GLOUCESTER CATHEDRAL.

THE “PRENTICE’S” BRACKET.

CONFESSIONAL.IN THE SOUTH TRANSEPT.

CONFESSIONAL.

IN THE SOUTH TRANSEPT.

In the wall under this passage are two doorways, now closed, above one of which (eastward) is a grotesque monster; the other forms what is called theconfessional. [Plate II.] Three steps ascend to the door, between panels which slope like the sides of a chair, and are supported by figures which seem to be those of angels. The heads, however, are gone, and the figures are otherwise much defaced. The local tradition asserts that those who came to confess entered by the first door, with the monster’s head above it, typical of sin; and left by the other, with the sorrowing angels, representing penitence. How far the doorways were at all connected with a confessional is, however, quite uncertain.

Against this wall is an ugly Elizabethan monument forRichard Pates, (died 1588); and the high tomb with effigies of AldermanBlackleech, “who was admitted to the glory of eternity 1639,” and his wife Gertrude. The figures are in alabaster, and are wonderful examples of costume. All the details—boots, rosettes, sword-belt and sword-handle, and the lady’s lace and short jacket—deserve notice. It was not for her beauty that Dame Gertrude was thus commemorated.

In thewestwall is a Perpendicular window, with blank panelling below. An open screen-work covers the arch into the nave, and the choir-buttress runs through its upper division. Theroofis a plain lierne, without bosses, and “one of the earliest specimens of this complex class of rib-vaulting. Owing to the difference of the angles of the ribs, such a vault was very difficult of construction; most skilful workmanship was necessary to make the ribs join at the intersections; and this led to the use of bosses, which while they concealed defective work, greatly enriched the roof. But in this example there are no bosses. The ribs join perfectly; and it appears as if the masons desired that the skilfulness of their work should be shewn[13].” The very light and beautiful effect of the flying-arch apparently carrying the choir-vaulting, which crosses the main tower-arch, should here be noticed. The whole arrangement is singularly picturesque and original; (see §X.)

IX. In thenorth transept, cased by Abbot Horton, (1351-1377,) the new work differs in its mouldings, which are here angular instead of round; and in the greater richness of the roof. The mullions are here continued up to the roof, shewing the complete development of the Perpendicular. In this transept the eastern chapel is open. There is an ascent of seven steps to it, shewing what was the original arrangement of the chapel in the opposite transept. Within this chapel, looking west, the casing of the Norman work with the later is very evident.

Against the north wall of this transept, under the open arcade, is a structure of early Decorated character, which has been called, and probably with reason, areliquary[14]. [Plate III.] It is in three divisions, the

THE RELIQUARY.

entrance being through the central arch. All the arches are enriched with foiled openings, and with intricate and very beautiful leafage. There are Purbeck shafts at the angles, heads at the spring of the arches, and a series of seated figures, under canopies, much mutilated, between the outer arch at the entrance and the trefoil within. Inside, the three divisions are groined, with bosses at the intersections; and each bay has three blind arches in the wall, between which piers project to some distance. The reliquary ends before reaching the north-west angle of the transept in which the square Norman turret projects, leading upward to the arcaded passage and to the triforium. (Compare the projecting turrets at the angles of the transepts in Worcester Cathedral.) At the north-east angle the Perpendicular work joins the reliquary; a bracket for a figure is placed between it and the steps leading to the chapel, and a shield bearing Abbot Parker’s arms has taken the place of the last corbel-head.

Three Norman windows remain at the east end of the chapel opening from this transept. Below them is a Perpendicular reredos, with three niches, from which the figures have disappeared. This chapel (as will be seen from the Plan) is of less size than that opening from the south transept, and the altar (owing to the polygonal apse) was not due east. A door opens south, into the choir-aisle; and in the opposite wall is a very good Perpendicular doorway, leading to rooms now used as vestries. The Perpendicular cresting, and the angels bearing scrolls in the hollow moulding, are good, andshould be noticed. The Norman arch in the wall above this doorway, and the Norman work in the opposite wall, (which should be examined from the choir-aisle as well as from the chapel,) apparently indicate changes in this part of the building before the alteration of the entire transept, which it is not easy to explain. The groin edges of the vault of this chapel are carried down the piers in a manner of which no example occurs elsewhere.

