7. Ernulph (1107), Abbot, afterwards Bishop of Rochester.
8. Martin de Vecti or Bec (1133), Abbot. During his time the choir
and transept aisles were finished, and solemnly dedicated.
9. Benedict (1175), Abbot, Keeper of the Great Seal for Richard I.
He built the greater part, if not all, of the nave.
10. Martin de Ramsey (1226), Abbot.
11. John de Caleto or Calais (1249), Abbot, one of the King's
Justices. He built the infirmary, and probably the refectory
and part of the cloisters.
12. Richard de London (1274), Abbot. He built the north-western
tower.
13. Adam de Boothby (1321), Abbot.
14. William Genge (1296), first mitred Abbot.
15. Richard Ashton (1438), Abbot.
16. Robert Kirton (1496), Abbot. He built the Deanery Gateway, and
the new building; his rebus, a church on a tun, carved in
stone, is to be seen on most of his work.
17. John Towers (1638), Bishop, previously Dean.
18. Thomas White (1685), Bishop. He was one of the seven bishops
committed by James II.; and also one of the seven non-juring
bishops.
19. William Connor Magee (1868), Bishop, afterwards Archbishop of
York.
20. Simon Patrick (1679), Dean, afterwards Bishop of Chichester,
and finally of Ely.
21. Augustus Page Saunders (1853), Dean.
22. John James Stewart Perowne (1878), Dean, afterwards Bishop of
Worcester.
The upper figures on the north side represent the following:--
1. Peada (655), King of Mercia, founder of the monastery.
2. Cuthbald (675), second Abbot.
3. King Edgar and his Queen.
4. Ethelfleda.
5. Brando (1066), Abbot.
6. Hereward, the Saxon Patriot (1070), nephew of Abbot Brando,
and knighted by him.
7. John de Sais (1114), Abbot. He commenced the building of the
existing choir.
8. Hedda (d. 870), Abbot murdered by Danes.
9. Robert de Lindsay (1214), Abbot, with model of west front.
10. Godfrey of Crowland (1299), Abbot. Gateway.
11. William Ramsay (1471), Abbot.
12. William Parys (1286), Prior, builder of Lady Chapel.
13. St. Giles, with hart.
14. Hugo Candidus, historian of Abbey.
15. Henry de Overton (1361), Abbot.
16. Queen Catherine of Arragon.
17. Dean Cosin, afterwards Bishop of Durham.
18. Simon Gunton (1546), historian of the church.
19. Herbert March (1819), Bishop.
20. George Davys (1839), Bishop.
21. Dean Monk, afterwards Bishop of Gloucester and Bristol.
22. Dean Argles (1891).
Much history is also contained in the carvings of the pulpit and
bishop's throne. The altar has a marble canopy over it, which is a
magnificent piece of work, but perhaps hardly suitable for its
position. The mosaic pavement is remarkably fine. We now pass into the
_Choir Aisles_, which have Norman vaulted roofs, and formerly had
apsidal ends, but these were removed when Abbots Ashton and Kirton
built the _New Building_ or square end to the church, or perhaps
earlier, as there are some aumbreys and double piscinæ of the
thirteenth century, and also on the south wall some painted shields
and a scroll border of the same date. The windows are later insertions
as in the nave. Traces of the old entrance to the destroyed Lady
Chapel may be seen in the north wall.
We have noticed the building of the ambulatory called the New Building
from the exterior of excellent Perpendicular work. Perhaps the most
striking features of the interior is the fan-tracery of the roof, the
curious bosses, the rebuses of the two Abbots Ashton and Kirton, and
the monuments. The principal ones in the choir and aisles are a modern
memorial stone of Catherine of Arragon (the old tomb was destroyed by
the Puritans, of which fragments have been discovered); the tablet in
memory of Mary Queen of Scots; Archbishop Magee's marble monument;
Sir Humprey Orme's mutilated tomb; several abbots' tombs and tablets
to bishops; Late Saxon tombs of two Archbishops of York, and the
famous Monks' Stone which popular tradition associates with the
massacre of the Peterborough monks by the Danes in 870. Recent
investigators have assigned a later date, and attribute it to Norman
work, but we are inclined to favour the Saxon theory.
We will now visit the _Transepts_, which are of Norman character.
