Part 15

“The transoms, features which were repeated in the windows of the aisles of the choir, and in a much heavier form in the windows of the nave, are additionally strengthened by the graceful arches below which spring from capitals almost similar to those on the choir side of the piers. From the centre of each transom rises a cluster of groining ribs. It has been customary to speak rather disparagingly of this clever piece of work of Abbot Knowle and to term it carpentry work in stone. It may be so, but the student of to-day may thank the Fourteenth Century Abbot for a most instructive lesson. The transoms have crowned heads at either end and in the centre, and they, unlike the transoms in the aisles of the nave, are ornamented with little flowers. Beneath the windows, which are Decorated in character, is a string-course, with ball-flower ornament, a feature which is found all round this eastern part. In the south aisle the vaulting was intended to be the same as in the north aisle, having been planned by the same architect, but a difference in the westernmost bay shows it was superintended by a different mind. In all probability it was Knowle’s successor, Abbot Snow, who, from 1332-1341, went on with his predecessor’s work, adding that part called the Newton Chapel.”--(H. J. L. J. M.)

There is not a great deal of old glass in Bristol, but some of the =Windows= in this east end are worthy of careful study.

“The east windows of the choir aisles are filled with glass coloured with enamels in accordance with the practice of the Seventeenth Century instead of glass coloured in its manufacture. They date from the reign of Charles II.; and although it is traditionally said that they were presented by Nell Gwynne, it is more probable that they were the offerings of Henry Glenham, Dean of Bristol from 1661 to 1667, and afterwards Bishop of St. Asaph. The arms of Glemham (Or, a chevron gules between three torteaux) are repeated three times in the window of the south aisle and once in that of the north. The subjects (arranged as type and antitype) in the north aisle are--in the centre, the Resurrection; below Jonah delivered from the whale. On the right, above, the Ascension; below, Elijah taken up to heaven. On the left, above, the Agony in the garden; below, Abraham about to offer up his son.”--(R. J. K.)

In the third bay of the north wall of this north-choir-aisle a doorway opens into a peculiar passage designed by Abbot Knowle to take the place of a triforium. The passage leads to a staircase communicating with the central tower and the belfry.

North of the north-choir-aisle we come to the greatly admired Early English Chapel, the Elder Lady-Chapel.

“The Lady-Chapel (generally called the Elder Lady-Chapel because the altar of the Virgin was removed to the east end of the church after Abbot Knowle had rebuilt the choir) is entered from the north-east corner of the transept. The chapel is Early English, and dates, according to Mr. Godwin, from the time of Abbot John (1196-1215). The chapel is of four bays, the windows in which are triplets with inner arches, of which those at the side are gracefully foliated. The detached vaulting-shafts are of Purbeck marble. The sculpture of the capitals and string-courses is unusually good; and the spandrels of the wall-arcade are filled with grotesque designs which are full of spirit and character, greatly resembling the sculpture in Wells Cathedral, much of which is of the same date. Remember especially--a goat blowing a horn and carrying a hare slung over his back; a ram and an ape playing on musical instruments; and St. Michael with the dragon(?); below is a fox carrying off a foliage. The vaulting of the roof would seem to stamp the English character.”--(R. J. K.)

This chapel was originally detached from the rest of the Cathedral. Beneath the two arches

between it and the north-choir-aisle stands the =Tomb of Maurice=, ninth Lord Berkeley (died 1368). Here he lies with =Elizabeth=, his wife. The knight is in armour and his head lies on a mitre. A good groined canopy overshadows these figures.

Retracing our steps into the choir and passing into the =South-choir-aisle=, we examine the Glenham window, which is of the same date as the corresponding one in the north-choir-aisle.

The subjects are--in the centre, above, _Our Lord Driving the Money Changers from the Temple_; below, _Jacob’s Dream_; on the right, above, the _Tribute Money_; below, _Melchisedec_ and _Abraham_; the subject on the left, above, is uncertain; below, the _Sacrifice of Gideon_.

