting their gradual deterioration under the feet, occasionally the hobnailed feet of visitors, and the slower but surer destruction by the accumulations of grit under the matting on the floor. They may be best examined by turning up the matting near the Clent tablet on the south wall.

On a pattern made up of sixteen tiles, four times repeatedcan be read, "Ave Maria gra' ple' Dus tecum" i.e. "gratia plena Dominus tecum." On others similarly designed, "Domine Jhu (Jesu) miserere." On others, "Ave Maria gra' ple'" and "Dne Jhu miserere." These tiles in square sets of sixteen and four respectively were placed alternately, and separated by plain dark bricks. On others again will be found "Orate pro Aiâ Johis Hertlond (pro anima Johannis)." Some too seem to have been transferred from Llanthony Priory to the south chapel. They are inscribed, "Timetib' deû nihil deest," i.e. "Timentibus deum nihil deest." There are others in the chapel, "Letabor in mia—et sethera," and "Deo Gracias."

The monument to Sir John Powell (1713) on the north wall is not beautiful, though a good specimen of its time. It is impossible not to regret that it was ever allowed to be erected in the chapel. Powell was a judge of King's Bench, and is here represented in his gown, hood, mantle, and coif.

Other monuments are those to Eliz: Williams, 1622 (the figure is raised on one elbow); to Margaret Clent, 1623, with a touching epitaph. On the floor, near the Williams monument is a small brass, concealed by matting, to Charles Sutton, an infant seven days old. The brass contains two Latin lines modelled on the lines of Ovid's "Tristia," and run:

"Parve, nec invideo, sine me, puer, ibis ad astra,Parve, nec invideas, laetus ad astra sequar."

Many of the slabs on the floor will repay perusal, most of them being well cut and fairly well preserved. In Brown Willis' "Survey of Gloucester" will be found a full record of all the tombstones which in his time (1727) were in this chapel, but have since been removed or re-used.

Turning to the right on leaving the Lady Chapel, the north-east chapel, which is calledAbbot Boteler's Chapel, is the next in order. It dates from 1437-1450. The reredos should be closely examined, as it retains many of its original features—viz. statuettes, traces of painting on the shields above, and a very good piscina.

The tiles in the floor are in many cases excellent specimens, especially those with fish upon them. It seems a pity that these tiles should be doomed to disappear under the nails of sight-seers, who as a rule look at nothing but the effigy ofRobert, Duke of Normandy, and go away satisfied when they have proved for themselves that the effigy is of wood.

The effigy has had a curious history. As Leland says, "Rob'tus Curthoise, sonne to William the Conquerour, lyeth in the middle of the Presbitery. There is on his tombe an image of wood paynted, made long since his death." As to the date there is great uncertainty, and it would seem that the figure and the chest upon which it lies are not of the same date. Sir W. V. Guise in "Records of Gloucester Cathedral," vol. i., part 1, p. 101 (now out of print), says, "I am disposed to assign to the effigy a date not very remote from the period at which the duke lived. The hauberk of chain-mail and the long surcote ceased to be worn after the thirteenth century," and on p. 100, "The mortuary chest on which the figure rests is probably not older than the fifteenth century ..." Around the chest are a series of shields bearing coats-of-arms, ten in number, nine of which were originally intended to commemorate the nine worthies of the world. On the dexter side: 1. Hector. 2. Julius Cæsar. 3. David. 4. King Arthur. On the sinister side: 5. Edward the Confessor. 6. Alexander the Great. 7. Judas Maccabæus. 8. Charlemagne. 9. (at the south end) Godfrey of Bouillon. 10. (at the north end) The arms of France and England, quarterly. The blazoning of 10 proves the chest to be later than the time of Henry IV.

The oak figure was broken into several pieces in the civil wars of Charles I., but was bought by Sir Humphrey Tracey of Stanway, who had it repaired, and presented it to the Cathedral.

