P. H. Ditchfield

Gloucester is a very venerable city. It was a Roman station, and was known as Glevum. Remains of the old Roman wall of the city exist in various places, under the house, 36 Westgate Street, under a furniture shop (Messrs. Lea) in Northgate Street, at "Symond's Arms," in Hare Lane. Roman pavements and pottery, coins and altars have also been found, and the four straight streets crossing in the centre are the modern forms of the old Roman roads which intersected the city, forming insulÆ, as the sections were called. It was an important place in Saxon times, and Bede called it one of the noblest cities in the land. The first monastery was founded by Osric in 681 for monks and nuns. Of the history of this we shall treat presently. The Danes, of course, ravaged and burnt the city. Saxon and Norman kings loved the fair city of the west. We seem to see a procession of monarchs who held their courts here—Alfred, Athelstan, Edgar, Hardicanute, Edward the Confessor, and then the stark Conqueror, who here ordered the compilation of that important survey, the Domesday Book. "In the reign of Rufus," wrote a great historian, "everything that happened at all somehow contrived to happen at Gloucester." Here Anselm was consecrated Archbishop of Canterbury. It is famous for lampreys, for which Henry I., when feasting here, acquired a liking, which unhappily proved fatal to him, as he died of a surfeit of them. Here Henry II. held a great council, and Henry III. was crowned, "who loved Gloucester better than London." The Statutes of Gloucester were passed here in an Edwardian Parliament, and the murdered king, Edward II., found here his last resting-place. Numerous Parliaments were held here, and monarchs visited the city. In the Civil War period Gloucester was held by the Parliamentarians, and subjected to a protracted siege, which was eventually raised by the advent of Earl of Essex. The city retains many of its old houses. The house of Robert Raikes, the founder of Sunday Schools, is a fine old building. The Deanery, formerly the prior's lodging, has many interesting associations. Here Henry VIII. and Anne Boleyn sojourned. The inns are famous, especially "New Inn," which was used by the pilgrims to the shrine of Edward II., and "The Old Raven." Colonel Massey, the governor during the siege, sojourned at 154 Westgate Street. Before the dissolution of monasteries there were many religious houses, and the friars were numerous; there were colleges of Grey, White and Black Friars, some remains of which still exist. There are several interesting churches—St. Mary de Crypt, a cruciform building of twelfth century, with some Decorated and Perpendicular work; St. Mary de Lode, built on the site of a Roman temple, with an old chancel and tower; St. Michael, from the tower of which the curfew sounds each night; St. Nicholas, of Norman construction.

The Deanery
Herbert Railton

History of the Cathedral

Gloucester was one of the sees founded by Henry VIII.; its episcopal life, therefore, does not extend further back than 1541, when the last Abbot of Tewkesbury became the first Bishop of Gloucester. The story of the minster, however, carries us back to very early times. The first Abbey, as we have said, was founded by Osric, nephew of King Ethelred, in 689, and was designed for both monks and nuns. It was not long-lived, and in a century was deserted and fell into decay. The Mercian kingdom was much distracted, and confusion reigned until Beornwulph restored the ruined walls of St. Peter's Abbey, and introduced secular canons, who seem to have lived as they pleased, and loved not discipline. So Canute in 1022 turned them out and established Benedictine monks. These did no better. Their abbot, Eadric, was a waster of the goods of the Abbey, and the pious chronicler saw in the destruction of the monastery by fire the vengeance of God for their sins. Then Bishop Ealdred of Worcester, who brought back the Black monks of St. Benedict, began to build a new church. Then came Abbot Wulfstan from the Worcester Monastery in 1072, and Abbot Serlo, a worthy monk of Mont St. Michel, who found desolation, an almost empty monastery, a poor, mean building, and began to raise that glorious pile which we see now. It was dedicated in 1100, when there was a mighty concourse of bishops and great men. A remarkable sermon was preached here by Abbot Fulcher of Shrewsbury, prophetic of the death of the cruel king, Rufus. Abbot Serlo sent to warn him, but in vain, and soon the news of his death in the New Forest rang throughout the country.

