Chapter II: Part 2

1758. Hugh Thomas, D.D., Master of Christ's College, Cambridge.

1780. William Cooke, D.D., Provost of King's College, Cambridge.

1797. William Pearce, D.D., Master of Jesus College, Cambridge.

1820. James Wood, D.D., Master of St. John's College, Cambridge.

1839. George Peacock, D.D., Lowndean Professor of Astronomy, Cambridge.

Extensive repairs and restorations were commenced in 1844.

1858. Harvey Goodwyn, D.D. In 1869, Bishop of Carlisle.

1869. Charles Merivale, D.D., D.C.L.

* * * * *

_Arms of the Deanery_--Gu. three keys or. These were the arms of Ethelwold, Bishop of Winchester, and from him assumed as the arms of the monastery.

* * * * *

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

* * * * *

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

A Parochial Service at 6 30, p.m.

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

+List of Clergy and Officers.+

_Dean._

The Very Rev. CHARLES MERIVALE, D.D., D.C.L. 1869.

_Canons._[16]

Thomas Jarrett, M.A.[17] 1854. Benjamin Hall Kennedy, D.D.[18][19] 1867. William Emery, B.D.[20] 1870. Edward Clarke Lowe, D.D.[21] 1873. Herbert Mortimer Luckock, D.D. 1875. Frank Robert Chapman, M.A. 1879.

[Footnote 16: All have Residences.]

[Footnote 17: Annexed to the Regius Professorship of Hebrew in the University of Cambridge.]

[Footnote 18: Annexed to the Regius Professorship of Greek in the University of Cambridge.]

[Footnote 19: Proctor for the Chapter in Convocation.]

[Footnote 20: Vice Dean.]

[Footnote 21: Treasurer.]

_Honorary Canons._

William Bonner Hopkins, B.D., 1865. Samuel Blackall, M.A. 1866. Wm. Hepworth Thompson, D.D. 1867. Thomas Tylecote, B.D. 1867. George Heathcote, M.A. 1868. Alexander Ronald Grant, M.A. 1868. Frederick Bathurst, M.A. 1869. John Scott, M.A. 1869. John Parker Birkett, M.A. 1870. Charles Gray, M.A. 1870. Thomas Rawson Birks, M.A. 1871. Francis Gerald Vesey, M.A. 1871. Thomas Ed. Abraham, M.A. 1872. Jeremiah W. Haddock, M.A. 1872. C.W. Underwood, M.A. 1875. Hon. A.F. Phipps, M.A. 1875. G. Bulstrode, M.A. 1876. H.I. Sharpe, M.A. 1876. J.W. Cockshott, M.A. 1877. C. Brereton, M.A., B.C.L. 1877. J.H. Macaulay, M.A. 1878. W.T. Harrison, M.A. 1880. W.M. Campion, M.A. 1880.

_Head Master of the Grammar School_--Rev. R. Winkfield, M.A.

_Second Master_--Rev. C. Bokenham, M.A.

_Precentor, Sacrist, and Prælector Theologicus._--W.E. Dickson, M.A., 1858.

_Minor Canons._

George Hall, M.A. 1852. William Edward Dickson, M.A. 1858. John Franey, M.A. 1870. George Simey, M.A. 1874.

_Chaplains._

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

_Librarian_, George Simey, M.A., 1874.

_Chapter Clerk and Registrar_--W.J. Evans, Esq., Ely.

_Master of the Choristers, and Organist_--Edmund Thomas Chipp, Mus. Doc.

Eight Lay Clerks and Eight Choristers, and Twelve Supernumeraries.

The Choristers are educated in a School within the College, maintained by the Dean and Chapter. _Master_--Henry Jackman, Battersea College.

_King's Scholars_--Twelve on the Foundation.

_Sub-Sacrists and Vergers_,--William Henry Southby; Henry Stone White.

_Bedesmen_--Six on the Foundation.

_Clerk of the Works_--Mr. R.R. Rowe.

