diff options
| author | Roger Frank <rfrank@pglaf.org> | 2025-10-15 02:18:27 -0700 |
|---|---|---|
| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-15 02:18:27 -0700 |
| commit | 6444a8bc4d7b0d825d72c130f388ffe60bb1878c (patch) | |
| tree | beea486a636277f540a7f832919d177d61db0ea2 /25682-8.txt | |
Diffstat (limited to '25682-8.txt')
| -rw-r--r-- | 25682-8.txt | 4689 |
1 files changed, 4689 insertions, 0 deletions
diff --git a/25682-8.txt b/25682-8.txt new file mode 100644 index 0000000..c35f284 --- /dev/null +++ b/25682-8.txt @@ -0,0 +1,4689 @@ +The Project Gutenberg EBook of Bell's Cathedrals: The Cathedral Church of +Gloucester [2nd ed.], by H. J. L. J. Massé + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Bell's Cathedrals: The Cathedral Church of Gloucester [2nd ed.] + A Description of Its Fabric and A Brief History of the Espicopal See + +Author: H. J. L. J. Massé + +Release Date: June 5, 2008 [EBook #25682] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK BELL'S CATHEDRALS: GLOUCESTER *** + + + + +Produced by Jonathan Ingram, David Cortesi and the Online +Distributed Proofreading Team at https://www.pgdp.net + + + + + +[Illustration: GLOUCESTER CATHEDRAL, FROM THE ROOF OF ST. JOHN'S + CHURCH.] + + + + + THE CATHEDRAL CHURCH OF + GLOUCESTER + + + A DESCRIPTION OF ITS FABRIC + AND A BRIEF HISTORY OF THE + EPISCOPAL SEE + + + BY H. J. L. J. MASSÉ, M.A. + + AUTHOR OF "TEWKESBURY ABBEY" AND + "DEERHURST PRIORY," ETC. + + WITH FORTY-NINE ILLUSTRATIONS + + LONDON GEORGE BELL & SONS 1905 + + _First Published January 1899_ + _Second Edition August 1900_ + _Reprinted January 1905_ + + + _The Riverside Press Limited, Edinburgh_ + + + + +GENERAL PREFACE + + +This series of monographs has been planned to supply visitors to the +great English Cathedrals with accurate and well illustrated guide-books +at a popular price. The aim of each writer has been to produce a work +compiled with sufficient knowledge and scholarship to be of value to the +student of Archæology and History, and yet not too technical in language +for the use of an ordinary visitor or tourist. + +To specify all the authorities which have been made use of in each case +would be difficult and tedious in this place. But amongst the general +sources of information which have been almost invariably found useful +are:--(1) the great county histories, the value of which, especially in +questions of genealogy and local records, is generally recognised; (2) +the numerous papers by experts which appear from time to time in the +Transactions of the Antiquarian and Archæological Societies; (3) the +important documents made accessible in the series issued by the Master +of the Rolls; (4) the well-known works of Britton and Willis on the +English Cathedrals; and (5) the very excellent series of Handbooks to +the Cathedrals originated by the late Mr John Murray; to which the +reader may in most cases be referred for fuller detail, especially in +reference to the histories of the respective sees. + + GLEESON WHITE, E. F. STRANGE, + _Editors of the Series._ + + + + +AUTHOR'S PREFACE + + +I wish to express my great obligations to Mr F. S. Waller (the Cathedral +Architect) for his courtesy and kindness in allowing me to make the +fullest use of his "Notes and Sketches" of the Cathedral, a book which +is now, unfortunately, out of print; to Mr W. H. St. John Hope, F.S.A., +for permission to quote from his "Notes on the Benedictine Abbey of St. +Peter at Gloucester," published in the Records of Gloucester Cathedral; +also to the Records of Gloucester Cathedral. + +To Mr E. J. Burrow I owe special thanks for permission to use blocks +made from his black-and-white drawings, one of which has not been +published before; to the Very Rev. the Dean for much useful information +and assistance; and lastly to the Sub-Sacrist, Mr T. W. G. Cooke, whose +help has been at all times ungrudging and invaluable. + + H. J. L. J. M. + + + + +CONTENTS + + PAGE + CHAPTER I.--History of the Building 3 + + CHAPTER II.--The Exterior of the Cathedral 14 + The West Front 20 + The South Front and Porch 20 + The South Transept 21 + The Tower and the Bells 22 + The Lady Chapel 26 + + CHAPTER III.--The Interior 28 + The Nave 32 + The West End and South Aisle 36 + The West Windows and the Font 40 + The North Aisle 41 + The Choir Screen 44 + The Organ 46 + The Choir 47 + The Reredos 56 + The South Transept 65 + Chapel of St. Andrew and 'Prentice Bracket 67 + The Crypt 68 + South Ambulatory of Choir 72 + Triforium of the Choir 73 + The Whispering Gallery 77 + The Lady Chapel 79 + Abbot Boteler's Chapel 85 + The North Transept 89 + + CHAPTER IV.--The Precincts and Monastic Buildings 94 + The Vineyard, the Dorter, the Refectory 95 + The Little Cloisters 96 + The Library 98 + The Chapter-House 101 + The Cloisters 104 + The Monks' Lavatory 108 + The Slype 111 + The Deanery 112 + + CHAPTER V.--List of Abbots and Bishops of Gloucester 117 + The City 122 + Other Churches and Monastic Foundations 124 + Remains of Old Gloucester 128 + Notes Architectural and Chronological 133 + + + + +ILLUSTRATIONS + + PAGE + The Cathedral from St. John's Tower _Frontispiece_ + The Tower from the East 2 + Bird's-eye view of Norman Work 15 + The Cathedral from the South-West 17 + The Cathedral from North-West corner of the Cloisters 19 + The Tower from the Palace Yard 21 + View of the Cathedral in 1727 23 + South Porch since the Restoration 25 + Piscina in the Triforium 27 + The Nave, looking East 29 + The Nave and North Aisle 33 + South Aisle of the Nave 37 + Plan of the Original Choir Screen 44 + The Choir, looking East 49 + Plan of the Triforium of the Choir 50 + Plan of the Original High Altar 51 + Sketch of Old Norman Choir 52 + The Choir, looking West 53 + The Choir in 1806 57 + Tomb of Edward II 61 + South-East Chapel in the Crypt 69 + Plan of the Crypt 71 + South-East View of Cathedral 75 + Triforium of the Choir, looking East 76 + South Ambulatory of the Choir 78 + The Lady Chapel 81 + West End of Lady Chapel 83 + Tomb of Robert Curthose 87 + North Ambulatory of the Choir, looking East 90 + North Ambulatory of the Choir, looking West 91 + Door from North Transept into North Ambulatory of the Choir 92 + St. Mary's and King Edward's Gates 96 + College and Palace Yard Gateways 97 + Remains of Infirmary 98 + Mediæval House 99 + Chapter-House (Plan) 102 + Plan of Abbey Precincts 103 + Cloister Garth from North-West 107 + The Monks' Lavatory 109 + Plan of Old Tank in the Cloister Garth 111 + The Cloister, showing the Carrels of the Monks 113 + South Aisle of Nave 116 + Monument to Mrs Morley 121 + The Old Judge's House 125 + The House of Robert Raikes 127 + The New Inn 129 + Carving at New Inn Lane 130 + Remains of Roman Wall 131 + + Plan of Cathedral (with Dimensions) 134, 135 + +[Illustration: The Tower. Gloucester from the East. + Edward J. Burrows 1894] + + + + +GLOUCESTER CATHEDRAL + + + + +CHAPTER I + +HISTORY OF THE BUILDING + + +It is neither possible, nor desirable, within the limits of a book of +this size and scope, to go fully into the question, interesting though +it be, of the relative claims of Aldred and Serlo to the honour of the +first building of the Abbey of Gloucester. Professor Willis, in his +lecture addressed to the meeting of the Archæological Institute, held at +Gloucester in 1860, after giving various reasons for believing that the +crypt dates back no further than 1089, when the foundation-stone was +laid by Abbot Serlo, goes on to state that he was "clearly of opinion +that when the foundations of the cathedral were laid, the crypt was +planned to receive the existing superstructure and no other." + +Professor Freeman, in his lecture published in the "Records of +Gloucester Cathedral," says: "The first thing we do know for certain is, +that in the year 1089, thirty-one years only after the dedication of +Ealdred's church, Serlo, the first Norman Abbot, began the building of a +new church, which was itself dedicated in 1100." + +From the record quoted by Mr W. H. Hart ("Chartulary," i. 3), the first +mention of the abbey is in 681, when it was founded by Osric, viceroy of +King Ethelred. It was dedicated to St. Peter, and Kyneburga (the sister +of Osric) was the first Abbess of a double foundation for monks and +nuns. She died in 710. + +Osric himself was buried in his church in 729 (Hart, i. 5), and his +sister was buried near him, in front of the altar of St. Petronilla, +which was on the north side of the then existing church. + +The second Abbess was also a lady of royal descent, and widow of +Wulphere, King of the Mercians. She died in 735, and with Eve or Eva, or +Gaffa, her successor, who died in 769, the monastery came to an end. + +In 823 a new _régime_ began--viz. that of secular priests, introduced by +Beornwulf, King of Mercia, and the _Monasticon Anglicanum_ (Caley, i. +563) says that he found the monastery "_spoliatum et ruinosum_" and +therefore rebuilt it. He also changed its constitution, by introducing +secular priests, of whom many were married to lawful wives, and who were +very little different in their way of living to other secular +Christians. This state of things went on till 1022, when Cnut, as Leland +says, "for ill lyvynge expellyd secular clerks, and by the counsell of +Wolstane (Wulfstan), Bysshope of Wurcestar, bringethe in monkes." The +monks introduced by Cnut were of the Benedictine rule, or Black monks, +as Parker calls them in his "Rhythmical History of the Abbey." + +This change was effected about the same time in many other places in +England, but was not generally popular, and certainly was not so in +Gloucester. Abbot Parker, in his rhyming account of the founding of the +abbey, says that in 1030 + + "A lord of great puissance, named Ulfine Le Rewe, + Was enjoyned by (the Pope) for ever to finde + Satisfying for the seaven priests that he slew, + 7 monkes for them to pray world without minde." + +Mr Hope, in his "Notes on the Benedictine Abbey of St. Peter at +Gloucester," 1897, p. 2, says: "The Benedictines thus introduced by Cnut +do not seem to have been a success, and after an existence of +thirty-seven years under a weak Abbot, whose long rule was marked by +great decay of discipline, the '_Memoriale_' (Dugdale, i. 564) says: +'God permitted them to be extirpated, and the monastery in which they +were established to be devoured by the fiercest flames, and the very +foundations and buildings to be rent asunder, razed to the ground, and +utterly destroyed.'" + +"The monastery was next taken in hand by Aldred, Bishop of Worcester, +who in 1058 re-established the monks. He also began to build a new +church from the foundations, and dedicated it in honour of St. +Peter."[1] + +"Until now the monastery seems to have occupied the same site throughout +its chequered history; but the '_Memoriale_' states that Aldred began +the new church 'a little further from the place where it had first +stood, and nearer to the side of the city.'" + +The language of these authorities is quite plain, but the interpretation +thereof is not so evident. As Professor Freeman said: "By the time when +the oldest church, of which we have any part remaining, came into being, +the Roman Wall, or at least this corner of it, must have pretty well +passed away." It seems clear that the "_side of the city_" cannot refer +to the Roman Wall. To quote Professor Freeman again: "The existing +church is something more than near to the Roman Wall. It actually stands +over its north-west corner." + +"Even under Aldred's auspices the monastery did not altogether flourish. +But this time it was through the fault of Aldred himself, for, on his +translation to York in 1060, he retained very many of the possessions of +the abbey that had been pledged to him on account of his expenses in +repairing and re-edifying the church." + +In 1072, Wilstan (Wulstan), the Abbot consecrated by Aldred in 1058, +died, and was succeeded by Serlo, who found the convent reduced to two +monks and eight novices. Through his energy the monastery increased to +such an extent that in about fifteen years' time it became necessary to +rebuild the monastery. + +This rebuilding was begun exactly thirty-one years after Aldred had +built his church, _de nova_ and _a fundamentis_. Why was this necessary? +Professor Freeman says: "The reason is not very far to seek for any one +who has really mastered the history of architecture during the eleventh +century.... The simple fact is that the Norman prelates pulled down and +rebuilt the English churches, mainly because they thought them too +small." Further on he says: "This proves that, of the two types of +church which were in use side by side in the days of the Confessor, +Aldred had followed the older type. He had not conformed to the new +Norman fashions, vast size among them, which were coming in after the +example of the king's own church at Westminster.... His church was built +in the Primitive Romanesque style, the style common to England, with +Germany, Italy, and Burgundy, not in the newly-developed style of +Northern Gaul. Therefore, neither its scale nor its style suited the +ideas of Abbot Serlo.[2] It was condemned, and the minster that now +stands was begun." + +In the MS. Lives of the Abbots in Queen's College Library, Oxford, it is +stated that "in A.D. 1089, on the day of the festival of the Apostles +Peter and Paul, in this year were laid the foundations of the church +(ecclesia) of Gloucester, the venerable man Robert, Bishop of Hereford, +laying the first stone, Serlo the Abbot being in charge of the work." +(So, too, Hart, i. 11.) + +In August 1089 there was an earthquake, which did serious damage to the +then existing building. Eleven years after this (1100), in the last year +of the reign of William Rufus, "the church," as Florence of Worcester +wrote, "which Abbot Serlo, of revered memory, had built from the +foundations at Gloucester, was dedicated (on Sunday, July 15th) with +great pomp by Samson, Bishop of Worcester; Gundulf, Bishop of Rochester; +Gerard, Bishop of Hereford; and Herveas, Bishop of Bangor." This +dedication under Serlo's _régime_ is the last authentic record for some +years. + +Nothing is known exactly as to how much of the building was completed by +1100. Professor Freeman points out that eleven years was quite long +enough for its building, and that there is no hint in the local +chronicle of any additions being made to the building dedicated in 1100. +Probably part of the church was finished for the dedication, such as the +presbytery, choir, the transepts, the Abbot's cloister, the +chapter-house, and the greater part, at any rate, of the nave. + +The nave, though so different in scale as compared with the original +choir, must have been built very early in the twelfth century, and, like +the rest of the building, originally had a wooden roof. + +In 1101 or 1102 damage was done to the building by fire, notably the +chapter-house, and again in 1122. Possibly in this latter fire the nave +roof was destroyed, and of this fire the piers in the nave show traces. +Of the same date must be much of the strengthening masonry in the crypt, +the Prior's lodging, the chapel, and the slype beneath it. + +The whole of the Abbey buildings were surrounded by Abbot Peter with a +stone wall, and the necessary gates--viz. the great gatehouse on the +west, another on the south, and a third more to the east. All these can +be identified from the small plan of the monastic buildings, reproduced +(p. 103), by permission of Mr F. S. Waller. The Saxon Chronicle tells us +that in 1122, while the monks were singing mass, fire burst out from the +upper part of the steeple, and burnt the whole monastery. Some time +between 1164 and 1179 one of the western towers, probably the south-west +tower, fell down. Fire in 1190 is said to have destroyed the greater +part of the city, as well as almost all the buildings in the outer +court. Helias, the sacrist, also made new stalls for the monks in the +choir. Of these Early English stalls, a fragment has been thoughtfully +and carefully preserved behind the seat of the Canon in residence. + +In 1222 we learn from Hart, i. 25, that the great eastern tower was +built under the direction of Helias of Hereford, the sacrist. Of this +tower no traces now remain. Helias built his superstructure on the +Norman work that we see in the nave. + +The Early English Lady Chapel was said to have been built between the +years 1224-1227 by Ralph of Wylington, and Olympias his wife, and +endowed with lands. + +The church was dedicated again in 1239, in Abbot Foliot's time, by +Walter of Cantelupe, "the patriot prelate who, six-and-twenty years +later, stood by Earl Simon on the day of martyrdom at Evesham." + +Three years after the dedication in 1242 alterations in the triforium of +the nave were made, and the stone vaulting was done by the monks +themselves. It was a very laudable object, but they effectually spoiled +the nave. The same year saw the beginning of the rebuilding of the +south-west tower, and it was finished before 1246. If this was the tower +that collapsed in 1170, the monks would seem to have somewhat neglected +their duty to the fabric. The Norman refectory or "frater" was +demolished in 1246, and the new one begun. This building stood to the +north of the cloisters, and was pulled down at the Dissolution. Of the +Early English infirmary or "farmery" traces remain near the Bishop's +Palace. + +In this place we may refer incidentally to Gloucester Hall, Oxford, +which college was founded in 1283 as a residence for thirteen monks, to +be chosen out of the brotherhood at Gloucester, and sent to study at +Oxford. The hall was empowered later on to receive students from other +Benedictine foundations, and the buildings were enlarged for this +purpose in 1298. + +Fire again ravaged the Abbey and its precincts in 1300, on the feast of +the Epiphany. "It began in a timbered house in the great court, from +which it spread to the small bell-tower, the great camera, and the +cloister" (Hope, 36). Mr Hope thinks this bell-tower was either a single +western tower, as formerly there was at Hereford, or else a Norman +north-west tower, and that the great camera was part of the Abbot's +house, now the Deanery. Professor Freeman thinks that the small +bell-tower or _parvum campanile_ was so called as being less in height +than the south-west tower rebuilt in 1245-6. + +In this same fire the Norman dorter or dormitory suffered considerable +damage. It was pulled down three years later, and a new one, which took +ten years to build, was opened for use in 1313, after being blessed and +sprinkled with holy water by the Bishop of St. David's. 1318 is a date +of importance in the history of the Abbey. John Thokey, Abbot from +1307-1329, made many changes. He reconstructed the south aisle of the +nave to save the south side from collapse. The windows on the outside +have been restored, but the buttresses have been very little touched. +Most of the tracery in the windows of the aisles and chapels of the +choir, and the triforium of the choir, date back to his time. + +Thokey, between 1316-1329 built the new camera of the Abbot, beside the +infirmary garden (Hart, i. 55). + +Thokey's successor, Wygmore, carried out the works planned previously, +and in 1331-1337 the south transept was recased, and vaulted practically +as we see it to-day, in the style now known as Perpendicular. Part of +the front of the Deanery is presumably of the same date, though many +later alterations have been made in it. Wygmore also built the double +screen (_vide_ p. 44) which separated the nave from the choir. "Parts of +it," says Mr Hope, "are worked up in the present screen," and he quotes +Hart, i. 47, to show that Wygmore was buried in 1337, "before the +Salutation of the Blessed Mary in the entry of the quire on the south +side, which he himself constructed with the pulpitum (or loft) in the +same place." + +The transformation of the Norman minster had thus begun. In the days of +Adam de Staunton (1337-1357) the great vault of the choir was made at a +great expense, together with the stalls on the Priors' side--_i.e._ the +north side. + +The oblations at the tomb of Edward II. rendered much of his extensive +work practicable, as the funds of the Abbey were becoming exhausted. + +Thomas Horton (1351-1377) finished the work, comprising the high altar, +with the presbytery, the stalls on the Abbot's side, or south side of +the choir. (Hart, i. 49.) + +He also caused to be made the images and tabernacle work at the entrance +of the choir on the north side, and in the six years, ending with 1374, +he completed the casing of the north transept, defraying the greater +part of the cost himself (£444, 0s. 2d. out of a total sum of £781, 0s. +2d.). + +Horton also built "the Abbot's chapel near the garden of the infirmary, +the covered camera of the monks' hostelry, and the great hall in the +court, where the king afterwards held his Parliament in 1378." (Hart, i. +48, 50.) + +The present cloister, as far as the door of the chapter-house, is also +his work. + +This important work was for many years unfinished, but was completed by +Froucester in the years 1381-1407. As Leland says, "he made the cloyster +a right goodly and sumptuous piece of worke." + +In the one hundred and thirty years that elapsed between the finishing +of the cloisters and the Dissolution many further important changes took +place, both in the interior and in the exterior of the fabric. + +John Morwent (1421-1437), utterly destroyed the west front, with its two +towers, which, in the opinion of many, may have been counterparts of +those at Tewkesbury. To him also is credited, mainly on Leland's +authority, the insertion of the south porch. + +Abbot Seabroke (1450-1457) took down the tower as far as the Norman +piers, and built the present beautiful structure. He died before it was +finished, and Robert Tully, one of the monks of the monastery, carried +out the work, as the inscription on the wall in the interior (_vide_ p. +63) testifies. + +Before the tower was complete, the present Lady Chapel (which was +finished before 1500) was begun by Abbot Hanley, and finished by Abbot +Farley. + +John the Baptist's Chapel is usually ascribed to Abbot John Browne (or +Newton), from the similarity of his initials to those of the saint. + +The eastern bay of the chapter-house dates back to Abbot Hanley's +time--_i.e._ between 1457-1472. + +In 1540 Henry VIII. sent his commissioners, and they demanded the +surrender of the Abbey to the king. This cannot have been a surprise to +any of the monks who were in the Abbey at the time. As far back as 1534 +they had all been compelled to take the oath by which they acknowledged +the king as supreme head of the Church of England, and denied that any +foreign bishop had any authority in these realms. + +The monks, too, had seen the smaller monasteries in Gloucester dissolved +two years before, and the more thoughtful of them must have foreseen +that it was a mere question of time for the greedy king to absorb the +larger monasteries as well. + +Abbot Parker's tomb, and also that of King Osric, practically date +themselves, and of the same period are presumably the gateway into +Palace Yard, and part of the Abbot's lodging on the site of the present +Bishop's Palace. From Leland we learn that the south gate--_i.e._ King +Edward's gate--is of the same date, having been rebuilt by Osborne the +cellarer. + +The library, and the set of rooms beneath it, now used as vestry and +practice-room for the choir, are perhaps the latest additions to the +buildings. + +At the Dissolution the Abbey which had "existed for more than eight +centuries under different forms, in poverty and in wealth, in meanness +and in magnificence, in misfortune and success, finally succumbed to the +royal will. The day came, and that a drear winter day, when its last +mass was sung, its last censer waved, its last congregation bent in rapt +and lowly adoration before the altar there; and, doubtless, as the last +tones of that day's evensong died away in the vaulted roof, there were +not wanting those who lingered in the solemn stillness of the old +massive pile, and who, as the lights disappeared one by one, felt that +there was a void which could never be filled, because their old abbey, +with its beautiful services, its frequent means of grace, its +hospitality to strangers, and its loving care for God's poor, had +passed away like a morning dream, and was gone for ever." (Hart, iii. +49.) + +The charter of Henry VIII. founding the see is too long to quote _in +extenso_, but it stated that "Whereas the great convent or monastery, +which, whilst still in being, was called the monastery of St. Peter of +Gloucester, ... and all and singular its manors, ... and possessions, +for certain special and urgent causes were, by Gabriel Moreton, Prior of +the said abbey or monastery and the convent thereof, lately given and +granted to us and our heirs for ever.... We, being influenced by divine +goodness, and desiring above all things, that true religion, and the +true worship of God may not only not be abolished, but entirely restored +to the primitive and genuine rule of simplicity; and that all those +enormities may be corrected into which the lives and profession of the +monks for a long time had deplorably lapsed, have, as far as human +frailty will permit, endeavoured to the utmost that for the future the +pure word of God may be taught in that place, good discipline +preserved...." + +The charter goes on to say that, "considering the site of the said late +monastery in which many famous monuments of our renowned ancestors, +Kings of England, are erected, is a very fit and proper place ... we +have decreed that the site of the said monastery be an episcopal see.... +We also will and ordain that the said Dean and Prebendaries, and their +successors, shall for ever hereafter be called the Dean and Chapter of +the Holy and Individed Trinity of Gloucester." Henry also assigned to +the Bishop all the premises formerly occupied by the Abbot. + +In 1576 the fabric seems to have been in want of considerable repair, +and in 1616, when Dr Laud was Dean, it was said of it that "there was +scarcely a church in England so much in decay." The Dean procured an Act +of the Chapter, by which the sum of £60 per annum was to be allowed for +repairs. + +In the time of the civil war it suffered less than might have been +expected. It was subsequently in danger of total destruction from the +machinations of some persons, who are said "to have agreed amongst +themselves for their several proportions of the plunder expected out of +it." The little cloisters and the Lady Chapel were begun to be pulled +down, and "instruments and tackle provided for to take down the tower," +but in 1657 the church was made over by grant to the mayor and burgesses +at their request, and from this it is to be assumed that they wished to +prevent it from possible ruin. Mr Dorney, speaking in 1653, recommends +to the officers of the city then elected, "that they would, together +with others, join their shoulders to hold up the stately fabric of the +College Church, the great ornament of this city, which some do say is +now in danger of falling." + +In 1679 we find an insensate prebendary securing an order from the +Chapter for destroying some of the old glass in the west window of the +choir. Bishop Benson (1734-1752) spent vast sums of money on the +building, and to him are due the paving of the nave, and pinnacles to +the Lady Chapel, which were removed at a recent restoration. A stone +screen (removed in 1820) was erected at the entrance to the choir by +this energetic Bishop, and his architect, Kent, in whose hands he was, +suggested the fluting of the pillars of the nave. + +Fifty years ago, in 1847, under the energetic administration of Dr +Jeune, the Treasurer, extensive repairs and improvements were begun by +Mr F. S. Waller. The crypt was drained, concreted, and later on glazed. +The grounds round the cathedral have been lowered, enlarged, and laid +out, and the drainage has been properly done. Of the restorations during +the last fifty years mention has been made in detail in the description +of the various parts of the building that have been restored, and there +is no need to repeat. + +Restoration is a cause of much strife, and in the hands of many +architects it means destruction of the original features of the +building. Gloucester has suffered somewhat at the hands of Sir Gilbert +Scott, but probably not a tithe of what would have been inflicted upon +it had Wyatt been turned loose with an absolutely free hand. Mr Waller, +writing in 1890, said: "Forty years ago everything not 'Gothic' (the +fashion of the day) was destroyed; but were it possible now to reinstate +the Chapter-House book-cases, the Renaissance Reredos of the Choir, +Wygmore's pulpit, the aisle screens, the remains of the Rood Loft, and +the Choir fittings, and to put them all back--odd mixture as they would +be--to the positions they occupied in 1727, few would be found to +object, even though the replacement of the monuments on the columns of +the nave became one of the conditions."