ELY CATHEDRAL

Peterborough Cathedral

And thus the church continued for some time ruined and desolate. A relative of Cromwell, Oliver St. John, was granted the possession of it, and converted it into a parish church. The Lady Chapel was pulled down in order to obtain material for repairing the main building; the painted boards of the ceiling they found useful for making the backs for the choir. At the Restoration Dean Cosin was recalled, and since that time many alterations and much reparation have been undertaken, though often with more zeal than good taste. Dean Tarrant (1764-1791) collected the fragments of stained glass, and placed them together in two windows at the east end. Dean Kipling removed the octagon, and erected fourhideous turrets, which no longer disfigure the tower. Dean Monk (1822-1830) did much for the Cathedral, though little of his work remains. Since then the tower has been rebuilt (finished in 1886), much internal decoration added, and the west front rendered secure. Much controversy has raged about the restoration of this west front. Experts on both sides have expressed divers opinions, the relative merits of which it is difficult to decide. Certainly to take down a building stone by stone and rebuild it again is not legitimate restoration. But whether it was possible to make the north gable secure without this drastic treatment it is for experts to decide, and it is presumptuous for others to express an opinion or attempt to arbitrate when these experts puzzle us with the variety of their judgments.

The Exterior

We enter the precincts by the western gateway, built by Abbot Benedict in Norman style, but subsequently altered at the end of the fourteenth century. There is a Late Decorated arch, and two arcades of the same date built over the Norman wall; but the Norman arcades proclaim its ancient origin. The upper room was the home of the Peterborough branch of the Spalding "Society of Gentlemen," who advanced learning and published papers at the beginning of the eighteenth century. Previously it was the Chapel of St. Nicholas. On the left of the close is an old building, also erected by Benedict, the remains of the Chapel of St. Thomas of Canterbury. The old Grammar School, founded by Henry VIII., utilised the building until recent years. The style of the present building is Decorated.

Immediately before us we see the nobleWest Front, "the pride and glory of Peterborough," the finest portico in Europe. With the exception of the porch, the style is pure Early English. On the north and south are two lofty turrets, flanked at the angles with clustered shafts and crowned with spires. Between these are three pointed arches, supported by clustered shafts, six on each side, with floriated capitals. The central arch is narrower than the rest, but its mouldings are ornamented with crockets and dog-tooth. A string-course runs along the top of the arches, and the spandrels have trefoils, quatrefoils and niches with statues. Above the string-course is a series of trefoiled arches, some of which have statues. Between the three gables are pinnacles muchornamented. The gables have circular windows of beautiful design and a cross at the apex; they are ornamented with dog-tooth and have niches with statues—St. Peter in the centre, with SS. John and Andrew on either side. The turrets on the north and south have six stages panelled with arches. The spires are good examples of the difference between those of the Early Decorated and Perpendicular periods. The south spire is connected with the pinnacles of the tower by clustered pinnacles springing from an arch; these are decorated with crockets, and the spire belongs to the early fourteenth century; whereas the spire on the north has no such connection, and is Early Perpendicular.

We now notice thePorchwith parvise over it. This was built late in the fourteenth century in order to give additional strength to the west front and act as a kind of buttress to the piers of the central arch. The design is very beautiful. The entrance has an obtuse arch, and above a Perpendicular window with elliptical arch. Buttresses empanelled with niches stand on each side. It has a stone vault of good design. One boss is curious, representing the Trinity. The attitude of the Saviour shows that the figure was designed by a freemason, and bears witness to the antiquity of that fraternity. The parvise is now a library.

A Late Perpendicular gateway at the north-east, erected by Abbot Kirton, whose rebus appears over the side door, leads to the Deanery. It has a Tudor arch, with the arms of the see in spandrels, and is ornamented with Tudor rose and portcullis, and Prince of Wales's feathers. Here is the old burial-ground, and a fine view of the Cathedral is obtained from the north-east. The Norman character of the building is evident, though there have been many changes. The Norman windows in the clerestory have been filled with Perpendicular tracery. The low Norman aisles have been raised, the windows taken out and replaced by thirteenth-century substitutes in the lowest range and by Decorated ones in the triforium. Below this the old Norman arcade remains. A good Norman door, called the Dean's Door, is in the centre of this north wall. An Early English parapet crowns the aisle walls, and a Decorated one surmounts the clerestory, which is continued in theNorth Transept, where similar alterations have taken place, and Perpendicular tracery inserted in Norman windows.

The centralTowerwas rebuilt in 1884. The necessity for continued rebuilding and restoration at Peterborough is much to be deplored. Probably the cause is the draining of the fens, whichmakes the clay to contract and thus produces insecure foundations. It has some good windows. We have already recorded the history of the previous structures. As much of the old work as possible was preserved in the rebuilding of the present tower.

