tracery and foliated mouldings, surmounted by an elegant cresting. The
front of the central portion is of the most beautiful design, executed
in alabaster, enriched with colour and gilding, and will doubtless
claim the first attention of the visitor. The sides of the space
occupied by the altar is covered with diaper work exhibiting a series
of roses, apparently connected together by their stems running through
the pattern under the bars of the diaper-work; above this, the whole
width is divided into five compartments--the centre one being wider
than the others--separated by enriched columns, around which are
spiral belts with cornelians and blood-stones on a gold ground, and
having elegant foliated capitals, copied from natural objects; on
these capitals stand a series of angels bearing instruments of the
passion--cross, crown of thorns, nails, spear, &c., and each having
under his feet a dragon or other reptile, typical of the triumph over
Satan by the Sacrifice of the Atonement. The lower part of each
compartment is occupied by quatrefoils ornamented with ball-flowers,
and filled in with mosaic work of _verd antique_, _rosso antico_,
_gialo antico_, and _lapis lazuli_: above these are panels containing
alto-relievo sculptures of great excellence, the subjects taken from
the life of the Saviour; beginning on the north side, we find Christ's
entry into Jerusalem, Christ washing His disciples' feet, the
Institution of the Sacrament, Christ's agony in the Garden, and Christ
bearing His cross: another series of spiral pillars stand in the front
and on the sides of these panels with capitals similar to those
already mentioned. These pillars have their spiral course in the
opposite direction to the former, which adds to the general beauty of
the whole. Above the sculptured panels, each of the four side
compartments is surmounted by two small gables with their outer
mouldings foliated, crowned with a finial, and finished at the bottom
by a grotesque figure of a dragon or other animal; the inner face of
each gable contains within a circle a head in bas-relief, those on the
north side representing the major prophets, Isaiah, Jeremiah, Ezekiel,
and Daniel; those on the south represent four doctors of the church,
Jerome, Ambrose, Augustine, and Gregory; the other portions being
filled in with mosaic work. The centre compartment has three
projecting canopies, the faces of which are enriched with mosaic, the
angles are crocketed, and finished at the bottom with roses and
grotesque figures. Above the centre canopy, on a lofty enriched
pinnacle, stands a figure of our Lord; on the north side, on a lower
pinnacle, stands a figure of Moses; and on the south side a figure of
Elias, the three being typical of the Transfiguration.
The upper portion of the white stone screen behind the alabaster work
is also divided into five compartments of open work with geometrical
tracery; in front rise five gables, the centre being larger and higher
than the others. The outer mouldings of the centre gable are enriched
with foliated crocketing with which is intermixed the early church
symbol--pelican feeding her young--and the apex surmounted by a figure
of our Lord enthroned: the inner portion of the gable contains, in a
trefoil, a basso-relievo of the Annunciation, in alabaster. The four
side compartments are also surmounted by gables, on the top of which
stand respectively the figures of the four Evangelists, in alabaster,
their respective emblems being worked in the crockets; on the inner
faces of the gables, within trefoils, are busts in relief, those on
the north side represent Mary Magdelene and Mary the mother of James;
those on the south, St. John the Baptist and St. John the divine; the
remaining space in each gable being filled in with mosaic. Outside and
between these gables rise spiral pillars, on the tops of which are
placed figures of the virtues, Faith, Hope, and Charity, on the north
side; and of the graces, Justice, Prudence, and Fortitude, on the
south side, executed in alabaster.
The wings also are of white stone, and not so high as the centre; in
each are three openings with geometrical tracery; and below these
openings the wall is covered with diaper-work of an elegant pattern.
The portion of this screen, which forms the reredos, is the munificent
gift of John Dunn Gardner, Esq., of Chatteris, in this county, and
designed as a memorial to his first wife. The work took upwards of
five years to execute, and cost about £4000. Some of the more
important of the sculptures, mosaics, and other decorations, were
suggested by the donor, and the whole was designed by Sir G.G. Scott,
and affords a magnificent example of his skill and taste. The
stone-work, including the architectural carving, was executed by Mr.
Rattee and his successors, at Cambridge; the sculptures by Mr. Philip;
the mosaics by Mr. Field; and the gilding and painting by Mr. Hudson.