--Truly "_Tempora mutantur_," +and fortunately _nos et mutamur in illis_. + +#Dedication.#--The building of Osric was dedicated to St Peter by +Theodore, Archbishop of Canterbury, and Bosel, Bishop of Worcester. When +Bishop Wulfstan ejected the secular canons, and brought in his +Benedictine monks, he reconsecrated it to St. Peter and St. Paul. + +Bishop Aldred after building _de novo_ re-dedicated the church to St. +Peter, as the chief of the apostles. Abbot Serlo seems to have +remembered the earlier dedication to St. Peter and St. Paul, for he +caused the foundation-stone to be laid in 1089 on the festival of those +two apostles in June, but his dedication in 1100 was to St. Peter. Both +St. Peter and St. Paul are now represented among the statues on the +front of the south porch. After the dissolution of the monastery Henry +VIII. ascribed the Cathedral Church to the Holy and Individed Trinity. + +The Cathedral is traditionally by many called "St. Peter's," and by some +"The Abbey Church," but this, of course, is quite inaccurate. + +_Apropos_ of the question of the dedication, the arms of the see may be +briefly considered. + +The original arms were Azure, two keys in saltire, or. + +By the fifteenth century the sword for St. Paul had become incorporated +with the crossed keys, and it is found upon the bells and also on the +east side of the organ case. At the Dissolution the arms were Gules, two +keys in saltire surmounted by a sword in pale, argent. Brown Willis, in +1727, wrote that "the old arms of this see as used 100 years ago, were +three chevronels, the middle one charged with a mitre, but the bishops +now give _Azure, two keys in saltire, or._" + + +FOOTNOTES: + + [1] So says the MS. Lives of the Abbots in the Library of Queen's + College, Oxford. + + [2] Formerly a canon of the Church of Avranches, and afterwards a + monk in the Church of Mont St. Michel. + + + + +CHAPTER II + +THE EXTERIOR + + +Of the building as originally constructed, practically the whole, as far +as the outline is concerned, may be said to remain as it was at the +beginning of the twelfth century. The massive Norman nave, the slype or +covered passage that is between the Deanery and the north-west wall of +the cathedral, the two transepts with their turrets, the choir with its +various chapels and aisles, the chapter-house, and the Abbot's cloister, +are all parts of the original building, although later additions have +partly concealed them. + +In Mr Waller's "Notes and Sketches of Gloucester Cathedral"[1] a very +interesting view is given of the cathedral stripped of every addition of +a later date than the original structure, and by his permission it is +here reproduced. + +With reference to this sketch Mr Waller says: + + "This sketch is given to shew what is left of the old Abbey Church + of the twelfth century, and looking to the fact that it was not too + reliable a structure to begin with, as regards foundation and + settlements (not forgetting the "earthquake"), it certainly is + wonderful what extraordinary liberties have been taken with the old + fabric, and what really great risks have been incurred. Look at and + consider this sketch with reference to the building as it now + stands, and excepting in the aisles of the Choir, the north aisle + of the Nave, and part of the Chapter-Room, where the original + vaulting remains, it will be seen that it is a _mere shell_, the + walls have been pulled about in the most reckless manner, and in + all directions, and in the Choir they have actually been pared down + and an outer casing has been entirely removed--large pieces have + been cut out of the piers for the introduction of monuments + (mediæval, not modern!), window heads have been removed to make way + for the more recent works, and nearly the whole of the Cathedral + has been covered with a sort of appliqué work of mullions and + tracery, erected chiefly in the fourteenth century (see sketch on + plate 4). The large central Tower (forty feet square on the leads) + has been built on the old Norman walls; new walls, new vaulting, + and new roofs have been erected on old foundations; and, strange to + say, scarcely a settlement of any kind can be seen in any of the + building operations which have been undertaken since 1200! It is + not too much to say that a man of the present day who would even + suggest such works as have been here successfully accomplished, + would be most severely condemned; but in those days the Abbots had + only themselves to please, there were no well-educated reporters + and writers to discuss their doings in morning papers: they felt, + therefore, quite at their ease, hoping for the best, and in this + instance succeeding admirably, not only as regards their own wishes + and intentions, but in leaving for posterity a splendid + architectural history in stone." + + "The plan of the building is cruciform, and consists of a Nave and + Choir, with Aisles on the north and south sides of each; North and + South Transepts, at the intersection of which with the Choir rises + the Tower; and at intervals round the Choir Aisles are four small + apsidal Chapels. At the east end is the Lady-Chapel, prior to the + erection of which, a fifth Chapel, similar in form and dimensions + to the other four, existed at the east end; as may be seen in the + plan of the Crypt." + + +[Illustration: NORMAN REMAINS + + Remove from the Building all that has been erected since + A.D. 1200, and this sketch will be found to fairly + represent that which is left of the Church of the 11th + and 12th centuries. + + From a Drawing by F. S. Waller, F.R.I.B.A.] + +The whole building, according to Professor Willis, is full of peculiar +fancies, which all appear to be characteristic of a school of masons who +were extremely skilful, and glad of an opportunity of showing their +skill. The mediæval masons, he thinks, were "perfectly practical and +most ingenious men; they worked experimentally: if their buildings were +strong enough, there they stood; if they were too strong, they also +stood; but if they were too weak they gave way, and they put props and +built the next stronger." That was their science--and very good +practical science it was--but in many cases they imperilled their work, +and gave trouble to future restorers. + +The arrangement of the buildings differs in one very essential point +from almost every other in the kingdom. The cloisters and the claustral +buildings were, as a rule, on the south side of the church, for the sake +of shelter, and also of sunshine. At Gloucester they are on the north +side of the church, the reason being (according to Mr Fosbroke) that +when Aldred laid the new foundations farther south, the cloisters found +themselves on the north side. + +Dallaway has said very truly that "Few churches in England exhibit so +complete a school of Gothic in all its gradations from the time of the +Conquest as the Cathedral of Gloucester." This is true with the +exception that of "Decorated" architecture there are but few examples, +and it is probable that very little new work was done in connection with +this cathedral until the monastery became vastly enriched by Abbot +Thokey's policy in causing the body of Edward II. to be brought from +Berkeley Castle for interment in his abbey. It is said that the amount +of offerings made at the tomb during the reign of Edward III. was enough +to have entirely rebuilt the abbey. In consequence of this the Cathedral +is full of some of the finest examples of the styles known as +"Transition from Decorated to Perpendicular" (anticipative +Perpendicular) and pure "Perpendicular"--a style which, in Professor +Willis's opinion, originated at Gloucester. From every side there is +something to interest the careful observer. + +[Illustration: THE CATHEDRAL FROM THE SOUTH-WEST.] + +As a rule, visitors see it first from the south side, and the south-west +general view is one of the best, equalled, but not surpassed, by that +from the north-west. The north view from the Great Western Railway, with +the school playing-fields in the foreground, makes a striking picture, +but it is more sombre than the picture formed by the south front. Viewed +from the north-west corner of the cloister-garth, the pile is seen +perhaps at its best. From this point it is easy to study so much of the +varied architecture of the whole, and with little effort to transport +the mind back for a space of four hundred years. The eye first rests +upon the turf of the garth, now tastefully laid out after many years of +comparative neglect. Flanking the garth on every side are the exquisite +windows of the Cloister--a cloister which no other can surpass. Above +the Cloister will be seen on the eastern side the sober, impressive +Norman work of the Chapter-House in which so much of our English history +has been made. To the south of this is the Library, built close against +the walls of the north transept, which tower above, and lead the eye +upward to the great tower which, "in the middest of the church," crowns +the whole. + +[Illustration: THE CATHEDRAL, FROM THE NORTH-WEST CORNER OF THE + CLOISTERS.] + +Looking for a moment at the Norman windows in the north aisle, one sees +how they have been altered in their details since they were built, +though their bold outline remains the same. The windows in the +clerestory tell the tale of a later time, probably that of Abbot +Morwent. + +The #West Front.#--Compared with many others of our cathedral fronts, +this front may seem to be of less interest, but it has the great beauty +of simplicity, which prevents it, when viewed in the foreground, from +killing the rest of the picture. The buttresses of the great window are +ingeniously pierced, so as not to cut off the light; and the parapets, +also of pierced or open work, should be carefully noted. + +Plain transoms cross the lights, whereas in the inside the tracery and +cusping is elaborate. This will be noted also in the east window of the +choir and elsewhere. + +Of the western towers which formerly existed no traces now remain. The +north-west tower, owing to badly-made foundations, collapsed in the +latter half of the twelfth century between 1163-1179. + +A south-west tower was begun in 1242 by Walter de St. John, Prior at the +time, and subsequently Abbot for a few weeks, and it was finished by his +successor, John de la Feld. + +When Abbot Morwent altered the west end and front, the western towers +disappeared altogether. This front was restored carefully, where +necessary, in 1874. + +The #South Porch.#--This portion of the building is the work of Morwent, +who was Abbot from 1421-1437. The rich front of what Bonner called +"Saracenic work," was formerly disfigured by an uninteresting dial with +the motto _Pereunt et imputantur_. This was removed at the Restoration, +when the canopies were restored, and niches filled with statues by +Redfern. Over the doorway in the centre, stand St. Peter and St. Paul, +and the four Evangelists. Below are King Osric and Abbot Serlo, the two +founders of the Abbey Church. The four figures in the niches of the +buttresses represent St. Jerome, St. Ambrose, St. Augustine, and St. +Gregory. The windows of the porch have been formed by piercing the +internal tracery. This has a very curious effect when viewed from the +inside. From the outside the windows do not seem unusual. + +[Illustration: The Tower from the Palace-yards Drawn by E. J. Burrow.] + +#The Porch# was in such a very ruinous state, that it was scarcely +possible to use any of the old stone on the outside. Within, the old +work can be seen, and the bosses are worthy of attention. Over the porch +is an unfinished parvise. The doors are very good specimens of +fifteenth-century work. + +The #South Transept# (or St. Andrew's Aisle), as far as the walls are +concerned, is thought by some to have been built by Serlo, but there +have been so many alterations in the exterior that it is difficult to +say anything with certainty. Fosbroke, writing at the end of last +century, noted that there was an inscription on the outside wall making +mention of one William Pipard, who was sheriff of the county about sixty +years after Serlo's time. The windows have been enlarged and much +altered, and later tracery has been inserted. + +In spite of the many alterations and some restoration, the south front +of this transept contains much interesting Norman work, which has been +re-used in a very clever way. The square flanking towers, with their +later spires, the arcading over the head of the window, and the graceful +curve in the battlement are all worthy of attention, and will serve to +confuse visitors before they realise that the Norman architecture is +concealed under a later casing, and that there is a great deal of old +work re-used in the new. + +There is a curious buttress, too, which goes across the west window of +this transept to strengthen the south-west corner of the great tower. In +fact, the south side of the church is the only side that, as builders +say, has "settled" at all. + +In 1867 a Roman tesselated pavement was discovered near the south front +of this transept. + +#The Tower.#--Of all the exterior beauties, the most striking is the +beautiful and graceful tower. Placed where it is, almost in the centre +of the long line of the nave, continued in the choir and Lady Chapel, at +the point where the transept line intersects it, it is the chief feature +of the massive pile. All else seems to be grouped with a view to the +enhancing of the effect of the central position of the tower. The other +members of the building seem merely to be steps, by means of which +approach can be made to it. It is the grandest and most impressive +feature of the outside. No matter from whence one looks at it, the charm +is there. Seen from the gardens in the side streets close by when the +pear-trees are in bloom, or in the full blaze of a hot summer day, or +again later in the autumn when the leaves are beginning to turn, or, +better still, in snow time, it is always full of beauty. On a bright hot +day the pinnacles seem so far off in the haze as to suggest a dream of +fairyland. On a wet day, after a shower, the tower has the appearance of +being so close at hand that it almost seems to speak. Viewed by +moonlight, the tower has an unearthly look, which cannot well be +described. The tower is 225 feet high to the top of the pinnacles, and +the effect of it is extremely fine. From the main cornice upwards, the +whole of the stonework is open, and composed of what at a distance +appears to be delicate tracery, and mullions, and crocketed pinnacles. + +[Illustration: THE CATHEDRAL IN 1727. From an old Print.] + +It is, in all probability, the third tower that has been built since +Aldred's time. There are piers still remaining of the Norman tower +erected by Serlo in the years that elapsed between 1089 and 1100; and, +as we are told in the "Saxon Chronicle," that in 1122 a fire which +originated in the upper part of the steeple burnt the whole monastery, +it must be inferred that the superstructure was of wood. A hundred years +later it is known that the great eastern tower was built with the help +of Helias of Hereford. This tower was in great part taken down by the +monk Tully, and rebuilt in the Perpendicular style in the time of Abbot +Seabroke (1450-1457). + +The #Bells# at Gloucester are peculiarly interesting from the fact of +their age, and from the fact that they escaped the clutches of the +despoilers at the time of the Dissolution. The truth of the matter seems +to be that all the "Churche goods, money, juells, plate, vestments, +ornaments, and bells" had been inventoried and handed over to the king's +commissioners in Bishop Hooper's time. The commissioners returned to the +Dean and Chapter "to and for the use and behouf of the seid Churche, one +chalys being silver and whole gilte without a paten waying xi oz. and +also one grete bell whereuppon the cloke strykithe, and eight other +grete bells whereupon the chyme goethe hangynge in the towre there +within the seid church save and surely to be kept untill the King's +Majesty's pleasure shall be therein further knowen." This was dated May +27th, 1553, and as the king died within three months his pleasure in the +matter was never "further knowen," and Gloucester rejoices still in its +bells. + +The chimes[2] play four tunes, which are changed every other day. The +first tune was composed by Dr Jefferies in 1791; the second by Dr Hayes, +who died 1777; the third by Dr Malchair, 1760-1770; and the fourth by Dr +Stevens. The composers of the second and fourth tunes were both natives +of Gloucester, and at one time choristers in the cathedral. + +[Illustration: THE SOUTH PORCH (SINCE THE RESTORATION).] + +"The shape of the east end of the old Church, as will be seen by a +reference to the ground plan and plan of the Crypt, is partly round and +partly polygonal; round as regards the outer wall of the main building +and the inside and outside of the small Chapels in the Crypt, but +polygonal in the interior walls of the main building in the Crypt; +whereas on the ground-floor the main building and the Chapels are all +polygonal.[3] An examination of the remains of the Eastern Arches, as +seen above the last Norman piers eastward of the Choir, shows the +direction of the lines distinctly, following as they do the lines of the +Crypt below, but with less heavy construction. The whole of the edifice, +with the exception of the Lady Chapel and the Cloisters, remains, as +regards general outline, as it stood in the early part of the twelfth +century. (See illustration, p. 15.) The Nave with its large circular +columns, the slype adjoining the Deanery (probably indicating the extent +westwards of the Norman Towers prior to the erection of the present west +end), the North and South Transepts, with their Turrets at the west and +east angles, the Choir and its Aisles and Chapels, the Chapter-House and +Abbot's Cloister, although more or less masked by later additions, are +all parts of the original building." + +The method of joining the Lady Chapel to the choir is best noticed from +the outside. It is a piece of exceedingly clever and graceful +construction, and there is the minimum of obstruction to the light +passing through to the east window, and the maximum of support to the +elliptical east window. + +Another interesting feature in this part of the exterior is the +construction of the two passages--chiefly of re-used Norman work--which +make up the greater part of the so-called Whispering Gallery--_i.e._ the +passage connecting the north and the south triforium of the choir. + +One of the distinguishing features of the exterior of the building is +the variety and arrangement of the battlements and pinnacles. Bishop +Benson did his best to spoil the effect of those on the Lady Chapel by +removing the upper part of the parapet and by substituting other +pinnacles. These have been restored, but the east-end pinnacles do not +seem quite in keeping with Gloucester. Viewing the Lady Chapel from the +north side, the play of light through the windows on the south side has +a very grand effect. Under the east end of the Lady Chapel is a passage +which has given rise to much speculation in bygone times. + +The #Lady Chapel# at the time of its erection was carried out to the +farthest limit of the land possessed by the Abbey, shown on the plan at +F.F. As the east wall of the chapel was actually on the western boundary +wall the passage was made to give access from the north to the south of +the grounds, without the need of going right round the precincts by the +west front. + +Modern improvements have increased the facilities for studying and +admiring the building. In 1847-8 the garden was laid out, and from it +the outside can easily be carefully examined. + +[Illustration: PISCINA IN THE TRIFORIUM.] + + +FOOTNOTES: + + [1] This is now out of print. + + [2] They have lately been undergoing repair, and will soon be in + working order again. + + [3] James Fergusson, writing to Mr. Waller on the above subject, + says: "It is curious that polygonal forms should be used in this + country in the eleventh century, whilst at Caen and on the Continent + generally circular forms prevailed well into the twelfth century." + + + + +CHAPTER III + +THE INTERIOR + + +"The most-detailed description of architectural works must fail to +convey to the mind so clear and correct an impression, as the graphic +representation of the objects themselves does to the eye; and the more +laboured the attempt to describe in words the position, the arrangement, +the form and magnitude of the several parts, the more the picture +becomes confused, and the less likely to answer the purpose" (_Quart. +Rev._, No. 37, 179). + +How far the above statement is of universal application is not a matter +to be here discussed, but it will be appreciated to the full by anyone +who attempts to describe, within definite and narrow limits, the many +beauties of one of our finest cathedrals, such as Gloucester undoubtedly +is. + +To fully appreciate the beauty of the cathedral, it must be studied +under different aspects and at different times. Much will depend upon +the mood of the visitor, much, too, upon the time of day. The Lady +Chapel at 7 A.M. is quite a different thing from the Lady Chapel at +10:30 or 12 noon, though always beautiful. The same holds good with the +choir and the nave. A slanting light through the south clerestory +playing fitfully upon the lace-work of the north side of the choir, or +the sturdy pillars of the ever-impressive nave, gives a charm that +cannot be described. + +How grand a sight, too, it is when the nave is almost in darkness--save +for eight or ten small jets of light overhead--to see the choir lighted +up, with the organ standing out in strong relief against the blaze of +light below and behind it, and now and then a gleam of light showing +through as the door under the screen is opened. + +[Illustration: THE NAVE, LOOKING EAST.] + +Then, again, note and study the marvellous effects of sound in the +building. Listen, if possible, from the Lady Chapel, to an anthem by +some old composer; listen to Bach's G minor fugue from the triforium of +the choir, and hear the echoes rolling from pier to pier; listen to the +Hallelujah Chorus sung on some great festival service in the nave, or +some simple well-known hymn sung by close upon 3000 people, and the +listener will have some idea of the effect that mere sound, taken as +such, can produce. + +The sound of Stainer's Gregorian _Miserere_, sung entirely +unaccompanied, as heard from the great west door, is grand in the +extreme. It needs but little imagination to take oneself back, say, four +hundred years, and picture the monks singing the very same Psalm. + +The tiles in an ancient building are always of interest, and Gloucester +contains many that are worth inspection. There are some in the choir and +its chapels, and there are some in the Lady Chapel; others may be found +near Raikes' monument, exposed to view in the south aisle. There are +also some in the south-east chapel of the triforium of the choir. The +chapter-house tiles are modern (Minton), but were made after the tiles +that were in existence there. + +The nave was originally tiled, and specimens have been found when +excavations have been made. In the days that are to come, possibly, the +Georgian flooring may be taken up, and the tiles now hidden from view +will be revealed in places where they have not been broken up, where +graves have been dug in the nave and aisles. + +Perhaps the weakest point in the cathedral is the modern glass. There is +much that shows careful work and thought, but there has been no +systematic controlling spirit at work to suggest, to guide, or to check. +The chief blots, too, are the so-called memorial windows, and the reason +is not hard to find. It is well put by Mr Ruskin, who, in his "Seven +Lamps of Architecture," says: "The peculiar manner of selfish and +impious ostentation, provoked by the glassmakers for a stimulus to +trade, of putting up painted windows to be records of private affection, +instead of universal religion, is one of the worst, because most +plausible and proud, hypocrisies of our day." + +Just imagine the difference in the south aisle, for instance, if there +had been a scheme carefully planned beforehand for the windows, instead +of the threefold, but haphazard, process of a window offered, a window +accepted, a window put up, and no questions asked as to designer or +artist. Imagine what the effect might, or would, have been, had the +windows, as a set, been designed by Burne-Jones and executed by William +Morris, or by other competent artists. Now, unfortunately, these two +great artists are dead, and Gloucester has not a single specimen of +their work. + +The #Nave# as it is (174 feet by 34¼ feet long, 67 feet 7 inches high) +is quite unique, and differs considerably from other Norman naves, such +as are to be found in the cathedrals at Ely, Norwich, or Peterborough, +and in the neighbouring abbey churches at Tewkesbury, and Great Malvern. + +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. + +Mr. Gambier Parry has also truly said that this work "was not an +artistic success. They cut and maimed the features of the fine old +Norman clerestory, and placed their thin weak work too low, destroying +all the original grandeur of effect.... Here in this first pointed +vaulting was a grievous and irreparable injury, destroying all sense of +proportion throughout the building." + +[Illustration: THE NAVE AND NORTH AISLE] + +The vaulting shafts and the abaci are of Purbeck marble, and the +capitals are of stone, as are also the corbels, bases, mouldings, and +bosses. All the stonework was formerly painted. Mr Waller, who carried +out the repairs to the nave, had excellent opportunities of seeing what +was left of the painting underneath the many coats of whitewash; he +wrote in 1856: "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." + +The fourteen piers are 30 feet 7 inches in height, or about twice the +height of those at Norwich.