Fire frequently played havoc with the minster. In 1102 it suffered much, and again in 1122, when "in Lent-tide the town was burnt while the monks were singing their Mass, and the deacon had begun the Gospel PrÆteriens Jesus," and the fire came in the upper part of the steeple, and burnt all the monastery and the treasures except a few books and three Mass robes. Again in 1179 and 1190 fires raged. The Early English builders set to work to repair the damage, and the church was re-dedicated by Walter de Cantilupe, Bishop of Worcester, in 1239. The monks were now very busy building, and in 1242 they had finished the stone vaulting of the nave, which replaced the old Norman wood vault; in 1246 the south-west tower was completed, and they had begun to rear for themselves a new refectory. Yet another fire in 1300 wrought havoc in the cloisters, and deprived the monks of their dormitory. Abbot Thokey was a noble prelate who did much building, erected some of the beautiful Decorated windows in the aisles and choir triforium, and was the means of enriching his Abbey "beyond the dreams of avarice." When Edward II. lay dead, foully murdered at Berkeley Castle, unlike the time-serving Abbot of Bristol, who feared the anger of Queen Isabella and her party, he boldly demanded the body of the dead king and gave it honoured burial in his minster. Then arose that strange cult, the worship at the dead king's shrine. Thousands came from far and near, and their offerings so enriched the monastic treasury that the monks were able to adorn and beautify their church and monastery, and make it one of the glories of English architectural achievement. The fearless abbot felt himself too old to carry on the work; so he resigned in favour of his friend, Abbot Wygmore (1331-1337), who began to erect that "veil of stone" which covers the old Norman work, and is such a characteristic feature of Gloucester.

The south transept was the first recased, a noble screen erected, and the work was carried on by succeeding abbots. Abbot de Stanton (1337-1351) constructed the vaulting of the choir and the stalls on the prior's side, which Abbot Horton completed on the abbot's side, together with the altar and choir and north transept, and also began the great cloister, which Abbot Froucester finished. The west front, south porch and two western bays of the nave are Abbot Morwent's work (1420-1437). The tower was built by Abbot Seabrooke (1450-1457), and Abbots Hanley (1457-1472) and Farley (1472-1498) built the Lady Chapel.

At length the day of dissolution came. Abbot Malvern, the last abbot, was offered the bishopric which Henry VIII. had just founded; but he declined, and died of a broken heart. The continued progress of adornment was checked by the appropriation of much of the wealth of the monastery by the king, and the building began to fall into decay. It did not suffer much during the Civil War, in spite of the long siege. The Lady Chapel was mutilated and defaced, and some other damage done, but the burghers seem to have acted well, took a pride in their church, and suffered it not to be destroyed. There have since been frequent "restorations," and some damage done by destructive architects; but, on the whole, Gloucester has escaped with less scars than many of our cathedrals, and retains much of its original beauty and delicate attractiveness.

The Exterior

The plan is cruciform, and consists of a nave with two aisles; north and south transepts, with apsidal chapels on the east side of each; a tower rises at the crossing. The eastern portion consists of choir with aisles, forming a processional path, with four apsidal chapels opening from them, and a Lady Chapel. With the exception of the Lady Chapel this plan is exactly the same as that of the original Norman church built by Abbot Serlo. We approach the Cathedral from the south-east and obtain a good view of its beauties across the close. The West Front, built by Abbot Morwent (1420-1437), is not very rich or striking when compared with many others. There is a large Perpendicular window, and another on each side, and a rather small doorway. The flanking buttresses are crowned with pinnacles, and a cross crowns the centre of the embattled parapet. The pierced buttresses, designed so as not to darken the west window, and the parapets of open-work below and above, are distinguishing features. The south aisle is Abbot Thokey's work, and is very beautiful with its fine Decorated work. The buttresses are very massive, and are surmounted by figures, and the windows deeply recessed.

The South Porch is rich Perpendicular work, built by Abbot Morwent. The figures are modern, and represent SS. Peter and Paul, and the four Evangelists, Osric and Abbot Serlo, the founders of the earlier and Norman Church—SS. Jerome, Ambrose, Augustine and Gregory—against whose figures the fanatics of Bristol manifested such unreasonable hate. There is an upper chamber or parvise. The doors are contemporary with the building. The South Transept shows the remodelling of the Perpendicular period. Norman work may be seen in the arcading, the turrets, and traces of an original window; while the capping of the turrets, the windows and battlement belong to the Perpendicular style.