From the western bay of the south-choir-aisle we enter the =Newton Chapel=, where members of the Newton family lie. This dates from 1332-1341. The style is late Decorated. The south wall divides it from the Chapter-House, with which it is parallel.

On the right, after passing out of the Newton Chapel, we come to one of Abbot Knowle’s recesses. The foliage consists of oak leaves and acorns interspersed here and there with tiny sprays of mistletoe, an unusual ornament, in church decoration.

We next pass the =Tomb of Thomas, Lord Berkeley=, who died in 1243. He is represented in armour. His crossed legs show that he was a knight-templar. This is the oldest monument in the cathedral. The next recess contains the effigy of =Maurice, Lord Berkeley=, who died in 1281. He is also in armour. In the next bay we pass up one step to the entrance of a =Vestibule= (once a sacristy, now a music-room for the choristers), a fine specimen of Decorated work. Through this we pass into =Berkeley Chapel=.

“Opposite the entrance door on the south side are three ogee arches with niches between. In one of these, the third from the west, was a hearth upon which the sacramental bread was baked. The ornamentation in the spandrels and the finials is curiously interesting work in foliage. The vaulting of the roof would seem to stamp the work as that of Abbot Knowle. It consists of curved ribs, quite detached, large in section, springing from small capitals. The bosses are particularly fine, the foliage being very flowing and free. It is difficult to realise that the mason has here done in stone what many wood-carvers would fail to do in their softer material. The door into the Berkeley Chapel is enriched with a niche overhead, and a moulding below consisting of medlers.”--(H. J. L. J. M.)

The Berkeley Chapel was dedicated to the Virgin Mary. It is thought that an altar also stood here to St. Keyne, who turned to stone all the snakes in the vicinity. The ammonites were probably suggested by finding one or two in a piece of stone.

“There are two windows toward the east, the soffetes of which are ornamented with a gigantic ball-flower; and the peculiar foliage on some of the capitals should be remarked. Under each of the windows was an altar, the steps and piscinæ of which remain. The altars were separated by a screen, the marks of which were visible in the old pavement. Between the chapel and the aisle the wall is pierced by the peculiar arch of Abbot Knowle; and under it, in the thickness of the wall, is an altar-tomb much ornamented and containing five shields charged with the coats of the Berkeley, Ferrers and De Quincey families. The tomb in its present state is no doubt that of Thomas, Lord Berkeley (died 1321), whose wives were of those families; but the lower part, with its very fine foliage, is of Early English date, and may possibly have been removed from another part of the church.”--(R. J. K.)

The =Lady-Chapel= is of the same date as the Choir. The east end was rebuilt about 1280 and a window with geometrical tracery, consisting of foliated circles, was inserted. Until 1895 it was used as a chancel. It is 42 feet long and 32 feet broad and consists of two bays. It is lighted by five windows. The central one is a Jesse window, and each of the four side windows has a transom with rich tracery below. This rich tracery we noticed from the street. In a good light relics of the ancient painting on the walls, representing angels, each with a golden nimbus, can be seen.

The =Reredos= of the Lady-Chapel is partly Abbot Knowle’s work and partly Perpendicular. On the first bay of the south side are the =Sedilia=, restorations of the original cut away to make room for an Elizabethan tomb of =Sir John Young= and his family. They are in four divisions with rich canopies of leafage supported by shafts of red serpentine.

The various recesses contain tombs and effigies of dignitaries of the Cathedral, and, while the general lines of these recesses are similar, there is much variety in the treatment of details.

The splendid =East Window= is pure Decorated and of great beauty in tracery and design. Most of the glass is old, which adds another charm to the lovely effect of the tracery. There is much beautiful silvery white glass from which the brilliant colours sparkle with great effect, and we have no difficulty in tracing the _Tree of Jesse_:

“The lower lights are separated by vine tendrils into oval panels, twenty-one in all. In the lowest tier in the centre is Jesse with David on the right and Solomon on the left hand. To the left of the latter are the prophets Micah, Haggai, Malachi; to the right of David are Jeremiah, Daniel and Amos. In the next tier the central figure is the Virgin and Child with Hezekiah on the left and Ahaz on the right, the four kings, David, Solomon, Hezekiah and Ahaz, representing the descent of the promise. To the left of Hezekiah are the prophets Jonah, Habakkuk, Zechariah; and to the right of Ahaz are Isaiah, Ezekiel and Hosea. Above these two rows of regular panels are three panels, containing four subjects--the central one giving us the Crucifixion, with our Lord in glory in the upper part of the light. In the right hand light is the Virgin Mary, in that on the left is St. John.

