THE CATHEDRAL: EXTERIOR.
Few persons would dispute the statement that for external grandeur of
effect the cathedral at Ely is surpassed only, if at all, in England by
Durham and Lincoln. With the natural advantages of position enjoyed by
those cathedrals Ely cannot compete. In both these cases, also, there
are grand mediæval buildings of great size near at hand, that group
well with the cathedrals and materially improve the effect. But,
compared with the adjacent country, Ely does stand on an eminence, and
consequently can be seen from a great distance in all directions. At
Durham the distant view is limited by the hilly nature of the district;
Lincoln, except on the north side, can probably be seen more than thirty
miles off, from the ground.[1] Ely can be seen quite well from the
tower of Peterborough--about thirty-five miles as the crow flies. Ely is
nearly, but not quite, the highest spot in the Fenland. One place in Ely
is 109 feet above mean sea-level. The highest elevation in the Fenland
is near Haddenham, some five miles to the south-west of Ely, where a few
bench-marks give 121 and 122 feet above sea-level.
It is not only its magnificence that makes the view of Ely Cathedral so
remarkable, there is also the feeling that it has so many striking
features, to which we can find nothing to compare. "The first glimpse of
Ely overwhelms us, not only by its stateliness and variety of its
outline, but by its utter strangeness, its unlikeness to anything else."
So says Professor Freeman[2] and again: "Ely, ... with its vast single
western tower, with its central octagon unlike anything else in the
whole world, has an outline altogether peculiar to itself."
Although Ely, with the single exception of Wells,[3] is the smallest of
the ancient episcopal cities[4] of England, the area of the cathedral
is exceeded only by four others--York, S. Paul's, Lincoln, and
Winchester. The church certainly gives the impression of being out of
all proportion to the town.[5] There has been nothing to occasion any
considerable increase in the number of the inhabitants. Sixty years ago
there were within about four hundred as many as now. The town, as has
been pointed out above, grew out of the foundation of the monastery.
"The history of Ely is the history of Wells, Lichfield, Peterborough,
Bury Saint Edmunds, and a crowd of others, where the church came first
and the town grew up at the gate of the bishop or abbot." The great
wealth of the monastery accounts for the original magnificence of the
church; and even when the resources both of the see and the cathedral
body were reduced, they were still amply sufficient to maintain the
fabric without the loss of any material portion of it. We have no
knowledge of the occasion of the ruin of the northern part of the west
transept, but there is no suggestion that it was allowed to fall through
want of means to keep it up.
#The West Front.#--The visitor will naturally commence his
investigation of the cathedral with studying the view of the tower from
the west; and here he should endeavour to picture to himself the
appearance of the west front as it originally stood. It has, indeed,
been questioned whether the northern limb of the western transept had
ever been really completed. The prevailing opinion is that it was
completed, and the weather-mould against the north wall of the tower is
held by many to be almost conclusive evidence of the fact. From what we
see remaining, it is clear that it was (if ever built) similar to the
southern limb; and it was doubtless terminated in the same way by two
massive octangular towers. Imagine, therefore, a west front, having to
the left of the tower (as we look at it from the west) a limb
corresponding to that on the right; imagine also a line of roof,
extending over both western transepts, situated in a line with the foot
of the three lancet windows just below the clock; imagine also, further,
a roof of similar pitch over the galilee porch,[6] and, instead of the
present Decorated stage at the summit, a pyramidal spire of timber,
leaded. "The front, with its tower thus terminated, with leaded spires
also on the four terminal towers of the transept, and with the high
roofs of the transept and western porch, must have presented a _tout
ensemble_ of the most imposing and majestic character."[7]
When we examine the details of the architecture we can express nothing
but the greatest admiration. The whole of the south wing of the front
belongs to the last quarter of the twelfth century. The lowest stage of
all (for there are six stages, divided by horizontal strings) is blank;
the next three are late Norman. These have in the lowest stage in each
of the two divisions an arcade of seven tall lancets; in the next above
are four broader arches, each containing two small lancets beneath; in
the upper one is a large window, under a round arch of four receding
orders, with a blank lancet on each side. In the north wing, it should
be noted, the late Norman work was carried up one stage higher than on
the south. The upper stages are Transitional in character, but they
carry on the idea of the Norman design below. Here we see first an
arcade of four trefoiled lancets, of greater depth than those
underneath; while the uppermost stage has a large pointed window, with a
lancet on each side, and above each lancet a quatrefoil in a circle. The
arches of the window and lancets are highly enriched with carving. Below
the parapet is a good corbel table. The fourth and sixth stages are
further covered with admirable diaper panel-work. The octagonal towers
at the end of the southern transept, of which that to the west is larger
than the other, have three more stages, the central one having small,
deeply sunk trefoiled lancets; the other two, large plain ones; the
uppermost tier of lancets being open. A singular effect is produced in
the third stage from the top by the lancets being divided in the centre
by the main shaft that rises from the ground at the angles of the tower.
