ds of private affection,
instead of universal religion, is one of the worst, because most
plausible and proud, hypocrisies of our day."

Just imagine the difference in the south aisle, for instance, if there
had been a scheme carefully planned beforehand for the windows, instead
of the threefold, but haphazard, process of a window offered, a window
accepted, a window put up, and no questions asked as to designer or
artist. Imagine what the effect might, or would, have been, had the
windows, as a set, been designed by Burne-Jones and executed by William
Morris, or by other competent artists. Now, unfortunately, these two
great artists are dead, and Gloucester has not a single specimen of
their work.

The #Nave# as it is (174 feet by 34 1/4 feet long, 67 feet 7 inches high)
is quite unique, and differs considerably from other Norman naves, such
as are to be found in the cathedrals at Ely, Norwich, or Peterborough,
and in the neighbouring abbey churches at Tewkesbury, and Great Malvern.

The unique features here are the great height of the massive circular
columns, fourteen in number, and the consequently dwarfed triforium or
gallery running over the main arches. There are traces to be seen of the
original Norman clerestory under the Perpendicular windows, and, judging
from this, the height of the clerestory, as originally constructed, must
have been but little less than that of the piers in the nave.

This Norman clerestory was altered at the same time that the roof of the
nave was vaulted--viz. in 1242, in the time of Henry Foliot. This work
was done by the monks themselves, who thought, as Professor Willis
suggests, that they could do it better than common workmen. Their work
is made of a light and porous kind of stone, treated with plaster on the
under-side, and it was rendered necessary by the previous roof, which
was of wood, having been destroyed by fire in 1190. Of this fire the
piers certainly show the traces to this day, all having become reddened
and slightly calcined. To make the new clerestory the whole of the
original Norman work over the arcade of the triforium was removed, with
the exception of the jambs of the side-lights (which extended beyond the
arches of the triforium) and the wall between them.

Mr. Gambier Parry has also truly said that this work "was not an
artistic success. They cut and maimed the features of the fine old
Norman clerestory, and placed their thin weak work too low, destroying
a