NORTH-WEST ARCH.--S. Etheldreda's second marriage. Her taking the veil at Coldingham.

NORTH-EAST ARCH.--Her staff taking root. Her preservation in the flood at S. Abb's Head.

SOUTH-EAST ARCH.--Her installation as Abbess of Ely, Her death and burial (two scenes).

SOUTH-WEST ARCH.--One of her miracles. Her translation.

All these incidents have been sufficiently explained in the chapter on the history of the building, with the exception of the seventh. The authority for this is the "Liber Eliensis." A man named Brytstan,[5]

being ill, had vowed that if he were restored to health he would become a monk. Upon his taking steps to carry out this intention he was charged with seeking refuge in a monastery simply to escape the consequences of robberies of which he had been guilty in his business. After trial at Huntingdon he was condemned and put in chains in prison in London. After continuous prayers for the intercession of S. Etheldreda and S.

Benedict, these two saints appeared to him, and the latter drew the links of the chain apart and set the prisoner free. The miracle came to the knowledge of Matilda, Henry I.'s queen, and investigations followed, which resulted in the release of Brytstan, and he was conducted to Ely with manifestations of joy. Some have thought that the ribands still to be bought at the stalls at the annual fair, and known as "S. Audrey's laces," are a reminiscence of this legend, and that they represent the chains from which Brytstan was delivered. But the more probable explanation is that they refer to the disease that afflicted S.

Etheldreda, a swelling in the neck, which she held to be a fit punishment for the vanity of her youthful days, when she was fond of wearing necklaces and jewels. "Saint Audrey's laces" became corrupted into "Tawdry laces"; and so the adjective has been applied to all cheap and showy pieces of female ornament.

Special attention may be given to some points in the sculpture of these corbels, every one of which is worthy of careful study. In (1) notice the figure of Ovin, previously named as the steward, bearing an official staff, or perhaps a sword. In (2) the surrender of royal dignity is signified by the crown placed on the altar. In (3) the leaf-bearing staff has an abundance of conventional foliage. In (5) Wilfrid bears a simple pastoral staff, and not an archbishop's cross, as in previous scenes--a point to which Dean Stubbs calls attention as indicating the historical accuracy of the designer, because in former scenes the archbishop is represented in his own diocese, while here he is a simple bishop in banishment. In (6) there is a dignified figure--probably S.

s.e.xburga--standing behind the priest who is ministering to the dying abbess. In (7) the kneeling figure is S. Benedict handling the fetters.

Until the plain colour-wash with which the vault had been covered was removed in 1850 there was no knowledge of what had been the character of the original decoration. Traces of colouring were then discovered, and in some places geometrical designs, but there was no evidence of anything very elaborate. The whole of the present decoration forms accordingly an entirely new design; it is by Mr. Gambier Parry, who himself painted the princ.i.p.al figures. The central boss of the lantern is carved in oak, and is original; only its painting is new. All the remaining figures are wholly new. Groups of seraphim, bands of heavenly minstrels bearing all kinds of ancient musical instruments, monograms, and sacred emblems, all combine to give a rich variety.

[Ill.u.s.tration: THE SOUTH TRANSEPT.

_Photochrom Co. Ltd. Photo._]

#The Transepts.#--The architectural student will find the transepts of the greatest interest; as in them is to be seen the earliest work in the cathedral. They are similar in general character to those at Winchester, which were built by Abbot Simeon's brother. The transepts at Winchester were ready for consecration in 1093, and this was seven years before Simeon came to Ely. The triforium is probably only in part Simeon's work; and the clerestory was almost certainly added by his successor. Both transepts have aisles, but in the south transept the western aisle is walled off. Along the western wall in the north transept is a stone bench. The square capitals of the piers here have indentations at the corners, and this is an early example of such indentation. Some slight ornamentation may be noticed in the cushions of the capitals, especially in the south transept, where there are traces of ancient colouring. The three chapels to the east of the north transept are divided by walls, and two have wooden screens. One of these has been restored by Professor Stanton for use as a chapel for early celebrations and for private devotion. Some early paintings on the vaulted roof, representing the martyrdom of S. Edmund, are sufficient to justify this being called S. Edmund's chapel. It is probable that this was the Chantry on the Green (so called from the place of residence of the four chaplains) founded by Bishop Northwold. The screen in front of this chapel is exceedingly light and graceful; it dates from about 1350. At one time it is said to have been in the south transept, and afterwards where it now stands; it was removed in 1865, but is now replaced. In the south transept the whole of the eastern aisle is walled off for the library. In the plan in Bentham's History, 1770, only the single bay to the south is marked as the library. The walls of part.i.tion between the chapels were taken down in 1814. The western aisle has always been separated by a low wall of Norman date, possibly a little later than the adjacent piers; this wall has an intersecting arcade of round arches, with a string of chevrons above. This aisle is used as a vestry. Within is the ancient Norman vaulting; and there are some good original windows, which cannot be seen from without except from the Deanery gardens. From the devices on the late Perpendicular door it is clear that it belonged to some church erected by Bishop Alc.o.c.k; it was only brought here from Landbeach about fifty years ago.

