THE NAVE, LOOKING EAST.THE NAVE, LOOKING EAST.
The very late appearance of the highly enriched work in the south part of the western transept makes it probable that this part was completed in quite the latest years of the twelfth century. The zigzag mouldings to the two arches in the east are of extraordinary richness; one opens to the south aisle, and one to S. Catharine's chapel. The whole of this arm of the transept was at one time walled off, and the chapel itself was destroyed. This has been rebuilt, under the advice and authority of Professor Willis. The Woodford Trustees of the Theological College were at the expense of providing the alabaster altar; and the chapel is now used for the daily service of the members of that college, as well as for early celebrations of Holy Communion. Although now known as S. Catharine's chapel, it has never, strictly speaking, been so dedicated; and the present Dean has pointed out that the name was given under a misapprehension. The font in thetransept was the gift of Canon Selwyn. Its style is in keeping with the adjacent architecture. The north portion of the western transept is entirely walled off. No documentary evidence has been discovered to decide if it had been actually built. The old tradition of the cathedral was that it had been finished by Bishop Eustace at the beginning of the thirteenth century.
The Nave.—Originally of thirteen bays, but since the fall of the central tower of twelve bays, the nave is a most complete and perfect specimen of late Norman work. The naves of Ely and Peterborough are conspicuously the best examples of the period in England. In most respects they are very similar, and it would be difficult to pronounce one superior to the other. In one point, indeed, the superiority is with the Ely nave. There is not in it the slightest mixture of any Transitional details. At Peterborough we can detect, towards the west, some unmistakable evidences of the approaching change in style.
It is believed that the nave was completed in the time of Bishop Riddell—that is, before 1173. This is probably somewhat earlier than the nave at Peterborough; but both were obviously being built at the same time for the greater part of the period of their erection. Both are manifestly superior to Norwich, where (to mention only one point) the excessive height of the triforium arches and the comparative low elevation of the nave arches—so that the two arcades are almost of the same dimensions—produce an unpleasing effect. But the work at Norwich was earlier, perhaps by thirty years, than either of the others. It is very difficult to obtain exact and authoritative measurements; but those usually given supply the following comparison:—Norwich, 14 bays; length of nave, 250 feet: Peterborough, 11 bays; length of nave, 228 feet: Ely, 12 bays; length of nave, 208 feet. From this it will be seen that before the tower fell the naves of Ely and Peterborough were almost exactly of the same length, while the former had two more bays than the latter.
The piers are of alternate design. In front of each an inner shaft runs up to the roof. The string-course above the main arcade has the billet moulding. All the attached shafts in all three stages have cushion capitals. Under each of the large triforium arches are two smaller ones.Though it has been said that there is no trace of any change of style throughout the entire nave, yet it has been noticed that there is a certain roughness about the execution of the arches towards the east which is not seen further west. The floors of the nave and its aisles are on one level; but till recently the floors of the aisles were a few inches lower, and this is believed to have been the original arrangement. The clerestory range has three arches, the central being the highest.
PANELS IN THE NAVE CEILING.PANELS IN THE NAVE CEILING.Photochrom Co. Ltd. Photo.
The western half of theceilingwas painted by Mr. Styleman le Strange, of Hunstanton Hall, in Norfolk, between 1858 and 1861. He died in 1862. The eastern half was then undertaken by Mr. Gambler Parry, of Highnam Court,near Gloucester; and the main design of Mr. le Strange was carried to a most successful issue. The original idea had been that a Jesse tree should commence at the seventh bay, and the arrangement of the subjects towards the west was meant to lead up to this. But Mr. le Strange himself, as the work proceeded, realised that a grander effect would be produced by introducing larger scriptural subjects towards the east; and Mr. Gambier Parry accordingly acted upon what was known to be the intention of the original designer. It has been many times said that the whole design was suggested by the painted ceiling at Hildesheim, and some words of Sir G. G. Scott have been quoted as proof of this; but Dean Goodwin says that the scheme was not taken in any way from the foreign example, and that Mr. le Strange had not seen the Hildesheim ceiling when his design was formed.2It is worth noting that some of the faces of the prophets are portraits; that of Isaiah, for instance, is a portrait of Dean Peacock. The general tone of the colouring is intentionally subdued, and the effect of this is said to be to increase the apparent height of the nave.
