Read Ebook: The Three Choirs: A Handbook to the Cathedrals of Gloucester Hereford and Worcester A Complete Description of the Buildings a History of Each Diocese and Biographical Notices of the Bishops by King R J Richard John

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CONFESSIONAL IN THE SOUTH TRANSEPT " 23

THE RELIQUARY " 24

THE CHOIR " 27

MISERERES IN THE CHOIR " 29

TOMB OF ROBERT, DUKE OF NORMANDY " 37

PLANS OF TRIFORIUM AND CRYPT " 42

CHAPEL, TRIFORIUM " 44

CRYPT " 45

THE LAVATORY IN THE CLOISTERS " 47

THE CHAPTER-HOUSE--THE NORMAN PORTION " 48

GLOUCESTER CATHEDRAL.

History and Details.

Notwithstanding the long siege of the city, Gloucester Cathedral suffered but little during the Civil War. Within the last ten years extensive restorations have been made within and without the cathedral, under the superintendence of Mr. F. S. Waller. These consist chiefly of the clearing and draining of the crypt; the restoration of the west front, the south aisle of the nave, the chapter-room, the library and sacristies, portions of the cloisters, the whole of the east end of the choir, and the interior of the nave: to which must be added the alterations entailed in forming and laying out the grounds round nearly the whole of the cathedral; several houses and yards having been removed, and hundreds of loads of soil, the accumulation of years, taken away from against the walls.

The west doorway and the panelling at its sides are very plain. At the angle between the nave and the south aisle is a statue of EDWARD JENNER, by R. W. SIEVIER. Dr. Jenner, the discoverer of vaccination, was born at Berkeley in Gloucestershire, in 1749; and died there in 1823.

The view eastward from this point is intercepted by the organ; but beyond the massive piers of the nave, portions of the light choir-roof are seen; and the superb glass of the east window terminates the choir with such a glow of colour as few other cathedrals can display.

In the Perpendicular portion of this aisle is a very fine doorway into the west walk of the cloister--. A crocketed canopy rises above it, with panellings on either side, in which were painted figures of the Apostles. On each side of the door are niches for figures. In the easternmost bay of this aisle is the abbot's entrance--also Perpendicular, but not so richly decorated. In both these doorways, the half-groined recesses, so constructed as to admit of the doors opening into them, should be noticed.

In altering the south aisle, Abbot Thokey cut off the arches over the Norman windows, and lowered the vaulting. This, in the first four bays from the south porch, greatly resembles that of the nave, which is of much earlier date. The vaulting of the three last bays has its mouldings filled with the ball-flower.

The two western bays of this aisle are Abbot Morwent's work, and differ very slightly from those opposite. Against the west wall is a coloured bust of JOHN JONES, "Burgess of Parliament" at the time of the Gunpowder treason. In the aisle is a monument by SIEVIER for SIR GEORGE ONESEPHORUS PAUL, who distinguished himself by his active exertions in reforming prisons.

Against the wall on the north side of the entrance to the transept is a large canopied bracket for a figure.

Against this wall is an ugly Elizabethan monument for RICHARD PATES, ; and the high tomb with effigies of Alderman BLACKLEECH, "who was admitted to the glory of eternity 1639," and his wife Gertrude. The figures are in alabaster, and are wonderful examples of costume. All the details--boots, rosettes, sword-belt and sword-handle, and the lady's lace and short jacket--deserve notice. It was not for her beauty that Dame Gertrude was thus commemorated.

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

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

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

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

"Hoc quod digestum specularis opusque politum Tullii haec ex onere Seabroke Abbate jubente;"

which can only record the building of the upper part of the tower, in the time of Abbot Seabroke; : or possibly, only the completion of the work, after the death of Abbot Seabroke in 1457, by ROBERT TULLY,

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

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

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

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

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

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

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

A high tomb with effigy of OSRIC, the Mercian "kinglet," who is said to have founded the first religious establishment at Gloucester. On the east end of the monument is the inscription,--"Osricus Rex primus fundator hujus monasterii--681." The tomb and effigy are said to have been erected during the abbacy of WILLIAM PARKER, whose arms, together with those of the abbey, appear on it. The effigy is crowned and sceptred, and carries the model of a church in the left hand. The ermine collar of the robe is unusual.

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

The chantry, with effigy, of Abbot PARKER, 1515-1539. The chantry has been converted into a pew. The screen enclosing it has a good frieze of vine-leaves and grapes; and the niches for statues at the angles should be noticed. The effigy, of alabaster, has been much cut and injured. The Abbot wears the chasuble and jewelled mitre, ; the top of his staff is broken. There are small figures in the portion left. The base of the monument has shields with the Abbot's arms, and others bearing the emblems of our Lord's Passion.

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

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

All this work, together with the Lady-chapel itself, is due to Abbot HANLEY, and his successor, Abbot FARLEY, . It was the last great work of the monastery, and worthily closes the fine series of Perpendicular structures, which rank among the most interesting and important in England.

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

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

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

Much of the original tiling remains on this part of the floor. The tiles bear inscriptions, "D?e Jh? miserere;" and "Ave Maria gr?. pl?." In the centre is a device of roses with leaves. Below the window on the south side are three sedilia, with graceful pendent canopies. The backs are panelled.

On the north side of the Lady-chapel is a monument with effigy for ELIZABETH WILLIAMS, daughter of Bishop Miles Smith of Gloucester, . Below, again, is a full-length statue of Sir JOHN POWELL, .

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

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

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

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

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

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

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

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