[Ill.u.s.tration: THE NORTH TRANSEPT.

_Photochrom Co. Ltd. Photo._]

The triforium and clerestory ranges are almost identical with those in the nave. In the south transept the western windows of the triforium have been altered into three-light Perpendicular windows. The roofs of both transepts have been raised, but it is not known at what time. At the north end are two large windows of good Perpendicular character; at the south is a single window of seven lights, of very singular design.

At the ends of the transepts are two original galleries, level with the triforium, supported on round-headed arches. On the north are five arches, not of equal height, the two most lofty of which reach nearly to the triforium level. On the south are six much lower arches, and above them is a blank arcade of intersecting arches. In the floor of the south transept are laid some very remarkable ancient tiles.

[Ill.u.s.tration: THE CHOIR SCREEN.

_Photochrom Co. Ltd. Photo._]

#The Choir# and #Presbytery#--A beautiful screen of oak, with bra.s.s gates, designed by Scott, divides the choir from the octagon. It is of early geometric character; and if there had been an original screen of this design it would have been intermediate in date between the presbytery and the choir. The tracery is very graceful. A rich cresting runs along the top, cut through by the gable over the gates, which bears a terminal cross. On both sides the small niches have statuettes.

[Ill.u.s.tration: ELEVATION OF THE BAYS OF THE PRESBYTERY.

(_for exterior see p. 55._)]

The choir, of three bays, is the work of Bishop Hotham. The last six bays are the work of Bishop Northwold, and form the presbytery. In the present arrangement seven of these nine bays form the ritual choir, and two form the retro-choir. The difference in date between the presbytery and choir may be roughly taken as very nearly a hundred years. The former had been begun in 1240; the latter was nearly finished in 1340.

In the juxtaposition of these two magnificent specimens of the Early English and Decorated periods of architecture there is an opportunity of comparison which on such a scale occurs nowhere else. It is to be remembered that in neither case is the treatment of the upper part quite in accordance with the usual practice of the period. When the presbytery was being built there were still standing east of the central tower the four original bays of the Norman choir. These, it may be a.s.sumed, were very similar in character to those in the nave. There would, beyond question, have been in each bay large triforium arches, each with a couple of subordinate arches; and a single window in the clerestory with a blank arch on each side. Bishop Northwold's work was purposely made to correspond with these bays as far as Early English work could do so; and when after the fall of the tower it became necessary to rebuild the choir, Bishop Hotham in like manner made his Decorated work correspond with the Early English presbytery. The choir is, as would be expected, richer in detail as well as more elaborate in design; and it would be difficult to find in England anything to surpa.s.s the tracery of the clerestory windows and triforium arches, the beautiful cusped inner arches of the clerestory range, the open parapets at the base of the two stages, or the long corbels, covered with foliage, that support the vaulting shafts. In the choir the clerestory windows have four lights each; in the presbytery are triplets. The old colouring has been renewed throughout. On the north side of the choir the three bays are precisely alike; but on the south there is a variation in the tracery of the western triforium arch. There are also shields of arms (of the See of Ely and of Bishop Hotham) in the spandrels of the triforium and arch below; and the shaft between this arch and the next is enlarged at the top into a base for a statue (probably of S. Etheldreda); while level with the string above is a very fine large canopy (called by the work-men "the table"), which is like nothing else in the cathedral. The clerestory windows also on the south have different tracery.

[Ill.u.s.tration: THE CHOIR, LOOKING WEST.

_Photochrom Co. Ltd. Photo._]

The difference between the two styles of architecture is well marked in the groining of the roof, the Decorated portion being much more elaborate. Some of the bosses are very remarkable: one has S. Etheldreda with pastoral staff; one has the coronation of the Virgin Mary; one has the foundress bearing the model of a church, in which (as Dean Stubbs has pointed out) both arms of the western transept are represented, so that it is a fair inference that at the time this roof was constructed the whole of the western transept was standing.

[Ill.u.s.tration: THE TRIFORIUM OF THE CHOIR AND PRESBYTERY.

_Photochrom Co. Ltd. Photo._]

Between the choir and presbytery there rise the ma.s.sive Norman piers built as the entrance to the apse; and these are the only remains of the Norman church east of the octagon. Since the careful examination of the foundations here, made by Professor Willis in 1850, it is not thought certain that the apse was actually built. The foundations of the apse were very manifest, and the design did not include a pa.s.sage round it; but there was also clear evidence that the apsidal foundation was altered into a straight wall of the same thickness, and the probability is that before the apse was built "it was resolved to convert it into a square-ended presbytery, such as we now see at Oxford Cathedral and St. Cross."[6]

[Ill.u.s.tration: THE CHOIR STALLS: NORTH SIDE.