The twelve subjects along the central portion of the ceiling, commencing at the west, are these: (1) The Creation, (2) The Fall, (3) The Sacrifice of Noah, (4) The Sacrifice of Isaac, (5) Jacob's Dream, (6) The Marriage of Ruth, (7) Jesse, (8) David, (9) The Annunciation, (10) The Nativity, (11) The Adoration of the Shepherds and of the Magi, (12) The Lord in Glory.3
On the inner slope on each side of the central line for the ten western bays are figures of patriarchs and prophets, each with a scroll bearing some of his own words, all having prophetic reference to the Messiah. On the outer slope on each side are heads in circular medallions, three in each bay. "The heads forming the border represent the human ancestors of our Lord, according to the genealogy in S. Luke's Gospel; they commence at the eastern end and terminateat the western, thus linking together the Glorified Manhood, as exhibited in the last of the pictorial representations, with the Creation of Man in the first."4
The sloping sides of the ceiling follow the course of the great beams supporting the roof. Till it was resolved to construct this ceiling the beams were exposed, and the whole was open to the leads. Canon Stewart speaks of it as a "remarkable example of a trussed rafter roof of seven cants," and says that such a roof was sometimes called a compass roof. He thinks it might have taken the place of an original roof of the thirteenth century.
THE NORTH AISLE OF THE NAVE.THE NORTH AISLE OF THE NAVE.Photochrom Co. Ltd. Photo.
The Nave Aisles.—These retain their groined roofs. Some remains of coloured decoration may be seen in various places, especially in the south aisle; and the appearance of more elaborate colouring at one place seems to indicate that there was a side altar beneath. The rood-screen in the nave was by the pier in which is a small canopied niche. In the northaisle, beneath the windows, is an arcade of round-headed lancets, four in each bay. Above the arcade was originally a string of chevron moulding running along the whole length of the aisle; but this has been hacked off, except beneath the most eastern window. In the south aisle there are five such lancets in each bay west of the prior's door, and four in each bay beyond. The windows east of this door are higher in the wall than the others, because of the cloister, and the wall arcade is correspondingly more lofty. The chevron moulding remains in this aisle for seven bays, after which (until the last bay but one) the marks of it are clearly to be seen. One of the windows in the south aisle is original; all the rest, except one, have been recently made like it. In the north aisle all the windows are of the Perpendicular period, and have three lights under ogee arches. All are filled with stained glass.
THE SOUTH AISLE OF THE NAVE.THE SOUTH AISLE OF THE NAVE.Photochrom Co. Ltd. Photo.
In the south aisle is placed an ancient memorial stone of the greatest interest. It consists of the square base and partof the shaft of a cross. It was brought here from Haddenham, where it had been used as a horse-block, by Mr. Bentham. On the base is this inscription:
LVCEM TVAM OVINODA DEVS ET REQVIE(M)AMEN.
Ovin has been named in the account of the foundress as being her chief agent, to whom was entrusted the civil government of her territory. There is every reason to believe that this cross was erected either by him or to his memory; and if so it must be twelve centuries old.
Just west of the monks' door is the entrance to the recently constructed vestry for the choir-boys. This is thought to have been originally the entrance to the cloister library or bookcase.
The Octagon.—Few visitors will perhaps be disposed to examine any of the objects of interest in the cathedral before an inspection of the beauties of this magnificent erection, the first sight of which, from one of the smaller arches towards the aisles, is a thing never to be forgotten. There is not one of the many able artists and architects who have written about the octagon that has not spoken of it as being without rival in the whole world; and the admiration that was expressed fifty and more years ago would have been far greater, and the enthusiasm more profound, had the writers seen it in its present state of perfect restoration. No description can do adequate justice to the grandeur of the conception or to the brilliancy of the execution of this renowned work.
