The western window on the north side—The descent of the Holy Ghost, with figures and emblems.The eastern window—The Ascension, with figures, &c.The western window on the south side—Incidents from the history of Moses, with figures, &c.The eastern window—Incidents from the history of Elijah, with devices, &c.
The western window on the north side—The descent of the Holy Ghost, with figures and emblems.
The eastern window—The Ascension, with figures, &c.
The western window on the south side—Incidents from the history of Moses, with figures, &c.
The eastern window—Incidents from the history of Elijah, with devices, &c.
"The east end," says Mr. Millers, "is eminently beautiful,and will not by any means shrink from comparison with the more gorgeous termination of any church built after great end windows came into fashion. There are two tiers of lights; the lower consists of three very high lancet-shaped lights, nearly all equal; the second of five, the middle one being higher, and those on the sides gradually lower."[42]They are enriched by slender columns, with leafy capitals, and ornamented with toothed and other mouldings, presenting altogether more gracefulness and elegance than one large window filling nearly the whole end. In the last century Bishop Mawson had formed a design of filling this window (for it is generally considered as one window of eight lights,) with stained glass, and selected an artist to carry it into effect; the work, however, was not then finished; a figure of St. Peter, and the arms of the bishop and contemporary members of the Chapter, are the only remains of it known to be in existence, and these were lately removed from the centre lancet and placed in the east window of the north triforium of the Nave. The window has at length been completed by the liberality of Bishop Sparke, who gave in his lifetime a large sum for that purpose.[43]The bishop died some few years after making his munificent donation, and his two sons, Rev. J.H. Sparke and Rev. E.B. Sparke, then Canons of the cathedral, as Trustees of the fund, took steps to carry his wishes into effect. Several designs were prepared, and one by Mr. Wailes was selected, but the execution was deferred for some years in order that advantage might be taken of further experience, and thus, if possible, to realize some of those gorgeous effects which have made the thirteenth century windows of Canterbury, Chartres, Bourges, and elsewhere, so justly celebrated.
The eastern lancets were executed by Mr. Wailes in 1857, and the representatives of the donor have good reason to be satisfied with the result. The general effect produced is magnificent;the three lower lancets in particular present that happy combination of sparkling brilliancy with that somewhat mysterious indefiniteness in the distribution of colour which is so well suited to the architectural effect. It is sufficient to compare the present window with others in the Cathedral, not excluding the productions of Mr. Wailes himself, to shew the great advance which the art of glass-painting has recently made, both in the richness of the colours employed and their arrangement—the improvement arising, doubtless, from a more accurate study of the great masters of the middle ages.
The figures and groups in the three noble lancets are executed with great spirit; and although numerous, are arranged, more especially in the central window, in masses which the eye can readily follow, and by occupying so large a portion of the entire surface, leave little room for the monotonous repetitions of foliage or other patterns; the distribution of colour is also thus sufficiently varied without its masses in one part of the window unduly preponderating over those in another, a condition which is never grossly violated without serious injury to just architectural effect.
In the central window of the clerestory range, the spaces between the medallions and the border are filled with a diapered ground, which, though rich in colour, is somewhat formal in effect; whilst the field in the side windows, within the border, is too narrow to allow the figures to be sufficiently separated and relieved from the rest of the ground. It arises, probably, from these or other causes that the general effect which the upper lancets produce, though otherwise good, is by no means so rich and sparkling as that of the lower windows.
The subjects of the three lower lights are illustrative of the history of our blessed Lord; commencing at the bottom of the south lancet—where is represented a figure of Jesse, from whose body issues a genealogical tree—and continuing in ascending order, through a series of nine medallions, followingin the same manner through a similar number in the north lancet, and five others in the central lancet; alternately with these five are quatrefoils containing representation of types from the Old Testament of the events of the Passion represented in the other medallions; and in the segmental spaces round these quatrefoils are represented eighteen other incidents of the last days of the Saviour. In the segmental spaces in the south lancet the figures of the kings are disposed in pairs; and in the north lancet these spaces are filled with the figures of Moses, Elias, and the prophets; and at the bottom a kneeling figure of the donor. The five upper windows, two on the north and two on the south, contain figures of the apostles; at the top of the central window our Lord is represented as sitting in glory, beneath which are depicted four incidents which occurred after the Crucifixion.
The subjects of the three lower lights are illustrative of the history of our blessed Lord; commencing at the bottom of the south lancet—where is represented a figure of Jesse, from whose body issues a genealogical tree—and continuing in ascending order, through a series of nine medallions, followingin the same manner through a similar number in the north lancet, and five others in the central lancet; alternately with these five are quatrefoils containing representation of types from the Old Testament of the events of the Passion represented in the other medallions; and in the segmental spaces round these quatrefoils are represented eighteen other incidents of the last days of the Saviour. In the segmental spaces in the south lancet the figures of the kings are disposed in pairs; and in the north lancet these spaces are filled with the figures of Moses, Elias, and the prophets; and at the bottom a kneeling figure of the donor. The five upper windows, two on the north and two on the south, contain figures of the apostles; at the top of the central window our Lord is represented as sitting in glory, beneath which are depicted four incidents which occurred after the Crucifixion.
The floor of the Choir has been re-laid with marble combined with Minton's encaustic tiles, and a large marble slab has been placed over the grave of Bishop Hotham, inlaid with brass and bearing the arms of the see and those of the bishop, surrounded by an inscription. At the foot of this another has been laid over the grave of Prior Crauden, superior of the monastery at the time of the erection of the Octagon; this is the original gravestone of the prior, but it had been removed with several others to another part of the church; the brass insertion has been renewed, shewing a kneeling figure with a large foliated cross issuing from his bosom, with the initials I.C. on either side, and surrounded by an inscription.
In the wide treading of one of the steps at the end of the stalled choir are placed the arms of some of the benefactors to the restoration of the Cathedral;[44]executed by Messrs. Minton. In the Presbytery, where the absence of stall-work allows spacefor more elaborate design, it will be seen much care and skill has been used, and the effect produced is very good. The communion table is raised five steps above the level of the floor, each step being laid in mosaic and encaustic tiles of beautiful and varied patterns, used in conjunction with veined, and faced with black, marble.
