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 R. J. King

The four great arches of the tower were in a condition of much danger when Dean Merewether commenced his restorations in 1841. The piers, and the four arches resting on them, were Norman; but owing to settlements in the foundations of the nave and tower, which had taken place at a very early period, they had been cased and otherwise repaired during the fourteenth and fifteenth centuries; and still later (probably during the episcopate of Bishop Bisse, 1712-1721) the two smaller arches of the tower (north and south) were filled with so-called “ox-eye masonry[33],” supported by two segmental arches branching from an octangular central column; whilst nearly all the smaller Norman arches in connection with the tower-piers were closed with solid masonry, leaving only doorways. In spite of all that had been done, however, Professor Willis, in his Report of 1841, pronounced the masonry of the great arches, and of the spandrel walls above, to be “in such a state of ruin as to make an immediate repair absolutely necessary for the preservation of the tower.” The piers themselves were in a condition of less danger; but Mr. Cottingham, to whom the work was entrusted, proceeded to remove all the additions that had been made to them since the Norman period, and, in effect, to rebuild them according to their original design. In this state they remain at present. The arches resting on them were at the same time reconstructed, and the ox-eye masonry which filled those north and south was entirely removed.

Before these restorations a vault of the fifteenth century rose immediately above the great arches, and concealed the upper part of the tower. This was removed. The whole of the tower above the arches dates from the beginning of the fourteenth century; and the interior walls, which are now visible from below, “are of a very singular construction; twelve piers of compact masonry on each side, beside angle piers, are carried up to the height of 26 ft., and connected half-way up by a horizontal course of stone, in long pieces, and by an iron bar, which runs all round immediately under this bonding course. Upon these gigantic stone gratings, if I may be allowed the expression, the interior wall of the tower rests; and they also carry the entire weight of the bell-chamber and bells. I believe this construction was entirely adopted for the sake of lightness[34].” This part of the tower, which has no decorative character, was not originally intended to be seen from below; and the fifteenth-century vaulting had replaced an earlier wooden ceiling. It is now completely open, and the flat wooden floor of the bell-chamber above it is coloured in blue and gold. From this floor depends a superb corona of wrought iron, by Skidmore—a worthy companion of the great choir-screen, and coloured in the same manner.

IX. The peculiar darkness of the choir has already been mentioned. It results mainly (as will be seen from the Plan) from the arrangement of the transepts, which prevents the admission of light to the choir except from its clerestory.

The choir and sacrarium, as at present formed, consist of only three bays, eastward of the screen. (The Norman choir extended no doubt to the western arch of the tower, if not into the first bay of the nave.) As far as the top of the triforium, the choir is Norman: the clerestory and vaulting are Early English, and date, apparently, from the middle of the thirteenth century. No record of their construction has been preserved.

The main arches of the choir are of three orders, and spring from massive composite piers, with broad, square bases. The capitals of the semi-detached shafts are enriched with leafage and grotesque heads. The triforium, in each bay, consists of one wide Norman arch circumscribing two smaller, divided by a central shaft, and springing on either side from two massive semicircular piers, with small capitals. Both outer and inner arches spring from these piers. The capitals of the central shafts have square abaci, and are enriched. The tympana of the outer arches are covered with scallop, leaf, and billet-ornament. At the base of the triforium runs a square stringcourse, enriched with minute carving. The lozenge ornament prevails round the main arches of the choir, as does the zigzag round those of the nave.

Broad square pilasters, with semi-detached shafts at their angles, fill the spaces between the piers. They terminate at the spring of the triforium arches in double triangular headings, with crocheted sides, and finials of leafage. These headings are Early English, of the same date as the clerestory and vaulting; and between each pair rises a group of so-called vaulting-shafts, with capitals of leafage, terminating at the base of the clerestory; and connected (under the actual base of the clerestory) by a band of open flowers. The clerestory consists of one lofty pointed arch in each bay, divided by a central shaft; on either side is a smaller trefoiled arch. The windows, of two lights, with a quatrefoil in the heading, are placed at the back of the wall-passage, and form in effect a double plane with the large inner arches. They are filled on each side with indifferent stained glass. The choir vaulting is plain quadripartite, with bosses of leafage at the intersections.

X. Before 1841, the east end of the choir was covered with an oaken screen, erected by Bishop Bisse in 1717; and above it was a Decorated window filled with a copy in stained glass of West’s picture of the Last Supper. The removal of the screen disclosed the great Norman arch of five orders, within which the reredos is now placed. Above this arch is a small blind arcade; and instead of the Decorated window,

THE ALTAR-SCREEN.

Plate II.