The Reredos was expressly designed with reference to a painted window
placed behind it: it is hardly necessary to say that it is greatly
benefitted by the general reduction of the glare of light, which
rendered the outlines of much of the statuary and more delicate
ornaments undistinguishable at a distance, but still more by the
transmission through it of glimpses of the most beautiful colours,
which change with every movement, however slight, in the position of
the eye, and whose very indistinctness and transitory character
contributes not a little to the effect which they tend to produce on
the mind.
The altar being raised above the level of the floor shews to advantage
the magnificent altar cloth, which is of rich crimson velvet,
embroidered with much taste and skill by Miss Agnes and Miss Ellen
Blencowe, and is thought to be worthy of the best ages of Mediæval
embroidery. "Its length is divided into three parts; the middle
containing a very beautiful figure of our Lord as risen, contained
within a pointed aureole of a deep blue colour, and bordered by
radiating beams. Broad orphreys embroidered in flowers divide the
middle compartment from the sides, which are of red velvet powdered
with conventional flowers;"[45] the largest were copied from ancient
examples at East Langdon, Kent, and the others from Ottery,
Somersetshire. The following passage is worked in gold on the
super-frontal:--
[Maltese cross symbol] "+Agnus Dei qui tollis peccata mundi
dona nobis pacem. Agnus Dei, miserere nobis.+"[46] [Maltese
cross symbol]
[Footnote 45: Ecclesiologist.]
[Footnote 46: "O Lamb of God, that takest away the sins of the world,
grant us Thy peace. Lamb of God, have mercy upon us."]
We now direct our attention to the monuments in the Choir, and
commence with the first arch on the south side of the Presbytery which
is occupied by the once gorgeous monument of Bishop de Luda, or Louth
(1290-1298), it consists of a lofty central arch with smaller openings
on the sides; above the arches are enriched gables with pinnacles and
finials; over the centre arch in a trefoil is a figure of the Saviour;
the restoration of the north side of this monument will afford some
idea of its original appearance; the effect has been somewhat subdued
by the softened light from the east window. The indent in the
gravestone under the arch leaves no doubt of its having been once
finished with a brass effigy.
The next arch contains the tomb of Bishop Barnet (1366-1373); it is of
Purbeck marble, with quatrefoils on the sides, and had originally the
effigy of the bishop engraved in brass on the table of the tomb.
Under the third arch is the high monument of John Tiptoft, earl of
Worcester, one of the patrons of Caxton, the first English printer;
this is in the Perpendicular style, but less beautiful than that of
Bishop Redman, on the opposite side: on the table of the tomb are the
effigies of the earl and his two wives; the two latter only were
buried here, the earl having been beheaded and buried in London in
1470.
The tomb of Bishop Hotham (1316-1337) has been partially restored and
placed in the next arch, on the south side of the altar; it formerly
stood under a high canopy on the north side, but originally in the
first arch of his own work. There was probably a recumbent figure on
the top, but it has long since disappeared.
Opposite to this, on the north side of the altar, on a base of Purbeck
marble, are placed the interesting remains of the tomb of Bishop
Northwold (1229-1254), the munificent founder of the Presbytery, which
were originally placed over his grave in the centre of his own work.
It is a large slab of Purbeck marble, highly adorned with carving;
perhaps one of the finest specimens of its period: the effigy of the
prelate is represented as resting beneath a cinquefoil canopy in his
robes, bearing his crosier, with a lion and dragon under his feet;
beneath this is a representation of the martyrdom of St. Edmund, a
prince of East Anglia, by the Danes, commemorative of his having been
lord abbot of Bury before he was preferred to the see of Ely; the
niches in the sides of the prelate's stall have statuettes--on the
left, St. Etheldreda, an abbess crowned, and a nun; on the right, a
king, an abbot, and a monk: at the top on each side of the head are
angels with censers, and other symbolical figures.
The monument or shrine which was formerly placed over the tomb of
Bishop Hotham, has been in part restored, and now occupies the third
arch on the north side. This, with the tomb now on the south side of
the altar under it, originally stood in the first arch of his own
work, near his place of sepultre; it is in the Decorated style, and
was richly coloured and gilded. Part of it was cut away in order to
make room for the stalls when the choir occupied the six eastern
arches, but this has been rebuilt. This is now thought to have been
part of the sub-structure of the shrine of St. Etheldreda, as adapted
by Alan de Walsingham.
