THE CATHEDRAL: INTERIOR.
Entering the cathedral from the west, we have the full view of the
entire building, the vista being not broken, but relieved, by the open
screen. Before examining the nave itself, the visitor should inspect the
lower part of the west tower, beneath which he is standing. The curious
labyrinth worked in the pavement was there placed by Sir G. G. Scott, and
is believed to have been designed by him, and not copied from any
foreign example. The troubles that arose from the great weight of the
tower have been already described. We can here see the methods taken to
secure the stability of the structure.[1] Very massive Perpendicular
arches have been built beneath the lofty Norman ones; and all the four
great piers were surrounded with masonry at the same time. Both Bentham
and Miller give the date 1405-1406 for the beginning of this work. This
date is quite consistent with the character of the mouldings of the
arches. There was at one time a plaster ceiling just above these lower
arches.
Above the inner west door is a series of panels bearing coats of arms,
so much resembling the fronts of galleries built for the accommodation
of instrumental performers--which were known as "Minstrels'
galleries"--as to suggest the idea that the large room over the porch
was devoted to this purpose. The window above is an unfortunate
insertion, dating only from 1800; and this, as well as the stained glass
with which it is filled, could well be spared.
#The Western Transept# and #S. Catharine's Chapel.#--The Transitional
character of the late Norman work here is more marked than on the
outside of the west front. It will be noticed that the great arches of
the tower, though retaining all other characteristics of the period, are
pointed. There are two rows of mouldings, and in the spandrels above are
pointed ovals. Above the string-course are three stages: the lowest has
three sets of lofty trefoiled lancets, supported by double detached
shafts; above is a similar series, less lofty; at the top are three
large glazed windows. The painted ceiling of the tower was Mr. le
Strange's first experiment in painting at Ely. Some ancient decoration
in the vault of the south aisle of the nave had been brought to light
when he was on a visit at the Deanery, and this to some extent suggested
the thought of painting the flat roof of the tower. The subject is the
Creation. We see the right hand of the Lord; the Saviour holding a
globe, surrounded by the heavenly bodies of the fourth day of the
Creation; the Holy Dove; angels holding scrolls, with the Trisagion; and
all these are in circular designs, united by branches of foliage. A very
sad accident occurred during the early period of the restoration of the
tower in 1845, when Mr. Basevi, the architect, met his death by falling
from the upper floor of the scaffold which had been erected for the
work. He was buried in the cathedral, and a brass has been laid over his
grave. He was not in any way professionally connected with the work of
the restoration.
[Illustration: THE NAVE, LOOKING EAST.]
The very late appearance of the highly enriched work in the south part
of the western transept makes it probable that this part was completed
in quite the latest years of the twelfth century. The zigzag mouldings
to the two arches in the east are of extraordinary richness; one opens
to the south aisle, and one to S. Catharine's chapel. The whole of this
arm of the transept was at one time walled off, and the chapel itself
was destroyed. This has been rebuilt, under the advice and authority of
Professor Willis. The Woodford Trustees of the Theological College were
at the expense of providing the alabaster altar; and the chapel is now
used for the daily service of the members of that college, as well as
for early celebrations of Holy Communion. Although now known as S.
Catharine's chapel, it has never, strictly speaking, been so dedicated;
and the present Dean has pointed out that the name was given under a
misapprehension. The font in the transept was the gift of Canon Selwyn.
Its style is in keeping with the adjacent architecture. The north
portion of the western transept is entirely walled off. No documentary
evidence has been discovered to decide if it had been actually built.
The old tradition of the cathedral was that it had been finished by
Bishop Eustace at the beginning of the thirteenth century.
#The Nave.#--Originally of thirteen bays, but since the fall of the
central tower of twelve bays, the nave is a most complete and perfect
specimen of late Norman work. The naves of Ely and Peterborough are
conspicuously the best examples of the period in England. In most
respects they are very similar, and it would be difficult to pronounce
one superior to the other. In one point, indeed, the superiority is with
the Ely nave. There is not in it the slightest mixture of any
Transitional details. At Peterborough we can detect, towards the west,
some unmistakable evidences of the approaching change in style.
It is believed that the nave was completed in the time of Bishop
Riddell--that is, before 1173. This is probably somewhat earlier than
the nave at Peterborough; but both were obviously being built at the
same time for the greater part of the period of their erection. Both are
manifestly superior to Norwich, where (to mention only one point) the
excessive height of the triforium arches and the comparative low
elevation of the nave arches--so that the two arcades are almost of the
same dimensions--produce an unpleasing effect. But the work at Norwich
was earlier, perhaps by thirty years, than either of the others. It is
very difficult to obtain exact and authoritative measurements; but those
usually given supply the following comparison:--Norwich, 14 bays; length
of nave, 250 feet: Peterborough, 11 bays; length of nave, 228 feet: Ely,
12 bays; length of nave, 208 feet. From this it will be seen that before
the tower fell the naves of Ely and Peterborough were almost exactly of
the same length, while the former had two more bays than the latter.
