View allAll Photos Tagged c1913
Detail of the spectacular Arts & Crafts east window (c1913) at St Giles, Packwood, Warwickshire, represnting the Crucified Christ with an Angel of Remembrance holding a book below, engaging the viewer with his gaze.
Thiis is a magnificent example of the work of Warwickshire based artist Richard Stubington, a former pupil of the painter George Frederick Watts who presumably learnt stained glass at Birmingham School of Art.
Stubington's work remains little known but amongst the best of it's time. His work can also be seen in the east window at Balsall Common, and in the north chapel at nearby Lapworth.
The spectacular Arts & Crafts east window (c1913) at St Giles, Packwood, Warwickshire, represnting the Crucified Christ with an Angel of Remembrance holding a book below, engaging the viewer with his gaze.
Thiis is a magnificent example of the work of Warwickshire based artist Richard Stubington, a former pupil of the painter George Frederick Watts who presumably learnt stained glass at Birmingham School of Art.
Stubington's work remains little known but amongst the best of it's time. His work can also be seen in the east window at Balsall Common, and in the north chapel at nearby Lapworth.
Source: Digital image.
Set: WIL04.
Date: c1913.
Photographer: William Hooper.
HOOPER COLLECTION COPYRIGHT © P.A. Williams.
Repository: From the collection of Mr P. Williams.
Used here by his very kind permission.
Local Studies at Swindon Central Library.
Hotel de Paris in Moulins between Bourges and Clermont-Ferrand. The car is a Daimler TC / TD 45hp. Arthur F. Cochrane and his new bride Beryl Irma Thomas on their honeymoon trip.
Detail of the spectacular Arts & Crafts east window (c1913) at St Giles, Packwood, Warwickshire, represnting the Crucified Christ with an Angel of Remembrance holding a book below, engaging the viewer with his gaze.
Thiis is a magnificent example of the work of Warwickshire based artist Richard Stubington, a former pupil of the painter George Frederick Watts who presumably learnt stained glass at Birmingham School of Art.
Stubington's work remains little known but amongst the best of it's time. His work can also be seen in the east window at Balsall Common, and in the north chapel at nearby Lapworth.
THE GLOUCESTER HONEYSUCKLE (PALMETTE) TIARA
C1913 - 1914
E. Wolff & Co. on behalf of Garrard
Made in 1913-14 for Queen Mary by E. Wolff & Co. on behalf of Garrard, Mary used some recycled diamonds from the dismantled Surrey Tiara and some newly acquired stones to create a masterpiece. Able to hold the Cullinan V Brooch at the centre, as well as a large diamond and sapphire brooch and a brooch with a pink stone (which has been identified as a pink topaz or possibly a newly discovered stone called a kunzite), this tiara was designed with versatility in mind. And, again true to form, Mary tinkered with the tiara over time, removing some of the diamonds to make it sit lower.
Who knows if she just got tired of it or if her future daughter-in-law admired it, but it was to her that it was gifted upon her wedding to Mary’s son, the Duke of Gloucester. The future Duchess, Alice married the Duke in 1935.
But…. there was a caveat. The Cullinan V didn’t come with the tiara, nor did the other two brooches. Mary kept all three, with the Cullinan remaining with the Crown. Instead, Mary had another central element made to mimic the other scroll-like honeysuckle motifs in the tiara for the centre, and gifted it along with the tiara to Alice. It wasn’t until Mary’s death that Alice inherited the pink brooch and it was reunited with the headpiece. Somewhere along the way, Alice must have also had an emerald brooch commissioned to fit the tiara, as we’ve seen photos of such.
Princess Alice then gave the tiara to her daughter-in-law, Birgitte, the current Duchess of Gloucester, who wears it often, switching out the elements at the centre to compliment her attire. The current Duke and Duchess have one son (the heir apparent) and two daughters, so where the tiara will end up is anyone’s guess.