“In the head of this window there are now seventeen blazons of arms. In the quatrefoil at the top--the arms of England as used before the time of Edward III., viz., the three lions; in the two trefoils immediately below are Berkeley of Stoke Gifford (L), Berkeley of Berkeley Castle (R).

“Most of the glass in this upper part is original and is supposed by Mr. Winston to date between 1312-1322, as the arms of Gaveston, who was murdered in 1312, are not in the window, while the arms of De Bohun, who was slain in open rebellion in 1322, are clearly here. The glass, then, is of Knowle’s time, and being contemporary with the masonry, affords a rich example of the harmony of form and colour about which one hears so much but which one so seldom sees. It is probable that the tracery of the window may have been designed for Abbot Knowle by the builder of the window at Carlisle, also an Augustinian house. There is a strong resemblance in the two windows, both of which are excellent work.”--(H. J. L. J. M.)

The four side windows contain rich and interesting glass of the same date. The one bearing the arms of Mortimer, Earl of March, has a picture of the _Martyrdom of St. Edmund_, the last of the native kings of East Anglia, who taken prisoner by the Danes in 870 refused to abjure his faith. He was put to death. Here we find, according to legend, the grey wolf watching over the severed head. The costume of the soldiers gives us 1320 as the date of this magnificent window. Beneath St. Edmund are an archbishop and two knights, bearing the arms of the Berkeleys.

The tracery of the large north window was inserted in 1704.

The =South Transept= contains the tomb of Bishop Butler, more famed as the author of the _Analogy of Religion_ than as Bishop of Bristol (1738-1750). The epitaph is by Southey.

The =Cloisters=, on the south side of the cathedral, are entered from the south transept. From them the =Chapter-House= is entered.

The entrance, or vestibule, of the Chapter-House shows a very early example of what may be called a pointed arch. The mouldings and members are quite of the circular style and character. From north to south the arches are round-headed, but east and west they are pointed. This Transitional Norman work--dating from Fitzhardinge’s time--is of special interest.

“The chapter-house is one of the oldest parts of the earlier fabric of the cathedral, and as Britton truly says, ‘in its original state must have been one of the most interesting of the kind in the kingdom and perhaps in Europe.’ In spite of what it has undergone at the hands of architects, restorers and rioters, it is most interesting still, a regular parallelogram in shape, measuring 42 feet in length by 25 in breadth and 25 feet in height, divided into two bays.

“The eastern wall, which dates from 1831, has three windows, and the west wall has also three round-headed arches, the central one being the main door, while the side ones serve as windows, each being subdivided by a small pier. Each of these main openings has a label of cable-moulding. Above this cable-moulding is an arcade of interlacing arches, borne by thirteen tall piers, alternately plain and twisted; and above this is a semicircular space, also filled with rounded-headed intersecting arches, so arranged as to fill the semicircular space. The north and south walls have a plain round-headed arcading below, with a bold round moulding, while above is an elaborate arcading, similar to the lower tier on the west wall, but with much richer capitals. Above this is interlaced lattice-work, and above this in one bay a space covered with zigzag mouldings. The shafts of the arcading on the walls are alternately richly carved or almost plain. The clustered shafts, from which the main arch of the vaulting springs, are peculiarly rich in ornamentation.”--(H. J. L. J. M.)

In the Chapter-House there is preserved a fine piece of archaic sculpture, which was found under the floor in 1831 after the destructive fire of that date, in use as a slab covering an ancient coffin. It represents the descent of the Saviour into Hell and the delivery of Adam, and is probably of the same date as the slabs in Chichester.

