History and Details.
I. Until the year 1539, Gloucester Cathedral was the church of a mitred
Benedictine abbey, which ranked among the wealthiest and most important
in England. In 1539 the abbey was surrendered; and in 1541 its church
became the cathedral of the newly established bishopric of Gloucester.
The single authority for the architectural history of Gloucester
Cathedral is Abbot FROUCESTER’S (1381-1412) Chronicle of the abbey,
including lives of the twenty abbots after the Conquest. Of this
Chronicle transcripts exist in the Chapter Library at Gloucester; in the
Library of Queen’s College, Oxford; and in the British Museum. The
original MS., which was preserved at Gloucester, disappeared
mysteriously from the Chapter Library during the present century. An
ancient copy, however,--if it be not the original Gloucester MS.,--was
recently discovered in a vault under the Rolls Chapel; and is about to
be published in the series of Chronicles edited under the direction of
the Master of the Rolls[1].
A nunnery was founded at Gloucester in the year 681, by Osric, a
“minister” or “sub-regulus” of Ethelred, King of Mercia. Three abbesses
ruled it successively until 767, after which the convent was dispersed.
Beornulph of Mercia refounded it, about 821, for secular priests,--who,
in 1022, were replaced by Benedictine monks. The Saxon Chronicle (A.D.
1058) records the “hallowing” of the monastery by Ealdred, Bishop of
Worcester. In 1088 this building was destroyed by fire, and a new church
was commenced by Abbot Serlo, which was completed and dedicated in
1100[2]. Two years afterwards this church suffered much from fire; and
still more in 1122, when the Saxon Chronicle asserts that “in Lent-tide
... the town of Gloucester was burnt while the monks were singing their
mass, and the deacon had begun the gospel ‘Præteriens Jesus.’ Then came
the fire on the upper part of the steeple, and burned all the monastery,
and all the treasures that were there within, except a few books and
three mass-robes.” This injury, according to Froucester’s Chronicle, was
repaired by the offerings of the faithful; but the abbey suffered again
from fire in 1179 and 1190. The church was re-dedicated to St. Peter,
in 1239, by Walter de Cantilupe, Bishop of Worcester. In 1242 the nave
roof was completed. Abbot THOKEY (1306-1329) built the _south aisle_ of
the nave in 1318. It was during his abbacy that the body of Edward II.
was interred in the church; and it was owing to the great value of the
offerings made at his tomb that a series of works was commenced, which
form one of the most peculiar features of this cathedral. Under the
succeeding Abbot, WYGEMORE, (1329-1337,) the Norman walls of the _south
transept_ (called St. Andrew’s aisle) were cased with tracery; ADAM DE
STANTON, abbot from 1337 to 1351, constructed the vaulting of the
_choir_, and the stalls on the prior’s side; and Abbot HORTON
(1351-1377) completed the high altar with the choir, and the stalls on
the abbot’s side; together with the casing of St. Paul’s aisle, (the
_north transept_). This abbot also commenced the great _cloister_, which
Walter FROUCESTER (1381-1412) completed. Abbot MORWENT (1420-1437)
erected the _west front_, the _south porch_, and two western bays of the
nave. Abbot SEABROOKE (1450-1457) built the existing _tower_. Abbot
HANLEY (1457-1472) began the _Lady-chapel_, which Abbot FARLEY
(1472-1498) completed.
Notwithstanding the long siege of the city, Gloucester Cathedral
suffered but little during the Civil War. Within the last ten years
(1853-1863) extensive restorations have been made within and without the
cathedral, under the superintendence of Mr. F. S. Waller. These consist
chiefly of the clearing and draining of the crypt; the restoration of
the west front, the south aisle of the nave, the chapter-room, the
library and sacristies, portions of the cloisters, the whole of the east
end of the choir, and the interior of the nave: to which must be added
the alterations entailed in forming and laying out the grounds round
nearly the whole of the cathedral; several houses and yards having been
removed, and hundreds of loads of soil, the accumulation of years, taken
away from against the walls.