The steps into the chapel, and a similar ascent into the choir-aisle, were rendered necessary from the height of the crypt, (§XVII.), which extends under the whole of the building east of the tower, with the exception of the Lady-chapel. The very peculiar doorways opening to the aisle resemble those in the opposite transept. Within the smaller of these arches, on a level with the top of the stairs, is a small stone lectern, from which, it is probable, the pilgrims were addressed as they passed upwards to the shrine of Edward II.[15]

The Perpendicular screen below the tower-arch opening to the transept enclosed a chapel, now used as a vestry. A similar chapel existed beneath the south tower-arch. Under a Perpendicular window on the west side of the transept is a monument forJohn

THE CHOIR.

Bower, (died 1615,) “who had nyne sones and seaven daughters by his wife Anne Bower.” Their names are on shields above this inscription, and their figures are painted on the wall at the back. Above are the words “Vayne, Vanytie. All is but Vayne. Witnesse Soloman.” The monument is curious from the manner in which painting is used in it.

X. A heavy organ-screen, erected in 1823 by Dr.Griffith, (for whom there is a tablet on the north side,) divides the nave from the choir, and materially interferes with the utility and beauty of both.

Thechoir, [Plate IV.], as in most Norman churches, extends one bay west of the central tower, under which the stalls are arranged. An ascent of three steps leads to thepresbytery, three bays in length; and the altar is approached by two additional steps. The unrivalled east window at once attracts attention on entering the choir; but the whole view is rendered especially interesting and peculiar by the panelling and open screen-work covering the Norman walls and arches, the form of which is preserved; by the lofty clerestory; and by the exquisite lightness and grace of the lierne roof, which extends unbroken, except by a low ribbed arch, from the west wall of the tower to the east window.

The choir, according to Froucester’s Chronicle, was cased and vaulted by AbbotsStaunton, (1337-1351,) andHorton, (1351-1377). Their work must also have embraced the lower portion of the tower, (as far as the roof,) since there is no break in the vaulting,and the work is of the same character throughout. As far as the spring of the flying-arch that carries the groining, the piers of the tower are Norman; to this point the walls of the tower, choir, and presbytery were taken down. The pointed arches opening to the transepts, the slender arches that cross them, and apparently carry the groining, and rank among the most peculiar features of this cathedral, and the vaulted roof of the tower, all belong to the work of Staunton and Horton: the former of whom completed the western portion of the choir, with the vaulting; whilst the latter re-constructed the eastern end, with the high altar. The choirvaultingis one of the richest examples in England; and although its lines of ornamentation are thrown out in every direction like those of a spider’s web, “the complication is really the effect of perspective, since when reduced to drawing the lines form a simple geometrical figure[16].” The tower-vaulting is much higher than the roof of the nave, and admits of a window in the west wall of the tower, with niches carrying brackets for figures on either side. Over the arch is the inscription,—

“Hoc quod digestum specularis opusque politumTullii hæc ex onere Seabroke Abbate jubente;”

which can only record the building of the upper part of the tower, in the time of Abbot Seabroke; (see §III.): or possibly, only the completion of the work, after the death of Abbot Seabroke in 1457, byRobert Tully,

MISERERES IN THE CHOIR.

a monk of the house. In 1460 Tully became Bishop of St. David’s, and died in 1481.

Thelight archeswhich, cross the main arches of the tower, north and south, and which look like “pieces of carpentry in stone,” do not in reality support the vault, which rests securely on the wall behind. They were not, however, intended to deceive. “Unless some resting-place was provided, the builders must have allowed the capital to hang down to a level with the others without anything to support it, or altered the arch above, and thus have disturbed the curvature of the vault. The flying-arch was contrived to get rid of these defects. All this appears to be characteristic of a school of masons who were extremely skilful, and glad of an opportunity of shewing their skill; as a modern engineer likes to carry his railway through a chain of mountains when he has a plain valley before him[17].”

The stalls ranged below the tower are Perpendicular, (those north the work of Abbot Staunton, those south of Abbot Horton,) with, rich projecting canopies. The misereres [Plate V.] below are of the usual character, but are so fixed that they can only be seen with difficulty. Behind the first stall on the north side is a fragment of Early English work, probably of the date of Elias de Lideford, who erected stalls in the choir, which were removed by Abbots Staunton and Horton.