Many thanks to www.katiecallahanandco.com/ for this informative article, do visit the site.
This copy of course comes from our friends in China at Aliexpress. I have seen earlier versions they created where the side palmette designs point upwards, then downwards, then upwards again. This looks closer to the original but as we see in the photo section of the video every 2nd element should reflect the style of the centre section. But this is the only copy available of a tiara I have long admired and wanted to add to my collection. The cost as of April 2020, was £52.00 but I see it has now dropped to around £38.00, so go and grab yourself a bargain. Made with cubic zirconia stones it sparkles magically as you will see by the back view I have included in the filming.
THE GLOUCESTER HONEYSUCKLE (PALMETTE) TIARA
C1913 - 1914
E. Wolff & Co. on behalf of Garrard
Made in 1913-14 for Queen Mary by E. Wolff & Co. on behalf of Garrard, Mary used some recycled diamonds from the dismantled Surrey Tiara and some newly acquired stones to create a masterpiece. Able to hold the Cullinan V Brooch at the centre, as well as a large diamond and sapphire brooch and a brooch with a pink stone (which has been identified as a pink topaz or possibly a newly discovered stone called a kunzite), this tiara was designed with versatility in mind. And, again true to form, Mary tinkered with the tiara over time, removing some of the diamonds to make it sit lower.
Who knows if she just got tired of it or if her future daughter-in-law admired it, but it was to her that it was gifted upon her wedding to Mary’s son, the Duke of Gloucester. The future Duchess, Alice married the Duke in 1935.
But…. there was a caveat. The Cullinan V didn’t come with the tiara, nor did the other two brooches. Mary kept all three, with the Cullinan remaining with the Crown. Instead, Mary had another central element made to mimic the other scroll-like honeysuckle motifs in the tiara for the centre, and gifted it along with the tiara to Alice. It wasn’t until Mary’s death that Alice inherited the pink brooch and it was reunited with the headpiece. Somewhere along the way, Alice must have also had an emerald brooch commissioned to fit the tiara, as we’ve seen photos of such.
Princess Alice then gave the tiara to her daughter-in-law, Birgitte, the current Duchess of Gloucester, who wears it often, switching out the elements at the centre to compliment her attire. The current Duke and Duchess have one son (the heir apparent) and two daughters, so where the tiara will end up is anyone’s guess.
Many thanks to www.katiecallahanandco.com/ for this informative article, do visit the site.
This copy of course comes from our friends in China at Aliexpress. I have seen earlier versions they created where the side palmette designs point upwards, then downwards, then upwards again. This looks closer to the original but as we see in the photo section of the video every 2nd element should reflect the style of the centre section. But this is the only copy available of a tiara I have long admired and wanted to add to my collection. The cost as of April 2020, was £52.00 but I see it has now dropped to around £38.00, so go and grab yourself a bargain. Made with cubic zirconia stones it sparkles magically as you will see by the back view I have included in the filming.
Detail of the striking Arts & Crafts east window (c1913) at St Giles, Packwood, Warwickshire, representing the Crucified Christ with an Angel of Remembrance holding a book below, engaging the viewer with his gaze.
This is a magnificent example of the work of Warwickshire based artist Richard Stubington, who learnt and later taught stained glass at Birmingham School of Art. H's work remains little known but amongst the best of it's time. His work can also be seen at a couple of other churches nearby.
Tucked away in a quiet corner close to Packwood House, St Giles church is every bit as rewarding., a handsome medieval church with some interesting features and lovely glass.
The outstanding feature of the exterior is the imposing 15th century tower (of a similar design to certain others in the area) which greets the visitor. The rest of the building consists of an aisless medieval nave and chancel with an 18th century north transept in brick, built as a mortuary chapel.