The four great arches rise to the full height of the roof; that to the east, indeed, is higher than the vaulted roof of the choir and presbytery, the intervening space being occupied with tracery of wood-work on painted boards, the Saviour on the Cross being painted in the middle. The wooden vaulting of the octagon springs from capitals on the same level as those of the great arches. The four small arches to the aisles are of course no higher than the roofs of the aisles: above these, on each side, are three figures of apostles, under canopies with crockets. The figures are seated, and each holds an emblem, by which it can be seen for whom the figure is intended. It may be noticed (in the central figureon the south-west side) that S. Paul, not S. Matthias, is put in the place of Iscariot. The hood-moulds of the arches are terminated by heads, of which six are portraits. King Edward III. and Queen Philippa are at the north-east, Bishop Hotham and Prior Crauden at the south-east, Walsingham and his master mason (so it is believed) at the north-west; those to the south-west are mere grotesques. Above the seated figures on each side is a window of four broad lights, filled with stained glass. The eight chief vaulting shafts rise from the ground as slight triple shafts; they support, a little above the spring of the side arches, large corbels, which form bases for exquisitely designed niches, and through these spring more shafts reaching to the vault. On each of the corbels is a boldly carved scene from the career of S. Etheldreda; they commence at the north-west arch. The subjects (two to each arch) are as follows:
North-west Arch.—S. Etheldreda's second marriage. Her taking the veil at Coldingham.North-east Arch.—Her staff taking root. Her preservation in the flood at S. Abb's Head.South-east Arch.—Her installation as Abbess of Ely, Her death and burial (two scenes).South-west Arch.—One of her miracles. Her translation.
North-west Arch.—S. Etheldreda's second marriage. Her taking the veil at Coldingham.
North-east Arch.—Her staff taking root. Her preservation in the flood at S. Abb's Head.
South-east Arch.—Her installation as Abbess of Ely, Her death and burial (two scenes).
South-west Arch.—One of her miracles. Her translation.
All these incidents have been sufficiently explained in the chapter on the history of the building, with the exception of the seventh. The authority for this is the "Liber Eliensis." A man named Brytstan,5being ill, had vowed that if he were restored to health he would become a monk. Upon his taking steps to carry out this intention he was charged with seeking refuge in a monastery simply to escape the consequences of robberies of which he had been guilty in his business. After trial at Huntingdon he was condemned and put in chains in prison in London. After continuous prayers for the intercession of S. Etheldreda and S. Benedict, these two saints appeared to him, and the latter drew the links of the chain apart and set the prisoner free. The miracle came to the knowledge of Matilda, Henry I.'s queen, and investigationsfollowed, which resulted in the release of Brytstan, and he was conducted to Ely with manifestations of joy. Some have thought that the ribands still to be bought at the stalls at the annual fair, and known as "S. Audrey's laces," are a reminiscence of this legend, and that they represent the chains from which Brytstan was delivered. But the more probable explanation is that they refer to the disease that afflicted S. Etheldreda, a swelling in the neck, which she held to be a fit punishment for the vanity of her youthful days, when she was fond of wearing necklaces and jewels. "Saint Audrey's laces" became corrupted into "Tawdry laces"; and so the adjective has been applied to all cheap and showy pieces of female ornament.
Special attention may be given to some points in the sculpture of these corbels, every one of which is worthy of careful study. In (1) notice the figure of Ovin, previously named as the steward, bearing an official staff, or perhaps a sword. In (2) the surrender of royal dignity is signified by the crown placed on the altar. In (3) the leaf-bearing staff has an abundance of conventional foliage. In (5) Wilfrid bears a simple pastoral staff, and not an archbishop's cross, as in previous scenes—a point to which Dean Stubbs calls attention as indicating the historical accuracy of the designer, because in former scenes the archbishop is represented in his own diocese, while here he is a simple bishop in banishment. In (6) there is a dignified figure—probably S. Sexburga—standing behind the priest who is ministering to the dying abbess. In (7) the kneeling figure is S. Benedict handling the fetters.
THE SOUTH TRANSEPT.THE SOUTH TRANSEPT.Photochrom Co. Ltd. Photo.
Until the plain colour-wash with which the vault had been covered was removed in 1850 there was no knowledge of what had been the character of the original decoration. Traces of colouring were then discovered, and in some places geometrical designs, but there was no evidence of anything very elaborate. The whole of the present decoration forms accordingly an entirely new design; it is by Mr. Gambier Parry, who himself painted the principal figures. The central boss of the lantern is carved in oak, and is original; only its painting is new. All the remaining figures are wholly new. Groups of seraphim, bands of heavenly minstrels bearing all kinds of ancient musical instruments,monograms, and sacred emblems, all combine to give a rich variety.
THE NORTH TRANSEPT.THE NORTH TRANSEPT.Photochrom Co. Ltd. Photo.
