This year saw the ejection of the secular priests and the introduction of the Benedictine monks by Canute. In spite of opposition, the new order managed to keep possession of the monastery till the dissolution. The abbey founded by Aldred, Bishop of Worcester, a few years before the Norman Conquest served as the basis of the present cathedral. This transition took place from 1072 till 1104, under Abbot Serle. In 1381 Walter Frocester, its historian, became its first mitred abbot. Here again we have an instance of a Norman building forming the backbone to subsequent periods of Gothic and English architecture. Though each style is distinct, the _tout ensemble_ is in such perfect harmony that it calls for the greatest admiration for the wonderful skill of the several architects. The plan of the Cathedral is the usual symbol of the cross. In the centre there is the beautiful fifteenth-century tower. Its mass of detail and pierced work give it an air of elegance and lightness. The oldest portions are the nave, the chantry chapels, which are apsidal and are on either side of the choir, and the crypt. These are supposed to have belonged to Aldred's abbey, which may thus be taken to have become incorporated in the present building. They are of Norman origin, or rather date a few years before the Conquest. No doubt these parts came, more or less, to be touched up and restored by the Normans. In 1248, the roof of the nave, an Early English addition to the massive Norman nave, was finished by Abbot Henry Foliot. The Chapter House also is Norman. Compared with those at Wells and Lincoln, its simplicity is striking. It differs also in another respect. Belonging, as it did, to a Benedictine church, it follows the shape usually found in churches of that order; namely, the square. The south aisle was commenced by Abbot Thokey in 1310, and the south transept in 1330. About the same time building operations were commenced for the north transept and the choir. The latter was finished in 1457. To the north of the nave lie the cloisters. These form a most wonderful Early example of fan-tracery, constructed some time between 1351 and 1390. Here in the south end of the cloisters were set apart a series of stalls, better known as the carrels, in which the monks studied and wrote. They may have undergone great hardships and austerities, but they evidently had a great sense of beauty. They have left us the finest works of architecture possible, which have not been surpassed by any modern erection. The west front, and the south porch with fan-traceried roof, were added in 1421. The triforium, carried round in a curve under the great east window, forms a narrow passageway from one side of the choir to the other. This formation, curiously enough, has constituted quite a feature at Gloucester. It is called the "whispering gallery." There is no evidence that the architect intended it. St. Paul's, in London, affords another similar example. [Illustration: GLOUCESTER