+The Cathedral.+

"Without--the world's unceasing noises rise,
Turmoil, disquietude, and busy fears.
Within--there are sounds of other years,
Thoughts full of prayer, and solemn harmonies."

_The Cathedral._

+The West Front.+

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

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

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

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

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

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

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

[Footnote 22: Hewitt's description of Ely Cathedral, p. 13.]

+The Galilee[23] or Western Porch.+

[Footnote 23: The name "Galilee" is thus accounted for by the late Rev. G. Millers in his "Description of Ely Cathedral," p. 43. "As Galilee, bordering on the Gentiles, was the most remote part of the Holy Land from the Holy City of Jerusalem, so was this part of the building most distant from the sanctuary, occupied by those unhappy persons, who, during their exclusion from the mysteries, were reputed scarcely, if at all better than heathens."

Another writer gives as a reason for the name, that upon a woman applying for leave to see a monk, her relation, she was answered in the words of Scripture, "Behold he goeth before you into Galilee, there you shall see him."]

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

[Footnote 24: Stewart, p. 53.]

[Footnote 25: Mr. Scott's Lecture.]

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

[Footnote 26: Parker's "Introduction to the study of Gothic Architecture," p. 91.]

+The Interior of the Tower+

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

[Footnote 27: At the time these works were in progress (Oct., 1845), Mr. Bassevi, the eminent architect of the Fitzwilliam Museum, at Cambridge, visited the Tower, and unfortunately fell from one floor to another, and was killed. He was buried in the north aisle of the Choir, and an elegant monumental brass, by Messrs. Waller has been laid over his remains.]

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

* * * * *

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

"Where through the long-drawn aisle and fretted vault
The pealing anthem swells the note of praise."--_Gray_.

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

+The South-west Transept+

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

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

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

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

[Footnote 28: A font, the gift of Dean Spencer, in 1693, formerly stood under the third arch on the south side of the Nave, but having no accordance in style with the architecture of the building, it has been removed, and placed in a newly erected church at Prickwillow, near Ely.]

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

The east window, representing the Baptism of our Lord, by
John, after a picture by Bassans; given by the Rev. W.G.
Townley, of Upwell, Norfolk, as a memorial of his brother,
R.G. Townley, Esq., of Fulbourn, for several years one of
the representatives of the county in Parliament.

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

We now proceed on our course, and enter

+The Nave,+

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

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

[Footnote 29: Bishop Turton by his will left the sum of £500 towards this object, and Bishop Harold Browne gave a like sum towards the completion of the paving of the Nave and aisles.]

[Footnote 30: A portion of the expense of this work was defrayed by a bequest by the Rev. G. Millers, a Minor Canon, augmented by the liberality of his Executors to £400.]

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

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

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

[Footnote 31: In the key to the ceiling as represented in the two following pages, we have placed the words of the legends under the principal subjects, and the contents of the scrolls under the names of the persons represented.]

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

[Transcriber's Note: In the original book, the following text in brackets is placed sideways along the right and left sides of a box around the rest of the text. The top and bottom of the box are represented here by a line of asterisks.]

[The heads forming the border represent the human ancestors of our Lord, according to the genealogy in St. Luke's Gospel; they commence at the Eastern end, and terminate at the Western, thus linking together the Glorified Manhood, as exhibited in the last of the pictorial representations, with the Creation of Man in the first.]

* * * * *

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

12.

THE LORD IN GLORY.

'I am the root and the offspring of David, and the bright
and morning star.'

11.

THE ADORATION OF THE SHEPHERDS AND OF THE MAGI.