[1] + +The Norman piers have round or cushioned capitals. Their arches have +zig-zag work in the outer moulding, and a double cable in the soffit. A +cable moulding runs along just above the arches. The grotesque heads on +the arches in the nave are said to represent the various mummeries of +the Anglo-Saxon gleemen. A frieze of such may be seen at Kilpeck Church, +in Herefordshire. It will be noticed how the cable moulding above the +arches passes round some of the western vaulting shafts, and is cut away +for those at the eastmost end of the nave. + +Martin in his "Natural History of England" says: "The only blemish on +the church is the enormous size of the pillars in the body of it, which +are much too large in proportion to their height, and _would have been +reduced to a proper size_, chiefly at the cost of the late Bishop +(Benson), had it not been thought that it would have weakened them too +much." + +Bishop Benson's architect (Mr. Kent), proposed to "flute" the columns, +but, finding that the pillars consisted of a stone casing filled with +rubble, he changed his plans. + +The #West End# of the nave, as also the corresponding portions of the +two aisles, was pulled down and reconstructed by Abbot Morewent +(1421-1437) in the style known as Perpendicular. It is uncertain whether +Morwent's work was built on the same foundation line as the previously +existing Norman work. Some have thought that he lengthened the original +nave to the extent of one bay. Mr. Hope considers that he curtailed it +somewhat, and that the present Deanery building was similarly shortened. +Anyone who will take the trouble to space out with a compass the +distance between the centres of the piers in the nave on the plan will +be inclined to fall in with this suggestion. + +Abbot Morwent, according to Leland, intended, "if he had lived, to have +made the whole body of the church of like worke." It is a matter for +rejoicing that he was not spared to carry out his intentions. His work, +though it has been censured, is, as Mr Waller points out, exceedingly +good of its kind. Morwent may have found the west end in danger of +falling, just as the towers that flanked the Norman west front had +collapsed in the twelfth century. + +How Morwent would have made the whole body of the church "of like worke" +is another matter for speculation. Would he have kept the Norman piers +in their present position, and revaulted the roof after the model of his +vaulting in the second bay from the west end, or would he have +diminished the number of piers so as to give a distance between them +equal to the space between the west wall and the first pier he erected? +It is difficult to realise how such a herculean task would have been +carried out with safety to the fabric. + +As to the work demolished by Morwent to make room for his own, it is +only possible to hazard the conjecture that the original west front of +Gloucester was something like that of the abbey at Tewkesbury, but with +the additional finish of two larger western towers. As the two churches +were being built almost at the same time, this conjecture seems +reasonable. + +[Illustration: SOUTH AISLE OF NAVE.] + +The #South Aisle# of the nave was originally of Norman work, similar in +style to that of the north aisle; but was remodelled and rebuilt to such +an extent by Abbot Thokey, in or about the year 1318, that the piers and +portions of the south wall are all that remain of the Norman work. He +desired probably to preserve the Norman vaulting (similar to that yet +existing in the north aisle of the nave), and as the south wall had +inclined outwards, and the whole fabric of the aisle was from this +cause in danger, he erected large buttresses to prevent further +settlement; but failing in this design, he was compelled to take down +the Norman vaulting, and he then substituted vaulting of the same style +of architecture as the buttresses he had just erected. Such great care +could scarcely have been taken in those days to preserve the Norman +piers only; the first object must have been to retain, for economical +reasons, as much as could possibly be retained of the old aisle. It may +be remarked also that the Norman piers incline in some cases as much as +one foot towards the south, and the buttresses of Abbot Thokey also +incline in the same direction from three to four inches in their whole +height. The Abbot's buttresses, therefore, must have gone out of the +perpendicular after their first erection, or else the present vaulting +would show settlements, which it certainly does not. + +The tracery of the windows is unusual in design, and is similar to that +in a window of the chapel at Merton College, Oxford. Ball-flower +mouldings adorn the aisle windows inside and out between the south door +and the steps leading up to the south transept, and the same ornament is +repeated in the vaulting of three of the bays and in the triforium of +the choir.[2] + +Abbot Morwent's work at the west end of this aisle is similar to that in +the north aisle. + +The #Monuments# in this aisle are not numerous, but are of modern +historic interest. Near the west end of the nave is a statue by Silvier +to Dr Jenner, who introduced the practice of vaccination. Under the west +window of this aisle is an interesting wall-tablet in a canopy to John +Jones, who was registrar to eight bishops of the diocese. The background +is formed of files of documents, with their seals and dates exposed to +view. There is taste in the colouring, and the design is effective. John +Jones was M.P. for Gloucester at the exciting time of the Gunpowder +Plot. He is said to have had the monument put up in his lifetime, and to +have died soon after it was completed. + +After passing the south door, a marble sarcophagus, with a bust upon it, +will be noticed. This is to the memory of Sir G. Onesiphorus Paul, +Baronet, (by Sievier). His name is well-known in connection with prison +reforms. Close by is a wall tablet to the widow of Sir Wm. Strachan +(1770). The carving, which is very delicate and beautiful, is by Thomas +Ricketts, a Gloucester sculptor of considerable skill. + +There is also a monument to Rev. Thomas Stock, who, with Robert Raikes, +was instrumental in opening Sunday schools. + +#The great West Window# contains nine lights which were glazed by Wailes +of Newcastle, to the memory of Dr J. H. Monk, Bishop of Gloucester from +1830 to 1856. + +The #Font# is situated in the westernmost bay of the south aisle, on the +site of the old Consistory Court, formerly railed off from the rest of +the nave. The font being of red Aberdeen granite clashes rather with the +prevailing grey stone of the building, is very heavy in appearance, and, +in spite of the workmanship spent upon it, quite uninteresting. The +north side contains a representation of the two prophets, Jeremiah and +Ezekiel, separated by the ark; the west side has figures of St. Matthew +and Daniel; the south side has figures of St. Mark and St. Luke, and the +baptism of Christ in the Jordan, and the east contains the emblems of +the Trinity and of baptism. + +The #Windows# in this south aisle are the least interesting in the +cathedral, and would seem to have been made without much consideration +of the fact that they were to go where a south light would come upon +them. + +The five-light _west window_ of the aisle is in memory of Dr Jenner and +his friend Dr Baron. The subjects, appropriately enough, refer to +miracles of healing, or restoring to life. + +The _first south window_ is to John Elliott, a solicitor, and the +subjects are more or less legal. The glass is by Hardman. + +The _second window_ (three lights) is in memory of Miss Evans, and was +put up in 1861 by Bell of Bristol. The colouring must be seen to be +appreciated at its proper worth. + +The _third window_ is a memorial to Sir W. G. Davy, K.C.B., who died in +1856, and is buried in the cloister. The glass is by Warrington. + +The _fourth window_, to the memory of Sir W. Guise, Bart., is rather +kaleidoscopic in effect, owing to its being mainly an armorial window, +and, secondarily, historical. The historical portion represents the +Coronation of Henry III. in Gloucester Cathedral in 1216, by Gualo (the +Papal legate) and Peter de Rupibus, or des Roches, Bishop of Winchester. +In the left centre light is Hubert de Burgh, Earl of Kent, and in the +right is Joceline, Bishop of Bath. + +The glass is by Clayton & Bell. + +The _fifth window_ is a memorial window to Mrs. Evans. In colour it +resembles the third window, and is by the same artist. + +The _sixth window_ is a memorial to Mrs Ellis. It is historical, but +bristles with anachronisms. + +The _seventh window_ is a memorial (executed by Warrington) to Jeremiah +Nettleton Balme. + +The _eighth window_ is in memory of Lieut.-Col. Sir Harry Francis +Colville Darell, who died in 1853. + +#North Aisle.#--This aisle retains its original Norman vaulting. The +Norman piers, which correspond to the piers in the nave, are divided +into several members, and their capitals are in some cases richly +carved. In each bay the jambs and heads are of old work, filled in with +Perpendicular tracing. A stone bench along the wall is also +Perpendicular. + +The door into the cloister at the west end of the aisle contains some +very fine work. The wall is panelled on either side, and the panels are +said to have formerly had paintings of the twelve apostles. The side +niches and the canopy work over the door should be examined. + +The door at the eastern end of the aisle by which access is gained to +the cloisters and the chapter-house is also of Perpendicular work. Both +of these doors have fan-vaulted recesses, like the great west door of +the nave. They are so contrived that the doors may open into them and +occupy the minimum of space. + +Over the east door in the cloisters there were blazoned some years back +the arms of the See, the Bishop, the Dean, the Canons, the Darell and +Nightingall families. + +The west end of the aisle is the work of Abbot Morwent, and is of the +same date as his reconstructed west end of the nave--viz. 1421-1437. + +The _west window_ in this aisle was filled with glass by Hardman. It is +a memorial to Wm. Viner Ellis of Minsterworth. Subject: Events in the +life of King Lucius, who is said to have been the first Christian king +in this land, and to have been buried in the Church of St. Mary de Lode. + +The scrolls contain the monkish lines-- + + Es merito Celebris ex quo baptisma subisti. + Lucius in tenebris prius idola qui coluisti. + +The four figures represent Robert, Duke of Normandy; Thomas of +Woodstock, 1397; Humphrey, 1447; William Frederick, 1534; all three of +them Dukes of Gloucester. + +The _first window_ (or over the west door into cloisters), of which only +two lights are open, is a memorial window to Thomas Churchus (1870). The +window, which is by Clayton & Bell, is very pleasing in colour. + +The _second window_ is to the memory of Mr Price, who died in 1860. The +glass is by Ward & Hughes. + +The _third window_ contains some old glass in the upper half, restored +by Hardman. Much of the lower half is new. + +The _fourth window_ is a memorial window to Dr Hall, Master of Pembroke +College, Oxford; died in 1843. The glass is by Clayton & Bell. + +The _fifth window_, like the third, contains some old glass, restored by +Hardman. + +The _sixth window_ is in memory of Bp. Hooper, second Bishop of this +diocese, and the only bishop of the united sees of Gloucester and +Worcester. The glass is by Clayton & Bell. + +The _seventh window_ is to the memory of Thomas Turner. The glass is by +Clayton & Bell. + +The _eighth window_ is a memorial to members of the Darell family, as +explained in the inscription in the base. + +In the windows of the clerestory are to be seen some fragments of old +glass. The windows, which are of three lights, contain portions of +ornamental borders with quarry glazing, and some medallions, stars in +the foliations, and borders of crowns. Mr Waller thinks it was "probable +that all these windows were originally filled with glass of this kind, +which is similar in general design to that in the upper tiers of the +clerestory windows in the choir." + +The tracery of the windows in the clerestory is ascribed to Abbot +Morwent, who rebuilt the west front. + +The #Monuments# in the north aisle are of no special interest. That to +Bishop Warburton at the west end contains an epitaph that is worth +reading. Next to it is an ungainly tomb, filling up an enormous wall +space, with a depressing effect. Farther eastwards is the tomb by +Flaxman to the memory of Mrs Morley, who died at sea in 1784 (p. 121). + +The tomb to Alderman Machen, his wife, and family is interesting (1615), +and is one of the few tombs that has not been removed from its original +position. + +The nave is lighted by rows of gas jets along the triforium or gallery, +extending over the arches of the nave. The effect is good when the +building requires to be lighted by artificial light, but the fumes and +smoke from the gas have sadly discoloured the small columns and the +arches in the triforium, and no doubt in time to come more serious +mischief to the stonework will be developed. The fumes of the gas will +also be fatal to the decorative pipes of the organ, and, with the +assistance of the fumes from the radiators, will ruin any memorial brass +that may be erected in the building. + +Wires have been stretched across the nave to prevent the excessive echo +from marring the effect of the music, but many curious echoes are to be +heard. The mocking sounds that follow upon the sounds of the voice of a +preacher, especially when the attendance is small, are very weird. They +may be heard best from the last few rows of seats near the west end. + +There are still to be found enthusiasts who would like to remove the +screens from our cathedrals on the ground that they interfere with the +utility and the beauty of the nave and the choir. But these well-meaning +people quite overlook the fact that the beauty of the interior would be +entirely marred by such a change. Firstly, the organ would have to be +chopped into two and stowed away in the triforium, unless these +enthusiasts would prefer to revert to an organ-gallery blocking up one +of the transepts. Secondly, the stalls would have to be mutilated and +rearranged. Certainly, the cathedral would resemble a parish church in +some respects, but at a tremendous cost. There would be a vista, too, +but the effect of the lofty choir would be lost entirely without the +presence of the screen and the organ, and the nave would look more +dwarfed in height. There is one more point, too, always forgotten by +these enthusiasts--viz. this, that the building was not designed by +Henry VIII. at the Dissolution as a parish church. He laid down quite +clear and simple rules for the regulation of the cathedral foundation, +and he intended the choir to serve, as it had served for the monks +before, as the private chapel of those on his new foundation. + +The #Choir Screen# was erected in 1820 by Dr Griffiths, to whose memory +a tablet has been inserted in the north-west tower pier. Though this +screen has its defects, it superseded one by Kent, erected in Bishop +Benson's time (1741), of which Bonner, who seems to have appreciated the +stucco front applied by the same good bishop to the reredos in the Lady +Chapel, says in his "Itinerary" (1796) that it combined the +characteristics of the various orders of architecture without any of +their good points. + +[Illustration: NAVE. + + Drawn by F. S. Waller, F.R.I.B.A., from Brown + Willis' Survey of Gloucester Cathedral (1727).] + +To give an idea of the original screen arrangement, Mr Hope's +description is here quoted:-- + + "The quire proper is under the Tower, a not unusual Benedictine + arrangement. The original screens at the west end have + unfortunately been destroyed, but from plans made by Browne Willis + (_vide supra_, where Mr Waller's drawing of Browne Willis' plan, + made in 1727, is given) and Carter, while some remains of them + existed, the arrangement can be approximately recovered. I have + advisedly used the plural word 'screens' because they were two in + number. The first consisted of two stone walls--the one at the west + end of the quire, against which the stalls were returned; the other + west of it between the first pair of pillars. There was a central + door, which was called the quire door. The western wall was broader + than the other, and had in the thickness of its southern half an + ascending stair to a loft or gallery above, which extended over the + whole area between the two walls. This loft was called in Latin the + _pulpitum_, and it must not, as it often has been, be confounded + with the pulpit to preach from. It sometimes contained an altar, as + apparently here at Gloucester, and on it stood a pair of organs. + From it also on the principal feasts the Epistle was read and the + Gospel solemnly sung at a great eagle desk. On either side of the + _pulpitum_ door was probably an altar. + + "The double screen I have just described was built by Abbot + Wigmore, who is recorded to have been buried in 1337, 'before the + Salutation of the Blessed Mary in the entry of the quire on the + south side,' which he himself constructed with the _pulpitum_ on + the same place _ut nunc cernitur_ says the 'Chronicle,' and parts + of it are worked up in the present screen. The north side of the + quire entry, or perhaps the north quire door, was ornamented with + images with tabernacles by Abbot Horton." + +"The second screen, all traces of which have long disappeared, stood +between the second pair of piers--_i.e._ a bay west of the _pulpitum_. +It was a lofty stone wall, against which stood the altar of the holy +cross, or rood-altar, as it was more commonly called, and upon it was a +gallery called the rood-loft, from its containing the great rood and its +attendant images. The rood usually stood on the parapet or front rail of +the loft, but sometimes on a rood-beam crossing the church at some +height above the loft. Such an arrangement seems to have existed at +Gloucester, for in the sixth course from the top a new stone has been +inserted in both pillars exactly on the line where the ends of the rood +beam would be fitted into, or rested on corbels, in the pillars." + +On either side of the rood altar the screen was pierced by a doorway for +processions, and the altar itself was protected by a fence-screen a +little farther west. + +After showing how the counterpart of these arrangements existed at +Durham (_vide Arch. Journ._ liv. pp. 77-119), and describing the Durham +nave altar and rood, Mr Hope points out that at Gloucester, as at +Durham, "the eastern of the two doorways between the nave and the +cloister was shut off by the screen and reredos of a chapel adjoining it +on the west. The monks could therefore freely pass through the cloister +door without being interrupted by strangers. This eastern door was not +only the ordinary entrance from the cloister, but through it passed the +Sunday and other processions that included the circuit of the cloister +and buildings opening out of it. The procession always returned into the +church by the western cloister door, and, after making a station before +the great rood, passed through the rood doors in single files, and +entered the quire through the pulpitum or quire door." + +In the chapel, on the north side (which was perhaps dedicated to St. +Thomas the Martyr), was formerly, as shown in the plan by Brown Willis, +the Blackleech monument, now in the south transept. + +When the Benson screen was put up three Abbots were found interred in +their robes, and another coffin with two skulls in it. This fact gave a +possible clue to the identity of one of the Abbots. One probably was +Abbot Gamage, and the two skulls probably belonged to his brother, Sir +Nicholas Gamage, and his wife, who were buried near the Abbot. + +The present #Organ# was built originally during 1663-1665 by Thomas +Harris, the father of the celebrated Renatus or René Harris, and the +cost was defrayed by public subscription, to which, however, the +inhabitants of Gloucester contributed but little. The contract was for +the sum of £400, exclusive of the sum for the building of the +organ-loft, and the decoration of the pipes and the case. The gilding +and painting was entrusted to Mr Campion in November 1664, and the work +was finished in December 1666. This artist was celebrated as a painter +of heraldic subjects, and the work done by him, chiefly on the large +pipes of the Great, is particularly beautiful. + +The shield, which has been removed from the west front of the case, was +undoubtedly that of Charles II., and two of the large pipes facing the +nave bear the letters C.R., with a crown over them. Other arms +represented are those of James, Duke of York (king in 1685), and his +first wife, Anne Hyde. + +The organ was repaired by Bernhard Schmidt before 1683. It was formerly +in the gallery of the south transept, over the stalls, but was placed on +its present screen in 1820 by Dr Griffiths. + +It was improved by Willis in 1847, and again in 1888-89, and further +additions are contemplated. The case is of oak, and is a fine piece of +Renaissance work. A good view of it can be obtained from the triforium, +looking across from south-east to north-west. + +The following is a specification (kindly sent by Mr A. H. Brewer, the +organist of the cathedral), from which it will be seen that the +instrument is worthy of the cathedral: + + GREAT ORGAN. + CC to A, 58 Notes. + + 1. Double Open Diapason 16ft. + 2. Open Diapason, No. 1 8ft. + 3. Open Diapason, No. 2* 8ft. + 4. Claribel Flute 8ft. + 5. Flute Harmonique 4ft. + 6. Principal 4ft. + 7. Twelfth 3ft. + 8. Fifteenth 2ft. + 9. Mixture + 10. Trombone 16ft. + 11. Trumpet 8ft. + 12. Clarion 4ft. + + SWELL ORGAN.+ + CC to A, 58 Notes. + + 13. Double Open Diapason 16ft. + 14. Open Diapason* 8ft. + 15. Vox Angelica 8ft. + 16. Salcional 8ft. + 17. Lieblich Gedact 8ft. + 18. Gemshorn 4ft. + 19. Fifteenth 2ft. + 20. Mixture + 21. Contra Posaune++ 16ft. + 22. Hautboy 8ft. + 23. Clarionet 8ft. + 24. Cornopean 8ft. + 25. Clarion 4ft. + + CHOIR ORGAN. + CC to A, 58 Notes. + + 26. Stopped Diapason 8ft. + 27. Dulciana 8ft. + 28. Flute 4ft. + 29. Clarionet 8ft. + 30. Cor Anglais++ 8ft. + + SOLO ORGAN.$ + CC to A, 58 Notes. + + 31. Flute 8ft. + 32. Clarionet 8ft. + 33. Oboe Orchestral 8ft. + 34. Tuba Mirabilis 8ft. + + PEDAL ORGAN.@ + CCC to F, 30 Notes. + + 35. Open Diapason 16ft. + 36. Bourdon 16ft. + 37. Ophicleide++ 16ft. + 38. Octave++ 8ft. + + COUPLERS. + + 39. Choir to Pedals. + 40. Great to Pedals. + 41. Swell to Pedals. + 42. Solo to Pedals.++ + 43. Choir to Great. + 44. Swell to Great. + 45. Solo to Great.