Walking around the church we come to the east of transept, where formerly stood the Lady Chapel, pulled down at the Restoration by the townspeople, and its materials sold in order to provide funds for restoring the church after Puritan destruction. Notice the marks of the gable of Lady Chapel in the transept wall. The thirteenth-century builders pierced the Norman wall with lancets.

The east end of Peterborough is rather peculiar. There remains the old Norman apse, with Decorated windows inserted, and this is surrounded by what is called theNew Building, though it is 400 years old, formed by extending the walls of the choir and building a square end to the Cathedral. This was erected by Abbot Kirton. His work possesses the best features of Perpendicular style. It is richly ornamented, and when we examine his work we cannot say that the glories of Gothic achievement had quite departed. We see the twelve buttresses, each terminated with a seated figure, usually said to be one of the Apostles.

On the south-east of the Cathedral are the ruins of the infirmary of the monks, always a pleasant place in a monastery. It is a thirteenth-century building, and consisted of a hall, with aisles and a chancel. The aisles were used as cells or couches for the sick monks, and the religious services of the infirmary were performed in the chancel. On the south are the remains of the monastery. Only the south and west walls of the cloister court remain. There is a good thirteenth-century doorway and Perpendicular lavatory. The south view of the Cathedral is very fine. Passing through the cloisters, which once echoed with the tread of the monks, or saw them poring over their tomes and writing their beautiful MSS., we retrace our steps to the west front and so enter the Cathedral.

The Interior

As we enter we notice the distinctive character of the Norman work of which this Cathedral is a notable and excellent example. In the extreme west there is a blending of the two styles of Norman and Early English, but the monks of Peterborough clungtenaciously to their old ideas and to Norman and Romanesque models, and right up to the end of the twelfth century built in this style, not from any desire to imitate the work of their predecessors (as some writers assert) but from an obstinate adherence to conservative tradition. Even when the glorious tide of English Gothic was rising, and they could no longer resist the flood, they clung to the old zigzag mouldings. It is evident from the construction of the third column that they intended to end their church there; but happily the thirteenth-century brethren decided to rear the noble twin-towered front and the perfect portico. Some of the later columns show Transition work; on one side we see a Norman base or capital, on the other an Early English.

There is a grand uninterrupted view of the whole length of the Cathedral from west to east. It will be observed that the tower arch is Decorated, and this adds to the beauty of this view. Before leaving the west we notice some dog-tooth carved in wood, which is somewhat rare. The south end of this west transept is the baptistry, the font of which has a thirteenth-century bowl. The north end is now used as a vestry. The west window has Perpendicular tracery.

NORTH-WEST TRANSEPT

The nave has ten bays with Norman arches; the triforium has likewise Norman arches, but each of these has two sub-arches. The windows of the clerestory have Perpendicular tracery. TheCeilingis intensely interesting, and is original Norman work. It has various figures within lozenge-shaped medallions, viz.:—Agnus Dei, SS. Peter, Paul, Edward the Martyr, Edward the Confessor, Moses, and other kings, archbishops, bishops and allegorical andgrotesque figures. As we have seen from the exterior, the walls of the aisles have been raised, and later windows inserted. The roofs of the aisles were vaulted by Norman builders. The visitor may discover for himself some mason marks in the south aisle.

As at Norwich theChoirbegins with the two east bays of the nave, which was the original arrangement, and not unusual in Benedictine minsters, and extends over the space under the tower, and besides the apse occupies four bays east of the tower. The gates are good modern iron-work. The erection of a screen is in contemplation. Two pillars have been placed in position; but the scheme presents difficulties which have not yet been solved. The piers are alternately round or polygonal. This portion was the earliest part of the Cathedral, and was constructed by Abbot de Sais (1114-1125). The hatchet moulding is conspicuous. The triforium arches are double, like the nave, and the clerestory has triple arches, the centre one being the highest. The apse is particularly fine. The Decorated style is evident in the windows, which were inserted in the fourteenth century instead of the old Norman ones, and the hanging tracery of graceful design was then added. The roof of the choir is late fourteenth-century work except at the east end where the roof is flat. Here Cromwell's soldiers discharged their muskets at the figure of our Lord in glory, which they deemed to be an idol. This ceiling was decorated in 1884 by Sir Gilbert Scott. The bosses of the rest of the roof are curious. Nearly all the old glass was destroyed in the Puritan desecration; the remaining fragments have been placed in the two highest east windows. The fittings of the choir are modern, except an ancient lectern of fifteenth-century date given by Abbot Ramsay and Prior Malden, as the inscription testifies, though it is now scarcely legible. The choir stalls are remarkably fine, and as the carved figures contain a history of the Cathedral written in wood, it may be well to record their names. We will begin with the dean's stall and proceed eastward:—

The upper figures on the north side represent the following:—

Much history is also contained in the carvings of the pulpit and bishop's throne. The altar has a marble canopy over it, which is a magnificent piece of work, but perhaps hardly suitable for its position. The mosaic pavement is remarkably fine. We now pass into theChoir Aisles, which have Norman vaulted roofs, and formerly had apsidal ends, but these were removed when Abbots Ashton and Kirton built theNew Buildingor square end to the church, or perhaps earlier, as there are some aumbreys and double piscinæ of the thirteenth century, and also on the south wall some painted shields and a scroll border of the same date. The windows are later insertions as in the nave. Traces of the old entrance to the destroyed Lady Chapel may be seen in the north wall.