The new reredos or altar screen is remarkable for its chaste but elaborate design and richness of detail, as well as skill in execution; and is not, perhaps, surpassed by any modern work of the kind; our limited space will not allow us to attempt anything like an adequate description of this beautiful work, but we will endeavour briefly to point out the prominent features, and recommend to the visitor a careful examination of its various details.
It comprises a centre with wings, having openings with geometrical tracery and foliated mouldings, surmounted by an elegant cresting. The front of the central portion is of the most beautiful design, executed in alabaster, enriched with colour and gilding, and will doubtless claim the first attention of the visitor. The sides of the space occupied by the altar is covered with diaper work exhibiting a series of roses, apparently connected together by their stems running through the pattern under the bars of the diaper-work; above this, the whole width is divided into five compartments—the centre one being wider than the others—separated by enriched columns, around which are spiral belts with cornelians and blood-stones on a gold ground, and having elegant foliated capitals, copied from natural objects; on these capitals stand a series of angels bearing instruments of the passion—cross, crown of thorns, nails, spear, &c., and each having under his feet a dragon or other reptile, typical of the triumph over Satan by the Sacrifice of the Atonement. The lower part of each compartment is occupied by quatrefoils ornamented with ball-flowers, and filled in with mosaic work ofverd antique,rosso antico,gialo antico, andlapis lazuli: above these are panels containing alto-relievo sculptures of great excellence, the subjects taken from the life of the Saviour; beginning on the north side, we find Christ's entry into Jerusalem, Christ washing His disciples' feet, the Institution of the Sacrament, Christ's agony in the Garden, and Christ bearing His cross: another series of spiral pillars stand in the front and on the sides of these panels with capitals similar to those already mentioned. These pillars have their spiral course in the opposite direction to the former, which adds to the general beauty of the whole. Above the sculptured panels, each of the four side compartments is surmounted by two small gables with their outer mouldings foliated, crowned with a finial, and finished at the bottom by a grotesque figure of a dragon or other animal; the inner face of each gable contains within a circle a head in bas-relief, those on the north side representing the major prophets, Isaiah, Jeremiah, Ezekiel, and Daniel; those on the south represent four doctors of the church, Jerome, Ambrose, Augustine, and Gregory; the other portions being filled in with mosaic work. The centre compartment has three projecting canopies, the faces of which are enriched with mosaic, the angles are crocketed, and finished at the bottom with roses and grotesque figures. Above the centre canopy, on a lofty enriched pinnacle, stands a figure of our Lord; on the north side, on a lower pinnacle, stands a figure of Moses; and on the south side a figure of Elias, the three being typical of the Transfiguration.
The upper portion of the white stone screen behind the alabaster work is also divided into five compartments of open work with geometrical tracery; in front rise five gables, the centre being larger and higher than the others. The outer mouldings of the centre gable are enriched with foliated crocketing with which is intermixed the early church symbol—pelican feeding her young—and the apex surmounted by a figure of our Lord enthroned: the inner portion of the gable contains, in a trefoil, a basso-relievo of the Annunciation, in alabaster. The four sidecompartments are also surmounted by gables, on the top of which stand respectively the figures of the four Evangelists, in alabaster, their respective emblems being worked in the crockets; on the inner faces of the gables, within trefoils, are busts in relief, those on the north side represent Mary Magdelene and Mary the mother of James; those on the south, St. John the Baptist and St. John the divine; the remaining space in each gable being filled in with mosaic. Outside and between these gables rise spiral pillars, on the tops of which are placed figures of the virtues, Faith, Hope, and Charity, on the north side; and of the graces, Justice, Prudence, and Fortitude, on the south side, executed in alabaster.
The wings also are of white stone, and not so high as the centre; in each are three openings with geometrical tracery; and below these openings the wall is covered with diaper-work of an elegant pattern.
The portion of this screen, which forms the reredos, is the munificent gift of John Dunn Gardner, Esq., of Chatteris, in this county, and designed as a memorial to his first wife. The work took upwards of five years to execute, and cost about £4000. Some of the more important of the sculptures, mosaics, and other decorations, were suggested by the donor, and the whole was designed by Sir G.G. Scott, and affords a magnificent example of his skill and taste. The stone-work, including the architectural carving, was executed by Mr. Rattee and his successors, at Cambridge; the sculptures by Mr. Philip; the mosaics by Mr. Field; and the gilding and painting by Mr. Hudson.
The Reredos was expressly designed with reference to a painted window placed behind it: it is hardly necessary to say that it is greatly benefitted by the general reduction of the glare of light, which rendered the outlines of much of the statuary and more delicate ornaments undistinguishable at a distance, but still more by the transmission through it of glimpses of themost beautiful colours, which change with every movement, however slight, in the position of the eye, and whose very indistinctness and transitory character contributes not a little to the effect which they tend to produce on the mind.
The altar being raised above the level of the floor shews to advantage the magnificent altar cloth, which is of rich crimson velvet, embroidered with much taste and skill by Miss Agnes and Miss Ellen Blencowe, and is thought to be worthy of the best ages of Mediæval embroidery. "Its length is divided into three parts; the middle containing a very beautiful figure of our Lord as risen, contained within a pointed aureole of a deep blue colour, and bordered by radiating beams. Broad orphreys embroidered in flowers divide the middle compartment from the sides, which are of red velvet powdered with conventional flowers;"[45]the largest were copied from ancient examples at East Langdon, Kent, and the others from Ottery, Somersetshire. The following passage is worked in gold on the super-frontal:—
Agnus Dei
"Agnus Dei qui tollis peccata mundi dona nobis pacem.Agnus Dei, miserere nobis."[46]
We now direct our attention to the monuments in the Choir, and commence with the first arch on the south side of the Presbytery which is occupied by the once gorgeous monument of Bishop de Luda, or Louth (1290-1298), it consists of a lofty central arch with smaller openings on the sides; above the arches are enriched gables with pinnacles and finials; over the centre arch in a trefoil is a figure of the Saviour; the restoration of the north side of this monument will afford some idea of its original appearance; the effect has been somewhat subdued by the softened light from the east window. The indent in the gravestone under the arch leaves no doubt of its having been once finished with a brass effigy.