On the south and east these shafts are not perfect.
#The Galilee Porch# is of excellent Early English work, with details
of great beauty. Certainly nowhere in England, possibly nowhere in the
world, is there to be seen so fine a porch. "Perhaps the most gorgeous
porch of this style in existence is the Galilee at the west end of Ely
Cathedral: this magnificent specimen of the Early English style must be
seen to be duly appreciated; it combines the most elegant general forms
with the richest detail; a very happy effect is produced by the double
arcade on each side, one in front of the other with detached shafts, not
opposite but alternate."[8] Each side, externally, is covered with
lancet arcading in four tiers. In the upper tier the lancets are
trefoiled, with dogtooth in the moulding; in the next lower tier the
lancets are cinquefoiled, with two sets of dogtooth. The lancets in the
west face are all cinquefoiled, and the three lower tiers here have
trefoils in the spandrels. Nearly all are highly enriched with
dogtooth; while the mouldings of the west door have conventional foliage
as well. The lancets here are deeper than on the sides of the porch, and
were probably designed to hold figures. Of the three large lancets in
the west window the central one is slightly more lofty than the others.
[Illustration: DOORWAY OF THE GALILEE.]
The interior of the porch is even more beautiful; the profusion of
ornamentation on the inner doorway and the exceeding gracefulness of the
double arcades in the sides are quite unsurpassed. Both doorways are
divided by a shaft, and both have open tracery of exceptional beauty
above.
Bishop Eustace, to whom this porch is attributed, died in 1215. It is
not surprising to learn that many careful students of English
architecture have found a difficulty in believing that work of such
consummate grace and perfection of detail can belong to so early a date.
Many dated examples belonging to later years in the century, which seem
to indicate a steady growth from the simplest pointed lancets to the
elaborately cusped arches which were themselves the prelude to the
Geometric period, are adduced as evidence of the improbability of the
Early English style having, so to say, grown suddenly to perfection at
Ely. Numerous instances may, however, be found in other great minsters,
where a similar difficulty has been encountered. The probable
explanation is that the best artists and the most original designers
belonged to the monastic or cathedral bodies. They maintained what would
be described in modern language as schools of architects; and the very
best talents and energies of such bodies would naturally be brought to
bear upon any great work connected with their own church. We cannot
suppose that a new conception in architectural design sprang into
existence simultaneously in several different centres. There must have
been a beginning in some one place. The idea would spread in the
neighbourhood and in buildings where the particular abbey or cathedral
had property or influence, and would by degrees be carried to other
religious houses, and so become generally adopted, and mark a distinct
change in style. But this would take time. Sometimes we can trace how
new methods were carried about. Those who were brought over from
Normandy by the Norman kings of England to be abbots in English
monasteries, brought with them their characteristic style of building;
and at the end of the twelfth century this had entirely superseded the
old English style. One monastery passed on the new fashion to another,
as Simeon, at Ely, came fresh from the great work being carried on at
Winchester under his brother Walkelin.
It is not claimed for Bishop Eustace that his work here is the earliest
known specimen of the style finished in so perfect a form. At Lincoln
the choir was erected in the time of Bishop Hugh, who died in 1200. Some
features there have been pointed out that shew that the style was a new
departure, and that the architect was feeling his way. It is admitted
that there is not to be found an earlier dated example of the finest
Early English work than the choir at Lincoln. Second only to this the
galilee porch at Ely may take rank. Other erections of very nearly the
same date have admirable work, such as the lady-chapel at Winchester and
the east end of Chichester; but there is nothing in either of those
examples to compare with the elaborate richness of detail at Ely.