We have noticed the building of the ambulatory called the New Building from the exterior of excellent Perpendicular work. Perhaps the most striking features of the interior is the fan-tracery of the roof, the curious bosses, the rebuses of the two Abbots Ashton and Kirton, and the monuments. The principal ones in the choir and aisles are a modern memorial stone of Catherine of Arragon (the old tomb was destroyed by the Puritans, of which fragments have been discovered); the tablet in memory of Mary Queen ofScots; Archbishop Magee's marble monument; Sir Humprey Orme's mutilated tomb; several abbots' tombs and tablets to bishops; Late Saxon tombs of two Archbishops of York, and the famous Monks' Stone which popular tradition associates with the massacre of the Peterborough monks by the Danes in 870. Recent investigators have assigned a later date, and attribute it to Norman work, but we are inclined to favour the Saxon theory.

We will now visit theTransepts, which are of Norman character. Norman fish-scale ornament and cable and saw-tooth mouldings are plentiful. In both north and south transepts there is an eastern aisle separated by pillars and forming several chapels, which are divided off by Perpendicular screens. The Morning Chapel occupies the aisle of the north transept, formerly the Chapels of SS. John and James, and here is preserved two pieces of old Flemish tapestry, and portions of the old nave screen, and ancient tiles. In this transept are some interesting Saxon coffin lids. In the south transept are the Chapels of SS. Oswald and Benedict. In the former the relics were kept. Here Abbot Sutton's heart was buried. The window is modern. A pre-Reformation inscription is carved round the edge of a stone much worn by time. The old chapter-house, now a music-room, is on the west of this transept. It is Late Norman. A Perpendicular doorway has been inserted here instead of the old Norman door.

A very interesting discovery was made here during the alterations a few years ago, and that is the remains of the actual original Saxon church which was sacked by the Danes, rebuilt by Bishop Ethelwold and visited by King Edgar and Dunstan, and then destroyed by fire. Evidences of this destruction were not wanting when the discovery was made. The east wall of the chancel stood just where the piers of the aisle of the transept stand. The church was cruciform. This discovery is of great interest and importance.

Old Scarlett's memory must not be forgotten, the aged sexton, who lived ninety-eight years, and buried two queens in the Cathedral, dying in 1594. The painting is a copy of the original made in 1747. The well-known rhymes beneath are:—

"You see old Scarlett's picture stand on hie,But at your feet there doth his body lye;His gravestone doth his age and death-time show,His office by these tokens you may know.Second to none for strength and sturdye limm,A scarbabe mighty voice, with visage grim,He had inter'd two queens within this placeAnd this towne's householders in his live's spaceTwice over; but at length his own turne came,What he for others did for him the sameWas done; no doubt his soul doth live for ayeIn heaven: though here his body clad in clay."

Twice over; but at length his own turne came,What he for others did for him the sameWas done; no doubt his soul doth live for ayeIn heaven: though here his body clad in clay."

Dimensions

Principal Building Dates

PLAN OF PETERBOROUGH CATHEDRAL

Elyis one of the monastic towns of England, and owes its existence to the famous church and monastery which were built here in Early Saxon days. The patriotic monkish chronicler of Ely, who compiled theLiber Eliensis, wishing to add glory to his church, states that in 607 St. Augustine founded a church at Cratendune, a mile south of the present site. The first monastery on the Isle of Ely was founded by St. Etheldreda, daughter of Anna, King of the East Angles. She received the Isle of Ely as her dowry from her first husband, an Earldorman of the South Girvii or Fenmen, and when she married Egfrid, afterwards King of Northumbria, feeling the call to a religious life, she left her court and retired to the lonely isle, and there founded a monastery, of which she was the abbess. As was not unusual at that time, the house was a double one, for both monks and nuns. St. Wilfrid assisted her considerably in carrying out her plans, but no fragment of this early church and monastery remains. The saintly queen died in 679, and was buried in the nuns' resting-place. Some years later her body, placed in a marble sarcophagus, was translated to the Saxon church. In 870 the isle was ravaged by the Danes, who destroyed the church and monastery, slaying both monks and nuns, plundering the town, and returned loaded with the spoils of the pillaged island. Some of the monks who escaped returned to their ruined house, and King Alfred is said to have confirmed them in their possessions. King Edgar, by the advice of Dunstan, Archbishop of Canterbury, and Ethelwold, Bishop of Winchester, reorganised the monastery under the Benedictine rule, restored to it all its lands, and made Brihtnoth the first abbot.

