1st.The days of Creation; Adam expelled from Eden; the punishment of Mankind; the Offerings of Cain and Abel—executed by Messrs. Henri and Alfred Gerente, of Paris; the contributions of Visitors to the Cathedral.2nd.The Building of the ark; the entry into the ark; the Flood; and Noah's Sacrifice—by M. Alfred Gerente: the gift of Mrs. Pleasance Clough, as a memorial of her aunt, Susannah, wife of John Waddington, Esq.3rd.The Annunciation; the Salutation of Mary and Elizabeth; the Birth of Christ—by Mr. Warrington: his own gift.4th.The Tower of Babel and the Confusion of tongues—by Mr. Howes: the contribution of various tradesmen connected with the Cathedral.5th.Abraham visited by angels; the expulsion of Hagar; and the Blessing of Jacob—by Mr. Gibbs, his own gift.6th.The institution of the Passover; the Death of the firstborn; and the Exodus of the Israelites—by Mr. Howes, his own gift.7th.The fall of the walls of Jericho; the passage of the Jordan; and the return of the spies—by Mr. Wailes: presented by the Rev. G. Millers, as a memorial of his wife.8th.Samson slaying the lion; Samson carrying away the gates of Gaza; and Samson destroying the Philistines—executed and presented by M. Alfred Gerente.9th.The history of the Venerable Bede—by Mr. Wailes: his own gift.10th.David anointed; David playing before Saul; David chosen king; and David reproved by Nathan—by Mr. Hardman: presented by the ladies of the (then) Dean and Canons.11th.The Judgment of Solomon; the Building of the Temple; the Dedication of the Temple; and the Queen of Sheba's visit—designed and executed by the Rev. A. Moore, of Walpole St. Peter, Norfolk, at the cost of the Chapter.
1st.The days of Creation; Adam expelled from Eden; the punishment of Mankind; the Offerings of Cain and Abel—executed by Messrs. Henri and Alfred Gerente, of Paris; the contributions of Visitors to the Cathedral.
2nd.The Building of the ark; the entry into the ark; the Flood; and Noah's Sacrifice—by M. Alfred Gerente: the gift of Mrs. Pleasance Clough, as a memorial of her aunt, Susannah, wife of John Waddington, Esq.
3rd.The Annunciation; the Salutation of Mary and Elizabeth; the Birth of Christ—by Mr. Warrington: his own gift.
4th.The Tower of Babel and the Confusion of tongues—by Mr. Howes: the contribution of various tradesmen connected with the Cathedral.
5th.Abraham visited by angels; the expulsion of Hagar; and the Blessing of Jacob—by Mr. Gibbs, his own gift.
6th.The institution of the Passover; the Death of the firstborn; and the Exodus of the Israelites—by Mr. Howes, his own gift.
7th.The fall of the walls of Jericho; the passage of the Jordan; and the return of the spies—by Mr. Wailes: presented by the Rev. G. Millers, as a memorial of his wife.
8th.Samson slaying the lion; Samson carrying away the gates of Gaza; and Samson destroying the Philistines—executed and presented by M. Alfred Gerente.
9th.The history of the Venerable Bede—by Mr. Wailes: his own gift.
10th.David anointed; David playing before Saul; David chosen king; and David reproved by Nathan—by Mr. Hardman: presented by the ladies of the (then) Dean and Canons.
11th.The Judgment of Solomon; the Building of the Temple; the Dedication of the Temple; and the Queen of Sheba's visit—designed and executed by the Rev. A. Moore, of Walpole St. Peter, Norfolk, at the cost of the Chapter.
We now turn our attention to the north aisle, and observe a range of arches similar to those in the south aisle, but with the line of chevron moulding in the eastern bay only; an intermission under one of the windows marks the place where probably was a doorway for communication with the church of St. Cross, but closed above two hundred years ago, when the Lady Chapel was given for the use of the parish of the Holy Trinity in lieu of that church which had become ruinous.
The windows in this aisle retain their altered form; and all have been recently filled with stained glass; in describing them we will commence at the western end, as the subjects are arranged chronologically.
1st.From the history of our first parents—Adam tilling the ground; Cain ploughing the earth, and Abel attending sheep; Adam and Eve discovering the body of Abel—by Mr. Cottingham: presented by Mr. Bacon, Clerk of the Works to the Dean and Chapter, as a memorial of his father.2nd.From the history of Lot—Angels visit Lot; Lot entertaining angels; the multitude struck with blindness; Sodom destroyed; Lot's departure; Lot entering Zoar—by Mr. Preedy; as a memorial of the Rev. John Maddy, D.D., Canon of the Cathedral.3rd.From the History of Abraham—the Death of Sarah: Abraham purchasing the cave of Machpelah; and the Burial of Abraham—by Mr. Preedy: designed as a memorial of Mr. Freeman; given by his family.4th.From the Book of Judges—Gideon and the Angel; Gideon's present consumed; the Midianites put to flight—by Mr. Ward: subscribed for by some of Her Majesty's Judges who were educated at the University of Cambridge.5th.From the history of Samuel—Hannah praying; Samuelpresented to Eli; Eli blesses Elkanah and Hannah; Samuel praying; Samuel called; Samuel telling his vision to Eli—by Messrs. Ward and Nixon: as a memorial of H.R. Evans, sen., Esq., for many years Chapter Clerk; given by his family.6th.David and the Minstrels; executed by Mr. Oliphant, from designs by W.R. Dyce, Esq., R.A.: the gift of Mr. Thomas Ingram, Professor of Music, formerly a Chorister and Pupil in the Cathedral.7th.From the history of Elijah—Elijah feeds the prophets in a cave; Elijah praying for rain; Elijah visited by angels—by Mr. Wailes: presented by Colonel Allix, as a memorial of Dr. Peter Allix, a former Dean of Ely.8th.From the history of Elijah—Elijah fed by ravens; Translation of Elijah; Elijah's burnt offering—by Mr. Wailes: presented by J.J. Rawlinson, Esq., as a memorial of the Rev. G. Millers, Minor Canon, and author of a "Description of Ely Cathedral."9th.From the history of Elisha—Elisha healing the Shunamite's son—by Mr. Wailes: presented by the Rev. S. Smith and others, connections and legatees of the Rev. J. Griffith, B.D., many years Minor Canon of the Cathedral.10th.Events from the history of Hesekiah—by Mr. Wailes; presented as a memorial of Thomas Archer, Esq., of Ely, by his family.11th.From the history of Jonah—the People of Ninevah mourning; Jonah preaching; Repentance of the Ninevites—by Mr. Edgland; presented by C. Steggall, Esq., Mus. Doc., designed as a memorial of his wife.12th.From the history of Daniel—Daniel interpreting Nebuchadnezzar's dream; Daniel before king Darius; Daniel in the lion's den—by M. Lusson, of Paris: designed to commemorate the establishment of a Savings Bank in Ely, in 1839, being the contribution of certain subscribers, assisted by a special contribution from Canon J.H. Sparke.