The piers are of alternate design. In front of each an inner shaft runs
up to the roof. The string-course above the main arcade has the billet
moulding. All the attached shafts in all three stages have cushion
capitals. Under each of the large triforium arches are two smaller ones.
Though it has been said that there is no trace of any change of style
throughout the entire nave, yet it has been noticed that there is a
certain roughness about the execution of the arches towards the east
which is not seen further west. The floors of the nave and its aisles
are on one level; but till recently the floors of the aisles were a few
inches lower, and this is believed to have been the original
arrangement. The clerestory range has three arches, the central being
the highest.
[Illustration: PANELS IN THE NAVE CEILING.
_Photochrom Co. Ltd. Photo._]
The western half of the #ceiling# was painted by Mr. Styleman le Strange,
of Hunstanton Hall, in Norfolk, between 1858 and 1861. He died in 1862.
The eastern half was then undertaken by Mr. Gambler Parry, of Highnam
Court, near Gloucester; and the main design of Mr. le Strange was
carried to a most successful issue. The original idea had been that a
Jesse tree should commence at the seventh bay, and the arrangement of
the subjects towards the west was meant to lead up to this. But Mr. le
Strange himself, as the work proceeded, realised that a grander effect
would be produced by introducing larger scriptural subjects towards the
east; and Mr. Gambier Parry accordingly acted upon what was known to be
the intention of the original designer. It has been many times said that
the whole design was suggested by the painted ceiling at Hildesheim, and
some words of Sir G. G. Scott have been quoted as proof of this; but Dean
Goodwin says that the scheme was not taken in any way from the foreign
example, and that Mr. le Strange had not seen the Hildesheim ceiling
when his design was formed.[2] It is worth noting that some of the
faces of the prophets are portraits; that of Isaiah, for instance, is a
portrait of Dean Peacock. The general tone of the colouring is
intentionally subdued, and the effect of this is said to be to increase
the apparent height of the nave.
The twelve subjects along the central portion of the ceiling, commencing
at the west, are these: (1) The Creation, (2) The Fall, (3) The
Sacrifice of Noah, (4) The Sacrifice of Isaac, (5) Jacob's Dream, (6)
The Marriage of Ruth, (7) Jesse, (8) David, (9) The Annunciation, (10)
The Nativity, (11) The Adoration of the Shepherds and of the Magi, (12)
The Lord in Glory.[3]
On the inner slope on each side of the central line for the ten western
bays are figures of patriarchs and prophets, each with a scroll bearing
some of his own words, all having prophetic reference to the Messiah. On
the outer slope on each side are heads in circular medallions, three in
each bay. "The heads forming the border represent the human ancestors of
our Lord, according to the genealogy in S. Luke's Gospel; they commence
at the eastern end and terminate at the western, thus linking together
the Glorified Manhood, as exhibited in the last of the pictorial
representations, with the Creation of Man in the first."[4]
The sloping sides of the ceiling follow the course of the great beams
supporting the roof. Till it was resolved to construct this ceiling the
beams were exposed, and the whole was open to the leads. Canon Stewart
speaks of it as a "remarkable example of a trussed rafter roof of seven
cants," and says that such a roof was sometimes called a compass roof.
He thinks it might have taken the place of an original roof of the
thirteenth century.
[Illustration: THE NORTH AISLE OF THE NAVE.
_Photochrom Co. Ltd. Photo._]
#The Nave Aisles.#--These retain their groined roofs. Some remains of
coloured decoration may be seen in various places, especially in the
south aisle; and the appearance of more elaborate colouring at one place
seems to indicate that there was a side altar beneath. The rood-screen
in the nave was by the pier in which is a small canopied niche. In the
north aisle, beneath the windows, is an arcade of round-headed lancets,
four in each bay. Above the arcade was originally a string of chevron
moulding running along the whole length of the aisle; but this has been
hacked off, except beneath the most eastern window. In the south aisle
there are five such lancets in each bay west of the prior's door, and
four in each bay beyond. The windows east of this door are higher in the
wall than the others, because of the cloister, and the wall arcade is
correspondingly more lofty. The chevron moulding remains in this aisle
for seven bays, after which (until the last bay but one) the marks of it
are clearly to be seen. One of the windows in the south aisle is
original; all the rest, except one, have been recently made like it. In
the north aisle all the windows are of the Perpendicular period, and
have three lights under ogee arches. All are filled with stained glass.
[Illustration: THE SOUTH AISLE OF THE NAVE.
_Photochrom Co. Ltd. Photo._]
In the south aisle is placed an ancient memorial stone of the greatest
interest. It consists of the square base and part of the shaft of a
cross. It was brought here from Haddenham, where it had been used as a
horse-block, by Mr. Bentham. On the base is this inscription:
LVCEM TVAM OVINO
DA DEVS ET REQVIE(M)
AMEN.
