Chapter III: Part 3

The window in the north-east angle, in continuation of the
same design, contains in the upper tier figures representing
St. Withburga, St. Edmond, St. Werberga, fourth abbess of
Ely, and Archbishop Dunstan. In the lower tier, Bishop
Ethelwold; Brithnoth, Duke of Northumberland; Abbot
Brithnoth, and King Edgar. The tracery contains the arms of
the University of Cambridge, with other figures and devices:
contributed by subscriptions from the Bachelors and
Undergraduates of the University of Cambridge.

The window in the north-west angle also contains eight
representative figures, viz., in the upper tier, (reading
from right to left) are William I., Henry I., Henry III.,
and Edward II.; and under these, Abbot Simeon, who commenced
the present Cathedral; Harvey, the first Bishop of Ely;
Bishop Northwold, who erected the Presbytery; and Alan de
Walsingham, the skilful architect of the Octagon. The
tracery contains medallions in which are pictured the
shrine of St. Etheldreda; Abbot Simeon laying the foundation
stone of the Cathedral; Alan de Walsingham and monks weeping
over the ruins of the central tower; the arms of the
University of Cambridge, of the See of Ely, of Bishop
Sparke, with other devices. Half the cost of this window was
defrayed by subscriptions from some graduates of the
University of Cambridge, and the other half by a portion of
the accumulation of the money given by Bishop Sparke[36] for
the east window.

[Footnote 36: Bishop Sparke gave £1500 stock in the Reduced
Three per cents. about 1833, but the east window was not
completed until 1857; the amount had in the mean time
accumulated considerably, and proved sufficient to defray
the cost of the east window, of six windows in the
clerestory of the Choir, of the four windows of the
triforium of the Presbytery, and half the cost of the
north-west window of the Octagon.]

The window in the south-west angle also contains eight
figures in the four principal lights, arranged in the
following order--the Queen in her coronation robes; the
Prince Consort in his robes as Chancellor of the University
of Cambridge; and under these are represented Dr. Turton,
the then bishop, and Dr. Peacock, the then dean of Ely;
these figures being commemorative of the present extensive
restorations: the other four represent King Edward III. and
his queen Philippa, in whose reign the Octagon was built;
and under these, Bishop Hotham and Prior Crauden, the great
officers of the Cathedral at that period. The tracery
contains the arms of the University of Cambridge in the
centre, and on either side the arms respectively of those
whose figures are represented in the window. The cost of a
portion of this was graciously defrayed by Her Majesty;
Bishop Turton and Dean Peacock gave the cost of their own
figures respectively, and the remainder was paid by the
capitular body.

Midway up each vaulting shaft is a canopied niche of unusual but very beautiful character; these niches rest upon sculptured corbels representing some striking incidents of St. Etheldreda's life, by beginning at the right-hand side of the north-west arch, and continuing our course to the right-hand round the Octagon, we may examine them in detail.

The first represents her marriage.

The second, her taking the veil at the Monastery of
Coldingham at the hands of Wilfred, bishop of York; her
crown laid upon the altar.

The third, her pilgrim's staff taking root and bearing
leaves and branches over her whilst she slept by the way.

The fourth, her preservation, with her attendant nuns, on a
rock surrounded by a miraculous inundation, when pursued by
the king and his attendants.

The fifth, her installation as abbess of Ely, by Wilfred.

The sixth, her death and burial.

The seventh, a legendary tale of one Brithstan delivered
from bonds by her merits.

The eighth, the translation of her body.

These were probably placed there to break the apparent great preponderance of vertical lines. The vaulting is of wood, and its fan-shaped compartments terminate at a distance from the centre, thus allowing an aperture thirty feet wide, over which rises the Lantern, an exact octagon, having on each of its sides a large pointed window of four openings with rich tracery, all filled with stained glass, which has the effect of subduing the light; below these windows are a series of panels with decorated heads, and under them another series of smaller ones; above the ceiling is a chamber formerly used for bells. The Lantern also is of English oak, and its construction a curious piece of carpentry. The whole has been thoroughly repaired, and in a great measure restored in exact conformity with the original, at a considerable expense.[37]

[Footnote 37: This great work is designed as a memorial of Dean Peacock, and a more fitting one could scarcely be found, as it is one of the great works he had in contemplation. "The Dean and Chapter felt that they could not propose any record of the zealous exertions of the late Dean, so appropriate as the restoration of the central portion of the Cathedral Church; which, after the great improvements executed under his superintendence in the eastern and western portions of the fabric, would form as it were a keystone of the whole work." Subscriptions amounting to about £10,000, were given by many noblemen as well as other friends of Dean Peacock; the capitular body contributing very largely towards the work.]