Leland says that the duke "lyeth in the middle of the Presbitery." The inscription in the chapter-house says "Hic jacet Robertus Curtus." The plain pavement in the choir is said to mark the site of the grave in the choir, but it is open to question whether there would be space for interment between the tiling and the upper side of the vaulting of the crypt. It is to be hoped that at some future time the effigy may be moved back to its place in the Presbytery.

The next chapel—i.e.the north-west chapel, is dedicated to St. Paul, and is entered by a doorway, with the initials T. C. over it, in the spandrels. T. C. may stand for Thomas Compton.

TOMB OF ROBERT CURTHOSE.TOMB OF ROBERT CURTHOSE.

The windows in the north ambulatory of the choir are as follows:—

The window next to Boteler's Chapel is a memorial erected by the dean and chapter to Mrs Tinling. The glass was designed by the late J. D. Sedding, Esq., and was executed by Kempe.

Opposite to the tomb of Edward II. is a memorial window, also by Kempe, to the late Lieut.-General Sir Joseph Thackwell and his wife.

The third window is a memorial to Alfred George Price, who died in 1880, and it represents the four great builders of the church—viz. 1. King Osric. 2. Abbot Serlo. 3. Abbot Wygmore. 4. Abbot Seabroke.

Opposite this door in the north-east corner is a doorway—Perpendicular in style—with interesting cresting and carving, giving access to the vestries and the choir practising-room.

In this, as in the other chapels, the groined edge of the Norman vaulting is carried down the piers.

The reredos in this chapel was more perfect, in point of good repair, than any other in the building, and the chapel was repaired by the late Earl of Ellenborough in 1870, figures by Redfern representing St. Peter, St. Paul, and St. Luke being inserted in the niches.

At the back of the reredos are windows (by Burlison & Grylls) representing in the side-lights angels with instruments of music, and in the centre Our Lord in majesty with angels bearing crowns and branches of palm.

On the south side of the chapel is a brass tablet in memory of Dean Law, who was Dean from 1862-1884. The combination of copper, brass, and gun-metal is to be regretted, as the workmanship is above the average, and the design is good. It is a mistake to paint heraldic devices on brass.

Close by the door leading into the north transept will be seen the stone reading-desk, from which it is said addresses were given to the many pilgrims who came to the shrine of the unfortunate Edward II.

TheNorth Transept.—This transept, like that on the south, consists of Norman work, which was cased over by Abbot Horton during the last years of his abbacy (1368-1373) with fine Perpendicular panelling, cleverly engrafted into the original wall. It will be noticed that the work is, though Early Perpendicular, much more fully developed than that in the south transept. Angular mouldings of great beauty are used in the place of round mouldings; the mullions run right up tothe roof, which again is much richer than that in the south transept. The vaulting of the north transept somewhat resembles in character the fan-tracery of the cloisters, the junction of the main and transverse vaults being rounded rather than angular, and the smaller ribs springing from between the larger ones a littleabovethe union with the capitals of the supporting shafts. This transept is 8 feet lower than that on the south side. It is 2 feet shorter, and 1 foot less in width.

NORTH AMBULATORY OF THE CHOIR, LOOKING EAST.NORTH AMBULATORY OF THE CHOIR, LOOKING EAST.

On the north side, "under the north window, is a beautiful piece of Early English work (c. 1240), which is supposed to have been aReliquary."

NORTH AMBULATORY OF THE CHOIR, LOOKING WEST.NORTH AMBULATORY OF THE CHOIR, LOOKING WEST.

It is constructed in three divisions, that in the middle being a doorway. Foiled openings enrich all the arches, and the carving of the foliage is very beautiful. Purbeck marble shafts are placed at the angles, and corbel heads at the spring of the arches, except at the north-east corner, where a stone shield, with arms of Abbot Parker, are substituted. Much of the figure-work on the outside has been mutilated. In the inside the roof is simply groined, with bosses, one of which in the central division is most beautifully wrought; and there are, too,small heads which, fortunately, seem to have escaped notice altogether, and are almost perfect. In Bonnor's "Perspective Itinerary," 1796, it is described as punishment cells. Mr Bazeley thinks it was part of the Early English Lady Chapel, builtin 1227, which, being thought worthy of preservation, was taken down and re-erected here when the present Lady Chapel was built.