The open screen-work which covers the Norman arches of the presbytery, is carried upwards into thelofty clerestory windows, so as to cover the entire bay with a uniform panelling. Light vaulting-shafts run up between, and carry the lierne roof. The termination of the Norman choir was originally circular, as at Norwich; but in order to insert the great east window, the two last bays, eastward, were entirely removed, and the walls, from this point, now slope outwards north and south. This part of the work is, in Froucester’s Chronicle, assigned to AbbotHorton, (1351-1377). Thetilingof the sacrarium, which displays the arms and devices of AbbotParker, (1515-1534,) is no doubt of his time; as are thesediliaon the south side, which indicate the coming change in their arabesque ornaments. The frieze, a knotted stick passed through a riband, should be noticed. On the canopy above are three figures,—one with a drum or tambourine, the others with trumpets.

XI. The greateast window, which terminates the choir, is the largest in England, and is, owing to the ingenious construction of this part of the choir, wider than the side walls which contain it: it is filled with what is, in many respects, the finest stained glass of the period in this country. The window itself, in its general design and tracery, corresponds with the panelling of the choir and with the windows of the clerestory, and is part of Abbot Horton’s work. The tracery-heads and cusps on the inside do not appear without, as usual, since the glass (probably to save expense) is fitted into a square-headed panel, sunk in the back of the window. A peculiar effect is produced by the roof of the Lady-chapel beyond, which rises against the lower part of the window, (from which it is separated by the ante-chapel); the glass above is consequently always in brighter light than that below. The stone-work of the whole window has been repaired (1862) at a cost of £1,400; and £600 has been expended on the re-leading of the glass byHughes[18], under the very careful supervision of Mr. Winston, one of the best authorities on the subject.

The window, like the rest of the choir-work, has decided Perpendicular features; but the glass “is in all respects thoroughly Decorated in character;... As a general rule, it is true that a change in the style of architecture has always preceded, by some years, the corresponding change in the style of painted glass....

“The two first tiers of lights from the ground are filled with coloured borders and ornamented white quarries; a shield of arms in a panel is inserted in each light, and a small ornamented roundel placed at some distance beneath it. The three next tiers of lights throughout the window are filled with figures and canopies, and, in the central part of the window, another tier likewise, the spires of this row of canopies running into the tier of lights above. This arrangement, as might be expected, imparts a grand pyramidical character to the whole design. All the tracery lights of the window are filled with ornamented white quarries, and enriched with small roundels of ornament inserted here and there....

“The colouring of the lower lights—containing figures and canopies—is arranged on a principle not uncommon in early Perpendicular glass. The figures are almost entirely white, having yellow stained hair, and borders to their robes: the architectural work of the canopies is wholly composed of white and yellow stained glass. The positive colouring is confined to the spire backgrounds of the canopies, and the tapestry which lines the interior of the niche; and it is carried in uniform streaks, or columns, down the window. Thus the spire grounds and tapestries of the central column—which is two lights broad, all the other columns being only of the width of one light—are coloured red; those of the next column on each side the centre one are coloured blue; those of the next red, and so on. The large proportion of white used in the most coloured parts prevents any violent transition, from the figure and canopy part to the quarry part of the window....

“The full effect of the Gloucester window, no doubt, depends not only on the simplicity of the composition, the largeness of its parts, and the breadth of its colouring, but also on the excellence of the material of which the window is composed....

“The side windows of the choir-clerestory retain enough of their original glazing—which is precisely of the same date as that of the east window—to enable usto perceive that their lower tier of lights was filled with figures and canopies, and their upper tier and tracery-lights with borders and quarry patterns, having small roundels of ornament inserted of the same character as the pattern-work in the east window: a corroborative proof, if any were necessary, of the originality of the arrangement of the glass in the upper part of the east window, with which the arrangement of the glass in the side windows so perfectly harmonizes[19].” The date assigned by Mr. Winston to the east window, and to those of the clerestory, is between 1345 and 1350.

XII. On thesouthside of the presbytery is a projecting bracket of Perpendicular date, on which is placed the earlier effigy of an abbot—perhaps that ofHenry Foliot, (died 1243). It is too shattered, however, to be of much interest.