Passing on to the east we notice the beautiful lofty choir. The main part of the walls are Norman, and we notice the unusual polygonal radiating chapels, which are part of the original Norman plan. The windows are Decorated and Perpendicular, inserted in Norman openings. The great east window is the largest and finest in England. The Lady Chapel was originally Early English work, built in 1225, but it was rebuilt in 1457-1499, during the rule of Abbots Hanley and Farley. It has four bays, each bay being filled with a lofty Perpendicular window. There is a passage beneath the chapel, which was necessary in order to reach the northern side. The chapel is one of the most beautiful in England. The central Tower is remarkable for its grace and grandeur. The present one is the work of Abbot Seabrooke (1450-1457), and belongs to the Perpendicular period. The bells are ancient, and happily were saved, when the monastery was dissolved, from the greedy hands of the commissioners of Henry VIII. The monastic buildings are on the north side, which we shall examine later. There is a fine view of the Cathedral from the north-west. On the north-west is the Deanery, formerly the prior's lodging, a very interesting house; and between it and the north aisle is a passage, the old Norman slype communicating between the cloisters and the close.

The Interior

Entering by the south porch we note its Norman character. The old Norman wooden roof has been replaced by a stone vault, and Decorated windows of the time of the second Edward have been inserted, but otherwise there has been little change. The west end, with two bays of the nave, is Abbot Morwent's work (1420-1437). He destroyed two western towers or turrets, which were built in 1222-1243 in place of two similar Norman structures. The height of the Norman piers is unusual, leaving a small space for the triforium and clerestory. The zigzag and double cable moulding appear on the main arches. Abbot Serlo was the builder of the original nave. The stone vault was erected by the monks in the thirteenth century (1242), when the clerestory was altered in the Early English style by Abbot Foliot (1228-1243). Morwent inserted Perpendicular tracery in these windows. The remains of coloured decoration were discovered during the restoration. We have mentioned the numerous fires which wrought havoc here. Traces of the fire may still be seen in the reddened surface of the piers. The contrast between the Norman piers and the Perpendicular piers at the west end is noticeable, also the disappearance of the triforium in the last bay and the lierne vault. The west window contains some modern glass inserted in memory of Bishop Monk (1856). There is a curious series of grotesque heads on the arches of the nave showing the mummeries of gleemen. The story of the North Aisle is similar to that of the nave. We have the same Norman work and the Perpendicular western bays of Abbot Morwent. Perpendicular tracery fills the Norman windows which have zigzag mouldings, and the vault is Norman. The monks' entrance to the cloisters is at the west end of the north wall, and is richly ornamented in Perpendicular style. Another Perpendicular doorway, called the Abbot's Door, is at the east end of the wall. The history of the mythical King Lucius is the subject of the west window. There are memorials of Bishop Warburton (1779), the friend of Pope, a learned divine; Flaxman's monument of Sarah Morley and Thomas Machen (1614).

The South Aisle retains some of its Norman style, but was remodelled by Abbot Thokey (1306-1329) in the Decorated style. The ball-flower ornament is much used on the windows. The vault is Decorated work erected by Thokey, and the windows have been more effectually transformed than in the north aisle. There are monuments to John Jones, M.P. for Gloucester at the time of the Gunpowder Plot, with his deeds and documents; Sir G.O. Paul (1820), a prison reformer; Dr. Jenner, the discoverer of vaccination. The Chantry of Abbot Seabrooke (1457), the builder of the tower, is at the east of this aisle, much mutilated. The chantry has been restored. The effigy is a good study of ecclesiastical dress of the period. Near at hand are the effigies of a knight and his lady, supposed at one time to represent one of the Bohun Earls of Hereford, but they are now declared to be members of the Brydges family, perhaps Sir John Brydges, who fought at Agincourt, more probably a descendant of his. We notice the SS. on the collar, and the study of the armour shows that at that time chain armour was being supplanted by plate armour. On north side of entrance to transept we see a canopied bracket with remains of blue colouring. Entering the South Transept we see the first part of the Cathedral which was recased, and may be said with truth to be the birthplace of the Perpendicular style. This example is quite the earliest which can be traced, and was finished in 1337 when the treasury of the Abbey was being filled by the offerings of pilgrims at the shrine of Edward II. This part of the church has therefore peculiar interest. The designer was Abbot Wygmore (1329-1337). All the walls are covered with the panel work, which is the "sign-manual" of the Perpendicular style. The clustered shafts form very beautiful groups. On the south is a large Perpendicular window, and below it a passage behind an open arcade. Two doorways should be noticed, one called the Confessional, with figures on each side said to represent angels, and the other, now blocked up, with a grotesque monster over it. The angel-guarded door is sometimes called the Pilgrims' Door, by which they entered to worship at the shrine of King Edward. Another story is that penitents entered beneath the monster emblematical of sin, and returned by the other door protected by the guardianship of angels. The curious Prentice's Bracket, said to be the memorial of a master-builder and his 'prentice, was probably intended as bracket for a lamp. The roof is a lierne vault without bosses. The flying arches or buttresses which support the tower are very graceful. The effigies of Alderman Blackleech and his wife (1639) are remarkable as studies of the costume of the period. Other monuments are to the memory of Richard Pates (1588) and Canon Evan Evans (1891). The Chapel of St. Andrew is on the east side, adorned with paintings by Gambier Parry. Above this is the east window, which has some beautiful old glass contemporary with the remodelling of the building. On the north is the curious Chantry of Abbot John Browne (1510-1514), dedicated to St. John Baptist because of the similarity of the initials. The floor has some interesting tiles and the reredos has been painted.

