and to commemorate the glories of the campaign in France, which
culminated with the Battle of Crecy. The date, therefore, of the
original glass would be between 1347 and 1350.

Mr Winston further says that "It would be impossible to meet with white
glass that could be more solid and silvery in effect. The red is
beautifully varied, and is most luminous, even in its deepest parts, and
the tone of the blue can hardly be surpassed." Of the general design, he
says that although, "through the size and simplicity of its parts, it is
calculated to produce a good effect at a distance; the figures are
ill-drawn, ungraceful, and insipid. The shading, though sufficient, both
in depth and quantity, if handled with skill, to have produced a due
effect of relief--an effect which obviously has been aimed at--is so
inartificially employed as to be useful only so far as it serves to
impart tone and richness to the composition, and by contrast to increase
its brilliancy."

The effect of the choir as a whole, when glazed with its original
painted glass, must have been superb. We may be certain that the glass
was the best that could be obtained, for the abbey was wealthy, and
glass-painting was then a living art. Glass was made at Gloucester, as
is shown by the glaziers being numbered among the trade companies and
guilds of Gloucester, but there is nothing definite to be said as to the
place of origin of the old glass in the cathedral.

Below is the #Reredos#, designed by Sir G. G. Scott, presented by the
Treasurer of the Province. It consists of three principal compartments,
in which are groups of figures (sculptured by Redfern) intended to
represent the Birth, Burial, and Ascension of Christ. The smaller
figures in the niches are Moses and David and St. Peter and St. Paul.
Above are nine angels, bearing the various emblems of our Lord's
Passion. This reredos was unveiled with much pomp and ceremony in 1873,
and recently has been profusely gilded.

The commonplace and heavy-topped gas standards mar the effect, such as
it is, of the ornate work of the reredos.

Of Abbot Horton's reredos, which was destroyed at the Reformation, only
fragments remain. They have been very carefully preserved in the
triforium, where an enclosure has been made by placing an old oak screen
across one of the Chapels. In this museum most valuable remains have
been stored, under Mr Waller's keeping, for many years.

Dean Chetwood, in 1710, erected a wooden r