1st.From the history of our first parents—Adam tilling the ground; Cain ploughing the earth, and Abel attending sheep; Adam and Eve discovering the body of Abel—by Mr. Cottingham: presented by Mr. Bacon, Clerk of the Works to the Dean and Chapter, as a memorial of his father.
2nd.From the history of Lot—Angels visit Lot; Lot entertaining angels; the multitude struck with blindness; Sodom destroyed; Lot's departure; Lot entering Zoar—by Mr. Preedy; as a memorial of the Rev. John Maddy, D.D., Canon of the Cathedral.
3rd.From the History of Abraham—the Death of Sarah: Abraham purchasing the cave of Machpelah; and the Burial of Abraham—by Mr. Preedy: designed as a memorial of Mr. Freeman; given by his family.
4th.From the Book of Judges—Gideon and the Angel; Gideon's present consumed; the Midianites put to flight—by Mr. Ward: subscribed for by some of Her Majesty's Judges who were educated at the University of Cambridge.
5th.From the history of Samuel—Hannah praying; Samuelpresented to Eli; Eli blesses Elkanah and Hannah; Samuel praying; Samuel called; Samuel telling his vision to Eli—by Messrs. Ward and Nixon: as a memorial of H.R. Evans, sen., Esq., for many years Chapter Clerk; given by his family.
6th.David and the Minstrels; executed by Mr. Oliphant, from designs by W.R. Dyce, Esq., R.A.: the gift of Mr. Thomas Ingram, Professor of Music, formerly a Chorister and Pupil in the Cathedral.
7th.From the history of Elijah—Elijah feeds the prophets in a cave; Elijah praying for rain; Elijah visited by angels—by Mr. Wailes: presented by Colonel Allix, as a memorial of Dr. Peter Allix, a former Dean of Ely.
8th.From the history of Elijah—Elijah fed by ravens; Translation of Elijah; Elijah's burnt offering—by Mr. Wailes: presented by J.J. Rawlinson, Esq., as a memorial of the Rev. G. Millers, Minor Canon, and author of a "Description of Ely Cathedral."
9th.From the history of Elisha—Elisha healing the Shunamite's son—by Mr. Wailes: presented by the Rev. S. Smith and others, connections and legatees of the Rev. J. Griffith, B.D., many years Minor Canon of the Cathedral.
10th.Events from the history of Hesekiah—by Mr. Wailes; presented as a memorial of Thomas Archer, Esq., of Ely, by his family.
11th.From the history of Jonah—the People of Ninevah mourning; Jonah preaching; Repentance of the Ninevites—by Mr. Edgland; presented by C. Steggall, Esq., Mus. Doc., designed as a memorial of his wife.
12th.From the history of Daniel—Daniel interpreting Nebuchadnezzar's dream; Daniel before king Darius; Daniel in the lion's den—by M. Lusson, of Paris: designed to commemorate the establishment of a Savings Bank in Ely, in 1839, being the contribution of certain subscribers, assisted by a special contribution from Canon J.H. Sparke.
A tablet on the wall, near the eastern window of this aisle, bears the following inscription:—
"1676,Roger Clopton,Rector of Downham,Gave two hundred pounds,By which The greatest Partof the Nave of ThisChurch Waspaved."
The Nave and aisles do not now require a gift of this kind, having been recently paved at considerable expense, but the floor of the Octagon, South Transept, and Choir aisles will require a large sum to complete them, and if some kind friends will follow the example of Roger Clopton it will indeed be a timely benefaction, and now very much to be desired as an important step towards the completion of the work of restoration.
Before examining the Octagon we will make some observations on
This includes both arms, although for distinction it is frequently spoken of as the north and south Transept. This is the oldest portion of the Cathedral, having been begun by Abbot Simeona.d.1083, of whose work, however, but little more than the ground story remains. Before the fall of the Norman Tower in 1322, each arm was longer by one bay, which is now included in the plan of the Octagon, in the same manner as the Nave. Both arms have aisles, but those of the south, and one in the north, are enclosed for various purposes. In each arm there is a simple cylindrical shaft, of which no other specimen occurs in any other part of the church. The capitals of the columns and the arches above the lower tier are similar to those of the Nave. The roof in both is of bare rafters with rich cornices, painted with flowers and devices, and angels with wings expanded underthe principals; both arms have recently undergone a thorough repair, the rafters and cornices have been re-painted and gilded in their original style, which, with the stained glass lately inserted in the windows, produces an amount of colour the effect of which is very striking.
We will first refer for details to the north arm; of which the western aisle is open, and is lighted by three Norman windows, all of which have been recently filled with stained glass:
The south window—executed by M. Lusson, of Paris; the subjects taken from the Parables; as a memorial of the Rev. A. Moore, of Walpole, who designed and executed three windows in the Cathedral.The middle window, by the same artist; subject, the Good Samaritan: given by John Muriel, Esq.The northern window was executed by the Rev. A. Moore; the subject taken from the parable of the Prodigal Son.