The next arch contains the tomb of Bishop Barnet (1366-1373); it is of Purbeck marble, with quatrefoils on the sides, and had originally the effigy of the bishop engraved in brass on the table of the tomb.
Under the third arch is the high monument of John Tiptoft, earl of Worcester, one of the patrons of Caxton, the first English printer; this is in the Perpendicular style, but less beautiful than that of Bishop Redman, on the opposite side: on the table of the tomb are the effigies of the earl and his two wives; the two latter only were buried here, the earl having been beheaded and buried in London in 1470.
The tomb of Bishop Hotham (1316-1337) has been partially restored and placed in the next arch, on the south side of the altar; it formerly stood under a high canopy on the north side, but originally in the first arch of his own work. There was probably a recumbent figure on the top, but it has long since disappeared.
Opposite to this, on the north side of the altar, on a base of Purbeck marble, are placed the interesting remains of the tomb of Bishop Northwold (1229-1254), the munificent founder of the Presbytery, which were originally placed over his grave in the centre of his own work. It is a large slab of Purbeck marble, highly adorned with carving; perhaps one of the finest specimens of its period: the effigy of the prelate is represented as resting beneath a cinquefoil canopy in his robes, bearing his crosier, with a lion and dragon under his feet; beneath this is a representation of the martyrdom of St. Edmund, a prince of East Anglia, by the Danes, commemorative of his having been lord abbot of Bury before he was preferred to the see of Ely; the niches in the sides of the prelate's stall have statuettes—on the left, St. Etheldreda, an abbess crowned, and a nun; on the right, a king, an abbot, and a monk: at the top on each side of the head are angels with censers, and other symbolical figures.
The monument or shrine which was formerly placed over the tomb of Bishop Hotham, has been in part restored, and now occupies the third arch on the north side. This, with the tomb now on the south side of the altar under it, originally stood in the first arch of his own work, near his place of sepultre; it is in the Decorated style, and was richly coloured and gilded. Part of it was cut away in order to make room for the stalls when the choir occupied the six eastern arches, but this has been rebuilt. This is now thought to have been part of the sub-structure of the shrine of St. Etheldreda, as adapted by Alan de Walsingham.
The second arch from the west, is occupied by the tomb of Bishop Kilkenny (1254-1256,) who died at Sugho, in Spain, while on an embassy to the Spanish Court; his body was buried there, his heart being only interred here. The tomb is of Purbeck marble, and is a fine example of the Early English style. The bishop is represented as in the act of benediction, with a pastoral staff, and in full pontificals; his head is shown as resting on a cushion, and is surmounted by a trefoil arch with a crocketed gable, and a censer-bearing angel on each side.
In the next, or more western arch, is the beautiful monument of Bishop Redman (1501-1505). It is a fine specimen of the Perpendicular Style, and is richly ornamented with niches and canopies, and a variety of shields with arms, and emblems of the passion; the effigy of the bishop is recumbent on a high tomb under a rich canopy, with a space left at the foot for a chantry priest. Passing through this space we enter the
and first proceeding towards the western end of it, we notice the new back screens which have been erected to mask the stall work in two of the bays, and against which have been placed the monuments of Bishop Fleetwood (1714-1723), and of his son Dr. Charles Fleetwood (1737); the third bay is occupiedby the new and elegant staircase to the organ; it is of open work, richly carved, with foliated mouldings and ornaments.
Opposite to this, in the north wall, is a beautiful door-arch, formerly the means of communication with the Lady Chapel; it has statues in large niches on each side, many smaller niches, crockets, and finials, and over the keystone a sitting figure; the mouldings and ornaments were originally beautified by colours and gilding, but all are injured and defaced, and the figures have disappeared.
A little further eastward is the memorial brass laid over the grave of Mr. Bassevi, the eminent architect of the Fitzwilliam Museum at Cambridge, who was accidentally killed by a fall in the western Tower in 1845.
The monuments of Bishop Redman and Kilkenny, which we noticed in our survey of the Choir, are in their original places; and we now pass in succession those of Bishops Patrick (1691-1707), Mawson (1754-1770), and Laney (1667-1675). In 1770 many monuments were removed from the Presbytery to make room for the Choir, and a few were again removed for the purpose of carrying out the recent arrangements. In the last bay but one (now opening to the Retro-Choir) stood the monument of Bishop Gray (1454-1478), but the gravestone only remains, from which the brass has been removed. The arms of this prelate may be observed in the sides of three of the windows of this aisle, no doubt altered by him to their present form.
The first or western window of the Presbytery has been filled with stained glass executed by M. Lusson, of Paris, illustrative of the history of St. John the Baptist; the gift of the Rev. Chancellor Sparke.The second window, executed by Messrs. Clayton and Bell, contains subjects illustrative of the miracles; designed as a memorial of the Rev. J.H. Sparke, many years Canon of the Cathedral, and Chancellor of the Diocese.The third window, by the same artist, also contains subjects illustrative of the miracles; designed as a memorial of Agneta, widow of Chancellor Sparke.The fourth window, executed by Mr. Hughes, contains subjects from the parables—the wheat and tares, the vineyard, and the lost sheep; and the miraculous draught of fishes, designed as a memorial of Eliza, widow of Canon Fardell.The fifth window, executed by Mr. Ward, contains in the two western lights subjects from the parable of the ten virgins; and in the others illustrations of the passage in Matt.XXV. 35, 36. "I was an hungered and ye gave me meat," &c.; designed as a memorial of Rev. H. Fardell, Canon of Ely.
The first or western window of the Presbytery has been filled with stained glass executed by M. Lusson, of Paris, illustrative of the history of St. John the Baptist; the gift of the Rev. Chancellor Sparke.
The second window, executed by Messrs. Clayton and Bell, contains subjects illustrative of the miracles; designed as a memorial of the Rev. J.H. Sparke, many years Canon of the Cathedral, and Chancellor of the Diocese.
The third window, by the same artist, also contains subjects illustrative of the miracles; designed as a memorial of Agneta, widow of Chancellor Sparke.
The fourth window, executed by Mr. Hughes, contains subjects from the parables—the wheat and tares, the vineyard, and the lost sheep; and the miraculous draught of fishes, designed as a memorial of Eliza, widow of Canon Fardell.
