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 — John Shaqi
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 BishopsKing, R. J. (Richard John)
Religion
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
XI. The great _east window_, which terminates the choir, is the largest
in England, and is, owing to the ingenious construction of this part of
the choir, wider than the side walls which contain it: it is filled with
what is, in many respects, the finest stained glass of the period in
this country. The window itself, in its general design and tracery,
corresponds with the panelling of the choir and with the windows of the
clerestory, and is part of Abbot Horton’s work. The tracery-heads and
cusps on the inside do not appear without, as usual, since the glass
(probably to save expense) is fitted into a square-headed panel, sunk in
the back of the window. A peculiar effect is produced by the roof of the
Lady-chapel beyond, which rises against the lower part of the window,
(from which it is separated by the ante-chapel); the glass above is
consequently always in brighter light than that below. The stone-work of
the whole window has been repaired (1862) at a cost of £1,400; and £600
has been expended on the re-leading of the glass by HUGHES[18], under
the very careful supervision of Mr. Winston, one of the best authorities
on the subject.
The window, like the rest of the choir-work, has decided Perpendicular
features; but the glass “is in all respects thoroughly Decorated in
character;... As a general rule, it is true that a change in the style
of architecture has always preceded, by some years, the corresponding
change in the style of painted glass....
“The two first tiers of lights from the ground are filled with coloured
borders and ornamented white quarries; a shield of arms in a panel is
inserted in each light, and a small ornamented roundel placed at some
distance beneath it. The three next tiers of lights throughout the
window are filled with figures and canopies, and, in the central part of
the window, another tier likewise, the spires of this row of canopies
running into the tier of lights above. This arrangement, as might be
expected, imparts a grand pyramidical character to the whole design.
All the tracery lights of the window are filled with ornamented white
quarries, and enriched with small roundels of ornament inserted here and
there....
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