The Norman Conquest brought many troubles to the Isle of Ely. The monks espoused the cause of Hereward, "the last of the English," the hero of Charles Kingsley's romance, and here he made his last great stand against the Norman invaders; but the monks "did after their kind," and surrendered to the Conqueror in 1071. Little harm was done to the monastic buildings by thewarriors of either side, and twelve years later the building of the present Cathedral was begun by Abbot Simeon, brother of Walkelin, Bishop of Winchester. He commenced with the transepts, some parts of which still declare themselves to be his work. Abbot Richard (1100-1107) continued the building, and finished the east end, where the body of St. Etheldreda was conveyed and reburied before the high altar.

ARM OF ABBOT'S CHAIR

Ely was now raised to the dignity of a bishopric, the revenues of the abbot being used for the endowment of the see, and henceforth the prior was the head of the monastery. The building of the church proceeded gradually. The nave was growing by degrees during the twelfth century, and Bishop Riddell (1174-1189), by his energy, did much towards its completion and that of the great west tower. The isle was much disturbed during the troublous time of Stephen's reign, and the bishop took the part of the enemies of the king, who exacted heavy fines from the prelate and his monks. Bishop Eustace (1198-1215) accomplished much, and erected the beautiful Galilee Porch. In 1235 the building of the noble presbytery was begun by Bishop Northwold (1229-1254), and here, in the presence of King Henry III. and his court, the shrines of the founders and of three other abbesses were removed, and the whole church in ground plan completed as we see it to-day.

Having finished their church, the monks turned their attention to their domestic buildings, and to the Lady Chapel, which stands here in an unusual position. It was erected by Alan de Walsingham(the sub-prior) in 1321, and finished in 1349. In 1322 a sad calamity happened—the central tower fell, and caused much destruction. But the catastrophe called forth the constructive genius of Alan de Walsingham, a prince among architects, who built the beautiful octagon and lantern tower, which add so much grace and beauty to the building. The superb Lady Chapel, with its marvellous sculptured work, the sub-structure of St. Etheldreda's shrine, and Prior Crauden's Chapel—a perfect gem of beauty and originality—are all Alan de Walsingham's work. The monks elected this great builder Bishop of Ely, but the Pope refused to ratify the election. He is admirably described on his tomb as theFlos Operatorum, or "flower of craftsmen."

WEST TOWER FROM DEANERY GARDENS

In this period Decorated windows were inserted in the triforium of the presbytery, the outside walls being raised for this purpose, and flying buttresses added. The Cathedral then appeared externally much as we see it to-day. The Perpendicular style finds few examples in Ely except in some of the smaller chapels and one or two windows.

The Assumption of the Blessed Virgin Mary Lady Chapel.

At the Reformation the monastery shared the fate of similar institutions, and a dean and chapter were appointed. The fact that the bishop occupied the place of the abbot of the monastery is observable in the position of the bishop's seat, which is south of the entrance to the choir. He has not a throne, which most bishopshave in their cathedrals. Ely was spared much destruction in the Civil War. The Parliamentarians pulled down some of the cloisters, and broke a few windows, but the Cathedral fared better than most others at the hands of Cromwell. It has suffered, however, from the fancies of "restorers." In 1770 the ritual choir, with the stalls, was moved from under the octagon to the extreme east end, to be again moved to its present position in 1847. About the same time the massive Norman stone screen, which for eight centuries had stood across the nave, was ruthlessly destroyed, and the roof of the upper hall of the Galilee Porch removed, and the western opening of the tower arch filled with a modern window. Wyatt's destructive hand was only just restrained from working further mischief, though some authorities make him responsible for the removal of the screen and the destruction of the roof of the Galilee. A vast amount of money has during the last century been spent upon the fabric, and happily the restorers have been, in the main, governed by good taste and sounder architectural knowledge than that of their destructive predecessors.

The Exterior

As you ascend the hill from the station you will undoubtedly be struck by the external appearance of this magnificent pile. Professor Freeman remarked that the first glimpse of Ely overwhelmed us, not only by its stateliness and variety of outline, but by its utter strangeness and unlikeness to anything else. Its huge western tower, its beautiful but curious central octagon, are quite peculiar, and the general view, especially from the north-west, is extremely fine, and can never be forgotten.

We will begin our survey, as usual, with theWest Front, which has been much altered, but remains a very imposing structure. It will be noticed that the north side differs from the south, and either was never completed or fell into decay. They both belong to the Late Norman or Transitional period. TheGalilee Porchis a perfect gem of exquisite architecture. It has been pronounced "the most gorgeous porch of this style in existence, combining the most elegant general forms with the richest detail." The style is Early English, and is the work of Bishop Eustace (1198-1215), who was ordered by the Pope to excommunicate King John, and had to fly from England in consequence. It will be seen that this porch is one of the earliest examples of good Early English work, and forits excellence and perfection rivals the choir at Lincoln. There is a profusion of dog-tooth ornament. The doorways are most graceful. The main arch is divided into two cinquefoiled sub-arches, separated by a slender shaft, and in the head there is very beautiful tracery. The walls are covered with arcading, of lancet-shaped arches cinquefoiled. In the interior there is a beautiful double arcading, similar to that which we have seen at Lincoln.