Inside it can take a moment to adjust to the low light level, but the eye is drawn towards the curiously low chancel arch, around which are remains of 15th century painting showing the 'Three Quick & the Dead' (three figures in costly garments encountering three skeletons, now mostly faded, a reminder of Man's mortality then popular in art). The small chancel beyond is a lighter space that still retains a few fragments of ancient glass (though so heavily corroded to be difficult to discern) but it is the stunning east window by Richard Stubington which draws focus here, a dramatic composition of the dead Christ on the Cross with a seated angel below confronting the viewer, a beautiful example of glass of the Arts & Crafts movement (and not the only one in this church either). The north chapel contains another stained glass crucifixion but a much earlier one dating from the 14th century, while the walls here are adorned with some richly ornamented 18th century memorials.
Packwood church is a modest-sized building but one full of interest and happily normally kept open and welcoming to visitors (outside of pandemics of course, but it appears to be open again now).
Source: Digital image.
Set: WIL04.
Date: c1913.
Photographer: William Hooper.
HOOPER COLLECTION COPYRIGHT © P.A. Williams.
Repository: From the collection of Mr P. Williams.
Used here by his very kind permission.
Local Studies at Swindon Central Library.
Source: Digital image.
Set: WIL04.
Date: c1913.
Photographer: William Hooper.
HOOPER COLLECTION COPYRIGHT © P.A. Williams.
Repository: From the collection of Mr P. Williams.
Used here by his very kind permission.
Local Studies at Swindon Central Library.
This is from an old film negative c1913 - don't know the makes, but the one at the rear sure looks fancy! Can anyone help with identifying it?
Source: Digital image.
Set: WIL04.
Date: c1913.
Photographer: William Hooper.
HOOPER COLLECTION COPYRIGHT © P.A. Williams.
Repository: From the collection of Mr P. Williams.
Used here by his very kind permission.
Local Studies at Swindon Central Library.
In Dec 1913 - 1921 Mortlock Bros, Nickel Plating. (Expert Platers sent out by Canning and Co., of Birmingham.
In 1922 - 1925 Greaves and Power, Nickel, Silver and Gold Platers, plus Lewis and Cull, general distributors of Grape Nuts.
In 1926 Greaves and Power, vacating.
In 1926 Frederick Edmondstone aged 15 years of Ruth St., Nth Perth, employee of Greaves and Power was electrocuted, when his hand came in contact with a conduit near the window, he screamed in pain and his workmate, Kenneth Palmer attempted to help him and was badly shocked, Edmondstone died a short while later.
In July 1926 - 1930 The R. M. Co-Operate Ltd, Bakers, agents for Great Southern Roller Flour Mills.
In 1932 Additional storey to premises of R. Manning Co. Pty, Ltd, added by R. Summerhayes, Architect.
In 1932 - 1954 - R. Manning Co.Pty., Ltd. Bakery Supply Soft Goods Showrooms, Agents for Dingo Flour.
Built in c1913
14-16 Queen St., Perth.
A very sweet little 3ply- wooden jigsaw puzzle, cut in push-fit style with whimsies. The image is 'A Group of Bipeds', dated as 'copyrighted1904 by R.H.'. The little label in the corner 'The Greenhill Bazaar, 'Dollies Hospital' 3d / 3s 42, St Ann's Road, Harrow.' is either the retailer, or probably a second-hand seller of the puzzle. (I have not been able to find anything about the shop on the internet, and the area has been redeveloped.)
When I bought it I hadn't seen the box and didn't know the manufacturer, but I have since seen a couple of examples in the same coloured box with the same distinctive label, which allows me to be confident that it was made by the Picture Puzzle Company London. The box of my puzzle is 9.5 x 11.7 x 4.5cm high, and has no other label or marking, but carries a torn circular label with serrated edge on one end (with a fragment of writing on it that I can't make out).
One of the other puzzles had a pasted label inside the box lid, which carries most of the address of the supplier and the sizes and costs of the range of puzzles supplied. All are marked as 'post free', so were presumably mail order, with the claim 'Best Cutting Only'. The image of that jigsaw was "Late Summer Glories"by Hayward Young, approx 300 pieces with whimsies or figural pieces.