The south window—executed by M. Lusson, of Paris; the subjects taken from the Parables; as a memorial of the Rev. A. Moore, of Walpole, who designed and executed three windows in the Cathedral.
The middle window, by the same artist; subject, the Good Samaritan: given by John Muriel, Esq.
The northern window was executed by the Rev. A. Moore; the subject taken from the parable of the Prodigal Son.
At the north end of the Transept is a small colonnade, the arches of which are irregular, those opposite the lower windows being higher than the others to allow free passage to the light. At the north-east corner is a doorway communicating with a staircase leading to the upper parts of the church. In the year 1699 the fall of a portion of the north-west corner took place, but it was so well rebuilt as not to be discernable in the interior. The windows in the triforium on the east side are original; those of the triforium on the west side, and the upper ones at the north end, are Perpendicular insertions; the rest are all in their original form, or have been restored to it; those in the north end have been filled with stained glass:
The two lower, and the western window of the second tier, by Mr. Wailes, at the cost of the late Canon E.B. Sparke.The eastern window of the second tier, by the Rev. A. Moore. The subjects of these four windows are incidents in the history of St. Paul.The windows in the upper tier—by Messrs. Ward andHughes—also at the cost of the late Canon E.B. Sparke, contain figures of eminent persons in New Testament history, with arms, &c. in the tracery. Those in the western window represent Silas; Clement, bishop; Apollos; Judas Barsabas; Dionysius, areopagite; and Philip, deacon: in the eastern window, Titus, bishop; St. Paul; Timothy; St. Mark; St. Barnabas; and St. Luke.
The two lower, and the western window of the second tier, by Mr. Wailes, at the cost of the late Canon E.B. Sparke.
The eastern window of the second tier, by the Rev. A. Moore. The subjects of these four windows are incidents in the history of St. Paul.
The windows in the upper tier—by Messrs. Ward andHughes—also at the cost of the late Canon E.B. Sparke, contain figures of eminent persons in New Testament history, with arms, &c. in the tracery. Those in the western window represent Silas; Clement, bishop; Apollos; Judas Barsabas; Dionysius, areopagite; and Philip, deacon: in the eastern window, Titus, bishop; St. Paul; Timothy; St. Mark; St. Barnabas; and St. Luke.
The eastern aisle is divided by walls behind the columns into compartments; the northern one forms a communication with the entrance to the Lady Chapel; the middle one a vestry for the Grammar Scholars; and the third a vestry for the Lay-Clerks; remains of fresco paintings may be seen on the walls of both these compartments.
The stained glass window in the middle compartment contains subjects from the history of our Saviour; executed by Messrs. Clayton and Bell: presented by—Heywood, Esq., as a memorial to his mother.The window in the third compartment, by the same artists, represents the Entombment and the Ascension, and is the gift of C.L. Higgins, Esq., of Turvey Abbey.
The stained glass window in the middle compartment contains subjects from the history of our Saviour; executed by Messrs. Clayton and Bell: presented by—Heywood, Esq., as a memorial to his mother.
The window in the third compartment, by the same artists, represents the Entombment and the Ascension, and is the gift of C.L. Higgins, Esq., of Turvey Abbey.
The floor of this portion has been recently re-laid by the munificence of the late Canon E.B. Sparke.
We now cross the Octagon (which we will examine afterwards) to the south arm of the Transept. At the south end is a colonnade, but differing in design to that in the north arm, the arches being all of equal height, but not so high as the others; over these is a row of intersecting arches. It is probable that these galleries were added at a period subsequent to the erection of the Transept, and intended as a means of communication from one triforium to the other; in the south east corner is a staircase leading to the triforium. Some remains of ancient decoration may be observed on the walls and capitals, portions of which have been renewed.
The eastern aisle was formerly divided by a wall behind eachcolumn into three compartments, with wooden screens in front; but these were all removed in 1814, when it was enclosed as we now see it to form the Library, which is lighted on the east by three Early English windows, and on the south by a Norman one. The western aisle appears to have been closed for many years, as on the walls built in the arches (and which until lately completely filled the openings,) there is an arcade of intersecting Norman arches. Of this aisle, thus inclosed, one portion is used as a vestry by the Vergers, having an entrance from the south aisle of the Nave; the remaining portion as a vestry for the Clergy. The carved oak door to this vestry deserves attention; it is not exactly known whether it originally belonged to the Cathedral, the carved devices are similar to those in the chapel of Bishop Alcock, in the north aisle of the Choir; there is no doubt that it belonged to some building erected by that prelate, if not to this, probably to the chapel of Jesus College, Cambridge, of which Bishop Alcock was the founder. It was found at Landbeach, and sent to the Cathedral by Canon Fardell.
The windows of the western aisle and those of the clerestory on both sides are in their original form, and so are those of the two lower tiers at the south end, but the others are of later age; in the gable is a low window of seven lights, very different to the upper windows in the north arm: those in the south end and two in the western aisle have been filled with stained glass:
The eastern window of the lower tier of the south end, by M. Henri Gerente, contains incidents in the history of Joseph; presented by the late Canon E.B. Sparke.The western window by the same artist, contains incidents from the history of Moses: contributed by some of the then Lessees under the Bishop.The eastern window of the second tier, by Messrs. Henri and Alfred Gerente, contains subjects from the history of Abraham, with parallels: the gift of Incumbents of livings in the diocese, and in the patronage of the Bishop.The western window, by M. Alfred Gerente, contains subjects from the history of Jacob; the gift of Incumbents of livings formerly in the patronage of the Bishop, but not in his diocese.The gable window contains six figures of the Patriarchs, with a figure of our Lord in the centre; some of which were executed by Mr. Howes and others by Mr. Preedy: the gift of some of the Peers and Prelates educated at the University of Cambridge.The middle window of the western aisle, by M. Lusson; the subjects taken from the Book of Jeremiah: given by the Rev. G. Rous, Laverton, as a memorial of Dr. Hugh Thomas, nineteenth Dean of Ely.The north window is also by a French artist, and given by the late Canon E.B. Sparke.
