The Dean’s Eye, in the north end, dates from about 1220. Here we have not only exquisite tracery, but splendid glass of the Thirteenth Century.
“It represents the Church on Earth and the Church in Heaven. In the centre is our Saviour seated in the midst of the Blessed in Heaven. Around are four large compartments, containing portions of different subjects, which do not appear to have all originally belonged to their present positions. The most interesting is that shewing the translation of the relics of St. Hugh, represented as borne on the shoulders of crowned and mitred personages. Of the sixteen outer circles, the topmost represents our Saviour seated on a rainbow; on either side are angels with the instruments of the Passion; in the next circles St. Peter and other saints are conducting holy persons to heaven; below these is the general Resurrection; the lowest five circles each contain the figure of an archbishop or bishop. The subjects can be best seen from the neighbouring triforium or from the passage which runs just beneath the window; it will be noticed that the glass in some of the compartments is much mutilated, as might naturally be expected, considering its antiquity. From below, the subjects are confused and not easy to distinguish, but the rich and harmonious blending of the colours can be seen to the fullest advantage, and the general effect is much finer. Rickman believes the form of the tracery to be quite unique in England, but states that there is a window exactly similar at Laon.”—(A. F. K.)
An arcade of seven lancet arches runs beneath the window. The wall behind is pierced with windows filled with fragments of old glass. Two larger lancet windows brighten each side of the doorway. They contain fragments of old glass. The western one represents angels playing musical instruments in the midst of foliage. The other window is filled with geometrical patterns. The doorway leads into the Dean’s Porch.
The Bishop’s Eye, at the south and opposite end, is about a hundred years later than its companion. It is Fourteenth Century and Decorated.
“It is filled with delicate and beautiful flowing tracery, which has been compared to the fibres of a leaf. Rickman considers it to be the richest remaining example of its period. It is enclosed within a kind of arch formed by two rows of openwork quatrefoils; an open frame-work of a similar nature is often to be seen round circular windows in French cathedrals. The glass consists of fragments from other windows, chiefly of the Early English period. Although the pieces are placed quite at random, forming no subject whatever, yet the effect of the colouring is good, especially when seen from the opposite end of the transept. Of all the modern windows in the minster, with their elaborate subjects, it may safely be said that not one can be compared in effect with this mass of glowing colour.”—(A. F. K.)
The four lancet windows below contain Early English glass, collected from various parts of the Cathedral.
Near the Bishop’s Eye John de Dalderby’s shrine was situated. This was of “massey silver” incrusted with diamonds and rubies. John de Dalderby, Bishop of Lincoln from 1300 to 1320, was reverenced as a local saint. Henry VIII. removed his altar-tomb, fragments of which may be seen near the Galilee Porch, situated at the corner of the south arm of the western transept, different in position to the Galilees of both Durham and Ely. Lincoln’s was built about 1230 for the bishop’s state entrance. The south and west ends are open; and it may, therefore, be entered from either. Two enormous oak doors open from the east side into the transept. The porch is vaulted and ornamented profusely with the dog-tooth. The Perpendicular parapet running along the top of the porch is, of course, a later addition.
Retracing our steps—no great hardship in a place of such beauty and interest—we walk up the south-choir-aisle to the Eastern Transept, where we have two semicircular chapels on the right hand, and on the left the Dean’s Chapel. We are now at St. Hugh’s earliest work; and his double arcading is again seen in the north wall leading to the cloisters. Here also we find on two of the columns crockets that were novelties at this period. They occur at Wells, the work of Jocelin. The name of Dean’s Chapel is a misnomer—no one knows what it was used for originally. It has been suggested that it was the original burial-place of St. Hugh.
Two semicircular chapels also border the eastern side of the south end of this transept, and the Choristers’ Vestry occupies the corresponding corner to the Dean’s Chapel. A stone screen (Decorated) separates it from the south aisle of St. Hugh’s Choir. The double arcading and sculptured angels are constantly seen. Two other vestries lie beyond, towards the south wall.
By means of an oak doorway, leading from the north wall of the eastern transept, we enter a long, narrow passageway, with stone vaulting and windows filled with tracery and glass. This takes us into the Cloisters, for at Lincoln these secluded