Ovin has been named in the account of the foundress as being her chief
agent, to whom was entrusted the civil government of her territory.
There is every reason to believe that this cross was erected either by
him or to his memory; and if so it must be twelve centuries old.
Just west of the monks' door is the entrance to the recently constructed
vestry for the choir-boys. This is thought to have been originally the
entrance to the cloister library or bookcase.
#The Octagon.#--Few visitors will perhaps be disposed to examine any
of the objects of interest in the cathedral before an inspection of the
beauties of this magnificent erection, the first sight of which, from
one of the smaller arches towards the aisles, is a thing never to be
forgotten. There is not one of the many able artists and architects who
have written about the octagon that has not spoken of it as being
without rival in the whole world; and the admiration that was expressed
fifty and more years ago would have been far greater, and the enthusiasm
more profound, had the writers seen it in its present state of perfect
restoration. No description can do adequate justice to the grandeur of
the conception or to the brilliancy of the execution of this renowned
work.
The four great arches rise to the full height of the roof; that to the
east, indeed, is higher than the vaulted roof of the choir and
presbytery, the intervening space being occupied with tracery of
wood-work on painted boards, the Saviour on the Cross being painted in
the middle. The wooden vaulting of the octagon springs from capitals on
the same level as those of the great arches. The four small arches to
the aisles are of course no higher than the roofs of the aisles: above
these, on each side, are three figures of apostles, under canopies with
crockets. The figures are seated, and each holds an emblem, by which it
can be seen for whom the figure is intended. It may be noticed (in the
central figure on the south-west side) that S. Paul, not S. Matthias,
is put in the place of Iscariot. The hood-moulds of the arches are
terminated by heads, of which six are portraits. King Edward III. and
Queen Philippa are at the north-east, Bishop Hotham and Prior Crauden at
the south-east, Walsingham and his master mason (so it is believed) at
the north-west; those to the south-west are mere grotesques. Above the
seated figures on each side is a window of four broad lights, filled
with stained glass. The eight chief vaulting shafts rise from the ground
as slight triple shafts; they support, a little above the spring of the
side arches, large corbels, which form bases for exquisitely designed
niches, and through these spring more shafts reaching to the vault. On
each of the corbels is a boldly carved scene from the career of S.
Etheldreda; they commence at the north-west arch. The subjects (two to
each arch) are as follows:
NORTH-WEST ARCH.--S. Etheldreda's second marriage. Her taking the veil
at Coldingham.
NORTH-EAST ARCH.--Her staff taking root. Her preservation in the flood
at S. Abb's Head.
SOUTH-EAST ARCH.--Her installation as Abbess of Ely, Her death and
burial (two scenes).
SOUTH-WEST ARCH.--One of her miracles. Her translation.
All these incidents have been sufficiently explained in the chapter on
the history of the building, with the exception of the seventh. The
authority for this is the "Liber Eliensis." A man named Brytstan,[5]
being ill, had vowed that if he were restored to health he would become
a monk. Upon his taking steps to carry out this intention he was charged
with seeking refuge in a monastery simply to escape the consequences of
robberies of which he had been guilty in his business. After trial at
Huntingdon he was condemned and put in chains in prison in London. After
continuous prayers for the intercession of S. Etheldreda and S.
Benedict, these two saints appeared to him, and the latter drew the
links of the chain apart and set the prisoner free. The miracle came to
the knowledge of Matilda, Henry I.'s queen, and investigations
followed, which resulted in the release of Brytstan, and he was
conducted to Ely with manifestations of joy. Some have thought that the
ribands still to be bought at the stalls at the annual fair, and known
as "S. Audrey's laces," are a reminiscence of this legend, and that they
represent the chains from which Brytstan was delivered. But the more
probable explanation is that they refer to the disease that afflicted S.
Etheldreda, a swelling in the neck, which she held to be a fit
punishment for the vanity of her youthful days, when she was fond of
wearing necklaces and jewels. "Saint Audrey's laces" became corrupted
into "Tawdry laces"; and so the adjective has been applied to all cheap
and showy pieces of female ornament.
Special attention may be given to some points in the sculpture of these
corbels, every one of which is worthy of careful study. In (1) notice
the figure of Ovin, previously named as the steward, bearing an official
staff, or perhaps a sword. In (2) the surrender of royal dignity is
signified by the crown placed on the altar. In (3) the leaf-bearing
staff has an abundance of conventional foliage. In (5) Wilfrid bears a
simple pastoral staff, and not an archbishop's cross, as in previous
scenes--a point to which Dean Stubbs calls attention as indicating the
historical accuracy of the designer, because in former scenes the
archbishop is represented in his own diocese, while here he is a simple
bishop in banishment. In (6) there is a dignified figure--probably S.
Sexburga--standing behind the priest who is ministering to the dying
abbess. In (7) the kneeling figure is S. Benedict handling the fetters.