++ + + * Stops so marked are by Harris, 1660. + The swell organ was added + by Willis in 1847. + ++ Stops so marked were added in 1898. + $ The whole of the solo organ was added by Willis in 1898. + @ Up to within the last fifteen years there was but one stop on the + pedal organ. + +The #Choir#, of the beauty of which but little idea can be obtained from +the nave, is entered by visitors, as a rule, from the north aisle of the +choir. Its dimensions are--Length, 140 feet; breadth, 33 feet 7 inches; +height, 86 feet; east window, 38 feet wide and 72 feet in height. + +It dates back to the years 1337-1377--that is, the abbacies of Adam de +Staunton and Thomas Horton, in whose time so much was done to alter the +character of the building. + +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. (_Vide_ page 52.) + +Professor Willis points out that "in all cathedrals ... a screen, about +the height of the present altar-screen, separated the choir from the +side-aisles and transepts; but in this cathedral the screen is carried +to the roof, and the result is a beautiful, if not unique choir. This +screen of tracery, which formed the sides, was, below the clerestory, +merely plastered on to the Norman wall; or the original Norman columns +had been chipped down till they harmonised with the general design." + +Professor Freeman, in writing of this casing work, said, "Paid for by +the offerings at Edward II. shrine, ... to that abnormal worship the +abbey of Gloucester owed its present form. I am half inclined to put it +the other way, and to make it a new count in the articles of deposition +against the unworthy king that this misguided devotion has cost us the +minster of Serlo in its perfect form, and hinders us from studying the +contrast which we should otherwise have been able to mark between its +eastern and its western limb." + +[Illustration: CHOIR, LOOKING EAST.] + +[Illustration: PLAN OF TRIFORIUM OF THE CHOIR. + From a Drawing by F. S. Waller, F.R.I.B.A.] + +We, however, have nothing to do with the question of the merits or +demerits of Edward II. The beauty of the casing work compels our +admiration. If we want to get an idea of what the choir would have been +without the Perpendicular casing we must go to Norwich, and inspect the +uncased work in the choir that is there, or else to Tewkesbury.[3] + +[Illustration: Plan of Feretory (High Altar) as laid bare when the new + Reredos was erected in 1873. The site of the old Norman + Piers could be as distinctly as in this sketch. + + From a Drawing by F. S. Waller, F.R.I.B.A.] + +There is nothing left to prove the original height of the choir, though +much of the old stonework has been re-used in the clerestory windows, a +practice, as before stated, common throughout the cathedral, the Norman +piers and arch-mouldings having in many cases been turned into +four-centred arches, and Norman capitals into bases. The casing of the +old Norman work with the new by Staunton and Horton is very ingeniously +managed, and attention should be given to a feature resulting from the +treatment of the ribs of the vaulting, which are very cleverly provided +for in the centre of the tower arches. The ribs are apparently supported +by a light arch thrown across the lower arches. Something of this sort +was necessary, as the only alternative would have been to alter the +springing of the vaulting-ribs. These light arches are very graceful and +are best seen from the transepts or else from the triforium of the +choir. Another feature worth noticing in the tower arches is the way +that the two Norman columns are run into one capital at about the level +of the arch. + +[Illustration: Sketch of old Norman Choir showing how it was cased by + Abbot Staunton 1337-1351. + + From a Drawing by F. S. Waller, F.R.I.B.A.] + +Turning eastwards we next are struck by the loveliness of the #East +Window# of the choir. It has a curious architectural effect, for it is +actually 5 feet wider than the walls which seem to be its two +boundaries. The architect took down the Norman east end, raised the +roof, and has given us a window with lace-like tracery. Though it has +suffered much mutilation, it has suffered but little from eager +restorers, and it is possible to get some idea of its original +splendour. It is larger than the East Window at York Minster, being 72 +by 38 feet; York being but 78 by 33. Both are beautiful, and one wishes +that windows of such beauty could be got now at the original price +paid--£138--a large sum for those days, but a sum which; making +allowance for the changed value of money, would represent about £2000 of +our money. + +[Illustration: THE CHOIR. LOOKING WEST.] + +In 1862 the stonework of the window was in a very unsafe condition, and +about £1400 was spent on restoring it. At the same time, acting on Mr +Winston's advice, the Dean and Chapter had the glass thoroughly cleaned +and releaded. + +Owing to Mr Winston's supervision the glass was not restored. + +The window, which corresponds admirably with the casing of the choir and +the clerestory windows, consists of fourteen lights altogether, six +forming the centre, with four on either side. "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 also in the great west window, +and in many other windows in the cathedral." (F. S. W.) + +The window represents the coronation of the Virgin Mary, together with +Christ, the Apostles, and various saints and kings. All the canopies, +and nearly all the figures are composed of white glass enriched with +yellow. + +Mr Winston's description of the window will be found in the +_Archæological Journal_, vol. xx. + +The heraldic shields give a clue to the date of the window, and Mr +Winston thinks that it may have been erected by Thomas, Lord Bradeston, +to the memory of Sir Maurice Berkeley, who was killed at the siege of +Calais, and to commemorate the glories of the campaign in France, which +culminated with the Battle of Crecy. The date, therefore, of the +original glass would be between 1347 and 1350. + +Mr Winston further says that "It would be impossible to meet with white +glass that could be more solid and silvery in effect. The red is +beautifully varied, and is most luminous, even in its deepest parts, and +the tone of the blue can hardly be surpassed." Of the general design, he +says that although, "through the size and simplicity of its parts, it is +calculated to produce a good effect at a distance; the figures are +ill-drawn, ungraceful, and insipid. The shading, though sufficient, both +in depth and quantity, if handled with skill, to have produced a due +effect of relief--an effect which obviously has been aimed at--is so +inartificially employed as to be useful only so far as it serves to +impart tone and richness to the composition, and by contrast to increase +its brilliancy." + +The effect of the choir as a whole, when glazed with its original +painted glass, must have been superb. We may be certain that the glass +was the best that could be obtained, for the abbey was wealthy, and +glass-painting was then a living art. Glass was made at Gloucester, as +is shown by the glaziers being numbered among the trade companies and +guilds of Gloucester, but there is nothing definite to be said as to the +place of origin of the old glass in the cathedral. + +Below is the #Reredos#, designed by Sir G. G. Scott, presented by the +Treasurer of the Province. It consists of three principal compartments, +in which are groups of figures (sculptured by Redfern) intended to +represent the Birth, Burial, and Ascension of Christ. The smaller +figures in the niches are Moses and David and St. Peter and St. Paul. +Above are nine angels, bearing the various emblems of our Lord's +Passion. This reredos was unveiled with much pomp and ceremony in 1873, +and recently has been profusely gilded. + +The commonplace and heavy-topped gas standards mar the effect, such as +it is, of the ornate work of the reredos. + +Of Abbot Horton's reredos, which was destroyed at the Reformation, only +fragments remain. They have been very carefully preserved in the +triforium, where an enclosure has been made by placing an old oak screen +across one of the Chapels. In this museum most valuable remains have +been stored, under Mr Waller's keeping, for many years. + +Dean Chetwood, in 1710, erected a wooden reredos containing much good +carving. Portions of this remain in the south-east chapel in the +triforium of the choir, having been brought back from the parish church +at Cheltenham, whither they had been removed in 1807. + +Sir Robert Smirke in 1807 put up work which consisted chiefly of +panelling, which was affixed to the easternmost wall of the feretory. +This was removed in 1873. + +When the present reredos was erected "the foundations of Abbot Horton's +reredos were discovered, and an accurate plan was taken of the remains +(_vide_ illustration, p. 51). Provision had evidently been made by him +for keeping relics or treasures here, and, in his time, the back +screen, as we now see it, and the reredos, were united together at the +top, and covered with heavy stone slabs, so as to make a perfectly +secure feretory. Great care was taken during the progress of the present +new work to preserve these remains, which can be still seen exactly as +they were when first discovered. The foundations of the Norman piers +removed by Horton were at the same time temporarily exposed to view." +(F. S. W.) + +[Illustration: THE CHOIR IN 1806, FROM A DRAWING BY WILD.] + +The original "#High Altar# occupied the same site as the present one, +and had behind its reredos a narrow space containing cupboards for the +principal jewels, and, beneath the altar, two large recesses for the +keeping of relics." (W. H. St. J. Hope.) + +The #Stalls# (sixty in number), with all their graceful carving, and the +misereres, with their grotesque ornamentation underneath, have in part +had to be restored, while the sub-stalls are new, dating from Sir +Gilbert Scott's restoration, which was finished in 1873. + +An engraving (reproduced from Wild) will show what the choir was like +formerly. The woodwork here shown has been utilised in making stalls and +seats in the east end of the nave for the services that are held there +on Sundays during a portion of the year. + +In the #Presbytery#, or space between the reredos and the choir, there +are some very splendid old tiles; many of them fragments only, but +enough to indicate the original beauty of the pavement. From the +evidence of the tiles themselves, they were laid down by Thomas +Seabroke, R. Brygg (Brydges), J. Applebi, W. Farlei, Joh. Graft(on?). +Others dating back to the thirteenth century are also to be +found--_e.g._ those to Richard the King of the Romans, who died in 1271. + +Many tiles were transferred here from other parts of the cathedral early +in the century by Mr Lysons, and this accounts for the presence of tiles +of William Malvern, the last Abbot, and some others. The arms of the +Brydges family: _Arg. on a cross sable, a leopard's face, or, +differenced by a fir-cone gules_, should be noticed, as they seem +clearly the same as those on the armour of the unknown knight in the +South Transept. + +Beautiful tiles, bearing the arms of Edward the Confessor and the Abbey, +and many a crowned M. (for Maria) will be found. These latter will be +seen in plenty in Great Malvern Priory, where they have been rescued +from the pavement, and inserted in the outside wall of the back of the +reredos. + +One more tile should be noticed near the sedilia. The words impressed +in its surface are "_Croys Crist me spe de +_," followed by _A ME_ or _A +MARIA_. + +These tiles had a narrow escape in the last century, about the time when +the nave was paved, when an offer was made to pave the presbytery with +marble. + +As part of the restoration programme, the re-paving of the choir was +undertaken. New tiles, ostensibly copied from the old ones, but of a +different size, with an excessive glaze, and very stiff in design and +execution have been put down. It is hard to judge what the effect of the +tiles would have been, as it has been quite killed by the white marble +which has been mixed with them. The glaring white marble in the floor of +the presbytery has been inlaid with biblical scenes filled in with black +cement. It is possible from the triforium to get a general idea of the +crudity and tastelessness of the pavement, which is so composed and +arranged that time--the softener of all things--can never make it look +appreciably better. + +On the south side of the high altar are four #Sedilia#. These have been +very much restored, and the niches and canopies filled with figures, by +Redfern, representing Abbot Edric, Bishop Wulstan, also Abbots Aldred, +Serlo, Foliot, Thokey, Wygmore, Horton, Froucester, Morwent, Seabroke, +and Hanley. The general effect is good, but marred by the hideous gas +standards. + +Over the canopies are three angels playing on a tambour and trumpets. +The rod and entwined ribbon with T. O. are supposed to refer to Thomas +Osborne, Sheriff of Gloucester 1512-1522, and Mayor in 1526. + +#Monuments in the Choir.#--On the north side of the presbytery, near the +steps to the high altar, is a monument--long supposed to be a +cenotaph--to King Osric. The tomb was opened to satisfy inquisitive +desecrators some few years ago, and it was conclusively proved that +someone had been buried inside. + +On the wall is the inscription: _Osricus Rex (primus fundator) hui_ +(_Monasterii_ 681). From Leland, to whom is due the part of the +inscription in brackets, we learn that "Osric, Founder of Gloucester +Abbey, first laye in St. Petronell's Chappell, thence removed with our +Lady Chappell, and thence removed of late dayes, and layd under a fayre +tombe of stone on the north syde of the high aulter. At the foote of the +tombe is thus written in a wall"--_ut supra_. + +This "fayre tombe" was erected in "late dayes" _i.e._ in the time of +Abbot Parker, whose arms are in the spandrels of the canopy, dated (1514 +to 1539), and Leland must have seen the tomb in all the freshness of its +beauty. + +The Norman piers, which are cut away to receive the tomb, are decorated +as to their capitals with the device of Richard II. _i.e._ the white +hart chained and gorged, with a ducal coronet. Formerly these devices +were painted on the stone, but in 1737 they were blazoned on thin metal +by the Heraldic College, and put in position. From the occurrence of the +device in this place it was formerly held that the body of Edward II. +was drawn by stages from Berkeley Castle to the abbey. + +The other coats-of-arms are those of the abbey (they are blazoned as +they should be now--azure, a sword in pale, hilted, pommelled, and +crowned, or, surmounted by two keys in saltire of the last), and of +Osric as King of Northumbria. Osric is represented as crowned and +sceptred (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 +Cærnarvon (who) lyeth under a fayre tombe, in an arch at the head of +King Osric tombe." + +The #Tomb of Edward II.# was erected by Edward III., and 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. + +The alabaster figure is possibly the earliest of its kind in England. + +The tomb was opened in October 1855 by Dr Jeune, Canon in residence, to +satisfy the curious who doubted whether the king had been buried under +his tomb. Close by is the chantry tomb of William Malverne (or Parker), +Abbot of the Abbey from 1515 up to the time of the Dissolution. It was +erected in his lifetime, but he is buried elsewhere. + +[Illustration: THE TOMB OF EDWARD II.] + +On the stone screen the carving of the vine and the grapes will be found +worthy of notice. The alabaster figure has been terribly defaced, but +the chasuble and the mitre can be seen, and the broken staff. Around the +base of the tomb are panels. Both sides are alike, containing the +Abbot's own arms, and the emblems of the Crucifixion. At the foot is a +cross composed of a tree with its branches growing into the shape of a +cross. There is a very good tile on the floor with the arms of the +Abbey, and some specimens of tiles, with a very fine greenish glaze upon +them. Some of the large 7½ in. tiles with the stag--the Abbot's own +arms--are particularly good. + +On the south side of the choir the bracket tomb or monument, so called +from the effigy being placed on a corbel or projecting bracket, should +be noted. It is said by some to be Aldred's, by others to be Serlo's +monument. The date of the monument is later than either in point of +time. The mutilated effigy bears a model of a church in his left hand, +and this points to its being the monument to a founder. It is more, than +probable that it is to the memory of Abbot Henry Foliot, in whose time +(1228-1243) the church was re-dedicated. + +The monument, which is Perpendicular and Early English, has been much +battered, but it is exceedingly graceful and of an unusual type. + +Leland, who visited the Abbey in 1539 or 1540, wrote as +follows:--"Serlo, Abbot of Gloucester, lyeth under a fayre marble tombe, +on the south side of the Presbytery." + +#Glass in the Choir.#--Mention has been made above of the east window, +and it remains to notice the others. + +In the clerestory on the north side the windows have been restored by +Clayton & Bell. They are best seen from the triforium, but are given +here as being part of the choir. Following the example of the lights in +the east window, these clerestory windows have alternately red and blue +backgrounds. Portions of old glass remain in the heads of the windows. + +Beginning with the windows west to east the _first_ contains: + + (1) St. Zacharias. (2) St. Elizabeth. (3) St. John Baptist. + (4) St. Gabriel. + +The _second_ contains: + + (1) St. Anna. (2) St. Mary. (3) St. Joseph. (4) St. Gabriel. + +The _third_ contains: + + (1) St. Peter. (2) St. John. (3) St. James (Major). (This light + is out of its place.) (4) St. Andrew. + +The _fourth_ contains: + + (1) St. Philip. (2) St. Bartholomew. (3) St. Simon. (4) St. Jude. + +The clerestory windows on the south side are filled with stamped +quarries with central medallions and coloured borders, made after the +model of remains of ancient painted glass. + +The choir also contains a peculiarity in its six-light west window. This +was rendered necessary by the difference in height of the nave as +compared with that of the choir. The choir vaulting is about twenty feet +higher than that of the nave. The glass at present in the window +consists chiefly of patch-work, arranged by Hardman from pieces +collected and saved at different times from other windows in the +cathedral. It represents a figure of our Lord, with angels on either +side. Below are angels playing on musical instruments. + +It is customary to credit the Reformation or the Civil War with most +church desecration and destruction, but this window was ruthlessly +destroyed by an order of the Chapter in 1679, nearly thirty years after +the Civil War was ended, and nearly 140 years after the dissolution of +the monastery. The order ran as follows: "That a certain scandalous +picture of y'e Holy Trinity being in y'e west window of y'e Quire of y'e +said church, should be removed, and other glass put into y'e place." The +glass of the window was actually broken up by one of the prebendaries +(Fowler by name) with his own hands and feet. His action, considering +his views, was incomprehensible; but he was made Bishop of the diocese, +after Bishop Frampton was deprived of his see. Beneath the west window +is an inscription (restored) in the panelling of the stone work: + + Hoc quod | digestum | specularis | opusque | politum | Tullii haec + Ex onere | Seabroke | abbate | jubente. + +These two Latin verses record that "this work (viz. the tower) which you +see built and adorned, was done by the labour of Tully, at the command +of Abbot Seabroke." + +Robert Tully was a monk of Gloucester, and was Bishop of St. David's, +where he died in 1482. There is a brassless slab to his memory there, +but the best monument is the tower that was built by him here in +Gloucester. + +After passing through the iron gate into the last bay of the south +aisle, the tomb of Abbot Seabrook or Seabroke will be seen on the left, +inside a stone screen, through which formerly was a doorway giving +access to the organ loft. 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. + +Abbot Seabroke's pastoral staff was discovered in 1741 in his coffin +while the tomb was being removed. After changing hands many times it was +acquired finally by the Antiquarian Society of Newcastle-on-Tyne. + +In the west end of the Seabroke Chapel, against the first pier of the +nave, is a mural monument, rather florid in style, to Francis Baber, +1669. + +Close to the Seabroke Chapel, on one of the piers supporting the tower, +is a bracket with traces of very beautiful blue colour. The canopy +above--much mutilated--shows traces of red, blue, and gold. + +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. The SS collars also tend to disprove that +the monument is to Humphrey de Bohun, Earl of Hereford, and his +countess, seeing that he died in 1361. On the knight's belt is a badge, +very much worn down, which has been attributed to the Brydges family. Mr +Lysons thought it to be the tomb of Sir John Brydges who fought at +Agincourt, and died in 1437, but the mail tippet is not found later than +1418. The tomb may commemorate Sir Thomas Brydges, who died in 1407, and +this would agree better with the date given above. + +The transepts and ambulatory of the choir are entered, as a rule, by the +iron gateway in the south aisle of the nave. + +#South Transept.#--This transept, like that on the north, underwent a +complete transformation in the fourteenth century, under Abbot Wygmore +(1329-1337). In spite of the transformation, the Norman design can +easily be traced both in the inside and the outside of the transept. The +walls have been ornamented with open panelled work, consisting of +mullions and transoms, with very rich tracery and foiled headings. The +method of the casing is best seen from the triforium, where the original +Norman masonry can be closely inspected. The panel work, in spite of its +date, has the appearance of being considerably later, and some have +thought the work to have been executed after Wygmore's time. + +Professor Willis thinks that the Perpendicular style, which +elsewhere--_e.g._ in the north transept and the choir--is completely +developed, may have had its origin in this south transept. In any case, +the work is of the greatest architectural interest, and deserves careful +study. "Looking at the very early character of the clustered shafts and +the mouldings of this transept in conjunction with the vertical lines +with which they are associated, one might think (excepting Thokey's +south aisle, the Edward II. monument, and some few examples in the +triforium of the choir) that Decorated work had never fairly taken root +in Gloucester." (F. S. W.) + +The south transept, which was also called St. Andrew's Aisle, is 47 feet +long, 35 feet broad, and 86 feet in height. The vaulting is lierne +vaulting, with short ribs, which connect the main ribs together. There +are no bosses in the roof. With an opera-glass it is possible to note +the clever joining of the masonry. + +On the north side of the south transept, between the tower piers, is an +interesting chapel, with a wooden screen--date about 1510. The panelling +inside, as also that on the back of the choir-stalls here exposed to +view, is covered with monograms of S and B alternately, all surmounted +with crowns. + +The chapel is said to have been dedicated by John Browne (or Newton), +who was Abbot from 1510-1514, to his patron saint, St. John the Baptist, +the initials being the same. + +On the step in this chapel is a slab with a mutilated cross incised in +it and remains of an inscription upon a scroll. It is now almost +illegible and crumbling fast away, but it was + + "Kyrie eleison anime + Fratris Johis Lyon." + +This Johannis Lyon was the monk who made the reredos in this chapel. +There are traces of two reredoses here, both of which show traces of +colour. Older stonework has been used to make the newer reredos, and has +been merely reversed. + +The tiles here are of interest, and there are also some outside, both at +the east and at the west end of the chapel screen, well worthy of +attention. They are chiefly odd tiles, similar to those in the choir, +with the name of Farley, others with oak leaves, others with +fleur-de-lys, others with lions rampant. + +At the west end of the chapel outside is a highly lacquered brass of the +usual type, in memory of Judge Sumner, 1885. + +Just before turning into the south transept a stone on the floor will be +seen, close to the angle of the wall made by the transept and the south +aisle, with the inscription: "Here lyeth under this marbell ston Robart +Leigh, organist and Maister of the Choristers of this Cathedral Church. +He dyed the 6th of January 1589"(?). No record of him survives. + +On the south wall are two doorways. One, which is blocked up, is in the +south-east corner, and is surmounted by a double-bodied monster, +resembling an ape. The other doorway is usually pointed out to visitors +as the "Pilgrim's door." + +Whether this door was that in general use for pilgrims or not is an open +question. It was for a long time blocked up and has only a makeshift +door in it at the present time. Carter, writing in 1807, says: "The arch +of the opening, in its head, has four turns concentred by a flower. +Above the head is an ogee architrave rising from small columns, which +columns bend forward on each hand, forming open arms or fences on each +side of the steps to the doorway. On these arms recline statues (angels) +acting as guardians to the doorway. Their attitudes are well conceived +and pleasingly varied." The sculpture is extremely graceful and +pleasing, the expression of the faces particularly charming. The +drapery, too, is arranged in a masterly manner. + +The door was thought by some to have been used to admit pilgrims to the +shrine of Edward II., but others, arguing from the angels upon it, have +taken it to be the door by which penitents could retire after making +their confession. Perhaps the most reasonable explanation is that it was +a door communicating with a vestry or checker for the sacrist, but there +are no traces underground outside the south wall of any stone +foundation for such building. + +On the east side of the transept will be noted the restored #Chapel of +St. Andrew#. The paintings on the wall were executed in 1866-67 in +spirit fresco by Mr Gambier Parry for Thomas Marling, Esq., in memory of +his wife, who died in 1863. + +The reredos contains a central figure of the Saviour between St. Andrew +and St. Peter, with eight figures of smaller size--viz. Job, Solomon, +Moses, David, Isaiah, Jeremiah, Ezekiel, Daniel. The remainder of the +figures are intended to represent a choir of angels. + +The tiles in the chapel are very bright and gaudy, contrasting +unfavourably with the older tiles elsewhere in the building. The +arrangement of the tiles on the risers of the steps is very monotonous +and unpleasing. Plain stone steps would have been far less obtrusive. + +At one time a charge of sixpence