The Transepts.—The architectural student will find the transepts of the greatest interest; as in them is to be seen the earliest work in the cathedral. They are similar in general character to those at Winchester, which were built by Abbot Simeon's brother. The transepts at Winchester were ready for consecration in 1093, and this was seven years before Simeon came to Ely. The triforium is probably only in part Simeon's work; and the clerestory was almost certainly added by his successor. Both transepts have aisles, but in the south transept the western aisle is walled off. Along the western wall in the north transept is a stone bench. The square capitals of the piers here have indentations at the corners, and this is an early example of such indentation. Some slight ornamentation may be noticed in the cushions of the capitals, especially in the south transept, where there are traces of ancient colouring. The three chapels to the east of the north transept are divided by walls, and two have wooden screens. One of these has been restored by Professor Stanton for use as a chapel for early celebrations and for private devotion. Some early paintings on the vaulted roof, representing themartyrdom of S. Edmund, are sufficient to justify this being called S. Edmund's chapel. It is probable that this was the Chantry on the Green (so called from the place of residence of the four chaplains) founded by Bishop Northwold. The screen in front of this chapel is exceedingly light and graceful; it dates from about 1350. At one time it is said to have been in the south transept, and afterwards where it now stands; it was removed in 1865, but is now replaced. In the south transept the whole of the eastern aisle is walled off for the library. In the plan in Bentham's History, 1770, only the single bay to the south is marked as the library. The walls of partition between the chapels were taken down in 1814. The western aisle has always been separated by a low wall of Norman date, possibly a little later than the adjacent piers; this wall has an intersecting arcade of round arches, with a string of chevrons above. This aisle is used as a vestry. Within is the ancient Norman vaulting; and there are some good original windows, which cannot be seen from without except from the Deanery gardens. From the devices on the late Perpendicular door it is clear that it belonged to some church erected by Bishop Alcock; it was only brought here from Landbeach about fifty years ago.
The triforium and clerestory ranges are almost identical with those in the nave. In the south transept the western windows of the triforium have been altered into three-light Perpendicular windows. The roofs of both transepts have been raised, but it is not known at what time. At the north end are two large windows of good Perpendicular character; at the south is a single window of seven lights, of very singular design. At the ends of the transepts are two original galleries, level with the triforium, supported on round-headed arches. On the north are five arches, not of equal height, the two most lofty of which reach nearly to the triforium level. On the south are six much lower arches, and above them is a blank arcade of intersecting arches. In the floor of the south transept are laid some very remarkable ancient tiles.
THE CHOIR SCREEN.THE CHOIR SCREEN.Photochrom Co. Ltd. Photo.
The ChoirandPresbytery—A beautiful screen of oak, with brass gates, designed by Scott, divides the choir from the octagon. It is of early geometric character; and if therehad been an original screen of this design it would have been intermediate in date between the presbytery and the choir. The tracery is very graceful. A rich cresting runs along the top, cut through by the gable over the gates, which bears a terminal cross. On both sides the small niches have statuettes.
ELEVATION OF THE BAYS OF THE PRESBYTERY.ELEVATION OF THE BAYS OF THE PRESBYTERY.(for exterior seep. 55.)
The choir, of three bays, is the work of Bishop Hotham. The last six bays are the work of Bishop Northwold, and form the presbytery. In the present arrangement seven of these nine bays form the ritual choir, and two form the retro-choir. The difference in date between the presbytery and choir may be roughly taken as very nearly a hundred years. The former had been begunin 1240; the latter was nearly finished in 1340. In the juxtaposition of these two magnificent specimens of the Early English and Decorated periods of architecture there is an opportunity of comparison which on such a scale occurs nowhere else. It is to be remembered that in neither case is the treatment of the upper part quite in accordance with the usual practice of the period. When the presbytery was being built there were still standing east of the central tower the four original bays of the Norman choir. These, it may be assumed, were very similar in character to those in the nave. There would, beyond question, have been in each bay large triforium arches, each with a couple of subordinate arches; and a single window in the clerestory with a blank arch on each side. Bishop Northwold's work was purposely made to correspond with these bays as far as Early English work could do so; and when after the fall of the tower it became necessary to rebuild the choir, Bishop Hotham in like manner made his Decorated work correspond with the Early English presbytery. The choir is, as would be expected, richer in detail as well as more elaborate in design; and it would be difficult to find in England anything to surpass the tracery of the clerestory windows and triforium arches, the beautiful cusped inner arches of the clerestory range, the open parapets at the base of the two stages, or the long corbels, covered with foliage, that support the vaulting shafts. In the choir the clerestory windows have four lights each; in the presbytery are triplets. The old colouring has been renewed throughout. On the north side of the choir the three bays are precisely alike; but on the south there is a variation in the tracery of the western triforium arch. There are also shields of arms (of the See of Ely and of Bishop Hotham) in the spandrels of the triforium and arch below; and the shaft between this arch and the next is enlarged at the top into a base for a statue (probably of S. Etheldreda); while level with the string above is a very fine large canopy (called by the work-men "the table"), which is like nothing else in the cathedral. The clerestory windows also on the south have different tracery.