ELY CATHEDRAL FROM SOUTH-EAST

TheWest Toweris earlier than the porch, and its lower stages are Transition Norman. The upper stages are Early English, except the highest octagonal stage, which is Decorated. Bishops Riddell and Northwold were the builders of earlier stages, and the octagonal summit was built during the bishopric of John Fordham (1388-1425). This magnificent tower has been a source of continual anxiety to the monks and masons of Ely, on account of the great weight of the superstructure, and continual repairs and strengthening operations have been needed.

THE OCTAGON AND LANTERN FROM NORTH-WEST

TheNorth Sideof the nave preserves its Norman character, but Perpendicular windows with ogee arches have been inserted. Formerly the Church of St. Cross stood on this side, erected byWalsingham, but it fell into decay and was pulled down in 1566. We can still see the walled-up door in the north wall of the Cathedral which led to this parish church. Norman mouldings (such as the billet) may be seen round the arches of the windows in the clerestory. The curious and beautifulOctagonis a striking feature of Ely. It consists of an eight-sided tower crowned with an octagonal lantern, the dimensions of which are much smallerthan those of the tower which supports it. Decorated windows of large size occupy the sides facing north-west, north-east, south-west and south-east, which are narrower than the other sides. Turrets crowned with pinnacles stand at each corner of the lower tower, and quadrangular turrets at each corner of the lantern, which is made of wood. The whole has been recently restored with the greatest possible success.

TheNorth Transeptis Norman. Some Perpendicular and Decorated windows have been inserted, and the north-west corner, which fell in 1699, was rebuilt by the builder of St. Paul's, London, Sir Christopher Wren, who inserted the Renaissance door in the north side.

TheLady Chapelhas been pronounced to be one of the finest specimens of Decorated architecture in the kingdom. It is the work of Walsingham, and was finished in 1349. The east and west windows are later insertions, but belong to the same century. The building is oblong, and is enriched with much beautiful carving; niches destitute of figures appear in the buttresses, and at the east and west ends. The tracery of the side windows should be noticed.

ThePresbyteryis fine Early English work, built by Bishop Northwold (1229-1254), and has been scarcely altered by succeeding builders. The windows are double lancets in each bay, and in the clerestory three lancets under an arch, the centre one higher than the others. The arrangement of the east end is as follows:—In the lower stage three tall lancets with dog-tooth moulding, above them five lancets of unequal height, and in the gable three lancets of the same height. Buttresses carved with niches stand on each side, and flying buttresses springing from the side buttresses support the roof. Alterations have been made in the triforium in order to increase the light in the church.

TheSouth Transeptis Norman, with some later windows inserted. Notice the curious Perpendicular window on the south side. TheCloister Courtwas on the south side of the church, but was destroyed by the Commissioners of Cromwell. Two doorways are remarkable, named theMonks' DoorandPrior's Door, both Late Norman work, and enriched with much carving. The tympanum over the Prior's Door contains a representation of our Lord in glory.

The Interior

We now enter the church at the west end, and are struck bythe noble character of this magnificent Norman work. It consists of twelve bays (there were thirteen before the central tower fell). The two eastern bays were finished by Abbot Richard (1100-1107), and the rest completed by Bishop Riddell (1147-1189). The earlier character of the five bays nearer the central tower is discoverable. The ceiling was painted forty years ago by Mr. le Strange and Mr. Gambier Parry, whose artistic work can also be seen at Gloucester. The subjects are the Creation, the Fall, Noah Sacrificing, the Sacrifice of Isaac, Jacob's Dream, Marriage of Ruth, Jesse, David, Annunciation, Nativity, Adoration of the Shepherds and Magi, the Lord in Glory. We see also representations of the patriarchs and prophets, and in the medallions at the sides the heads of the human ancestors of our Lord. The west window was inserted at the close of the eighteenth century and filled with modern glass (when the roof of the upper hall of the porch was removed), thus effectively blocking the view of the three great lancets, 40 feet further west, through which, up to that time, the setting sun must day by day, through so many centuries, have flooded the nave with its evening light.

ST. CATHERINE'S CHAPEL

At the west end, under the tower, we notice the strengthening of the original pillars with additional Perpendicular work. The arches of the tower, though Norman, are pointed, showing that they were erected at the end of that period, and the richness of ornament and detail of the southern portion of the west transept bears out thesame conclusion.St. Catherine's Chapelis in the south corner, rebuilt in the old style, and the font is modern.

