Hughes--also at the cost of the late Canon E.B. Sparke,
contain figures of eminent persons in New Testament history,
with arms, &c. in the tracery. Those in the western window
represent Silas; Clement, bishop; Apollos; Judas Barsabas;
Dionysius, areopagite; and Philip, deacon: in the eastern
window, Titus, bishop; St. Paul; Timothy; St. Mark; St.
Barnabas; and St. Luke.
The eastern aisle is divided by walls behind the columns into
compartments; the northern one forms a communication with the entrance
to the Lady Chapel; the middle one a vestry for the Grammar Scholars;
and the third a vestry for the Lay-Clerks; remains of fresco paintings
may be seen on the walls of both these compartments.
The stained glass window in the middle compartment contains
subjects from the history of our Saviour; executed by
Messrs. Clayton and Bell: presented by--Heywood, Esq., as a
memorial to his mother.
The window in the third compartment, by the same artists,
represents the Entombment and the Ascension, and is the gift
of C.L. Higgins, Esq., of Turvey Abbey.
The floor of this portion has been recently re-laid by the munificence
of the late Canon E.B. Sparke.
We now cross the Octagon (which we will examine afterwards) to the
south arm of the Transept. At the south end is a colonnade, but
differing in design to that in the north arm, the arches being all of
equal height, but not so high as the others; over these is a row of
intersecting arches. It is probable that these galleries were added at
a period subsequent to the erection of the Transept, and intended as a
means of communication from one triforium to the other; in the south
east corner is a staircase leading to the triforium. Some remains of
ancient decoration may be observed on the walls and capitals, portions
of which have been renewed.
The eastern aisle was formerly divided by a wall behind each column
into three compartments, with wooden screens in front; but these were
all removed in 1814, when it was enclosed as we now see it to form the
Library, which is lighted on the east by three Early English windows,
and on the south by a Norman one. The western aisle appears to have
been closed for many years, as on the walls built in the arches (and
which until lately completely filled the openings,) there is an arcade
of intersecting Norman arches. Of this aisle, thus inclosed, one
portion is used as a vestry by the Vergers, having an entrance from
the south aisle of the Nave; the remaining portion as a vestry for the
Clergy. The carved oak door to this vestry deserves attention; it is
not exactly known whether it originally belonged to the Cathedral, the
carved devices are similar to those in the chapel of Bishop Alcock, in
the north aisle of the Choir; there is no doubt that it belonged to
some building erected by that prelate, if not to this, probably to the
chapel of Jesus College, Cambridge, of which Bishop Alcock was the
founder. It was found at Landbeach, and sent to the Cathedral by Canon
Fardell.
The windows of the western aisle and those of the clerestory on both
sides are in their original form, and so are those of the two lower
tiers at the south end, but the others are of later age; in the gable
is a low window of seven lights, very different to the upper windows
in the north arm: those in the south end and two in the western aisle
have been filled with stained glass:
The eastern window of the lower tier of the south end, by M.
Henri Gerente, contains incidents in the history of Joseph;
presented by the late Canon E.B. Sparke.
The western window by the same artist, contains incidents
from the history of Moses: contributed by some of the then
Lessees under the Bishop.
The eastern window of the second tier, by Messrs. Henri and
Alfred Gerente, contains subjects from the history of
Abraham, with parallels: the gift of Incumbents of livings
in the diocese, and in the patronage of the Bishop.
The western window, by M. Alfred Gerente, contains subjects
from the history of Jacob; the gift of Incumbents of livings
formerly in the patronage of the Bishop, but not in his
diocese.
The gable window contains six figures of the Patriarchs,
with a figure of our Lord in the centre; some of which were
executed by Mr. Howes and others by Mr. Preedy: the gift of
some of the Peers and Prelates educated at the University of
Cambridge.
The middle window of the western aisle, by M. Lusson; the
subjects taken from the Book of Jeremiah: given by the Rev.
G. Rous, Laverton, as a memorial of Dr. Hugh Thomas,
nineteenth Dean of Ely.
The north window is also by a French artist, and given by
the late Canon E.B. Sparke.
