William Malvern, otherwise Parker, afterwards Doctor of Divinity, the thirty-second and last Abbot of this ancient community, was elected in 1514: ten years afterwards, he wrote a History of the Abbey, which has been printed together with Robert of Gloucester's Chronicle. In 1525, Cardinal Wolsey commanded a visitation of this Abbey: this was executed by his commissary, Dr. Allen, when the revenues were stated to be 10221. 15s. Id. ob. the Convent acknowledging themselves indebted to the Cardinal 401. 17s. 6d. Parker adorned King Edward's Gate, and another now demolished; rebuilt great part of the Abbot's House, the present Episcopal Palace, and the Chapel on the north side of the Presbytery, wherein he was buried. After subscribing to the King's supremacy, he died in retirement with his family at Hasfield, in this county. The possessions of the Abbey were surren dered to Henry the Eighth, by Gabriel Morton, the Prior, in January, 1540, when the revenues were estimated at 19461. 5s. 9d. per annum, according to Dugdale; but Bishop l'anner supposes this a mistake, as Speed, whose valuations generally exceed Dugdale's, through his inserting the gross sums, has recorded the yearly income at only 1550l. 4s. 54d.

The conversion of the Abbey Church into a CATHEDRAL has been already noticed: this circumstance was the chief means of its preservation at the Reformation; and to the honor of the inhabitants of Glocester, it became the object of their peculiar care during the Civil Wars, after which they obtained a grant of it from Oliver Cromwell. Hence the Cathedral has been transferred to the present age, as nearly perfect in all its parts, with regard to its general construction, as it was left by the most favored of its architects.

This magnificent structure combines many interesting specimens of Saxon, Norman, and English architecture; and particularly of the latter. In this respect it is more instructive than some other cathedrals, which are either of contemporareous building, or were adapted to one prevailing man er is the Piclates of the middle centuries after the Conquest; who combed the Gothic of their day, with the original Saxon, and changed de forms of the pillars and arches. Happily, also, for the adminers of ceclesiastical ar

chitecture,

chitecture, the eras of erection of the principal parts of the fabric are known; and the characteristic styles of different periods can thus be satisfactorily ascertained.

The general face of this Cathedral is similar to most others; the interior consisting of a nave, choir, side aisles, and transepts, with a Chapel of Our Lady, and several smaller Chapels, or Oratories. From the intersection of the nave and transepts rises a high tower, and on the south side is a projecting porch. The roof is sustained on twenty-eight columns, which extend in two rows from the west end to the high altar, where the presbytery forms nearly a semicircular sweep: the transepts have no isolated pillars. The Chapel of Our Lady is, as usual, attached to the presbytery; and there are chapels in the north-east and south-east angles of the transepts and choir, with two others projecting in the sweep between those and the Chapel of Our Lady. The outline, or ground plan, of the Cathedral, is probably the same at present as designed by Bishop Aldred previous to the year 1089; and the Crypt remains almost. as perfect as the masons left it. The architecture of this subterraneous and gloomy place is massy, and suited to the immense weight resting on the arches, which are turned upon huge short pillars, and strengthened by groins of proportionate solidity. The Nave is an interesting specimen of the style which continued to prevail for nearly two centuries after the Norman Conquest. The arcade of ponderous round columns, and the rows of semicircular arches above, impress the mind with ideas of the strength, solidity,

and

These have already been mentioned; but, to bring them more immediately under the eye, may tend to greater perspicuity. The lower part of the nave, the Chapels that surround the choir, and the crypt, are presumed to have belonged to the building erected by Bishop Aldred before 1089: the roof of the nave obtained its finishing and form in 1248. In 1310 the south aisle was begun; and part of the south transept was added in 1330. The building of the north transept and choir commenced about the same year; the latter was completed in 1457. Between the years 1351 and 1390, the elaborate cloisters were finished. The Chapel of Our Lady, and the centre tower, were the next additions; the former being built between the years 1457 and 1498; and the latter between the years 1457 and 1518.

and profound solemnity, which must have accompanied its original state. The architecture of the west end is very different from the other parts of the nave; and the vault is covered by intersecting ribs, and ornamented key-stones; but the remainder is of the plainest description, with three ribs only to each pillar; yet the key-stones are carved. On each side are eight massive columns; the arches between them are bounded by large mouldings, carved into zig-zags, and other ornaments: directly over each column, and at some distance, are a range of heads of various characters; some serene, and others terrific; these serve as brackets to clusters of short pillars, whose capitals display the most beautiful variety of foliage, on which zig-zag strings extend, serving as a base to other clustered pillars with equally elegant capitals; from those the ribs of the vault commence. The gallery windows, pierced through the wall above the arches, are divided by short thick pillars, and bounded by others, with zig-zag arches: a twisted string separates them from the clerestory windows. The north and south aisles of the nave are nearly in the style of the west end, with pointed windows, rich ramifications in the arches from the mullions, and filletted vaults. The arch of entrance to the cloisters from the north aisle, is most elaborately and exquisitely adorned by pillars, buttresses, niches, pinnacles, foliage, and pannels, and the singular ornament of twisted pinnacles under the arch. In the south aisle, nail-headed mouldings are introduced as embellishments on each side of the windows. An advanced gradation of style is exhibited in the interior of the south transept; but the most perfect and ornamental degree is displayed in the Choir and Chapel of Our Lady.

The Choir is divided from the nave by a Skreen, designed by Kent, who, as Mr. Dallaway justly observes "was praised in his day for what he little understood." This, with the organ above it, a party-colored and gaudy instrument, are injudicious intruders, which obstruct the view of the grand east window. The same author observes, that "it is hardly possible to enter the choir, which includes every perfection to which the Gothic had

attained