The second arch from the west, is occupied by the tomb of Bishop
Kilkenny (1254-1256,) who died at Sugho, in Spain, while on an embassy
to the Spanish Court; his body was buried there, his heart being only
interred here. The tomb is of Purbeck marble, and is a fine example of
the Early English style. The bishop is represented as in the act of
benediction, with a pastoral staff, and in full pontificals; his head
is shown as resting on a cushion, and is surmounted by a trefoil arch
with a crocketed gable, and a censer-bearing angel on each side.
In the next, or more western arch, is the beautiful monument of Bishop
Redman (1501-1505). It is a fine specimen of the Perpendicular Style,
and is richly ornamented with niches and canopies, and a variety of
shields with arms, and emblems of the passion; the effigy of the
bishop is recumbent on a high tomb under a rich canopy, with a space
left at the foot for a chantry priest. Passing through this space we
enter the
+North Aisle of the Choir,+
and first proceeding towards the western end of it, we notice the new
back screens which have been erected to mask the stall work in two of
the bays, and against which have been placed the monuments of Bishop
Fleetwood (1714-1723), and of his son Dr. Charles Fleetwood (1737);
the third bay is occupied by the new and elegant staircase to the
organ; it is of open work, richly carved, with foliated mouldings and
ornaments.
Opposite to this, in the north wall, is a beautiful door-arch,
formerly the means of communication with the Lady Chapel; it has
statues in large niches on each side, many smaller niches, crockets,
and finials, and over the keystone a sitting figure; the mouldings and
ornaments were originally beautified by colours and gilding, but all
are injured and defaced, and the figures have disappeared.
A little further eastward is the memorial brass laid over the grave of
Mr. Bassevi, the eminent architect of the Fitzwilliam Museum at
Cambridge, who was accidentally killed by a fall in the western Tower
in 1845.
The monuments of Bishop Redman and Kilkenny, which we noticed in our
survey of the Choir, are in their original places; and we now pass in
succession those of Bishops Patrick (1691-1707), Mawson (1754-1770),
and Laney (1667-1675). In 1770 many monuments were removed from the
Presbytery to make room for the Choir, and a few were again removed
for the purpose of carrying out the recent arrangements. In the last
bay but one (now opening to the Retro-Choir) stood the monument of
Bishop Gray (1454-1478), but the gravestone only remains, from which
the brass has been removed. The arms of this prelate may be observed
in the sides of three of the windows of this aisle, no doubt altered
by him to their present form.
The first or western window of the Presbytery has been
filled with stained glass executed by M. Lusson, of Paris,
illustrative of the history of St. John the Baptist; the
gift of the Rev. Chancellor Sparke.
The second window, executed by Messrs. Clayton and Bell,
contains subjects illustrative of the miracles; designed as
a memorial of the Rev. J.H. Sparke, many years Canon of the
Cathedral, and Chancellor of the Diocese.
The third window, by the same artist, also contains subjects
illustrative of the miracles; designed as a memorial of
Agneta, widow of Chancellor Sparke.
The fourth window, executed by Mr. Hughes, contains subjects
from the parables--the wheat and tares, the vineyard, and
the lost sheep; and the miraculous draught of fishes,
designed as a memorial of Eliza, widow of Canon Fardell.
The fifth window, executed by Mr. Ward, contains in the two
western lights subjects from the parable of the ten virgins;
and in the others illustrations of the passage in Matt. XXV.
35, 36. "I was an hungered and ye gave me meat," &c.;
designed as a memorial of Rev. H. Fardell, Canon of Ely.
At the end of this aisle, occupying the space of one bay, is the
+Chapel of Bishop Alcock+, (1486-1500), who was comptroller of works
under Henry VII., and founder of Jesus College, Cambridge. The chapel
is in the Perpendicular style, and was built A.D. 1488, as appears
from a stone found underground some years ago, and inserted in the
wall under the east window, bearing the following inscription,
scarcely legible:
"+Johanes Alkoc epus Eliesis hanc fabrica fieri fecit.
M.cccclxxxviii.+"
The ornamental portion is curiously executed, but the pinnacles are
disproportioned and crowded, presenting a confused and heavy
appearance; the vaulted ceiling is rich and elaborate, with a large
pendent of curious workmanship in the centre. The principal entrance
is on the west, but there is a door on the south side; and the
bishop's tomb is on the north side with a window behind containing
some fragments of stained glass. It is probable from its appearance
that the monument contained two effigies, one representing the bishop
in his pontifical robes and another on a higher ledge, which
represented a body in a state of decay, as contrasting life and death.