THE CHOIR, LOOKING WEST.THE CHOIR, LOOKING WEST.Photochrom Co. Ltd. Photo.
The difference between the two styles of architecture is well marked in the groining of the roof, the Decorated portionbeing much more elaborate. Some of the bosses are very remarkable: one has S. Etheldreda with pastoral staff; one has the coronation of the Virgin Mary; one has the foundress bearing the model of a church, in which (as Dean Stubbs has pointed out) both arms of the western transept are represented, so that it is a fair inference that at the time this roof was constructed the whole of the western transept was standing.
THE TRIFORIUM OF THE CHOIR AND PRESBYTERY.THE TRIFORIUM OF THE CHOIR AND PRESBYTERY.Photochrom Co. Ltd. Photo.
Between the choir and presbytery there rise the massive Norman piers built as the entrance to the apse; and these are the only remains of the Norman church east of the octagon. Since the careful examination of the foundations here, made by Professor Willis in 1850, it is not thought certain that the apse was actually built. The foundations of the apse were very manifest, and the design did not include a passage round it; but there was also clear evidence that the apsidal foundation was altered into a straight wall of the same thickness, and the probability is that before the apse was built "it was resolvedto convert it into a square-ended presbytery, such as we now see at Oxford Cathedral and St. Cross."6
THE CHOIR STALLS: NORTH SIDE.THE CHOIR STALLS: NORTH SIDE.Photochrom Co. Ltd. Photo.
The two most western triforium arches in the presbytery are glazed, the roof of the triforium itself being wholly removed. The object of this alteration has been fully explained in the account of the exterior of the cathedral. On the ground beneath were the shrines; and under one of the arches was erected, not long afterwards, the monument of Bishop Barnet, in whose time and at whose expense the alteration was made.
The arrangement of the lancets at the east end is even more effective within than without. The east end of Ely, says Professor Freeman, "is the grandest example of the grouping of lancets.... Ely is also undoubtedly the head of all east ends and eastern limbs of that class in which the main body of the church is of the same height throughout, and in which the aisles are brought out to the full length of the building."7
It will hardly be believed that the magnificent stalls which were formerly ranged in the octagon, and at a later period in the presbytery, were once painted all over with a mahogany colour. They are the finest Decorated stalls in England, the beautiful ones at Winchester being of late thirteenth-century date. The carved panels in the upper parts are new, and are the gifts of individual donors. They were executed in Belgium. It is not known how these spaces were originally filled; Mr. le Strange thought possibly with heraldic devices. The designs on the south are from the New Testament, those on the north from the Old Testament The seats in the lower range are also modern, as are the various statuettes at the Stall ends, which represent the builders of the most important parts of the fabric. On the misereres of the ancient stalls are some wonderful grotesque carvings. The brass eagle lectern has been copied, as to its main features, from an ancient example at Isleham. The organ is in the triforium, on the north, and part of the case projects over the easternmost arch of the choir.
The reredos is the first example in modern cathedral work of the elaborate style of decoration for the most holy part of the sanctuary, which is now not uncommon. It was the gift of Mr. John Dunn Gardner, of Chatteris, and was designed byScott. It forms the central portion of a screen of stone which extends for the whole width of the presbytery. The lower part of the whole is of deeply cut diaper-work; the upper part has an open arcade of six arches, each with a mullion and tracery in the early Decorated style. The reredos itself is of alabaster, and consists of five main arches under canopies, and with tracery, and is ornamented with a rich abundance of mosaic work, panels, medallions, statuettes, twisted columns, and various kinds of carving. Five scenes from the last days of our Lord's life on earth are carved in relief under canopies beneath the chief arches. A full description, giving all the details of the sculpture, and the materials of the mosaic, and the different persons and emblematic graces represented by the busts and figures, would require more space than we can give. The altar cross, of silver gilt, is in memory of Bishop Woodford.