II. The ground-plan of the Norman church embraced nave and aisles, choir
and sanctuary, short transepts with apsidal eastern chapels, and a
choir-aisle, or “procession path,” terminating in three eastern chapels,
also apsidal. (The plan of Norwich may be compared.) With the addition
of the Lady-chapel and the cloisters, this ground-plan still remains, as
in the early part of the twelfth century. The Norman work throughout the
building belongs either to this original church, built by Abbot Serlo,
and dedicated in 1100; or to the restorations after the fire of 1122.
All of it, but especially the great piers of the nave, which remain
unaltered, is very interesting and important; but the great peculiarity
of Gloucester Cathedral is the later work, ranging from 1329 to 1377,
with which the original Norman walls and piers of the transepts and
choir are cased and transformed. The manner in which this transformation
is effected not only differs altogether from that in which other Norman
buildings (the nave of Winchester for example) were re-cased and
altered, but the work at Gloucester affords us perhaps the earliest
example of English Perpendicular; since it exhibits far more
characteristics of this style than of even the later Decorated, which
from the date of the work we should expect to find. The Perpendicular
work thus begun, is continued through a series of magnificent
examples,--the cloister, (1377-1412); the great tower, (1450-1460); and
the Lady-chapel, (1457-1498,) almost to the last days of Gothic
architecture.
III. The best general views of the cathedral will be obtained from the
north-west and from the south-east; but there are many excellent points
of view from the lawn by which the building is now happily surrounded.
The outlines--owing greatly to the Lady-chapel with its projecting
chantries, to the eastern chapels of the transepts and choir-aisles, and
to the open-work of parapets and pinnacles--are unusually varied and
picturesque. The manner in which the exterior mouldings of the great
east window, of the west window, and of the openings in the tower, are
carried upwards, so as to form a kind of gable, is a marked feature,
which first appears within, in the beautiful arches across the
transepts, on which the groining drops; and which was adopted,
apparently from them, by the designers of the succeeding work. But the
light and graceful tracery of the parapets, and of the pinnacles of the
tower, is that which gives especial character to the exterior of
Gloucester. Against a clear, mid-day sky this open-work is sufficiently
striking; but when its tracery is projected against the red glow of
sunset, an effect is produced which is altogether unrivalled. The tower
of Gloucester may be compared with the central tower of Canterbury
Cathedral, of later date, (Gloucester 1450-1460, height 225 feet;
Canterbury 1495-1517, height 235 feet,) and of more massive character.
Both towers form admirable centres to the masses of building clustered
round them; and well illustrate the great advantage (which English
architects alone seem to have appreciated) of “placing the principal
features of their churches on the intersection of the nave with the
transept[3].” At Gloucester, even more than at Canterbury, the various
lines of the Lady-chapel, the transepts, the choir-aisles, and the
choir-roof with its eastern gable, lead the eye gradually upwards to the
great tower, with its crowning pinnacles. This effect is perhaps
increased by the shortness of the transepts,--which here and at
Worcester (the parent cathedral of Gloucester) are of the same
dimensions, (128 feet from north to south[4]).
IV. For a more particular notice of the exterior,
[Illustration: THE NAVE.]
see § XX. The cathedral is generally entered by the _south porch_, a
part of the Perpendicular work erected by Abbot MORWENT, (1420-1437).
(This abbot pulled down the towers at the west end of the cathedral, and
the two west bays of the nave. The present western portion of the nave,
as far as the end of the second bay, including the west front and the
south porch, is his work.) The porch, which has an upper chamber, is
greatly enriched with niches and canopies, and has buttresses at the
angles. [_Frontispiece._] The arms in the spandrils of the doorway are
those of England and France, and of the Abbey. The pinnacles and open
parapet are of the same general character as those (earlier) above the
gable of the great east window, and as those (later) of the central
tower. The ogee arched moulding, with its finial, which rises in the
centre is the feature already noticed (§ III.) as characteristic of this
cathedral. It occurs throughout the Perpendicular work. Within the
porch, the peculiar tracery of the side windows should be noticed. “The
internal arrangement of the panelling of the side walls is continued to
the exterior, and made to form the mullions of the windows.”
