Diocese of Ely.

The Lord Bishop.

The Right Rev.James Russell Woodford, D.D., The Palace, Ely, and Ely House, Dover Street, London, W.

Chancellor of the Diocese.

Worshipful Isambard Brunel, Esq., D.C.L., 4, Stone Buildings, Lincoln's Inn, London, W.C.

Archdeacons.

Registrar.

William Johnson Evans, Esq., Ely.

Chaplains to the Bishop.

Rev. H.M. Luckock, D.D., Canon of the Cathedral.[11]Rev. H.F. St. John, M.A., Trinity College, Cambridge, Dinmore House, Hereford.Rev. A.R. Evans, M.A., Oriel College, Oxford.[12]Rev. V.H. Stanton, M.A., Fellow of Trinity College, Cambridge.[13]Rev. J. Watkins, M.A., St. John's College, Cambridge; Gamlingay Vicarage, Sandy.Rev. Francis Paget, M.A., Senior Student and Tutor of Christ Church, Oxford.[14]

Proctors in Convocation.

Rev. Canon Hopkins.Rev. Canon Birkett.

Secretaries.

J.B. & H.W. Lee, Esqs., 2, Broad Sanctuary, Westminster.William Johnson Evans, Esq., Ely.

Diocesan Architect.

Arthur Blomfield, Esq.

coat of arms

The Dean and Chapter

HEN the abbacy was converted into a bishopric,a.d.1109, the office of Abbot merged into that of bishop, and an officer called the Prior, or Lord Prior, became the head of the community; he presided in chapter, and governed generally the affairs of the monastery; and in the reigns of some of our kings he was summoned to sit in Parliament. The first Prior after this alteration was Vincent, and there followed in succession thirty-six others, the last of whom, Robert Wells otherwise Steward, surrendered the monastery, with its goods and possessions, into the hands of King Henry the Eighth, at the general dissolution in November, 1539. Agreeably to the powers vested in him by Parliament, the king, by letters patent dated September 10th, 1541, "did grant his royal charter for erecting the Cathedral Church of the late monastery ofSt. Peter and St. Etheldredaat Ely into a Cathedral Church, by the name and title of "The Cathedral Church of the Holy and Undivided Trinity of Ely" to consist of one Dean, a priest, and eight Prebendaries,[15]priests, with other ministers necessary for the celebrating Divine service therein." And "did ordain the said Cathedral Church to be the Episcopal See of the Bishop of Ely and his successors, with allthe honours and privileges of an Episcopal See and Cathedral Church. And that the said Dean and Prebendaries be one body corporate, have perpetual succession, one common seal, be the Chapter of the then Bishop of Ely, and his successors, and be called 'The Dean and Chapter of the Cathedral Church of the Holy and Undivided Trinity of Ely:' also did give and grant unto them the whole site of the late dissolved monastery, with all the ancient privileges, liberties, and free customs of the same, and nearly all the revenues thereof." Robert Steward, the late Prior, was made the first Dean, since whose time twenty-three others have held the office exclusive of the present Dean, who was appointed in December, 1869.

We append a list of the Priors and Deans of Ely.

1. Vincent.2. Henry.3. William.4. Tombert, or Thembert.5. Alexander.6. Solomon.7. Richard.8. Robert Longchamp.9. John de Strateshete.10. Hugh.11. Roger de Brigham.12. Ralph.13. Walter.14. Robert de Leverington.15. Henry de Banccis.16. John de Hemingston.17. John de Shepreth.18. John Saleman.19. Robert de Orford.20. William de Clare.21. John de Fresingfield.22. John de Crauden.23. Alan de Walsingham.24. William Hathfield.25. John Bucton.26. William Walpole.27. William Powcher.28. Edmund Walsingham.29. Peter de Ely.30. William Wells.31. Henry Peterborough.32. Roger Westminster.33. Robert Colville.34. William Witlesey.35. William Foliott.36. John Cottenham.37. Robert Wells,aliasSteward, last Prior, and first Dean.

Arms of the Deanery—Gu. three keys or. These were the arms of Ethelwold, Bishop of Winchester, and from him assumed as the arms of the monastery.

