_The black tint represents the Norman work of Abbots Simeon and
Richard, 1083-1106._
_The lined tint represents Bishop Northwold's work, 1229-1254._
_The dotted tint represents the work of Bishops Hotham, Montacute, and
L'Isle, 1316-1361._
A The Octagon.
B Choir, as now carried out.
C Nave.
D North arm of Transept.
E South arm of Transept.
F Lady Chapel.
a Altar.
b Bishop Alcock's Chapel.
c Bishop West's Chapel.
d Organ and Staircase.
e Part of Cloisters (ruined).
f Monuments.]
The new oaken screen at the entrance of the Choir will attract the
attention of the visitor, both by its elegant design and its skilful
execution; it is of open work, comprising a centre opening with brass
gates, through which is the passage into the Choir, under a pointed
arch, over this is rich tracery within a high pointed gable, having an
elegant foliated cross on the apex: on either side are three smaller
openings, each divided into two parts by a bar or transom, and
finished at the top with a gable; the openings below the transoms are
filled with elaborate grilles of brass foliage; a beautiful cresting
runs over the whole, with a high pinnacle of tabernacle work at each
end; several statuettes have been placed under canopies in each face,
which add considerably to the general effect. The screen was designed
by Sir G.G. Scott, and executed by Mr. Rattee; the statuettes by M.
Abeloos, and the brass gates with the foliage in the lower panels by
Mr. Hardman: the whole testifies highly to the taste of the designer
as well as to the skill of those who executed the several parts.
In making a particular survey of the Choir, it would perhaps be better
to examine carefully the architecture of the six eastern bays first,
and then the three western bays, which were built subsequently to the
others, before examining the reredos, monuments, &c.; this is simply a
suggestion, we leave the visitor to follow his own inclination, and
continue our description in the order of our course from west to east.
The architecture of the three first bays is greatly to be admired as a
specimen of the Decorated style, perhaps not surpassed by any other in
the kingdom; they were erected about the same time as the Octagon, and
most probably under the superintendence of the same skilful architect,
and for which purpose Bishop Hotham left a sum of money at his death;
they were built during the episcopate of his successors, Bishops
Montacute (1337-1345), and L'Isle (1345-1361). The lower columns are
nearly, the capitals entirely, of the same form with those of the
Octagon, but the arches are more ornamented, some of them having
bosses of foliage attached to their mouldings; and those of the
triforium are, as Mr. Bentham observes, "embellished with tracery work
of such elegance and delicacy as seems scarcely consistent with
strength." Between each of the lower arches is a corbel or elongated
bracket profusely adorned with foliage carved in high relief, richly
coloured and gilded; from this rises a column between the upper
arches, and from the top of this column spring the ribs of the
vaulting, which spread in lavish ramifications over it, dividing it
into angular compartments, and at the angles are flowers and other
ornaments, curiously carved, and originally were coloured. In the
spandrils of the lower and triforium arches (with the exception of the
first bay on the south side, which contains the arms of the see, those
of Bishop Hotham, and another shield), are sunk trefoils, some of
which are painted dark blue relieved with small stars in gold, having
an elegant appearance. The range of pierced parapet at the bases of
the triforium and clerestory has been entirely renewed; and on the
south side, the triforium roof (which on both sides is of bare
rafters,) has been recently painted and ornamented in a style similar
to those of the Transept. The windows in the clerestory are large,
filling the whole opening, having in each four lights with rich
tracery, and the same kind of trellis-work we noticed in the large
windows in the Octagon; these windows, on both sides have been
recently filled with stained glass, executed by Mr. Wailes, the
expense defrayed out of the balance of the accumulated fund for the
east window; the subjects are illustrative of two verses of the "Te
Deum," with figures of angels and the arms of the donor, &c., in the
tracery:
NORTH SIDE--"_The noble army of Martyrs_"--represented in
the western window by figures of St. George, St. Agnes, St.
Catharine, and St. Alban; middle window--St. Lawrence, St.
Cecilia, St. Justin, and St. Prisca; eastern window--St.