#The West Tower# has six stages of Early English date above the
porch. Three of these have each three separate lancet windows, the two
lower having banded shafts. In the projecting corner turrets are lancets
of similar design in the two upper stages, but not so broad and not
pierced for windows; while in the lowest stage in the turrets above the
porch are several tall, thin, trefoiled lancets, having more the
character of Transition Norman work. Between the window ranges are
arcades of short, deep, trefoiled lancets; at the top below the parapet
and corbel table are five quatrefoils in circles, one not pierced. On
the north and south sides are but two ranges of windows. The tower must,
of course, have been built before the porch, and may consequently be
assigned to the last years of the twelfth century; and it is a noble
specimen for such an early date. The upper Decorated stage consists of
an octagon having a fine window of three lights in each face, the part
below the transom not glazed, and an open parapet above. At the corners
are octagonal turrets, with open lights above the level of the central
portion, and plain parapets. The turrets are detached from the centre,
except at the top and bottom. The latest calculations give the height of
these turrets as 215 feet. This would be nearly the same as the central
tower at Durham.
The Early English tower must have had some erection above it, probably
of wood, of a low pyramidal form. But before long it was replaced by
something of a better style. Bishop Northwold (1229-1254) "construxit de
novo turrim ligneam versus galileam ab opere cementario usque ad
summitatem." This was in turn removed when the present octagonal stage
was erected, about the year 1400. This addition was soon found to be a
source of danger, and it threatened the destruction of the whole tower.
For several years, in the middle of the fifteenth century, the tower was
undergoing repairs. Before this the upper part had been braced together
with frames of timber. In the interior, as will be seen hereafter, inner
arches of great strength were inserted under the original Norman arches
of the tower. A light and thin wooden spire was unwisely placed at the
top, and this was in 1757 reported to be in bad condition, and injurious
to the tower. It was not finally restored till about 1801, when the
whole of the upper portion, including the corner turrets, was materially
strengthened.
[Illustration: THE WEST TOWER FROM THE SOUTH.]
On the west face of the buttress, built against the tower in the north,
can be seen some panels of Perpendicular date. These have suggested the
idea that it was in contemplation to rebuild what had fallen in a later
style.
Notwithstanding the ruins, the view of the cathedral from the north-west
is very striking, and in some respects more remarkable than any other
(see p. 2). We have here the only external view of the whole length of
the #North Side Of The Nave#. With the exception of the clerestory
range, and, of course, the north transept, the first impression is not
that of a Norman building. The single broad light of the Norman
clerestory, with its adjacent round-headed lancets in the wall, remains
in each bay unaltered. Above these windows was once a battlement; but
Miller records, in 1834, that it was "removed within the last sixty
years." The aisle battlement remains. The walls of the triforium were
raised, and the Norman windows, both of the aisle and triforium,
altered, in the Perpendicular period, the alterations having been begun
on the south side in 1469. All these windows now have ogee arches, and
are of three lights. The tracery is unimposing. About the middle of the
wall can be distinctly seen the marks of the door and covered way that
led from the cathedral to the Church of S. Cross. This church had been
erected in the early part of the fourteenth century, but (as has been
mentioned, p. 29), was found in 1566 to be too dilapidated for use, and
beyond repair. It was accordingly destroyed, and the lady-chapel
assigned, in lieu of it, to the parishioners for their parish church.
Either the fabric of this church must have been strangely neglected by
its custodians, or it must have been very inferior in merit of
construction to Walsingham's work, which was being erected at the same
time, if it could last no longer than about two hundred and thirty
years. Round the clerestory windows and arcading can be seen the billet
moulding; under the triforium parapet is a corbel table with billets;
below the triforium windows is a string-course consisting of little
double squares with a diagonal (sometimes called the hatched moulding),
a form of ornament not one of the most common. Good examples of it are
to be seen in Westminster Hall. In the sixth bay from the transept is a
tablet with the date 1662. This must be the time when some alterations
were made; but it can neither refer to the raising of the triforium
walls, nor to the building up the wall when the door to the destroyed
church was no longer needed. Between this point and the transepts can be
plainly seen the marks of the original Norman windows over the heads of
the existing Perpendicular ones.