V. The first impression, on entering the _nave_, is produced by the
lofty Norman piers. [Plate I.] The whole arrangement differs much from
that of the great Norman naves of the Eastern cathedrals, Norwich, Ely,
and Peterborough. In them the divisions of the nave-arcade and of the
triforium above it are very nearly equal in height and width, whilst the
clerestory range is of little less importance[5]. At Gloucester, the
massive nave piers are carried to such a height (30 feet) as to afford
little space for the triforium, which is only a narrow wall passage; and
the original Norman clerestory, the circular arches of which may still
be traced below the Perpendicular windows, was of nearly the same
dimensions. The height of the piers is thus made to seem greater than it
really is. They must have been still more remarkable when the floor of
the nave was at its original level, ten inches lower than at present.
The bases of the piers stood on square blocks; and there still exist
some remains of an encaustic floor on the lower level. These massive
circular piers, which are found also at Tewkesbury, at Pershore, and at
Malvern Priory, seem to be peculiar to England. They do not, at any
rate, occur in any church in Normandy, where the rectangular form
prevails. The good effect of carrying them to such a height as at
Gloucester is perhaps questionable, since the necessary result is to
deprive both triforium and clerestory of all dignity and importance.
The nave consists of nine bays, from the west front to the central
tower. Of these all are Norman to the top of the triforium, except the
two western bays, which are Perpendicular, (Abbot Morwent’s work). The
Norman clerestory was altered, and the Norman portion of the nave was
newly vaulted, in the first half of the thirteenth century. (The nave
roof was completed in 1242. The monks themselves, according to
Froucester’s Chronicle, laboured at it,--considering, suggests Professor
Willis, that they could do the work better than common workmen.) The
nave _piers_ have plain bases and cushioned capitals. The arches have
the zigzag in the outer moulding and a double cable in the soffete. A
cable moulding runs along above them. In the _triforium_, two arches in
each bay circumscribe four smaller ones, the tympana above which are
quite plain. In constructing the new _clerestory_, the Norman work
immediately above the triforium arches was entirely removed; and only
the jambs of the side lights which extended beyond the triforium arches,
with the wall between them, were allowed to remain. The jambs of these
Norman lights, with zigzag moulding, may still be traced in each bay of
the clerestory. The windows of the Early English clerestory were filled
with Perpendicular tracery, possibly by Abbot Morwent.
The Norman portions of the nave may have belonged to the church of
Abbot Serlo, (completed in 1100); but it is impossible to say how much
alteration or rebuilding was rendered necessary by the fires of 1122,
1179, and 1190. The red colour of parts of the piers where the stone has
become calcined, still bears witness to the fierceness of, most
probably, the last of these fires; by which the wooden roof of the
Norman church was destroyed. This was replaced during the abbacy of
HENRY FOLIOT, (1228-1243,) by the existing _vaulting_; which is plain
quadripartite, with a central rib and bosses at the intersections. The
groining, of a light porous stone, is plastered on the underside. The
vaulting-shafts, (of the same date as the roof,) in groups of three, are
of Purbeck marble, with stone capitals of leafage, and Purbeck abaci.