Norman fish-scale ornament and cable and saw-tooth mouldings are
plentiful. In both north and south transepts there is an eastern aisle
separated by pillars and forming several chapels, which are divided
off by Perpendicular screens. The Morning Chapel occupies the aisle of
the north transept, formerly the Chapels of SS. John and James, and
here is preserved two pieces of old Flemish tapestry, and portions of
the old nave screen, and ancient tiles. In this transept are some
interesting Saxon coffin lids. In the south transept are the Chapels
of SS. Oswald and Benedict. In the former the relics were kept. Here
Abbot Sutton's heart was buried. The window is modern. A
pre-Reformation inscription is carved round the edge of a stone much
worn by time. The old chapter-house, now a music-room, is on the west
of this transept. It is Late Norman. A Perpendicular doorway has been
inserted here instead of the old Norman door.
A very interesting discovery was made here during the alterations a
few years ago, and that is the remains of the actual original Saxon
church which was sacked by the Danes, rebuilt by Bishop Ethelwold and
visited by King Edgar and Dunstan, and then destroyed by fire.
Evidences of this destruction were not wanting when the discovery was
made. The east wall of the chancel stood just where the piers of the
aisle of the transept stand. The church was cruciform. This discovery
is of great interest and importance.
Old Scarlett's memory must not be forgotten, the aged sexton, who
lived ninety-eight years, and buried two queens in the Cathedral,
dying in 1594. The painting is a copy of the original made in 1747.
The well-known rhymes beneath are:--
"You see old Scarlett's picture stand on hie,
But at your feet there doth his body lye;
His gravestone doth his age and death-time show,
His office by these tokens you may know.
Second to none for strength and sturdye limm,
A scarbabe mighty voice, with visage grim,
He had inter'd two queens within this place
And this towne's householders in his live's space
Twice over; but at length his own turne came,
What he for others did for him the same
Was done; no doubt his soul doth live for aye
In heaven: though here his body clad in clay."
DIMENSIONS
Total length of interior 426 ft.
Nave, length 228 ft.
Nave, width 35 ft.
Transept, length 185 ft.
Transept, width 58 ft.
Height of interior 78 ft.
Area 41,090 sq. ft.
PRINCIPAL BUILDING DATES
Norman (1117-1193)--Choir, transepts, central tower (rebuilt in
1886), nave, ceiling of nave, chapter-house.
Early English (1214-1295)--West front, font, infirmary,
refectory and part of cloisters, north-west tower, windows and
parapet in aisles of nave.
Decorated (1299-1400)--Large gateway, west porch, roof of
choir, south-west choir, parapet of clerestory, inserted
windows.
Perpendicular (1400-1528)--New building, north-west spire,
north-east gateway, Perpendicular tracery in windows, and west
window.
[Illustration PLAN OF PETERBOROUGH CATHEDRAL]
ELY CATHEDRAL
Ely is one of the monastic towns of England, and owes its existence to
the famous church and monastery which were built here in Early Saxon
days. The patriotic monkish chronicler of Ely, who compiled the _Liber
Eliensis_, wishing to add glory to his church, states that in 607 St.
Augustine founded a church at Cratendune, a mile south of the present
site. The first monastery on the Isle of Ely was founded by St.
Etheldreda, daughter of Anna, King of the East Angles. She received
the Isle of Ely as her dowry from her first husband, an Earldorman of
the South Girvii or Fenmen, and when she married Egfrid, afterwards
King of Northumbria, feeling the call to a religious life, she left
her court and retired to the lonely isle, and there founded a
monastery, of which she was the abbess. As was not unusual at that
time, the house was a double one, for both monks and nuns. St. Wilfrid
assisted her considerably in carrying out her plans, but no fragment
of this early church and monastery remains. The saintly queen died in
679, and was buried in the nuns' resting-place. Some years later her
body, placed in a marble sarcophagus, was translated to the Saxon
church. In 870 the isle was ravaged by the Danes, who destroyed the
church and monastery, slaying both monks and nuns, plundering the
town, and returned loaded with the spoils of the pillaged island. Some
of the monks who escaped returned to their ruined house, and King
Alfred is said to have confirmed them in their possessions. King
Edgar, by the advice of Dunstan, Archbishop of Canterbury, and
Ethelwold, Bishop of Winchester, reorganised the monastery under the
Benedictine rule, restored to it all its lands, and made Brihtnoth the
first abbot.
The Norman Conquest brought many troubles to the Isle of Ely. The
monks espoused the cause of Hereward, "the last of the English," the
hero of Charles Kingsley's romance, and here he made his last great
stand against the Norman invaders; but the monks "did after their
kind," and surrendered to the Conqueror in 1071. Little harm was done
to the monastic buildings by the warriors of either side, and twelve
years later the building of the present Cathedral was begun by Abbot
Simeon, brother of Walkelin, Bishop of Winchester. He commenced with
the transepts, some parts of which still declare themselves to be his
work. Abbot Richard (1100-1107) continued the building, and finished
the east end, where the body of St. Etheldreda was conveyed and
reburied before the high altar.