THE REREDOS.THE REREDOS.Photochrom Co. Ltd. Photo.
THE LADY-CHAPEL.THE LADY-CHAPEL.Photochrom Co. Ltd. Photo.
The Lady-chapel.—Notwithstanding the cruel mutilation of the sculpture all round this chapel, it can be seen that forperfection of exquisite work there is no building of the size in this country worthy for one moment to be compared with this in its unmutilated state. Its single defect strikes the beholder at once: the span of the roof is too broad and the vaulting too depressed for the size of the chapel. The windows, of which those on the north have been restored, have already been described. The end windows, which are of great size, are of later date; that to the east has a look of Transition work about it. The building was finished in 1349, and the east window was inserted by Bishop Barnet,circa1373. For a possible explanation of the insertion of this window, only a quarter of a century after the completion of the chapel, seeante, p. 52. It is not thought probable that the original designers left anything incomplete. The great beauty of the interior consists in the series of tabernaclework and canopies that runs round all the four sides below and between the windows. The heads of the canopies project. In the tracery beneath, at the head of the mullion, was a statue. The delicate carving of the cusps and other tracery is varied throughout. On the spandrels were incidentsconnected with the history of the Virgin Mary (mainly legendary) and of Julian the Apostate; and though in no single instance is a perfect uninjured specimen left, yet enough remains, in all but a few cases, for the original subjects to be identified.8All was once enriched with colour, and many traces remain; and in various parts of the windows there are fragments of stained glass. Most of the monumental tablets which once disfigured the arcade below the windows have been happily removed into the vestibule. The arches and canopies at the east end are arranged differently from those on the sides. In the roof, which reminds us of the contemporary roof in the choir, are some carved bosses, not large, but singularly good. Among the subjects can be recognised a Crucifixion, with half-figures beside the cross; Adam and Eve; the Virgin Mary and Elizabeth, holding between them a book inscribed "Magnificat"; the Annunciation, with "Ave Maria Gracia plena"; the Ascension, indicated by the skirt and feet of the Saviour and five heads of apostles; the coronation of the Virgin; and the Virgin in an aureole.
DOORWAY OF THE LADY-CHAPELDOORWAY OF THE LADY-CHAPEL.Rev. T. Perkins Photo.
The arrangements for worship present an appearance very unlike those of sixty years ago. A writer in 1876, writing of his early recollections, says: "When I first knew Ely the state of the lady-chapel—then, as now, used as a parish church—was so miserable from decay, violence, and neglect, that it was simply painful to enter it." ... Now, "well-designed benches have replaced the mean deal square pews, the whitewash and yellow-wash which thickly clogged the carving has been removed, the windows have been repaired and made water-tight, and the altar and its adjuncts made to assume an air of reverent dignity."
We do not remember to have anywhere seen an explanation of the fact that this chapel is now used as the parish church of Holy Trinity parish; whereas the old church, the destruction of which occasioned the appropriation of the lady-chapel to parochial use, was dedicated to S. Cross.
Monuments And Stained Glass—It is convenient totreat the monuments as a separate subject, so as not to break the continuity of the architectural description. We will commence at the west, proceeding along the north aisle, and so round the cathedral, pointing out those that have anything of special interest.
Against the blocked doorway which gave access to the church of S. Cross is placed an altar-tomb to the late Bishop Woodford (see below, p. 129). The figure of the bishop is vested in cope and mitre, and has a pastoral staff. The Crucifixion is on the wall at the back. There are several shields of arms relating to the bishop's career or to the cathedral history: among these are those of the Merchant Taylors' Company, at whose school he was educated; Pembroke College, Cambridge, of which he was a member; and of other colleges at Cambridge founded by bishops of Ely. Three tablets in this north aisle, near the transept, record donations towards the re-paving of the nave and aisles in 1676, 1869, and 1873.
There is no monumental memorial in the nave. But the large slab of marble in the centre, just in front of the position of the old rood-loft, which has been already referred to as traditionally marking the grave of Alan de Walsingham, should be noticed.