These rest on a series of brackets supported by shafts which descend
between the pier-arches. The first five of these brackets, counting from
the third (the first Norman) bay of the nave, are perhaps Transitional
Norman, and the cable-moulding at the head of the pier-arches passes
round them. The next three eastward have the cable-moulding cut away for
them; and on either side is a shaft of Purbeck marble with foliaged
capital, from which a moulding is carried round the bay of the
clerestory. This part was perhaps more injured by the fire, so that the
earlier work required greater alteration. (The peculiar arrangement,
suggests Professor Willis, may have been one of the consequences of the
monks’ amateur workmanship.) The capitals and corbels of the
vaulting-shafts were richly coloured[6]; and remains of painting were
found on the great piers themselves during the late restorations.
Against three of the piers on the north side are Perpendicular brackets,
for lamps or for statues.
The two _western bays_ of the nave were the work of Abbot MORWENT,
(1420-1437,) who pulled down the Norman front, which had towers north
and south, intending to re-construct the entire nave,--a design
fortunately prevented by his death[7]. The contrast between the noble
Norman columns and the Perpendicular piers is sufficiently striking. The
westernmost bay is much wider than the others; there is no triforium;
the clerestory windows resemble the others, all of which were probably
inserted by Morwent; and the vaulting is a rich lierne, with bosses of
leafage. The west end is filled with a large Perpendicular window of
very good design, the glass in which, by WAILES, is a memorial of the
late Bishop MONK, (died 1856,) erected at the sole expense of the Rev.
Thomas Murray Browne, Honorary Canon of Gloucester, “in grateful
remembrance of many years of sincere friendship.” (It should be remarked
that the tracery heads and cusps, as seen from the inside of this
window, are not repeated on the outside,--a plain transom only crossing
the lights. This peculiarity is repeated in the great east, and in some
other windows.) The glass is of unusually pictorial character; and if
not entirely successful, is at least better than most recent attempts in
a similar direction. The subjects are:--_Lowest tier_, beginning
south--Noah passing out of the Ark after the Deluge; Moses dividing the
Red Sea; the Baptism of the Ethiopian Eunuch. In the _second tier_--The
Annunciation to the Shepherds; the Nativity; the Adoration of the Kings.
In the _third tier_--The Presentation in the Temple; the Baptism of our
Lord; St. John Preaching in the Desert. _Above_ are the Baptism of St.
Paul, of St. Peter, and of the Jailor of Philippi. Below the window is a
brass plate with an inscription recording its erection as a memorial to
Bishop Monk.
The west doorway and the panelling at its sides are very plain. At the
angle between the nave and the south aisle is a statue of EDWARD JENNER,
by R. W. SIEVIER. Dr. Jenner, the discoverer of vaccination, was born at
Berkeley in Gloucestershire, in 1749; and died there in 1823.
The view eastward from this point is intercepted by the organ; but
beyond the massive piers of the nave, portions of the light choir-roof
are seen; and the superb glass of the east window terminates the choir
with such a glow of colour as few other cathedrals can display.
VI. The _north aisle_ of the nave is, like the nave itself, Norman,
except the two western bays, which are Abbot Morwent’s. The half piers
against the wall are of the same height as those of the nave, but are
divided into several members with shafts at the angles, the capitals of
which are in some cases enriched. In each bay the Norman window-opening
remains, with zigzag mouldings and side-shafts. All are filled with
Perpendicular tracery, which is continued on the Norman wall under the
windows. A Perpendicular stone bench runs below. The windows in this
aisle are raised high, in order to clear the roof of the cloister
outside. The vaulting is ribbed, Norman.
In the Perpendicular portion of this aisle (second bay) is a very fine
doorway into the west walk of the cloister--(the monks’ entrance). A
crocketed canopy rises above it, with panellings on either side, in
which were painted figures of the Apostles. On each side of the door are
niches for figures. In the easternmost bay of this aisle is the abbot’s
entrance--also Perpendicular, but not so richly decorated. In both these
doorways, the half-groined recesses, so constructed as to admit of the
doors opening into them, should be noticed.