TheNave Aisleshave arcades of Norman arches, and the chevron moulding appears about them in several parts where it has not been cut away. In the south aisle is an interesting memorial of Ovin, the steward of St. Etheldreda, which has been recovered from a neighbouring village. It is part of a cross, with the inscription on the base—"Lucem tuam Ovino da Deus et requiem. Amen." (O God, give light and rest to Ovin. Amen).

TheOctagonwould require a volume adequately to record its many beauties and perfections. We have already described its construction. It is pronounced by all architects as the gem of the Cathedral, and one of the most beautiful buildings in the world. The vault is of wood, and a remarkable series of paintings appears on the boarding. The Crucifixion and the Apostles are here represented. Large corbels have sculptured scenes of the life of St. Etheldreda. The vault has been painted by Mr. Gambier Parry.

IN SOUTH AISLE OF NAVE LOOKING TO NORTH TRANSEPT

TheTranseptswere the portions of the church first begun by Abbot Simeon when he first commenced the present Norman Cathedral. The lower part of the walls and part of the triforiumwere built by him and finished by Abbot Richard (1100-1107). The arcading in the south transept is Transitional, and the upper windows Late Decorated.

CARROL IN CLOISTER

Perpendicular windows have been inserted in the north transept. There are three chapels at the east of the north transept, one of which bears the name of St. Edmund, and is divided off by a wooden screen of the middle of the fourteenth century. The eastaisle of the south transept is walled off and used as the library, and the west as the vestry.

A modern oak screen of graceful design, replacing a massive Norman screen ruthlessly destroyed in 1760, separates the octagon from theChoir, which we now enter. It will be remembered that the central tower fell and carried away three bays of the choir. Hence the work of these bays is later than the more eastern portion forming the presbytery, which was built by Bishop Northwold (1229-1254) in Early English style. The choir was erected by Bishop Hotham (1316-1337), and is a noble specimen of Decorated work. Between the choir and presbytery are fine Norman piers of the earlier choir. On the bosses of the roof we see figures of St. Etheldreda and the Virgin. The east wall is pierced by lancet windows, which are grouped in a most perfect manner. The stalls are splendid examples of Decorated work, and themiserereshave some curious grotesques. The fifty carved panels of scenes from the Old and New Testament are by Abeloos of Louvain, a modern wood-carver. The lectern is modern, and also the reredos. Of this eastern part Freeman says:—"Nowhere can we better study the boldly clustered marble pier with its detached shafts, the richly foliated capitals with their round abaci, the yet richer corbels which bear up the marble vaulting shafts, the bold and deeply cut mouldings of every arch great and small. Lovelier detail was surely never wrought by the hand of man."

On each side of the presbytery are some ancient monuments of especial interest. On the south side, beginning at the west, we see Bishop William de Louth (1298), a fine tomb of Early Decorated character; Bishop Barnet (1373), translated from Bath and Wells (the effigy has been lost); Tiptoft, Earl of Worcester, with his two wives, one of whom was the sister of "the King-maker," Earl of Warwick (this earl was one of the victims of Edward IV., and lost his head in 1470. He was a great patron of learning and art, and Fuller exclaims, "The axe did at one blow cut off more learning than was left in the heads of all the surviving nobility"); Bishop Hotham (1337), much mutilated. On the opposite side are the monuments of—Bishop Northwold (1254), which affords a good illustration of the ecclesiastical dress of the period (at the foot of the tomb is an interesting representation of the martyrdom of King Edmund, who shared the fate of St. Sebastian. Northwold was abbot of St. Edmundsbury before he came to Ely, hence the origin of the carving); a shrine, believed to be that of St. Etheldreda, ofDecorated design, probably constructed by Walsingham about 1340; Bishop Kilkenny (1286), who died in Spain, his heart being buried here; Bishop Redman (1505), a fine Perpendicular structure.

At the end of the north aisle is the chantry of Bishop Alcock (1500), a fine Perpendicular work in good preservation, though the figures which once adorned it were destroyed at the Reformation. He founded Jesus College, Cambridge, and built Ely Palace. On the east is the inscription, "Johannes Alkoc Epus Eliensis hanc fabriciam fieri fecit 1488." In this aisle are the supposed arm of Northwold's chair, which he brought from his abbey (the sculpture represents the wolf with St. Edmund's head in his paws), and the tombs of Bishop Marson (1771), Bishop Patrick (1707), and Basevi, architect of the Fitzwilliam Museum, Cambridge.

In the retro-choir are the monuments of Bishop Allen (1845), Canon Fardell (1819), Cardinal Louis de Luxembourg, Bishop, 1444, and an early muniment chest.