The fifth window, executed by Mr. Ward, contains in the two western lights subjects from the parable of the ten virgins; and in the others illustrations of the passage in Matt.XXV. 35, 36. "I was an hungered and ye gave me meat," &c.; designed as a memorial of Rev. H. Fardell, Canon of Ely.
At the end of this aisle, occupying the space of one bay, is theChapel of Bishop Alcock, (1486-1500), who was comptroller of works under Henry VII., and founder of Jesus College, Cambridge. The chapel is in the Perpendicular style, and was builta.d.1488, as appears from a stone found underground some years ago, and inserted in the wall under the east window, bearing the following inscription, scarcely legible:
Alcock inscription
"Johanes Alkoc epus Eliesis hanc fabrica fieri fecit.M.cccclxxxviii."
The ornamental portion is curiously executed, but the pinnacles are disproportioned and crowded, presenting a confused and heavy appearance; the vaulted ceiling is rich and elaborate, with a large pendent of curious workmanship in the centre. The principal entrance is on the west, but there is a door on the south side; and the bishop's tomb is on the north side with a window behind containing some fragments of stained glass. It is probable from its appearance that the monument contained two effigies, one representing the bishop in his pontifical robes and another on a higher ledge, which represented a body in a state of decay, as contrasting life and death. A carved oak door at the foot of the monument appears as an entrance to achantry, or as by some supposed to have been a confessional. The bishop was buried in the centre of the chapel; his favorite device—a rebus of his name—a cock standing on a globe, and his arms may be seen in the window and in several other places. The chapel has been much defaced and many figures and ornaments have disappeared, but something has been done towards restoration at the cost of the Master and Fellows of Jesus College; the new portion of the floor was laid at the cost of the Rev. Lord Aylwyne Compton; and we hope ere long to see the east window filled with stained glass, which will contribute much to its improvement.
This occupies the space of the two eastern bays of the Cathedral, allowing a passage behind the altar-screen from one aisle to the other, and affords a good position for a closer inspection of the lower portions of the east window, under which are some remains of ancient decoration on the wall.
Nearly under the central window, a memorial brass has been laid over the grave of Canon Fardell, who died in 1854, and of his widow, who died in 1861; to whose memories respectively the two stained glass windows were inserted in the north aisle of the Choir, noticed inp. 79. Near this stands an ancient oaken chest, covered with elaborate and curious ironwork, with four locks.
Behind the new altar-screen, beneath a large and costly slab of Alexandrine mosaic, is the grave of Bishop Allen (1836-1845), to whose memory a monument in white marble has been erected in the south aisle of the Choir. A little further southward is a monument erected over the grave of Dr. Mill, Canon of Ely, and Regius Professor of Hebrew in the University of Cambridge, who died in 1853. It is an altar tomb of serpentine and alabaster, ornamented with marble mosaic and polished stones, bearing a recumbent effigy of Dr. Mill in hisrobes; at the feet are two kneeling figures, one an oriental character, and the other a student; the figure is in copper and was formed by the electrotype process. It was designed by Sir G.G. Scott, and executed by Mr. Philip.
In the eastern bay on the south side is a monument of Cardinal de Luxemburg, Archbishop of Rouen, and Bishop of Ely (1438-1443). This monument was for many years hidden by a screen, but on the removal of the Choir the screen was taken away and the monument partially restored, the figure remains but the head is gone. The Cardinal-bishop died at Hatfield, and his body was buried at Ely, but his heart was conveyed to his Cathedral at Rouen. The niches and canopies with their finials in the tympanum of the arch above this monument will attract attention, being chaste and elegant; they are similar to those in the interior of Bishop West's chapel, but are in a more perfect state.
The eastern portion of this aisle is occupied by the elegant mortuaryChapel of Bishop West, (1515-1534), filling the space of one bay in a similar way to that of Bishop Alcock in the north aisle. It is a rich specimen of that gorgeous style by some called the "Florid English," by others the "Perpendicular," but when that style was verging into "Renaissance." The niches and canopies are very numerous, and almost endless in variety of size, shape, and decoration. There are places for upwards of two hundred statues, large and small; and some of the carved heads were of medallion size, and well executed. It is impossible to contemplate this beautiful oratory, even in its mutilated state, but with feelings of admiration; the taste of the designer, no less than the execution of the sculptor, are wonderful, and although every part is covered with niches, pedestals, and canopies, interspersed with relievos, grotesque designs and ornaments, the whole appears light and airy. The ceilings ofthe canopies are covered with tracery that can only be compared to lace-work exquisitely varied and finished; the ceiling and pendents are deserving attention; the former is divided into lozenge shaped compartments of different sizes, all are coloured, and on many of them are painted the arms of the see, and those of the founder of the chapel; the pendents are formed by figures of angels holding the same arms and those of Henry VIII. Over the door on the inside is this inscription:
“GRACIA DEI SUM QUOD ID SUM, A.D. 1534.”
and the same without the date and the word "id" is to be seen in several other places both within and without. The gates are worthy of notice as originals, and as specimens of wrought-iron work of that period. This chapel, which is the burial place of Bishop West, may be compared with that built by him in the parish church of his birth-place, Putney; but every part of it has suffered the most barbarous mutilation, not a figure can be found perfect, all have been removed or defaced, probably in consequence of an order in council madea.d.1547-8, against the Romish superstition, and for removing images out of churches; or it might have been done by the Puritans in the time of the Protector (Cromwell), whose soldiers it is stated, made use of the Cathedral as stabling for their horses.
Bishop Keene (1771-1781), was also buried here; and Bishop Sparke (1812-1836) and Mrs. Sparke were interred in this chapel, to whose memories the monument at the east end has been erected, and the stained glass window behind is inserted:
The window was executed by Mr. Evans, of Shrewsbury, and contains figures of the four Evangelists, with St. John the Baptist in the centre; the tracery being filled with appropriate emblems and ornamental devices.
The window was executed by Mr. Evans, of Shrewsbury, and contains figures of the four Evangelists, with St. John the Baptist in the centre; the tracery being filled with appropriate emblems and ornamental devices.