The Perpendicular window at the west end of this aisle has been filled
(1862) with stained glass by HARDMAN; representing the story of the
British King Lucius, who, according to one tradition, died and was
buried at Gloucester. Under the window is a tablet for Bishop WARBURTON,
(died 1779); “a prelate,” runs the inscription, “of the most sublime
genius and exquisite learning.” The slab which covers his tomb is in the
first bay between the nave and aisle. Two _monuments_ in this aisle
should be mentioned: that in the fifth bay by FLAXMAN, for SARAH MORLEY,
who died with her young child, at sea, in 1784. She rises from the sea
supported by three floating angels. Above are the words, “The sea shall
give up its dead.” The figures are graceful, and the whole composition
striking. And that in the last bay, by the choir-screen, for THOMAS
MACHEN, Alderman of Gloucester, and wife; 1614;--a very good example of
the period, but by no means one to be imitated. The window above is
filled with excellent stained glass by CLAYTON and BELL, in which the
white and neutral tints give great effect to the brilliant colour. The
subjects are the three miracles of our Lord in raising the dead:--The
Ruler’s Daughter, the Widow’s Son, and Lazarus.
VII. The _south aisle_ of the nave was changed to its present state in
1318, during the abbacy of JOHN THOKEY, (1306-1329). The Norman south
wall remains in the interior, together with the half piers, which
resemble those in the north aisle. Abbot Thokey erected the present
external façade against this Norman wall[8], and re-groined the roof.
The exterior of this aisle (see § XX.) is a very fine example of early
Decorated[9]. The deeply recessed windows are enriched with the
ball-flower, and resemble one of the windows in Merton Chapel, Oxford,
from which chapel (founded about 1280), or from that of Gloucester
College, founded for student monks of this monastery in 1283, the
windows here may have been directly copied. The ball-flower occurs again
in profusion at Ledbury, in Herefordshire; but it is rarely used to
such an extent as in this aisle, and in the tower of Hereford Cathedral,
which is nearly of the same date. At Gloucester a horizontal line drawn
across the head of the window, just above the spring of the arch, cuts
no fewer than thirty-two ranks of the ball-flower, sixteen within and
sixteen without. All the windows of this aisle, as far as the south
porch, have been filled with stained glass. The _first_ (beginning from
the east) is by WARRINGTON; the _second_, by CLAYTON and BELL, contains
the story of Edward II.;--his imprisonment in Berkeley Castle; his
murder; the Abbot of Gloucester taking possession of the body; the
procession of monks with the body to Gloucester; and the entombment.
This window is good and interesting. The glass of the _third_ window is
by BELL of Bristol, and is very bad. The _fourth_, by CLAYTON and BELL,
represents the coronation of Henry III. in Gloucester Cathedral. The
_fifth_, by WARRINGTON, and the _sixth_, by BELL of Bristol, are equally
bad. The representations in the stained glass of the cathedral of the
great historical events which have been connected with it is an
excellent idea, provided such historical glass is not allowed to intrude
itself unfittingly. The great defect of the glass in Gloucester
Cathedral is its want of plan and uniformity,--owing to the various
artists (some very indifferent) who have been employed.
In altering the south aisle, Abbot Thokey cut off the arches over the
Norman windows, (those opposite should be compared,) and lowered the
vaulting. This, in the first four bays from the south porch, greatly
resembles that of the nave, which is of much earlier date. The vaulting
of the three last bays has its mouldings filled with the ball-flower.
The two western bays of this aisle are Abbot Morwent’s work, and differ
very slightly from those opposite. Against the west wall is a coloured
bust of JOHN JONES, “Burgess of Parliament” at the time of the Gunpowder
treason. In the aisle is a monument by SIEVIER for SIR GEORGE
ONESEPHORUS PAUL, (died 1820,) who distinguished himself by his active
exertions in reforming prisons.