was made for the privilege of +inspecting the interior of this chapel, but nowadays it is kept closed. +For many years it was used as a vestry for the lay clerks. The windows +contain glass (by Hardmar) dealing with events in the life of St. +Andrew. + +In the east window, over St. Andrew's Chapel in the south transept, is +to be seen some of the best glass now to be found in the cathedral, +dating back to about 1330. It consists in 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. These have been releaded +by Hardman. + +On either side of the chapel there are tabernacles. That on the south +side contains some very fine carving, and with one boss quite complete. +The colour, judging from the traces remaining, must have been very +charming. + +On the north side of the chapel is the #'Prentice's Bracket#. In shape +it resembles a mason's square supporting an apprentice. Underneath it, +as a supporter, is the master mason. The work was probably intended to +carry an image with a pair of lights, and also to serve as a memorial of +the workmen. + +The Elizabethan monument erected in memory of Richard Pates, Esq., +founder of the Grammar School at Cheltenham, is a poor example of its +date, 1588. The next monument was originally in the north choir chapel +of the nave (_vide_ Brown Willis' plan, p. 44), and commemorates +Alderman Blackleech, in cavalier costume, and his wife. The date of the +tomb is 1639. Other and later memorials are on the walls, but they are +of no special interest. + +There is an interesting tablet to Canon Evan Evans, D.D. (Master of +Pembroke College, Oxford), who died in 1891. The memorial consists of a +bronze tablet, bordered by a frame of marble inlaid with other marbles. +The bronze at the top is inlaid with shell of an iridescent colour. The +general effect is good, but silver hardly seems suited for inlaying in a +building lighted by gas. The tablet was designed by Mr H. Wilson. The +west window is Perpendicular, and is filled with glass in memory of Mr +T. G. Parry. + +The south window in this transept has been filled with glass (by +Hardman), at the expense of Thomas Marling, Esq. + +The slabs on the floor have been moved from the positions they formerly +occupied, and have suffered by the change. A large slate-coloured stone, +which used to be in front of the Blackleech monument is now placed much +nearer the entrance to the crypt. It is broken in two and is covered up +by matting. + +Another stone slab has traces of a mill wheel. The inscription on it +used to tell that "Here lyeth buried the body of John Long, Millard and +Milwright, who departed this life the 16th day of April 1596." + +A blue-coloured slab, which originally had a fine brass inlaid canopy +has been converted to the use of a Minor Canon named Deane--1755. + +The large buttress which passes through the St. Andrew Chapel upwards +through the triforium, to support the south-east pier of the tower, used +formerly to bear upon it a monument to Bishop Benson, which is now in +the south triforium. + +The double doorway which gives access to the choir aisle, and to the +crypt, seems to be the type of several other doorways of later date in +the building, as, for instance, in the north transept, and also in +doorways in the Deanery and cloisters. + +The #Crypt#[4] is one of five English eastern crypts, founded before +1085, the others being those at Canterbury, Winchester, Rochester, and +Worcester, and extends underneath the whole of the choir, the +ambulatories or aisles of the choir, and the five chapels belonging +thereto. + +In passing downstairs to the crypt or under-church, an inscription over +the door of the chapel on the right refers to the enormous quantity of +bones which had accumulated in the crypt, and thus obtained for it the +name of "The Bone House." These bones had been brought in from the south +precincts outside, all of which had been formerly a burying-ground, and +in 1851 were removed to the south-west chapel of the crypt, and later +buried in a large grave on the north side of the cathedral. + +[Illustration: S.E. CHAPEL IN THE CRYPT. + _S. B. Bolas & Co., Photo._] + +The crypt consists of an apse, three small apsidal chapels--_i.e._ a +N.E., an E., and a S.E. chapel, and also two chapels underneath the +eastern chapels of the north and south transepts. + +"The outer walls of the crypt are about 10 feet thick, and the aisle +floor is on an average 8 feet below the level of the soil on the outside +of the building. The centre part is divided by two rows of small +columns, irregularly placed, from which spring arches carrying the floor +of the choir above; the bases and capitals of these small capitals are +much out of level from west to east, and from north to south, and in +design they vary greatly as to their capitals, abaci, and bases. All of +these are strikingly different to the half columns with cushion capitals +attached to the outer walls, on which rest the ribs they mutually carry. +So different, indeed, are they as to make it questionable if by far the +larger portion of these columns does not belong to our earlier church." + +"Great alterations have from time to time been made in the crypt. The +large semi-circular columns against the walls, though of great +antiquity, are not parts of the original structure, but are casings +built round, and enclosing the former smaller piers, and the ribs +springing from their capitals are built _under_, with a view to support +the vaulting." (F. S. W.) + +This strengthening work was rendered necessary owing to earthquake +shocks which occurred, and possibly from the fact that the originally +defective foundations on the south side of the crypt caused a slight +settlement. + +It may be noted here that the masons' marks found in the triforium on +the Norman work are also found in the crypt on the later strengthening +work, and not upon the Early Norman work. This fact has been considered +to prove that the crypt was built by Aldred. + +The first chapel--_i.e._ that below St. Andrew's Chapel--contains a +double piscina with a shelf in good preservation. There are remains of +hinge-posts (two sets), and the holes for the movable bar with which the +doors could be fastened. + +The second chapel--_i.e._ that underneath St. Philip's Chapel--contains +an arcade of five plain arches with ornament above. There is also a +double piscina with shelf in good preservation, and a large altar-step, +6 feet 2 inches by 4 feet. + +The third or eastern chapel, which is under the vestibule leading into +the Lady Chapel, contains portions of the building which have had to be +replaced by recent work, and some fragments of tombstones, one bearing +the inscription _Gilbertus_. + +[Illustration: LADY-CHAPEL ABOVE HALF-SECTION. + DRAWING ORIGINAL NORMAL WORK. + PLAN OF THE CRYPT. + + From a Drawing by F. S. Waller, F.R.I.B.A. + + The dark tint on the walls represents the Early Norman + Crypt. + + The second period of Norman work is shown by the double + lines round the small shafts at A A, which denote masonry + erected some time after, to carry the ribs which + strengthen the vaulting. + + The parts sectionised were for the most part built in the + fourteenth and fifteenth centuries to carry the walls + above--notably s s, as foundations for the choir piers.] + +The fourth chapel, which is underneath Abbot Boteler's Chapel, also +contains fragments, some of them very beautiful specimens of stonework. +There is also a slab, upon which is to be read the words, _Orate pro aia +frîs Johîs_. This slab was formerly in the south transept, and was +(according to Mr Haine's transcription of the slab made thirty years +ago) to the memory of John Lempster, who lived in Abbot Froucester's +time. + +A slab inscribed I STAUNT, which used to be in the cloisters at the +entrance to the chapter-house, is also in the crypt. This John de +Staunton was akin to Abbot Staunton, who was buried in 1351. + +The fifth chapel, which is underneath St. Paul's Chapel, was the chapel +through which the Abbot had access to the crypt from the Abbot's +cloister. The easternmost portion has some very good vaulting and +decoration of the thirteenth century, and contains a very mutilated +piscina. The groining of the roof is, unfortunately, falling away by +degrees. There are traces of some fine bosses. + +The crypt was cleared, drained, and concreted in the course of the +restoration that took place during the years 1853-1863. + +#Ambulatories of the Choir.#--These aisles have nothing uncommon in +their form or arrangement below, but above occurs the great peculiarity +of this church. The side aisles and eastern chapels are, in fact, +including the crypt, three storeys high, and all vaulted, and the upper +range of chapels surrounding the choir is perhaps not to be met with in +any other church in Europe. + +Near the entrance to the #S. Ambulatory of the Choir# a tomb and brass +to the memory of Rev. John Kempthorn, B.D. (1838) will be found on the +right, near the side entrance into St. Andrew's Chapel. + +Close to it, upon the floor, is a modern brass, by Messrs Heaton, Butter +& Bayne, to the memory of Rev. H. Haines, M.A., who for twenty-three +years was second master in the cathedral school. He died in 1872. His +book on the Cathedral, which he knew so thoroughly and loved so well, is +one of the best guide-books to the building, but, unfortunately, no new +edition has been issued since 1884. + +Some of the piers in the south ambulatory of the choir will be found to +show traces of colour decoration in certain lights. As a whole they +retain more Norman work, unaltered, than perhaps any other portion of +the building. + +Near to the Kempthorn monument is the memorial window to Canon Harvey +and his wife, who both died in the year 1889. The glass is by Kempe. + +The second window, also by Kempe, is a memorial to the Rev. H. Law, who +was Dean from 1862-1884. The figure drawing in this light will attract +notice. + +The third window, glass by Kempe, is a memorial to the Rev. Sir J. H. +Culme Seymour, Bart., who was Canon of Gloucester for fifty-one years, +and died in 1880. + +#The Triforium of the Choir# is, perhaps, the finest triforium in +existence, and is worthy of special examination. "It occupies the space +over the ground floors of the aisles or ambulatory of the choir, and +originally extended of a like width round the east end of the Norman +Church, but at the time when the fourteenth-century work of the present +choir was executed, the whole of the east end of the old Norman choir, +with the corresponding part of the triforium, was removed in order to +make room for the existing large window, the small east chapel being +allowed to remain." (F. S. W.) The original shape of this part of the +building will be more clearly seen by reference to the chapel (D), +indicated by dotted lines on the plan, and to the extreme east chapel of +the crypt. As the means of entrance to this east chapel of the triforium +was now gone, the narrow gallery usually called the "Whispering Gallery" +was made, and carried by segmental arches, marked BB, from the +south-east to the east chapel, and from the east chapel to that on the +north-east. The external appearance of the Whispering Gallery is shown +on page 75. The casual observer frequently takes it to be a piece of +Norman work, but it is in reality the material of Norman builders very +skilfully re-used. + +The triforium is reached by the staircases in the western turrets of the +two transepts and by arcaded passages passing under the great windows of +the transepts. Excellent views across the transepts are thence to be +obtained. Still better views can be got from the corner of the triforium +(near the painting of the Last Judgment), both across the organ to the +north side of the nave, down the south aisle, and also across the +choir. + +The first chapel in the triforium contains two brackets with rich +canopies, and there is a very well preserved double piscina. +Ball-flowers in two rows will be found in the mouldings of the east +window. Remains of two canopies in the jambs of the windows are also to +be traced. + +The massive Norman piers should be carefully studied, as the way in +which the later casing work has been applied can be more easily seen in +the triforium than elsewhere. + +The picture on the west side of this part of the triforium was +discovered in 1718, against the then eastern end of the nave, underneath +the panelled wainscot at the back of the seats occupied by the clergy +when the nave was used for service. + +During the last few years it has lost much of its colour; it is painted +_in tempera_ on a kind of gesso ground laid on a wooden planking nearly +an inch thick. From the size of it--viz. 9 feet 10½ inches by 7 feet 7¼ +inches--it was formerly thought to have formed part of the reredos. + +Portions of the original frame remain, and they show traces of gilding +upon them. The picture has been varnished to preserve it, and, although +hung in a wretched situation for light, it is worth more than passing +attention. Christ is represented in the centre, throned on a rainbow, +attended by angels, and having a globe and a cross below Him. His mantle +is red, with a jewelled border. On either side of His head are emblems +--on the left a lily, emblematic of mercy; and on the right a sword, +emblematic of justice. The lily inclines towards the righteous, and the +sword points towards the wicked. Below on the left are six apostles, but +above these is an angel holding a T cross and the crown of thorns. To +balance this, on the right is an angel with a whipping-post, a scourge, +and a spear. Over these figures are scrolls, one on the left inscribed +"Come, O you blessed ...", and on the right, "Go, O you cursed ..." In +the centre, under the globe, is an angel holding an open book, "The boke +of côsciens "--_i.e._ the book of conscience. On either side are angels +blowing upon trumpets, from which extend scrolls inscribed, "Aryse, you +dede. Come to your judgement"; and below this the Resurrection is +depicted. An angel (in the centre) is scaring away a horned demon from +the soul borne up by the angel. On the right the wicked are being +carried off by fiends; on the left the righteous are being led away by +angels bearing crosses. + +In the left-hand bottom corner are angels and inscriptions. "Before man +lyfe and death. In all thy workes remêbre thy last, and never wilt thou +offend." In the top corner on the left is represented the New Jerusalem. +The architecture is classic in character. + +[Illustration: SOUTH-EAST VIEW OF CATHEDRAL SHOWING WHISPERING GALLERY. + _S. B. Bolas & Co., Photo]_ + +St. Peter and an angel are standing close to a gate into which the +righteous are entering. A choir of angels with musical instruments are +above. + +In the bottom corner on the right the mouth of hell is represented, into +which the lost are being thrust by attendant demons. There is a grim +figure inside a globe, possibly intended for the Prince of this world, +seizing a soul by the hair. At the bottom are other fiends helping to +torture the unhappy lost. + +[Illustration: TRIFORIUM OF THE CHOIR, LOOKING EAST. + _Photochrom Co. Ltd., Photo.]_ ] + +Sir G. Scharf, in _Archæologia_, vol. xxxvi., says that the picture is +English, and is of great importance. He thinks it was painted during the +latter years of the reign of Henry VIII. or during that of Edward VI., +and points out that it is an epitome of the famous altar-piece at +Dantzig, painted in 1467. It is remarkable that in this picture the +Virgin and St. John the Baptist, who are usually associated in pictures +with the Saviour, are altogether omitted. + +The second, or south-eastern chapel, contains many interesting remains +of coloured tiles, old carving, some being linenfold panels. There are +also some finely-carved pilasters, which once formed part of the Queen +Anne reredos, put up by Dean Chetwood about 1710. This reredos was taken +down in 1807, and was for many years in the old church at Cheltenham. +When, however, the church at Cheltenham fell into the hands of the +restorer, parts of the carved work were brought back to Gloucester. + +Passing towards the Whispering Gallery, the flying buttresses inserted +to support the walls of the clerestory, which were weakened by the +insertion of the great east window of the choir, 1347-1350, should be +noticed. + +The #Whispering Gallery#, to which the ordinary visitor pays more +attention than anything else in the building, has remarkable acoustic +properties. A whisper (the lower in tone the better) can be easily and +distinctly heard at the other end of the gallery, and to this +peculiarity the following lines, by Maurice Wheeler (head-master of the +King's School, 1684-1712) have reference: + + "Doubt not but God, who sits on high, + Thy secret prayers can hear, + When a dead wall thus cunningly + Conveys soft whispers to the ear." + +Lord Bacon seems to have thought over the subject of the gallery, and +his remarks are here quoted: "I suppose there is some vault, or hollow, +or isle behind the wall, and some passage to it, towards the farther end +of that wall against which you speak, so as the voice of him that +speaketh slideth along the wall, and then entereth at some passage, and +communicateth with the air of the hollow, for it is preserved somewhat +by the plain wall: but that is too weak to give a sound audible till it +has communicated with the back air." + +The gallery is a passage of Norman work, very much altered and re-used. +It is 74 feet long, 3 feet wide, 6-1/8 feet high, and is carried on +segmental arches from the east end of the south triforium to the west +wall of the Lady Chapel, and from thence in the same way to the north +triforium. On page 75 will be seen the appearance of the little bridge +thus made. + +In passing through the gallery access is obtained to a chapel on the +right, which is immediately over the entrance vestibule to the Lady +Chapel. From this chapel a very good general view of the Lady Chapel can +be obtained. The bosses in the roof show to greater advantage, and it is +possible to see more of the colour that remains on the walls. + +This chapel is smaller than the others in the triforium, and was reduced +in size when the west end of the Lady Chapel was built. The altar slab +is original Norman work, and has three or four [Symbol: Cross] inscribed +in it. + +[Illustration: SOUTH AMBULATORY OF THE CHOIR. + _S. B. Bolas & Co., Photo._] + +The pieces of old glass formerly in this chapel have disappeared, and +modern ornamental quarries and medallions, by Hardman, have taken their +place. + +The fourth chapel has nothing of note in it beyond the window tracery. + +The fifth chapel, or the one nearest to the north transept, contains a +double piscina, in very good preservation. + +The triforium contains a few monuments, chiefly those that have been +removed from the nave. Bishop Benson's monument was formerly on the face +of the buttress that passes through St. Andrew's Chapel. + +The triforium seems a better resting-place than the crypt for monuments +which are rejected from the nave and elsewhere. It is to be hoped that +in the years to come no restorer will lay hold upon the monuments in the +Lady Chapel and transepts, and consign them to oblivion in the +neighbouring garden of the deanery. This was done in Dean Law's time, +and may in part be the reason why the cathedral is so poor in specimens +of monuments of the Queen Anne period. + +The #South-East Chapel#, which is dedicated to St. Philip, contains some +interesting features. The arches are of a distinctly "pointed" +character, and there are remains of the two bases of pillars which +supported the stone altar slab. + +This chapel was restored in memory of Sir C. W. Codrington, Bart., M.P., +who died in 1864. Various incidents in the life of St. Philip have been +painted on the vaulting by Burlison & Grylls, but the paintings have +suffered somewhat from damp. The window, which is by Clayton & Bell, is +of no special interest, and represents saints, principally British, and +striking incidents in the life of each in the panel under each of the +figures. + +Near the piscina, at the base of a pier, will be found some dog-tooth +moulding. This is repeated on the other side of the chapel, but not on +the corresponding pier. + +Before entering the Lady Chapel, a Perpendicular arch will be noticed, +with two eye-shaped openings in the spandrels. The openings are well +carved on their bevelled edges. The arch is of later date than the front +of the chapel, and seems to have been necessary to support the triforium +above. Nothing like it exists on the other side. There is an old +cope-chest in this Ambulatory. + +The #Lady Chapel.#--This beautiful chapel, which was built between the +years 1457-1499 by the Abbots Richard Hanley and William Farley, stands +on the site of a smaller building, dating back to 1224, and erected by +Ralph de Wylington and Olympias, his wife, the architect of the work +being Elias or Helias the Sacrist, a monk of the Gloucester monastery. +As Mr Bazeley points out ("Records," vol. iii. pt. 1, p. 14), "The only +architectural evidences of its former existence are two Early English +windows in the crypt, in the central eastern chapel." + +Mr Waller thinks that this Early English Lady Chapel was "probably not a +new building, but simply an alteration of the old east apsidal chapels +on each floor to suit the 'Early English' times, just as the +fourteenth-century men afterwards recased the cathedral. The inserted +windows of this date in the crypt seem to confirm this view." + +On the site of this chapel must have stood the chapel and altar (or at +any rate the altar) dedicated to St. Petronilla, as Ralph and Olympias +gave rentals to provide lights to burn thereat during mass for ever. + +The vestibule or entrance to the Lady Chapel is a beautiful piece of +work, and is another instance of the genius of the builders shown in +making use of existing work. Special interest attaches to this chapel as +a whole, as it was the last addition to the fabric by the monks before +the Dissolution. + +Firstly the walls of the vestibule should be noticed: the lower portions +of the west wall are parts of the old Norman apsidal chapel, and are +pierced by the opening for the door and by two perpendicular windows; +and the west end of the chapel is contracted in breadth, as it is also +in height, so as to minimise the loss of light to the great window of +the choir. The shape of the chapel will be easily understood from the +plan (p. 61). + +The lierne vaulting of the vestibule is very delicate (the ribs, it will +be noted, are run differently in the four quarters of the roof), and the +pendants form a cross. These latter, at the present time, look new, but +they have only been freed from the whitewash that was thick upon them. +One pendant has been renewed at the end. Over the vestibule is the small +chapel which is entered from the Whispering Gallery (_vide_ page 77). + +The open tracery of the west end over the supporting arch is +particularly graceful, especially the way in which the open lights are +arranged in the central portion. The Lady Chapel is 91 feet 6 inches +long, 25 feet 6 inches high, and 46 feet 6 inches high, and consists of +four compartments or bays, which, as the wall of the chapel is so low, +are chiefly composed of fine tracery and glass. All the wall below the +windows is arcaded with foiled arches, with quatrefoils above them. 