Until the plain colour-wash with which the vault had been covered was
removed in 1850 there was no knowledge of what had been the character of
the original decoration. Traces of colouring were then discovered, and
in some places geometrical designs, but there was no evidence of
anything very elaborate. The whole of the present decoration forms
accordingly an entirely new design; it is by Mr. Gambier Parry, who
himself painted the principal figures. The central boss of the lantern
is carved in oak, and is original; only its painting is new. All the
remaining figures are wholly new. Groups of seraphim, bands of heavenly
minstrels bearing all kinds of ancient musical instruments, monograms,
and sacred emblems, all combine to give a rich variety.
[Illustration: THE SOUTH TRANSEPT.
_Photochrom Co. Ltd. Photo._]
#The Transepts.#--The architectural student will find the transepts
of the greatest interest; as in them is to be seen the earliest work in
the cathedral. They are similar in general character to those at
Winchester, which were built by Abbot Simeon's brother. The transepts at
Winchester were ready for consecration in 1093, and this was seven years
before Simeon came to Ely. The triforium is probably only in part
Simeon's work; and the clerestory was almost certainly added by his
successor. Both transepts have aisles, but in the south transept the
western aisle is walled off. Along the western wall in the north
transept is a stone bench. The square capitals of the piers here have
indentations at the corners, and this is an early example of such
indentation. Some slight ornamentation may be noticed in the cushions of
the capitals, especially in the south transept, where there are traces
of ancient colouring. The three chapels to the east of the north
transept are divided by walls, and two have wooden screens. One of these
has been restored by Professor Stanton for use as a chapel for early
celebrations and for private devotion. Some early paintings on the
vaulted roof, representing the martyrdom of S. Edmund, are sufficient
to justify this being called S. Edmund's chapel. It is probable that
this was the Chantry on the Green (so called from the place of residence
of the four chaplains) founded by Bishop Northwold. The screen in front
of this chapel is exceedingly light and graceful; it dates from about
1350. At one time it is said to have been in the south transept, and
afterwards where it now stands; it was removed in 1865, but is now
replaced. In the south transept the whole of the eastern aisle is walled
off for the library. In the plan in Bentham's History, 1770, only the
single bay to the south is marked as the library. The walls of partition
between the chapels were taken down in 1814. The western aisle has
always been separated by a low wall of Norman date, possibly a little
later than the adjacent piers; this wall has an intersecting arcade of
round arches, with a string of chevrons above. This aisle is used as a
vestry. Within is the ancient Norman vaulting; and there are some good
original windows, which cannot be seen from without except from the
Deanery gardens. From the devices on the late Perpendicular door it is
clear that it belonged to some church erected by Bishop Alcock; it was
only brought here from Landbeach about fifty years ago.
[Illustration: THE NORTH TRANSEPT.
_Photochrom Co. Ltd. Photo._]
The triforium and clerestory ranges are almost identical with those in
the nave. In the south transept the western windows of the triforium
have been altered into three-light Perpendicular windows. The roofs of
both transepts have been raised, but it is not known at what time. At
the north end are two large windows of good Perpendicular character; at
the south is a single window of seven lights, of very singular design.
At the ends of the transepts are two original galleries, level with the
triforium, supported on round-headed arches. On the north are five
arches, not of equal height, the two most lofty of which reach nearly to
the triforium level. On the south are six much lower arches, and above
them is a blank arcade of intersecting arches. In the floor of the south
transept are laid some very remarkable ancient tiles.
[Illustration: THE CHOIR SCREEN.
_Photochrom Co. Ltd. Photo._]
#The Choir# and #Presbytery#--A beautiful screen of oak, with brass
gates, designed by Scott, divides the choir from the octagon. It is of
early geometric character; and if there had been an original screen of
this design it would have been intermediate in date between the
presbytery and the choir. The tracery is very graceful. A rich cresting
runs along the top, cut through by the gable over the gates, which bears
a terminal cross. On both sides the small niches have statuettes.
[Illustration: ELEVATION OF THE BAYS OF THE PRESBYTERY.
(_for exterior see p. 55._)]
The choir, of three bays, is the work of Bishop Hotham. The last six
bays are the work of Bishop Northwold, and form the presbytery. In the
present arrangement seven of these nine bays form the ritual choir, and
two form the retro-choir. The difference in date between the presbytery
and choir may be roughly taken as very nearly a hundred years. The
former had been begun in 1240; the latter was nearly finished in 1340.