Ignatius, St. Polycarp, St. Lucian, and St. Stephen.
SOUTH SIDE--"_The Holy Church throughout all the World_,"
the Eastern Church being represented in the western window
by figures of St. Chrysostom, St. Basil, St. Athanasius, and
St. Gregory Nazienzen; the Western Church in the middle
window, by figures of St. Jerome, St. Ambrose, St.
Augustine, and St. Gregory the great; the British Church in
the eastern window, by figures of St. Columba, St. David,
the Venerable Bede, and St. Augustine of Canterbury.
The absence of a bishop's throne is peculiar to this Cathedral; the
bishop occupies the return stall on the south side, and the dean that
on the north; those seats being generally appropriated to the dean and
sub dean. When the abbacy was converted into a bishopric (A.D. 1109)
the bishop took the seat previously held by the abbot, the prior
retaining his own; and, on the re-foundation in 1541, the dean took
the seat previously used by the priors, and here occupies
traditionally the side opposite to his customary position.
On the right hand of the entrance, therefore, is the seat of the
bishop, and on the left hand that of the dean, both surmounted by
lofty pinnacles of tabernacle work; and the ancient stalls, formerly
used under the Octagon, extend on both sides to the length of the
three western bays. These, which we believe form the sole existing
specimen of stalls of that date in England, have been cleansed from
their coats of paint and restored, and harmonise well with the new
work: the canopies are rich and elaborate, and the panels in the upper
portions have recently been filled with sculptured groups illustrative
of Scripture history, those on the north side from the New, and those
on the south side from the Old Testament; they are beautifully
designed, and contribute greatly to the good effect of the whole.
These sculptures have been executed in oak by M. Abeloos, of Louvain,
(with one exception, "the Nativity," by Mr. Philip,) and are the gifts
of various benefactors. They are placed in chronological order and,
as we proceed from west to east, the subjects may be noticed in the
positions described as follows.
NORTH SIDE.
The Annunciation.
The Salutation.
The Nativity.
The Presentation in the Temple.
The Adoration of the Magi.
The Murder of the Innocents.
The Flight into Egypt.
Jesus disputing with the Doctors.
The Baptism.
The Temptation.
The Miracle at Cana in Galilee.
The Transfiguration.
Mary anointing the Lord's feet.
The Betrayal.
Our Lord before Caiaphas.
Jesus mocked.
Pilate washing his hands.
Jesus scourged.
"Behold the Man."
The Crucifixion.
The Entombment.
The Resurrection.
Our Lord at Emmaus.
The incredulity of Thomas.
The Ascension.
SOUTH SIDE.
The Creation of Man.
The Creation of Woman.
Adam and Eve in Paradise.
The Fall of Man.
The Expulsion from Paradise.
Adam and Eve at Work.
Cain killing Abel.
Noah building the Ark.
The Deluge.
Noah's Sacrifice.
Promise to Abraham.
Isaac carrying the wood.
Abraham's Sacrifice.
Isaac blessing Jacob.
Jacob's Dream.
Joseph sold by his Brethren.
The Burning Bush.
The Passover.
Moses striking the Rock.
Moses raising the brazen serpent.
Return of the Spies.
David anointed by Samuel.
Queen of Sheba's visit to Solomon.
Jonah.
Elijah's ascent to Heaven.
The sub-stalls are new, and of good design; the stall-ends in the
upper range have a series of statuettes of the principal among the
ancient benefactors, or of the builders of various portions of the
church, each under a canopy, and for finials they have figures of
angels with instruments of music. Each of the statuettes (where
finished) is represented as holding some type or model of the
particular portion with which its prototype is more intimately
connected. They were designed and modelled by Mr. J. Philip, and
executed partly by him and partly by Mr. Rattee; we append a list of
them in the order in which they are placed, commencing from the west,
as before:
NORTH SIDE.
St. Etheldreda.
King Edgar.
Abbot Simeon.
Abbot Richard.
Bishop Hervey.
Bishop Ridel.
SOUTH SIDE.
Bishop Alcock.
Alan de Walsingham.
Prior Crauden.