The Dean and Chapter have the patronage of sixteen livings in this diocese, three in the diocese of Norwich, and one in the diocese of Rochester. They also appoint to the Minor Canonries and other offices connected with the Cathedral.

Service—On Sundays at 9 0, a.m., 11 0, a.m., and 4 0, p.m.

A Parochial Service at 6 30, p.m.

The Ordinary Daily Service at 10 0, a.m., and 4 0, p.m.

Dean.

The Very Rev.Charles Merivale, D.D., D.C.L. 1869.

Canons.[16]

Honorary Canons.

Head Master of the Grammar School—Rev. R. Winkfield, M.A.

Second Master—Rev. C. Bokenham, M.A.

Precentor, Sacrist, and Prælector Theologicus.—W.E. Dickson, M.A., 1858.

Minor Canons.

Chaplains.

George Hall, M.A.John Franey, M.A.Richard Winkfield, M.A.E.H. Lowe, M.A.

Librarian, George Simey, M.A., 1874.

Chapter Clerk and Registrar—W.J. Evans, Esq., Ely.

Master of the Choristers, and Organist—Edmund Thomas Chipp, Mus. Doc.

Eight Lay Clerks and Eight Choristers, and Twelve Supernumeraries.

The Choristers are educated in a School within the College, maintainedby the Dean and Chapter.Master—Henry Jackman, Battersea College.

King's Scholars—Twelve on the Foundation.

Sub-Sacrists and Vergers,—William Henry Southby; Henry Stone White.

Bedesmen—Six on the Foundation.

Clerk of the Works—Mr. R.R. Rowe.

The Cathedral

N taking a survey of this noble edifice it is better to commence with the western front, which, as Mr. Millers observes, on account of its height and breadth, should be viewed from a competent distance; a good point of observation may be easily found on the Palace Green. Even in its present state it must be admired for its impressive though irregular grandeur, but when the north wing was standing, corresponding with the south, which remains comparatively perfect—before the erection of the octagonal story on the Tower, and the Galilee or portico, which, however beautiful in itself, has no proper connection with the rest—it must have presented a frontage exceedingly grand, and inferior to but few others in the kingdom. Such, we believe, was the original design, but succeeding bishops or rulers made such alterations and additions as their tastes dictated, and in the style then prevailing. This may in some measure account for the alterations of windows and other parts from their original designs, and the transitions from one style to another, producing examples partaking of two periods, but not perfect in either.

The stone used in the erection of the Cathedral was brought from Barnack, near Stamford, and is of a much harder nature than what was commonly used; it gives proof of great soundness and durability in the excellent preservation of some of the mouldings. The soft white stone used for some of the interior decorations is called "clunch," and is found within a few miles of Ely; it is well adapted for the purposes to which it is applied, it is easily worked and capable of being highly finished, but will not bear exposure to the weather. Most of the pillars with their capitals and bases, as well as many of the mouldings and ornaments in the Early English portion of the church, are of Purbeck marble.

The lower portions both of the Tower and wings were built by Bishop Ridel (1174-1189), and completed as high as the first battlements, during the episcopate of his successor, Longchamp (1189-1197), who however, spent none of his money on the fabric; the lower part of this work is late Norman, but the upper portions show indications of transition towards the pointed style. The architecture of the Tower is worthy of attention, as it shews some beautiful specimens of arcading in bands between rows of windows, all enriched with mouldings of various kinds; the western face shows three rows of windows, the others but two, as the lower one would have been hidden by the roof of the nave and of the wing on each side, these last being originally of a higher pitch than the remaining one now is. The upper band consists of circular openings with quatrefoils in the centre, and above that is a corbel-table. A spire of timber covered with lead was erected on the Tower about the middle of the thirteenth century, but it was afterwards removed, and the upper portion of the Tower, in the Decorated style, was added, and it was again surmounted by a spire. These additions were found to be injurious, and it became necessary to strengthen the lower portions of the Tower to support it; nor is it improbable that the fall of the north-western Transept was in some degree owing tothe great additional weight, or that it was so far injured as to require removal. The spire was, we believe, finally removed about the end of the last century.