At the east end of the south aisle is Bishop West's chantry (1534), a beautiful chapel in the Late Perpendicular and Renaissance style. The carving is very elaborate, with delicate tracery. This Bishop was the champion and chaplain of Catherine of Arragon, Henry VIII.'s queen. Above his tomb, in seven small niches, are deposited the bones of six Saxon bishops and of Earl Bryhtnoth, killed by the Danes in 991, who exclaimed when he died, "God of Nations, I thank Thee for all the joy I have had in life." Here are the tombs of Bishops Woodford (1885), Sparke (1836), Keene (1781). In the south aisle are—an ancient gravestone of Norman date, representing Michael carrying to heaven the soul of a bishop, with the inscription, "St. Michael oret pro me"; Bishop Hotham (1337), Canon Selwyn (1875), Dean Steward (1557), last prior and first dean of Ely; Bishop Gunning (1684), author ofThe Prayer for All Conditions of Men; Bishop Goodrich (1554), a zealous reformer, destroyer of images and shrines, compiler of "Duties to God and Neighbour," in theCatechism; Bishop Heton (1609), Dean Tyndall (1614), and other monuments.

TheLady Chapelis a superb structure, with its beautiful sculptured work, one of the finest specimens of Decorated architecture in the kingdom in spite of the cruel mutilation to which it was subjected at the Reformation. It was completed in 1349, but the east window is a little later and shows evidence of the approachof the Perpendicular period. An arcade of sculptured canopies runs round the walls, of extremely delicate carving. The mythical history of the Virgin and of Julian the Apostate appear in the spandrels, and the bosses of the roof have some sculptured figures representing the Crucifixion, Ascension, Annunciation, the Virgin crowned, the Virgin and Elizabeth, and some which cannot be distinguished.

[My thanks are due to the Dean of Ely for his kind assistance in interpreting the history of the Cathedral which he knows and loves so well.]

Dimensions

Principal Building Dates

PLAN OF ELY CATHEDRAL

Norwich, the capital of East Anglia, is a delightful city, beautifully situated on the winding Wensum and full of the charm of the associations of mediæval times. The hill on which the castle stands carries our thoughts back to Saxon days, to King Uffa in the sixth century. Saxon, Dane and Norman held sway here. It was also the city of the Dutch. The cruelties of Alva sent Flemings and Walloons, who came with their silks and threads and worsteds and implements, and made the textile manufactures the glory and fortune of the county. Here kings kept their Christmas feasts, and in no less royal fashion did the old Dukes of Norfolk, when Norwich was the gayest of episcopal cities. Very independent were the turbulent burghers, who often contended with the monks and bishops for rights and privileges, as when in 1272 they quarrelled over the tolls of a fair, and sacked the Cathedral, and in 1549 when Kett the tanner raised his formidable rebellion, which was with difficulty subdued. Few cities can rival Norwich in the interest of its associations and the treasures of antiquity which here abound.

The Cathedral—Its History

The See of Norwich was created in Norman times, Dunwich, Elmham and Thetford having previously been the episcopal seats. In the time of Rufus there was a general transference of bishoprics to the larger towns, in accordance with a decree of a church synod, hence in 1094 Norwich had the honour conferred on it by Bishop Herbert de Losinga, who two years later commenced his Cathedral. This bishop obtained his preferment by simony, and it is said built the church in expiation of his crime. Beginning at the east end "he finished the church as far as the altar of St. William,"[19]which was on the north side of the present screen. This included the choir and transepts with the two chapels and two bays of the nave. His successor, Bishop Eborard, finished the nave. Herbertbuilt also a Bishop's Palace, and a monastery of Benedictine monks was attached to the Cathedral. A curious scene was witnessed here in 1144 when a number of Jews were tried for the ritual murder of the boy saint, St. William of Norwich, in Thorpe Wood, whom they cruelly tortured. The houses of the Jews were plundered, and in memory of the miracle-working boy a chapel was built on the scene of his murder, and a shrine erected in the Cathedral.

Fire played its usual destructive part here, as elsewhere, in 1171, and the church was repaired and perfected by Bishop John of Oxford in 1197. In the Early English period there seems to have been little progress, except the building of the Lady Chapel at the east end by Walter de Suffield (1244-1257), which was destroyed in the time of Queen Elizabeth. The entrance only remains.

