The width of the opening is the same in both windows, but while the actual tracery of the York window is more than two feet higher, the Carlisle window is greatly superior in the beautiful arch mouldings above its tracery, and also in the side shafts and mouldings.
Again some stiffness is imparted to the design of the York window by the central mullion which reaches from the basement to the top of the arch. The tracery branches outwards from this on each side, and depends upon the arch for support; while the tracery in the Carlisle window is not so dependent. Neither in skilful workmanship nor in variety of ornament is the York window equal to that at Carlisle. With the exception of four quatrefoils (placed above each alternate mullion) it is composed of trefoils. Carlisle, on the contrary, possesses nine quatrefoils, in addition to four placed like those at York. Nearly all the small spandrels formed by the various ornaments are perforated, and this imparts a remarkable air of lightness to the window.
The beautiful stained glass in the tracery is all that remains of the ancient glass. It is of the time of Richard II., and was no doubt preserved because of the expense that reglazing its small intricate forms would have involved.
The subject is a Doom—the Resurrection, the Last Judgment, and the New Jerusalem.
"We have our Lord sitting in judgment; the Procession of the Blessed to the Palace of Heaven; the Place of punishment for the wicked; and the general Resurrection.
"The figure of our Saviour is in the uppermost quatrefoil of the central compartment; His countenance will bear the closest inspection; it exhibits evident traces of suffering, but is calm, severe, and dignified. His head is surrounded by a cruciform nimbus. Below this are two quatrefoils, easily distinguished by their silvery appearance. These represent the Procession of the Redeemed to the heavenly Jerusalem, whose towers and pavilions are shown in the quatrefoil to the right. St. Peter stands in the gateway in an attitude of welcome; at his feet flows the River of Life, which some of the Redeemed have reached. The red glare of the Place of punishment makes it easy to be distinguished; the tortures represented are of the most realistic character, and the devils are very material beings, with tails, hoofs, and horns.
"The rest of the picture is occupied with the representation of the general Resurrection:—the dead rising from their graves—ecclesiastics are vested, but laity rise naked, though kings wear their crowns: several bishops are among the crowd, and a pope wearing the triple tiara. Some of the ecclesiastics are bearded, and probably are intended for canons of the cathedral, who, being Austin or Black canons, would wear their beards.
"In one of the quatrefoils, just above the mullions, is a figure surrounded by a heraldic border; this represents John of Gaunt, who was Governor of Carlisle from 1380 to 1384. It is said that he supported the prior, William de Dalston, who refused obedience to the bishop, and had been excommunicated; and that, out of gratitude, he was thus represented in the east window."[[4]]
