The minster is built of Lincoln stone, a hard limestone, well capable of resisting the action of the weather. It yet remains to be proved whether the fast-increasing number of tall smoking chimneys will have the undesired effect of blackening the exterior and destroying the sharpness of its lines.
Photochrom Co. Ltd., Photo.]
The West Front is massive and imposing, and possesses some features of considerable interest; beyond this, little can be said for it, as it is architecturally somewhat of a sham. Why the architects threw away the opportunities they had, and finished off the western end of the church with an enormous screen wall, it is now difficult to say. The Norman front was originally furnished with three gables, one in the centre, following the line of the old nave roof, the others in front of the Norman towers, and similar to those which may still be seen on the outer sides of these towers. The greater height of the Gothic nave necessitated the raising of the central gable, and this was done; but instead of preserving the gables in front of the towers and adding two more for the side chapels, a huge flat wall was constructed, masking the lower parts of the towers, and altogether hiding the western chapels. The result is that the towers appear too close together, and lose all connection with the façade, which should rather set off their proportions than conceal them. There seems, too, no reason for the great width of the façade, until one passes round and sees the low side-chapels hidden behind it. Turning, however, to details, there are points which are deserving of close attention. The severe and strong wall in the centre, with a fragment of the first bay behind it, is the only part which now remains of the first Cathedral of Lincoln. In gazing on this massive work, so fortress-like and forbidding, we are reminded of the warrior-bishop
who first chose this spot for his cathedral, making it so solid and strong, that it was at one time seized and fortified, under circumstances already related (p. [11]). The great central recess has been heightened several feet, but the two side-recesses and the lofty semi-circular niches beyond remain almost as Remigius left them. It is probable that the plainness of this bishop's work was originally relieved by colouring. The slits in the jambs of the great arches and on the front serve to light the passages and chambers, which are constructed in all directions within the thick walls of this part of the façade. The original use of these chambers cannot very well be determined; they are accessible only from the inside of the minster, and may be reached from the sills of the great west windows. There is a great difference in style between the features of this wall and those of the three elaborate doorways with which it is pierced. They are assigned to Bishop Alexander the Magnificent, and have been called by Sir G. G. Scott "truly exquisite specimens of the latest and most refined period of Romanesque, just before its transition into the Pointed style." The central doorway has four columns on either side, carved with diaper ornament and grotesque figures; elaborate mouldings are carried round the arch. The side doorways are of similar style, but with three columns instead of four to support the arches. Some of the ornament was restored between thirty and forty years ago by the architect, J. C. Buckler of Oxford, partly to take the place of the plain pillars inserted by Essex a century before, and partly to replace decayed work. The arcade of intersecting arches along the top of the Norman front is also assigned to Bishop Alexander. It has been pointed out that this bishop's work may be distinguished from that of Remigius by its being fine-jointed, whilst the other is wide-jointed. A most interesting, though perplexing, band of sculpture runs horizontally across the front; it commences just above the side niches, and is continued in the jambs of the great arches. It is most probable that the sculptures originally formed a consecutive pictorial illustration of many of the chief incidents recorded in the Old and New Testaments, but they are in no order now, and there is no doubt that they have at some time or another been rearranged—or rather disarranged. The rarity of such work as this greatly increases the importance of these Lincoln sculptures. They have been considered by some to be of Saxon origin, and either to have belonged to the earlier church of St. Mary Magdalene, which stood on this spot, or to have been brought by Remigius from Dorchester. They do not, however, appear from their style to be earlier than the eleventh century, and since Remigius would have most probably arranged them differently, had they been specially sculptured for their present position, it is possible that they were inserted later than his time. That they were there not very long after, is proved by the fact that one relief on the south side of the southern tower is now enclosed in the Early English chapel, which we know to have been built before the middle of the thirteenth century, The sculptures are illustrated in the Archæological Journal, vol. xxv., from photographs procured when the repair of the west front was going on. The subjects were at the same time identified by Archdeacon Trollope (afterwards Bishop of Nottingham). The band is about 3 ft. 6 in. in depth, and is protected by a plain cornice. The traces of paint still seen on some of the reliefs would lead to the conclusion that the whole series was once bright with glowing colours. Parts of the original reliefs are now represented by modern copies.
Commencing over the northern niche, the first subject is the Torments of the Lost, who are seen in the clutches of demons; next is Christ standing at the jaws of hell, on the prostrate form of Satan. On the northern jamb of the recess are two more reliefs, one representing six saints, the other identified by Trollope as "Christ the Custodian of all faithful souls." Our Saviour is seated on a throne, holding a sheet before Him, in which are the souls of four personages; the symbols of the Evangelists appear at the corners. Opposite to these are two other reliefs; one represents Christ sitting at meat with the two disciples at Emmaus, the table at which the three figures are seated being placed beneath an arcade capped by turrets with conical roofs. This relief is in very good preservation, and the architectural features furnish a guide to the date of the series. The next subject is the Blessed End of the Righteous and the Torments of the Lost. On the front of the pier is a fragment of a draped figure. The next relief should be the first of the series; it represents Adam and Eve expelled from Paradise, and is placed on the southern jamb of the central recess. On the front of the pier are two
men tilling the ground, probably typifying the Condemnation of Man to Labour, while the hand grasping a bag above would symbolise God's providing care for His people; along the top is a band of foliage. There are two reliefs on the jambs of the southern recess; the first is mutilated and obscure, but is probably intended for Hannah with the Infant Samuel, and Samuel announcing God's revelation to Eli, On the other side of the recess is Christ instructing a disciple, probably either Nicodemus or Peter. The three other reliefs, over the southern niche, are:—(1) The Building of the Ark: Noah is seen with a hammer, and another figure, probably one of his sons, with an axe, the ark being visible behind; (2) Daniel in the Lions' Den, this subject made conspicuous by a moulding all round it; (3) The Entry into, and Departure from, the Ark: to the left the ark is seen, with Noah, his wife, and three sons (?) inside, while a procession of animals in miniature is advancing towards the vessel; to the right of this are eight figures leaving the ark, with the Almighty Father beyond, apparently making the covenant with Noah. The last relief, hidden by the chapel at the south-west corner, represents the Deluge: three half-submerged figures are clinging to trees or rocks; the prow of the ark is seen to the left.