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.