The octagonal story does not harmonize with the lower portion. There is a large window with transoms in each of the four principal sides, the upper portions only being glazed; it is flanked by octagonal turrets, which rise a little higher than the centre, they are faced with shallow arcading and connected with the centre portion by small flying buttresses; in each turret is a winding stair, but only that in the south-eastern turret is used. In the top of this turret is placed the clock bell.

The wings of the western Tower formed a second Transept to the church, and were doubtless perfectly similar; the remaining wing has towers at the angles; that at the south-west angle is larger than the other, though they are of equal height, and rise considerably higher than the wing. Both wing and towers are covered with ranges of arcading one above another, commencing a few feet from the bottom; the three lowest tiers are round-headed, the fourth are trefoil-headed, the fifth and all above are pointed and profusely adorned with mouldings; and the whole surface is enriched with diaper patterns. The roof was formerly of a higher pitch, as may be seen by the marks on the Tower.

Some years ago there was a communication by a covered viaduct over the road, between this Transept and the east wing of the Bishop's Palace, which enabled him to visit the Cathedral under cover; and the road over which it passed is still called "The Gallery."

"Mr. Stewart has pointed out the fact that the Galilee porch is not parallel to the axis of the Nave, but has a marked inclination to the north, while the Choir on the other hand (like that of Exeter), inclines to the south. This doubtless was for a symbolical reason. The ground plans of churches, by so frequently assuming a cross form, typify the doctrine of the Atonement—the Choir or Chancel marking the position of the Saviour'sHead, the Transepts His Arms, and the Nave His Body. By an expansion of this idea the Choir is made to bend southwards to shew the inclination of the Redeemer's Head upon the cross; while, as it would seem here the Porch is turned in an opposite direction to indicate the position of His feet."[22]

This has been stated to have been erected by Bishop Eustace (1198-1215), but although he is known to have made large additions to the building and to have built the Church of St. Mary, it has been thought the present building is not quite so early as that date, and that it was "the work of some unknown benefactor, who had probably seen Hugh de Northwold's presbytery, and determined to lengthen the church westward as it had been extended in the opposite direction?"[24]and that it occupies the site of a former building. Sir G. Scott seemed to think it was the work of Bishop Eustace.[25]

It is a beautiful specimen, and may fairly be ranked among the most exquisite Early English works we possess. "Nothing," says Mr. Parker, "can exceed the richness, freedom and beauty of this work; it is one of the finest porches in the world."[26]Externally, both sides are adorned with four tiers of arcading of different heights, one above another; in front, the recesses of the arches are deeper, and were probably intended for the reception of statues; some of them are ornamented with dog-tooth mouldings, and have trefoils in the spandrils. It is of two stories without windows in the sides; in the upper story there is a triple lancet window at the west end, the middle light being higher than the one on either side; the lower story receives light through the western opening. The arch of entrance is very elegant, and worthy of notice; it is receding, with rich and various mouldings, which on each side rest upon slender columns; a central group of shafts separates the opening into two smaller arches, with good tracery in the tympanum. The length on each side, internally, is occupied by two large pointed arches, comprehending under each two tiers of subordinate ones, the upper tier of five and the lower of three, which contains both outer and inner arches of different heights, supported by very slender columns; all the shafts were originally of Purbeck marble, with elegant capitals; the ribs of the vaulting are of free-stone, but the vault is of clunch. The arch of communication with the Tower is also very beautiful; it is similar in form to the exterior arch, but the ornaments in the mouldings are richer and more delicate: this has just been restored, and the Purbeck marble pillars—some of which had disappeared and others had become decayed—have been replaced by pillars of Devonshire marble with Purbeck plinths and capitals; the vesica in the tympanum has been filled with stained glass representing St. Etheldreda, the foundress; the original oaken doors have been repaired, faced, and ornamented with scrollwork in iron: this has been effected at a cost of more than £1000. contributed by Mrs. Waddington, of Twyford House, Winchester, as a memorial to her husband.