On thenorthside of the presbytery, beginning from the east, are:—

(1.) A high tomb with effigy ofOsric, the Mercian “kinglet,” who is said to have founded the first religious establishment at Gloucester. (See §I., and Pt.II.) On the east end of the monument is the inscription,—“Osricus Rex primus fundator hujus monasterii—681.” The tomb and effigy are said to have been erected during the abbacy ofWilliam Parker, (1515-1539,) whose arms, together with those of the abbey, appear on it. The effigy is crowned and sceptred,and carries the model of a church in the left hand. The ermine collar of the robe is unusual.

(2.) The superb tomb, with effigy ofEdward II.[Plate VI.] It has been truly said that the whole of the choir, as it at present exists, is a memorial of the murdered King; since the alterations in it were commenced after his interment here, and their cost was mainly defrayed from the rich offerings made at his tomb. The tomb itself, however, is not unworthy a greater king than Edward II.

It was on the 21st of September, 1327, that King Edward was murdered in Berkeley Castle. The monasteries of Bristol, Kingswood, and Malmesbury refused to receive his body for interment, fearing the displeasure of the Queen and her party; but Abbot Thokey of Gloucester, more far-sighted, brought it from Berkeley in his own carriage, and caused it to be solemnly interred beneath the existing monument. This was erected at the cost of the King’s son, Edward III., and became at once an important place of pilgrimage. Offerings made here were thought to avert the Divine anger from the nation, and it is said that if all the oblations presented at the tomb during the reign of Edward III. had been expended on the church, it might have been built anew. Edward III. himself, when in danger of shipwreck, vowed an offering of a golden ship at his father’s tomb, which was duly presented, but afterwards redeemed, at the request of the Abbot and Convent, for £100. The Black Prince offered a golden crucifix, containing a portion of the holy Cross; the Queen of

MONUMENT OF EDWARD II.

Scots, a necklace with a ruby; and Queen Philippa, a heart and ear of gold. Such offerings were no doubt hung about the tomb, in the usual manner.

The monument itself consists of an altar-tomb with effigy, canopied by a mass of exquisite tabernacle-work, which fills up the entire arch. The great Norman piers on either side have been cut away, to give room for the lower part of the tomb, which has canopied niches for figures no longer existing, and on the side toward the choir-aisle (at which the oblations were made) a bracket for light. The effigy is of alabaster, and the King’s features were possibly chiselled from a waxen mask, taken after death. The head is very fine, and should be compared with those of Edward III. at Westminster, and of the Black Prince at Canterbury. In all these Plantagenet effigies there is a striking resemblance. The arrangement of the hair and beard should be noticed. At the head are angels, and a lion at the feet, finely rendered. On the side of the tomb (toward the aisle) is a shield, with an inscription recording the restoration of the monument by the society of Oriel College, Oxford, of which Edward II. was the founder, at the instance of his Almoner, Adam de Brome:—“Hoc fundatoris sui monumentum, situ vetustatis deformatum, instaurari curaverunt Præpos. et Soc. Coll. Oriel, Oxon.A.D.1737-1789-1798.”

The capitals of the great piers are painted with the device of Richard II., the white hart, chained and collared. Hence a tradition has arisen that the body of the King was drawn by stags from Berkeley to Gloucester.

(3.) The chantry, with effigy, of AbbotParker, (the last Abbot of Gloucester,) 1515-1539. The chantry has been converted into a pew. The screen enclosing it has a good frieze of vine-leaves and grapes; and the niches for statues at the angles should be noticed. The effigy, of alabaster, has been much cut and injured. The Abbot wears the chasuble and jewelled mitre, (Gloucester ranked as the eleventh of the twenty-seven mitred English abbeys); the top of his staff is broken. There are small figures in the portion left. The base of the monument has shields with the Abbot’s arms, and others bearing the emblems of our Lord’s Passion.

XIII. Thenorth choir-aisleis entered from the choir through a Perpendicular doorway in the bay below Abbot Parker’s chantry. The aisle itself is Norman, of the same date as the choir, but has the windows filled with Perpendicular tracery. The low enormous piers of the choir are here well seen, and the monuments already described should all be noticed from this side.

At the north-east angle of the aisle is one of the apsidalchapels, three of which terminated the Norman choir. The chapel forms a pentagon, the place of the altar being, very unusually, north-east. The whole chapel was altered as a memorial of AbbotBoteler, (1437-1450). It is enclosed by a Perpendicular screen, and the windows are filled with Perpendicular tracery. Behind the altar is a very rich Perpendicular reredos, having one central and eight smaller niches. Some of the small figures of the Apostles in the canopies above

TOMB OF ROBERT, DUKE OF NORMANDY.

are perfect; and there are also many shields of benefactors to the monastery. The whole is richly painted.