The piece of tessellated pavement in the floor was found some years
ago between the Choir and the Lady Chapel, under the present level of
the earth, and was placed here for preservation; when the floor of
this arm of the Transept is re-laid, this may perhaps be again
inserted, or removed to some other place.
+The Octagon.+
We now come to this special glory of the Cathedral, "in which," says
Mr. Millers, "elegance, magnificence, and strength are so happily
blended, that it is impossible to determine in which respect it is
most admirable." We follow up the description nearly in his own words.
Here stood originally a square Norman tower, which in the year 1322,
from the unequal pressure of the four parts of the church, gave way
and fell eastward, crushing in its fall several adjoining arches. "It
could not have happened at a more favourable conjuncture; as the
convent was rich, spirited, and liberal; and though another great work
had been begun the preceding year, (the erection of a new Lady
Chapel,) the repair of this great dilapidation was immediately
undertaken, and completed in a few years, by Alan de Walsingham, at
that time sacrist,[34] an officer under whose particular charge were
all the monastic buildings. It has continued above five hundred years,
and may it yet continue a noble proof of his consummate skill as an
architect!" The conception was original, being perhaps the first
building of the kind ever erected. By throwing the weight upon eight
strong piers and arches instead of four, he has probably guarded
against the recurrence of a similar accident; at the same time he has
given a larger space, a more agreeable form, and greater scope for
embellishment, which is, however, most judiciously confined within
such limits as not to interfere with sober and impressive grandeur. No
one can behold it without admiring the skill which has suspended,
rather than supported, a very heavy timber roof over so wide an area
without a pillar.
[Footnote 34: He was made Sub-Prior, then Prior, and elected Bishop,
A.D. 1344, but the election was not confirmed.]
"It is not equilateral; there are four longer and four shorter sides,
alternate and respectively equal. Four lofty arches, in the four
longer sides, open into the four principal parts of the church:
alternately with these, in the four shorter sides, are as many more,
much lower, opening obliquely into the aisles above and below the
Transept. The arches are all supported by elegant clustered and
conjoined columns, and their capitals are wreaths of flowers and
foliage."
In the shorter sides there is room for some ornamentation, but the
ornaments are chaste and not profuse. The four low arches in them are
under canopies resting on good carved heads, which remain perfect.
Those on the north-east are said to be intended for Edward III. and
his queen Phillippa, in whose time the building was erected; on the
south-eastern arch are represented the heads of a bishop and a priest,
perhaps meant for Bishop Hotham and Prior Crauden, superiors at the
period of erection. On the north-west arch are the heads of another
priest, apparently younger, and of some secular person with long hair;
the former is supposed to represent Alan de Walsingham, the skilful
architect of this noble work; and the latter the chief mason. On the
remaining arch are two figures, the meaning of which we can scarcely
comprehend.
A little above each of these lower arches are three brackets, or
corbels, with canopies; the original figures (if any) placed on these
brackets have long since disappeared, but the spaces have lately been
filled with sitting figures of the Apostles,[35] executed in stone by
Mr. Redfern, each holding a symbolical instrument. If we start from
the Choir and proceed to the right hand we shall find them placed in
the following order:--
{ St. Matthew--box.
S.E. { St. John--chalice and dragon.
{ St. James, minor--club.
{ St. Philip--small cross.
S.W. { St. Paul--sword.
{ St. Bartholomew--knife.
{ St. Thomas--mason's square.
N.W. { St. Peter--keys.
{ St. Andrew--cross.
{ St. Jude--spear.
N.E. { St. James, major--pilgrim's staff.
{ St. Simon--saw.
[Footnote 35: These were contributed by the Bishop of Carlisle (5),
Dr. Kennedy, Sir G.G. Scott, Captain Horton, Canon Underwood, and
others.]
There are also sixteen small stone heads, four connected with each
group of three Apostles, which are not very clearly seen, perhaps,
from the floor of the Cathedral, but which, when examined, shew by the
conventual prophetic cap given to them, that they are intended to
represent the sixteen Prophets of the Old Testament. Above these
canopies, in each of the four sides, is a gallery or passage with an
embattled parapet, and above that a large window of four lights with
geometrical tracery; it is extremely sharp pointed, and towards the
top each window is faced internally with a trellis or lattice-work of
stone, which adds to its elegance without intercepting the light.