Ely was now raised to the dignity of a bishopric, the revenues of the
abbot being used for the endowment of the see, and henceforth the
prior was the head of the monastery. The building of the church
proceeded gradually. The nave was growing by degrees during the
twelfth century, and Bishop Riddell (1174-1189), by his energy, did
much towards its completion and that of the great west tower. The isle
was much disturbed during the troublous time of Stephen's reign, and
the bishop took the part of the enemies of the king, who exacted heavy
fines from the prelate and his monks. Bishop Eustace (1198-1215)
accomplished much, and erected the beautiful Galilee Porch. In 1235
the building of the noble presbytery was begun by Bishop Northwold
(1229-1254), and here, in the presence of King Henry III. and his
court, the shrines of the founders and of three other abbesses were
removed, and the whole church in ground plan completed as we see it
to-day.
[Illustration ARM OF ABBOT'S CHAIR]
Having finished their church, the monks turned their attention to
their domestic buildings, and to the Lady Chapel, which stands here in
an unusual position. It was erected by Alan de Walsingham (the
sub-prior) in 1321, and finished in 1349. In 1322 a sad calamity
happened--the central tower fell, and caused much destruction. But the
catastrophe called forth the constructive genius of Alan de
Walsingham, a prince among architects, who built the beautiful octagon
and lantern tower, which add so much grace and beauty to the building.
The superb Lady Chapel, with its marvellous sculptured work, the
sub-structure of St. Etheldreda's shrine, and Prior Crauden's
Chapel--a perfect gem of beauty and originality--are all Alan de
Walsingham's work. The monks elected this great builder Bishop of Ely,
but the Pope refused to ratify the election. He is admirably described
on his tomb as the _Flos Operatorum_, or "flower of craftsmen."
[Illustration WEST TOWER FROM DEANERY GARDENS]
In this period Decorated windows were inserted in the triforium of the
presbytery, the outside walls being raised for this purpose, and
flying buttresses added. The Cathedral then appeared externally much
as we see it to-day. The Perpendicular style finds few examples in Ely
except in some of the smaller chapels and one or two windows.
[Illustration The Assumption of the Blessed Virgin Mary Lady Chapel.]
At the Reformation the monastery shared the fate of similar
institutions, and a dean and chapter were appointed. The fact that the
bishop occupied the place of the abbot of the monastery is observable
in the position of the bishop's seat, which is south of the entrance
to the choir. He has not a throne, which most bishops have in their
cathedrals. Ely was spared much destruction in the Civil War. The
Parliamentarians pulled down some of the cloisters, and broke a few
windows, but the Cathedral fared better than most others at the hands
of Cromwell. It has suffered, however, from the fancies of
"restorers." In 1770 the ritual choir, with the stalls, was moved from
under the octagon to the extreme east end, to be again moved to its
present position in 1847. About the same time the massive Norman stone
screen, which for eight centuries had stood across the nave, was
ruthlessly destroyed, and the roof of the upper hall of the Galilee
Porch removed, and the western opening of the tower arch filled with a
modern window. Wyatt's destructive hand was only just restrained from
working further mischief, though some authorities make him responsible
for the removal of the screen and the destruction of the roof of the
Galilee. A vast amount of money has during the last century been spent
upon the fabric, and happily the restorers have been, in the main,
governed by good taste and sounder architectural knowledge than that
of their destructive predecessors.
THE EXTERIOR
As you ascend the hill from the station you will undoubtedly be struck
by the external appearance of this magnificent pile. Professor Freeman
remarked that the first glimpse of Ely overwhelmed us, not only by its
stateliness and variety of outline, but by its utter strangeness and
unlikeness to anything else. Its huge western tower, its beautiful but
curious central octagon, are quite peculiar, and the general view,
especially from the north-west, is extremely fine, and can never be
forgotten.
We will begin our survey, as usual, with the _West Front_, which has
been much altered, but remains a very imposing structure. It will be
noticed that the north side differs from the south, and either was
never completed or fell into decay. They both belong to the Late
Norman or Transitional period. The _Galilee Porch_ is a perfect gem of
exquisite architecture. It has been pronounced "the most gorgeous
porch of this style in existence, combining the most elegant general
forms with the richest detail." The style is Early English, and is the
work of Bishop Eustace (1198-1215), who was ordered by the Pope to
excommunicate King John, and had to fly from England in consequence.