In the juxtaposition of these two magnificent specimens of the Early
English and Decorated periods of architecture there is an opportunity of
comparison which on such a scale occurs nowhere else. It is to be
remembered that in neither case is the treatment of the upper part quite
in accordance with the usual practice of the period. When the presbytery
was being built there were still standing east of the central tower the
four original bays of the Norman choir. These, it may be assumed, were
very similar in character to those in the nave. There would, beyond
question, have been in each bay large triforium arches, each with a
couple of subordinate arches; and a single window in the clerestory with
a blank arch on each side. Bishop Northwold's work was purposely made to
correspond with these bays as far as Early English work could do so; and
when after the fall of the tower it became necessary to rebuild the
choir, Bishop Hotham in like manner made his Decorated work correspond
with the Early English presbytery. The choir is, as would be expected,
richer in detail as well as more elaborate in design; and it would be
difficult to find in England anything to surpass the tracery of the
clerestory windows and triforium arches, the beautiful cusped inner
arches of the clerestory range, the open parapets at the base of the two
stages, or the long corbels, covered with foliage, that support the
vaulting shafts. In the choir the clerestory windows have four lights
each; in the presbytery are triplets. The old colouring has been renewed
throughout. On the north side of the choir the three bays are precisely
alike; but on the south there is a variation in the tracery of the
western triforium arch. There are also shields of arms (of the See of
Ely and of Bishop Hotham) in the spandrels of the triforium and arch
below; and the shaft between this arch and the next is enlarged at the
top into a base for a statue (probably of S. Etheldreda); while level
with the string above is a very fine large canopy (called by the
work-men "the table"), which is like nothing else in the cathedral. The
clerestory windows also on the south have different tracery.
[Illustration: THE CHOIR, LOOKING WEST.
_Photochrom Co. Ltd. Photo._]
The difference between the two styles of architecture is well marked in
the groining of the roof, the Decorated portion being much more
elaborate. Some of the bosses are very remarkable: one has S. Etheldreda
with pastoral staff; one has the coronation of the Virgin Mary; one has
the foundress bearing the model of a church, in which (as Dean Stubbs
has pointed out) both arms of the western transept are represented, so
that it is a fair inference that at the time this roof was constructed
the whole of the western transept was standing.
[Illustration: THE TRIFORIUM OF THE CHOIR AND PRESBYTERY.
_Photochrom Co. Ltd. Photo._]
Between the choir and presbytery there rise the massive Norman piers
built as the entrance to the apse; and these are the only remains of the
Norman church east of the octagon. Since the careful examination of the
foundations here, made by Professor Willis in 1850, it is not thought
certain that the apse was actually built. The foundations of the apse
were very manifest, and the design did not include a passage round it;
but there was also clear evidence that the apsidal foundation was
altered into a straight wall of the same thickness, and the probability
is that before the apse was built "it was resolved to convert it into
a square-ended presbytery, such as we now see at Oxford Cathedral and
St. Cross."[6]
[Illustration: THE CHOIR STALLS: NORTH SIDE.
_Photochrom Co. Ltd. Photo._]
The two most western triforium arches in the presbytery are glazed, the
roof of the triforium itself being wholly removed. The object of this
alteration has been fully explained in the account of the exterior of
the cathedral. On the ground beneath were the shrines; and under one of
the arches was erected, not long afterwards, the monument of Bishop
Barnet, in whose time and at whose expense the alteration was made.
The arrangement of the lancets at the east end is even more effective
within than without. The east end of Ely, says Professor Freeman, "is
the grandest example of the grouping of lancets.... Ely is also
undoubtedly the head of all east ends and eastern limbs of that class in
which the main body of the church is of the same height throughout, and
in which the aisles are brought out to the full length of the
building."[7]
It will hardly be believed that the magnificent stalls which were
formerly ranged in the octagon, and at a later period in the presbytery,
were once painted all over with a mahogany colour. They are the finest
Decorated stalls in England, the beautiful ones at Winchester being of
late thirteenth-century date. The carved panels in the upper parts are
new, and are the gifts of individual donors. They were executed in
Belgium. It is not known how these spaces were originally filled; Mr. le
Strange thought possibly with heraldic devices. The designs on the south
are from the New Testament, those on the north from the Old Testament
The seats in the lower range are also modern, as are the various
statuettes at the Stall ends, which represent the builders of the most
important parts of the fabric. On the misereres of the ancient stalls
are some wonderful grotesque carvings. The brass eagle lectern has been
copied, as to its main features, from an ancient example at Isleham. The
organ is in the triforium, on the north, and part of the case projects
over the easternmost arch of the choir.
The reredos is the first example in modern cathedral work of the
elaborate style of decoration for the most holy part of the sanctuary,
which is now not uncommon. It was the gift of Mr. John Dunn Gardner, of
Chatteris, and was designed by Scott. It forms the central portion of a
screen of stone which extends for the whole width of the presbytery. The
lower part of the whole is of deeply cut diaper-work; the upper part has
an open arcade of six arches, each with a mullion and tracery in the
early Decorated style. The reredos itself is of alabaster, and consists
of five main arches under canopies, and with tracery, and is ornamented
with a rich abundance of mosaic work, panels, medallions, statuettes,
twisted columns, and various kinds of carving. Five scenes from the last
days of our Lord's life on earth are carved in relief under canopies
beneath the chief arches. A full description, giving all the details of
the sculpture, and the materials of the mosaic, and the different
persons and emblematic graces represented by the busts and figures,
would require more space than we can give. The altar cross, of silver
gilt, is in memory of Bishop Woodford.