A slab of black marble, inlaid with a foliated cross, the arms of the sees of Chester and Ely, and surrounded by an inscription in brass, has been laid over the grave of Bishop Sparke, and thegravestones of Bishops West and Keene have been replaced, and the remainder of the floor laid with encaustic tiles.
Some fragments of stained glass may be seen in a window on the south side, under which stand the remains of Bishop West's monument. Just above this, in seven small arches, closed with as many stones inscribed with names and dates, are immured the remains of seven eminent persons[47]of the tenth and eleventh centuries, who were originally interred in the Conventual church, but from which they were removed in 1154, and the small chests which contained their remains, were placed in the north wall of the Choir of the present Cathedral; and when the position of the Choir was altered in 1770 they were again removed, and deposited in their present resting places.
The perspective view westward through the south aisles of the Choir and the Nave is worthy of notice for the various intersections of the arches and groinings, as seen from a narrow window in the west side of the chapel, or from the door.
The architecture of the south aisle is similar to the north aisle, and the windows were probably altered to their present form about the same period as those in the north aisle. Five of them (as on the other side) have been filled with stained glass:
The first window from the chapel, executed by Messrs. Clayton and Bell, contains subjects taken from the Parables; designed as a memorial of Astley Sparke, Esq., (son of the Rev. Chancellor Sparke,) who was killed in the celebrated cavalry charge at Balaclava in 1854.The second window was executed by Mr. Cottingham, and contains subjects from the history of Lazarus; the joint gift of Lady Buxton and of her son, Sir Robert Buxton, Bart., of Shadwell Park, Norfolk.The third window contains incidents in the history of the Saviour, and of St. John; executed by Messrs. Clayton and Bell: the gift of Mrs. Pratt, youngest daughter of Bishop Sparke.The fourth window, by the same artists, contains subjects illustrative of the history of St. Peter; the gift of the same lady, as a memorial of her husband, Colonel Pratt.The fifth window, by the same artists, contains subjects illustrative of the history of our Lord: given by the same lady.
The first window from the chapel, executed by Messrs. Clayton and Bell, contains subjects taken from the Parables; designed as a memorial of Astley Sparke, Esq., (son of the Rev. Chancellor Sparke,) who was killed in the celebrated cavalry charge at Balaclava in 1854.
The second window was executed by Mr. Cottingham, and contains subjects from the history of Lazarus; the joint gift of Lady Buxton and of her son, Sir Robert Buxton, Bart., of Shadwell Park, Norfolk.
The third window contains incidents in the history of the Saviour, and of St. John; executed by Messrs. Clayton and Bell: the gift of Mrs. Pratt, youngest daughter of Bishop Sparke.
The fourth window, by the same artists, contains subjects illustrative of the history of St. Peter; the gift of the same lady, as a memorial of her husband, Colonel Pratt.
The fifth window, by the same artists, contains subjects illustrative of the history of our Lord: given by the same lady.
Under the second window from the chapel is an arched recess, which is thought to have formed an entrance to the church for the convenience of the sisters and others attendant on the sick in the Infirmary which stood near, but it has been closed on the exterior for many years. The interior may have been since used as a receptacle for relics; now it is occupied as a receptacle for a beautiful life-size effigy of Dr. Selwyn, for upwards of forty years Canon of Ely, and for many years St Margaret Professor of Divinity at Cambridge;[48]who died in 1875. The figure is represented as vested in cassock, surplice, and stole, with the hands joined as in prayer, in white statuary marble, and resting on a moulded base of Purbeck marble. The cost was defrayed by subscriptions from several noblemen and gentlemen formerly Eton scholars.
Near this we may notice an ancient gravestone, or part of a monument found under the floor of the nave in St. Mary's Church, in 1829. It represents an angel with wings raised above the head, bearing a small naked figure, probably representing the soul of a bishop, as a crozier appears at the side; the angel has on a kind of cope with an ornamental border; and around the head is a large circular aureole, and the canopyshows a mass of buildings with semicircular arches. There is an inscription on the rim, "St. Michael oret p' me." To whose memory it was executed it is impossible to say, but it is doubtless of great interest.
A good view of the organ may be had from this aisle by looking over the tomb in the fourth bay from the chapel.
Several other monuments to former prelates of the church, and to other persons, may be observed in this aisle: one to Bishop Gunning (1675-1684), worthy of remembrance as the author of the "Prayer for all sorts and conditions of men." Near the foot of this monument is a piscina in the wall. A little further we find one to Bishop Heton (1600-1609), occupying the fifth bay, and is perhaps the only instance since the Reformation, of the effigy of a bishop in a cope ornamented with saints; the figures on the left border are those of St. Bartholomew, St. Matthias, St. Andrew, St. Peter, and St. John.
Before passing on to the few remaining monuments we will notice the only two specimens of ancient memorial brasses, of which there were many in the Cathedral, as appears by the numerous incised stones in different parts of the church, many of them were evidently of a rich and elaborate character, but all, with the above exception, have disappeared by the act of the mercenary or the fanatic. The first is a memorial to Bishop Goodrich (1534-1554), a singular instance of a hot reformer commemorated by a brass in which are pourtrayed all the ecclesiastical vestments, he holds his crozier in his left hand, and in his right he carries a Bible from which depends the great seal of England, the bishop having been appointed Lord High Chancellor in 1551; the inscription has been removed. The other is in memory of Humphrey Tyndall, fourth dean of the Cathedral (1591-1614), who is represented in his robes, with a square-cut beard; an inscription is engraved in the border, and the following lines beneath the feet of the effigy:
We have now an opportunity of noticing the piers which separate Bishop Northwold's work from that of Bishop Hotham; "they are," as Mr. Millers observes, "a combination of the two sorts of column severally in use at the respective times at which the two fabrics were erected; the east side has the small shafts distinct from the main column, and the west side is clustered, and where they meet is a niche for a statue."[49]In the niche on this side is a tablet to the memory of the Rev. James Bentham, Canon of Ely, and author of "The History and Antiquities of Ely Cathedral," a work of acknowledged merit, the result of many years' labour and research. He died in 1794, aged 86.
