The church itself is the best comment upon this somewhat obscure account, and it may be briefly divided into Pre-Hugonian, Hugonian, and Post-Hugonian parts. The first, the Norman centre of the west facade, does not concern us, except that its lovely face often looked down upon the great bishop in his dark or tawny cloak trimmed with white lambs' wool, which hid his hair shirt. Except for this Norman work and the Norman font, it would hardly be an exaggeration to say that the whole is by or for Hugh, for his shrine, his influence, and his example, completed what his work, and his plans, never dreamed about. Yet these last are responsible for much. He built a cruciform church, beginning with the entrance to the choir, with the aisles on either side. The chapels of St. Edward Martyr and St. James{24} form the base or step of the cross. The east transept, with all chapels adjoining, the choristers' vestry, antevestry, dean's or medicine chapel, with its lovely door and the cupboards in the now floorless room above it, the vaulted passage and chamber adjoining, are all his. So are, possibly, the matchless iron screens between the two choirs (topped with modern trumpery). South-east of the Medicine Chapel is one of St. Hugh's great mystic columns, and there are a pair of them. Where the Angel Choir now lifts its most graceful form and just behind the high altar, rose the semi-hexagonal east end, the opened honeycomb, where most fitly was placed the altar of St. John Baptist. It was somewhere in the walls of this forehead that the original bishop's eye and dean's eye were once fixed, possibly in the rounded eye sockets which once stood where Bishop Wordsworth and Dean Butler are now buried.{25}