#The Octagon# can be nowhere seen to better advantage than from this
point of view. Restored as a memorial to Dean Peacock, it has been
brought as nearly as possible to what Walsingham intended; for it is not
quite certain that he entirely completed his own design. The
quadrangular turrets, for instance, at the corners of the lantern, were
probably meant to be surmounted by pinnacles. These were included in
Scott's original designs for the restoration, but have not been erected.
Indeed, two of Bentham's views of the building represent pinnacles at
the corners of both octagon and lantern, while one view has them to
neither. It is certain also that there were slighter pinnacles designed
for the middle of the longer sides of the octagon. These have now been
built. The lantern has quite recovered its original beauty, after being
sadly mutilated and altered at various times. During the discussions
about the correct way of completing the lantern not a few persons
maintained that the true termination of the whole was a lofty, light,
open spire, and that if Walsingham never erected one, he must, at least,
have had one in contemplation. The examination of the interior
construction leaves no doubt whatever that no such flèche was ever
erected, and also that Walsingham intentionally completed the whole
without making any preparation for the addition of such a feature, a
preparation which he would beyond question have made had he thought a
spire was necessary to the completion of the work.
The octagon is not equilateral. The cardinal faces, being equal to the
inner breadth of the nave and transepts, are the longer. In all the
faces just below the open parapet are arcades of cinquefoiled arches,
some of them pierced for windows. The cardinal faces have each six such
arches, and the other faces only three. These shorter sides only have
large windows, the others abutting directly upon the roofs. These large
windows have exquisite tracery; they are all of four lights, with
transoms, and are beneath arches unusually acute for the Decorated
period. The windows in the lantern are new, Essex having destroyed the
original four-light windows and substituted poor ones of three lights
each.
The way in which the octagon and lantern combine in producing a
perfectly harmonious composition is in great part due to two points of
difference, points which very few observers detect. These are, firstly,
that the lantern is a regular octagon, having all its sides equal, in
this respect being unlike the stone octagon beneath it; and, secondly,
that the eight faces of the lantern are not parallel to the eight faces
of the octagon. The new windows of the lantern are similar to the large
ones below, but are not mere copies of them. The upper stage of the
lantern, above the roof as seen from within, was once a bell-chamber;
its lights are not, and never have been, glazed. The whole of the
lantern is of wood, covered with lead. Two flying buttresses rise from
the corners of the nave and transept aisles to the corbel table of the
clerestory range. There are also eight elegant flying buttresses, one to
each of the angles of the lantern. These are part of the new work, the
originals having long disappeared.
#The North Transept# retains its original Norman windows in the lower
stage of its western aisle, though we must remember that the
north-western angle of this transept fell down in 1699, and was
rebuilt[9] under the superintendence of Sir Christopher Wren. It is
said that an earthquake had occurred some few years before, and had
caused some damage which was not suspected at the time. However much we
may admire Wren's constructive genius, we cannot justify the incongruous
door in the north wall of the transept, for which we take it for granted
he was responsible. It is in the classical style, utterly out of keeping
with the architecture near. The arch and jambs of the Norman window
above it were replaced; but this again is spoilt by the insertion of
rude unadorned mullions. The corresponding window over the eastern aisle
is original and unaltered. The north end of the transept has also Norman
lights, larger than those below, on the second range; while above are
two large Perpendicular windows, each of three lights, with transoms. To
see the east wall of the transept we have to go round the lady-chapel.
Here both triforium and clerestory are in their original Norman
condition. The lower windows are Decorated.
It cannot but be regretted that the two large windows east and west of
#The Lady-Chapel# are not portions of the building as it stood at
first. That to the east, of seven lights, is known to have been inserted
by Bishop Barnet, who died in 1373. The authority for this is the
sacrist's roll for that year. The item is given in Dean Stubbs'
"Historical Memorials," p. 147. The bishop's executors paid £20 "for
making a certain window in the lady-chapel near the high altar in the
preceding year." The west window, of eight lights, is of somewhat later
date. Considering that the chapel was finished in 1349, and that there
is no reason to doubt that the east and west ends were adorned with fine
windows of the same character as those in the sides, it seems
extraordinary that within twenty-five years it should have been thought
worth while to alter the eastern end. Was the alteration made in
connection with the insertion of a grander reredos than had been at
first provided? This seems possible, as may be judged from the following
observations of the present Dean: "It is evident from indications
supplied by the masonry of the central light of the east window, the
mullions of which are of unusual solidity, that the Reredos and East
window were originally combined in some structure, of which the chief
object was the large figure of S. Mary, often mentioned in the Rolls
of the Custos Capellæ, and which must have occupied a canopied niche,
blocking up the whole of the middle light from sill to transom."[10] The
design of the east window is inelegant, the transom is heavy, and the
tracery in the large circle at the top spoils the effect of the window
as a whole.