has been considerably improved by the removal of a floor which had been inserted just above the lower arches, thus opening it to the great lantern, bringing into view a series of beautifulcolonnades and arches, for many years hidden, except to those who explored the upper portions, besides relieving it of the weight of a large quantity of stone and materials.[27]The tops of the four fine arches which originally supported the Tower can now be partially seen; they were spacious openings, but are contracted by interior arches in a different style, which were inserted in the early part of the fifteenth century, for the purpose of strengthening the building. The beautiful painted ceiling of the Tower was designed, and all its essential parts executed, with a rare union of artistic skill and archæological knowledge, by H.S. le Strange, Esq., of Hunstanton Hall, Norfolk, at the expense of H.R. Evans, Esq., then Registrar to the Dean and Chapter; the centre contains a figure of the Saviour in an aureole: He is represented as holding a globe in His left hand, and is surrounded by the sun, moon, and stars; on either side are Cherubim and Seraphim bearing scrolls containing the words "Holy! Holy! Lord God of Sabaoth." The eastern centre contains a shield on which is thedextra Domini, the "right hand of the Lord," as an emblem of the Creator; the corners are enriched with foliage, and the whole is surrounded by a border containing the words "Thou art worthy, O Lord, to receive glory, and honour, and power; for Thou hast created all things, and for Thy pleasure they are and were created." This was finished in 1855. The floor, of which the pattern forms a labyrinth, was completed in 1870.

The window over the entrance from the Galilee, was inserteda.d.1800, and improved in 1807 at the expense of Bishop Yorke, who filled two portions of the upper part with stained glass, the other two being filled at the cost of Dr. Waddington, then a Prebendary of the Cathedral; the remainder has lately beencompleted by Mr. Clutterbuck; the subjects are taken from the history of our Lord. This, with the wall decoration below, has been done at the expense of J.T. Waddington, Esq., and of his widow. Beneath the window are four shields of arms; the upper one on the south side shows the arms of Bishop Yorke impaled with the arms of the see; on the north side are those of Bishop Yorke with those of Dr. Waddington; the lower ones contain on the south, the arms of J.T. Waddington, Esq., and on the north side, the same impaled with those of the family of Cocksedge, of which Mrs. Waddington was a member.

Before proceeding further the visitor should pause, and observe the great length of the Cathedral, the noble appearance of the lofty arches, and the sublime grandeur of the whole. When we look around and see the lofty Tower with its decorated ceiling above; on the right, the south-west Transept, rich in the extreme with its several arcades of plain, intersecting, and trifoliated arches; and in front, through the long vista of the Nave, the noble Octagon, and the enriched Choir, to the extreme end of the church, we cannot but pause and admire the skill of man shewn in such a work; but when we consider to whose honour and glory such skill is exerted, we no longer wonder that man's best energies should be called forth to construct and ornament such a temple,

May those who visit this temple for the purpose of examining it as a building made with hands, ever bear in mind the great and solemn purpose for which it was erected—the worship of Almighty God—and let their aspirations of prayer and praise ascend to Him in thankfulness for the privilege afforded to them of freely and openly worshipping Him, who as freely invites all to become partakers of a home made without hands, eternal in the heavens.

was, until a few years ago, separated from the Tower by a wall of stud and plaster, and used as a receptacle for materials required for the repair of the fabric, but is now thrown open in all its beauty; it has been repaired and restored at considerable expense.

The architecture of this portion of the Cathedral is worthy of special notice; the various forms of the arches, and the beautiful mouldings and ornaments on some of them, cannot but attract attention. The panelled ceiling has been painted by T. Gambier Parry, Esq., of Highnam Court, Gloucester; the floor has been re-laid with encaustic tiles and marble; a new font[28]in the transitional style, has been placed here, at the cost of the late Canon Selwyn, and this Transept will in future be used as the Baptistry of the Cathedral. Several windows, which had for many years been blocked up with stone and rubbish, have been re-opened, and those of the lower tier at the south end filled with stained glass by Mr. Wailes:

The west window contains—the Meeting of Jacob and Rachel; the Choice of Esther; and the Crowning of Esther; and was the gift of Dean Peacock.The east window comprises—the Meeting of Isaac and Rebecca; of Boaz and Ruth; and the Marriage at Cana: given by Hamilton Cooke, Esq., of Carr House, Doncaster.