The last bay between this aisle and the south transept is closed on the
north side by the chantry of Abbot SEABROKE, (died 1457,) the builder of
the central tower, the south-west pier of which forms the head of his
chantry. His effigy, in alabaster, was originally in a recess on the
north side, but now occupies the place of the altar. Chantry and effigy
have been much mutilated and shattered. In an arched recess under the
opposite windows are effigies of a knight and lady, long assigned to one
of the Bohun Earls of Hereford. There is every reason, however, to
believe that the effigies represent members of the Brydges family, whose
crest appears on the knight’s sword-belt[10]. He wears a collar of SS.,
and his armour cannot be earlier than the reign of Henry V.
Against the wall on the north side of the entrance to the transept is a
large canopied bracket for a figure.
VIII. Passing into the _south transept_, we enter that portion of the
Norman cathedral which was transformed and re-cased during the
fourteenth century. Both transepts, the choir and its aisles, were thus
treated, between the years 1329-1377. The work, according to
Froucester’s Chronicle, was begun in this transept, which was re-cased
by Abbot WYGEMORE[11], (1329-1337).
In both transepts the original outline of the _Norman_ work is complete,
both in the interior and exterior. Both transepts had eastern chapels,
below and in the triforium, which extends over the choir-aisles, opening
into other chapels at the east end. Instead of the lofty piers of the
nave, the transepts at their eastern sides, and the choir throughout,
have low, massive piers and arches below, and piers and arches of nearly
equal dimensions in the triforium. In the fourteenth century the Norman
walls of both transepts were covered on their three sides with an open
screen-work or panelling formed by mullions and transoms, enriched with
tracery and foiled headings. The forms of the triforium arches, of the
clerestory, and of the arches opening into the chapels and choir-aisles,
were changed from round to pointed; but within the triforium the round
arches remain, and the wall on which the panelling is laid is the
original Norman. The great distinction between the work here and that in
the nave of Winchester, with which it may be instructively compared, is,
that in the latter instance the Norman work was completely hidden, and
re-cased with Perpendicular masonry: at Gloucester the later work was
only laid on the Norman walls and arches. This is more evident in the
choir than in the transepts.
The _south transept_, according to Abbot Froucester, was the first part
of the Church to be thus treated. The panelling, however, although
dating from the first half of the fourteenth century, (1329-1337,) has
much of Perpendicular character; and the alterations in this transept
may accordingly be regarded as perhaps the earliest approach to
Perpendicular work in England. The design is indeed wanting in one chief
characteristic of true Perpendicular; as the mullions are not carried
straight up to the head of the arch, but branch off into arches before
reaching it. But although the work in this transept retains much of
Decorated character, the tendency to change is sufficiently marked; and
in the rest of the cathedral (north transept and choir) the
Perpendicular style is completely developed. According to Professor
Willis, it may have commenced here. “It must have begun somewhere; in
some place the mullion must have been carried up for the first time, and
no place is so likely as Gloucester to have produced the change of
style[12].”
On the _east_ side, the entrance to the choir-aisle is closed by an open
screen, with two doorways in the lower part, one leading to the aisle,
the other into the crypt. The form of their arches is very unusual, and
deserves notice. The rib of a great buttress, supporting the wall of the
choir, runs through the triforium above. In the south-east bay was an
arch, now closed, leading into the Norman chapel, on either side of
which are canopied brackets for figures. In the panel filling the first
bay, just above the top of the crypt door, is the so-called _Prentice’s
bracket_, [Title,] in form resembling a builder’s square. Two figures
support it, curiously placed,--the lower with a bag at his waist. It is
traditionally said to be a memorial of the master builder and his son,
or prentice, but was in all probability a bracket for light. Filling the
centre of the blank arch is a monument with medallion for Bishop BENSON,
(died 1755).
On the _south_ side of the transept is a large Perpendicular window of
good design, below which is a passage, behind an open arcade. The
passage is entered from a Norman staircase-turret in the south-west
angle, and leads upward to the triforium. The effect of this arcade,
with its unusual depth of shadow, is very good.
[Illustration: THE “PRENTICE’S” BRACKET.]