When the white and yellow-wash was cleared away from the woodwork of the Octagon and Lantern in 1850, some remnants of ancient colouring were discovered. In the archives of the Cathedral are preserved the accounts of the materials used in this painting, the prices of the colours, and the wages paid to the workmen. The name of the principal artist was Walter; he is dignified by the name of "Pictor," but he only received Eightpence per week, "_præter mensam et robam_" the "_roba_" being the painter's dress of the period, which was very like a modern gentleman's dressing gown. The colouring of this "Walter" between the years 1335 and 1351 seems to have been of a very simple character. The only evidence of designs that remained in 1850 were on the flat panels of the vaulting, which was covered with an imitation of ordinary gothic flowing tracery. The pattern was a series of quatrefoils painted in stone-colour on the wood, outlined black, and filled with green. The bosses of the Lantern, which are not carved, had been evidently painted and gilt, but the patterns of foliage were rough and too much injured to afford any distinct composition.

The small amount of colouring which remained on some of the mouldings of the Octagon was principally of a bright red, but only in small patches, the ground-work having peeled off and the colour with it.

In attempting to describe briefly the recent decoration of the Octagon and Lantern we cannot do better than quote the substance of a paper read during the Conference in June, 1875, explaining the history and nature of the ornamentation which has been carried out with such loving care and artistic skill under Gambier Parry, Esq., who designed the whole and painted the chief figures.

"The internal repair of the Lantern and Octagon was begun in February, 1874, and required a year for its completion. The ornamentation is in the style of the fourteenth century. The central boss of the lantern groining is a half-length figure of Christ in glory, considerably above life size, and with the conventual clouding around it; it is boldly carved in oak. The right hand is raised in the attitude of blessing, and with the left the inner garment is drawn open to exhibit the wound in the right side. Around this figure is painted a group of Seraphim on a grey blue ground. The panels of the window hoods are painted red, marking the distinction already made by the architectural construction, and on them are painted Cherubim and golden stars. The windows of the lantern were filled, some years ago, with coloured glass, the colouring of which is harsh, and in strong contrast with the mellow and rich painting of the woodwork, and injurious to the general effect.

"Below the windows are thirty-two openings surmounted with rich tracery. They are filled by panels on which is painted the angel choir. The figures are composed in groups of four, under each window, and are represented playing mediæval instruments. The two eastern and two western bays are intended to be severally grouped together, forming distinct series of eight figures. The instruments in the hands of the figures over the transepts are the psaltery and cithern, the regale, tabret, lute, violin, bagpipe and trumpet, (illustrating the 150th Psalm.) Below this range of figures are smaller panels, simply ornamented with the sacred monogram, the cross and the crown, resting on a fine and richly carved cornice, which forms the base of the lantern. The groining of the Octagon forms eight hoods, four above the windows, and four above the great arches of the Choir, Nave and Transepts. Beneath these last are remarkable statues of the four evangelists, about life size, seated in the attitude of writing, with a pen in one hand and a long scroll in the other; a writing table by the side of each figure with the ink horn attached to it by a strap, and a loop to hold the pen, is very complete. The space between the great arch and the groining of the Choir is filled with rich tracery, on the central panel of which is painted the Crucifixion, with angels holding the chalice and palm branch on the right and left. The long spandrils of the groining are painted with conventional scrollwork of leaves and flowers in a style contemporaneous with the architecture. The monogram and crown of St. Etheldreda are found in several parts of the ornamental design. The total expense of the decoration has been about £2500."

An elegantly carved pulpit has been placed near the entrance to the Choir; it is of Ancaster stone resting upon columns of Purbeck marble, the front relieved by alabaster figures of St. Peter and St. Paul; the steps are of Purbeck marble, guarded by very elaborate scrollwork in iron. It was designed by Sir G.G. Scott, and executed by Messrs. Rattee and Kett; the figures by Mr. Redfern, and the iron work by Messrs. Potter and Son. It was supplied by a legacy left by the daughter of Bishop Allen, and adds much towards the general improvements.

* * * * *

Before leaving the Octagon the visitor would do well to contemplate this portion of the building, as affording an extraordinary example of the skill and judgment of the man who designed and carried into effect so grand and unique a specimen of architecture, covering, as it does, a large area without supporting columns; no heavy mass of stone-work meets the eye, but the pillars, though strong and of great height are so constructed as to give an appearance of lightness and elegance; the vaulting is rich though simple, and the lantern above deserves notice from its singular position, apparently without support, but starting as it were from the ends of the ribs of the groining: taken as a whole it may be fairly considered as without parallel in this country.