[Illustration: THE CHOIR AND LADY-CHAPEL FROM THE NORTH-EAST.]
The west window, except for the central portion at the top and the heavy
mullions, is just like two of the side windows placed side by side. But
here again the vertical lines in the upper part harmonise ill with the
rest. There are some good niches at the west end above the window, but
there are no figures in them; and there are shallow arches on the
surface of the wall, on each side of the window as well as beneath it.
Above most of the niches are shields with heraldic bearings, twelve in
all. Among these are the coats of Edward the Confessor, the See of Ely,
Bishops Hotham, Montacute, Fordham, and perhaps Barnet.[11] One shield
has a cross, and one a lion between three helmets. The arms of the
monastery--three keys (said to have been adopted from Bishop Ethelwold
of Winchester)--occur four times, in three cases with initials beneath.
These initials are: A. W., which may certainly be assigned to Alan de
Walsingham; J. C.; and C. W. S. From the occurrence of Bishop Fordham's
arms we may conclude that this west end was reconstructed, or at least
that its reconstruction was completed, in his time (1388-1425). In some
of the lower niches are memorial tablets.
On each side of the lady-chapel are five large windows of four lights
each, with very beautiful tracery. Those on the north side have been
thoroughly restored within the last few years. At the same time the
cusps have been replaced in the large circles, of which two are over the
head of each window. Between the windows are buttresses, necessarily
large, to support the vast extent of the stone-groined roof. At the four
corners are double buttresses, with much larger pinnacles, and two
niches toward the top, the upper one shallow, but the lower deep enough
to hold a statue, and with a projecting canopy. The east end is less
decorated than the west. There was once, as it seems, some sculptured
figure or figures in front of the upper part of the window, no doubt
destroyed when the interior was mutilated.
[Illustration: ELEVATION OF ORIGINAL BAYS OF BISHOP NORTHWOLD'S
PRESBYTERY.]
"The #East End# of the cathedral itself (Bishop Hugh's work) is a
grand example of Early English."[12] Except for the windows of the
chapels of Bishops Alcock and West in the aisles, and that the Early
English lancets in the triforium range in the south aisle have been
removed and a plain wall substituted, this eastern front is almost
unaltered. It does not appear when this last alteration was made. In the
view in Bentham, dated 1767, are represented lancets glazed and blank,
exactly similar to those in the triforium on the north. The windows are
all lancets, without any cusping. Their grouping is specially effective.
In the centre, in the lowest stage, are three broad lancets of equal
height, divided by shafts, and with deep mouldings, and with two sets of
dogtooth all round. Below the string-course above are four deep
quatrefoils. In the next stage the lancets are five in number, the
central one being the tallest, while above the outer ones are trefoiled
niches; and there are two six-foils below the next string-course. The
upper stage has three lancets of equal height, which give light to the
space above the stone-groined roof, with a small trefoiled arch,
unglazed, and half of another on each side. In the gable are three large
sunk panels, two of six cusps, and one of eight. The whole is surmounted
by a large handsome cross, restored at the expense of Lady Mildred Hope.
The large buttresses on each side of the central group of windows have
four niches on each side, the three upper ones having bases to support
statues; the upper and lower of these have trefoiled heads, the two
others cinquefoiled heads. At the summit are sunk trefoils under the
gabled tops; and a little further to the west, on the south, the whole
is finished by an octangular turret with shallow arches and a pyramidal
top with crockets.[13] The buttresses at the corners of the aisles have
much loftier pyramidal heads. These have also crockets. The east end of
the triforium range on the north is particularly good. The east window
of Bishop Alcock's chapel, which was of course in existence long before
his time, is round-headed, with four lights, and some good Decorated
tracery. That to Bishop West's chapel, in the south aisle, is of five
lights, of very late Perpendicular character. It may be noticed that the
window in the north aisle is in the wall as originally built, but in the
south aisle the whole wall has been advanced further east, as far as the
bases of the buttresses.