The west window contains—the Meeting of Jacob and Rachel; the Choice of Esther; and the Crowning of Esther; and was the gift of Dean Peacock.

The east window comprises—the Meeting of Isaac and Rebecca; of Boaz and Ruth; and the Marriage at Cana: given by Hamilton Cooke, Esq., of Carr House, Doncaster.

Adjoining this Transept on the east is the apsidalChapel of St. Catharine, for many years in ruins, but rebuilt in 1848, and the floor laid in a combination of marble and encaustic tiles, with borders of incised Portland stone, the incisions being filled with coloured cement; the windows have been filled with stained glass by Mr. Wilmshurst:

The east window, representing the Baptism of our Lord, by John, after a picture by Bassans; given by the Rev. W.G. Townley, of Upwell, Norfolk, as a memorial of his brother, R.G. Townley, Esq., of Fulbourn, for several years one of the representatives of the county in Parliament.The subject of the other window is from the words of our Lord, "Suffer little children to come unto me;" from a picture by Overbeck: the gift of Canon Selwyn.

The subject of the other window is from the words of our Lord, "Suffer little children to come unto me;" from a picture by Overbeck: the gift of Canon Selwyn.

We now proceed on our course, and enter

which is of ample dimensions, being 203 feet in length; it has a lighter appearance than many churches of Norman architecture, and may be considered a late specimen of that style, having been finished about 1174. The length originally comprised thirteen bays, one of which has been included in the plan of the Octagon; there are no single cylindrical columns as in many churches, but the pillars are clustered and alternate in size and pattern; the arches appear to be somewhat higher than semicircular, being stilted, or some little way rectilinear before they take the circular bend. Those of the second tier comprehend in each two smaller ones, supported by a much lighter column; each compartment in the upper tier is divided into three small arches, the middle one being larger and higher than that on either side of it. Over the whole aisle on each side runs a broad gallery usually called the "triforium," lighted by Perpendicular windows in the outer wall; and above is the "clerestory," or "clear-story," affording a narrow passage in the thickness of the main wall, lighted by the original Norman windows; thus the height is divided into three parts—ground-story, triforium, and clerestory; and the breadth into the same number—nave, north aisle, and south aisle; probably designed as a type of the Trinity, as it is thought by many that these symbolical considerations were used in the building of churches in early ages.

A new floor has been laid in the Nave[29]in a design which introduces several kinds of stone and marble, each bay in a pattern differing from the adjoining one; the large slab of marble which laid in the second bay from the east, and from which the memorial brass has long disappeared, remainsin situ, it is not known to whose memory it was originally placed, but evidently to some dignified ecclesiastic. Towards the west the floor has been lowered so as to shew the bases of the columns which had for many years been hidden. A semicircular roof-shaft runs from the floor to the top of the wall between the bays, but the roof, until lately, was open to view from the floor to the rafters; a new painted ceiling has been executed,[30]which adds much to the grandeur of the building.

This ceiling was commenced in 1858, by Henry Styleman le Strange, Esq., of Hunstanton Hall, and the six western bays were designed and the chief parts executed by him, and finished in 1861; his lamented decease in the following year gave rise to some fears as to its completion, but his friend T. Gambier Parry, Esq., undertook to finish the work so ably begun, as a token of affection to his memory, and it now presents a beautiful series of pictures in compartments, forming, as it were, a carefully studied epitome of the sacred history of man as recorded in Holy Scripture; and exhibiting specimens of skill and taste executed by two gentlemen of independent fortune that may be almost considered marvellous.

It may be mentioned that the ceiling is upwards of 200 feet long, and is 86 feet from the floor, and the general size of the principal figures in the painting is nine feet.