It will be seen that this porch is one of the earliest examples of
good Early English work, and for its excellence and perfection rivals
the choir at Lincoln. There is a profusion of dog-tooth ornament. The
doorways are most graceful. The main arch is divided into two
cinquefoiled sub-arches, separated by a slender shaft, and in the head
there is very beautiful tracery. The walls are covered with arcading,
of lancet-shaped arches cinquefoiled. In the interior there is a
beautiful double arcading, similar to that which we have seen at
Lincoln.
[Illustration ELY CATHEDRAL FROM SOUTH-EAST]
The _West Tower_ is earlier than the porch, and its lower stages are
Transition Norman. The upper stages are Early English, except the
highest octagonal stage, which is Decorated. Bishops Riddell and
Northwold were the builders of earlier stages, and the octagonal
summit was built during the bishopric of John Fordham (1388-1425).
This magnificent tower has been a source of continual anxiety to the
monks and masons of Ely, on account of the great weight of the
superstructure, and continual repairs and strengthening operations
have been needed.
[Illustration THE OCTAGON AND LANTERN FROM NORTH-WEST]
The _North Side_ of the nave preserves its Norman character, but
Perpendicular windows with ogee arches have been inserted. Formerly
the Church of St. Cross stood on this side, erected by Walsingham,
but it fell into decay and was pulled down in 1566. We can still see
the walled-up door in the north wall of the Cathedral which led to
this parish church. Norman mouldings (such as the billet) may be seen
round the arches of the windows in the clerestory. The curious and
beautiful _Octagon_ is a striking feature of Ely. It consists of an
eight-sided tower crowned with an octagonal lantern, the dimensions of
which are much smaller than those of the tower which supports it.
Decorated windows of large size occupy the sides facing north-west,
north-east, south-west and south-east, which are narrower than the
other sides. Turrets crowned with pinnacles stand at each corner of
the lower tower, and quadrangular turrets at each corner of the
lantern, which is made of wood. The whole has been recently restored
with the greatest possible success.
The _North Transept_ is Norman. Some Perpendicular and Decorated
windows have been inserted, and the north-west corner, which fell in
1699, was rebuilt by the builder of St. Paul's, London, Sir
Christopher Wren, who inserted the Renaissance door in the north side.
The _Lady Chapel_ has been pronounced to be one of the finest
specimens of Decorated architecture in the kingdom. It is the work of
Walsingham, and was finished in 1349. The east and west windows are
later insertions, but belong to the same century. The building is
oblong, and is enriched with much beautiful carving; niches destitute
of figures appear in the buttresses, and at the east and west ends.
The tracery of the side windows should be noticed.
The _Presbytery_ is fine Early English work, built by Bishop Northwold
(1229-1254), and has been scarcely altered by succeeding builders. The
windows are double lancets in each bay, and in the clerestory three
lancets under an arch, the centre one higher than the others. The
arrangement of the east end is as follows:--In the lower stage three
tall lancets with dog-tooth moulding, above them five lancets of
unequal height, and in the gable three lancets of the same height.
Buttresses carved with niches stand on each side, and flying
buttresses springing from the side buttresses support the roof.
Alterations have been made in the triforium in order to increase the
light in the church.
The _South Transept_ is Norman, with some later windows inserted.
Notice the curious Perpendicular window on the south side. The
_Cloister Court_ was on the south side of the church, but was
destroyed by the Commissioners of Cromwell. Two doorways are
remarkable, named the _Monks' Door_ and _Prior's Door_, both Late
Norman work, and enriched with much carving. The tympanum over the
Prior's Door contains a representation of our Lord in glory.
THE INTERIOR
We now enter the church at the west end, and are struck by the noble
character of this magnificent Norman work. It consists of twelve bays
(there were thirteen before the central tower fell). The two eastern
bays were finished by Abbot Richard (1100-1107), and the rest
completed by Bishop Riddell (1147-1189). The earlier character of the
five bays nearer the central tower is discoverable. The ceiling was
painted forty years ago by Mr. le Strange and Mr. Gambier Parry, whose
artistic work can also be seen at Gloucester. The subjects are the
Creation, the Fall, Noah Sacrificing, the Sacrifice of Isaac, Jacob's
Dream, Marriage of Ruth, Jesse, David, Annunciation, Nativity,
Adoration of the Shepherds and Magi, the Lord in Glory. We see also
representations of the patriarchs and prophets, and in the medallions
at the sides the heads of the human ancestors of our Lord. The west
window was inserted at the close of the eighteenth century and filled
with modern glass (when the roof of the upper hall of the porch was
removed), thus effectively blocking the view of the three great
lancets, 40 feet further west, through which, up to that time, the
setting sun must day by day, through so many centuries, have flooded
the nave with its evening light.