The eastern window of the lower tier of the south end, by M. Henri Gerente, contains incidents in the history of Joseph; presented by the late Canon E.B. Sparke.
The western window by the same artist, contains incidents from the history of Moses: contributed by some of the then Lessees under the Bishop.
The eastern window of the second tier, by Messrs. Henri and Alfred Gerente, contains subjects from the history of Abraham, with parallels: the gift of Incumbents of livings in the diocese, and in the patronage of the Bishop.
The western window, by M. Alfred Gerente, contains subjects from the history of Jacob; the gift of Incumbents of livings formerly in the patronage of the Bishop, but not in his diocese.
The gable window contains six figures of the Patriarchs, with a figure of our Lord in the centre; some of which were executed by Mr. Howes and others by Mr. Preedy: the gift of some of the Peers and Prelates educated at the University of Cambridge.
The middle window of the western aisle, by M. Lusson; the subjects taken from the Book of Jeremiah: given by the Rev. G. Rous, Laverton, as a memorial of Dr. Hugh Thomas, nineteenth Dean of Ely.
The north window is also by a French artist, and given by the late Canon E.B. Sparke.
The piece of tessellated pavement in the floor was found some years ago between the Choir and the Lady Chapel, under the present level of the earth, and was placed here for preservation; when the floor of this arm of the Transept is re-laid, this may perhaps be again inserted, or removed to some other place.
We now come to this special glory of the Cathedral, "in which," says Mr. Millers, "elegance, magnificence, and strength are so happily blended, that it is impossible to determine in which respect it is most admirable." We follow up the description nearly in his own words. Here stood originally a square Norman tower, which in the year 1322, from the unequal pressure of the four parts of the church, gave way and fell eastward, crushing in its fall several adjoining arches. "It could not have happened at a more favourable conjuncture; as the convent was rich, spirited, and liberal; and though another great work had been begun the preceding year, (the erection ofa new Lady Chapel,) the repair of this great dilapidation was immediately undertaken, and completed in a few years, by Alan de Walsingham, at that time sacrist,[34]an officer under whose particular charge were all the monastic buildings. It has continued above five hundred years, and may it yet continue a noble proof of his consummate skill as an architect!" The conception was original, being perhaps the first building of the kind ever erected. By throwing the weight upon eight strong piers and arches instead of four, he has probably guarded against the recurrence of a similar accident; at the same time he has given a larger space, a more agreeable form, and greater scope for embellishment, which is, however, most judiciously confined within such limits as not to interfere with sober and impressive grandeur. No one can behold it without admiring the skill which has suspended, rather than supported, a very heavy timber roof over so wide an area without a pillar.
"It is not equilateral; there are four longer and four shorter sides, alternate and respectively equal. Four lofty arches, in the four longer sides, open into the four principal parts of the church: alternately with these, in the four shorter sides, are as many more, much lower, opening obliquely into the aisles above and below the Transept. The arches are all supported by elegant clustered and conjoined columns, and their capitals are wreaths of flowers and foliage."
In the shorter sides there is room for some ornamentation, but the ornaments are chaste and not profuse. The four low arches in them are under canopies resting on good carved heads, which remain perfect. Those on the north-east are said to be intended for Edward III. and his queen Phillippa, in whose time the building was erected; on the south-eastern arch are represented the heads of a bishop and a priest, perhaps meant for Bishop Hotham and Prior Crauden, superiors at the periodof erection. On the north-west arch are the heads of another priest, apparently younger, and of some secular person with long hair; the former is supposed to represent Alan de Walsingham, the skilful architect of this noble work; and the latter the chief mason. On the remaining arch are two figures, the meaning of which we can scarcely comprehend.
A little above each of these lower arches are three brackets, or corbels, with canopies; the original figures (if any) placed on these brackets have long since disappeared, but the spaces have lately been filled with sitting figures of the Apostles,[35]executed in stone by Mr. Redfern, each holding a symbolical instrument. If we start from the Choir and proceed to the right hand we shall find them placed in the following order:—
There are also sixteen small stone heads, four connected with each group of three Apostles, which are not very clearly seen, perhaps, from the floor of the Cathedral, but which, when examined, shew by the conventual prophetic cap given to them, that they are intended to represent the sixteen Prophets of the Old Testament. Above these canopies, in each of the four sides, is a gallery or passage with an embattled parapet, and above that a large window of four lights with geometrical tracery; itis extremely sharp pointed, and towards the top each window is faced internally with a trellis or lattice-work of stone, which adds to its elegance without intercepting the light. These windows rise to the same height as the higher arches; they have been filled with stained glass by Mr. Wailes, and the subjects are chiefly representations of persons who were instrumental in the foundation, erection, or restoration of the Cathedral, of the reigning sovereigns at the respective periods, and of others who figured in the traditionary history of the foundress.