Bishop Hotham.
Bishop Northwold.
Bishop Eustachius.
The fronts of the stalls are generally of open work, shewing the
hinged seats, or misereres as they are usually called, behind; in both
series of stalls these are curiously and grotesquely carved beneath.
On the faces of the stall-ends of the lower tier are various
emblematical devices, crests, and shields, beautifully carved; our
list is made in the same order as of the statuettes.
NORTH SIDE.
Crest of Dean Peacock.
Crest of the late Canon Sparke.
Crest of Canon Fardell.
Arms of Canon Ashley.
Bull--emblem of St. Luke.
Eagle--emblem of St. John.
SOUTH SIDE.
Arms of the See of Ely.
Arms of Canon Selwyn.
Arms of Canon Mill.
Pelican--ancient Church symbol.
Lion--emblem of St. Mark.
Angel--emblem of St. Matthew.
An elegant brass lectern the gift of the late Canon Sparke, has been
placed in the Choir, as a memorial of H.S. le Strange, Esq., who
painted the ceiling of the Tower and the western portion of the Nave
ceiling.
The organ is placed in a position differing from that of most others
in England, although not unusual in Continental Cathedrals. The pedal
and swell organs have been placed in the triforium on the north side,
and the great organ, with the choir organ beneath it, project in front
of the third bay, resting upon an over-hanging chamber behind the
stalls. The organ was reconstructed, with great additions, by Messrs.
Hill and Son, of London, when the removal took place in 1851, and
several important additions were made in 1867, by the same firm.[39]
The magnificent organ-case, with its sculptures, was executed by Mr.
Rattee; the pipes in front have been gilded and ornamented by Mr.
Castell, of London, and much of the woodwork having been left in its
natural colour forms an agreeable contrast, and the effect produced,
from almost every point of view, is rich and beautiful; while from its
unusual position it loses little of its power or sweetness of tone,
but sends forth its pealing sounds reverberating through the lofty
arches with fine effect. We know nothing more sublime than the voices
of a congregation, guided and supported by such an instrument,
praising and adoring the great Creator and Father of all, and are led
to exclaim with the poet Milton--
"There let the pealing organ blow,
To the full voiced choir below,
In service high and anthems clear,
As may with sweetness through mine ear,
Dissolve me into ecstacies,
And bring all heaven before mine eyes."
[Footnote 39: See Appendix I.]
The division between the Early English work of Bishop Northwold and
that part generally spoken of as Hotham's work is marked by two steps
in the floor, and by two strong piers rising from the floor to the
vault, which were in fact the original Norman shafts near the
commencement of the apse or east end taken down by Hugh de Northwold,
eighth bishop, who added the six beautiful eastern bays at his own
expense; these form a pure and good example of Early English work, and
were completed A.D. 1252, and dedicated in the same year, in the
presence of King Henry III., and many nobles and prelates. This was
called the "Presbytery," or "Sanctuary," a common name at that time
for the east end of a church.
"The character of the three western bays is singularly yet beautifully
arranged to harmonize, in point of elevation of its parts, with the
six eastern arches; this and the very great excellence of the details,
render this part of the edifice a most valuable study."[40] The
absolute contact here of the two styles, Early English and Decorated,
affords the spectator an opportunity of contrasting them, and of
judging of the comparative merits of each. By many, the eastern bays
are preferred for their chaste and elegant appearance, not being so
profusely ornamented as those of the western ones, but, as Mr. Millers
observes, "everything seems in its proper place and fitly
proportioned: all harmonize, and taken altogether, give a general
character of lightness and elegance. This is nowhere more conspicuous
than in the roof; the plain ribs of which, diverging from their
imposts, instead of crossing each other and spreading into intricate
forms, go straight to a longitudinal midline running from west to
east, and decorated with coloured figures or flowers where the
springers meet it. There is a precise line of separation between this
and the more elaborate ceiling of Bishop Hotham's work; being thus
brought into contact the two may be compared with singular
advantage."[41]
[Footnote 40: Rickman.]
