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The Rood Tower and South Transept, Lincoln.

THE SOUTH SIDE

From the west front we should walk along the south side, passing first the consistory court with its three lancet windows, and high pitched gable, where is the little figure of “the devil looking over Lincoln.” This forms a small western transept, and has a corresponding transept on the north side, containing the ringers’ chapel and that of St. Mary Magdalene.

THE EAST END

Going on we get a view of the clerestory windows in the nave, above which is the parapet relieved by canopied niches, once filled with figures. The flying nave buttresses now come into view, and next we reach, at the south-western corner of the great transept, the beautifully built and highly ornamented “Galilee Porch,” which was meant for the bishop’s entrance from his palace into the cathedral. The room over it is now the muniment room. From this point we get a striking view of the western towers with the southern turret of the west front. The buttresses of the transept run up to the top of the clerestory, and end in tall pinnacles with statue-niches and crockets. The transept gable has a delicately pierced parapet and lofty pinnacles. Above is a five-light Decorated window, and below this a broad stone frieze, and then the large round window, “The Bishop’s Eye,” with its unspeakably lovely tracery, a marvel of lace-work in stone; below this comes a row of pointed arcading. The eastern transept is the next feature, with another fine high-pitched gable. Here the work of St. Hugh ends. The apsidal chapels of St. Paul and St. Peter are at the east side of this transept, and then, along the south side of the Angel Choir, the chapels of Bishops Longland and Russell, with the splendid south-east porch between them. This, from its position, is unique in English churches, and was probably designed for the state entrance of the bishop after the presbytery had been added, in place of the Galilee porch entrance. It has a deeply recessed arch, with four canopied niches holding fine figures. The doorway has two trefoil headed arches, divided by a central shaft with a canopied niche above it, once containing the figures of the Virgin and Child. Above this, and in the tympanum, is represented the Last Judgment. The buttresses of the Angel Choir are beautifully and harmoniously enriched with canopy and crocket, and the upper windows are perfect in design and execution. Apart from its splendid position, it is this exquisite finish to the beautifully designed building that makes Lincoln Cathedral so “facile princeps” among English cathedrals. At the south-east buttress are finely conceived figures of Edward I. trampling on a Saracen, and his Queen Eleanor; and another figure possibly represents his second queen, Margaret. Coming round to the east we look with delighted eyes on what has been called “the finest example of Geometrical Decorated Architecture to be found in the kingdom.” The window is not so fine as that at Carlisle, and no east end competes with that at York, but York is Perpendicular, and Lincoln is Geometrical. Here we have not only a grand window, fifty-seven feet high, but another great five-light window above it, and over that a beautiful figure of the Virgin and Child, and all finished by a much enriched gable surmounted by a cross. The two windows, one above the other, seem not to be quite harmonious, in fact, one does not want the upper window, nor perhaps the windows in the aisle gables, but the buttresses and their finials are so extraordinarily good that they make the east end an extremely beautiful whole. Close to the north-east angle is a little stone well cover, and the chapter-house, with its off-standing buttress-piers and conical roof, comes into view at the north. The north side is like the south, but has near it the cloisters, which are reached by a short passage from the north-east transept. From the north-east corner of these cloisters you get an extremely good view of the cathedral and all its three towers. Steps from this corner lead up to the cathedral library. The north side of the cloisters of Bishop Oliver Sutton, unable to bear the thrust of the timber-vaulted ceiling, fell, and was replaced in 1674 by the present inharmonious pillars and ugly arches designed by Sir Christopher Wren.