In the North Transept we see the further development of the Perpendicular style in the recasing by Abbot Horton (1351-1377). Here is the remarkably interesting Reliquary, of Early Decorated work, said by some to be a lavatory. The carved foliage is very beautiful and also the figures, though mutilated. A chapel is at the east side of this transept, similar to that in the south transept, dedicated to St. Paul. A door opens to the north choir aisle. At the entrance from the transept there is a curious desk which was used by a monk appointed to check the pilgrims as they went to the shrine of Edward. The chapel was repaired in 1870, and the niches supplied with figures of SS. Peter, Paul and Luke. A good Perpendicular doorway is on the north side, with carved angels in the moulding. The Chapel of St. Anthony is on the south of this transept, now used as a vestry. There is a curious painting here of St. Anthony rescuing a female from the mouth of hell. The transept has a monument of John Bower (1615), which bears the words: "Vayne, Vanytie. All is Vayne. Witnesse Solomon."

The Screen supporting the organ was erected in 1823 and replaced an earlier one. The story of the screens is a long one which Mr. St. John Hope has told so well that we need not repeat it. It appears there were two screens, one called the Pulpitum and the other a stone screen supporting the rood-loft. But these have disappeared, and we have instead an early nineteenth-century structure which need not be described. The original organ was built at the time of the Restoration, and some of the pipes bear the monogram of the Merry Monarch. The Choir is remarkable for its extreme beauty. From the lofty traceried roof down to the elaborately-tiled floor the walls are covered with richly-carved panelled work, broken here and there with delicate screens of stone. Behind this veiled work of stone stand the old Norman walls and piers. This casing was done by Abbots Staunton (1337-1351) and Horton (1351-1377). The lierne vault is one of the finest in England, with its multitudinous ribs, and ranks with King's College Chapel, Cambridge, and Westminster. The vaults of the tower and choir both belong to the same period. The Stalls were erected by the builders of the choir and have fine canopies. The Misereres are curious and well carved. Some of them represent hunting scenes, St. George slaying a giant, etc. Before us is the grand East Window, the finest in Christendom. Its date is 1345-1350, and is part of Abbot Horton's work. The Coronation of the Virgin is the subject, and the figures consist of angels, apostles, saints, kings and abbots. The arms of Edward III., the Black Prince, and the lords of Berkeley, Arundel, Warwick, Talbot and others appear, who took part in the campaign against France when CreÇy was fought. It is thought by some that the window is a memorial of that famous victory. The clerestory windows retain some of their old glass, which is of the same date as that of the east window, but has been restored. The Reredos is modern, designed by Sir G. Scott. The Birth, Burial and Ascension of Our Lord are represented. The floor of the presbytery is paved with some remarkable old Tiles, which record the names of some of the abbots, the arms of knights, and other interesting devices. The sedilia are adorned with modern sculptured figures, and the restoration has been accomplished with much care and taste. There are five principal historic Monuments in the choir. Near the altar is the canopied tomb of Osric, the founder of the first Abbey, said to have been erected by Abbot Parker (1515-1539). Guided by the description of the tomb told by Leland, Dean Spence opened the cenotaph and found the grey dust and bones of this ancient benefactor. Near at hand is the beautiful Tomb of King Edward II., murdered at Berkeley Castle. It was erected by Edward III. The effigy is of alabaster, and the features are thought to have been reproduced from a waxen mask taken after death. The tomb is a forest of pinnacles and rich tabernacle work. It has been much restored at various times, but the extreme beauty of the work has in no way been impaired. The white hart, chained and collared, the badge of Richard II., is painted on the pillars. The Chantry of Abbot Parker, or Malverne (1515-1539), has a much mutilated effigy of this, the last Abbot of Gloucester. Vine leaves and grapes adorn the screen, and the base has some heraldic devices and the emblems of the Passion. On the south side is a projecting bracket which Leland tells us marks the grave of Abbot Serlo, the founder of the Norman Church. The bracket is Perpendicular, the effigy Early English, both much mutilated. The figure has a model of a church in his hand, and therefore denotes that the abbot was a founder, but the Early English character of the effigy points to it representing a later abbot than Serlo, and possibly Abbot Foliot (1243).