' .RE PUZZLE C
' inhope Street, Euston Road, N.W'
Price List: (pieces - size - cost)
50 - 7.5 x 5.5 in - 9d
75 - 8.5 x 6in - 1s
100 - 10 x 6.5in - 1s 6d
150 - 12 x 8in - 2s
200 - 14 x 9in - 2s 6d
300 - 17 x11in - 4s
400 - 20 x 14in - 5s 6d
500 - 25 x 16in - 7s
750 - 28 x18in - 10s 6d
1000 - 30 x20in - 15s
Postcard size 6d
The other puzzle is smaller than mine: 28 pieces and measures 8.5cm x 13.5cm, by The Picture Puzzle Company, London c1913 and is called Romantic Spot near St. Colomb. It has the same price list inside the lid, which confirms the Manufacturer's name, and Stanhope St - but I can't read the street number from the photo.
Part of the outstanding scheme of Arts & Crafts glazing in the Lady Chapel at Gloucester, the largest commission ever undertaken by Christopher Whall between 1899 - c1913 (a final half window was added by Veronica Whall in 1926).
Gloucester Cathedral is one of England's finest churches, a masterpiece of medieval architecture consisting of a uniquely beautiful fusion of Norman Romanesque and Perpendicular Gothic from the mid 14th century onwards. Until the Reformation this was merely Gloucester's Abbey of St Peter, under Henry VIII it became one of six former monastic churches to be promoted to cathedral status, thus saving the great church from the ravages of the Dissolution.
The most obviously Norman part is the nave, immediately apparent on entering the building with it's round arches and thick columns (the exterior is the result of Gothic remodelling). Much of the remainder of the building is substantially the Norman structure also, but almost entirely modified in the later Middle Ages inside and out, the result of the great revenue brought to the abbey by pilgrims to the tomb of the murdered King Edward II in the choir. It was this transformation of the Norman church that is credited with launching the late gothic Perpendicular style in England.
The gothic choir is a unique and spectacular work, the walls so heavily panelled as to suggest a huge stone cage (disguising the Norman arches behind) crowned by a glorious net-like vault adorned with numerous bosses (those over the Altar with superb figures of Christ and angels) whilst the east wall is entirely glazing in delicate stone tracery, and still preserving most of it's original 14th century stained glass. The soaring central tower, also richly panelled with delicate pinnacles, is another testament to the abbey's increasing wealth at this time.
The latest medieval additions to the church are equally glorious, the Lady Chapel is entered through the enormous east window and is itself a largely glazed structure, though the original glass has been reduced to a few fragments in the east window, the remainder now contains beautiful Arts & Crafts stained glass by Christopher and Veronica Whall.
The early 16th century cloisters to the north of the nave are some of the most beautiful anywhere, being completely covered by exquisite fan vaulting, with a separate lavatorium (washing room) attached to the north walk as a miniature version of the main passages.
There is much more of interest, from 14th century choir stalls with misericords to the comprehensive collection of tombs and monuments of various dates, including the elaborate tomb of Edward II and that of Robert Duke of Normandy, eldest son of William the Conqueror. The stained glass also represents all ages, from the 14th century to the striking contemporary windows by Tom Denny.
Further areas of the cathedral can be accessed at certain times, such as the Norman crypt under the choir and the triforium gallery above.
From left to right are: Bertha Marie Burke (1902-1971); Margaret E. Burke (c1913-c1970); and Josephine Veronica Burke (1907-1995) circa 1969. Image from the collection of John Edward Burke (1934- ).