The window in the south-east angle is designed to commemorate the principal persons who figured in the traditionary history of the foundress. The figures in the upper tier represent Anna, father of St. Etheldreda; St. Etheldreda as queen; Tonbert, her first, and Egfrid, her second husband. In the lower tier, St. Etheldreda as abbess; Wilfred Bishop of York; St. Erminilda, the third abbess; and St. Sexburga, the second abbess. The tracery contains other figures and emblems, with the arms of the donor, the late Canon E.B. Sparke.The window in the north-east angle, in continuation of the same design, contains in the upper tier figures representing St. Withburga, St. Edmond, St. Werberga, fourth abbess of Ely, and Archbishop Dunstan. In the lower tier, Bishop Ethelwold; Brithnoth, Duke of Northumberland; Abbot Brithnoth, and King Edgar. The tracery contains the arms of the University of Cambridge, with other figures and devices: contributed by subscriptions from the Bachelors and Undergraduates of the University of Cambridge.The window in the north-west angle also contains eight representative figures, viz., in the upper tier, (reading from right to left) are William I., Henry I., Henry III., and Edward II.; and under these, Abbot Simeon, who commenced the present Cathedral; Harvey, the first Bishop of Ely; Bishop Northwold, who erected the Presbytery; and Alan de Walsingham, the skilful architect of the Octagon. The tracerycontains medallions in which are pictured the shrine of St. Etheldreda; Abbot Simeon laying the foundation stone of the Cathedral; Alan de Walsingham and monks weeping over the ruins of the central tower; the arms of the University of Cambridge, of the See of Ely, of Bishop Sparke, with other devices. Half the cost of this window was defrayed by subscriptions from some graduates of the University of Cambridge, and the other half by a portion of the accumulation of the money given by Bishop Sparke[36]for the east window.The window in the south-west angle also contains eight figures in the four principal lights, arranged in the following order—the Queen in her coronation robes; the Prince Consort in his robes as Chancellor of the University of Cambridge; and under these are represented Dr. Turton, the then bishop, and Dr. Peacock, the then dean of Ely; these figures being commemorative of the present extensive restorations: the other four represent King Edward III. and his queen Philippa, in whose reign the Octagon was built; and under these, Bishop Hotham and Prior Crauden, the great officers of the Cathedral at that period. The tracery contains the arms of the University of Cambridge in the centre, and on either side the arms respectively of those whose figures are represented in the window. The cost of a portion of this was graciously defrayed by Her Majesty; Bishop Turton and Dean Peacock gave the cost of their own figures respectively, and the remainder was paid by the capitular body.
The window in the south-east angle is designed to commemorate the principal persons who figured in the traditionary history of the foundress. The figures in the upper tier represent Anna, father of St. Etheldreda; St. Etheldreda as queen; Tonbert, her first, and Egfrid, her second husband. In the lower tier, St. Etheldreda as abbess; Wilfred Bishop of York; St. Erminilda, the third abbess; and St. Sexburga, the second abbess. The tracery contains other figures and emblems, with the arms of the donor, the late Canon E.B. Sparke.
The window in the north-east angle, in continuation of the same design, contains in the upper tier figures representing St. Withburga, St. Edmond, St. Werberga, fourth abbess of Ely, and Archbishop Dunstan. In the lower tier, Bishop Ethelwold; Brithnoth, Duke of Northumberland; Abbot Brithnoth, and King Edgar. The tracery contains the arms of the University of Cambridge, with other figures and devices: contributed by subscriptions from the Bachelors and Undergraduates of the University of Cambridge.
The window in the north-west angle also contains eight representative figures, viz., in the upper tier, (reading from right to left) are William I., Henry I., Henry III., and Edward II.; and under these, Abbot Simeon, who commenced the present Cathedral; Harvey, the first Bishop of Ely; Bishop Northwold, who erected the Presbytery; and Alan de Walsingham, the skilful architect of the Octagon. The tracerycontains medallions in which are pictured the shrine of St. Etheldreda; Abbot Simeon laying the foundation stone of the Cathedral; Alan de Walsingham and monks weeping over the ruins of the central tower; the arms of the University of Cambridge, of the See of Ely, of Bishop Sparke, with other devices. Half the cost of this window was defrayed by subscriptions from some graduates of the University of Cambridge, and the other half by a portion of the accumulation of the money given by Bishop Sparke[36]for the east window.
The window in the south-west angle also contains eight figures in the four principal lights, arranged in the following order—the Queen in her coronation robes; the Prince Consort in his robes as Chancellor of the University of Cambridge; and under these are represented Dr. Turton, the then bishop, and Dr. Peacock, the then dean of Ely; these figures being commemorative of the present extensive restorations: the other four represent King Edward III. and his queen Philippa, in whose reign the Octagon was built; and under these, Bishop Hotham and Prior Crauden, the great officers of the Cathedral at that period. The tracery contains the arms of the University of Cambridge in the centre, and on either side the arms respectively of those whose figures are represented in the window. The cost of a portion of this was graciously defrayed by Her Majesty; Bishop Turton and Dean Peacock gave the cost of their own figures respectively, and the remainder was paid by the capitular body.
Midway up each vaulting shaft is a canopied niche of unusual but very beautiful character; these niches rest upon sculptured corbels representing some striking incidents of St. Etheldreda'slife, by beginning at the right-hand side of the north-west arch, and continuing our course to the right-hand round the Octagon, we may examine them in detail.
The first represents her marriage.The second, her taking the veil at the Monastery of Coldingham at the hands of Wilfred, bishop of York; her crown laid upon the altar.The third, her pilgrim's staff taking root and bearing leaves and branches over her whilst she slept by the way.The fourth, her preservation, with her attendant nuns, on a rock surrounded by a miraculous inundation, when pursued by the king and his attendants.The fifth, her installation as abbess of Ely, by Wilfred.The sixth, her death and burial.The seventh, a legendary tale of one Brithstan delivered from bonds by her merits.The eighth, the translation of her body.
The first represents her marriage.
The second, her taking the veil at the Monastery of Coldingham at the hands of Wilfred, bishop of York; her crown laid upon the altar.
The third, her pilgrim's staff taking root and bearing leaves and branches over her whilst she slept by the way.
The fourth, her preservation, with her attendant nuns, on a rock surrounded by a miraculous inundation, when pursued by the king and his attendants.
The fifth, her installation as abbess of Ely, by Wilfred.
The sixth, her death and burial.
The seventh, a legendary tale of one Brithstan delivered from bonds by her merits.
The eighth, the translation of her body.