_Photochrom Co. Ltd. Photo._]

The two most western triforium arches in the presbytery are glazed, the roof of the triforium itself being wholly removed. The object of this alteration has been fully explained in the account of the exterior of the cathedral. On the ground beneath were the shrines; and under one of the arches was erected, not long afterwards, the monument of Bishop Barnet, in whose time and at whose expense the alteration was made.

The arrangement of the lancets at the east end is even more effective within than without. The east end of Ely, says Professor Freeman, "is the grandest example of the grouping of lancets.... Ely is also undoubtedly the head of all east ends and eastern limbs of that cla.s.s in which the main body of the church is of the same height throughout, and in which the aisles are brought out to the full length of the building."[7]

It will hardly be believed that the magnificent stalls which were formerly ranged in the octagon, and at a later period in the presbytery, were once painted all over with a mahogany colour. They are the finest Decorated stalls in England, the beautiful ones at Winchester being of late thirteenth-century date. The carved panels in the upper parts are new, and are the gifts of individual donors. They were executed in Belgium. It is not known how these s.p.a.ces were originally filled; Mr. le Strange thought possibly with heraldic devices. The designs on the south are from the New Testament, those on the north from the Old Testament The seats in the lower range are also modern, as are the various statuettes at the Stall ends, which represent the builders of the most important parts of the fabric. On the misereres of the ancient stalls are some wonderful grotesque carvings. The bra.s.s eagle lectern has been copied, as to its main features, from an ancient example at Isleham. The organ is in the triforium, on the north, and part of the case projects over the easternmost arch of the choir.

The reredos is the first example in modern cathedral work of the elaborate style of decoration for the most holy part of the sanctuary, which is now not uncommon. It was the gift of Mr. John Dunn Gardner, of Chatteris, and was designed by Scott. It forms the central portion of a screen of stone which extends for the whole width of the presbytery. The lower part of the whole is of deeply cut diaper-work; the upper part has an open arcade of six arches, each with a mullion and tracery in the early Decorated style. The reredos itself is of alabaster, and consists of five main arches under canopies, and with tracery, and is ornamented with a rich abundance of mosaic work, panels, medallions, statuettes, twisted columns, and various kinds of carving. Five scenes from the last days of our Lord's life on earth are carved in relief under canopies beneath the chief arches. A full description, giving all the details of the sculpture, and the materials of the mosaic, and the different persons and emblematic graces represented by the busts and figures, would require more s.p.a.ce than we can give. The altar cross, of silver gilt, is in memory of Bishop Woodford.

[Ill.u.s.tration: THE REREDOS.

_Photochrom Co. Ltd. Photo._]

[Ill.u.s.tration: THE LADY-CHAPEL.

_Photochrom Co. Ltd. Photo._]

#The Lady-chapel.#--Notwithstanding the cruel mutilation of the sculpture all round this chapel, it can be seen that for perfection of exquisite work there is no building of the size in this country worthy for one moment to be compared with this in its unmutilated state. Its single defect strikes the beholder at once: the span of the roof is too broad and the vaulting too depressed for the size of the chapel. The windows, of which those on the north have been restored, have already been described. The end windows, which are of great size, are of later date; that to the east has a look of Transition work about it. The building was finished in 1349, and the east window was inserted by Bishop Barnet, _circa_ 1373. For a possible explanation of the insertion of this window, only a quarter of a century after the completion of the chapel, see _ante_, p. 52. It is not thought probable that the original designers left anything incomplete. The great beauty of the interior consists in the series of tabernacle work and canopies that runs round all the four sides below and between the windows. The heads of the canopies project. In the tracery beneath, at the head of the mullion, was a statue. The delicate carving of the cusps and other tracery is varied throughout. On the spandrels were incidents connected with the history of the Virgin Mary (mainly legendary) and of Julian the Apostate; and though in no single instance is a perfect uninjured specimen left, yet enough remains, in all but a few cases, for the original subjects to be identified.[8] All was once enriched with colour, and many traces remain; and in various parts of the windows there are fragments of stained gla.s.s. Most of the monumental tablets which once disfigured the arcade below the windows have been happily removed into the vestibule. The arches and canopies at the east end are arranged differently from those on the sides. In the roof, which reminds us of the contemporary roof in the choir, are some carved bosses, not large, but singularly good. Among the subjects can be recognised a Crucifixion, with half-figures beside the cross; Adam and Eve; the Virgin Mary and Elizabeth, holding between them a book inscribed "Magnificat"; the Annunciation, with "Ave Maria Gracia plena"; the Ascension, indicated by the skirt and feet of the Saviour and five heads of apostles; the coronation of the Virgin; and the Virgin in an aureole.