Opposite to the reliquary is aChapelbetween the tower piers, said to be dedicated toSt. Anthony.

DOOR FROM NORTH TRANSEPT INTO NORTH AMBULATORY OF THE CHOIR.DOOR FROM NORTH TRANSEPT INTO NORTH AMBULATORY OF THE CHOIR.[From a Photograph of Miss Dawson of Cardiff

The wood panelling on the back of the stalls of the choir shows traces of painting, representing the soul of a woman at the mouth of a hell or purgatory, praying to St. Anthony, who is depicted with his pig and a bell. Other figures are there, but they are beyond recognition. This chapel is used as theDean's vestry, and contains some old panelling, re-used, and two old strong-boxes.

Beneath the niche, near the door leading into the North Ambulatory of the Choir, is an inscription, which is now barely legible (even with an opera-glass)—Orate pro aiâ (Magistri Johannis) Schelton; at least so Brown Willis read it in 1727. On the floor of this transept are some slabs, now brassless, under which have been buried men of note in the early days of the history of the building. One mutilated slab, 7 feet 1 inch by 3 feet 4 inches, has an inscription, of which some only is now legible in the border. From Brown Willis' "Survey of the Cathedral," 1727, it can be seen that it is to Robert Stanford.

The inscription was—

Hic jacet Robertus Stanford quondam serviens hujus monasterii et specialis ac munificus benefactor ejusdem qui obiit vicesimo secundo ...

A brass to Wm. Lisle, 1723, has been inserted.

Abbots Horton, Boyfield, Froucester were all buried in this transept, but beyond crediting the stone that shows a trace of a mitre to Froucester, it is a mere matter of speculation to distinguish between the others. The stone next but one to it contains the matrix of a fine cross. The north window was filled in 1874 with glass by Hardman in memory of Sir Michael Edward Hicks-Beach, Bart., M.P., and his wife. The subjects are episodes in the life of St. Paul.

Under the west window of this transept is a curious painted monument to John Bower and his wife (1615). They had "nyne sones and seaven daughters," who are represented in perspective on the wooden panel against the wall. The tomb is barely characteristic of its date. On the top is an inscription—Memento mori; also,Vayne, vanytie, witnesse Soloman, all is but vayne.

The colour on the tomb has suffered from whitewashing at various times, and the tomb has been scorched by the heat generated by the warming apparatus in the corner, to the detriment of the painted panel.

The west window of this transept was put up in 1894, in memory of Wm. Philip Price, M.P. This window is too full of detail, and the canopy work is overdone. The glass is by Kempe.

The east window contains some old glass, releaded by Clayton & Bell.

FOOTNOTES:[1]They have practically been shortened 10 inches by their plinths being concealed by the pavement put down in 1740. Their circumference is 21 feet 7 inches, and the distance from pier to pier about 12 feet 6 inches.[2]Similar ornament in windows may be found at Leominster, Ledbury Church, Minsterworth, Hartbury, St. Michael's (Gloucester), and in the tower of Hereford Cathedral.[3]The abbey at Tewkesbury is a building which every visitor to Gloucester ought to make a point of seeing and studying. It was built on a similar plan, at the same time, and probably by some of the same builders who built Gloucester.[4]The Crypt is described here because it is, as a rule, entered from the eastern door in the south transept.

[1]They have practically been shortened 10 inches by their plinths being concealed by the pavement put down in 1740. Their circumference is 21 feet 7 inches, and the distance from pier to pier about 12 feet 6 inches.

[2]Similar ornament in windows may be found at Leominster, Ledbury Church, Minsterworth, Hartbury, St. Michael's (Gloucester), and in the tower of Hereford Cathedral.