These were probably placed there to break the apparent great preponderance of vertical lines. The vaulting is of wood, and its fan-shaped compartments terminate at a distance from the centre, thus allowing an aperture thirty feet wide, over which rises the Lantern, an exact octagon, having on each of its sides a large pointed window of four openings with rich tracery, all filled with stained glass, which has the effect of subduing the light; below these windows are a series of panels with decorated heads, and under them another series of smaller ones; above the ceiling is a chamber formerly used for bells. The Lantern also is of English oak, and its construction a curious piece of carpentry. The whole has been thoroughly repaired, and in a great measure restored in exact conformity with the original, at a considerable expense.[37]
When the white and yellow-wash was cleared away from the woodwork of the Octagon and Lantern in 1850, some remnants of ancient colouring were discovered. In the archives of the Cathedral are preserved the accounts of the materials used in this painting, the prices of the colours, and the wages paid to the workmen. The name of the principal artist was Walter; he is dignified by the name of "Pictor," but he only received Eightpence per week, "præter mensam et robam" the "roba" being the painter's dress of the period, which was very like a modern gentleman's dressing gown. The colouring of this "Walter" between the years 1335 and 1351 seems to have been of a very simple character. The only evidence of designs that remained in 1850 were on the flat panels of the vaulting, which was covered with an imitation of ordinary gothic flowing tracery. The pattern was a series of quatrefoils painted in stone-colour on the wood, outlined black, and filled with green. The bosses of the Lantern, which are not carved, had been evidently painted and gilt, but the patterns of foliage were rough and too much injured to afford any distinct composition.
The small amount of colouring which remained on some of the mouldings of the Octagon was principally of a bright red, but only in small patches, the ground-work having peeled off and the colour with it.
In attempting to describe briefly the recent decoration of the Octagon and Lantern we cannot do better than quote the substance of a paper read during the Conference in June, 1875, explaining the history and nature of the ornamentation which has been carried out with such loving care and artistic skill under Gambier Parry, Esq., who designed the whole and painted the chief figures.
"The internal repair of the Lantern and Octagon was begun in February, 1874, and required a year for its completion. The ornamentation is in the style of the fourteenth century. The central boss of the lantern groining is a half-length figure of Christ in glory, considerably above life size, and with the conventual clouding around it; it is boldly carved in oak. The right hand is raised in the attitude of blessing, and with the left the inner garment is drawn open to exhibit the wound in the right side. Around this figure is painted a group of Seraphim on a grey blue ground. The panels of the window hoods are painted red, marking the distinction already made by the architectural construction, and on them are painted Cherubim and golden stars. The windows of the lantern were filled, some years ago, with coloured glass, the colouring of which is harsh, and in strong contrast with the mellow and rich painting of the woodwork, and injurious to the general effect.
"Below the windows are thirty-two openings surmounted with rich tracery. They are filled by panels on which is painted the angel choir. The figures are composed in groups of four, under each window, and are represented playing mediæval instruments. The two eastern and two western bays are intended to be severally grouped together, forming distinct series of eight figures. The instruments in the hands of the figures over the transepts are the psaltery and cithern, the regale, tabret, lute, violin, bagpipe and trumpet, (illustrating the 150th Psalm.) Below this range of figures are smaller panels, simply ornamented with the sacred monogram, the cross and the crown, resting on a fine and richly carved cornice, which forms the base of the lantern. The groining of the Octagon forms eight hoods, four above the windows, and four above the great arches of the Choir, Nave and Transepts. Beneath these last are remarkable statues of the four evangelists, about life size, seated in the attitude of writing, with a pen in one hand and a long scroll in the other; a writing table by the side of each figure with the inkhorn attached to it by a strap, and a loop to hold the pen, is very complete. The space between the great arch and the groining of the Choir is filled with rich tracery, on the central panel of which is painted the Crucifixion, with angels holding the chalice and palm branch on the right and left. The long spandrils of the groining are painted with conventional scrollwork of leaves and flowers in a style contemporaneous with the architecture. The monogram and crown of St. Etheldreda are found in several parts of the ornamental design. The total expense of the decoration has been about £2500."
An elegantly carved pulpit has been placed near the entrance to the Choir; it is of Ancaster stone resting upon columns of Purbeck marble, the front relieved by alabaster figures of St. Peter and St. Paul; the steps are of Purbeck marble, guarded by very elaborate scrollwork in iron. It was designed by Sir G.G. Scott, and executed by Messrs. Rattee and Kett; the figures by Mr. Redfern, and the iron work by Messrs. Potter and Son. It was supplied by a legacy left by the daughter of Bishop Allen, and adds much towards the general improvements.
Before leaving the Octagon the visitor would do well to contemplate this portion of the building, as affording an extraordinary example of the skill and judgment of the man who designed and carried into effect so grand and unique a specimen of architecture, covering, as it does, a large area without supporting columns; no heavy mass of stone-work meets the eye, but the pillars, though strong and of great height are so constructed as to give an appearance of lightness and elegance; the vaulting is rich though simple, and the lantern above deserves notice from its singular position, apparently without support, but starting as it were from the ends of the ribs of the groining: taken as a whole it may be fairly considered as without parallel in this country.
The architectural views from the Octagon in every directionare exceedingly fine, and will repay the visitor for a pause of a few minutes to notice them; on all sides are examples of great beauty and variety. There are many other points in the Cathedral which afford attractive scenes as shewn in the effects of light and shade, the intersections of arches, perspective, &c., which may be found by the visitor in his survey, if watched for, but we cannot undertake to point them out.
The next portion of the building to which our attention is attracted is
which, previous to 1322 was under the central Tower, and extended, including the rood-loft, from the second column at the eastern end of the Nave, as it now is, (it then extended one bay further eastward,) to about the same distance, or rather more, on the opposite side; and after the erection of the Octagon was again placed there; in 1770 it was removed to the six eastern arches of the Cathedral, the space under the Octagon and the two bays eastward of it being used as a sermon-place.[38]It was again removed in 1852, and now commences at the eastern side of the Octagon, extending to the length of seven bays, (the stalled portion occupying three of them,) leaving the two eastern bays as a retro-choir.
This will be better understood by reference to the accompanying plans, (for the use of which we are indebted to the kindness of the Editor of the "Architectural Quarterly Review,") one shewing the position of the Choir previous to the year 1770, and the other the arrangement made at the last alteration.
General Plan
GENERAL PLAN
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A Octagon, with the arrangement of Choir previous to 1770.B Presbytery.C The Nave.D North Transept.E South Transept.F Part of Cloisters (ruined.)G Western Tower.H West Porch or Galilee.I St. Catharine's Chapel.K The Lady Chapel.L The Font.M Rood Screen.N Foundations of Norman apse.O Foundations ofn.w.Transept.P South-western Transept.