[Illustration: THE REREDOS.
_Photochrom Co. Ltd. Photo._]
[Illustration: THE LADY-CHAPEL.
_Photochrom Co. Ltd. Photo._]
#The Lady-chapel.#--Notwithstanding the cruel mutilation of the
sculpture all round this chapel, it can be seen that for perfection of
exquisite work there is no building of the size in this country worthy
for one moment to be compared with this in its unmutilated state. Its
single defect strikes the beholder at once: the span of the roof is too
broad and the vaulting too depressed for the size of the chapel. The
windows, of which those on the north have been restored, have already
been described. The end windows, which are of great size, are of later
date; that to the east has a look of Transition work about it. The
building was finished in 1349, and the east window was inserted by
Bishop Barnet, _circa_ 1373. For a possible explanation of the insertion
of this window, only a quarter of a century after the completion of the
chapel, see _ante_, p. 52. It is not thought probable that the original
designers left anything incomplete. The great beauty of the interior
consists in the series of tabernacle work and canopies that runs round
all the four sides below and between the windows. The heads of the
canopies project. In the tracery beneath, at the head of the mullion,
was a statue. The delicate carving of the cusps and other tracery is
varied throughout. On the spandrels were incidents connected with the
history of the Virgin Mary (mainly legendary) and of Julian the
Apostate; and though in no single instance is a perfect uninjured
specimen left, yet enough remains, in all but a few cases, for the
original subjects to be identified.[8] All was once enriched with
colour, and many traces remain; and in various parts of the windows
there are fragments of stained glass. Most of the monumental tablets
which once disfigured the arcade below the windows have been happily
removed into the vestibule. The arches and canopies at the east end are
arranged differently from those on the sides. In the roof, which reminds
us of the contemporary roof in the choir, are some carved bosses, not
large, but singularly good. Among the subjects can be recognised a
Crucifixion, with half-figures beside the cross; Adam and Eve; the
Virgin Mary and Elizabeth, holding between them a book inscribed
"Magnificat"; the Annunciation, with "Ave Maria Gracia plena"; the
Ascension, indicated by the skirt and feet of the Saviour and five heads
of apostles; the coronation of the Virgin; and the Virgin in an aureole.
[Illustration: DOORWAY OF THE LADY-CHAPEL.
_Rev. T. Perkins Photo._]
The arrangements for worship present an appearance very unlike those of
sixty years ago. A writer in 1876, writing of his early recollections,
says: "When I first knew Ely the state of the lady-chapel--then, as now,
used as a parish church--was so miserable from decay, violence, and
neglect, that it was simply painful to enter it." ... Now,
"well-designed benches have replaced the mean deal square pews, the
whitewash and yellow-wash which thickly clogged the carving has been
removed, the windows have been repaired and made water-tight, and the
altar and its adjuncts made to assume an air of reverent dignity."
We do not remember to have anywhere seen an explanation of the fact that
this chapel is now used as the parish church of Holy Trinity parish;
whereas the old church, the destruction of which occasioned the
appropriation of the lady-chapel to parochial use, was dedicated to S.
Cross.
#Monuments And Stained Glass#--It is convenient to treat the
monuments as a separate subject, so as not to break the continuity of
the architectural description. We will commence at the west, proceeding
along the north aisle, and so round the cathedral, pointing out those
that have anything of special interest.
Against the blocked doorway which gave access to the church of S. Cross
is placed an altar-tomb to the late Bishop Woodford (see below, p. 129).
The figure of the bishop is vested in cope and mitre, and has a pastoral
staff. The Crucifixion is on the wall at the back. There are several
shields of arms relating to the bishop's career or to the cathedral
history: among these are those of the Merchant Taylors' Company, at
whose school he was educated; Pembroke College, Cambridge, of which he
was a member; and of other colleges at Cambridge founded by bishops of
Ely. Three tablets in this north aisle, near the transept, record
donations towards the re-paving of the nave and aisles in 1676, 1869,
and 1873.
There is no monumental memorial in the nave. But the large slab of
marble in the centre, just in front of the position of the old
rood-loft, which has been already referred to as traditionally marking
the grave of Alan de Walsingham, should be noticed.
Under the four arches of the presbytery on the north, between the stalls
and the altar, are monuments of great importance. First we see that of
Bishop Redman (d. 1505), a very fine specimen of enriched Perpendicular
work. The mitred figure of the bishop is on an altar-tomb beneath a
richly groined roof, and a space is left at the feet, where a priest
might stand to pray for the soul of the deceased prelate.[9] There are
grand canopies on the sides, with crockets and coloured shields bearing
emblems of the Crucifixion, the arms of the See of Ely and of S. Asaph,
where Bishop Redman was at first; but the arms of the See of Exeter,
from which diocese he came to Ely, as now used, are not to be seen.