On the step of the altar is the effigy ofRobert Courtehose, [Plate VII.,] eldest son of the Conqueror, who died in 1134, at the castle of Cardiff, where he had been a prisoner twenty-six years. He had been a great benefactor to the monastery at Gloucester, and was interred here before the high altar. His monument continued entire until 1641, when it was broken to pieces by Cromwell’s soldiers. The pieces were bought by Sir Humphrey Tracy, of Stanway, who kept them until after the Restoration, when they were put together, and replaced in the cathedral. The monument now consists of a high tomb or chest (on wheels), of Irish oak, on which is laid the effigy, also of oak. The shields on the tomb, and the figure itself, were partly re-coloured, and the former very improperly, during the present century. The tomb has a border of leafage, of late Decorated character. The effigy itself may be of the same period (since the material is the same), and may perhaps have been copied from an earlier figure. It is cross-legged, and has a surcoat and a coronet. Whatever may be its real date, it cannot possibly be older than Henry II.

The Norman pier remains at the north-east angle of the chapel, with the addition of a Perpendicular base, and a panelled ornament cut into it. Between the reredos and the east wall is a Perpendicular arch, which assists in carrying the east window, and is so contrived as to relieve the slight Perpendicular pier adjoining ofthe weight of the superstructure, which it was not strong enough to bear. The construction of all this east end of the choir, which is very ingenious, is best seen in the triforium, (§XVI.)

XIV. The termination of the Norman choir, as has already been mentioned, was polygonal, with a central and two side chapels. This original arrangement still remains in the crypt, (§XVII.); but the central chapel at the east end of the choir, which had been undisturbed by the erection of the great east window, was altered about a century later, when theLady-chapelwas commenced. The walls of theante-chapel, by which this is entered, are in fact those of the Norman apsidal chapel, pierced on either side by a Perpendicular window, and having a rich panelled lierne vault, crossed by a double row of pendants. Theupperstory of the ante-chapel was the Norman chapel of the triforium. This portion is separated from the Lady-chapel by a screen of open-work, through which is seen the vaulted roof, and three windows at the west and on either side. The west window looks across the low gallery intervening between it and the east window of the choir, (see §V.) The arch carrying the screen of the upper chapel, and forming the eastern termination of the lower roof, is bordered in front by a series of foiled panels, having shields in their centres.

All this work, together with the Lady-chapel itself, is due to AbbotHanley, (1457-1472,) and his successor, AbbotFarley, (1472-1498). It was the last great work of the monastery, and worthily closes thefine series of Perpendicular structures, (the re-casing of the choir, the cloisters, the tower, and the Lady-chapel,) which rank among the most interesting and important in England.

The Lady-chapel consists of four bays, with a square-sided eastern end, and small square-sided chapels of two stories, projecting from the third bay on either side. Each bay is nearly filled by a lofty Perpendicular window of four divisions. The lights of the two upper tiers are simply foiled. Those below are richer, with ornamented headings. In the wall below the window is a plain arcade of foiled arches, with a quatrefoil above. The narrow bit of wall which remains in each bay is panelled with tracery corresponding to the divisions of the windows; and in the three principal tiers has brackets and rich canopies for figures. The brackets are angels bearing scrolls. Vaulting-shafts run up between these panels; and above is a superb lierne roof,—one of the best and purest examples of such a roof in the Perpendicular period. The bosses are entirely of leafage, and are very numerous. Traces of colour remain on the walls, and on some of the canopies; and the headings of the window lights retain their original stained glass.

The effect of the side chapels is unusually picturesque. Each is of two stories; the roof of the upper on a level with the upper series of wall panellings on either side. A sharply-pointed arch, with pierced panellings above and an open parapet below, forms the front of the upper chapels; the lower are closedin front by a rich screen-work, corresponding to the window divisions. The east end of the Lady-chapel is entirely filled by a Perpendicular window of three divisions, the design of which resembles those at the sides. The glass in this window is original, and very good, although not equal to that in the great east window of the choir. The extent to which white and yellow are employed in it should be noticed.