Under the four arches of the presbytery on the north, between the stalls and the altar, are monuments of great importance. First we see that of Bishop Redman (d. 1505), a very fine specimen of enriched Perpendicular work. The mitred figure of the bishop is on an altar-tomb beneath a richly groined roof, and a space is left at the feet, where a priest might stand to pray for the soul of the deceased prelate.9There are grand canopies on the sides, with crockets and coloured shields bearing emblems of the Crucifixion, the arms of the See of Ely and of S. Asaph, where Bishop Redman was at first; but the arms of the See of Exeter, from which diocese he came to Ely, as now used, are not to be seen. Above the roof is fine open screen-work, and against the adjoining piers, east and west, are large canopied niches.
Next to this is the effigy of Bishop Kilkenny (d. 1256), a fine example of Early English. The figure has cope, mitre, and staff. The bishop's heart only was buried here.
THE NORTH CHOIR AISLE.THE NORTH CHOIR AISLE.
In the next arch is a large Decorated structure of two stories, believed by Scott to have been built by Walsingham as the base for the shrine of S. Etheldreda. It was formerly known as Bishop Hotham's shrine, and his effigy was placed beneath it. The lower story is open.
In the arch north of the altar is the tomb of the builder of the presbytery, Bishop Northwold (d. 1254). He is represented in full vestments. At the east of the tomb is acurious carving, apparently meant for the martyrdom of S. Edmund. A king naked above the middle, except for his kingly crown, is tied to a tree and pierced by arrows; archers with drawn bows are behind; at one end the king has his head, still crowned, in his hands, with a figure bearing a sword over him; at the other side is either the wolf of the legend or an evil spirit in animal shape.
In the aisle itself are several memorials, mostly of the eighteenth century, that call for no special mention. The latest is the brass to Mr. Basevi, 1845.
At the east end of the aisle is theChapel Of Bishop Alcock(d. 1500). The date, 1488, is fixed precisely by the inscribed stone now placed in the wall above a small stone altar. The stone in the wall has five crosses, as though intended for a chantry altar, but the slab of the altar beneath has no crosses. The inscription is, "Iohanes Alkoc epus Eliesis hanc fabricam fieri fecit M cccc iiij(xx) viij." The sides of the chapel are covered with niches, canopies, crockets, panels, and devices. The roof has fan tracery with a massive pendant. A singular little chantry is at the north, access to which is through a door at the foot of the bishop's tomb. In a small window here is a little contemporary stained glass. The bishop's rebus—a cock on a globe—repeatedly occurs in the stone-work. The ornamentation strikes the spectator as being excessive and too profuse. No figures have been replaced in the niches.
In the retro-choir a mosaic slab over the remains of Bishop Allen (d. 1845) has a curious history. A son of the bishop was passing through Paris soon after Napoleon's tomb was finished, and the surplus materials were offered for sale by auction. Some of these were purchased by Mr. Allen and utilised for the slab over the bishop's grave. The large monument to Canon Mill (d. 1853) has an effigy in copper on a support of marble and alabaster; students of India and Cambridge are by the feet.
THE EARLY ENGLISH PRESBYTERY AND THE SUPPOSED SHRINE OF S. ETHELDREDA.THE EARLY ENGLISH PRESBYTERY AND THE SUPPOSED SHRINE OF S. ETHELDREDA.
The tomb of Cardinal Luxemburg (d. 1443) is beneath the most eastern arch on the south, just north of Bishop West's chapel. When the monument was concealed behind some wood-work great dispute arose as to the headdress of the effigy. Bentham has an engraving with a cardinal's hat on the archbishop's head. Cole records that it was a mitre.When the wood-work was removed it was found that the figure was headless, as it still remains.