The North Choir Aisle, or ambulatory, is original Norman, the windows being filled with Perpendicular tracery. At the north-east corner is Abbot Boteler's Chantry (1433-1450). The old tiles are interesting, amongst which we see some representing the arms of the Boteler or Butler family (three cups). The decoration of the chapel is all Perpendicular work, screens, windows and reredos. This last is very fine, and has some well-carved figures of the Apostles. Here is the effigy of Robert, Duke of Normandy, eldest son of William I., whose wild youth was atoned for by his prowess in the Crusades. He, however, had to endure twenty years' imprisonment, inflicted by his father. The effigy was probably made not long after his death. The chest on which it rests is fifteenth-century work. The effigy was hacked to pieces by Cromwell's soldiers, but the fragments were put together by Sir Humphrey Tracy, and replaced in the Cathedral.

The Ante-Chapel, or vestibule, leading to the Lady Chapel, is the meeting-place of the old and new work, and is ingeniously contrived. The Norman apse is pierced by a doorway and two Perpendicular windows. It is separated from the Lady Chapel by an open-work screen, which is very beautiful, and has a fine lierne vault. This, and the Lady Chapel, are the work of Abbots Hanley and Farley, who presided over the Abbey during the last half of the fifteenth century. The Lady Chapel ranks with Ely as the largest in England, and certainly it is a triumph of Perpendicular architecture. It has lofty Perpendicular windows, which seem to produce the effect of a wall of glass with panelled tracery. The head of each panel is much ornamented, and panel work, with niches, covers the walls. The lierne vault is very fine, and the bosses carved with beautiful foliage. At one time the walls were painted, and traces of colour remain. The east window has much old glass, which is also visible in the heads of the other windows. There is a very poor modern reredos, which might be removed without much regret, as it hides a very interesting, though much mutilated, mass of rich tabernacle work. The altar rails belong to the time of Laud, who was dean here, and are said to be the first introduced into churches. Many of the original tiles remain, and bear inscriptions: Ave Maria gra ple, DÑe Jhu Miserere. There are two side chapels, with fan-tracery vaulting. In the north chapel is the monument of Bishop Goldsbrough (1604). There is an upper chapel, or oratory, and the same arrangement obtains on the south side. This chapel has a monument of Th. Fitz-williams (1579). The marks on the walls of these upper oratories show that the love of recording names by visitors in historic places is not confined to modern times, and dates as far back as the sixteenth century.

Returning to the entrance, we follow the ambulatory to the south, which retains its northern features. St. Philip's Chapel is at the south-east corner, and has been restored in memory of Sir C. Codrington, Bart. (1864). There are Norman arches, and fourteenth-century tracery inserted in the windows. The spacious chests for copes are interesting records of the rich ecclesiastical vestments in use in former times.

The Triforium is unusually fine, and now extends over the north and south choir aisles, but not over the east end. That part was removed when the choir was reconstructed, and in order to connect the severed portions of the triforium together, the Whispering Gallery was constructed. This part of the church retains its Norman features, and is full of interest. The first chapel on the south has Decorated windows, with ball-flower ornament. There is a double piscina. A very ancient painting of a Doom or Last Judgment, discovered in 1718, is a very remarkable example of early art. It was probably painted towards the end of the reign of Henry VIII. The view of the choir is very beautiful, and the way in which the later builders cased the Norman work with a veil of stone can best be observed from the triforium. The next chapel (south-east) is Norman, with later windows inserted. There are some fragments of an old choir-screen stored here.