Very stormy times befell the Cathedral at the end of the thirteenth century. The city was sacked by the revolting barons in 1266, and a few years later a dispute arose between the citizens and the prior about the right of tolls to a fair held in the Tombland at Whitsuntide, which were of much profit to the monastery. It was the same story which is told of many towns, the quarrels of the burghers and the ecclesiastics. In 1272 the disputants fell to blows, and some of the citizens were slain. They arrested some of the men of the monastery for murder, and an interdict was hurled by the prior against them. Moreover, he imported three barges-full of mercenaries who plundered the burghers' houses and killed and wounded many. Reprisals followed. The citizens stormed the Priory and Cathedral, routed and slew the monks and their mercenaries, set fire to the buildings, and pillaged the church. Such violence against the Church was then unheard of, and dire punishment was inflicted on the citizens of Norwich. The Pope excommunicated them, Henry III. deprived them of their liberties, and ordered 3000 marks to be paid towards the restoration of the Cathedral. New gates and gatehouses were erected by order of the Pope in order to prevent the renewal of such sacrilege, and St. Ethelbert's Gate was built at the close of the thirteenth century to guard the precincts. History concludes that the violence of the fierce prior was the main cause of the trouble, and not the obstinacy of the people. The work of restoration was immediately begun and the church reconsecrated in 1278 in the presence of King Edward I. and his queen and a grand assembly of bishops, knights and nobles, when Bishop Middleton was raised to the see. His successor, Bishop Ralph de Walpole, began to rebuild the cloisters, whichwere continued by Bishop Salmon, and form some of the largest and most beautiful in the country. Their style is mainly Decorated, but there is some Perpendicular work constructed in Bishop Wakering's time, who was a great persecutor of the Lollards (1416-1425). The chapter-house was erected by Walpole.

In the time of Edward IV. troubles sore oppressed the diocese. Bishop Anthony, who was of a violent and imperious spirit, rendered himself very obnoxious to the monks, and was poisoned by his servants, and six years later the Black Death is said to have carried off 50,000 inhabitants. This was in the time of Bishop Bateman, buried at Avignon, a mighty prelate who compelled the powerful Lord Morley to do penance in the Cathedral for killing the bishop's deer.

The lofty spire was blown down by a fierce hurricane in 1361, and rebuilt by Bishop Percy, who rebuilt also the clerestory. His successor, Henry de Despencer, was a very warlike prelate, who ruled with an iron hand. He crushed the revolting peasants in 1381, and fought in the Netherlands for Pope Urban VI. against the adherents of his rival, Clement. The vicissitudes of prelates were great in those days; both he and his successor, Totington, were imprisoned by the king. Bishop Alnwick (1426-1449) began to alter the west front, and Bishop Lyhart put in the large west window and built the rood-screen and vaulted the nave. During the rule of Bishop Browne (1436-1445) the quarrel between the burghers and the monks again broke out, and the former besieged the monastery, for which conduct the king deprived them of their rights and liberties. A fire occurred in 1463, caused by lightning striking the spire, and did much damage to the presbytery, which was restored by Bishop Goldwell (1472-1499), who also finished the spire. Fire again did much damage in 1509 during the rule of Bishop Nykke or Nix (1501-1536), whose reputation was not so unblemished as his name (snow). The transept roof was destroyed, which Nykke rebuilt in stone. The dissolution of monasteries soon followed in 1538, and Norwich shared the fate of the rest. The Cathedral foundation was renewed, the last prior being made the first dean. The church suffered from the usual acts of spoliation and desecration at the hands of the Commissioners of Edward VI. and the Puritans. Dean Gardiner (1573-1589) destroyed the chapter-house and the beautiful Lady Chapel. Bishop Hall (1641-1656) thus alludes to the misdeeds of the Puritans:—

"It is tragical to relate the furious sacrilege committed under the authority of Lindsey, Tofts the sheriff, and Greenwood; what clattering of glasses, what beating down of walls, what tearing down of monuments, what pulling down of seats, and wresting out of irons and brass from the windows and graves; what defacing of arms, what demolishing of curious stone-work, that had not any representation in the world but the cost of the founder and the skill of the mason; what piping on the destroyed organ pipes; vestments, both copes and surplices, together with the leaden cross, which had been newly sawn down from over the green yard pulpit, and the singing books and service books were carried to the fire in the public market place; a lewd wretch walking before the train, in his cope, trailing in the dirt, with a service book in his hand, imitating in an impious scorn the tune, and usurping the words of the Litany; the ordnance being discharged on the guild day, the cathedral was filled with musketeers, drinking and tobaccoing, as freely as if it had turned ale-house."

The citizens joined eagerly in the work of spoliation and burned in the open market, by order of the court of assembly, "Moses and Aaron, and four Evangelists that came from the Cathedral, and some other superstitious pictures."

The Restoration of the Monarchy caused the restoration of the Cathedral. A new organ and church plate were presented, and since that time much restoration has taken place, which has greatly enhanced the glory and beauty of this ancient House of God.

The Exterior

We enter the Cathedral precincts by the Erpingham Gate, built by Sir Thomas Erpingham, a knight who fought at Agincourt, and is mentioned by Shakespeare (Henry V., Act IV). The style is Early Perpendicular. Notice the figures of saints in the arch moulding, the donor's kneeling figure in the niche above the arch, his arms and those of his two wives on the buttresses, and the wordYenk(think) on the shafts. The other gates are that of St. Ethelbert, Early Decorated, much restored, built by the citizens in expiation of their sacrilege in 1272, and the Bishop's Gate leading to the Palace, built by Bishop Alnwyck in Early Perpendicular style.

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