Below the window was a rich mass of tabernacle-work, now effectually smashed. Over the altar were three main niches, with pedestals for figures. There are fragments of brackets and canopies in the smaller divisions; and the whole shews remains of colour, gilding, and enamelling. The designs at the back of the principal niches should be especially noticed.

Much of the original tiling remains on this part of the floor. The tiles bear inscriptions, “Dũe Jhũ miserere;” and “Ave Maria grã. plẽ.” In the centre is a device of roses with leaves. Below the window on the south side are three sedilia, with graceful pendent canopies. The backs are panelled.

The side chapelon the northhas a groined roof, in which the cusps of the foils and other portions are pierced with minute circular hollows, adding much to the elaborate effect. The panelling of the west wall has been filled by the upper part of the monument of BishopGodfred, (died 1604). Below is an altar-tomb with effigy. The upper chapel, or oratory, is approached by a staircase on the west side, opening from the bay below; it has a lierne roof, with bosses ofleafage. Thesouthchapel resembles the north; and contains a flat altar-tomb forThomas Fitzwilliams, (died 1579: it was repaired by his descendants in 1648). The east window is covered by the hideous monument of BishopNicholson, (died 1671). The upper chapel resembles that opposite. These chapels were apparently the chantries of the two abbots who built the Lady-chapel; the upper stories, in which there is no trace of an altar, serving as oratories.

On the north side of the Lady-chapel is a monument with effigy forElizabeth Williams, daughter of Bishop Miles Smith of Gloucester, (died 1622). Below, again, is a full-length statue of SirJohn Powell, (died 1713)[20].

XV. Thesouth choir-aisleresembles that opposite. The south-east chapel opening from it retains its Norman work more completely than the north-east. The Norman arches and windows remain; the latter filled with Perpendicular tracery. As in the chapel opposite, the altar did not front due east.

A door on the platform above the steps descending to the transept opens to what was originally the east chapel of the transept itself. The arrangement resembled that of the south-east chapel. The arch of entrance from the transept (transitional Norman, and pointed) remains, walled up. Under the three eastern windows is a rich Perpendicular reredos, with three niches for figures.

XVI. Thetriforiumof the choir is reached by the staircases at the angles of the transepts, and through the open arcade at their north and south sides. The triforium originally extended quite round the choir, the whole width of the choir-aisles, opening into chapels corresponding with those below. With the exception of the east end—between the south-east and north-east chapels—it remains entire; of late Norman character, with some alterations made during the Decorated period.

In the chapel above thesouthtransept the Norman windows have been replaced by Decorated, enriched with the ball-flower. The double piscina in the small window, and the brackets for figures, with rich canopies, are Decorated, and deserve notice. Looking toward the transept, the manner in which it was re-cased is here readily seen. The circular Norman arch of the triforium encloses a pointed arch, with shafts at the angles. This arch is crossed by the ribs of the screen-work. In this part of the triforium is preserved an ancient painting on panel, representing the Last Judgment. It dates apparently from the end of the fifteenth century, but is of no very great interest.

The massive piers of the triforium above the choir-aisle remain unaltered. The arches are crossed with Perpendicular tracery. The south-east chapel opens

PLANS OF TRIFORIUM AND CRYPT, GLOUCESTER.

above the corresponding chapel in the aisle: it is plain Norman, with late windows inserted.

The manner in which the east end of the choir was re-constructed, to admit of the insertion of the great east window, and to allow of its being wider than the original walls of the choir, is best seen from this point. The eastern piers of the choir, and the portion of the triforium above, were entirely removed; but the Norman eastern chapel (corresponding to those south-east and north-east) was allowed to remain entire, both in the triforium and below. The last bay of the choir was extended laterally, so as to admit the light freely from the great window; and as access to the eastern chapel was cut off by the removal of the triforium, it became necessary to construct the passage at the back of the window, known as the “Whispering Gallery.” Here three flying buttresses should be remarked, which spring from the outer walls of the cathedral at the bend of the apse, and meet in a point behind the wall of the choir. These really sustain the weight above the triforium, so that the slight Perpendicular pier below (§XIII.) is not called upon to do more than half the duty. In the Whispering Gallery much Norman stone-work has been re-used—a practice of common occurrence throughout the cathedral. Sound is transmitted through this gallery, which is 75 ft. long, 3 ft. wide, and 8 ft. high, in a remarkable manner. The lowest whisper, or the slightest scratch with a pin, is distinctly heard from one end to the other. The chapel into which it opens was part of the Norman chapel, altered on the buildingof the Lady-chapel, into which it looks. In it is a stone altar—perhaps that of the Norman chapel.