The Whispering Gallery is built out at the back of the great east window, and in its construction old Norman stone-work has been re-used. It happens to possess the curious acoustic property of the famous gallery of St. Paul's, London. The next chapel is over the ante-chapel of the choir, and has a stone altar, with the usual five crosses carved on it. The north-east chapel has a Decorated window, and the north-west a double piscina of the same period.

We will now descend to the Crypt (entrance in south-east transept), which is very Early Norman, founded before 1085. The walls and piers are very strong and massive, the former being 10 feet thick. There is a central apse, an ambulatory, out of which radiate five chapels. The half columns in the ambulatory have been strengthened and recased in later Norman times. The chapels have little of interest except their own intrinsic architectural merits. There are some good piscinÆ, and some memorial slabs.

The Monastic Buildings are some of the finest in England, especially the cloisters, which are remarkable for their excellent preservation and for the beauty of the fan-traceried vault. It is thought that this kind of vaulting, peculiar to this country, originated here. The outer walls are Norman, and have been recased with Perpendicular panelling. This work was begun by Abbot Horton (1351-1377), and finished by his successors, Abbot Boyfield (1377-1381) and Abbot Froucester (1381-1412). The south walk possesses a very interesting feature in the Carrels or studies of the monks. The glass of the windows is modern. The passage or slype, of Norman date, at the west end, was the main entrance to the cloister from the outer court. At the north end was the door to the refectory. A window has been placed there instead, but Mr. Hope points out "the iron hooks on which the doors were hung." Little of the refectory, which was on the north of the garth, remains, except the south wall, preserved by the cloister, and part of the east end. The action of the fire of 1540, which destroyed this noble hall, is observed on the walls. In the north walk are the monks' lavatories, the most perfect in England; opposite is the Manutergia, or recess for towels. This walk was reserved for novices, and Mr. Hope shows us the tables for games which they played scratched on the stone bench, the "Nine Men's Morris" and "Fox and Geese" being their favourite pastimes. The east walk gives entrance to the chapter-house. The doorway is Norman, with zigzag ornament. The chapter-house is Norman, with a Perpendicular east end. At the west end is a Norman doorway and an unglazed window (the corresponding one being covered up when the south-east staircase was added), and three Norman windows. Traces of fire may be seen here. The seats of the monks under the arcading may be traced. The vault of the Perpendicular part is finely groined, and there is a large Perpendicular window at the east end. The names of several illustrious leaders under William I. appear on the walls.

The Locutorium, or monks' parlour, lies between the chapter-house and the north transept of the church. This passage is often erroneously called the "Abbot's Cloister." Here the monks met to converse when talking was prohibited in the cloister. Above is the vestry and library. The latter is a long room, of Perpendicular character. The library at Gloucester has had many migrations and vicissitudes; the books of the old monastic library were dispersed. A new collection was begun in 1624 by Bishop Goodman. The books have been stored in the chapter-house, and elsewhere, and have now found a permanent resting-place. Its principal treasure is Abbot Froucester's Lives of the Abbots of Gloucester to 1381. This copy was lost at the beginning of the nineteenth century, and discovered again at Berlin, and restored to the library. The dormitory has been destroyed. It probably stood on the north of the chapter-house. The remains of the infirmary and little cloisters are on the north of the cloister.

The Cathedral close was surrounded by a wall. Some of the gateways remain. St. Mary's Gate, on the west, is a fine thirteenth-century structure; the Inner Gate, of fourteenth-century work, leading to Miller's Green, the site of the old Abbey Mill and outhouses; the south, or King Edward's Gate, built by Edward I., of which only fragments remain; and the Westgate Street Gate. The Deanery, as we have said, has many interesting features, and remains of the work of eleventh, twelfth, thirteenth and fourteenth centuries. The Bishop's Palace is modern, built on the site of the abbot's house, erected in the early part of the fourteenth century. Previous to that period the abbot lived at the present Deanery.

Dimensions

Principal Building Dates

• Norman (1089-1100)—Piers, arches, triforium of the nave, walls and vault of north aisle and pilasters of south aisle, walls of choir and presbytery, chapels and ambulatory, north transept, west end of chapter-house and abbot's cloister.
• Early English (1242)—Vault of nave.
• Decorated (1307-1329)—Windows and vault of south aisle, south transept, windows of ambulatory and chapels.
• Perpendicular (1337-1500)—Windows of nave and north aisle, casing north transept, choir and presbytery, Lady Chapel, cloisters, tower, west end, south porch, and east end of chapter-house.