Above the roof is fine open screen-work, and against the adjoining
piers, east and west, are large canopied niches.
Next to this is the effigy of Bishop Kilkenny (d. 1256), a fine example
of Early English. The figure has cope, mitre, and staff. The bishop's
heart only was buried here.
[Illustration: THE NORTH CHOIR AISLE.]
In the next arch is a large Decorated structure of two stories, believed
by Scott to have been built by Walsingham as the base for the shrine of
S. Etheldreda. It was formerly known as Bishop Hotham's shrine, and his
effigy was placed beneath it. The lower story is open.
In the arch north of the altar is the tomb of the builder of the
presbytery, Bishop Northwold (d. 1254). He is represented in full
vestments. At the east of the tomb is a curious carving, apparently
meant for the martyrdom of S. Edmund. A king naked above the middle,
except for his kingly crown, is tied to a tree and pierced by arrows;
archers with drawn bows are behind; at one end the king has his head,
still crowned, in his hands, with a figure bearing a sword over him; at
the other side is either the wolf of the legend or an evil spirit in
animal shape.
In the aisle itself are several memorials, mostly of the eighteenth
century, that call for no special mention. The latest is the brass to
Mr. Basevi, 1845.
At the east end of the aisle is the #Chapel Of Bishop Alcock# (d.
1500). The date, 1488, is fixed precisely by the inscribed stone now
placed in the wall above a small stone altar. The stone in the wall has
five crosses, as though intended for a chantry altar, but the slab of
the altar beneath has no crosses. The inscription is, "Iohanes Alkoc
epus Eliesis hanc fabricam fieri fecit M cccc iiij(xx) viij." The sides
of the chapel are covered with niches, canopies, crockets, panels, and
devices. The roof has fan tracery with a massive pendant. A singular
little chantry is at the north, access to which is through a door at the
foot of the bishop's tomb. In a small window here is a little
contemporary stained glass. The bishop's rebus--a cock on a
globe--repeatedly occurs in the stone-work. The ornamentation strikes
the spectator as being excessive and too profuse. No figures have been
replaced in the niches.
In the retro-choir a mosaic slab over the remains of Bishop Allen (d.
1845) has a curious history. A son of the bishop was passing through
Paris soon after Napoleon's tomb was finished, and the surplus materials
were offered for sale by auction. Some of these were purchased by Mr.
Allen and utilised for the slab over the bishop's grave. The large
monument to Canon Mill (d. 1853) has an effigy in copper on a support of
marble and alabaster; students of India and Cambridge are by the feet.
The tomb of Cardinal Luxemburg (d. 1443) is beneath the most eastern
arch on the south, just north of Bishop West's chapel. When the monument
was concealed behind some wood-work great dispute arose as to the
headdress of the effigy. Bentham has an engraving with a cardinal's hat
on the archbishop's head. Cole records that it was a mitre. When the
wood-work was removed it was found that the figure was headless, as it
still remains.
[Illustration: THE EARLY ENGLISH PRESBYTERY AND THE SUPPOSED SHRINE OF
S. ETHELDREDA.]
Corresponding to the chapel of Bishop Alcock on the north is that of
#Bishop West# (d. 1533) in the south aisle. This is a most valuable
example of the Renaissance style. The niches and canopies with which the
walls are covered are much smaller than those in the other chapel, and
consequently more numerous; but by reason of the great delicacy of the
tracery and the wonderful variety of the designs there is no impression
that the decoration is overdone. No perfect specimen is left of the
statues or of the heads which were introduced in the tabernacle work;
and in its complete state this exquisite work can have existed for not
more, than twelve or thirteen years, as the Order in Council for
removing images was made in 1548. The roof is curious, as being an
adaptation in the Renaissance of the late Gothic fan tracery Some
colouring remains. The wrought-iron gates, with motto in Latin several
times repeated, and the curious little pendants from the roof,
consisting of angels bearing shields of arms, should be noticed. Bishops
Greene (d. 1738), Keene (d. 1781), Sparke (d. 1836), and Woodford (d.
1885) are all buried in this chapel. On the south side, within a
shrine-like receptacle, have been placed the relics of seven early
benefactors of the church. Originally buried in the Saxon church, they
have been several limes removed. They were placed here in 1771. The
names are carved in seven shallow niches. One was an archbishop, five
were bishops, and the seventh was Alderman Brithnoth. The dates range
from 991 to 1067.
The very interesting early Norman monumental slab, with carving in
relief, preserved in the aisle, does not strictly belong to the
cathedral, having been found at S. Mary's Church. Above a round-headed
canopy are some Norman buildings; in the chamfer of the canopy is an
invocation of the Archangel Michael, a figure of whom below has wings
and nimbus, and in the robe a portion of a naked figure with pastoral
staff beside it.
[Illustration: BISHOP ALCOCK'S CHAPEL.]