These windows rise to the same height as the higher arches; they have
been filled with stained glass by Mr. Wailes, and the subjects are
chiefly representations of persons who were instrumental in the
foundation, erection, or restoration of the Cathedral, of the reigning
sovereigns at the respective periods, and of others who figured in the
traditionary history of the foundress.
The window in the south-east angle is designed to
commemorate the principal persons who figured in the
traditionary history of the foundress. The figures in the
upper tier represent Anna, father of St. Etheldreda; St.
Etheldreda as queen; Tonbert, her first, and Egfrid, her
second husband. In the lower tier, St. Etheldreda as abbess;
Wilfred Bishop of York; St. Erminilda, the third abbess; and
St. Sexburga, the second abbess. The tracery contains other
figures and emblems, with the arms of the donor, the late
Canon E.B. Sparke.
The window in the north-east angle, in continuation of the
same design, contains in the upper tier figures representing
St. Withburga, St. Edmond, St. Werberga, fourth abbess of
Ely, and Archbishop Dunstan. In the lower tier, Bishop
Ethelwold; Brithnoth, Duke of Northumberland; Abbot
Brithnoth, and King Edgar. The tracery contains the arms of
the University of Cambridge, with other figures and devices:
contributed by subscriptions from the Bachelors and
Undergraduates of the University of Cambridge.
The window in the north-west angle also contains eight
representative figures, viz., in the upper tier, (reading
from right to left) are William I., Henry I., Henry III.,
and Edward II.; and under these, Abbot Simeon, who commenced
the present Cathedral; Harvey, the first Bishop of Ely;
Bishop Northwold, who erected the Presbytery; and Alan de
Walsingham, the skilful architect of the Octagon. The
tracery contains medallions in which are pictured the
shrine of St. Etheldreda; Abbot Simeon laying the foundation
stone of the Cathedral; Alan de Walsingham and monks weeping
over the ruins of the central tower; the arms of the
University of Cambridge, of the See of Ely, of Bishop
Sparke, with other devices. Half the cost of this window was
defrayed by subscriptions from some graduates of the
University of Cambridge, and the other half by a portion of
the accumulation of the money given by Bishop Sparke[36] for
the east window.
[Footnote 36: Bishop Sparke gave £1500 stock in the Reduced
Three per cents. about 1833, but the east window was not
completed until 1857; the amount had in the mean time
accumulated considerably, and proved sufficient to defray
the cost of the east window, of six windows in the
clerestory of the Choir, of the four windows of the
triforium of the Presbytery, and half the cost of the
north-west window of the Octagon.]
The window in the south-west angle also contains eight
figures in the four principal lights, arranged in the
following order--the Queen in her coronation robes; the
Prince Consort in his robes as Chancellor of the University
of Cambridge; and under these are represented Dr. Turton,
the then bishop, and Dr. Peacock, the then dean of Ely;
these figures being commemorative of the present extensive
restorations: the other four represent King Edward III. and
his queen Philippa, in whose reign the Octagon was built;
and under these, Bishop Hotham and Prior Crauden, the great
officers of the Cathedral at that period. The tracery
contains the arms of the University of Cambridge in the
centre, and on either side the arms respectively of those
whose figures are represented in the window. The cost of a
portion of this was graciously defrayed by Her Majesty;
Bishop Turton and Dean Peacock gave the cost of their own
figures respectively, and the remainder was paid by the
capitular body.
Midway up each vaulting shaft is a canopied niche of unusual but very
beautiful character; these niches rest upon sculptured corbels
representing some striking incidents of St. Etheldreda's life, by
beginning at the right-hand side of the north-west arch, and
continuing our course to the right-hand round the Octagon, we may
examine them in detail.
The first represents her marriage.
The second, her taking the veil at the Monastery of
Coldingham at the hands of Wilfred, bishop of York; her
crown laid upon the altar.
The third, her pilgrim's staff taking root and bearing
leaves and branches over her whilst she slept by the way.
The fourth, her preservation, with her attendant nuns, on a
rock surrounded by a miraculous inundation, when pursued by
the king and his attendants.
The fifth, her installation as abbess of Ely, by Wilfred.