[Ill.u.s.tration: DOORWAY OF THE LADY-CHAPEL.

_Rev. T. Perkins Photo._]

The arrangements for worship present an appearance very unlike those of sixty years ago. A writer in 1876, writing of his early recollections, says: "When I first knew Ely the state of the lady-chapel--then, as now, used as a parish church--was so miserable from decay, violence, and neglect, that it was simply painful to enter it." ... Now, "well-designed benches have replaced the mean deal square pews, the whitewash and yellow-wash which thickly clogged the carving has been removed, the windows have been repaired and made water-tight, and the altar and its adjuncts made to a.s.sume an air of reverent dignity."

We do not remember to have anywhere seen an explanation of the fact that this chapel is now used as the parish church of Holy Trinity parish; whereas the old church, the destruction of which occasioned the appropriation of the lady-chapel to parochial use, was dedicated to S.

Cross.

#Monuments And Stained Gla.s.s#--It is convenient to treat the monuments as a separate subject, so as not to break the continuity of the architectural description. We will commence at the west, proceeding along the north aisle, and so round the cathedral, pointing out those that have anything of special interest.

Against the blocked doorway which gave access to the church of S. Cross is placed an altar-tomb to the late Bishop Woodford (see below, p. 129).

The figure of the bishop is vested in cope and mitre, and has a pastoral staff. The Crucifixion is on the wall at the back. There are several shields of arms relating to the bishop's career or to the cathedral history: among these are those of the Merchant Taylors' Company, at whose school he was educated; Pembroke College, Cambridge, of which he was a member; and of other colleges at Cambridge founded by bishops of Ely. Three tablets in this north aisle, near the transept, record donations towards the re-paving of the nave and aisles in 1676, 1869, and 1873.

There is no monumental memorial in the nave. But the large slab of marble in the centre, just in front of the position of the old rood-loft, which has been already referred to as traditionally marking the grave of Alan de Walsingham, should be noticed.

Under the four arches of the presbytery on the north, between the stalls and the altar, are monuments of great importance. First we see that of Bishop Redman (d. 1505), a very fine specimen of enriched Perpendicular work. The mitred figure of the bishop is on an altar-tomb beneath a richly groined roof, and a s.p.a.ce is left at the feet, where a priest might stand to pray for the soul of the deceased prelate.[9] There are grand canopies on the sides, with crockets and coloured shields bearing emblems of the Crucifixion, the arms of the See of Ely and of S. Asaph, where Bishop Redman was at first; but the arms of the See of Exeter, from which diocese he came to Ely, as now used, are not to be seen.

Above the roof is fine open screen-work, and against the adjoining piers, east and west, are large canopied niches.

Next to this is the effigy of Bishop Kilkenny (d. 1256), a fine example of Early English. The figure has cope, mitre, and staff. The bishop's heart only was buried here.

[Ill.u.s.tration: THE NORTH CHOIR AISLE.]

In the next arch is a large Decorated structure of two stories, believed by Scott to have been built by Walsingham as the base for the shrine of S. Etheldreda. It was formerly known as Bishop Hotham's shrine, and his effigy was placed beneath it. The lower story is open.

In the arch north of the altar is the tomb of the builder of the presbytery, Bishop Northwold (d. 1254). He is represented in full vestments. At the east of the tomb is a curious carving, apparently meant for the martyrdom of S. Edmund. A king naked above the middle, except for his kingly crown, is tied to a tree and pierced by arrows; archers with drawn bows are behind; at one end the king has his head, still crowned, in his hands, with a figure bearing a sword over him; at the other side is either the wolf of the legend or an evil spirit in animal shape.

In the aisle itself are several memorials, mostly of the eighteenth century, that call for no special mention. The latest is the bra.s.s to Mr. Basevi, 1845.

At the east end of the aisle is the #Chapel Of Bishop Alc.o.c.k# (d.

1500). The date, 1488, is fixed precisely by the inscribed stone now placed in the wall above a small stone altar. The stone in the wall has five crosses, as though intended for a chantry altar, but the slab of the altar beneath has no crosses. The inscription is, "Iohanes Alkoc epus Eliesis hanc fabricam fieri fecit M cccc iiij(xx) viij." The sides of the chapel are covered with niches, canopies, crockets, panels, and devices. The roof has fan tracery with a ma.s.sive pendant. A singular little chantry is at the north, access to which is through a door at the foot of the bishop's tomb. In a small window here is a little contemporary stained gla.s.s. The bishop's rebus--a c.o.c.k on a globe--repeatedly occurs in the stone-work. The ornamentation strikes the spectator as being excessive and too profuse. No figures have been replaced in the niches.