THE GLOUCESTER HONEYSUCKLE (PALMETTE) TIARA
C1913 - 1914
E. Wolff & Co. on behalf of Garrard
Made in 1913-14 for Queen Mary by E. Wolff & Co. on behalf of Garrard, Mary used some recycled diamonds from the dismantled Surrey Tiara and some newly acquired stones to create a masterpiece. Able to hold the Cullinan V Brooch at the centre, as well as a large diamond and sapphire brooch and a brooch with a pink stone (which has been identified as a pink topaz or possibly a newly discovered stone called a kunzite), this tiara was designed with versatility in mind. And, again true to form, Mary tinkered with the tiara over time, removing some of the diamonds to make it sit lower.
Who knows if she just got tired of it or if her future daughter-in-law admired it, but it was to her that it was gifted upon her wedding to Mary’s son, the Duke of Gloucester. The future Duchess, Alice married the Duke in 1935.
But…. there was a caveat. The Cullinan V didn’t come with the tiara, nor did the other two brooches. Mary kept all three, with the Cullinan remaining with the Crown. Instead, Mary had another central element made to mimic the other scroll-like honeysuckle motifs in the tiara for the centre, and gifted it along with the tiara to Alice. It wasn’t until Mary’s death that Alice inherited the pink brooch and it was reunited with the headpiece. Somewhere along the way, Alice must have also had an emerald brooch commissioned to fit the tiara, as we’ve seen photos of such.
Princess Alice then gave the tiara to her daughter-in-law, Birgitte, the current Duchess of Gloucester, who wears it often, switching out the elements at the centre to compliment her attire. The current Duke and Duchess have one son (the heir apparent) and two daughters, so where the tiara will end up is anyone’s guess.
Many thanks to www.katiecallahanandco.com/ for this informative article, do visit the site.
This copy of course comes from our friends in China at Aliexpress. I have seen earlier versions they created where the side palmette designs point upwards, then downwards, then upwards again. This looks closer to the original but as we see in the photo section of the video every 2nd element should reflect the style of the centre section. But this is the only copy available of a tiara I have long admired and wanted to add to my collection. The cost as of April 2020, was £52.00 but I see it has now dropped to around £38.00, so go and grab yourself a bargain. Made with cubic zirconia stones it sparkles magically as you will see by the back view I have included in the filming.
THE GLOUCESTER HONEYSUCKLE (PALMETTE) TIARA
C1913 - 1914
E. Wolff & Co. on behalf of Garrard
Made in 1913-14 for Queen Mary by E. Wolff & Co. on behalf of Garrard, Mary used some recycled diamonds from the dismantled Surrey Tiara and some newly acquired stones to create a masterpiece. Able to hold the Cullinan V Brooch at the centre, as well as a large diamond and sapphire brooch and a brooch with a pink stone (which has been identified as a pink topaz or possibly a newly discovered stone called a kunzite), this tiara was designed with versatility in mind. And, again true to form, Mary tinkered with the tiara over time, removing some of the diamonds to make it sit lower.
Who knows if she just got tired of it or if her future daughter-in-law admired it, but it was to her that it was gifted upon her wedding to Mary’s son, the Duke of Gloucester. The future Duchess, Alice married the Duke in 1935.
But…. there was a caveat. The Cullinan V didn’t come with the tiara, nor did the other two brooches. Mary kept all three, with the Cullinan remaining with the Crown. Instead, Mary had another central element made to mimic the other scroll-like honeysuckle motifs in the tiara for the centre, and gifted it along with the tiara to Alice. It wasn’t until Mary’s death that Alice inherited the pink brooch and it was reunited with the headpiece. Somewhere along the way, Alice must have also had an emerald brooch commissioned to fit the tiara, as we’ve seen photos of such.
Princess Alice then gave the tiara to her daughter-in-law, Birgitte, the current Duchess of Gloucester, who wears it often, switching out the elements at the centre to compliment her attire. The current Duke and Duchess have one son (the heir apparent) and two daughters, so where the tiara will end up is anyone’s guess.
Many thanks to www.katiecallahanandco.com/ for this informative article, do visit the site.