The central subjects are arranged in chronological order fromthe west, each being surrounded by a border varying in form, and containing a legend; in the ten western bays the subjects are supported by figures which are for the most part representations of Patriarchs and Prophets, carrying scrolls[31]upon which are written words of their own, bearing more or less forcibly upon the coming of the Messiah. The eleventh subject has, properly speaking, no supporters, but the Shepherds and the Magi are so arranged as to carry on the artistic effect of a central group with conspicuous lateral figures. In the twelfth and last subject, the picture extends entirely across the ceiling; in the centre is the Lord Jesus in His glorified humanity, seated on a throne, round about which is a "rainbow like unto an emerald." Above His head is the choir of Seraphim, painted in prismatic colours, and reflected in the "sea of glass before the throne." On the right and left are the figures of the twelve apostles seated; beyond them, on the dexter side, are two archangels, St. Gabriel, "the angel of redemption," holding the standard of the cross, and St. Raphael, holding a sword with its point downwards, expressive of victory and peace; at their feet rise three figures, typical of the blessed received into glory. On the sinister side are also two archangels, St. Uriel holding his sword downwards, and St. Michael spearing the dragon, expressive of the condemnation of, and victory over, sin. The figure of our Lord is connected with the tree of Jesse by its last branches, which break into scrolls and golden fruit at His feet.

The arch which separates the Nave from the Octagon has also been decorated, as well as the wall which connects the arch with the ceiling; the design contains the evangelistic symbols of St. Matthew and St. John, and the text "Blessed be the Name of His Majesty for ever, and all the earth shall be filled with His Majesty. Amen and Amen."

ceiling key

Transcriber's Note:The text in the above illustration appears below. The first paragraph contains the text along the sides of the image.

The heads forming the border represent the human ancestors of our Lord, according to the genealogy in St. Luke's Gospel; they commence at the Eastern end, and terminate at 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."Non nobis, Domini, non nobis, sed nomini tuo da gloriam."12.THE LORD IN GLORY.'I am the root and the offspring of David, and the bright and morning star.'11.THE ADORATION OF THE SHEPHERDS AND OF THE MAGI.'Unto us a child is born: Gentiles shall come to thy light, and Kings to thebrightness of thy rising.'ST. MATTHEW.ST. MARK.10.THE NATIVITY.'The Word was made flesh, and dweltamong us: full of grace and truth.'ST. LUKE.ST. JOHN.MALACHI.'The Sun of Righteousnessshall arise.'ZECHARIAH.'I will bring forth my servantthe Branch.'9.THE ANNUNCIATION.'A Virgin shall conceive and bear a Son,and shall call his name Immanuel.'ZEPHANIAH.'The Lord their God shallvisit them.'NAHUM.'Him that bringeth gladtidings.'JEREMIAH.'Unto David a righteousBranch.'8.DAVID.'Of the fruit of thy body shall I set uponthy throne.'EZEKIEL.'My servant David shall be aPrince.'DANIEL.'He shall confirm thecovenant.'7.JESSE.'There shall come forth a rod outof Jesse, and a branch shall growout of his roots.'HAGGAI.'The desire of all nationsshall come.'MICAH.'Out of thee, Bethlehem, shallHe come forth.'6.THE MARRIAGE OF RUTH.'The Lord make the woman like Racheland Leah. Be thou famous in Bethlehem.'ISAIAH.'There shall come a rod out ofthe stem of Jesse.'AMOS.'I will raise up the tabernacleof David.'5.JACOB’S DREAM.'In thee and in thy seed shall all thefamilies of the earth be blessed.'HOSEA.'O Grave I will be thydestruction.'JONAH.'Thou hast brought up my lifefrom corruption.'4.ISAAC CARRYING THEWOOD.'Behold the fire and the wood, butwhere is the burnt offering?'JOEL.'I will pour out my spirit uponall flesh.'MOSES.'The Lord shall raise up aprophet like unto me.'3.NOAH’S SACRIFICE.'I do set my bow in the cloud, to be atoken of covenant between meand the earth.'NATHAN.'I will stablish the throne ofHis kingdom.'JOB.'I know that my Redeemer liveth.'2.THE FALL OF MAN.'Her seed shall bruise they head, andthou shalt bruise his heel.'BALAAM.'There shall come a star out of Jacob.'ABRAHAM.'My son, God will providehimself a lamb.'1.THE CREATION OF MAN.'Which was the son of God.'JACOB.'The sceptre shall not departuntil Shiloh come.'"Sit splendor Domini Dei nostri super nos, et opera manuum nostrarum dirige super nos," &c.