[Footnote 41: Millers' Description of Ely Cathedral, p. 74.]
The bases of the piers of the lower arches are octagonal, but the
shafts are cylindrical, surrounded by slenderer detached ringed shafts
with foliated capitals, all of Purbeck marble. The triforium (except
in the first and second bays on both sides,) extends over the aisles,
and is lighted by large windows with Decorated tracery in the outer
wall; and the arches are separated by a cluster of slender shafts into
two smaller ones with trefoil heads; and between the two is a
quatrefoil; all highly adorned with mouldings. Between each of these
lower arches is an enriched corbel of Purbeck marble, adorned with
foliage in high relief, from which rises the vaulting-shaft, in a
group of three, between the arches of the triforium to the base of the
clerestory, having a capital of leafage, and from the top of which
spring the ribs of the vaulting. The spandrils throughout are
relieved with trefoils and quatrefoils, deeply sunk and backed with
Purbeck marble; and, on the whole, the contrast of light and shade,
depth and projection, produces a very fine effect. The clerestory
arches are of the same span, but each is divided into three smaller
ones, the centre arch being higher than those on either side, in order
to admit light through the windows behind, which are three
lancet-shaped lights under one arch in the outer wall, and are, we
believe, original; these windows have been filled with stained glass,
which is another important step towards the general improvement.
The windows of the aisles and triforium were originally three
lancet-shaped lights under one arch, but were replaced in the
fourteenth and fifteenth centuries by larger windows of a flamboyant
character. In the first and second bays on both sides the triforium
windows are placed in the inner wall, probably to give more light to
the high altar, the position of which was indicated by a boss in the
ceiling with a figure of St. Peter; and also to give greater effect to
the rich and gorgeous shrine of St. Etheldreda, said to have been of
pure silver adorned with jewels, which at that period stood near the
altar and to her place of sepultre, indicated by a boss in the ceiling
with her effigy on it. The tracery in these windows bears a similarity
to those in the corresponding arches of Hotham's work, but is not so
ornamented. All have been filled with stained glass by Mr. Wailes, the
expense defrayed out of the east window fund:
The western window on the north side--The descent of the
Holy Ghost, with figures and emblems.
The eastern window--The Ascension, with figures, &c.
The western window on the south side--Incidents from the
history of Moses, with figures, &c.
The eastern window--Incidents from the history of Elijah,
with devices, &c.
"The east end," says Mr. Millers, "is eminently beautiful, and will
not by any means shrink from comparison with the more gorgeous
termination of any church built after great end windows came into
fashion. There are two tiers of lights; the lower consists of three
very high lancet-shaped lights, nearly all equal; the second of five,
the middle one being higher, and those on the sides gradually
lower."[42] They are enriched by slender columns, with leafy capitals,
and ornamented with toothed and other mouldings, presenting altogether
more gracefulness and elegance than one large window filling nearly
the whole end. In the last century Bishop Mawson had formed a design
of filling this window (for it is generally considered as one window
of eight lights,) with stained glass, and selected an artist to carry
it into effect; the work, however, was not then finished; a figure of
St. Peter, and the arms of the bishop and contemporary members of the
Chapter, are the only remains of it known to be in existence, and
these were lately removed from the centre lancet and placed in the
east window of the north triforium of the Nave. The window has at
length been completed by the liberality of Bishop Sparke, who gave in
his lifetime a large sum for that purpose.[43] The bishop died some
few years after making his munificent donation, and his two sons, Rev.
J.H. Sparke and Rev. E.B. Sparke, then Canons of the cathedral, as
Trustees of the fund, took steps to carry his wishes into effect.
Several designs were prepared, and one by Mr. Wailes was selected, but
the execution was deferred for some years in order that advantage
might be taken of further experience, and thus, if possible, to
realize some of those gorgeous effects which have made the thirteenth
century windows of Canterbury, Chartres, Bourges, and elsewhere, so
justly celebrated.
[Footnote 42: Millers' Description of Ely Cathedral, p. 76.]
[Footnote 43: See note p. 53.]