The monument to Robert Steward, Esq., who dieda.d.1570, is next in our route, and beyond that one to Sir Mark Steward, who dieda.d.1603, both examples of no particular style. In the last bay is the monument erected to the memory of Bishop Allen, whose gravestone we noticed in passing the retro-choir; on the table of the monument is a reclining figure of the prelate in his robes, in white marble, considered to be a good likeness.
Back-screens to mask the stalls, similar to those in the north aisle, have been erected on this side, against which have been placed the monuments of Bishop Moore (1707-1714), Bishop Butts (1738-1748), and Bishop Greene (1723-1738). On the pillar between the two last is a tablet to the memory of William Lynne, gentleman, of Bassingbourne, the first husband of Elizabeth, daughter of William Steward, of Ely, and afterwards mother of Oliver Cromwell.
The new screens with gates at the western end of the aisles are worthy of notice as specimens of modern work in wrought iron; they were executed by Mr. Skidmore, of Coventry, from designs by Sir G.G. Scott. That in the south aisle was given by G.A. Lowndes, Esq., of Barrington Hall, Essex; and that in the north aisle by Dean Peacock.
Near the Library door is a simple memorial stone[50]to Dean Peacock, the great promoter of the recent restorations, who died in 1858, and was buried in the Cemetery. Just below this is an elegant memorial brass to the Rev. Solomon Smith, M.A., for over forty years a Minor Canon of the Cathedral, and for many years Incumbent of St. Mary's.
Several other memorial remains may be observed in various parts of the church, but to enumerate them or to point them out would exceed our limits, one we may notice in passing, that of Dean Cæsar (1614-1636), which has been removed from a position it long occupied in the north aisle of the Choir, to the junction of that aisle with the closed end of the eastern aisle of the north Transept, near the new pulpit.
We may also notice a new oaken lectern or reading desk near the pulpit, containing a beautifully carved figure representative of the first beatitude, under a cinquefoil canopy, the gift of the Very Rev. the Dean.
"Of fifty-four bishops of Ely," says Mr. Millers, "thirty-five are known to have been buried in this Cathedral, and two in the Lady Chapel. Of these thirty-seven, there are memorials of twenty; some of them very scanty and much mutilated, and many removed from the spots where the bodies of those whom they commemorate repose. Of the other seventeen, there were no doubt, similar memorials, but they 'are perished as though they had never been.'"[51]Since the above was written twoothers have been buried in the Cathedral—Bishop Sparke in West's chapel, and Bishop Allen behind the altar screen, as we have noticed; Bishop Turton (1845-1864), was buried at Kensal Green.
We will now direct the attention of the visitor to this most interesting building, which stands on the north side of the Cathedral, parallel with the Choir, and is approached through a doorway at the north-east corner of the north Transept. This chapel was erected in the early part of the fourteenth century, the first stone being laid on Lady-day, 1321, by Alan de Walsingham, then sub-prior, and the whole was completeda.d.1349. The works were carried on chiefly under the charge of John de Wisbech, one of the monks, who, it is stated, whilst assisting in digging the foundations, found a brazen pot of old coins buried in the earth, and which proved a great assistance in carrying on the work. This was, perhaps, one of the most beautiful and elaborate specimens of the Decorated style in England; and as Mr. Stewart observes, "must have been a perfect storehouse of statuary and elaborate tabernacle work." Even in its present dilapidated state it will amply repay a careful examination. It was dedicated to St. Mary, and after the Reformation, was (in 1566) assigned by the Dean and Chapter for the use of the inhabitants of the parish of Holy Trinity in lieu of their own church then in ruins, and has since been frequently called "Trinity Church."
This is, perhaps, the widest single-span church in the kingdom, being 46 feet in width; the length is 100 feet, and the height 60 feet to the centre of the ceiling. Its length is divided into five severies, in each of which, on both sides, is a window of great size with four lights and rich tracery, in some of which are fragments of the original stained glass, sufficient to indicatethat they were all, at one period, entirely so filled. The end windows are noble and spacious, the west window having eight lights, and the east window seven, both have transoms, and each with tracery differing from the other, and from the windows in the sides. Both are insertions of a somewhat later date than the building, the east window by Bishop Barnet about 1373, and the other a little later.
The walls everywhere display a rich profusion and variety of ornament, once beautified with colouring and gilding, but some years ago covered with whitewash; a few faint traces of its former splendour may yet be found in various parts of the chapel, enough perhaps to shew that it must have been gorgeous in the extreme.
A low bench table runs along the walls and carries a series of niches with canopies richly decorated, the piers of which rise from the floor, but each is divided into two by a slender pillar rising from the bench table; the arcade on the north side consists of nineteen tabernacles separated by square pilasters of Purbeck marble; there are five sets of three each under the windows, and the remaining four fill up the intermediate spaces between the five groups. The canopy of each of the fifteen tabernacles consists of a head of singular beauty, radiated and inclined forwards, on the apex is, or was, the figure of a saint; above these is a hood-mould crocketed, and terminating with a finial. The other four are wider, and instead of the figure of a saint on the apex each terminates in a group of three elaborately carved brackets or corbels, which support two other ranges of niches in pairs, surmounted by ornamented canopies, and between them runs a roof-shaft, from which spring the ribs of the vaulting, which is similar to that of the stalled Choir. The spandrils of the tabernacle work is filled with diaper work and alto relievos which are supposed to represent some legendary history, most probably that of the virgin.
The south side is similar to the north, except that the rangeof tabernacles is broken by doorways. The west end contains eight of these tabernacles, and at the east end a larger niche occupied the centre with others on the sides, but these were altered at a later period. The altar is elevated above the level of the floor, and the niches on the side walls are raised in accordance. Large niches are placed on the sides of all the windows, and a pierced parapet standing on an entablature formed of a receding hollow, runs under the side windows only.
The backs of the niches and indeed many parts of the chapel show remains of rich colouring; the ceiling was painted a rich blue studded with silver stars, the bosses at the intersections of the ribs represented flowers, foliage, and grotesque masks, and some of those along the mid-rib represented emblems of the nativity, crucifixion, the virgin, &c.; they had been richly coloured and gilded, but, like other parts of the building, have been defaced and injured; and every person who sees it must feel a deep regret that so beautiful a building should ever reach such a stage of desecration.