"Non nobis, Domini, non nobis, sed nomini tuo da gloriam."

12.THE LORD IN GLORY.'I am the root and the offspring of David, and the bright and morning star.'

11.THE ADORATION OF THE SHEPHERDS AND OF THE MAGI.'Unto us a child is born: Gentiles shall come to thy light, and Kings to thebrightness of thy rising.'

"Sit splendor Domini Dei nostri super nos, et opera manuum nostrarum dirige super nos," &c.

Traces of early fresco work may be seen on some of the arches of the Nave, on both sides, and in all probability other parts were also decorated.

Before proceeding further eastward we will examine the

commencing with that on the south, at the western end. We first observe a range of small semicircular arches running under the windows, with a chevron moulding over some of them; in the first bay from the west there is a row of intersecting arches over them. The vaulting is supported by semi-columns placed at the back of the pillars on one side, and on the other by wall-shafts between the windows, and forms a great contrast to the rich vaulting of the eastern portions of the Cathedral. Several traces of early fresco work may be observed in the vault of the tenth bay from the west, and in other places.

Under the fourth window is a doorway, which is, on the exterior, richly ornamented, filling all available space, the whole of the imposts, arch mouldings and capitals being thickly sculptured with interlaced carving. In the tympanum is a figure of the Saviour in an aureole (or 'glory' of a pointed oval shape), held up by two angels sitting, holding an open book surmounted by a cross in His left hand, His right being elevated in the act of benediction. The mouldings above, as well as the capitals, jambs, and pilasters, are enriched with running foliage, and with a series of medallions containing birds, animals, flowers, &c., some of which are very curious. This was formerly the Prior's entrance from the cloisters; it now opens into a private garden belonging to the Deanery.[32]

Near this doorway stands a curious relic, deserving attention. It is the lower portion of a stone cross with a square pedestal, found some years ago at Haddenham, in the Isle of Ely, whereit was used as a horse-block; the inscription on the pedestal is in Roman capitals, except the E, which is Saxon:

“LUCEM-TUAM-OVINO-DA-DEUS-ET-REQUIĒ.-AMEN.”

A translation of it is thus given by Mr. Bentham: "Grant, O God, to Ovin, thy light and rest. Amen." On reference to the history of St. Etheldreda, foundress of the monastery at Ely,[33]to which allusion was made in the introduction to this work, it will be seen that her steward bore the name of Ovin, and it is not improbable that the cross was erected either to his honour during his life, or to his memory soon after his death; probably in the early part of the eighth century: this would make it earlier by nearly four hundred years than anything else in the church. The Bissexcentenary, or twelve-hundredth anniversary of the foundation of the monastery at Ely by St. Etheldreda was commemorated by a grand Festival in October, 1873.

The doorway at the east end of the aisle, under the last window, formerly the entrance for the monks from the cloisters, now the south entrance to the Cathedral, is also worthy of special observation; the head is trefoiled, and ornamented with figures holding pastoral staves; above, two dragons are represented with their necks entwined; the mouldings are rich and various, and the capitals and jambs are sculptured with grotesque ornaments. By some persons it has been thought that these doorways were insertions, as they do not accord with the lines of the adjoining wall, perhaps brought from some other building, and re-erected here when the cloisters were built.

On the second pillar from the east end of the Nave in both aisles, may be observed a niche with a canopy, indicating the position of the rood-screen at the western extremity of the original Choir, which extended eastward across and beyond the space now covered by the Octagon.

The windows of the aisles, as also those of the triforium, were originally Norman, but were altered at some subsequent periodto a later style; those, however, of this aisle have, with one exception, been restored to their original form, and all are filled with stained glass. We will endeavour to describe them in their order, beginning at the western end of the aisle.

Back to Index Next