Chapel, Triforium

The north-east Norman chapel beyond the gallery has a Decorated window; and in that adjoining the north transept is a very beautiful Decorated double piscina. The foliated ornament round the inner arch of the windows here and in the chapel opposite should be noticed. Taking into account the many chapels in this triforium, and in the crypt, it may be reckoned that there were nearly twice as many altars in this church as were usually to be found in churches of even the same size and importance.

XVII. Thecrypt, which is entered from the southtransept, is one of five English eastern crypts founded before 1085; (the others are Canterbury, Winchester, Rochester, and Worcester). After that date (with one exception, the Early English crypt at Hereford—see that cathedral) they ceased to be constructed, except in continuation of former ones. The crypt of Gloucester extends under the whole of the choir, with its aisles and chapels; and the original form of the eastern end is here at once evident.

Crypt.

“The outer walls of the crypt are about 10 ft. thick, and the aisle floor is on an average 8 ft. deep below the level of the soil on the outside. The centre part is divided by two rows of small columns, from whichspring groined arches carrying the floor of the choir. The bases and capitals of these are much out of level, falling considerably from west to east, and from north to south.... It is evident that great alterations have from time to time been made in this part of the building: the large semicircular columns against the walls, though of great antiquity, are not part of the original structure, but are casings, in which are enclosed the former and smaller piers; and the ribs springing from their capitals are builtunder, and with a view to support the groins[21].”

Much soil has been cleared from the crypt, and the original floors of the chapels have been laid open. These are composed of a rough concrete. There is a step into each chapel, and the floors rise gradually toward the east end. All contain remains of altars and piscinas, generally of later date than the crypt itself. The chapel adjoining the north transept was groined and decorated in the latter part of the thirteenth century. The windows of the crypt have been opened and glazed.

XVIII. Thecloisters, [Plate VIII.,] which are entered from the nave, rank among the finest examples in the kingdom. They were commenced by AbbotHorton, (1351-1377); and completed by AbbotFroucester, (1381-1412).

The view looking down either of the walks is very fine, mainly owing to the richness of the groined roof, which, is the earliest existing example of the fan-vault.

THE CLOISTERS.THE “CAROLS” IN THE SOUTH WALK.

THE CLOISTERS.

THE “CAROLS” IN THE SOUTH WALK.

THE LAVATORY IN THE CLOISTERS.

This style of vaulting is entirely peculiar to England; and Professor Willis has suggested that the school of masons who were employed in this cathedral may have originated it[22]. The wall sides of the cloisters are panelled; and the windows, divided by a transom, have rich Perpendicular tracery. The lights above the transom were glazed. “The construction of the outer walls is peculiar as to the arrangement of the buttresses, and the projecting shelf of stone connected with the transoms of the windows, which was evidently meant as a protection from the weather for the lower half of the windows,—which was not glazed[23].” Each walk is divided into ten compartments. In the south walk are the ‘Carols’—places for writing or study, twenty in number, formed by a series of arches, running below the main windows. In each ‘carol’ is a small and graceful window, of two lights. (Similar stalls or ‘carols’ existed at Durham.) The very fine view at the angle of the south and west walks should especially be noticed. In thenorthwalk are thelavatories, [Plate IX.,] projecting into the cloister garth: these are very perfect. Under the windows is a long trough or basin into which the water flowed. The roof is groined. Opposite, in the wall of the cloister, is the recess for towels, ormanutergia.

In the east walk are some memorial windows of stained glass; and it is proposed to fill the whole of the cloisters with glass, forming, when completed, a History of our Lord. “This scheme was originatedwith a view to check the disfigurement of the cathedral by monuments of any other description.”

XIX. Thechapter-houseopens from the east walk through a Norman arch enriched with zigzag ornament. The chapter-house itself (72 ft. by 34) is a long parallelogram of four bays, three of which are Norman, and the most easterly a Perpendicular addition. This part is finely groined, and has a large Perpendicular window. Round the Norman portion [Plate X.] is an arcade of four arches in each bay. The manner in which the shafts carrying the vaulting-ribs are set back in the wall, between the shafts of the arcade, should be noticed. The plain vault has large ribs, 15 ft. apart. Rude inscriptions and shields are traceable on the wall-arcade. The floor has been covered with encaustic tiles, copied accurately from the old work.