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. + +[Illustration: THE LADY CHAPEL. + _Photochrom Co. Ltd., Photo._] + +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, and it would be a +hard task to arrange them in order of merit. + +It has been said above that the chapel is cruciform. The arms of the +cross are represented by the two side chapels, like diminutive transepts +on the north and south sides, with oratories above them, to which access +is given by small staircases in the angles of the wall. Both these side +chapels contain some exquisite fan-tracery vaulting, which is supported +upon flying arches, fashioned in imitation of the graceful flying arches +in the choir. + +On the north side the chapel contains a full-length effigy of Bishop +Goldsborough (who died in 1604) robed in his white rochet, black +chimero, with lawn sleeves, scarf, ruff, and skull-cap. + +The east window in this chapel is in memory of Lieut. Arthur John +Lawford (1885), and is dedicated to St. Martin. + +The chapel above has a vaulted roof with bosses of foliage, and there +are small portions of ancient glass. + +Bishop Nicholson's tomb, which was formerly in the south chapel, where +it blocked up the east window, is at present in pieces in this upper +chapel. It is to be re-erected in another place. + +There are some interesting scribblings on the walls of this chapel. On +the shelf for books is a representation of a Cromwellian soldier with a +dog, apparently in pursuit of a deer. There are also scribblings with +devices, dating to 1630-1634. One love-sick swain described an +equilateral triangle with a [Symbol: Cross] rising from the vertex, and +then inscribed the initials of his _fiancée_ and also his own. + +The #South Chapel# contains an altar tomb to Thomas Fitzwilliams, who +died 1579, and there is a wooden tablet, painted with an inscription to +tell that it was repaired in 1648. + +A window has been put up in memory of S. Sebastian Wesley, a former +organist of the cathedral, who died in 1876. + +In the south chapel there are scribbles, dating back to 1588 and 1604. +Both of these chapels have shelves for books, but it is probable that +one was for a small choir and the other for an organ. + +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. + +[Illustration: WEST END OF LADY CHAPEL. + _S. B. Bolas & Co., Photo._] + +The #Reredos#, judging from the traces that are left, must have been a +gorgeous sight, and literally a blaze of colour. Appliqué work has been +lavishly employed in its decoration. Anyone who is privileged to +examine it very closely will note the writing on the stonework, which +has been laid bare in the niches by the ruthless removal of the figures. +At present what the present Dean, in his article on the Great Abbeys of +the Severn Lands, calls its "pathetic scarred beauty," is temporarily +veiled by a very modern screen. The reredos, though a ruin, has a charm +all its own, and it is better to leave it frankly as it is now than to +partly hide it. There are some, no doubt, who would restore it, but it +is to be hoped that funds will not be forthcoming. Restoration has +effectually marred the beauty of the pavement of the choir, and given us +a flashy reredos there, of which the less said the better; but every one +with a particle of feeling must feel that restoration and decoration of +the Lady Chapel reredos would be a crime. + +Bishop Benson covered the reredos with stucco, and put up a huge gold +sun in front of it. Portions of this are now at Minsterworth. An +engraving of it may be seen in Bonnor's "Perspective Itinerary," +published in 1796, and this plate also shows the long rows of pews +removed from the choir by the same bishop. + +The sedilia are very fine, and worthy of careful inspection. + +The #East Window# consists of nine lights, and has been terribly +mutilated, partly by fanatics, partly owing to lack of care within the +last century. In design the window resembles the windows on the north +and south sides of the chapel. It was erected in Abbot Farley's time +(1472-1479), and possibly by a Thomas Compton, seeing that in the +quatrefoiled circles in the heads of the lower lights there are +rebuses--a comb with TÕ, and CÕ with a TON (for Compton), as well as two +intertwining initials. Much of the glass seems to have been put in after +removal from other windows in the cathedral, and this makes the +deciphering of this window no easy undertaking. + +The tiles in the Lady Chapel are of great interest, and one cannot help +regretting their gradual deterioration under the feet, occasionally the +hobnailed feet of visitors, and the slower but surer destruction by the +accumulations of grit under the matting on the floor. They may be best +examined by turning up the matting near the Clent tablet on the south +wall. + +On a pattern made up of sixteen tiles, four times repeated can be read, +"_Ave Maria gra' ple' Dus tecum_" i.e. "_gratia plena Dominus tecum_." +On others similarly designed, "_Domine Jhu (Jesu) miserere_." On others, +"_Ave Maria gra' ple'_" and "_Dne Jhu miserere_." These tiles in square +sets of sixteen and four respectively were placed alternately, and +separated by plain dark bricks. On others again will be found "_Orate +pro Aiâ Johis Hertlond (pro anima Johannis)_." Some too seem to have +been transferred from Llanthony Priory to the south chapel. They are +inscribed, "_Timetib' deû nihil deest_," i.e. "_Timentibus deum nihil +deest_." There are others in the chapel, "_Letabor in mia--et sethera_," +and "_Deo Gracias_." + +The monument to Sir John Powell (1713) on the north wall is not +beautiful, though a good specimen of its time. It is impossible not to +regret that it was ever allowed to be erected in the chapel. Powell was +a judge of King's Bench, and is here represented in his gown, hood, +mantle, and coif. + +Other monuments are those to Eliz: Williams, 1622 (the figure is raised +on one elbow); to Margaret Clent, 1623, with a touching epitaph. On the +floor, near the Williams monument is a small brass, concealed by +matting, to Charles Sutton, an infant seven days old. The brass contains +two Latin lines modelled on the lines of Ovid's "Tristia," and run: + + "Parve, nec invideo, sine me, puer, ibis ad astra, + Parve, nec invideas, laetus ad astra sequar." + +Many of the slabs on the floor will repay perusal, most of them being +well cut and fairly well preserved. In Brown Willis' "Survey of +Gloucester" will be found a full record of all the tombstones which in +his time (1727) were in this chapel, but have since been removed or +re-used. + +Turning to the right on leaving the Lady Chapel, the north-east chapel, +which is called #Abbot Boteler's Chapel#, is the next in order. It dates +from 1437-1450. The reredos should be closely examined, as it retains +many of its original features--viz. statuettes, traces of painting on +the shields above, and a very good piscina. + +The tiles in the floor are in many cases excellent specimens, especially +those with fish upon them. It seems a pity that these tiles should be +doomed to disappear under the nails of sight-seers, who as a rule look +at nothing but the effigy of Robert, Duke of Normandy, and go away +satisfied when they have proved for themselves that the effigy is of +wood. + +The effigy has had a curious history. As Leland says, "Rob'tus +Curthoise, sonne to William the Conquerour, lyeth in the middle of the +Presbitery. There is on his tombe an image of wood paynted, made long +since his death." As to the date there is great uncertainty, and it +would seem that the figure and the chest upon which it lies are not of +the same date. Sir W. V. Guise in "Records of Gloucester Cathedral," +vol. i., part 1, p. 101 (now out of print), says, "I am disposed to +assign to the effigy a date not very remote from the period at which the +duke lived. The hauberk of chain-mail and the long surcote ceased to be +worn after the thirteenth century," and on p. 100, "The mortuary chest +on which the figure rests is probably not older than the fifteenth +century ..." Around the chest are a series of shields bearing +coats-of-arms, ten in number, nine of which were originally intended to +commemorate the nine worthies of the world. On the dexter side: 1. +Hector. 2. Julius Cæsar. 3. David. 4. King Arthur. On the sinister side: +5. Edward the Confessor. 6. Alexander the Great. 7. Judas Maccabæus. 8. +Charlemagne. 9. (at the south end) Godfrey of Bouillon. 10. (at the +north end) The arms of France and England, quarterly. The blazoning of +10 proves the chest to be later than the time of Henry IV. + +The oak figure was broken into several pieces in the civil wars of +Charles I., but was bought by Sir Humphrey Tracey of Stanway, who had it +repaired, and presented it to the Cathedral. + +Leland says that the duke "lyeth in the middle of the Presbitery." The +inscription in the chapter-house says "Hic jacet Robertus Curtus." The +plain pavement in the choir is said to mark the site of the grave in the +choir, but it is open to question whether there would be space for +interment between the tiling and the upper side of the vaulting of the +crypt. It is to be hoped that at some future time the effigy may be +moved back to its place in the Presbytery. + +The next chapel--_i.e._ the north-west chapel, is dedicated to St. Paul, +and is entered by a doorway, with the initials T. C. over it, in the +spandrels. T. C. may stand for Thomas Compton. + +[Illustration: TOMB OF ROBERT CURTHOSE. + _Photochrom Co. Ltd., Photo._] + +The windows in the north ambulatory of the choir are as follows:-- + +The window next to Boteler's Chapel is a memorial erected by the dean +and chapter to Mrs Tinling. The glass was designed by the late J. D. +Sedding, Esq., and was executed by Kempe. + +Opposite to the tomb of Edward II. is a memorial window, also by Kempe, +to the late Lieut.-General Sir Joseph Thackwell and his wife. + +The third window is a memorial to Alfred George Price, who died in 1880, +and it represents the four great builders of the church--viz. 1. King +Osric. 2. Abbot Serlo. 3. Abbot Wygmore. 4. Abbot Seabroke. + +Opposite this door in the north-east corner is a doorway--Perpendicular +in style--with interesting cresting and carving, giving access to the +vestries and the choir practising-room. + +In this, as in the other chapels, the groined edge of the Norman +vaulting is carried down the piers. + +The reredos in this chapel was more perfect, in point of good repair, +than any other in the building, and the chapel was repaired by the late +Earl of Ellenborough in 1870, figures by Redfern representing St. Peter, +St. Paul, and St. Luke being inserted in the niches. + +At the back of the reredos are windows (by Burlison & Grylls) +representing in the side-lights angels with instruments of music, and in +the centre Our Lord in majesty with angels bearing crowns and branches +of palm. + +On the south side of the chapel is a brass tablet in memory of Dean Law, +who was Dean from 1862-1884. The combination of copper, brass, and +gun-metal is to be regretted, as the workmanship is above the average, +and the design is good. It is a mistake to paint heraldic devices on +brass. + +Close by the door leading into the north transept will be seen the stone +reading-desk, from which it is said addresses were given to the many +pilgrims who came to the shrine of the unfortunate Edward II. + +The #North Transept.#--This transept, like that on the south, consists +of Norman work, which was cased over by Abbot Horton during the last +years of his abbacy (1368-1373) with fine Perpendicular panelling, +cleverly engrafted into the original wall. It will be noticed that the +work is, though Early Perpendicular, much more fully developed than that +in the south transept. Angular mouldings of great beauty are used in the +place of round mouldings; the mullions run right up to the roof, which +again is much richer than that in the south transept. The vaulting of +the north transept somewhat resembles in character the fan-tracery of +the cloisters, the junction of the main and transverse vaults being +rounded rather than angular, and the smaller ribs springing from between +the larger ones a little _above_ the union with the capitals of the +supporting shafts. This transept is 8 feet lower than that on the south +side. It is 2 feet shorter, and 1 foot less in width. + +[Illustration: NORTH AMBULATORY OF THE CHOIR, LOOKING EAST. + _Photochrom Co. Ltd., Photo._] + +On the north side, "under the north window, is a beautiful piece of +Early English work (c. 1240), which is supposed to have been a +#Reliquary#." + +[Illustration: NORTH AMBULATORY OF THE CHOIR, LOOKING WEST. + _S. B. Bolas & Co., Photo._] + +It is constructed in three divisions, that in the middle being a +doorway. Foiled openings enrich all the arches, and the carving of the +foliage is very beautiful. Purbeck marble shafts are placed at the +angles, and corbel heads at the spring of the arches, except at the +north-east corner, where a stone shield, with arms of Abbot Parker, are +substituted. Much of the figure-work on the outside has been mutilated. +In the inside the roof is simply groined, with bosses, one of which in +the central division is most beautifully wrought; and there are, too, +small heads which, fortunately, seem to have escaped notice altogether, +and are almost perfect. In Bonnor's "Perspective Itinerary," 1796, it is +described as punishment cells. Mr Bazeley thinks it was part of the +Early English Lady Chapel, built in 1227, which, being thought worthy +of preservation, was taken down and re-erected here when the present +Lady Chapel was built. + +Opposite to the reliquary is a #Chapel# between the tower piers, said to +be dedicated to #St. Anthony#. + +[Illustration: DOOR FROM NORTH TRANSEPT INTO NORTH AMBULATORY OF THE + CHOIR. + + From a Photograph of Miss Dawson of Cardiff] + +The wood panelling on the back of the stalls of the choir shows traces +of painting, representing the soul of a woman at the mouth of a hell or +purgatory, praying to St. Anthony, who is depicted with his pig and a +bell. Other figures are there, but they are beyond recognition. This +chapel is used as the Dean's vestry, and contains some old panelling, +re-used, and two old strong-boxes. + +Beneath the niche, near the door leading into the North Ambulatory of +the Choir, is an inscription, which is now barely legible (even with an +opera-glass)--_Orate pro aiâ (Magistri Johannis) Schelton_; at least so +Brown Willis read it in 1727. On the floor of this transept are some +slabs, now brassless, under which have been buried men of note in the +early days of the history of the building. One mutilated slab, 7 feet +1 inch by 3 feet 4 inches, has an inscription, of which some only is now +legible in the border. From Brown Willis' "Survey of the Cathedral," +1727, it can be seen that it is to Robert Stanford. + +The inscription was-- + + _Hic jacet Robertus Stanford quondam serviens hujus monasterii et + specialis ac munificus benefactor ejusdem qui obiit vicesimo secundo + ..._ + +A brass to Wm. Lisle, 1723, has been inserted. + +Abbots Horton, Boyfield, Froucester were all buried in this transept, +but beyond crediting the stone that shows a trace of a mitre to +Froucester, it is a mere matter of speculation to distinguish between +the others. The stone next but one to it contains the matrix of a fine +cross. The north window was filled in 1874 with glass by Hardman in +memory of Sir Michael Edward Hicks-Beach, Bart., M.P., and his wife. The +subjects are episodes in the life of St. Paul. + +Under the west window of this transept is a curious painted monument to +John Bower and his wife (1615). They had "nyne sones and seaven +daughters," who are represented in perspective on the wooden panel +against the wall. The tomb is barely characteristic of its date. On the +top is an inscription--_Memento mori_; also, _Vayne, vanytie, witnesse +Soloman, all is but vayne._ + +The colour on the tomb has suffered from whitewashing at various times, +and the tomb has been scorched by the heat generated by the warming +apparatus in the corner, to the detriment of the painted panel. + +The west window of this transept was put up in 1894, in memory of Wm. +Philip Price, M.P. This window is too full of detail, and the canopy +work is overdone. The glass is by Kempe. + +The east window contains some old glass, releaded by Clayton & Bell. + + +FOOTNOTES: + + [1] They have practically been shortened 10 inches by their plinths + being concealed by the pavement put down in 1740. Their + circumference is 21 feet 7 inches, and the distance from pier to + pier about 12 feet 6 inches. + + [2] Similar ornament in windows may be found at Leominster, Ledbury + Church, Minsterworth, Hartbury, St. Michael's (Gloucester), and in + the tower of Hereford Cathedral. + + [3] The abbey at Tewkesbury is a building which every visitor to + Gloucester ought to make a point of seeing and studying. It was + built on a similar plan, at the same time, and probably by some of + the same builders who built Gloucester. + + [4] The Crypt is described here because it is, as a rule, entered + from the eastern door in the south transept. + + + + +CHAPTER IV + +THE PRECINCTS AND MONASTIC BUILDINGS + + +Within the area once contained by the boundary walls of the Abbey (for +which see the plan on p. 103) there are remains of four of the original +#Gateways#. The finest of these is that which leads into St. Mary's +Square, and the best view of it is obtained from the steps of the +memorial to Bishop Hooper. It is a very typical specimen of Early +English work. "It has a gate porch entered by a wide but low pointed +arch, with an inner arch where the doors were hung. The gatehall thus +formed also had doors towards the court, and in its south wall are two +recesses. The upper storey has, towards the street, an arcade of four +arches, and the outer pair have each a trefoiled niche or panel in the +back. The other two arches are of larger size and are both pierced with +two interesting square-headed lights, also of the thirteenth century, +with dividing mullions. In the gable, within a large triangular panel, +is a niche of three arches, originally carried by detached shafts, but +these are now broken away." (Hope.) + +Tradition has it that Bonner watched the burning of Bishop Hooper from +the window over this gateway. + +The "inner gate gave access to the inner court, known of late years as +Miller's Green, where the bakehouse, boulting-house, brew-house, stable, +mill, and such-like offices were placed. It was also the way to the +later Abbot's lodging. The existing gateway is of the fourteenth +century, and has a single passage, in the west side of which is a +blocked doorway. The passage is covered by a lierne vault." + +"The gateway on the south side, towards the city, has been almost +entirely destroyed, and only a fragment of the west side remains. It was +known as 'King Edward's' gate, from its having been built by Edward I. +It was afterwards restored and beautified by Abbot Malverne, _alias_ +Parker, 1514-1539. The remaining turret of the gate, on the west side +towards the church, is probably part of Parker's work." (Hope.) + +On the south side of what is left of this gateway are the arms of King +Osric, as King of Northumbria. The stone bearing these arms was dug up +some seventy years ago and was placed in its present position. + +In College Court, a narrow turning leading from the north side of +Westgate Street into the close, is a small gateway, consisting of a +flattened archway with canopied niches at the sides. This is also +supposed to have been built by Abbot Parker. The upper portion, which +was destroyed, has been converted into very commonplace offices. + +In the north-west corner of the precincts was the #Vineyard#. The +vineyards of Gloucestershire used formerly to be famous. William of +Malmesbury, in the twelfth century, writes: "This county +(Gloucestershire) is planted thicker with vineyards than any other in +England, more plentiful in crops, and more pleasant in flavour. For the +wines do not offend the mouth with sharpness, since they do not yield to +the French (wines) in sweetness." The Gloucestershire vineyards survived +as late as 1701. The curious terraces or step-markings on the Cotswolds +in various places, locally called "litchets" or "lyches," are by some +supposed to have been portions of the sites of these vineyards. + +"The #Dorter# (says Mr Hope) and its _basement_ are now destroyed, and +their plan and extent are at present uncertain: but owing to its south +wall having been partly that of the chapter-house also, one small +fragment has been preserved which ... helps to fix the position of the +dorter. This fragment, which may be seen on the north-east corner of the +chapter-house, is the jamb of one of the windows built between 1303 and +1313, and its date is clearly shown by the little ball-flowers round the +capital of the shaft." The dorter then may be assumed to have occupied +the space between the chapter-house and the end of the east alley of the +cloister. + +The #Refectory# (or Prater), "which was begun in 1246, on the site of +the Norman one destroyed to make room for it, was a great hall over 130 +feet long and nearly 40 feet wide. It was reached by a broad flight of +steps, beginning in the cloister and passing up through the frater door. +The steps did not open directly into the frater, but ended in a +vestibule screened off from the rest of the hall, and covered by a loft +or gallery. Into this vestibule would also open the service doors from +the kitchen and buttery.... The west end and nearly all the north side +have been pulled down to the ground, but the south wall, being common to +the cloister, remains up to the height of its window sills. The east end +is also standing to the same height.... Much of the stonework of the +east and south walls is reddened by the fire that destroyed the frater +in 1540." + +[Illustation: ST. MARY'S GATE. + KING EDWARD'S GATE. + + Drawn by F. S. Walker, F.R.I.B.A.] + +The #Little Cloisters# consist of an irregular quadrangle, with sides of +varying length. The garth wall is a good specimen of Perpendicular work. +There are five openings on each side. In the times of the Great +Rebellion the little cloisters were partly unroofed. The western alley +is part of an interesting fifteenth-century house which is built over +it, and the south alley has a lean-to roof. + +The other two alleys, which are now unroofed, were formerly covered by +part of a large building which was built over them, and called Babylon. +All traces of Babylon have now disappeared. + +In the north wall of the cloister three stone coffins have been built in +with the masonry. Mr Hope thinks it quite possible that this small garth +was used as the herbarium or herb garden. + + "On the west side of the little cloister, and partly over-riding + it, is a medieval house of several dates, from the thirteenth + century to the suppression, and later. Owing, however, to modern + partitions and fittings, and repeated alterations, it is somewhat + difficult to trace its architectural history. The oldest part of it + consists of a vaulted undercroft of Early English work extending + north and south beneath the western part of the house. It consists + of three bays, of which two now form the kitchen of the house, and + the third or northernmost is walled off to form a passage outside. + More work of the same period adjoins this on the west, including a + good doorway with moulded head. This doorway was clearly, as now, + an external one. The undercroft stops short about twelve feet from + the frater wall (or wide enough to leave a cart-way), and there is + nothing to shew that it extended further east. Looking at its + position so near the great cellar, the kitchen, and other offices, + it is very probable that the original upper floor was the + cellarer's checker, or counting-house, and the undercroft a place + for stores." + +[Illustration: COLLEGE GATEWAY. + GATEWAY INTO PALACE YARD. + + Drawn by F. S. Walker, F.R.I.B.A.] + +Close by, to the north-east, are to be seen six graceful arches of Early +English work. These are a portion of the remains of the "infirmary" or +"farmery," which was "deemed superfluous" at the suppression, and for +the most part pulled down. + + "The chapel was destroyed and the great hall unroofed and partly + demolished, but its west end and six arches of the arcade escaped, + the latter probably because, as at Canterbury, the south aisle had + been previously cut up into sets of chambers. All these remains are + of admirable early thirteenth-century work, and it is much to be + regretted that in clearing away the old houses in 1860 it should + have been found necessary to also remove a curious vaulted lobby + and other remains on the east side of the little cloister. The main + entrance was originally in the west end of the hall, where part of + the doorway still remains, and was probably covered by a pentise or + porch with a door (still remaining) from the infirmary cloister, so + that there was a continuous covered way from the farmery to the + church." (Hope.) + +[Illustration: REMAINS OF THE INFIRMARY.] + +"The #Library# is an interesting room of the fourteenth century, +retaining much of its original open roof. The north side has eleven +windows, each of two square-headed lights and perfectly plain, which +lighted the bays or studies. The large end windows are Late +Perpendicular, each of seven lights with a transom. There are other +alterations, such as the beautiful wooden corbels from which the roof +springs, which are probably contemporary with the work of the cloister, +when the western stair to the library was built and the room altered. +None of the old fittings now remain, but there can be no doubt that this +was the library." (Hope.) + +[Illustration: MEDIÆVAL HOUSE. From a Drawing by E. J. Burrow.] + +The library of the monastery, judging by the list given by Leland, must +have been of considerable value and of no little interest. A list of the +books it contained is given in "Records of Gloucester Cathedral," vol. +i. pp. 145-6. + +The books were at the time of the dissolution of the monastery +confiscated to the Crown, and the cathedral was apparently without a +library till the time of Bishop Godfrey Godman, who was consecrated in +1624. Writing to his clergy in 1629, he says: "I am to lett yow +understand that I have lately erected a Librarie in Glouc'r. for the use +of all our brethren throughout my Dioces, as likewise for the use of +Gent. and Strangers, such as are students. I conceave it will not onely +be most usefull, but likewise a great ornament to Citie and Dioces." He +goes on to ask the clergy to give either "a booke or y'e price of a +booke," and tells them not to "inquire what bookes we have or what are +wanting, ffor if we have double we can exchange them." Thoroughly +business-like and considerate, the bishop also says: "If any man's weake +estate and povertie be such that he can neither give booke, nor price of +booke, yet in manners and courtisie (seeing his diocesan require it), I +doe expect that he should excuse himselfe, and I will take the least +excuse, without any further inquirie, as lovingly as if he had given the +greatest gift." He was tender-hearted to his curates, for he says, +"Neither doe I write this to Curates or Lecturers, unlesse themselves +please to bestow; only I do expect from them that they acquaint the +parsons and vicars, and returne their answers unto mee." + +This, then, was the beginning of the Cathedral library. Later, in 1648, +after troublous times in Gloucester, when even the cathedral itself was +in danger, Thomas Pury, jun., Esq., with the help of Mr Sheppard, +Captain Hemming, and others, made this library at considerable expense, +and, as Sir Robert Atkyns quaintly observed, "encouraged literature to +assist reason, in the midst of times deluded with imaginary +inspiration." + +In 1658, after the "late Cathedrall Church of Gloucester had been +settled upon the Maior and Burgesses for publique and religious uses, +the Common Council vested and settled the library on the Maior and +Burgesses, and their successors _for ever_." The Restoration, however, +in 1660, made still another change, and the library then became the +property of the Dean and Chapter. + +Sir Matthew Hale was a liberal benefactor to the library. + +Owing to the damp in the Chapter-House, which for many years had to +serve as the library, the books, in 1743, were removed into the south +ambulatory of the choir. This was done by order of the Dean and +Chapter, but the Chapter-House was apparently in use as a library in +1796, when Bonnor was making the drawings for his "Perspective +Itinerary." In 1827 new and lower cases for the books were fitted, and +the Chapter-House was used up to 1857 as the Cathedral library. Since +that time the old monastic library has been restored to its original +use. + +The #Chapter-House# is entered from the east alley of the cloister +through a Norman archway of very good work, enriched with zig-zag +ornament. + +Originally consisting of three bays of Norman work, it probably, like +the chapter-houses at Norwich, Reading, and Durham, terminated in a +semi-circular apse. The present east end is of Late Perpendicular work, +and makes a fourth bay. Judging from the method in which the new work +was joined on to the old in the fifteenth century, it would seem as if +the builders intended to remodel the whole building. The vaulting of the +later part is well groined, and the window is good. The roof of the +three Norman bays is a lofty barrel vault supported by three +slightly-pointed arches springing from the capitals of the columns, +which are curiously set back, and separate the bays. + +Norman arcading of twelve arches--_i.e._ four to each bay, runs along +the three westernmost bays on the north and south walls, and in the +arcading are inscriptions restored from the description given by Leland. +Below the arcading "may be traced the line of the stone bench on which +the monks sat in chapter." (Hope.) The floor has been considerably +lowered in modern times. The tiling is modern, having been copied by +Minton from the old work, both as to subject and arrangement. + +"The west end is arranged in the usual Benedictine fashion, with a +central door, flanked originally by two large unglazed window openings, +with three large windows above.... Only one of the windows flanking the +doorway can now be seen, the other having been partly destroyed and +covered by Perpendicular panelling when the new library stair was built +in the south-west corner of the room." (Hope.) + +"At the south-west corner of the chapter-house is a large winding stone +staircase, with a stone handrail worked in the newel, and also in the +side wall." (F. S. W.) + +The lower part of this west wall shows distinct traces of fire, which +the upper part does not. This seems to confirm the idea that when the +fire of 1102 broke out and destroyed so much, it burned down the +cloister and the temporary roof of the chapter-house, both of which were +probably of wood. + +[Illustration: CHAPTER-HOUSE. + + Plan of the Chapter-House, as shown--A.D. 1727--in Willis' + "Survey of Cathedrals." A good general idea of the + fittings formerly in the Chapter-House may be seen in + Bonnor's work, published in 1709, but on his plan they + occupy the two bays eastward, instead of west, as here + delineated. They appear to have been excellent Renaissance + work.] + +Walter de Lacy was (Hart. i. 73) buried in the chapter-house with great +pomp in 1085, and the room must have been ready or nearly ready for use +in that year. As Fosbroke naïvely says of the distinguished dead who are +buried here, "They could not have been buried in this room before it +existed." + +In Leland's time the names were painted on the walls near their +gravestones in Black Letter. As he says, "These inscriptions be written +on the walles of the chapter-house in the cloyster of Gloucester: _Hic +jacet Rogerus, Comes de Hereford; Ricds Strongbowe, filius Gilberti, +Comitis de Pembroke; Gualterus de Lacy; Philipus de Foye Miles; +Bernardus de Novo Mercatu; Paganus de Cadurcis; Adam de Cadurcis; +Robertus Curtus."