Corresponding to the chapel of Bishop Alcock on the north is that ofBishop West(d. 1533) in the south aisle. This is a most valuable example of the Renaissance style. The niches and canopies with which the walls are covered are much smaller than those in the other chapel, and consequently more numerous; but by reason of the great delicacy of the tracery and the wonderful variety of the designs there is no impression that the decoration is overdone. No perfect specimen is left of the statues or of the heads which were introduced in the tabernacle work; and in its complete state this exquisite work can have existed for not more, than twelve or thirteen years, as the Order in Council for removing images was made in 1548. The roof is curious, as being an adaptation in the Renaissance of the late Gothic fan tracery Some colouring remains. The wrought-iron gates, with motto in Latin several times repeated, and the curious little pendants from the roof, consisting of angels bearing shields of arms, should be noticed. Bishops Greene (d. 1738), Keene (d. 1781), Sparke (d. 1836), and Woodford (d. 1885) are all buried in this chapel. On the south side, within a shrine-like receptacle, have been placed the relics of seven early benefactors of the church. Originally buried in the Saxon church, they have been several limes removed. They were placed here in 1771. The names are carved in seven shallow niches. One was an archbishop, five were bishops, and the seventh was Alderman Brithnoth. The dates range from 991 to 1067.
The very interesting early Norman monumental slab, with carving in relief, preserved in the aisle, does not strictly belong to the cathedral, having been found at S. Mary's Church. Above a round-headed canopy are some Norman buildings; in the chamfer of the canopy is an invocation of the Archangel Michael, a figure of whom below has wings and nimbus, and in the robe a portion of a naked figure with pastoral staff beside it.
BISHOP ALCOCK'S CHAPEL.BISHOP ALCOCK'S CHAPEL.
Proceeding westward, the monuments under the windows are those of Canon Selwyn (d. 1875), Bishop Gunning (d. 1684), wearing a mitre, with long hair and short beard, and Bishop Heton (d. 1609), in a cope and having an ample beard.Under the arches of the presbytery, after the huge tablet to Bishop Moore (d. 1714), are four monuments. The firstis all that is left of the tomb of Bishop Hotham (d. 1337). The next has figures of John Tiptoft, Earl of Worcester, K.G., and his two wives. The earl was beheaded in 1470, and is not interred here. One of the wives was Cecily Neville, sister of Richard, Earl of Warwick, the King-maker.
Of the tomb of Bishop Barnet (d. 1373) the base only remains. It resembles in general character the monument of Bishop Northwold.
BISHOP WESTS CHAPEL.BISHOP WEST'S CHAPEL.Photochrom Co. Ltd. Photo.
Under the last arch of the presbytery is the fine monument of Bishop Louth (d. 1298). It is a very beautiful early Decorated composition.
Two brasses remain in the floor of the south aisle, both of great interest. The famous brass of Bishop Goodrich (d. 1554) represents him in full vestments (wearing a chasuble, not a cope), with mitre and pastoral staff (see below, p. 124). This is specially noteworthy as he was an enthusiastic supporter of the Reformation changes and is believed to have encouraged, if he did not orderthe wholesale destruction of statues and other ornamentation of the cathedral. He was Lord Chancellor for three years, and the Great Seal is figured on the brass. Dean Tyndall (d. 1614) is represented in a very different style. He is figured in academical dress, wearing a ruff and a skull-cap, and with a long beard. On one of the shields of arms may be seen the arms of the Deanery impaling Tyndall.
Very many other tablets and inscriptions remain; but we have no space for a more extended treatment of the subject. In the south transept is a tablet to Dean Merivale (d. 1894), with a likeness in slight relief; and mention of this gives opportunity for saying that the very greatest care seems to have been taken to secure good likenesses in the most recent monuments, those of three, as to which the writer can speak from personal knowledge—Bishop Woodford, Dean Merivale, and Canon Selwyn—being of conspicuous merit.
It would require a book to itself to treat exhaustively of the stained glass in the windows. In nearly all cases, certainly in those which can be examined without the aid of a glass, the names of the donors, or of the persons to whose memory the windows were inserted, are plainly set forth either in the windows or on brass tablets adjoining. It should be stated that the greatest encouragement to this form of decoration was given by Canon E. B. Sparke, who secured, partly by his influence and persuasion, and largely by his own munificence, the insertion of so many windows. It is true that in the first instance not a few were prepared in too great a hurry, and some of those first placed in the restored cathedral (as those in the octagon) have been at a later time condemned as being deficient in harmony of colouring and in artistic design; but there is little fault to be found with the most recent additions. Among so many it is inevitable that very different degrees of merit will be exhibited. It has been said that the entire series is an exemplification of the Horatian maxim, "Sunt bona, sunt quædam mediocria, sunt mala plura"; and, except that we should be disposed to exchange the position of the words "quædam" and "plura" (if the metre allowed it), with this sentiment we agree.