This copy of course comes from our friends in China at Aliexpress. I have seen earlier versions they created where the side palmette designs point upwards, then downwards, then upwards again. This looks closer to the original but as we see in the photo section of the video every 2nd element should reflect the style of the centre section. But this is the only copy available of a tiara I have long admired and wanted to add to my collection. The cost as of April 2020, was £52.00 but I see it has now dropped to around £38.00, so go and grab yourself a bargain. Made with cubic zirconia stones it sparkles magically as you will see by the back view I have included in the filming.
In loving memory of Jean
Beloved daughter of
P & E RONDEL
Died March 16th 1939
Aged 12 years
We miss you darling
And wee Delma
Also Maurice Aged 3 days
Also their beloved parents
Percy RONDEL
23rd March 1947 aged 69
And
Emily RONDEL*
7th June 1966 aged 76
A wonderful father and mother
************************************************************************
Jean RONDEL
Does not appear in CCC cemetery database nor anyone else with Rondel name dying in 1939.
It is possible surname spelt wrong however I have looked through all entries for 1939 Bromley that appear online with no luck.
Maurice RONDEL
Died 8 October 1928
BL47 PL44
[according to Christchurch City Council Cemetery database however this is totally diff area to those supposedly interred in this same grave]
*Margaret [Emily] Armstrong RONDEL
Born in NZ
BL35 PL264
Percy Kavanagh RONDEL
Occupation at death: Retired Wool Classer
Years in NZ at time of death: 41
BL35 PL265
Delma does not appear on the cemetery database, however the RONDEL’s also had a stillborn child [name not recorded] it is possible this may be that child.[1]
2 other children
Percy Kavanagh Martin RONDEL born c1911 [2]
Clement RONDEL born c1913
A newspaper birth notice states a son was born at 611 Hereford Street, Linwood [Christchurch] on 17 May 1915[4]
Another birth notice states another son born at Nurse Poulton’s 476 Gloucester Street, 5th July, 1918. Jersey papers to copy.[5]
SOURCES:
[1]
NZ Dept Internal Affairs Historic BDM indexes: birth registration 1931/6009
[2]
NZ Dept Internal Affairs Historic BDM indexes: birth registration 1911/14449
[3]
NZ Dept Internal Affairs Historic BDM indexes: birth registration 1913/23814
[4]
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
[5]
In loving memory of
Henry R. HOWARD
Died 4th April 1939
Francis L. HOWARD
Killed in Action
Florence, Italy
30th July 1944
Aged 26
Block 19 Plot 331
Henry Richardson HOWARD
Died aged 53
Occupation at death: Accountant
Married: c1913 Nora LEONARD, marriage registration 1913/8086.
Nora was born 5 May 1884 and died c1973, death registration 1973/42055. [1].
Henry appears on the NZ Army WW1 Reserve Rolls 1916-17. Accountant of Barbadoes St North, St Albans, Christchurch [2]
Coroners inquest:
archway.archives.govt.nz/ViewFullItem.do?code=23827075
His probate is available:
archway.archives.govt.nz/ViewFullItem.do?code=20188936
Francis Leonard HOWARD
Rank: Trooper
Serial No.: 81588; Anti-Tank Brigade; 2NZEF
N.O.K: Mrs Nora Anne HOWARD, Mother, 50 Lindsay St, St Albans, Christchurch
Occupation before enlist: Bowser Attendant
SOURCES:
Christchurch City Council Cemeteries database
Cenotaph database
muse.aucklandmuseum.com/databases/Cenotaph/26564.detail?O...
[1]
NZ Dept Internal Affairs historic BDM indexes
[2]
Ancestry.co.uk
c1913 postcard view of Market Place and Tomlinson Hall. This view was looking north-northwest from a vantage point near the northeast corner of the intersection at Alabama and Washington Streets. The Marion County Court House was just outside this scene on the left. Market Street stretched across the center of the scene with Tomlinson Hall at the left and Market Place (City Market) in the center. Dozens of vendors with horse-drawn wagons and umbrellas lined Market and Alabama Streets. The umbrella in the lower left-hand corner advertised STAG TROUSERS.