_ + +Of the names given by Leland it may be noted that Roger, Earl of +Hereford, Bernard de Newmarch ("Novo Mercatu"), and Walter de Lacy, were +all contemporaries of the Conqueror, and "much about his person." They, +therefore, when money was being collected for the abbey buildings, +subscribed, adding some reservation as to the places in which they +wished to be interred. + +[Illustration: General sketch plan, shewing boundary walk of Abbey + Grounds as newly as they can be ascertained, and remains + of old Monastic buildings. + + 1 | Gateway to St. Mary's Square + 2 | " King Edward's + 3 | " in College Court + 4 | " to Miller's Green + + A Remains of Infirmary + B Little Cloisters + C Site of Refectory + D ' + E Site of Abbot's Lodge + F Boundary Walls + G Cemetery + + THE DEANERY IS FULL OF INTERESTING REMAINS OF THE 11TH, + 12TH, 13TH, 14TH, AND 15TH CENTURIES, AND AT THE HOUSES + MARKED H MUCH OLD WORK MAY BE SEEN.] + +In spite of the wires stretched across the building, there is a +remarkable echo. + +The #Cloisters# are entered from the church by a door near the organ +screen in the north aisle of the nave. They were begun by Abbot Horton +(1351-1377), who built as far as the door of the chapter-house, and +finished by Abbot Froucester, 1381-1412. It will be noticed how the +mouldings, the tracery of the windows, and the character of the work +generally differ. It is perhaps no exaggeration to say that "the +cloisters are some of the finest and most perfect in the kingdom. They +form a quadrangle, and are divided into ten compartments in each walk. +The vaulting is of the kind known as fan-tracery, and is considered to +have originated in Gloucester. It is found also at Peterborough, at Ely, +and in the chapel of King's College, Cambridge, the latter being one of +the last examples of the method. + +"The outer walls are substantially of Norman date, but now overlaid and +refaced by Perpendicular panelling." (Hope.) + +Though the cloisters are quadrangular, the length (147 feet) of each of +the four walks is not quite the same, but the width is 12½ feet and the +height 18½ feet. + +#East Alley.#--On the right-hand side in this walk will be noticed a new +door. This was inserted in 1874 in the wall in the same position as the +former door into the monks' _locutorium_ or parlour. The original wide +opening of the doorway may be seen under the moulding of the panelling +on the wall. + +The passage to which the glazed door gives access "is chiefly of early +Norman date, and was originally of the same length as the width of the +transept against which it is built. It was entered from the cloister by +a wide arch, and has a wall arcade on each side of fifteen arches on the +north, but only eleven on the south, the space between the transept +pilaster-buttresses admitting no more than that number. The roof is a +perfectly plain barrel vault without ribs. In the south-west corner is a +hollowed bracket, or cresset stone as it was called, in which a wick +floating in tallow was kept to light the passage." + +"It having become necessary in the fourteenth century to enlarge the +vestry and library over the passage, its east end was taken down and the +passage extended to double its former length. At the same time a vice, +or circular stair, was built at the N.E. angle to give access to the +library. To prevent, however, the new stair from encroaching too much on +the apse of the chapter-house, the addition to the passage was deflected +a little to the south instead of being carried on in a straight line. +The vault of the added part is a simple barrel like the Early Norman +work. The use of this passage was twofold. First, it was the place where +talking was allowed at such times as it was forbidden in the cloister. +Hence its name of _locutorium_, or, in English, the parlour. Secondly, +it was the way for the monks to go to their cemetery. When the present +cloister was built the original use of the parlour seems to have passed +away, and in the new works the arch of entrance was blocked up and +covered by the new panelling. Since this also cut off all access from +the cloister to the library stair, a new stair was built at the west end +directly accessible from the cloister. For want of room this had to be +intruded into the south-west corner of the chapter-house." (Hope.) + +Above the passage are two floors, one being the vestry, entered from the +north-east chapel of the choir, and the upper one, the library, now +restored to its original monastic use after many vicissitudes. + +This east alley "was used as a passage between the church and the +farmery, and the later Abbot's lodging; out of it also opened the +parlour, chapter-house, and dorter door." (Hope.) + +"In the third bay from the church the southern half is pierced with a +door below the transom. On the cloister side of the southern half of the +second bay, and of the northern half of the fourth bay, there was, in +each case, built out a little cupboard or closet, now destroyed. These +may have been used for keeping books in. This alley has no bench against +the walls." (Hope.) + +Opposite the fifth bay in this alley is the doorway, containing some +good Norman work, slightly restored, leading into the chapter-house. + +"The construction of the outer walls of the east walk 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, at that +time not glazed." (F. S. W.) + +The first window in this east alley or walk, beginning at the south +corner, nearest to the door into the north aisle, is one of four lights, +by Hardman, to the memory of Rev. H. Burrup, a missionary, who died in +Africa in 1862. + +The second window (also by Hardman) is a memorial to Rev. John Plumptre, +who was Dean from 1808-1825. + +The third window (also by Hardman) is a memorial to Archdeacon Timbrill. + +The fourth window (by Hardman) is a memorial to the Hon. and Very Rev. +Edward Rice, who was Dean from 1824 to 1862. + +The fifth window (also by Hardman) is a memorial to the Rev. T. Evans, +D.D., a former Headmaster of the Cathedral Grammar School; died 1854. + +The sixth window (by Hardman) is in memory of Miss Mary Davies. + +The seventh window is a memorial (by Hardman) to Rev. B. S. Claxson, +D.D. + +The eighth window is a memorial to Rev. John Luxmoore, D.D., who, after +being Dean of Gloucester from 1800-1808, was Bishop of Bristol, later of +Hereford, and finally of St. Asaph, where he died in 1830. + +The ninth window is a memorial to the Ven. Henry Wetherell, B.D., a late +Prebendary of Gloucester, who died in 1857. + +The tenth and last window in this alley is by Clayton & Bell, and is in +memory of Rev. E. Bankes, D.C.L., late Canon of the Cathedral, who died +in 1867. + + "At the north end of the east alley of the cloister, and almost + concealed by the later panelling, is an Early English doorway + opening into a vaulted passage or entry, chiefly of the thirteenth + century. This entry passes between the east gable of the frater and + what I have suggested may have been the common house-garden, and + leads straight into the infirmary cloister. The passage is covered + by a stone vault of four bays, supported by heavy moulded ribs + springing from corbels. The south half of the passage is 6 feet 10 + inches wide, but the northern half of the east wall is set back so + as to increase the width to 7½ feet. This passage was lighted in + the first bay by a single light with trefoiled head, with very wide + internal splay. In the wider end were two other openings now + blocked. That to the north had a transom two-thirds of the height + up, above which the rear-arch is moulded, while below it is plain. + The other is not carried above the transom level, and the sill has + been cut down and the opening made into a doorway into a house + outside; in which state it remained until within the last forty + years. That some thirteenth-century building stood here seems + evident, and the upper half of the north opening was clearly a + window above the roof to light that end of the entry. + + "The north end of the entry opens directly into the east alley of + the infirmary or "farmery" cloister, which is built against the + north side of the east end of the frater." (Hope.) + +[Illustration: CLOISTER GARTH FROM THE NORTH-WEST CORNER, SHOWING THE + OLD DRAIN.] + +#North Alley# (east to west).--This "north alley" was closed at both +ends by screens, and must therefore have had some special use. From +analogy with the arrangements at Durham there can be little doubt that +this alley was partly appropriated to the novices.... We have curious +evidence that the north alley at Gloucester was so appropriated, in the +traces of the games they played at in their idle moods. On the stone +bench against the wall are scratched a number of diagrams of the forms +here represented: + +[Illustration: 3 Game Diagrams] + +The first is for playing the game called "Nine men's morris," from each +player having nine pieces or men. The other two are for playing +varieties of the game of "Fox and Geese." + +"Traces of such games may generally be found on the bench tables of +cloisters where they have not been _restored_, and excellent examples +remain at Canterbury, Westminster, Salisbury, and elsewhere. At +Gloucester they are almost exclusively confined to the novices' alley, +the only others now to be seen in the cloister being an unfinished 'Nine +men's morris' board in the south alley, and one or two crossed squares +in the west alley." (Hope.) + +In the north alley wall some of the lower halves of the five easternmost +windows have been re-opened, and the bricks with which they were blocked +removed. + +The next bay contains traces of a doorway into the cloister-garth that +has been blocked. + +[Illustration: THE MONKS' LAVATORY.] + +The #Monks' Lavatory# takes up the next four bays. As Mr Hope says, "it +is one of the most perfect of its date that have been preserved. It +projects 8 feet into the garth, and is entered from the cloister alley +by eight tall arches with glazed traceried openings above. Internally it +is 47 feet long and 6½ feet wide, and is lighted by eight two-light +windows towards the garth and by a similar window at each end. One +light of the east window has a small square opening below, perhaps for +the admission of the supply pipes, for which there seems to be no other +entrance either in the fan vault or the side walls. Half the width of +the lavatory is taken up by a broad, flat ledge or platform against the +wall, on which stood a lead cistern or laver, with a row of taps, and in +front a hollow trough, originally lined with lead, at which the monks +washed their hands and faces. From this the waste water ran away into a +recently discovered (1889) tank in the garth." (Hope.) + +A plan of this tank is here shown by permission of Mr Waller. It seems +to have had a sluice at the west end in order to dam up the water if +required in greater volume for flushing the drain. + +Opposite the lavatory is a groined almery or recess in which the monks +kept their towels. The hooks and indications of doors to this recess are +still there. There are traces, too, of screens or partitions in the +lavatory arches. + +To the west of the lavatory is a "curious arrangement. It consists of a +large opening in the lower part of the window, occupying the space of +two lights, with a separate chase in the head carried up vertically on +the outside. It had a transom at half its height, now broken away, as is +also the sill." (Hope.) + +It is possible, as suggested by Mr J. W. Clark, F.S.A., that this chase +was lined with wood, and was the means by which a bell rope passed out +to ring the bell which summoned the monks to meals. + +The #North Alley.#--The windows in this alley as far as the Monks' +Lavatory have been filled recently, 1896-97, at the expense of Baron de +Ferrières of Cheltenham. + +There are twenty-seven lights in all, and they constitute the lower part +of five windows, a doorway taking the space of three lights. The +_eighth_ contains a mitre and a crozier, an initial E and the date 1022. +This window is an anachronism, as Edric was not a mitred abbot. Abbot +Froucester was the first to wear a mitre, in 1381. + +Over the lavatory are four windows, also given by Baron de Ferrières. +Like the windows in the lavatory, they contain subjects which are in +some way connected with water. + +The small two-light windows (ten in number) in the Monks' Lavatory have +been glazed by Hardman, at the expense of Mr B. Bonnor. + +A brass on the wall near the lavatory records that the masonry of the +north walk was restored by the Freemasons of the province of Gloucester +in 1896. + +The #West Alley.#--The north window of three lights has been filled with +glass (by Ballantyne) to the memory of members of a Gloucester family +named Wilton. + +The window was formerly an Early English doorway, which can still be +traced. "It retains the upper pair of the iron hooks on which the doors +were hung, and was the entrance into the great dining-hall of the monks, +called the refectorium, or, in English, the frater." (Hope.) The effect +of the window is beyond words. + +[Illustration: OLD WATER TANK IN THE CLOISTER GARTH.] + +The #Slype#, or covered passage, which is entered from the south-west +corner of the cloisters, is a vaulted passage of Norman work, and is +under part of the old Abbot's lodging--_i.e._ the present Deanery. + +This passage, which is on a lower level than the cloister, was "the main +entrance into the cloister from the outer court. This entrance was +always kept carefully guarded to prevent intrusion by strangers or +unauthorized persons." (Hope.) + +The passage served as the outer parlour, in which the monks held +conversation with strangers and visitors. + +The #South Alley.#--This alley has ten windows each of six lights, but +below the transoms the lights are replaced by twenty carrels or +recesses, two to each window. This was the place to which the monks +resorted daily for study (after they had dined) until evensong. The +first window--_i.e._ the westernmost window nearest to the slype--is a +memorial to J. Francillon, Esq., a judge of the county court, who died +in 1866. The glass is by Hardman. + +The first two carrel windows were filled with glass of a simple and +inoffensive nature, by T. Fulljames, Esq., and the rest were filled by +T. Holt, Esq., to the memory of members of his family, their initials +being inserted in the lower corners. + +The last window in this south alley is a memorial to R. B. Cooper, Esq., +as the brass tablet sets forth. The glass, which is by Hardman, +represents the conversion and the execution of St. Paul. + +Some of the windows in the cloister are glazed with a peculiarly +charming white glass, which admits plenty of light, but is not +transparent. The effect is most restful to the eyes after examining some +of the bizarre creations in the other windows. + +When the cloister windows are entirely filled with glass they will +contain a history of the Life of our Lord. + +Britton, in 1828, bemoaned the conversion of the garth into a kitchen +garden, and showed how the accumulation of vegetable refuse was injuring +the stone-work. There are still residents in Gloucester who can remember +Dean Law digging up his own potatoes in the garth. This is now the +private garden of the Dean, and is very simply, and therefore +charmingly, laid out. It contains the old well of the Abbey. + +[Illustration: THE CLOISTER, SHOWING THE CARRELS OF THE MONKS. + _Photochrom Co. Ltd., Photo._] + +The present #Deanery# was originally the Abbot's lodging, in which royal +persons, high ecclesiastics, and nobles were entertained. When, however, +in the fourteenth century, a new Abbot's lodging was built on the site +where the episcopal palace now stands, the Abbot's old lodging was +assigned to the Prior. The Deanery (which, however, is not shown to +visitors), as it now stands, "consists of two main blocks, built on two +sides of a court--the one to the south, in the angle formed by the +cloister and the church; the other to the west, with the court between +it and the cloister." The southern block, which contained the private +apartments of the Abbot, consists of three large Norman chambers, one +above the other, with their original windows enriched within and without +with zig-zag mouldings. Each chamber has also in the north-east corner +an inserted or altered doorway into a garde-robe tower (shown in +Carter's plan, 1807), but now destroyed; and the two lowest chambers +have their southern corners crossed by stone arches, moulded or covered +with zig-zag ornaments. All these chambers are subdivided by partitions +into smaller rooms. Mr. Hope says: + + "The ground storey is entered from a vaulted lobby or antechamber, + now modernized and converted into a porch. The first floor has a + similar antechamber, as had originally also the second floor, but + this has been altered. These antechambers are all of early + thirteenth-century date, with a good deal of excellent work + remaining about the windows. + + "Between the church and the rooms just described is a building of + two storeys. The ground storey consists of a vaulted passage, + already described as the outer parlour. It is on a lower level than + the cloister, which is reached from it by a flight of steps. Over + it is a lofty room, also vaulted, which was the abbot's chapel. It + is now entered by an awkward skew passage from the first-floor + antechamber. + + "Both the chapel and outer parlour were once 9 feet longer, but + were shortened, and their west ends rebuilt with the old masonry, + at the same time that, I have reason to believe, the west front of + the church was rebuilt and also curtailed of a bay in the fifteenth + century. The first floor of all this part of the house contained + the abbot's private apartments, namely, his dining-room, bedroom, + solar, and chapel. The second floor was devoted to his own special + guests, while the ground storey contained a reception-room, and + probably accommodation for one or two servants. + + "At the north-west corner of this southern block is a + semi-octagonal turret. Until this was altered a few years ago it + contained the front entrance into the deanery, and within it a + flight of stairs led to a series of landings communicating with the + antechambers on the first and second floors, as well as the rooms + on the north. Both the turret and the landings replace a much + earlier entrance tower, nearly square in form, and of the same date + as the antechambers. Many traces of this remain, and show that it + was a handsome and important structure. + + "The western block of buildings, which is connected with the + southern block by the turret and landings, has been so altered in + the fifteenth century, and further modernized and enlarged of late + years, that it is very difficult to make out the original + arrangement. The southern half is two storeys high, with a large + hall on the upper floor and the servants' department below. The + hall is now divided into two rooms, lined with good Jacobean + panelling, and its fifteenth-century roof underdrawn by plaster + ceilings. + + "At the north end of the hall is another two-storey building. The + lower floor is of stone, and now contains various domestic offices. + But originally it formed part of a building of considerable + architectural importance, as may be seen from the jamb of an + elaborate Early English window at the north-west corner. From its + position, this Early English building, which seems to have extended + westward as far as the inner gate, was most likely the abbot's + hall, and here doubtless took place the famous historical dialogue + between Edward II. and Abbot Thoky.[1] Some time before the end of + the fifteenth century this hall was cut down, and an upper storey + of wood built upon it, of which the east end still remains. At one + time it evidently extended further west. Internally it has been + gutted, and now contains nothing of interest to show its use." + +"The court of the Abbot's house was probably enclosed by covered alleys +on the north and west sides to enable the Abbot to pass into the +cloister under cover. In the recent alterations to the Deanery, a block +of additional rooms has been built on the west side of the court against +the hall." (Hope.) + +There is a timber-framed room on the north-west where Richard II. is +reputed to have held his parliament. It had a narrow escape some years +ago of being destroyed by a fire caused by an overheated flue. + +The new lodging for the Abbot (1316-1329, _temp_. Wygmore) was built +near the infirmary garden, on the site now occupied by the Bishop's +Palace. Drawings of the plans of the old buildings (made in 1856) are in +the custody of the Bishop, and reduced reproductions of them are to be +found in the "Records of Gloucester Cathedral," 1897, in the article by +Mr Hope. Part of the buildings remain on the south side of Pitt Street, +and serve to screen the palace from the road. + +The #Bishop's Palace# is a modern building, erected in 1857-1862 by +Christian on the site of the abbot's lodging. + +The so-called #Grove#, laid out by a distinguished head-master of the +King's School, Maurice Wheeler, 1684-1712, on the north side of the +church, was used as a school playground till 1855, presumably to the +detriment of the windows in the Lady Chapel. It was in that year thrown +into the gardens surrounding the east end of the cathedral. These +gardens had been originally the monks' cemetery, and adjoining them had +been the lay-folks' cemetery, extending along the greater part of the +south side. + +When all the accumulation of soil was removed, and the ground lowered, +the foundations of the old walls were discovered. + +The #Cathedral#, or #King's School#, is of Henry VIII. foundation. For +many years it was held in the old monastic library. A drawing of it is +given in Bonnor's "Perspective Itinerary," 1796. The present buildings +date back to 1850. + +[Illustration: SOUTH AISLE OF NAVE. + _Photochrom Co. Ltd., Photo._ ] + + +FOOTNOTES: + + [1] See Hart, i. 44. + + + + +CHAPTER V + +ABBOTS AND BISHOPS OF GLOUCESTER + + +Passing over the régimes of the Abbesses[1] and the secular canons, we +find that the first Abbot of the Benedictine rule at Gloucester was +#Edric# (1022-1028), who in his long rule maintained a very low standard +of discipline. His monks seem to have been as much addicted to "ill +lyvynge" as the secular canons. He was succeeded by #Wulstan# +(1058-1072), a monk of Worcester appointed by Bishop Aldred. In his time +Aldred rebuilt the monastery on new foundations. Wulstan died abroad on +a pilgrimage to the Holy Land in 1072. + +#Serlo# (1072-1103), the next Abbot, had been the Conqueror's chaplain, +and was a man of great strength of character, and of quite a different +stamp. He was buried in the abbey church, which he had raised "from +meanness and insignificance to a glorious pitch." + +#Peter#, who had been Prior, was Abbot from 1104-1113. + +#William Godemon#, #Godeman#, or #Godemore#, was Abbot from 1113-1130, +when he retired. + +#Walter de Lacy# was appointed by Godeman and was consecrated in 1131. +In his time, Robert, Duke of Normandy, surnamed Curthose, died at +Cardiff after twenty-five years' imprisonment, and was buried in the +choir. Walter de Lacy died in 1139, and was succeeded by + +#Gilbert Foliot# (1139-1148), a Cluniac monk, who, owing his position to +his relative Milo, Earl of Hereford, was consecrated in 1139. He was +made Bishop of Hereford in 1148, and was translated thence to London. +Though he owed much to Becket, his patron and tutor, he is said to have +taken the king's side in the quarrels with Becket, and to have been +instrumental in the latter's assassination. + +#Hameline# or #Hammeline# (1148-1179). + +#Thomas Carbonel# (1179-1205). + +#Henry Blond# (or #Blunt#) (1205-1224). Henry III. was crowned in the +Abbey in 1216. + +#Thomas de Bredon# (or #Bredone#) (1224-1228). + +#Henry Foliot# (or #Foleth#) was Abbot from 1228-1243. + +#Walter de St. John# died before his installation. + +#John de Felda# (1243-1263). + +#Reginald de Hamme# (or #Homme#) (1263-1283). + +#John de Gamages# (1284-1306). + +#John Thokey# (or #Toky#) (1306-1329). + +#John Wygmore# (or #Wygemore#) (1329-1337). + +#Adam de Staunton# (1337-1351). + +#Thomas Horton# (1357-1377). + +#John Boyfield# (1377-1381). + +#Walter Froucester# (1381-1412). + +The succession of Abbots, and the dates of various works executed since +Serlo's time, are taken entirely from the particulars in the Chronicles +"attributed" to Abbot Froucester (1381-1412), who wrote of the Abbey and +of twenty Abbots after the Conquest. These Chronicles are the sole +foundation up to that date on which all the histories have been made. +There are three copies of them, one in the British Museum, one in +Queen's College, Oxford, and one in the Chapter Library, which latter +was lost for many years, and ultimately heard of again in 1878 as being +in the possession of a book-seller at Berlin, from whom it was rescued +on a payment of £150 by the Dean and Chapter. + +#Hugh Moreton# (1412-1420). + +#John Morwent# (or #Marewent#) (1421-1437). + +#Reginald Boulers# (#Boulars# or #Butler#) (#Boteler#) (1437-1450). He +became Bishop of Hereford and was translated to Lichfield in 1453. + +#Thomas Seabroke# (1450-1457). + +#Richard Hanley# (1457-1472). He began to build the Lady Chapel, which +was finished by + +#William Farley# (1472-1498). + +#John Malvern# or #Mulverne# was Abbot for one year (1498-1499), and was +succeeded by a monk named + +#Thomas Braunche# (1500-1510), who in turn was succeeded by + +#John Newton# or #Browne, D.D.