Proceeding westward, the monuments under the windows are those of Canon
Selwyn (d. 1875), Bishop Gunning (d. 1684), wearing a mitre, with long
hair and short beard, and Bishop Heton (d. 1609), in a cope and having
an ample beard. Under the arches of the presbytery, after the huge
tablet to Bishop Moore (d. 1714), are four monuments. The first is all
that is left of the tomb of Bishop Hotham (d. 1337). The next has
figures of John Tiptoft, Earl of Worcester, K.G., and his two wives. The
earl was beheaded in 1470, and is not interred here. One of the wives
was Cecily Neville, sister of Richard, Earl of Warwick, the King-maker.
Of the tomb of Bishop Barnet (d. 1373) the base only remains. It
resembles in general character the monument of Bishop Northwold.
[Illustration: BISHOP WEST'S CHAPEL.]
Under the last arch of the presbytery is the fine monument of Bishop
Louth (d. 1298). It is a very beautiful early Decorated composition.
Two brasses remain in the floor of the south aisle, both of great
interest. The famous brass of Bishop Goodrich (d. 1554) represents him
in full vestments (wearing a chasuble, not a cope), with mitre and
pastoral staff (see below, p. 124). This is specially noteworthy as he
was an enthusiastic supporter of the Reformation changes and is believed
to have encouraged, if he did not order the wholesale destruction of
statues and other ornamentation of the cathedral. He was Lord Chancellor
for three years, and the Great Seal is figured on the brass. Dean
Tyndall (d. 1614) is represented in a very different style. He is
figured in academical dress, wearing a ruff and a skull-cap, and with a
long beard. On one of the shields of arms may be seen the arms of the
Deanery impaling Tyndall.
Very many other tablets and inscriptions remain; but we have no space
for a more extended treatment of the subject. In the south transept is a
tablet to Dean Merivale (d. 1894), with a likeness in slight relief; and
mention of this gives opportunity for saying that the very greatest care
seems to have been taken to secure good likenesses in the most recent
monuments, those of three, as to which the writer can speak from
personal knowledge--Bishop Woodford, Dean Merivale, and Canon
Selwyn--being of conspicuous merit.
It would require a book to itself to treat exhaustively of the stained
glass in the windows. In nearly all cases, certainly in those which can
be examined without the aid of a glass, the names of the donors, or of
the persons to whose memory the windows were inserted, are plainly set
forth either in the windows or on brass tablets adjoining. It should be
stated that the greatest encouragement to this form of decoration was
given by Canon E. B. Sparke, who secured, partly by his influence and
persuasion, and largely by his own munificence, the insertion of so many
windows. It is true that in the first instance not a few were prepared
in too great a hurry, and some of those first placed in the restored
cathedral (as those in the octagon) have been at a later time condemned
as being deficient in harmony of colouring and in artistic design; but
there is little fault to be found with the most recent additions. Among
so many it is inevitable that very different degrees of merit will be
exhibited. It has been said that the entire series is an exemplification
of the Horatian maxim, "Sunt bona, sunt quædam mediocria, sunt mala
plura"; and, except that we should be disposed to exchange the position
of the words "quædam" and "plura" (if the metre allowed it), with this
sentiment we agree.
FOOTNOTES:
[1] Quite recently further security has been attained by a system
of iron bracing, not visible from beneath.
[2] "Ely Gossip," p. 39.
[3] When Murray's "Eastern Cathedrals" was published, Mr. Gambier
Parry's work had not been begun; and by comparing the above list
with the list there given as the proposed series of sacred
subjects for the last six bays of the ceiling, it will be seen
that the last three subjects are not the same as at first
intended.
[4] From the key to the ceiling by Dean Stubbs, in "Handbook,"
20th ed., pp. 60, 61.
[5] Admirable and exhaustive descriptions of these pieces of
sculpture, with sketches of six of them, are given in Dean
Stubbs' "Historical Memorials of Ely Cathedral," pp. 71-84. The
account in the text of the miracle on the seventh corbel is
condensed from this description.
[6] Canon Stewart, in _The Builder_, April 2nd, 1892.
[7] Introduction to Farren's "Cathedral Cities of Ely and
Norwich."
[8] For a full account and list of all the subjects as far as is
known, see Dean Stubbs' catalogue of them, abridged from Dr.
Montagu James' work on the iconography of the lady-chapel, given
in the "Handbook," 20th ed., pp. 127-132.
[9] In the inventory of plate, etc., "belonging to the late
priory at Ely," made 31 Hen. VIII., printed in Bentham's
"History" from the MS. in Corpus Christi College, Cambridge, the
only altars mentioned are the high altar, those in the
lady-chapel, in the chapels of Bishops Alcock and West, and in
"Byslope Redmannes Chaple."
[Illustration: THE CHOIR LOOKING EAST.]
[Illustration: THE CHAPTER SEAL. _From Bentham._]