The tallest building in the background was the Wulsin Building according to the 1914/1915 Sanborn™ fire insurance map set. A note says it was built in 1912. It still stands on the northwest corner at East Ohio and Hudson Streets (222 East Ohio Street). The map set identified the nearby castle-like building as the K. of P. (Knights of Pythias) Castle Hall. A note says it was built in 1905. It still stands on the east side of Hudson Street (230 East Ohio Street). City Hall was located next to Castle Hall on the northwest corner at Alabama Street. It has a limestone façade and still stands on that corner. A note in the map set says it was built in 1910, but most of it was hidden in this scene by the five-story Holliday Building on the southwest corner of the intersection.
From the collection of Tom Hohman.
The full postcard image can be seen here.
www.flickr.com/photos/hoosier_recollections/5743145588/
Copyright 2008-2014 by Hoosier Recollections. All rights reserved. This image is part of a creative package that includes the associated text, geodata and/or other information. Neither this package in its entirety nor any of the individual components may be downloaded, transmitted or reproduced without the prior written permission of Hoosier Recollections.
This Edwardian villa was built c1913 and was originally called Koyama, until it became a surgeon's home c1960, and was renamed Gayhurst.
In the 1970s it became the Gayhurst Holiday Flats and was enlarged in the 1980s as the Glenhurst Manor Retirement Home.
Part of the outstanding scheme of Arts & Crafts glazing in the Lady Chapel at Gloucester, the largest commission ever undertaken by Christopher Whall between 1899 - c1913 (a final half window was added by Veronica Whall in 1926).
Gloucester Cathedral is one of England's finest churches, a masterpiece of medieval architecture consisting of a uniquely beautiful fusion of Norman Romanesque and Perpendicular Gothic from the mid 14th century onwards. Until the Reformation this was merely Gloucester's Abbey of St Peter, under Henry VIII it became one of six former monastic churches to be promoted to cathedral status, thus saving the great church from the ravages of the Dissolution.
The most obviously Norman part is the nave, immediately apparent on entering the building with it's round arches and thick columns (the exterior is the result of Gothic remodelling). Much of the remainder of the building is substantially the Norman structure also, but almost entirely modified in the later Middle Ages inside and out, the result of the great revenue brought to the abbey by pilgrims to the tomb of the murdered King Edward II in the choir. It was this transformation of the Norman church that is credited with launching the late gothic Perpendicular style in England.
The gothic choir is a unique and spectacular work, the walls so heavily panelled as to suggest a huge stone cage (disguising the Norman arches behind) crowned by a glorious net-like vault adorned with numerous bosses (those over the Altar with superb figures of Christ and angels) whilst the east wall is entirely glazing in delicate stone tracery, and still preserving most of it's original 14th century stained glass. The soaring central tower, also richly panelled with delicate pinnacles, is another testament to the abbey's increasing wealth at this time.
The latest medieval additions to the church are equally glorious, the Lady Chapel is entered through the enormous east window and is itself a largely glazed structure, though the original glass has been reduced to a few fragments in the east window, the remainder now contains beautiful Arts & Crafts stained glass by Christopher and Veronica Whall.
The early 16th century cloisters to the north of the nave are some of the most beautiful anywhere, being completely covered by exquisite fan vaulting, with a separate lavatorium (washing room) attached to the north walk as a miniature version of the main passages.
There is much more of interest, from 14th century choir stalls with misericords to the comprehensive collection of tombs and monuments of various dates, including the elaborate tomb of Edward II and that of Robert Duke of Normandy, eldest son of William the Conqueror. The stained glass also represents all ages, from the 14th century to the striking contemporary windows by Tom Denny.
Further areas of the cathedral can be accessed at certain times, such as the Norman crypt under the choir and the triforium gallery above.