# (1510-1514). + +#William Malverne# or #Parker# (1514-1539). + +Parker wrote a Rhythmical History of St. Peter's Abbey, which was +reprinted in the appendix of Hearne's "Robert of Gloucester's +Chronicle." It was compiled from local records extending up to the time +of Abbot Horton. + +He subscribed in 1534 to the King's supremacy, and remained Abbot till +the dissolution of the greater monasteries. Different traditions are +current as to his behaviour. Willis (in "Mitred Abbeys") describes him +as losing his pension and the chance of preferment on the score of +contumacy. Another tradition asserts that the king promised him the +bishopric, but that he died before the appointment was made. The place +of his burial is not known, and it is hoped that his tomb will escape +desecration for the sake of gratifying mere idle curiosity. + + +BISHOPS OF GLOUCESTER. + +#John Wakeman# (1541-1549) was the last abbot of Tewkesbury, and +chaplain to Henry VIII. + +#John Hooper# (1550-1554) was originally a monk at Cleeve; afterwards +became a Lutheran. He could not comply with the statute of the Six +Articles, and left Oxford in 1539 and went abroad. In Edward VI.'s reign +he preached the reformed doctrine in London. He was instrumental in +procuring the deprivation of Bishop Bonner in 1549, and was extremely +hostile to Gardiner. He was consecrated Bishop of Gloucester and +Worcester by Archbishop Cranmer. He was summoned to London in 1553, and +imprisoned. In 1554 his bishopric was declared void. He refused to +recant, and was burnt as an obstinate heretic in Gloucester in 1555. + +#James Brookes# (1554-1558). Formerly chaplain or almoner to Bishop +Gardiner, and a very zealous Papist. He was delegated by the Pope for +the examination and trial of Cranmer, Ridley, and Latimer. + +#Richard Cheiney# or #Cheyney# (1561-1579). + +#John Bullingham# (1581-1598). + +#Godfrey Goldsborough# (1598-1604). + +#Thomas Ravis# (1604-1607), previous to his institution, had been Dean +of Christ Church, Oxford. He was one of the translators of the +Authorised Version. He was translated to London. + +#Henry Parry# (1607-1610) was translated from Rochester in 1607, and +from Gloucester went to Worcester. + +#Giles Thompson# (1611-1612). + +#Miles Smith# (1612-1624). He was one of the translators of the +Authorised Version, and is said to have written the preface. + +#Godfrey Goodman# (1624-1640). + +#William Nicholson# (1660-1671). + +#John Prickett# or #Prichard# (1672-1680). + +#Robert Frampton# (1680-1690) was Dean in 1673. He refused to take the +oath of allegiance and supremacy after the accession of William III., +and was deprived of his office. + +#Edward Fowler# (1691-1714). + +#Richard Willis# (1714-1721) was translated to Salisbury in 1721, and +thence to Winchester in 1725. + +#Joseph Wilcocks# (1721-1731). He was translated to Rochester, which see +he held, together with the Deanery of Westminster. + +#Elias Sydall# (1731-1733). Translated from St. David's. He was also +Dean of Canterbury. + +#Martin Benson# (1734-1752). + +#William Johnson# (1752-1759) was translated to Worcester in 1759. + +#William Warburton# (1759-1779). The well-known editor of Pope's works. + +#James Yorke# (1779-1781). When Dean of Lincoln was appointed Bishop of +St. David's, then translated to Gloucester in 1779, and in 1781 from +thence to Ely. + +#Samuel Hallifax# (1781-1789). In 1789 he was translated to St. Asaph's, +a curious reversal of the usual order of episcopal promotion. + +#Richard Beadon# (1789-1802) was Master of Jesus College, Cambridge, in +1781, but resigned on being made Bishop of Gloucester. Was translated to +Bath and Wells in 1802. + +#G. J. Huntingford# (1802-1815). He was translated to Hereford in 1815. + +#Henry Ryder# (1815-1824). Was Dean of Wells, previously Canon of +Windsor. He was made Bishop of Gloucester in 1815 and was translated to +Lichfield in 1824. + +#Christopher Bethell# (1824-1830). Formerly Dean of Chichester. Was +Bishop of Exeter for one year, 1830-1831, and was then translated to +Bangor. + +#James Henry Monk# (1830-1856). Dean of Peterborough in 1822. +Consecrated Bishop of Gloucester 1830, and from 1836, when the sees of +Gloucester and Bristol were united, was Bishop till his death in 1856. + +#Charles Baring# (1856-1861). Translated to Durham in 1861. + +[Illustration: MONUMENT TO MRS. MORLEY. + _H. C. Oakden, Photo._] + +#William Thomson# (1861-1862). Became Archbishop of York in 1862. + +#Charles John Ellicott# (1863-). One of the ablest of modern divines. He +was chairman for eleven years of the New Testament Revision Committee. +He has published commentaries on various epistles; also works on +"Scripture and its Interpretation," "Modern Scepticism"; also a +commentary for English Readers on the Old and also on the New Testament. + +The sees of Gloucester and Bristol were separated in 1897, and the +separation took effect as from January 1st, 1898. + + +THE CITY OF GLOUCESTER + +Gloucester has always been a town of importance, owing to its situation. +A Roman camp was formed here in A.D. 43, and later it was fortified with +a massive wall (of which the traces still survive), as befitted a +military post equal in importance to Cirencester, Winchester, +Chichester, and Colchester. Much of modern Gloucester rests on Roman +foundations. + +After the Romans left Britain in 410 A.D., the country suffered from the +struggles between its petty kings, and from the invading hosts of the +Angles, Jutes, and Saxons. In the end Gloucester, or Gleawan-ceastre, +became one of the chief cities of the Mercian kingdom. Alfred held a +Witan in the town in 896. Athelstan--the reputed founder of St. John's +church--died in it in 940. King Edgar resided there in 965. Hardicanute +and Edward the Confessor both held Witans here, but William the +Conqueror must always be the central figure in the long line of notable +men connected with Gloucester. It was in Gloucester that he spent his +Christmas vacations when he could, and it was in the Chapter-House that +he took "deep speech" with his wise men, and ordered the compilation of +Domesday Book. His son and successor was often at Gloucester, and as +Professor Freeman wrote, "in the reign of Rufus almost everything that +happened at all, somehow contrived to happen at Gloucester." His death +was prophesied by the Abbot of Shrewsbury in a sermon in the Abbey, and +warning was sent to the king, but it was of no effect. + +Henry I., Henry II., and John were frequently in the town, and the +youthful Henry III. was crowned in the Abbey in 1216. Later on he was +imprisoned in Gloucester by Sir Simon de Montfort. Edward I. held a +Parliament, which passed the celebrated Statutes of Gloucester. Edward +II., foully murdered in Berkeley Castle, was buried in the choir of the +Abbey. + +Richard II., in 1378, held his famous Parliament in the Abbey precincts. +In this Parliament the House of Commons secured for itself the right of +controlling the financial arrangements of the nation. + +Henry IV. and V. assembled their Parliaments in Gloucester, and from +Gloucester Richard III. is said to have issued the death-warrant of his +nephews. Henry VII. was well received as Earl of Richmond, when he +passed through the town on his way to Bosworth Field. Henry VIII., with +Anne Boleyn, is said to have spent a week in what is now the Deanery. +Later he visited the neighbourhood with Jane Seymour. Elizabeth visited +the town, and stayed in the old house next to St. Nicholas' Church. She +gave the city the privileges of a seaport, much to the annoyance of +Bristol. Gloucester supplied one ship to the navy at the time of the +Armada in 1588. In the disastrous Civil War the city played an important +part. It is said that the unpopularity of Laud, who had been Dean of +Gloucester, led the citizens to side with the Parliament. They held the +city under Colonel Massie, against enormous odds, through a long siege, +and the king, who had his headquarters at Matson House, was obliged, +owing to the approach of Essex with relief, to raise the siege. This was +a most serious blow to the failing cause of Charles I. + +During the Commonwealth the citizens seem to have lost their heads +somewhat, and to have turned against the officer who had saved their +city from destruction. Some, too, had made arrangements for demolishing +the Cathedral, but fortunately were frustrated in their plans. + +As a matter of policy the city congratulated Charles II. at the +Restoration in 1660, but without much result, as the walls and gates +were ordered to be destroyed. James II. visited Gloucester, and is said +to have touched over a hundred persons for the king's evil, a proceeding +to which he objected on the score of expense. + +The last two Georges visited the city, and Queen Victoria visited it +when Princess Victoria, and again later, after her marriage. + +The city, like Tewkesbury, is a curious admixture of the new and the +old. It has long emerged from the primitive state, and is now well +drained and well supplied with water; but the heavy penalty attaching to +transition has been paid, and many old houses and historic buildings, +like the Tolsey and others, have disappeared. + +The history of Gloucester, commercially, is a history of progress. In +Domesday Book, Gloucester is mentioned in connection with iron, the +founding of nails for the king's ships. As the ore was obtained locally, +this branch of trade flourished till the seventeenth century. +Bell-founding was practised as early as 1350 by John Sandre, and one of +his bells still hangs and rings in the cathedral tower. Cloth-making, +too, was practised, but, declining in the fifteenth century, was +superseded by pin-making, for which Gloucester was for many years +famous. Glass-making was carried on in the seventeenth century, and the +Rudhall family for several generations had a bell-foundry of wide +reputation. + +Elizabeth made the town a seaport, and it is one still. More than that, +it is the most inland port in Britain, owing to the Berkeley Ship Canal, +which enables ships to dispense with the awkwardness of a voyage up and +down the tortuous and dangerous Severn. It is to this canal that +Gloucester owes much of its present trade, as, by sea-going vessels, +corn and timber, its staple commodities, are brought in to the many +wharves in ever-increasing quantities. To the railways--the Great +Western and the Midland--the town also owes much of its prosperity, and +one great industry, that of railway waggon building, gives employment to +many pairs of hands. + +In Gloucester, or its neighbourhood, will be found the following +buildings of interest:-- + +#Llanthony Priory.#--This was formerly an Augustinian convent, with a +church attached, founded by Milo, Earl of Hereford, in 1136. It was +founded as an asylum for the convenience of the priory in Monmouthshire +of the same name, which was so liable to be harried and pillaged by the +Welsh. This priory was dissolved in 1539. The church was finally +destroyed to make way for the Ship Canal. Some remains exist in a farm, +of which the masonry is good. A gateway, in the Perpendicular style, +still survives. + +[Illustration: The Old Judges' House. Westgate St. Ed Burrow 1894] + +#St. Oswald's Priory.#--In 909 the Princess Elfleda caused the canonised +relics of King Oswald to be removed and richly entombed at Gloucester. +She also founded a college for secular priests, but later on it was +converted into a priory for regular canons. (Refounded 1153.) + +Attached to this priory was a chapel dedicated to St. Catherine, which, +after the dissolution of the priory, served for a parish church until +its destruction in the siege in 1643. On this site the present Church of +St. Catherine was built in 1867-69. + +The #Grey Friars# (or College of Friars minor, or Franciscans).--This +building formerly stood at the east end of the Church of St. Mary de +Crypt. + +The #White Friars# (or College of Carmelites).--This building, which was +situated without Lower Northgate Street, was founded by Queen Eleanor. + +In the time of Elizabeth the college was converted into a house of +correction. During the siege in 1643, it was used as a fortress. +Portions of it remain incorporated with private houses. + +The #Black Friars# (or College of Friars, Preachers).--This college was +established by Henry III. in 1237. + +Remains of the building are still to be seen on the south side of the +thoroughfare called Blackfriars. + +The college was dissolved in 1538. + +#St. Mary de Lode# (or St. Mary before the Abbey Gate) stands on the +site of a Roman temple. The tower and chancel are all that remain of the +original church, the rest being very disappointing, having been built in +1826. The low square tower formerly had a lofty spire, which was +destroyed by a storm. The interior of the church has been lately +restored. The pulpit is a very fine specimen of carving. In the chancel +is a tomb which used to be pointed out as that of Lucius, the first +British Christian King. + +#St. John the Baptist# (in Northgate Street).--The original church is +supposed to have been founded by King Athelstan. + +The present building was built in 1734, the tower being all that is left +of the old church. The communion plate was presented in 1659 by Sir +Thomas Rich. + +#St. Mary de Crypt# (in Southgate Street) is well worth inspection. It +has two crypts--hence its name. The church is Early English, Decorated +and Perpendicular, and was built by Robert Chichester, Bishop of Exeter, +1138-1155. It is cruciform in shape, and, though much restored, of great +interest. + +There are interesting brasses to Luke Garnon, John Cooke and his wife, +and a curious squint or hagioscope. In the choir vestry is a monument to +R. Raikes. On the north side is a marble monument to Dorothy Snell, by +Scheemaker. + +The communion plate is all early seventeenth century, and very good, +though it has suffered from careless handling. + +[Illustration: House of Robert Raikes.] + +Close by is the old building of the Crypt Grammar School. The school has +migrated to more open quarters. + +#St. Nicholas# is situated at the bottom of Westgate Street, and, owing +to alterations in the street, is much below the level of the road. The +floor of the church is nearly two feet higher than it was originally. +There is much good Norman work, and some good Early English with +Perpendicular insertions. + +On the south door is a fine (so-called) sanctuary knocker; the door is +quite unworthy of the knocker. Under the tower is some good late +Jacobean panelling. In the chancel are two squints, four each side, +arranged venetian-blind fashion. Several of the tombs are worth +inspecting--viz. the Window monument in the chancel, 1659, and one to +the wife of Rev. Helpe-Fox, 1657. There is a good tomb to Alderman John +Walton and his wife, 1626, which, though in good preservation, is +beginning to suffer from damp. There is also a brass, 1585, to Thos. +Sancky; and a slab to John Hanbury, who represented Gloucester in +Parliament in 1626. A fine view of the cathedral can be got from the top +of the tower. The spire was shortened after being damaged in a storm. +The chimes are worth hearing. + +#St. Michael's# is situated where the four main streets meet, and near +the church was formerly the Cross. The church was restored in 1885, and +the monuments and tablets are all grouped together. The most interesting +is a brass of 1519, to William Henshawe. + +The curfew is still rung from the tower every evening. + +#Remains of Old Gloucester.#--The New Inn was built in Abbot Seabroke's +time by John Twynning or Twining (one of the monks), to accommodate the +large number of pilgrims who came to the shrine of Edward II. + +Close by, at the corner of New Inn Lane, is a beautifully carved angle +post and bracket, which has been preserved for many years by being +plastered over (_vide_ p. 130). The houses on the right-hand side of the +lane are also old. + +The Gloucestershire Seed Warehouse, 154 Westgate Street, does not look +specially interesting, but up the passage, which was formerly "Maverdine +Lane," is a portion of the old front of the house. It is a fine specimen +of domestic architecture, with very good windows, and has a distinctly +Flemish look. There are some good rooms inside, with oak panelling and +carving. A chimney-piece bears the text, "I and my house will serve the +Lord," and it is dated 1633. The house is usually called the "Old +Judge's House," but it is more famous as the house from which Colonel +Massie issued his orders in 1643 when Gloucester was besieged by Charles +I. (_vide_ p. 125). + +[Illustration: THE NEW INN. + From a Drawing by E. J. Burrow] + +163 Westgate Street contains a fine panelled room (the greater part +dating back from 1530-1550), which was discovered in 1890 when +alterations were being made. It is shown on payment of a fee, which +includes a printed description of the house. Some of the carving--such +as the Royal Arms of England--seems earlier than 1520, but the arms may +have been copied from an earlier document. Near St. Nicholas' Church is +another interesting house, where Queen Elizabeth is said to have stayed +in one of her many progresses through the country. The side of the house +abuts curiously on the church of St. Nicholas. Inside there is a quaint +overmantel, with Elizabethan carving, and E.R. in the centre panel. + +[Illustration: CARVING AT NEW INN LANE ED J BURROW 1897] + +In Southgate Street, opposite the Corn Exchange, is a well-known house +with a carved front. There is an elaborate over-mantel dated 1650. It +bears the arms of the Yates, the Berkeley, and the Box families. +Opposite St. Nicholas' Church is the Bishop Hooper Pharmacy. It is said +to be the house where the Bishop was kept closely guarded on the night +before his execution. + +[Illustration: Remains of the Roman Wall Under 36 Westgate Sr. + Ed J. Burrow dil/94.] + +The house of Robert Raikes, of Sunday School fame, is a fine house of +three gables, and is well preserved. + +The house where Raikes held his first Sunday School can still be seen in +St. Catherine Street, Hare Lane. + +The old Roman wall can be seen in several places--_e.g._ at 36 Westgate +Street, at Messrs Lea & Co.'s furniture warehouse in Northgate Street, +at Mr John Bellows' in Eastgate Street. + +The #Gloucester Candlestick.#--One of the most interesting relics of the +Abbey of Gloucester is a candlestick which is now in the museum at South +Kensington. It is a remarkably fine piece of metal work, about 16 inches +in height, cast by the _cera perduta_ process in very pale bronze, +richly gilt and decorated. The upright stem is divided into two +compartments by bosses, ornamented with the emblems of the Evangelists, +and supporting a cup at the top. A triangular base supports the stem, +and the whole is enriched with forty-two monsters in various grotesque +attitudes, wrestling and struggling with nine human beings. + +Round the stem is a ribbon bearing the inscription-- + + ABBATIS PETRI GREGIS ET DEVOTIO MITIS ME DEDIT + ECCLESIE SANCTI PETRI GLOUCESTRE. + +Round the cup is a ribbon, on the outside of which a couplet is +inscribed-- + + LUCIS ONUS VIRTUTIS OPUS DOCTRINA REFULGENS + PREDICAT UT VICIO NON TENEBRETUR HOMO. + +Inside this same ribbon are two hexameters-- + + HOC CENOMANNENSIS RES ECCLESIE POCIENSIS + THOMAS DITAVIT CUM SOL ANNUM RENOVAVIT. + +After its removal from Gloucester, the candlestick was given to the +Cathedral of Le Mans by Thomas de Poché or de Pocé (POCIENSIS). +Subsequently it belonged to the Marquis d'Espaulart of Le Mans, and was +sold to Prince Soltykoff for about £800, and finally was bought from his +collection for £680 for the Museum at South Kensington. + +#Bishop Hooper's Memorial# stands in the churchyard of St. Mary de Lode, +and is on the actual site of the burning. This is perhaps the chief or +the only interest in the memorial, as its architectural merit is almost +_nil_. The inscriptions to prevent defacement are glazed over, and as +the glass is broken the effect is wretched. A previous monument to the +Bishop was erected at the other end of the churchyard. + +An interesting relic of the execution of the Bishop is in possession of +the rector of St. Mary's Church--viz. the sergeant's mace, which was the +authority of the soldiers who conducted the Bishop down to Gloucester. +This mace, which is the only surviving example of a London sergeant's +mace, was found in a house in Westgate Street, belonging to a Mr Ingram. +It is to be hoped that some day the mace may be deposited in some public +national museum. + + +NOTES, ARCHITECTURAL AND CHRONOLOGICAL + + Style. Abbot at the Time. Date. + South Porch, West |} | | + End of Nave, and |}P. |Morwent. | 1421-1437. + Aisles. |} | | + | | | + |{Pilasters N.,} | | + South Aisle of Nave. |{Windows and } |Serlo. | 1089-1100. + |{Groining D. } |Thokey. | 1307-1329. + | | | + |{Piers, Arches }| | + Nave. |{Triforium, }|Serlo. | 1089-1100. + |{Groining E.E.,}|Foliot. | 1242. + |{Windows P. }|Morwent. | 1421-1437. + | | | + |{Walls and }| | + North Aisle of Nave. |{Groining N., }|Serlo. | 1089-1100. + |{Windows P. }|Morwent. | 1421-1437. + | | | + South Transept. | Tr. (D. to P.) |Wygmore. | c. 1330. + | | | + Choir and |{P. cased on N.}|Staunton and | 1337-1377. + Presbytery. |{Walls. }|Horton. | + | | | + |{Walls and }| | + Ambulatory and |{Groining N., }|Thokey, Wygmore, | 1307-1377. + Chapels. |{Windows D. and}|Staunton, and | + |{P. inserted in}|Horton. | + |{N. Openings. }| | + | | | + Lady Chapel. | P. |Hanley and Fawley.| 1457-1499. + | | | + North Transept. | P. on N. Walls.|Horton. | 1368-1373. + | | | + Reliquary. | E.E. |Foliot. (?) | c. 1240. + | | | + Cloisters, S.E. part.| D. to P. |Horton. | 1351-1377. + " rest. | P. |{Boyfield and | 1381-1412. + | |{Froucester. | + Abbot's Cloister. } | | | + Chapter-House } | N. |Serlo. | 1089-1100. + West-End. } | | | + | | | + Chapter-House } | N. and P. |Hanley. | c. 1460. + East-End. } | | | + | | | + Tower. | P. |Seabroke. | 1450-1457. + +These Notes are adapted from Mr F. S. Waller's "Notes and Sketches." + +N. Norman. E.E. Early English. Tr. Transitional. D. Decorated. P. +Perpendicular. + + +FOOTNOTES: + + [1] They have been given on pp. 3 and 4. + + +[Illustration: Diagram] + +[Illustration: PLAN OF GLOUCESTER CATHEDRAL] + + * * * * * + + +Transcriber's Notes: + +1. Words and phrases which were italicized in the original have been + surrounded by underscores ('_') in this version. Words or phrases + which were bolded have been surrounded by pound signs ('#'). + +2. Obvious printer's errors have been corrected without note. + +3. Inconsistencies in hyphenation or the spelling of proper names, and + dialect or obsolete word spelling, have been maintained as in the + original. + + + + + +End of the Project Gutenberg EBook of Bell's Cathedrals: The Cathedral +Church of Gloucester [2nd ed.], by H. J. L. J. Massé + +*** END OF THIS PROJECT GUTENBERG EBOOK BELL'S CATHEDRALS: GLOUCESTER *** + +***** This file should be named 25682-8.txt or 25682-8.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/2/5/6/8/25682/ + +Produced by Jonathan Ingram, David Cortesi and the Online +Distributed Proofreading Team at https://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +https://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, is critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at https://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +https://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at https://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit https://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including including checks, online payments and credit card +donations. To donate, please visit: https://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart was the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + https://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. |