Gents Mag 1839 part 2 p.171

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	Gentleman's Magazine 1839 part 2 p.171 at the conclusion of the work is to be presented gratis to the subscribers. The first part of the proposed publication has appeared, containing fifteen plates, etchings executed by the author from his own drawings, in a bold and free style, and though not so highly and expensively finished as the plates in the early published Cathedrals of Mr. Britton, well calculated to display the features and architecture of the structure pourtrayed. This Cathedral affords an instructive lesson on the mode pursued by the ancient prelates and churchmen in rebuilding their churches: a work which was constantly going on, and the progress of which was only stopped by the arrival of the day of spoilation. The Cathedral was originally of Norman architecture, and of small dimensions, when compared with the existing choir, which appears to have been the commencement of a grand design for rebuilding the whole church in the splendid and beautiful architecture which then prevailed about the junction of the thirteenth and fourteenth centuries. The architect contemplated the preservation of so much of the old church as he could use use to advantage in his new design, not sweeping away the ancient structure to its very foundations, according to the practice of modern architects, when any new-fangled building is to be raised on the ruins of an older one. He intended to preserve the south transept with the corresponding piers of the tower, meaning to work them into the new edifice; but as the north transept would, in consequence of the extension of the choir in breadth, have been within the walls of the new choir, he rebuilt that branch of the cross, and on the east side of it, made provision for the addition of an aisle, which has not been carried into effect, although its commencement is manifested by the existence of the angular pier of the eastern aisle, which was completed before the removal of the wall of the transept, and now remains partially embedded in such wall. If this plan had been fully executed, the present tower, no way grand enough for a structure of so great magnificence, would with the Norman nave have been entirely taken down; but the work never proceeded beyond the choir, which, as we before remarked, is a resplendent specimen of architecture. The inspection of Mr. Billings' ground plan will plainly shew the commencement of the intended aisle, and Plate III. being the elevation of the north aisle, shews with equal distinctness the profile of the eastern wall of this aisle, set out upon the face of the wall of the choir aisle. The elaborate and tasteful design of the eastern window, one of the purest and most elegant examples of the flowing and foliated tracery of Edward the Third's reign in existence, is exhibited in elevation, accompanied with sections, plans, and details, and a diagram, in which the construction of this curious piece of workmanship is shewn geometrically. The remain plates exhibit the detail, which includes some objects of the most curious description; among other masonic freaks displayed in the structure, are seen two corbels in which the terminations are made to appear as if they were ribbons tied in knots. The windows of the church, which are partly lancet-shaped and partly foliated, are detailed with measurements in correct style, and the contruction of the tracery is shewn geometrically. Two curious winding staircases are worthy of notice; the newels end in ribs resembling the bars of a crown: they form the subject of two perspective views. One of the plates contains the detail of a structure styled a Confessional: if it be correctly designated, it is an almost unique example of this appendage, which, however commonly met with in the Roman Catholic churches of the present day, either did not exist in our ancient churches, or the remains must, in every other instance, have been so completely removed as to leave a reasonable ground for doubting their presence, a circumstance far from probable, if they had formed permanent structures of stone like the one here represented. Perspective views of the exterior, and of portions of the interior of the cathedral, are given, as well as of a plain but bold circular arched gateway of the Norman period, known as the Abbey gate. The whole form a
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