A Octagon, with the arrangement of Choir previous to 1770.B Presbytery.C The Nave.D North Transept.E South Transept.F Part of Cloisters (ruined.)G Western Tower.H West Porch or Galilee.I St. Catharine's Chapel.K The Lady Chapel.L The Font.M Rood Screen.N Foundations of Norman apse.O Foundations ofn.w.Transept.P South-western Transept.
Choir and Transept
CHOIR AND TRANSEPT,shewing new arrangements.
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The black tint represents the Norman work of Abbots Simeon and Richard, 1083-1106.
The lined tint represents Bishop Northwold's work, 1229-1254.
The dotted tint represents the work of Bishops Hotham, Montacute, and L'Isle, 1316-1361.
The new oaken screen at the entrance of the Choir will attract the attention of the visitor, both by its elegant design and its skilful execution; it is of open work, comprising a centre opening with brass gates, through which is the passage into the Choir, under a pointed arch, over this is rich tracery within a high pointed gable, having an elegant foliated cross on the apex: on either side are three smaller openings, each divided into two parts by a bar or transom, and finished at the top with a gable; the openings below the transoms are filled with elaborate grilles of brass foliage; a beautiful cresting runs over the whole, with a high pinnacle of tabernacle work at each end; several statuettes have been placed under canopies in each face, which add considerably to the general effect. The screen was designed by Sir G.G. Scott, and executed by Mr. Rattee; the statuettes by M. Abeloos, and the brass gates with the foliage in the lower panels by Mr. Hardman: the whole testifies highly to the taste of the designer as well as to the skill of those who executed the several parts.
In making a particular survey of the Choir, it would perhaps be better to examine carefully the architecture of the six eastern bays first, and then the three western bays, which were built subsequently to the others, before examining the reredos, monuments, &c.; this is simply a suggestion, we leave the visitor to follow his own inclination, and continue our description in the order of our course from west to east.
The architecture of the three first bays is greatly to be admired as a specimen of the Decorated style, perhaps not surpassed by any other in the kingdom; they were erected about the same time as the Octagon, and most probably under the superintendence of the same skilful architect, and for which purpose Bishop Hotham left a sum of money at his death; they were built during the episcopate of his successors, Bishops Montacute (1337-1345), and L'Isle (1345-1361). The lower columns are nearly, the capitals entirely, of the same form withthose of the Octagon, but the arches are more ornamented, some of them having bosses of foliage attached to their mouldings; and those of the triforium are, as Mr. Bentham observes, "embellished with tracery work of such elegance and delicacy as seems scarcely consistent with strength." Between each of the lower arches is a corbel or elongated bracket profusely adorned with foliage carved in high relief, richly coloured and gilded; from this rises a column between the upper arches, and from the top of this column spring the ribs of the vaulting, which spread in lavish ramifications over it, dividing it into angular compartments, and at the angles are flowers and other ornaments, curiously carved, and originally were coloured. In the spandrils of the lower and triforium arches (with the exception of the first bay on the south side, which contains the arms of the see, those of Bishop Hotham, and another shield), are sunk trefoils, some of which are painted dark blue relieved with small stars in gold, having an elegant appearance. The range of pierced parapet at the bases of the triforium and clerestory has been entirely renewed; and on the south side, the triforium roof (which on both sides is of bare rafters,) has been recently painted and ornamented in a style similar to those of the Transept. The windows in the clerestory are large, filling the whole opening, having in each four lights with rich tracery, and the same kind of trellis-work we noticed in the large windows in the Octagon; these windows, on both sides have been recently filled with stained glass, executed by Mr. Wailes, the expense defrayed out of the balance of the accumulated fund for the east window; the subjects are illustrative of two verses of the "Te Deum," with figures of angels and the arms of the donor, &c., in the tracery:
North side—"The noble army of Martyrs"—represented in the western window by figures of St. George, St. Agnes, St. Catharine, and St. Alban; middle window—St. Lawrence, St. Cecilia, St. Justin, and St. Prisca; eastern window—St. Ignatius, St. Polycarp, St. Lucian, and St. Stephen.South side—"The Holy Church throughout all the World," the Eastern Church being represented in the western window by figures of St. Chrysostom, St. Basil, St. Athanasius, and St. Gregory Nazienzen; the Western Church in the middle window, by figures of St. Jerome, St. Ambrose, St. Augustine, and St. Gregory the great; the British Church in the eastern window, by figures of St. Columba, St. David, the Venerable Bede, and St. Augustine of Canterbury.
North side—"The noble army of Martyrs"—represented in the western window by figures of St. George, St. Agnes, St. Catharine, and St. Alban; middle window—St. Lawrence, St. Cecilia, St. Justin, and St. Prisca; eastern window—St. Ignatius, St. Polycarp, St. Lucian, and St. Stephen.
South side—"The Holy Church throughout all the World," the Eastern Church being represented in the western window by figures of St. Chrysostom, St. Basil, St. Athanasius, and St. Gregory Nazienzen; the Western Church in the middle window, by figures of St. Jerome, St. Ambrose, St. Augustine, and St. Gregory the great; the British Church in the eastern window, by figures of St. Columba, St. David, the Venerable Bede, and St. Augustine of Canterbury.
The absence of a bishop's throne is peculiar to this Cathedral; the bishop occupies the return stall on the south side, and the dean that on the north; those seats being generally appropriated to the dean and sub dean. When the abbacy was converted into a bishopric (a.d.1109) the bishop took the seat previously held by the abbot, the prior retaining his own; and, on the re-foundation in 1541, the dean took the seat previously used by the priors, and here occupies traditionally the side opposite to his customary position.