A few modern monumental tablets are placed on the walls, but they diminish rather than increase the decoration: some others have been removed to the entrance, and in 1865 the close pews were taken away and replaced by open seats; the organ has been enlarged and its position changed, which does not improve the appearance of the church; some of the windows have been re-glazed and other improvements effected. The present Incumbent is the Rev. E.H. Lowe, M.A.
The position of the Lady Chapel here is rather unusual, it is generally placed at the east end of the Church; but in some few instances that honourable position was appropriated to the shrine of the local saint; here it was occupied by the shrine of St. Etheldreda, whose final resting place was within the apse of the original Choir, before the Presbytery was built.
To those who may feel disposed to explore the upper parts of the church, facilities are afforded by a staircase commencing at the south-west Transept leading to the western Tower; and by another leading from the north Transept; but permission must be obtained, for which an application should be made to the Verger in attendance. The ascent, though tedious, is not dangerous, if due caution be used. Many parts will be found worthy of attention; the timber work of the Octagon is a very curious piece of carpentry executed in English oak, and very massive. A fine view of the interior may be had by standing against the upper tier of the windows at the east end, and looking westward; and another from the great Tower, by looking eastward through one of the openings near the clock face in the Nave. An extensive view of the surrounding country may be obtained from the summit of the Tower, exhibiting a complete panorama of the district, with several churches peeping from among the trees, and the river Ouse tracing its meandering course towards the sea, while corn-fields, meadows, and pastures contribute towards the beauty of the scene.
After a careful examination of the interior, the visitor will do well to look round the exterior. We will continue our observations for his guidance and assistance, starting from the western front where we began; or by leaving the Cathedral by the north door into the church-yard, we turn to the left hand towards the north-west corner of the building, and proceed eastward.
While we are on the spot it may be well to observe the burial-ground near us, where lie the remains of generation after generation of former inhabitants of the town. Reader, let thy foot tread lightly hereabout, for the dust it presses on is all that remains of the earthly portion of creatures once breathing andliving like yourself. What a lesson is afforded us when we contemplate, on the one hand the works of men of ages long past, but still standing as monuments of their skill and piety, and on the other the graves of the silent dead; the heads which planned and the hands which executed, where are they? Long since consigned to earth. All must feel, more or less, the influence of impressions to which such thoughts and scenes give rise, and may such feelings cause us to remember that we are but dust, and that we must, perhaps soon, become as those who lie beneath our feet!
The church-yard has been closed from burials for some years, and a cemetery has been formed a short distance from the town for the use of both parishes, as well as for the precincts which are extra-parochial. Many of the gravestones have been laid down, others removed, but a few inscriptions might be found which would afford food for meditation to those who may feel inclined to examine them.
At the commencement of our survey we examined the western front, and will now turn our attention to the remains of the north-west Transept. Some persons have doubted whether this wing ever existed, but Sir. G.G. Scott, in his able Lecture on the Cathedral, delivered at the Etheldreda Festival in October, 1873, gave good reasons for believing that it was built at the same time as the Tower and the south wing; and we cannot but think the ruins give strong evidence of its having been similar in all respects to that on the south side. There is in this, as in the other, a grand semicircular arch on the eastern side, and portions of another which probably communicated with some chapel, of which however there are neither remains nor record. It would appear that after the fall of the original wing a new building was begun on the same spot, not however of the samedimensions, and carried but a few feet and then discontinued. A band of panelling in the western face of the buttress corresponds with the work on the monument of Bishop Redman, who died in 1505, but the fall of the Transept took place some years, probably a century, before that. The arches built within the original arches of the Tower to afford additional support are believed to have been erected in the early part of the fifteenth century.
We have reasons to hope that steps will ere long be taken to raise a fund towards rebuilding this Transept;[52]which would indeed be a grand improvement, and worthy the support, not only of the Diocese of Ely but of the nation at large.
A good view of the Nave may be obtained as it is unobstructed through its whole length. A band of treble billet moulding runs under the lower windows; a double hatched moulding under the second tier; and immediately below the parapet is the ornament called the corbel table; these with the billet moulding round the clerestory windows, are in excellent preservation. The parapet on the wall of the aisle is embattled, that above the clerestory windows is plain. Although at one time battlements ran the whole length on both sides, those on the north were removed nearly one hundred years ago. The windows in the clerestory retain their original form, but those of the two lower tiers have been altered. Over one of the lower windows there appears a date (1662), probably referring to the period of some important repairs or alterations on this side. The removal of the ruins of the old Church of St. Cross, which stood nearthis spot, took place in the reign of Elizabeth, when the use of the Lady Chapel was granted to the parish of Holy Trinity.
We next turn our attention to the Octagon, which forms a grand central point from which radiate the four principal parts of the church—the Nave, the Choir, and the north and south arms of the Transept. Here originally stood a large square Norman Tower, which fell down in 1322, and was replaced by the present building; it is not an exact octagon, having four longer sides adjoining the four main portions of the building, and four shorter sides at the angles. The design was a grand one, but whether it was ever fully carried out is somewhat doubtful, the stone-work is carried up to a height a little above the roof of the Nave, &c., but the Lantern above is of English oak covered with lead. From a strong buttress, surmounted by a pinnacle, at each of the angles formed by the walls of the Nave and Choir aisles with those of the Transept spring two massive flying buttresses, abutting octagonal turrets at each angle of the Octagon; these turrets were probably originally designed to be finished with pinnacles, and thus form a corona; between them runs a pierced parapet formerly surmounted by a bold cresting of leaves and other ornaments; and there are bases of pillars at the cardinal points. These pinnacles with the cresting have just been completed in Clipsham stone, by Mr. Wood, of Ely, in a manner highly creditable to his skill, and greatly to the improvement of the appearance of the building. Beneath the parapet, instead of a corbel table, there is a deep hollow, with running leaves, and small ball flowers at intervals. The sides of the Octagon are adorned with an arcade of pointed arches, some of which are pierced and glazed to admit light; the longer sides have six, and the shorter three, of these arches. In each of the turrets is a winding stair communicating respectively with the main parts of the building. The Lantern above is of two stories, the lower, (which is open to the interior of the Octagon) is lighted by windows assimilating with the largewindows in the angles of the Octagon; the upper story is lighted by louvres as adapted to a belfry, for which purpose this chamber was originally designed; the lower windows have been reconstructed, a series of flying buttresses (which had been taken away) have been re-placed against the angle divisions, which are finished with embattled turrets instead of pinnacles, and between them runs an open-work parapet. The whole of the Lantern has been repaired, and the exterior wood work re-covered with lead.