[3]The abbey at Tewkesbury is a building which every visitor to Gloucester ought to make a point of seeing and studying. It was built on a similar plan, at the same time, and probably by some of the same builders who built Gloucester.

[4]The Crypt is described here because it is, as a rule, entered from the eastern door in the south transept.

Within the area once contained by the boundary walls of the Abbey (for which see the plan on p. 103) there are remains of four of the originalGateways. The finest of these is that which leads into St. Mary's Square, and the best view of it is obtained from the steps of the memorial to Bishop Hooper. It is a very typical specimen of Early English work. "It has a gate porch entered by a wide but low pointed arch, with an inner arch where the doors were hung. The gatehall thus formed also had doors towards the court, and in its south wall are two recesses. The upper storey has, towards the street, an arcade of four arches, and the outer pair have each a trefoiled niche or panel in the back. The other two arches are of larger size and are both pierced with two interesting square-headed lights, also of the thirteenth century, with dividing mullions. In the gable, within a large triangular panel, is a niche of three arches, originally carried by detached shafts, but these are now broken away." (Hope.)

Tradition has it that Bonner watched the burning of Bishop Hooper from the window over this gateway.

The "inner gate gave access to the inner court, known of late years as Miller's Green, where the bakehouse, boulting-house, brew-house, stable, mill, and such-like offices were placed. It was also the way to the later Abbot's lodging. The existing gateway is of the fourteenth century, and has a single passage, in the west side of which is a blocked doorway. The passage is covered by a lierne vault."

"The gateway on the south side, towards the city, has been almost entirely destroyed, and only a fragment of the west side remains. It was known as 'King Edward's' gate, from its having been built by Edward I. It was afterwards restored and beautified by Abbot Malverne,aliasParker, 1514-1539. The remaining turret of the gate, on the westside towards the church, is probably part of Parker's work." (Hope.)

On the south side of what is left of this gateway are the arms of King Osric, as King of Northumbria. The stone bearing these arms was dug up some seventy years ago and was placed in its present position.

In College Court, a narrow turning leading from the north side of Westgate Street into the close, is a small gateway, consisting of a flattened archway with canopied niches at the sides. This is also supposed to have been built by Abbot Parker. The upper portion, which was destroyed, has been converted into very commonplace offices.

In the north-west corner of the precincts was theVineyard. The vineyards of Gloucestershire used formerly to be famous. William of Malmesbury, in the twelfth century, writes: "This county (Gloucestershire) is planted thicker with vineyards than any other in England, more plentiful in crops, and more pleasant in flavour. For the wines do not offend the mouth with sharpness, since they do not yield to the French (wines) in sweetness." The Gloucestershire vineyards survived as late as 1701. The curious terraces or step-markings on the Cotswolds in various places, locally called "litchets" or "lyches," are by some supposed to have been portions of the sites of these vineyards.

"TheDorter(says Mr Hope) and itsbasementare now destroyed, and their plan and extent are at present uncertain: but owing to its south wall having been partly that of the chapter-house also, one small fragment has been preserved which ... helps to fix the position of the dorter. This fragment, which may be seen on the north-east corner of the chapter-house, is the jamb of one of the windows built between 1303 and 1313, and its date is clearly shown by the little ball-flowers round the capital of the shaft." The dorter then may be assumed to have occupied the space between the chapter-house and the end of the east alley of the cloister.

TheRefectory(or Prater), "which was begun in 1246, on the site of the Norman one destroyed to make room for it, was a great hall over 130 feet long and nearly 40 feet wide. It was reached by a broad flight of steps, beginning in the cloister and passing up through the frater door. The steps did not open directly into the frater, but ended in a vestibulescreened off from the rest of the hall, and covered by a loft or gallery. Into this vestibule would also open the service doors from the kitchen and buttery.... The west end and nearly all the north side have been pulled down to the ground, but the south wall, being common to the cloister, remains up to the height of its window sills. The east end is also standing to the same height.... Much of the stonework of the east and south walls is reddened by the fire that destroyed the frater in 1540."

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