Both of #The Aisles# have on the sides large pinnacled buttresses of
graceful design; and from all of these on the north, and from some on
the south, there rise flying buttresses to support the roof of the
presbytery and choir. Two of the bays on the south side have the Early
English triforium range unaltered. This gives the original height of
Bishop Hugh's triforium walls. Below the parapet here is a
characteristic corbel table. These bays form the western portion of
Bishop Hugh's work in the presbytery.
[Illustration: THE LANTERN AND SOUTH TRANSEPT.
_Photochrom Co. Ltd. Photo._]
The retention of this little portion of the Early English #Triforium#
is very interesting and instructive; for we should otherwise not have
known precisely how this part of the work had been carried out.
Professor Willis traced out with great care the alterations to which
the presbytery had been subjected, and his conclusions are given in
Canon Stewart's book. Early triforium windows were only for lighting the
triforium passage; they were small, and could not be seen from the floor
of the church. It will be noticed that the windows remaining in the
portion spoken of are quite small and quite close to the floor. The
changes that were made in the three great Norman minsters, Norwich,
Peterborough, and Ely, were "made evidently for the purpose of
introducing more light into the church." The walls were raised, the
windows much enlarged, and the slope of the roof consequently much
flattened. No doubt, as regards dimensions, Bishop Hugh's triforium was
a continuation of the Norman triforium of the choir. The first
appearance of a high triforium outer wall is in Bishop Hotham's work
(1316-1337). "In the following centuries this new form was extended by
alterations, first to Hugh de Northwold's presbytery and next to the
nave. But before the Early English gallery had been thus completely
transformed, it happened that some architect, apparently employed by
Bishop Barnet [1366-1374], introduced in two of the southern
compartments a method of getting rid of the gloom of the low-windowed,
Early English triforium, which, although perfectly successful within the
church, would, if it had been carried throughout, have been productive
of a most injurious effect upon the appearance of the fabric within and
without, as may be seen at present in the compartments in question."[14]
This method was to remove entirely the triforium roof, and to convert
the open arcade of the triforium towards the church into windows by
filling the tracery with glass. The designer thus introduced a flood of
light upon the choir altar, the shrines in the neighbourhood, and Bishop
Barnet's tomb under the pier arch, which is beneath one of these
windows. Fortunately the experiment was not repeated. After some time
had elapsed, the changes above indicated were carried out; the low Early
English triforium outer wall was removed, and the loftier Decorated wall
and windows erected. In the extract above given it looks as if the
removal of the triforium roof, putting a lead roof to the aisle below,
and turning the triforium arches into windows, were confined to these
two bays on the south. But the same thing was also done in the two
corresponding bays on the north. But there, when the later raising of
the triforium walls took place, this raised wall was continued over the
two bays in question; and we do not now see there any remains of Early
English work.
[Illustration: THE PRIOR'S DOORWAY.
_Photochrom Co. Ltd. Photo._]
In the east wall of the #South Transept# are broad, geometrical
windows of two lights each. At the top of the southern face of this
transept, deeply recessed, is an extraordinary Perpendicular window of
seven lights. There seems no record of this being constructed. By the
remains of corbels in the lower part of the wall we see that there was
once a covered passage here, no doubt connecting the cloister with the
chapter-house.
Beyond the transept are three Norman doors of exceptional interest. One,
indeed, is in the west side of the transept, and must have been the
original entrance here into the church. It is now quite blocked up with
stone. It has only recently been discovered. There are remains of two
Norman doors, the lower, with enriched mouldings and shaft, being
considerably later in date than the round arch above it. This latter has
the nail-head ornament. The northern end of the arch is concealed, as
well as the eastern end of the adjoining door into the south aisle, by a
mass of masonry built for a buttress.
The door into the south aisle is known as #The Monks' Door#, and is
the regular entrance into the cathedral from the south. It opened from
the eastern walk of the cloister. It is of later date than the wall in
which it is placed. The ornamentation is very rich; one spiral column is
especially noteworthy. There is a trefoiled arch, the cusps having
circular terminations with the star ornament. In the spandrels are
quaint, crouching monks, each holding a pastoral staff. Above are two
curiously twisted dragons.