'Unto us a child is born: Gentiles shall come to thy light,
and Kings to the brightness of thy rising.'

| 10. |
ST. MATTHEW. | THE NATIVITY. | ST. LUKE.
| 'The Word was made flesh, |
ST. MARK. | and dwelt among us: full of | ST. JOHN.
| grace and truth.' |
| |
| |
MALACHI. | 9. | ZEPHANIAH.
'The Sun of | THE ANNUNCIATION. | 'The Lord their God
Righteousness shall | 'A Virgin shall conceive and | shall visit them.'
arise.' | bear a Son, and shall call |
| his name Immanuel.' |
| |
ZECHARIAH. | | NAHUM.
'I will bring forth my | 8. | 'Him that bringeth
servant the Branch.' | DAVID. | glad tidings.'
| 'Of the fruit of thy body |
JEREMIAH. | shall I set upon thy | EZEKIEL.
'Unto David a | throne.' | 'My servant David
righteous Branch.' | | shall be a Prince.'
| 7. |
| JESSE. |
DANIEL. | 'There shall come forth a | HAGGAI.
'He shall confirm the | rod out of Jesse, and a | 'The desire of all
covenant.' | branch shall grow out of | nations shall come.'
| roots.' |
| |
| 6. |
MICAH. | THE MARRIAGE OF RUTH. | ISAIAH.
'Out of thee, | 'The Lord make the woman | 'There shall come a
Bethlehem, shall He | like Rachel and Leah. Be | rod out of the stem
come forth.' | thou famous in Bethlehem.' | of Jesse.'
| |
| 5. |
AMOS. | JACOB'S DREAM. | HOSEA.
'I will raise up the | 'In thee and in thy seed | 'O Grave I will be
tabernacle of David.' | shall all the families of | thy destruction.'
| the earth be blessed.' |
| |
| 4. |
JONAH. | ISAAC CARRYING THE WOOD. | JOEL.
'Thou hast brought up | 'Behold the fire and the | 'I will pour out my
my life from | wood, but where is the burnt | spirit upon all
corruption.' | offering? | flesh.'
| |
| 3. |
MOSES. | NOAH'S SACRIFICE. | NATHAN.
'The Lord shall raise | 'I do set my bow in the | 'I will stablish
up a prophet like unto | cloud, to be a token of | the throne of His
me.' | covenant between me and the | kingdom.'
| earth.' |
| |
| 2. |
JOB. | THE FALL OF MAN. | BALAAM.
'I know that my | 'Her seed shall bruise thy | 'There shall come a
Redeemer liveth.' | head, and thou shalt bruise | star out of Jacob.'
| his heel.' |
| |
| 1. |
ABRAHAM. | THE CREATION OF MAN. | JACOB.
'My son, God will | 'Which was the son of God.' | 'The sceptre shall
provide himself a | | not depart until
lamb.' | | Shiloh come.'

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

* * * * *

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

Before proceeding further eastward we will examine the

+Nave Aisles,+

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

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

[Footnote 32: A new door, with scrollwork in iron, has been put in at the cost of the Bedfordshire Archæological Society.]

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

"LUCEM-TUAM-OVINO-DA-DEUS-ET-REQUI[=E].-AMEN."

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

[Footnote 33: Bentham's History, i. 45, &c.]

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

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

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

_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; Samuel
presented 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 Part
of the Nave of This
Church Was
paved._"

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

+The Great Transept.+

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 Simeon A.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 under the 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.

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 and
Hughes--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 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 each column 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 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.

+The Octagon.+

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 of a 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.

[Footnote 34: He was made Sub-Prior, then Prior, and elected Bishop, A.D. 1344, but the election was not confirmed.]

"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 period of 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:--

{ St. Matthew--box.
S.E. { St. John--chalice and dragon.
{ St. James, minor--club.

{ St. Philip--small cross.
S.W. { St. Paul--sword.
{ St. Bartholomew--knife.

{ St. Thomas--mason's square.
N.W. { St. Peter--keys.
{ St. Andrew--cross.

{ St. Jude--spear.
N.E. { St. James, major--pilgrim's staff.
{ St. Simon--saw.

[Footnote 35: These were contributed by the Bishop of Carlisle (5), Dr. Kennedy, Sir G.G. Scott, Captain Horton, Canon Underwood, and others.]

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; it is 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.