The portion of the north Transept which fell down in 1699, although soon afterwards carefully restored, and the mouldings and ornaments nicely replaced, may yet be distinguished from the old work: the Tuscan door-arch, however, in its northern face, is quite out of place here, not according with the style of the building in which it is placed. The restorations were executed under the directions of Sir Christopher Wren. The northern face of the Transept shows two pairs of Norman windows, the second pair being longer than those in the lower tier; above these is an arcade of small arches, and over these are two high Perpendicular windows, which reach partly into the gable. Over the doorway in the eastern aisle is an original Norman window, and in the western aisle is a replaced one.
The west front of the Lady Chapel[53]is richly decorated with niches, and has a noble window, under which is an arcade of small arches formed entirely in the thickness of the wall, in the back of some of which may be seen traces of coloured decoration; the gable point is adorned with a niche rising above the pierced parapet running up the sides. On each side of the building are five large windows, the tracery of which is much decayed, having been executed in a softer kind of stone than the walls. Between each two windows is a deep projecting buttress surmounted by a crocketed pinnacle; at the angles are double buttresses, on which are two kinds of tabernacles, both are squareand occupy the breadth of the buttress, the upper one is recessed in the body of the buttress, the lower one is open on three sides, and had small pillars at the front angles rising from the set-off and carrying the projecting canopy; the tops being finished with crocketed pinnacles. The east end is not so richly ornamented as the west; the window is a very fine one but not so large as the western one, and there are no niches on the sides nor beneath it.
The north side of the Choir is somewhat hidden by the Lady Chapel, which stands parallel to it, although the latter is much shorter; but a better view may be had by going between them. An opportunity is also thus afforded of observing the original Norman windows of the triforium of the Transept.
The windows of the aisle are uniform in size and shape, those of the triforium are nearly similar, but all were originally lancet-shaped, but altered to their present form in the latter part of the fifteenth century. The aisle roof of the two western bays of Bishop Northwold's work (the six eastern bays) was perhaps originally as high as the other parts, but altered at a later period; the tracery of these windows on the north side remains, but on the south side there is a difference which should be noticed. The lighter style of architecture and the large windows of the fourteenth and fifteenth centuries made the support of buttresses necessary, in this instance they are deep, and surmounted by crocketed pinnacles; on the sides of many of them are gargoyles, or water-spouts of grotesque figures; flying buttresses are sometimes used in addition, reaching from the side buttresses to the clerestory walls, thus forming an important addition to the support as well as to the external beauty of the fabric: of this the exterior of the Choir of Ely Cathedral is a splendid proof.
The east end of the Cathedral is one of the finest specimens extant of an Early English east front. It is divided into three stories; the lowest has three lancet windows of nearly equalheight; the next tier has five windows of the same shape, side by side, the centre one being higher and those on the sides gradually lower; the third story, which is within the gable, contains three lancet windows, not seen in the Choir, but giving light to the space between the ceiling and the roof. There are several niches for statues, but no figures; and the spandrils of the window arches are relieved by quatrefoils and other ornaments. The gable point is adorned with an ornamented cross, which has been restored at the expense of Lady Mildred Hope; and a crocketed pinnacle at the south-east corner has been given by A.J.B. Beresford Hope, Esq. Rather more than a century ago this end was about two feet out of the perpendicular, but was skilfully restored by Mr. Essex, the architect.
The eastern faces of the aisles appear as wings to the end of the Choir, and are flanked with double buttresses at the angles, upon which are set larger pinnacles crocketed. The windows lighting the two chapels at the end of the aisles were probably inserted when the chapels were erected; that in the north aisle is set in the wall, while that in the south aisle projects beyond the wall nearly to the depth of the buttress.
The south side of the Choir is similar to the north, with the exception before mentioned—the two western bays of Bishop Northwold's work, in each of which the opening in the triforium is formed into two arches of a style differing from the adjoining portion of the building, but which have the appearance of originality. The walls of the triforium, both in the Choir and Nave were not originally so high as we now see them, but no doubt were heightened when the larger windows were inserted.
The south end of the Transept differs from the north in the arrangement of the windows; in the gable is a low Perpendicular window of seven lights, sunk within a deep recess; the north end has in the upper tier two large Perpendicular windows side by side. There is also a difference in the gable and pinnacles. Some corbels in the lower part of the wall wouldindicate the former existence of an adjoining structure but what it was we cannot undertake to say.
Considerable anxiety has been felt as to the stability of some portions of the south side, and it has been found necessary to underpin some of the buttresses of the Choir and the walls of the Transept with large slabs of Yorkshire stone. It has also been deemed desirable to circumscribe the two round towers of the south west Transept with iron bands.
The south entrance to the Cathedral is through a portion of the eastern side of theCloisters. The arch of entrance however, does not harmonise with the other portions of the Transept, and was doubtless an insertion, probably at the same time as a similar one in the north Transept, and by the same architect. It passes through a beautiful Norman door-arch in the south wall of the Nave, as described inp. 41. Near this are the remains of an enriched arch, recently discovered when the wall was repaired; if it is in its original position it must have formed a communication from the Cloisters to that portion of the western aisle of the south Transept which now forms the Vergers' vestry.
The south side of the Nave is nearly similar to the north, but there is no corbel table under the embattled parapet of the aisle: the aisle windows have, with one exception, been restored to their original form; those in the second tier retain their altered shape; but those of the clerestory, as on the north side, are original.
The apsidalChapel of St. Catharine, adjoining the south-west Transept, has been rebuilt in accordance with the original structure.
INTERIOR.
EXTERIOR.
Having finished our survey of this noble edifice, we will proceed to make a few observations on the remains of the monastery, which will form the subject of a separate chapter. In order to bring them all conveniently before the visitor we will retrace our steps for a short distance round the east end of the Cathedral, and commence with the buildings on the north side of the Lady Chapel.
The Monastic Buildings