On the right hand of the entrance, therefore, is the seat of the bishop, and on the left hand that of the dean, both surmounted by lofty pinnacles of tabernacle work; and the ancient stalls, formerly used under the Octagon, extend on both sides to the length of the three western bays. These, which we believe form the sole existing specimen of stalls of that date in England, have been cleansed from their coats of paint and restored, and harmonise well with the new work: the canopies are rich and elaborate, and the panels in the upper portions have recently been filled with sculptured groups illustrative of Scripture history, those on the north side from the New, and those on the south side from the Old Testament; they are beautifully designed, and contribute greatly to the good effect of the whole. These sculptures have been executed in oak by M. Abeloos, of Louvain, (with one exception, "the Nativity," by Mr. Philip,) and are the gifts of various benefactors. They are placed in chronological order and, as we proceed from west to east, the subjects may be noticed in the positions described as follows.
The sub-stalls are new, and of good design; the stall-ends in the upper range have a series of statuettes of the principal among the ancient benefactors, or of the builders of various portions of the church, each under a canopy, and for finials they have figures of angels with instruments of music. Each of the statuettes (where finished) is represented as holding some type or model of the particular portion with which its prototype is more intimately connected. They were designed and modelled by Mr. J. Philip, and executed partly by him and partly byMr. Rattee; we append a list of them in the order in which they are placed, commencing from the west, as before:
The fronts of the stalls are generally of open work, shewing the hinged seats, or misereres as they are usually called, behind; in both series of stalls these are curiously and grotesquely carved beneath. On the faces of the stall-ends of the lower tier are various emblematical devices, crests, and shields, beautifully carved; our list is made in the same order as of the statuettes.
An elegant brass lectern the gift of the late Canon Sparke, has been placed in the Choir, as a memorial of H.S. le Strange, Esq., who painted the ceiling of the Tower and the western portion of the Nave ceiling.
The organ is placed in a position differing from that of most others in England, although not unusual in Continental Cathedrals. The pedal and swell organs have been placed in the triforium on the north side, and the great organ, with the choir organ beneath it, project in front of the third bay, resting upon an over-hanging chamber behind the stalls. The organ was reconstructed, with great additions, by Messrs. Hill and Son, of London, when the removal took place in 1851, and severalimportant additions were made in 1867, by the same firm.[39]The magnificent organ-case, with its sculptures, was executed by Mr. Rattee; the pipes in front have been gilded and ornamented by Mr. Castell, of London, and much of the woodwork having been left in its natural colour forms an agreeable contrast, and the effect produced, from almost every point of view, is rich and beautiful; while from its unusual position it loses little of its power or sweetness of tone, but sends forth its pealing sounds reverberating through the lofty arches with fine effect. We know nothing more sublime than the voices of a congregation, guided and supported by such an instrument, praising and adoring the great Creator and Father of all, and are led to exclaim with the poet Milton—
The division between the Early English work of Bishop Northwold and that part generally spoken of as Hotham's work is marked by two steps in the floor, and by two strong piers rising from the floor to the vault, which were in fact the original Norman shafts near the commencement of the apse or east end taken down by Hugh de Northwold, eighth bishop, who added the six beautiful eastern bays at his own expense; these form a pure and good example of Early English work, and were completeda.d.1252, and dedicated in the same year, in the presence of King Henry III., and many nobles and prelates. This was called the "Presbytery," or "Sanctuary," a common name at that time for the east end of a church.
"The character of the three western bays is singularly yet beautifully arranged to harmonize, in point of elevation of itsparts, with the six eastern arches; this and the very great excellence of the details, render this part of the edifice a most valuable study."[40]The absolute contact here of the two styles, Early English and Decorated, affords the spectator an opportunity of contrasting them, and of judging of the comparative merits of each. By many, the eastern bays are preferred for their chaste and elegant appearance, not being so profusely ornamented as those of the western ones, but, as Mr. Millers observes, "everything seems in its proper place and fitly proportioned: all harmonize, and taken altogether, give a general character of lightness and elegance. This is nowhere more conspicuous than in the roof; the plain ribs of which, diverging from their imposts, instead of crossing each other and spreading into intricate forms, go straight to a longitudinal midline running from west to east, and decorated with coloured figures or flowers where the springers meet it. There is a precise line of separation between this and the more elaborate ceiling of Bishop Hotham's work; being thus brought into contact the two may be compared with singular advantage."[41]
The bases of the piers of the lower arches are octagonal, but the shafts are cylindrical, surrounded by slenderer detached ringed shafts with foliated capitals, all of Purbeck marble. The triforium (except in the first and second bays on both sides,) extends over the aisles, and is lighted by large windows with Decorated tracery in the outer wall; and the arches are separated by a cluster of slender shafts into two smaller ones with trefoil heads; and between the two is a quatrefoil; all highly adorned with mouldings. Between each of these lower arches is an enriched corbel of Purbeck marble, adorned with foliage in high relief, from which rises the vaulting-shaft, in a group of three, between the arches of the triforium to the base of the clerestory, having a capital of leafage, and from the top of which spring the ribs of the vaulting. The spandrils throughout arerelieved with trefoils and quatrefoils, deeply sunk and backed with Purbeck marble; and, on the whole, the contrast of light and shade, depth and projection, produces a very fine effect. The clerestory arches are of the same span, but each is divided into three smaller ones, the centre arch being higher than those on either side, in order to admit light through the windows behind, which are three lancet-shaped lights under one arch in the outer wall, and are, we believe, original; these windows have been filled with stained glass, which is another important step towards the general improvement.
The windows of the aisles and triforium were originally three lancet-shaped lights under one arch, but were replaced in the fourteenth and fifteenth centuries by larger windows of a flamboyant character. In the first and second bays on both sides the triforium windows are placed in the inner wall, probably to give more light to the high altar, the position of which was indicated by a boss in the ceiling with a figure of St. Peter; and also to give greater effect to the rich and gorgeous shrine of St. Etheldreda, said to have been of pure silver adorned with jewels, which at that period stood near the altar and to her place of sepultre, indicated by a boss in the ceiling with her effigy on it. The tracery in these windows bears a similarity to those in the corresponding arches of Hotham's work, but is not so ornamented. All have been filled with stained glass by Mr. Wailes, the expense defrayed out of the east window fund: