the saintly archbishop, and Rufus gazed; the same avenue of massy
pillars--then scarcely finished--through which Maud the Empress
often went to her prayers with her chivalrous half-brother, Earl
Robert. Beauclerc, her father, too, and some grey-haired survivors
of Hastings must have looked on these huge columns crowned with
their round arches which excite our wonder to-day. They were a
curious fancy of the architect of Serlo; or was it not probably a
design of a yet older artist of Edward the Confessor? These
enormous round shafts, which are the peculiar feature of the nave
of our storied abbey, have only once been repeated, probably by the
same architect, in the neighbouring abbey of Tewkesbury, a few
years later. There is nothing like them on either side of the
silver streak of sea. The Tewkesbury copies are slightly smaller;
otherwise they are exact reproductions of Gloucester.”--(S.)
The Nave differs from other Norman naves like those of Peterborough, Ely
and Norwich.
“The unique features here are the great height of the massive
circular columns, fourteen in number, and the consequently dwarfed
triforium or gallery running over the main arches. There are traces
to be seen of the original Norman clerestory under the
Perpendicular windows, and, judging from this, the height of the
clerestory, as originally constructed, must have been but little
less than that of the piers in the nave.
“This Norman clerestory was altered at the same time that the roof
of the nave was vaulted--viz. in 1242, in the time of Henry Foliot.
This work was done by the monks themselves, who thought, as
Professor Willis suggests, that they could do it better than common
workmen. Their work is made of a light and porous kind of stone,
treated with plaster on the under-side, and it was rendered
necessary by the previous roof, which was of wood, having been
destroyed by fire in 1190. Of this fire the piers certainly show
the traces to this day, all having become reddened and slightly
calcined. To make the new clerestory the whole of the original
Norman work over the arcade of the triforium was removed, with the
exception of the jambs of the side-lights (which extended beyond
the arches of the triforium) and the wall between them.”--(H. J. L.
J. M.)
All the stone-work was originally painted.
“The painting may be thus generally described. The hollow of the
abacus of the capitals was red, the lower member of the same,
green; the whole of the bell red, the leaves alternately green and
yellow, with the stalks, running down, of the same colours, into
the red bell of the capital. The vertical mouldings between the
marble shafts were red and blue alternately; the lower shafts green
and blue, with red in the hollows, and the foliage on these also is
green and yellow. Some of the horizontal mouldings are partly
coloured also. The bosses in the groining are yellow and green, as
in the capitals. All the colouring, which was very rich, was
effected with water colours; in one instance only has any gold been
discerned, and that was upon one of the bosses in the roof.”--(F.
S. W.)
Abbot Morwent pulled down the west end of the Nave in 1421-1437 and
reconstructed it in the Perpendicular style. It is supposed that the
original =west front= was like that of the Abbey at Tewkesbury.
The west window contains nine lights, filled with modern glass.
The =South aisle=, originally Norman, was remodelled about 1318. The
tracery of the windows is unusual. The ball-flower is seen in great
profusion in this part of the Cathedral.
In this aisle there is a monument to Dr. Jenner of vaccination fame, to
whom the five-light west window here is also a memorial.
The tracery of the windows of the clerestory is attributed to Abbot
Morwent.
The =North aisle= retains its original Norman vaulting, and the Norman
piers, which correspond to the piers in the Nave, are divided into
several members. Some of their capitals are richly carved. In each bay
there is some Perpendicular tracing. A stone bench along the wall is
also Perpendicular.
The door into the Cloister at the west end of the aisle is very fine,
and the side niches and canopy work over it deserve study.
The door at the eastern end of the aisle leading to the Cloisters is
also Perpendicular. Both doors have fan-vaulted recesses, like the great
west door of the Nave.
The west end of the aisle is the work of Abbot Morwent (1421-1437).
A heavy stone screen, dating from 1820, closes the east end of the nave.
We pass through a small arch in this screen, and beneath the broad
platform on which the great organ stands.
This was originally built in 1663-1665 by Thomas Harris, and was painted
and gilded in 1666. The oak case is in the Renaissance Style.
Little idea of the beauty of the =Choir= can be obtained from the Nave. We
enter from the north aisle. It is 140 feet long; 33 feet 7 inches broad;
and 86 feet high.
“Looking upwards, the visitor will note the beauty of the vaulting
and the bosses placed at the intersection of the ribs. These bosses
at the east end of the choir chiefly represent a choir of angels
playing on various kinds of musical instruments, and a figure of
Our Lord in the attitude of blessing. All the roof was originally
probably painted and decorated, but the existing colour and gilding
is recent work, having been done by Clayton & Bell. At first sight
the groining of the roof looks most complicated, but, if analysed
and dotted down on paper, it will be seen to be in reality a simple
geometrical pattern. The bosses will repay careful examination with
a glass.
“Viewed from the door in the screen, the choir looks in very truth
a piece of Perpendicular work, as the Norman substructure is then
for the most part concealed. A closer examination, however, will
prove that the Norman work is all there--that it has been veiled
over with tracery from the floor level to the vaulting with open
screen-work, fixed on to the Norman masonry, which was pared down
to receive it.”--(H. J. L. J. M.)
The general impression is striking:
“The choir on which you are now looking is very long--not too long,
however, for its great height--for the fretted roof, a delicate
mosaic of tender colours set in pale gold, soars high above the
vaulting of the nave. The proportions are simply admirable. From
the lofty traceried roof down to the elaborately tiled floor, the
walls are covered with richly carved panelled work, broken here and
there with delicate screens of stone. The eastern end, hard by the
high altar, is the home of several shrines. There is happily no
lack of colour in this part of our cathedral. The western end is
furnished with sixty richly-carved canopied stalls of dark oak,
mostly the handiwork of the Fourteenth Century. The curiously and
elaborately fretted work of the roof we have already spoken of as
a rich mosaic of gold and colours. The floor, if one dare breathe
a criticism in this charmed building, is too bright and glistening,
but it is in its way varied and beautiful. The carving of the
reredos, a work of our own day, is, to the writer’s mind, open to
criticism, but is still very fair, telling in every detail of
loving work and true reverence.”--(S.)
The =High Altar= occupies the same site as the ancient one. The sixty
=Choir-stalls= have been restored in part; the sub-stalls date from Sir
Gilbert Scott’s restoration (1873). On the south side of the High Altar
there are four =Sedilia= also restored. Redfern’s figures in the niches
are Abbot Edric, Bishop Wulstan, and Abbots Aldred, Serlo, Foliot,
Thokey, Wygmore, Horton, Froucester, Morwent, Seabroke and Hanley. The
three angels over the canopies, playing on a tambour and trumpets,
deserve notice.
On the north side of the =Presbytery= we pause to look at the chantry =Tomb
of Abbot Parker=, where the carving of vine and grapes on the stone
screen is fine. The curious cross in the form of a growing tree at the
foot of the tomb is also striking. Parker, who died in 1539, was buried
elsewhere. Then we pass to the more famous =Tomb of Edward II.=, erected
by Edward III. The alabaster figure is probably the earliest of its kind
in England. The tomb was opened in 1855 to satisfy curiosity as to
whether the king was really buried there after his murder in Berkeley
Castle nearby.
“Though it awakens our recollection of a feeble-minded king, and
his barbarously brutal murder, it also compels our admiration at
the beauty of the work. It has been restored, renovated or
re-edified, but in spite of that, appeals to us from the wealth of
very highly ornate tabernacle work, the richness, and at the same
time the lightness and elegance of the whole. The details too are
well worth careful examination. It may be, judging from the
expression of the face, that there has been some attempt at
portraiture, but repair and restoration have practically made it
impossible to settle what would otherwise be an interesting
question. The superb canopy has suffered much at the hands of
restorers--e.g. in 1737, 1789, 1798 and in 1876.”--(H. J. L. J. M.)
The next monument is to =King Osric=, erected in “late dayes,” _i.e._ in
the time of Abbot Parker, whose arms are in the spandrels of the canopy
(1514-1539).
The Norman piers, cut away to receive the tomb, are decorated on their
capitals with the white hart chained and gorged, with a ducal coronet,
the device of Richard II. Osric is represented as clad in tunic, laced
mantle and a fur hood or collar, bearing the model of a church in his
left hand.
The next tomb westwards is, as Leland says, that of “=King Edward of
Caernarvon= (who) lyeth under a fayre tombe, in an arch at the head of
King Osric tombe.”
The transepts and ambulatory of the choir are usually entered through
the iron gateway in the south aisle of the nave.
These =Ambulatories=, or aisles, have nothing uncommon in their form or
arrangement below, but above occurs the great peculiarity of this
church. The upper range of chapels surrounding the Choir is perhaps not
to be met with in any other church in Europe.
Another peculiarity of the Choir is its six-light west window. This was
rendered necessary by the difference in height of the Nave and Choir;
for the vaulting of the choir is about twenty feet higher than that of
the Nave. The glass consists chiefly of patchwork from other windows in
the Cathedral. It represents a figure of our Lord, with angels on either
side. Below angels play musical instruments.
The =Triforium= of the Choir is considered by some critics the finest in
existence.
“It occupies the space over the ground floors of the aisles or
ambulatory of the choir, and originally extended of a like width
round the east end of the Norman Church, but at the time when the
Fourteenth-Century work of the present choir was executed, the
whole of the east end of the old Norman choir, with the
corresponding part of the triforium, was removed in order to make
room for the existing large window, the small east chapel being
allowed to remain.”--(F. S. W.)
The =Triforium= is reached by the staircases in the western turrets of the
two transepts and by arcaded passages passing under the great windows of
the transepts.
“The first chapel in the triforium contains two brackets with rich
canopies, and there is a very well preserved double piscina.
Ball-flowers in two rows will be found in the mouldings of the east
window. Remains of two canopies in the jambs of the windows are
also to be traced.
“The massive Norman piers should be carefully studied, as the way
in which the later casing work has been applied can be more easily
seen in the triforium than elsewhere.
“The picture on the west side of this part of the triforium was
discovered in 1718, against the then eastern end of the nave,
underneath the panelled wainscot at the back of the seats occupied
by the clergy when the nave was used for service.”--(H. J. L. J.
M.)
This painting of _The Last Judgment_ is supposed to date from the reign
of Henry VIII., or Edward VI. It was suggested by the great altar-piece
at Dantzig (1467).
As an entrance to the east chapel of the triforium, the narrow gallery,
called the =Whispering Gallery=, was made. It is a passage of Norman work,
very much altered and re-used. It is 74 feet long, 3 feet wide, 6⅛
feet high, and is carried on segmental arches from the east end of the
south triforium to the west wall of the Lady Chapel, and thence in the
same way to the north triforium.
On the way towards the Whispering Gallery, the flying-buttresses
inserted in 1347-1350 to support the walls of the clerestory, which were
weakened by the insertion of the great east window of the Choir, should
be noticed.
Visitors are always interested in the Whispering Gallery, where the
lightest whisper can be easily and distinctly heard at the other end of
the gallery. It inspired the following lines, by Maurice Wheeler
(head-master of the King’s School, 1684-1712):
“Doubt not but God, who sits on high,
Thy secret prayers can hear,
When a dead wall thus cunningly
Conveys soft whispers to the ear.”
The =East Window= is larger than the East Window of York Minster. It
measures 78 × 38 feet; that at York is 78 × 33.
Though it has suffered much mutilation, restorers have done little harm,
and it is possible to get some idea of its original splendour.
“It is worthy of remark 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 west
[Illustration: GLOUCESTER: CHOIR, EAST]
[Illustration: GLOUCESTER: CLOISTERS]
window and in many other windows in the cathedral.”--(F. S. W.)
The stone-work of the window was restored in 1862 and the glass cleaned
and re-leaded. The window consists of fourteen lights--six on the centre
with four on either side. The subjects are the Coronation of the Virgin
Mary with Christ and the Apostles, saints and kings. The heraldic
shields fix the date of the glass between 1347 and 1350. The canopies
and nearly all the figures are of white glass enriched with yellow. The
tones of red and blue are particularly rich. The drawing of the figures
has been much criticised.
“The whole of this, the loveliest choir in England, is lit by a
mighty wall of jewelled glass behind the great golden reredos.
“This vast east window which floods the choir of Gloucester,
beautiful as a dream with its soft, silvery light faintly coloured
with jewelled shafts of the richest blue and red, and here and
there a vein of pale gold--this vast window could not have been
seen out of England, or, at least, one of the grey and misty
northern countries, where gleams of light or shafts of sunshine are
exceedingly precious. In south or central Europe the effect of such
a mighty window would be simply dazzling to the eye, would be
painful from its excess of light.
“This great east window is the largest painted window in
England--the largest, the writer believes, in Europe. Its stonework
exceeds in size the magnificent east window of York, which stands
next to it. The respective measurements are Gloucester, seventy-two
feet high by thirty-eight wide; York, seventy-eight by thirty-three
feet. The lower parts of the centre compartments at Gloucester are
not completely glazed, owing to the opening into the Lady-chapel.
The glass of Gloucester is, on the whole, light-coloured, the
designers being evidently anxious that the beautiful stone panels
and screen-work should be seen in all their exquisite details. The
glass has suffered marvellously little from the ravages of weather
and the fanaticism of revolutionary times; the busy restorer, too,
has dealt gently with it. There are forty-nine figures, and of
these thirty-seven are pronounced by our lynx-eyed experts to be
absolutely genuine. Of the eighteen armorial shields in the lower
lights thirteen are certainly the identical shields inserted by the
survivors of Cressy. The whole of the gorgeous canopy-work has been
untouched. The subject of the paintings is the _Coronation of the
Virgin_ and the figures consist of winged angels, apostles, saints,
kings and abbots. The coats-of-arms are those borne by King Edward
III., the Black Prince, and their knightly companions, such as the
Lords of Berkeley, Arundel, Pembroke, Warwick, Northampton, Talbot
and others who took part in the famous campaign in which occurred
the battle of Cressy, and who in some degree were connected with
Gloucestershire. The window was, in fact, a memorial of the great
English victory, and may fairly be termed the Cressy window.”--(S.)
The =Vestibule= to the Lady-Chapel is a beautiful work. The lower portions
of the west wall, parts of the old Norman apsidal chapel, are pierced by
the opening for the door and by two perpendicular windows.
The lierne vaulting is very delicate (the ribs are run differently in
the four quarters of the roof), and the pendants form a cross. Over the
vestibule is the small chapel which is entered from the Whispering
Gallery.
The beautiful =Lady-Chapel= was built between 1457 and 1499 on the site of
a smaller one.
The Lady-Chapel, 91 feet 6 inches long, 25 feet 6 inches high, and 46
feet 6 inches high, consists of four bays, which, as the wall of the
chapel is so low, are chiefly composed of fine tracery and glass.
“All the wall below the windows is arcaded with foiled arches, with
quatrefoils above them. The wall between the windows is panelled
with delicate tracery like that in the windows, and in its three
chief tiers contains brackets for figures, with richly carved
canopies overhead. Many of these canopies (like the walls) show
traces of colour.
“Vaulting shafts of great beauty support one of the grandest
Perpendicular roofs that has ever been made. Each boss in the roof
is worth minute inspection, and since the restoration (1896) it is
possible to see the bosses in practically the same condition as
they were when they left the masons’ hands in the Fifteenth
Century. With three exceptions they are all representations of
foliage.
“It has been said above that the chapel is cruciform. The arms of
the cross are represented by the two side chapels, like diminutive
transepts on the north and south sides, with oratories above them,
to which access is given by small staircases in the angles of the
wall. Both these side chapels contain some exquisite fan-tracery
vaulting, which is supported upon flying arches, fashioned in
imitation of the graceful flying arches in the choir.
“On the north side the chapel contains a full-length effigy of
Bishop Goldsborough (who died in 1604) robed in his white rochet,
black chimere, with lawn sleeves, scarf, ruff and skull-cap.
“The east window in this chapel is in memory of Lieut. Arthur John
Lawford (1885), and is dedicated to St. Martin.
“The chapel above has a vaulted roof with bosses of foliage, and
there are small portions of ancient glass.
“The Lady-chapel is one of the largest in the kingdom, and is said,
at the time of the Dissolution, to have been one of the richest. A
great part of it is said to have been gilded and gloriously
ornamented. Traces of the colour can be seen in the mouldings of
the panellings and in the carving upon the walls.”--(H. J. L. J.
M.)
The =Reredos= still retains traces of its gorgeous colours. It is very
richly ornamented.
The =East Window=, consisting of nine lights, dates from 1472-1479. The
monuments are not especially remarkable. The tiles of the floor and the
sedilia are notable.
On our right, as we leave the Lady Chapel, we come to =Abbot Boteler’s
Chapel= (1437-1450). It contains a fine ancient reredos, interesting
tiles and a curious wooden =effigy of Robert, Duke of Normandy=, son of
William the Conqueror. Critics think it nearly contemporary with the
Duke himself. The figure rests on a Fifteenth Century chest.
Next we come to =St. Paul’s Chapel= (north-west) entered by a doorway. The
reredos here is very fine. It was repaired in 1870. St. Peter, St. Paul
and St. Luke, by Redfern, ornament the niches.
An ancient stone reading-desk, from which pilgrims to the shrine of
Edward II. were addressed, attracts our attention near the door leading
into the =North Transept=. This is originally Norman, cased over with
Perpendicular panelling, more developed, however, than that in the south
transept. The work here was done in 1368-1373. Angular mouldings are
used in the place of round mouldings and the mullions run right up to
the roof, which is much richer than that in the south transept. The
vaulting of the north transept somewhat resembles the fan-tracery of the
cloisters. This transept is 8 feet lower than that on the south side and
it is 2 feet shorter.
Beneath the north window is a greatly admired piece of Early English
(1240), supposed to have been a =Reliquary=. The middle of the three
divisions is a doorway. Beautifully carved foliage and Purbeck marble
shafts are the chief ornamentation.
Opposite, between the tower-piers, is a small chapel, said to have been
dedicated to St. Anthony. It is used as the Dean’s vestry.
The =South Transept= (=St. Andrew’s Aisle=) was transformed from the Norman
in 1329-1337. The vaulting is lierne with short ribs. The walls are
panelled.
On the north side of the south transept, we find the =Seabroke Chapel=.
“The alabaster effigy represents the Abbot in his alb, stole,
tunic, dalmatic, chasuble, amice and mitre, with his pastoral staff
on his right side. The chapel has been partially restored. Traces
of colour are to be seen in the reredos and the roof over it.
“Almost opposite to this, but nearer to the iron gate, is a
recessed tomb to a knight in mixed armour of mail and plate, and by
his side his lady, with kirtle, mantle and flowing hair. Both wear
SS. collars, and this helps to give the age of the monument, by
narrowing the date down to a year not earlier than 1399.”--(H. J.
L. J. M.)
On the east side the =Chapel of St. Andrew= occupies a corresponding
position to that of =St. Paul= in the north transept. This chapel has been
restored. Some of the best glass in the Cathedral is contained in the
east window over St. Andrew’s Chapel. It dates from about 1330 and
consists of the head of a white scroll-work of vine leaves, etc., on a
fine ruby-coloured ground, and below plain quarries with very simple
borders.
Opposite Boteler’s Chapel we find =St. Philip’s Chapel= (south-east),
restored in 1864. There is some dog-tooth moulding near the piscina. A
fine Perpendicular arch, supporting the triforium above, attracts
attention before the Lady-Chapel is entered.
The =Crypt= is entered from the eastern door in the south transept. It is
one of the five great eastern crypts erected before 1085[5] and consists
of an apse, three small apsidal chapels and two chapels underneath the
eastern chapels of the north and south transepts.
“Great alterations have from time to time been made in the crypt.
The large semicircular columns against the walls, though of great
antiquity, are not parts of the original structure, but are casings
built round, and enclosing the former smaller piers, and the ribs
springing from their capitals are built _under_, with a view to
support the vaulting.”--(F. S. W.)
Through a door in the organ screen in the north aisle of the nave we
enter the =Cloisters=, which are among the most perfect and beautiful in
England. They form a quadrangle and each walk is divided into ten
compartments. Fan-tracery is thought to have originated here in the
vaulting. They were begun 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
example of the fan-vault. 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. 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. Each walk is divided into
ten compartments. In the south walk are the Carrels--places for
writing or study, twenty in number, formed by a series of arches,
running below the main windows. In each carrel is a small and
graceful window of two lights.[6] The very fine view at the angle
of the south and west walks should especially be noticed. In the
north walk are the lavatories, 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_. The windows of the east walk are filled with memorial
glass by Hardman (the eighth is by Ballantyne, as is one window in
the west walk).”--(R. J. K.)