The famous =Great Gateway=, the arcading of which is much in the style of the Chapter-House, is supposed to stand on the site of the principal entrance to Fitzhardinge’s monastery. Though Norman in style and probably containing a lot of Norman masonry, critics believe that it is a Perpendicular restoration of the old work.

This archway is composed of four recessed orders enriched with chevron and other mouldings and ornaments. This must not be confused with the less elaborate =Gateway in Lower College Green=, probably of Fitzhardinge’s time and strengthened by Abbot Newland. The latter was the gateway to the abbot’s dwelling and afterwards to the Bishop’s Palace.

GLOUCESTER

DEDICATION: ST. PETER: FORMERLY THE CHURCH OF A BENEDICTINE ABBEY.

SPECIAL FEATURES: CENTRAL TOWER; CHOIR; LADY-CHAPEL; EAST WINDOW; CLOISTERS.

Gloucester presents a fine view from all points of approach.

“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 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.

“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 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 stone-work is open, and composed of what at a distance appears to be delicate tracery, and mullions and crocketed pinnacles.”--(H. J. L. J. M.)

In it hang the venerable _bells_ that escaped the king’s commissioners at the Dissolution of the monasteries in 1553.

Gloucester is notable for its examples of the Transition from Decorated to Perpendicular, which probably originated in this Cathedral.

The abbey of Gloucester was founded by Osric, viceroy of King Edward, in 681. It was dedicated to St. Peter. Osric’s sister, Kyneburga, who died in 710, was the first Abbess of this double foundation for monks and nuns. Osric and Kyneburga were buried in the Abbey church in front of the altar of St. Petronilla. In 823, secular priests were placed here by the King of Mercia; and in 1022 they were expelled by Canute for Benedictine monks. When the monastery was burned to the ground, Aldred, Bishop of Worcester, re-established the monks in 1058, and began the building of a new church also to St. Peter,--“a little further from the place where it had first stood, and nearer to the side of the city.”

The monastery failed to flourish; Aldred was translated to York in 1060; and when Serlo, who had been William the Conqueror’s chaplain, succeeded to Wilstan, or Wulstan, Aldred’s successor, he had under him only two monks and eight novices. After fifteen years of energetic rule (1072-1103), Serlo rebuilt the Cathedral.

In August, 1089, an earthquake damaged the then existing building. Eleven years later (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.” It is thought that 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 of the nave.

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. Between 1164 and 1179 one of the western towers fell down.

Repairs were consequently necessary.

Offerings at the Tomb of Edward II. were a great aid in providing funds.

“Instead of going on with Abbot Morwent’s rebuilding of the nave, the monks now turned their attention to the central tower. The tower was of no use as a lantern, for the lierne vault of the choir had been carried beneath it. So it long remained unaltered. But in the days of Abbot Seabroke (1460-1482), it was rebuilt under the superintendence of a monk named Tully, to be in character with the new exterior of choir and transepts. A very imposing tower it is; fully able, from its massiveness as well as from its height, to gather together the masses of the building--all the more so because the transepts are so short. It succeeds where the central towers of Worcester and Hereford fail; in fact, it is as effective in its way as Salisbury spire. The pinnacles, again, bear witness to the love of these later artists for harmony and unity; each pinnacle, with its two ranges of windows, is a repeat of the two stages of the tower below.

“Then--after the tower had been erected--it was decided to rebuild the Lady-chapel. So an immense detached building was constructed to the east of the great window of the presbytery; without aisles, but with little transepts; almost one continuous sheet of glass, and with a superb vault. This Lady-chapel had to be joined up to the presbytery, but the great east window was in the way. However, the difficulty was got over by a series of ingenious shifts and dodges, which must be seen to be appreciated (1457-1499).

“And so ended this great building-period at Gloucester (1330-1499), which turned the course of English architecture; so that the Curvilinear style of 1315 to 1360 did not find its natural development in Flamboyant, as on the Continent, but was switched off to Perpendicular and Tudor design.”--(F. B.)

Let us see what the “shifts and dodges” referred to above consisted of.

“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. 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. 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.”--(H. J. L. J. M.)

During the reign of Henry VIII., the Abbey which had