[Illustration ST. CATHERINE'S CHAPEL]
At the west end, under the tower, we notice the strengthening of the
original pillars with additional Perpendicular work. The arches of the
tower, though Norman, are pointed, showing that they were erected at
the end of that period, and the richness of ornament and detail of the
southern portion of the west transept bears out the same conclusion.
_St. Catherine's Chapel_ is in the south corner, rebuilt in the old
style, and the font is modern.
The _Nave Aisles_ have arcades of Norman arches, and the chevron
moulding appears about them in several parts where it has not been cut
away. In the south aisle is an interesting memorial of Ovin, the
steward of St. Etheldreda, which has been recovered from a
neighbouring village. It is part of a cross, with the inscription on
the base--"_Lucem tuam Ovino da Deus et requiem. Amen._" (O God, give
light and rest to Ovin. Amen).
The _Octagon_ would require a volume adequately to record its many
beauties and perfections. We have already described its construction.
It is pronounced by all architects as the gem of the Cathedral, and
one of the most beautiful buildings in the world. The vault is of
wood, and a remarkable series of paintings appears on the boarding.
The Crucifixion and the Apostles are here represented. Large corbels
have sculptured scenes of the life of St. Etheldreda. The vault has
been painted by Mr. Gambier Parry.
[Illustration IN SOUTH AISLE OF NAVE LOOKING TO NORTH TRANSEPT]
The _Transepts_ were the portions of the church first begun by Abbot
Simeon when he first commenced the present Norman Cathedral. The lower
part of the walls and part of the triforium were built by him and
finished by Abbot Richard (1100-1107). The arcading in the south
transept is Transitional, and the upper windows Late Decorated.
[Illustration CARROL IN CLOISTER]
Perpendicular windows have been inserted in the north transept. There
are three chapels at the east of the north transept, one of which
bears the name of St. Edmund, and is divided off by a wooden screen of
the middle of the fourteenth century. The east aisle of the south
transept is walled off and used as the library, and the west as the
vestry.
A modern oak screen of graceful design, replacing a massive Norman
screen ruthlessly destroyed in 1760, separates the octagon from the
_Choir_, which we now enter. It will be remembered that the central
tower fell and carried away three bays of the choir. Hence the work of
these bays is later than the more eastern portion forming the
presbytery, which was built by Bishop Northwold (1229-1254) in Early
English style. The choir was erected by Bishop Hotham (1316-1337), and
is a noble specimen of Decorated work. Between the choir and
presbytery are fine Norman piers of the earlier choir. On the bosses
of the roof we see figures of St. Etheldreda and the Virgin. The east
wall is pierced by lancet windows, which are grouped in a most perfect
manner. The stalls are splendid examples of Decorated work, and the
_misereres_ have some curious grotesques. The fifty carved panels of
scenes from the Old and New Testament are by Abeloos of Louvain, a
modern wood-carver. The lectern is modern, and also the reredos. Of
this eastern part Freeman says:--"Nowhere can we better study the
boldly clustered marble pier with its detached shafts, the richly
foliated capitals with their round abaci, the yet richer corbels which
bear up the marble vaulting shafts, the bold and deeply cut mouldings
of every arch great and small. Lovelier detail was surely never
wrought by the hand of man."
On each side of the presbytery are some ancient monuments of especial
interest. On the south side, beginning at the west, we see Bishop
William de Louth (1298), a fine tomb of Early Decorated character;
Bishop Barnet (1373), translated from Bath and Wells (the effigy has
been lost); Tiptoft, Earl of Worcester, with his two wives, one of
whom was the sister of "the King-maker," Earl of Warwick (this earl
was one of the victims of Edward IV., and lost his head in 1470. He
was a great patron of learning and art, and Fuller exclaims, "The axe
did at one blow cut off more learning than was left in the heads of
all the surviving nobility"); Bishop Hotham (1337), much mutilated. On
the opposite side are the monuments of--Bishop Northwold (1254), which
affords a good illustration of the ecclesiastical dress of the period
(at the foot of the tomb is an interesting representation of the
martyrdom of King Edmund, who shared the fate of St. Sebastian.
Northwold was abbot of St. Edmundsbury before he came to Ely, hence
the origin of the carving); a shrine, believed to be that of St.
Etheldreda, of Decorated design, probably constructed by Walsingham
about 1340; Bishop Kilkenny (1286), who died in Spain, his heart being
buried here; Bishop Redman (1505), a fine Perpendicular structure.