[Illustration: 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 the _confessional_. [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 for RICHARD PATES,
(died 1588); and the high tomb with effigies of Alderman BLACKLEECH,
“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 the _west_ wall 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. The _roof_ is 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 the _north 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, a _reliquary_[14]. [Plate III.] It is in three
divisions, the
[Illustration: 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, and should 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 for JOHN
[Illustration: 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.
The _choir_, [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 the _presbytery_, 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
Abbots STAUNTON, (1337-1351,) and HORTON, (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
choir _vaulting_ is 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 politum
Tullii 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, by
ROBERT TULLY,
[Illustration: MISERERES IN THE CHOIR.]
a monk of the house. In 1460 Tully became Bishop of St. David’s, and
died in 1481.
The _light arches_ which, 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 the lofty 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 Abbot HORTON,
(1351-1377). The _tiling_ of the sacrarium, which displays the arms and
devices of Abbot PARKER, (1515-1534,) is no doubt of his time; as are
the _sedilia_ on 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 great _east 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 by HUGHES[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 us to 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 the _south_ side of the presbytery is a projecting bracket of
Perpendicular date, on which is placed the earlier effigy of an
abbot--perhaps that of HENRY FOLIOT, (died 1243). It is too shattered,
however, to be of much interest.
On the _north_ side of the presbytery, beginning from the east, are:--
(1.) A high tomb with effigy of OSRIC, 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 of
WILLIAM 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 of EDWARD 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
[Illustration: 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 Abbot PARKER, (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. The _north choir-aisle_ is 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 apsidal _chapels_,
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 Abbot BOTELER, (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
[Illustration: 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 of ROBERT 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 of the 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 the _Lady-chapel_ was commenced. The walls of the _ante-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. The _upper_
story 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 Abbot
HANLEY, (1457-1472,) and his successor, Abbot FARLEY, (1472-1498). It
was the last great work of the monastery, and worthily closes the fine
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 closed in 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 chapel _on the north_ has 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 Bishop GODFRED, (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 of leafage. The _south_ chapel
resembles the north; and contains a flat altar-tomb for THOMAS
FITZWILLIAMS, (died 1579: it was repaired by his descendants in 1648).
The east window is covered by the hideous monument of Bishop NICHOLSON,
(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 for
ELIZABETH WILLIAMS, daughter of Bishop Miles Smith of Gloucester, (died
1622). Below, again, is a full-length statue of Sir JOHN POWELL, (died
1713)[20].
XV. The _south choir-aisle_ resembles 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. The _triforium_ of 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 the _south_ transept 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
[Illustration: 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 building of the Lady-chapel, into which
it looks. In it is a stone altar--perhaps that of the Norman chapel.
[Illustration: 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. The _crypt_, which is entered from the south transept, 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.
[Illustration: 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
which spring 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 built _under_, 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. The _cloisters_, [Plate VIII.,] which are entered from the nave,
rank among the finest examples in the kingdom. They were commenced by
Abbot HORTON, (1351-1377); and completed by Abbot FROUCESTER,
(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.
[Illustration: THE CLOISTERS.
THE “CAROLS” IN THE SOUTH WALK.]
[Illustration: 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 the _north_ walk
are the _lavatories_, [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, or _manutergia_.
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 originated with a
view to check the disfigurement of the cathedral by monuments of any
other description.”
XIX. The _chapter-house_ opens 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 the _Chapter
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
[Illustration: 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 the _exterior_ of the church, the _west front_ (Abbot
MORWENT’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’s _south 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 the _transept_ commences 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.
The _tower_ (see § III.) was (as appears from the inscription within, §
X.) the work of Abbot SEABROKE, (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 has
entirely disappeared; and beyond it are some transitional Norman arches,
which belonged to the infirmary of the monastery.
NOTE, (p. 33).
Since the 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.
GLOUCESTER CATHEDRAL.