ily be traced both in the inside and the outside of the transept. The
walls have been ornamented with open panelled work, consisting of
mullions and transoms, with very rich tracery and foiled headings. The
method of the casing is best seen from the triforium, where the original
Norman masonry can be closely inspected. The panel work, in spite of its
date, has the appearance of being considerably later, and some have
thought the work to have been executed after Wygmore's time.

Professor Willis thinks that the Perpendicular style, which
elsewhere--_e.g._ in the north transept and the choir--is completely
developed, may have had its origin in this south transept. In any case,
the work is of the greatest architectural interest, and deserves careful
study. "Looking at the very early character of the clustered shafts and
the mouldings of this transept in conjunction with the vertical lines
with which they are associated, one might think (excepting Thokey's
south aisle, the Edward II. monument, and some few examples in the
triforium of the choir) that Decorated work had never fairly taken root
in Gloucester." (F. S. W.)

The south transept, which was also called St. Andrew's Aisle, is 47 feet
long, 35 feet broad, and 86 feet in height. The vaulting is lierne
vaulting, with short ribs, which connect the main ribs together. There
are no bosses in the roof. With an opera-glass it is possible to note
the clever joining of the masonry.

On the north side of the south transept, between the tower piers, is an
interesting chapel, with a wooden screen--date about 1510. The panelling
inside, as also that on the back of the choir-stalls here exposed to
view, is covered with monograms of S and B alternately, all surmounted
with crowns.

The chapel is said to have been dedicated by John Browne (or Newton),
who was Abbot from 1510-1514, to his patron saint, St. John the Baptist,
the initials being the same.

On the step in this chapel is a slab with a mutilated cross incised in
it and remains of an inscription upon a scroll. It is now almost
illegible and crumbling fast away, but it was

"Kyrie eleison anime
Fratris Johis Lyon."

This Johannis Lyon was the monk who made the reredos in this chapel.
There are traces of two reredoses here, both of which show traces of
colour. Older stonework has been used to make the newer reredos, and has
been merely reversed.

The tiles here are of interest, and there are also some outsi