The sixth, her death and burial.
The seventh, a legendary tale of one Brithstan delivered
from bonds by her merits.
The eighth, the translation of her body.
These were probably placed there to break the apparent great
preponderance of vertical lines. The vaulting is of wood, and its
fan-shaped compartments terminate at a distance from the centre, thus
allowing an aperture thirty feet wide, over which rises the Lantern,
an exact octagon, having on each of its sides a large pointed window
of four openings with rich tracery, all filled with stained glass,
which has the effect of subduing the light; below these windows are a
series of panels with decorated heads, and under them another series
of smaller ones; above the ceiling is a chamber formerly used for
bells. The Lantern also is of English oak, and its construction a
curious piece of carpentry. The whole has been thoroughly repaired,
and in a great measure restored in exact conformity with the original,
at a considerable expense.[37]
[Footnote 37: This great work is designed as a memorial of Dean
Peacock, and a more fitting one could scarcely be found, as it is one
of the great works he had in contemplation. "The Dean and Chapter felt
that they could not propose any record of the zealous exertions of the
late Dean, so appropriate as the restoration of the central portion of
the Cathedral Church; which, after the great improvements executed
under his superintendence in the eastern and western portions of the
fabric, would form as it were a keystone of the whole work."
Subscriptions amounting to about £10,000, were given by many noblemen
as well as other friends of Dean Peacock; the capitular body
contributing very largely towards the work.]
When the white and yellow-wash was cleared away from the woodwork of
the Octagon and Lantern in 1850, some remnants of ancient colouring
were discovered. In the archives of the Cathedral are preserved the
accounts of the materials used in this painting, the prices of the
colours, and the wages paid to the workmen. The name of the principal
artist was Walter; he is dignified by the name of "Pictor," but he
only received Eightpence per week, "_præter mensam et robam_" the
"_roba_" being the painter's dress of the period, which was very like
a modern gentleman's dressing gown. The colouring of this "Walter"
between the years 1335 and 1351 seems to have been of a very simple
character. The only evidence of designs that remained in 1850 were on
the flat panels of the vaulting, which was covered with an imitation
of ordinary gothic flowing tracery. The pattern was a series of
quatrefoils painted in stone-colour on the wood, outlined black, and
filled with green. The bosses of the Lantern, which are not carved,
had been evidently painted and gilt, but the patterns of foliage were
rough and too much injured to afford any distinct composition.
The small amount of colouring which remained on some of the mouldings
of the Octagon was principally of a bright red, but only in small
patches, the ground-work having peeled off and the colour with it.
In attempting to describe briefly the recent decoration of the Octagon
and Lantern we cannot do better than quote the substance of a paper
read during the Conference in June, 1875, explaining the history and
nature of the ornamentation which has been carried out with such
loving care and artistic skill under Gambier Parry, Esq., who designed
the whole and painted the chief figures.
"The internal repair of the Lantern and Octagon was begun in February,
1874, and required a year for its completion. The ornamentation is in
the style of the fourteenth century. The central boss of the lantern
groining is a half-length figure of Christ in glory, considerably
above life size, and with the conventual clouding around it; it is
boldly carved in oak. The right hand is raised in the attitude of
blessing, and with the left the inner garment is drawn open to exhibit
the wound in the right side. Around this figure is painted a group of
Seraphim on a grey blue ground. The panels of the window hoods are
painted red, marking the distinction already made by the architectural
construction, and on them are painted Cherubim and golden stars. The
windows of the lantern were filled, some years ago, with coloured
glass, the colouring of which is harsh, and in strong contrast with
the mellow and rich painting of the woodwork, and injurious to the
general effect.
