Comprehensive Design

VII COMPREHENSIVE DESIGN

57. The shape of the city as it has now emerged is most interesting, and there remains nothing further to do other than that which is most important of all: namely, to create a pattern in time and space that welds together the several parts. To see the whole and not the detail we should have to hover a few thousand feet above the Cross. We should then detect many things that were beyond the comprehension of persons moving below, but whose influence was profound. Here we should see first the ordered influence of ancient Rome. Then the Latin Cross of the Cathedral comes to be echoed in the Cross streets and defined by the three pedestrian crossings. The Cathedral is opening to a traditional view from Northgate , and a pedestrian way (the Via Sacra) links all parts of the city from what may possibly be the first Christian church in England, St Mary de Lode, to those early seats of education and enlightenment, Greyfriars and Blackfriars, in a single majestic idea. We shall see this idea developing in many ways and apparently without effort or strain. We can take one example of this: the square. From our eminence in the air we see that this shape, significant for the unity of its appeal to all creeds and races, already lies upon Gloucester; once in the Cathedral cloisters and once (equal in size) in the bowling green adjoining Greyfriars. In the model we see it again in the revealed cloister square of Blackfriars, and again (and in climax) in the complex of shapes that form the new King's Square.

It is at ground level, however, that the landscape of a town is judged, revealing views, incidents, and perspectives that follow one another in sequence. The compass of the many dimensions of this can be experienced today if we stand just west of St Nicholas, and look eastwards. This is one viewpoint only, but by its aid, and by a study of the Plan jointly with the buildings listed in Appendix II, we can imagine something of the total complexity. Each element in turn breaks itself down to create still further elements: sculpture, mouldings, texture of materials and plants; elements in fact so small that in the final stage they are as much those of touch as of sight.

'The ancient British name was Caer-Glow; Glow signifies Fair, and Caer is the British word for a city; and the place still does well deserve the name of the Fair City.'

From The Ancient and Present State of Gloucestershire by Sir Robert Atkyns 1712.