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Updated: May 9, 2025
The first transept cuts the nave beneath the sixth, and the second beneath the ninth vault. The choir stands beneath the fourth and fifth vaults, and the high altar between the two transepts, occupying the seventh and eighth space. Beneath the tenth stands the parish chapel or ex-high altar, behind which runs the ambulatory, on the off-side of which are situated the five apsidal chapels.
The rose windows of the transepts, and that at the west end of the nave, merit your attention and commendation. I could not avoid noticing, to the right, upon entrance, perhaps the oldest side chapel in the cathedral, of a date less ancient than that of the northern tower, and perhaps of the end of the twelfth century.
Byland abbey has nearly disappeared; the only perfect remains are the west end, a fine specimen of Saxon and Gothic, and a small portion of the choir. The church, its transepts, north and south aisles, and chancel, are gone; and the dormitory, refectory, cloisters, &c. have scarcely left any trace of their gorgeous existence.
The upper part of the Choir, and the whole of the Nave and Transepts was then rebuilt which accounts for the gracefulness and airiness of its architecture when contrasted with the dark and heavy vestibule of the age of Suger.
Although the nave has been rebuilt and the chancel is not the most perfect form of Perpendicular, the centre of the church will repay scrutiny, for it is of peculiarly solid and majestic appearance. It is even thought by some authorities to be Saxon. The Norman details to be noticed include the fine south door, the arches of the transepts and the windows in the south arm.
The extreme length of the cathedral is 342 feet of Vienna measurement. The extreme width, between the tower and its opposite extremity or the transepts is 222 feet. There are comparatively few chapels; only four but many Bethstühle or Prie-Dieus. Of the former, the chapels of Savoy and St. Eloy are the chief; but the large sacristy is more extensive than either.
Only when I stood at the west entrance of the Cathedral I could discern, spreading up the dark nave, to the lantern, to the choir, a phantasmagorical mass of forms: I went a little inward, and striking three matches, peered nearer: the two transepts, too, seemed crowded the cloister-doorway was blocked the southwest porch thronged, so that a great congregation must have flocked hither shortly before their fate overtook them.
A great space was cleared about the altar and confession, extending, as he could see at least on his side, to the point that marked the entrance to the transepts; at this point ran rails straight across from side to side, continuing the lines of the nave.
Savinien, is of the thirteenth century. The colour is exceedingly brilliant, lively, and harmonious, with the iridescence of a mosaic of precious stones. The sixteenth-century glass, none the less than the framing itself, of the grand rose windows of the north and south transepts, is equally remarkable as to design and colour.
It is a sleepy, old-fashioned place, with little of interest excepting the Priory Church and the castle. The square church-tower rises high above the Avon, a landmark from afar, its mass of gray masonry catching the eye from away over the sea. The church is of large dimensions, cruciform in plan, with short transepts, and a Lady chapel having the unusual peculiarity of an upper story.
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