Between the chapter-house and the north transept is the short passage called the “Abbot’s Cloister;” and above it theChapter Library,—probably the original library of the monastery. This is a long room, of Perpendicular character, with a roof of dark oak, a row of small windows on the north side, and a large Perpendicular window east. The room has been well and thoroughly restored, and the books properly arranged. The most important manuscripts are—a transcript of Abbot Froucester’s Lives of the Abbots of Gloucester, from the foundation of the monastery to 1381; (the original MS. of this work—unless it be that recently found under the Rolls Chapel—is no longer known to exist. It is said to have disappeared from the Chapter

THE CHAPTER-HOUSE.(THE NORMAN PORTION.)

THE CHAPTER-HOUSE.

(THE NORMAN PORTION.)

Library at the beginning of the present century. This transcript was made by Dr. Hall, Master of Pembroke College, Oxford. There are others in the library of Queen’s College, Oxford, and in the British Museum).—A Register of Documents relating to the Abbey, also made by Abbot Froucester; and another Register, compiled by the last abbot, Parker, or Malvern.

XX. Returning to theexteriorof the church, thewest front(AbbotMorwent’s work, 1420-1437, see §§IV.,V.) may first be visited. This is not very rich or striking, but the pierced buttresses of the window, and the parapets of open-work below and above, should be noticed. The composition of Abbot Thokey’ssouth aisle, with its massive buttresses and deeply recessed windows, is unusually fine. On the upper part of the buttresses is a series of figures, finely designed, and well deserving attention. At thetranseptcommences the Perpendicular transformation. The turrets at the angles are Norman, with interlacing arcades above; the cappings are later. The gables are filled with a series of round-headed arches, rising one above another; and traces of the original Norman window-openings remain in the walls. The parapets and windows shew the later alterations. Buttresses of the central tower pass across the east and west sides of the transept.

The polygonal shape of the radiating chapels—very unusual in Norman architecture—should here be noticed from the exterior; as well as the manner in which the Lady-chapel is connected with the choir. At the north-west angle of this chapel is a fragment of the original Norman work which belonged to the central apse, and was turned to account in Abbot Horton’s rebuilding of the east end. The light buttresses which support the great east window are pierced so as not to obstruct the light. The central gable of the open parapet above the window retains a figure of our Lord on the cross.

The last bay of the Lady-chapel has an open passage below it, which was rendered necessary at the time of the building of the chapel, from the fact that the boundary wall of the monastery passed north and south in a line with the extreme eastern buttresses. (The marks of this wall may still be seen on the buttresses.) The archway is picturesque in itself. A very striking view of the north-east portion of the cathedral opens beyond it; full of varied and intricate outlines formed by the projecting chapels and the walls of the cloister and chapter-house, and crowned by the great mass of the central tower with its deep shadows and its fretwork of grey stone.

Thetower(see §III.) was (as appears from the inscription within, §X.) the work of AbbotSeabroke, (1450-1457,) and was, said one of the monks to Leland (temp.Hen. VIII.), “a pharos to all parts of the hills.” The singular beauty of its pinnacles of open-work has already been noticed.

A passage called the Abbot’s Cloister separates the chapter-house from the north transept. The cloister itself, however, extended beyond this passage eastward. The inner walls alone remain. The eastern wall hasentirely disappeared; and beyond it are some transitional Norman arches, which belonged to the infirmary of the monastery.

Sincethe foregoing pages were in type, Mr. Winston has arrived at some very important and interesting conclusions relating to the east window of the choir. The general design of the figure-work is the Enthronement of the Blessed Virgin. The original arms in the window were those of warriors who served in the Cressy campaign, and who were connected with the county of Gloucester by their landed possessions; and there is ground for a surmise that the donor of the glass was Lord Bradeston, Governor of Gloucester Castle. The conception of the work may be attributed to 1347 or 1348, and it was completed not later than 1350.

The saving of this noble relic from the destructive effects of a ‘restoration’ is due to the energetic remonstrances of the Archæological Institute; in the Journal of which Society the results of Mr. Winston’s investigations, briefly stated above, will soon, it is to be hoped, appear. They will be eagerly welcomed by all who are interested in the subject.

History of the See, with Short Notices of the principal Bishops.

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