A carved oak door at the foot of the monument appears as an entrance
to a chantry, or as by some supposed to have been a confessional. The
bishop was buried in the centre of the chapel; his favorite device--a
rebus of his name--a cock standing on a globe, and his arms may be
seen in the window and in several other places. The chapel has been
much defaced and many figures and ornaments have disappeared, but
something has been done towards restoration at the cost of the Master
and Fellows of Jesus College; the new portion of the floor was laid at
the cost of the Rev. Lord Aylwyne Compton; and we hope ere long to see
the east window filled with stained glass, which will contribute much
to its improvement.
+The Retro-Choir.+
This occupies the space of the two eastern bays of the Cathedral,
allowing a passage behind the altar-screen from one aisle to the
other, and affords a good position for a closer inspection of the
lower portions of the east window, under which are some remains of
ancient decoration on the wall.
Nearly under the central window, a memorial brass has been laid over
the grave of Canon Fardell, who died in 1854, and of his widow, who
died in 1861; to whose memories respectively the two stained glass
windows were inserted in the north aisle of the Choir, noticed in p.
79. Near this stands an ancient oaken chest, covered with elaborate
and curious ironwork, with four locks.
Behind the new altar-screen, beneath a large and costly slab of
Alexandrine mosaic, is the grave of Bishop Allen (1836-1845), to whose
memory a monument in white marble has been erected in the south aisle
of the Choir. A little further southward is a monument erected over
the grave of Dr. Mill, Canon of Ely, and Regius Professor of Hebrew in
the University of Cambridge, who died in 1853. It is an altar tomb of
serpentine and alabaster, ornamented with marble mosaic and polished
stones, bearing a recumbent effigy of Dr. Mill in his robes; at the
feet are two kneeling figures, one an oriental character, and the
other a student; the figure is in copper and was formed by the
electrotype process. It was designed by Sir G.G. Scott, and executed
by Mr. Philip.
In the eastern bay on the south side is a monument of Cardinal de
Luxemburg, Archbishop of Rouen, and Bishop of Ely (1438-1443). This
monument was for many years hidden by a screen, but on the removal of
the Choir the screen was taken away and the monument partially
restored, the figure remains but the head is gone. The Cardinal-bishop
died at Hatfield, and his body was buried at Ely, but his heart was
conveyed to his Cathedral at Rouen. The niches and canopies with their
finials in the tympanum of the arch above this monument will attract
attention, being chaste and elegant; they are similar to those in the
interior of Bishop West's chapel, but are in a more perfect state.
+South Aisle of the Choir.+
The eastern portion of this aisle is occupied by the elegant mortuary
+Chapel of Bishop West+, (1515-1534), filling the space of one bay in
a similar way to that of Bishop Alcock in the north aisle. It is a
rich specimen of that gorgeous style by some called the "Florid
English," by others the "Perpendicular," but when that style was
verging into "Renaissance." The niches and canopies are very numerous,
and almost endless in variety of size, shape, and decoration. There
are places for upwards of two hundred statues, large and small; and
some of the carved heads were of medallion size, and well executed. It
is impossible to contemplate this beautiful oratory, even in its
mutilated state, but with feelings of admiration; the taste of the
designer, no less than the execution of the sculptor, are wonderful,
and although every part is covered with niches, pedestals, and
canopies, interspersed with relievos, grotesque designs and ornaments,
the whole appears light and airy. The ceilings of the canopies are
covered with tracery that can only be compared to lace-work
exquisitely varied and finished; the ceiling and pendents are
deserving attention; the former is divided into lozenge shaped
compartments of different sizes, all are coloured, and on many of them
are painted the arms of the see, and those of the founder of the
chapel; the pendents are formed by figures of angels holding the same
arms and those of Henry VIII. Over the door on the inside is this
inscription:
"GRACIA DEI SUM QUOD ID SUM, A.D. 1534."
and the same without the date and the word "id" is to be seen in
several other places both within and without. The gates are worthy of
notice as originals, and as specimens of wrought-iron work of that
period. This chapel, which is the burial place of Bishop West, may be
compared with that built by him in the parish church of his
birth-place, Putney; but every part of it has suffered the most
barbarous mutilation, not a figure can be found perfect, all have been
removed or defaced, probably in consequence of an order in council
made A.D. 1547-8, against the Romish superstition, and for removing
images out of churches; or it might have been done by the Puritans in
the time of the Protector (Cromwell), whose soldiers it is stated,
made use of the Cathedral as stabling for their horses.