#The Prior's Door# is nearly at the west end of the north alley of
the cloister. Like the monks' door, it is an insertion, being later than
the wall. It is a very fine specimen of late Norman. The tympanum is
filled with carving in high relief. In the centre is the Saviour,
seated, enclosed within a _vesica piscis_, His right hand uplifted in
blessing, His left hand resting on an open book; His bare feet rest
upon the border of the oval enclosure. This oval is supported by two
angels, the arms which hold the upper part being abnormally lengthened.
On each side is a round shaft, enriched with a deeply cut series of
ornaments running in a spiral; and at the head is a cushion capital with
interlacing ornamentation. On each side of the shaft is a square pillar,
the outer one having some curious figures of beasts and other objects
enclosed in circular rings, while the foliage of the inner one is
singularly like a premature specimen of Early English conventional
decoration. The topmost stone of this inner jamb is enlarged into a
corbel to support the lintel, and is carved with a large face. The
expense of the restoration of this doorway was undertaken by the
Bedfordshire Architectural Society.[15]
One or two bays of the north alley of #The Cloister# have been lately
restored by Canon Dickson as a vestry for the choir-boys. These are not,
of course, now open to the air. Against the wall of the church can be
seen the Norman arcading, showing there were cloisters from the first;
while the remains of the windows towards the cloister enclosure, to be
seen in the north and east alleys, tell us that they were rebuilt in the
Perpendicular period, probably in the last quarter of the fifteenth
century. Some corbels remain in the wall of the cathedral. The roof of
the cloister was therefore of wood; but there are remains of vaulting to
the west of the prior's door, so perhaps the western alley had a stone
roof. The first window to the west of the prior's door is original
Norman; all the rest (except one) were changed into three light windows,
apparently of the same date as those in the north aisle, but have lately
been reconstructed in the Norman style. This applies only to the windows
in the aisle; those in the triforium are of three lights, similar to
those removed from the aisle; and those in the clerestory are the
original Norman, just as on the north side.
FOOTNOTES:
[1] Not many persons who travel by the Great Northern main line know
that a good view of Lincoln Cathedral is to be obtained from it.
[2] Introduction to Farren's "Cathedral Cities of Ely and
Norwich."
[3] Population of Ely, 1891, was 6,646; of Wells, 5,899.
[4] Ely is almost universally called a city, upon the supposition
that the mere fact of its having a cathedral constitutes the town
a city. But since the Norman Conquest the dignity of a city has
always been conferred by grant, and no such grant is known to
have been made to Ely.
[5] An American visitor whom the writer was once conducting over
Peterborough Cathedral observed, "This is a very large church for
so small a place." Ely is about a quarter of the size of
Peterborough in respect to population.
[6] But there is no indication that such a roof actually reached
the tower.
[7] Scott's Paper, read at Bissexcentenary Festival, 1873.
[8] From the additions to Rickman's "Attempt to Discriminate the
Styles of Architecture in England," given in the 5th ed., 1848.
The "happy effect" described is in the interior of the porch.
[9] Some money was raised towards the expense of this rebuilding
by means of a brief. At Castor, co. Northants, 5_s._ 4½_d._ was
sent "for Ely Cathedral"; this was in 1701. In the same year, at
Bishop's Hatfield, co. Herts, £1 5_s._ 2½_d._ was raised upon the
"Brief for Ely Cathedral." In the following year a brief was
issued for a fire in the city of Ely, but it does not appear that
this had anything to do with the cathedral.
[10] "Historical Memorials," p. 116.
[11] One shield has a saltire: Bishop Barnet used a saltire with
a leopard's head in chief.
[12] Murray's "Eastern Cathedrals," p. 221.
[13] The cost of this pinnacle was defrayed by Mr. Beresford Hope.
The corresponding pinnacle on the north is still wanting. It
is, however, figured, by mistake, in the view of the east end
in Murray's "Eastern Cathedrals."
[14] Professor Willis's observations upon this subject are given
in Stewart's "Architectural History," pp. 76-81.
[15] Bishop Goodwin's "Ely Gossip," 1892, p. 48.
[Illustration: THE NAVE, LOOKING WEST.
_Photochrom Co. Ltd. Photo._]
[Illustration: S. CATHARINE'S CHAPEL.
_Photochrom Co. Ltd. Photo._]