"Below the windows are thirty-two openings surmounted with rich
tracery. They are filled by panels on which is painted the angel
choir. The figures are composed in groups of four, under each window,
and are represented playing mediæval instruments. The two eastern and
two western bays are intended to be severally grouped together,
forming distinct series of eight figures. The instruments in the hands
of the figures over the transepts are the psaltery and cithern, the
regale, tabret, lute, violin, bagpipe and trumpet, (illustrating the
150th Psalm.) Below this range of figures are smaller panels, simply
ornamented with the sacred monogram, the cross and the crown, resting
on a fine and richly carved cornice, which forms the base of the
lantern. The groining of the Octagon forms eight hoods, four above the
windows, and four above the great arches of the Choir, Nave and
Transepts. Beneath these last are remarkable statues of the four
evangelists, about life size, seated in the attitude of writing, with
a pen in one hand and a long scroll in the other; a writing table by
the side of each figure with the ink horn attached to it by a strap,
and a loop to hold the pen, is very complete. The space between the
great arch and the groining of the Choir is filled with rich tracery,
on the central panel of which is painted the Crucifixion, with angels
holding the chalice and palm branch on the right and left. The long
spandrils of the groining are painted with conventional scrollwork of
leaves and flowers in a style contemporaneous with the architecture.
The monogram and crown of St. Etheldreda are found in several parts of
the ornamental design. The total expense of the decoration has been
about £2500."
An elegantly carved pulpit has been placed near the entrance to the
Choir; it is of Ancaster stone resting upon columns of Purbeck marble,
the front relieved by alabaster figures of St. Peter and St. Paul; the
steps are of Purbeck marble, guarded by very elaborate scrollwork in
iron. It was designed by Sir G.G. Scott, and executed by Messrs.
Rattee and Kett; the figures by Mr. Redfern, and the iron work by
Messrs. Potter and Son. It was supplied by a legacy left by the
daughter of Bishop Allen, and adds much towards the general
improvements.
* * * * *
Before leaving the Octagon the visitor would do well to contemplate
this portion of the building, as affording an extraordinary example of
the skill and judgment of the man who designed and carried into effect
so grand and unique a specimen of architecture, covering, as it does,
a large area without supporting columns; no heavy mass of stone-work
meets the eye, but the pillars, though strong and of great height are
so constructed as to give an appearance of lightness and elegance; the
vaulting is rich though simple, and the lantern above deserves notice
from its singular position, apparently without support, but starting
as it were from the ends of the ribs of the groining: taken as a whole
it may be fairly considered as without parallel in this country.
The architectural views from the Octagon in every direction are
exceedingly fine, and will repay the visitor for a pause of a few
minutes to notice them; on all sides are examples of great beauty and
variety. There are many other points in the Cathedral which afford
attractive scenes as shewn in the effects of light and shade, the
intersections of arches, perspective, &c., which may be found by the
visitor in his survey, if watched for, but we cannot undertake to
point them out.
* * * * *
The next portion of the building to which our attention is attracted
is
+The Choir,+
which, previous to 1322 was under the central Tower, and extended,
including the rood-loft, from the second column at the eastern end of
the Nave, as it now is, (it then extended one bay further eastward,)
to about the same distance, or rather more, on the opposite side; and
after the erection of the Octagon was again placed there; in 1770 it
was removed to the six eastern arches of the Cathedral, the space
under the Octagon and the two bays eastward of it being used as a
sermon-place.[38] It was again removed in 1852, and now commences at
the eastern side of the Octagon, extending to the length of seven
bays, (the stalled portion occupying three of them,) leaving the two
eastern bays as a retro-choir.
[Footnote 38: Previous to the last removal, the custom was that only
one sermon was preached in the morning to the congregations severally
from the Choir, St. Mary's Church, and Holy Trinity Church, who
assembled together, and occupied generally seats provided by
themselves, in the Octagon and the two bays east of it, the third
being taken up by the screen dividing it from the Choir with the organ
loft over. The sermons were usually preached by the Canon in residence
at the time.]
This will be better understood by reference to the accompanying plans,
(for the use of which we are indebted to the kindness of the Editor of
the "Architectural Quarterly Review,") one shewing the position of the
Choir previous to the year 1770, and the other the arrangement made at
the last alteration.
[Illustration: GENERAL PLAN:
A Octagon, with the arrangement of Choir previous to 1770.
B Presbytery.
C The Nave.
D North Transept.
E South Transept.
F Part of Cloisters (ruined.)
G Western Tower.
H West Porch or Galilee.
I St. Catharine's Chapel.
K The Lady Chapel.
L The Font.
M Rood Screen.
N Foundations of Norman apse.
O Foundations of N.W. Transept.
P South-western Transept.]