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 to sweep away all the old Norman work at the west end and carry the line straight on with equal-sized arches, but funds failed and he had to join up the new with the old as best he could; and we have cause to be thankful for this, since it has preserved for us the original and most interesting work of Remigius.

Before we leave our place beneath the tower, we must look at the two great transepts. These have piers, triforium and clerestory similar to those in the choir, and each has three chapels along the eastern wall; these, from north to south, are dedicated to St. Nicholas, St. Denis, St. Thomas; and in the south transept to St. Edward, St. John and St. Giles. Of these, St. Edward's is called the chanters' chapel, and it has four little figures of singers carved in stone, two on each side of the door. This was fitted up for use and opened in August, 1913, for a choristers' chapel, the tombstone of Precentor Smith, 1717, being introduced for an altar. Everybody is attracted by the rose windows. That to the north has beneath it five lancet windows, something like those at York, filled with white silvery glass, but the rose above has still its original Early English stained glass, and is a notable example of the work of the period. A central quatrefoil has four trefoils outside it and sixteen circles round, all filled with tall bold figures and strongly coloured. It is best seen from the triforium. Below is the dean's door, with a lancet window on either side, and over it a clock with a canopy, given in 1324 by Thomas of Louth. This canopy was carried off by the robber archdeacon, Dr. Bailey, and used as a pulpit-top in his church at Messingham, but was restored by the aid of Bishop Trollope.

The south transept, where Bishop John of Dalderby was buried, contains what no one sees without a feeling of delight, and wonder that such lovely work could ever have been executed in stone,—the great rose window with its twin ovals and its leaf-like reticulations, which attract the eye more than the medley of good old glass with which it is filled, but which gives it a beautiful richness of effect. Below this are four lancets with similar glass.

The aisles of the nave are vaulted, the groins springing from the nave pillars on the inner, and from groups of five shafts on the outer side. Behind these runs a beautiful wall arcade on detached shafts, continuous in the north aisle, but only repeated