Bishop Keene (1771-1781), was also buried here; and Bishop Sparke
(1812-1836) and Mrs. Sparke were interred in this chapel, to whose
memories the monument at the east end has been erected, and the
stained glass window behind is inserted:
The window was executed by Mr. Evans, of Shrewsbury, and
contains figures of the four Evangelists, with St. John the
Baptist in the centre; the tracery being filled with
appropriate emblems and ornamental devices.
A slab of black marble, inlaid with a foliated cross, the arms of the
sees of Chester and Ely, and surrounded by an inscription in brass,
has been laid over the grave of Bishop Sparke, and the gravestones of
Bishops West and Keene have been replaced, and the remainder of the
floor laid with encaustic tiles.
Some fragments of stained glass may be seen in a window on the south
side, under which stand the remains of Bishop West's monument. Just
above this, in seven small arches, closed with as many stones
inscribed with names and dates, are immured the remains of seven
eminent persons[47] of the tenth and eleventh centuries, who were
originally interred in the Conventual church, but from which they were
removed in 1154, and the small chests which contained their remains,
were placed in the north wall of the Choir of the present Cathedral;
and when the position of the Choir was altered in 1770 they were again
removed, and deposited in their present resting places.
[Footnote 47: Wolstan, Archbishop of York; Osmund, a Swedish bishop;
Ednoth, Bishop of Dorchester (Lincoln); Alfwyn, Elfgar, and Athelstan,
severally Bishops of Elmham; and Brithnoth, Duke of Northumberland. An
interesting account of the removal of these remains may be found in
the Addenda to Bentham's History, vol. ii. p. 23, &c.]
The perspective view westward through the south aisles of the Choir
and the Nave is worthy of notice for the various intersections of the
arches and groinings, as seen from a narrow window in the west side of
the chapel, or from the door.
The architecture of the south aisle is similar to the north aisle, and
the windows were probably altered to their present form about the same
period as those in the north aisle. Five of them (as on the other
side) have been filled with stained glass:
The first window from the chapel, executed by Messrs.
Clayton and Bell, contains subjects taken from the Parables;
designed as a memorial of Astley Sparke, Esq., (son of the
Rev. Chancellor Sparke,) who was killed in the celebrated
cavalry charge at Balaclava in 1854.
The second window was executed by Mr. Cottingham, and
contains subjects from the history of Lazarus; the joint
gift of Lady Buxton and of her son, Sir Robert Buxton,
Bart., of Shadwell Park, Norfolk.
The third window contains incidents in the history of the
Saviour, and of St. John; executed by Messrs. Clayton and
Bell: the gift of Mrs. Pratt, youngest daughter of Bishop
Sparke.
The fourth window, by the same artists, contains subjects
illustrative of the history of St. Peter; the gift of the
same lady, as a memorial of her husband, Colonel Pratt.
The fifth window, by the same artists, contains subjects
illustrative of the history of our Lord: given by the same
lady.
Under the second window from the chapel is an arched recess, which is
thought to have formed an entrance to the church for the convenience
of the sisters and others attendant on the sick in the Infirmary which
stood near, but it has been closed on the exterior for many years. The
interior may have been since used as a receptacle for relics; now it
is occupied as a receptacle for a beautiful life-size effigy of Dr.
Selwyn, for upwards of forty years Canon of Ely, and for many years St
Margaret Professor of Divinity at Cambridge;[48] who died in 1875. The
figure is represented as vested in cassock, surplice, and stole, with
the hands joined as in prayer, in white statuary marble, and resting
on a moulded base of Purbeck marble. The cost was defrayed by
subscriptions from several noblemen and gentlemen formerly Eton
scholars.
[Footnote 48: The Professor left the sum of £10,000 towards the
erection of Divinity Schools in connection with the University of
Cambridge, which have just been completed.]
Near this we may notice an ancient gravestone, or part of a monument
found under the floor of the nave in St. Mary's Church, in 1829. It
represents an angel with wings raised above the head, bearing a small
naked figure, probably representing the soul of a bishop, as a crozier
appears at the side; the angel has on a kind of cope with an
ornamental border; and around the head is a large circular aureole,
and the canopy shows a mass of buildings with semicircular arches.
There is an inscription on the rim, "_St. Michael oret p' me_." To
whose memory it was executed it is impossible to say, but it is
doubtless of great interest.
A good view of the organ may be had from this aisle by looking over
the tomb in the fourth bay from the chapel.