The eastern lancets were executed by Mr. Wailes in 1857, and the
representatives of the donor have good reason to be satisfied with the
result. The general effect produced is magnificent; the three lower
lancets in particular present that happy combination of sparkling
brilliancy with that somewhat mysterious indefiniteness in the
distribution of colour which is so well suited to the architectural
effect. It is sufficient to compare the present window with others in
the Cathedral, not excluding the productions of Mr. Wailes himself, to
shew the great advance which the art of glass-painting has recently
made, both in the richness of the colours employed and their
arrangement--the improvement arising, doubtless, from a more accurate
study of the great masters of the middle ages.
The figures and groups in the three noble lancets are executed with
great spirit; and although numerous, are arranged, more especially in
the central window, in masses which the eye can readily follow, and by
occupying so large a portion of the entire surface, leave little room
for the monotonous repetitions of foliage or other patterns; the
distribution of colour is also thus sufficiently varied without its
masses in one part of the window unduly preponderating over those in
another, a condition which is never grossly violated without serious
injury to just architectural effect.
In the central window of the clerestory range, the spaces between the
medallions and the border are filled with a diapered ground, which,
though rich in colour, is somewhat formal in effect; whilst the field
in the side windows, within the border, is too narrow to allow the
figures to be sufficiently separated and relieved from the rest of the
ground. It arises, probably, from these or other causes that the
general effect which the upper lancets produce, though otherwise good,
is by no means so rich and sparkling as that of the lower windows.
The subjects of the three lower lights are illustrative of
the history of our blessed Lord; commencing at the bottom of
the south lancet--where is represented a figure of Jesse,
from whose body issues a genealogical tree--and continuing
in ascending order, through a series of nine medallions,
following in the same manner through a similar number in
the north lancet, and five others in the central lancet;
alternately with these five are quatrefoils containing
representation of types from the Old Testament of the events
of the Passion represented in the other medallions; and in
the segmental spaces round these quatrefoils are represented
eighteen other incidents of the last days of the Saviour. In
the segmental spaces in the south lancet the figures of the
kings are disposed in pairs; and in the north lancet these
spaces are filled with the figures of Moses, Elias, and the
prophets; and at the bottom a kneeling figure of the donor.
The five upper windows, two on the north and two on the
south, contain figures of the apostles; at the top of the
central window our Lord is represented as sitting in glory,
beneath which are depicted four incidents which occurred
after the Crucifixion.
The floor of the Choir has been re-laid with marble combined with
Minton's encaustic tiles, and a large marble slab has been placed over
the grave of Bishop Hotham, inlaid with brass and bearing the arms of
the see and those of the bishop, surrounded by an inscription. At the
foot of this another has been laid over the grave of Prior Crauden,
superior of the monastery at the time of the erection of the Octagon;
this is the original gravestone of the prior, but it had been removed
with several others to another part of the church; the brass insertion
has been renewed, shewing a kneeling figure with a large foliated
cross issuing from his bosom, with the initials I.C. on either side,
and surrounded by an inscription.
In the wide treading of one of the steps at the end of the stalled
choir are placed the arms of some of the benefactors to the
restoration of the Cathedral;[44] executed by Messrs. Minton. In the
Presbytery, where the absence of stall-work allows space for more
elaborate design, it will be seen much care and skill has been used,
and the effect produced is very good. The communion table is raised
five steps above the level of the floor, each step being laid in
mosaic and encaustic tiles of beautiful and varied patterns, used in
conjunction with veined, and faced with black, marble.
[Footnote 44: In the centre are the arms of the Duke of Bedford; on
the south side those of Alexander Beresford Hope, Esq., and the Rev.
T. Halford; on the north those of J. Dunn Gardner, Esq., and J.C.
Sharpe, Esq.]
The new reredos or altar screen is remarkable for its chaste but
elaborate design and richness of detail, as well as skill in
execution; and is not, perhaps, surpassed by any modern work of the
kind; our limited space will not allow us to attempt anything like an
adequate description of this beautiful work, but we will endeavour
briefly to point out the prominent features, and recommend to the
visitor a careful examination of its various details.