The architectural views from the Octagon in every direction are exceedingly fine, and will repay the visitor for a pause of a few minutes to notice them; on all sides are examples of great beauty and variety. There are many other points in the Cathedral which afford attractive scenes as shewn in the effects of light and shade, the intersections of arches, perspective, &c., which may be found by the visitor in his survey, if watched for, but we cannot undertake to point them out.

* * * * *

The next portion of the building to which our attention is attracted is

+The Choir,+

which, previous to 1322 was under the central Tower, and extended, including the rood-loft, from the second column at the eastern end of the Nave, as it now is, (it then extended one bay further eastward,) to about the same distance, or rather more, on the opposite side; and after the erection of the Octagon was again placed there; in 1770 it was removed to the six eastern arches of the Cathedral, the space under the Octagon and the two bays eastward of it being used as a sermon-place.[38] It was again removed in 1852, and now commences at the eastern side of the Octagon, extending to the length of seven bays, (the stalled portion occupying three of them,) leaving the two eastern bays as a retro-choir.

[Footnote 38: Previous to the last removal, the custom was that only one sermon was preached in the morning to the congregations severally from the Choir, St. Mary's Church, and Holy Trinity Church, who assembled together, and occupied generally seats provided by themselves, in the Octagon and the two bays east of it, the third being taken up by the screen dividing it from the Choir with the organ loft over. The sermons were usually preached by the Canon in residence at the time.]

This will be better understood by reference to the accompanying plans, (for the use of which we are indebted to the kindness of the Editor of the "Architectural Quarterly Review,") one shewing the position of the Choir previous to the year 1770, and the other the arrangement made at the last alteration.

A Octagon, with the arrangement of Choir previous to 1770. B Presbytery. C The Nave. D North Transept. E South Transept. F Part of Cloisters (ruined.) G Western Tower. H West Porch or Galilee. I St. Catharine's Chapel. K The Lady Chapel. L The Font. M Rood Screen. N Foundations of Norman apse. O Foundations of N.W. Transept. P South-western Transept.]

_The black tint represents the Norman work of Abbots Simeon and Richard, 1083-1106._

_The lined tint represents Bishop Northwold's work, 1229-1254._

_The dotted tint represents the work of Bishops Hotham, Montacute, and L'Isle, 1316-1361._

A The Octagon. B Choir, as now carried out. C Nave. D North arm of Transept. E South arm of Transept. F Lady Chapel.

a Altar. b Bishop Alcock's Chapel. c Bishop West's Chapel. d Organ and Staircase. e Part of Cloisters (ruined). f Monuments.]

The new oaken screen at the entrance of the Choir will attract the attention of the visitor, both by its elegant design and its skilful execution; it is of open work, comprising a centre opening with brass gates, through which is the passage into the Choir, under a pointed arch, over this is rich tracery within a high pointed gable, having an elegant foliated cross on the apex: on either side are three smaller openings, each divided into two parts by a bar or transom, and finished at the top with a gable; the openings below the transoms are filled with elaborate grilles of brass foliage; a beautiful cresting runs over the whole, with a high pinnacle of tabernacle work at each end; several statuettes have been placed under canopies in each face, which add considerably to the general effect. The screen was designed by Sir G.G. Scott, and executed by Mr. Rattee; the statuettes by M. Abeloos, and the brass gates with the foliage in the lower panels by Mr. Hardman: the whole testifies highly to the taste of the designer as well as to the skill of those who executed the several parts.

In making a particular survey of the Choir, it would perhaps be better to examine carefully the architecture of the six eastern bays first, and then the three western bays, which were built subsequently to the others, before examining the reredos, monuments, &c.; this is simply a suggestion, we leave the visitor to follow his own inclination, and continue our description in the order of our course from west to east.

The architecture of the three first bays is greatly to be admired as a specimen of the Decorated style, perhaps not surpassed by any other in the kingdom; they were erected about the same time as the Octagon, and most probably under the superintendence of the same skilful architect, and for which purpose Bishop Hotham left a sum of money at his death; they were built during the episcopate of his successors, Bishops Montacute (1337-1345), and L'Isle (1345-1361). The lower columns are nearly, the capitals entirely, of the same form with those of the Octagon, but the arches are more ornamented, some of them having bosses of foliage attached to their mouldings; and those of the triforium are, as Mr. Bentham observes, "embellished with tracery work of such elegance and delicacy as seems scarcely consistent with strength." Between each of the lower arches is a corbel or elongated bracket profusely adorned with foliage carved in high relief, richly coloured and gilded; from this rises a column between the upper arches, and from the top of this column spring the ribs of the vaulting, which spread in lavish ramifications over it, dividing it into angular compartments, and at the angles are flowers and other ornaments, curiously carved, and originally were coloured. In the spandrils of the lower and triforium arches (with the exception of the first bay on the south side, which contains the arms of the see, those of Bishop Hotham, and another shield), are sunk trefoils, some of which are painted dark blue relieved with small stars in gold, having an elegant appearance. The range of pierced parapet at the bases of the triforium and clerestory has been entirely renewed; and on the south side, the triforium roof (which on both sides is of bare rafters,) has been recently painted and ornamented in a style similar to those of the Transept. The windows in the clerestory are large, filling the whole opening, having in each four lights with rich tracery, and the same kind of trellis-work we noticed in the large windows in the Octagon; these windows, on both sides have been recently filled with stained glass, executed by Mr. Wailes, the expense defrayed out of the balance of the accumulated fund for the east window; the subjects are illustrative of two verses of the "Te Deum," with figures of angels and the arms of the donor, &c., in the tracery:

NORTH SIDE--"_The noble army of Martyrs_"--represented in
the western window by figures of St. George, St. Agnes, St.
Catharine, and St. Alban; middle window--St. Lawrence, St.
Cecilia, St. Justin, and St. Prisca; eastern window--St.
Ignatius, St. Polycarp, St. Lucian, and St. Stephen.

SOUTH SIDE--"_The Holy Church throughout all the World_,"
the Eastern Church being represented in the western window
by figures of St. Chrysostom, St. Basil, St. Athanasius, and
St. Gregory Nazienzen; the Western Church in the middle
window, by figures of St. Jerome, St. Ambrose, St.
Augustine, and St. Gregory the great; the British Church in
the eastern window, by figures of St. Columba, St. David,
the Venerable Bede, and St. Augustine of Canterbury.

The absence of a bishop's throne is peculiar to this Cathedral; the bishop occupies the return stall on the south side, and the dean that on the north; those seats being generally appropriated to the dean and sub dean. When the abbacy was converted into a bishopric (A.D. 1109) the bishop took the seat previously held by the abbot, the prior retaining his own; and, on the re-foundation in 1541, the dean took the seat previously used by the priors, and here occupies traditionally the side opposite to his customary position.

On the right hand of the entrance, therefore, is the seat of the bishop, and on the left hand that of the dean, both surmounted by lofty pinnacles of tabernacle work; and the ancient stalls, formerly used under the Octagon, extend on both sides to the length of the three western bays. These, which we believe form the sole existing specimen of stalls of that date in England, have been cleansed from their coats of paint and restored, and harmonise well with the new work: the canopies are rich and elaborate, and the panels in the upper portions have recently been filled with sculptured groups illustrative of Scripture history, those on the north side from the New, and those on the south side from the Old Testament; they are beautifully designed, and contribute greatly to the good effect of the whole. These sculptures have been executed in oak by M. Abeloos, of Louvain, (with one exception, "the Nativity," by Mr. Philip,) and are the gifts of various benefactors. They are placed in chronological order and, as we proceed from west to east, the subjects may be noticed in the positions described as follows.

NORTH SIDE.

The Annunciation. The Salutation. The Nativity. The Presentation in the Temple. The Adoration of the Magi. The Murder of the Innocents. The Flight into Egypt. Jesus disputing with the Doctors. The Baptism. The Temptation. The Miracle at Cana in Galilee. The Transfiguration. Mary anointing the Lord's feet. The Betrayal. Our Lord before Caiaphas. Jesus mocked. Pilate washing his hands. Jesus scourged. "Behold the Man." The Crucifixion. The Entombment. The Resurrection. Our Lord at Emmaus. The incredulity of Thomas. The Ascension.

SOUTH SIDE.

The Creation of Man. The Creation of Woman. Adam and Eve in Paradise. The Fall of Man. The Expulsion from Paradise. Adam and Eve at Work. Cain killing Abel. Noah building the Ark. The Deluge. Noah's Sacrifice. Promise to Abraham. Isaac carrying the wood. Abraham's Sacrifice. Isaac blessing Jacob. Jacob's Dream. Joseph sold by his Brethren. The Burning Bush. The Passover. Moses striking the Rock. Moses raising the brazen serpent. Return of the Spies. David anointed by Samuel. Queen of Sheba's visit to Solomon. Jonah. Elijah's ascent to Heaven.

The sub-stalls are new, and of good design; the stall-ends in the upper range have a series of statuettes of the principal among the ancient benefactors, or of the builders of various portions of the church, each under a canopy, and for finials they have figures of angels with instruments of music. Each of the statuettes (where finished) is represented as holding some type or model of the particular portion with which its prototype is more intimately connected. They were designed and modelled by Mr. J. Philip, and executed partly by him and partly by Mr. Rattee; we append a list of them in the order in which they are placed, commencing from the west, as before:

NORTH SIDE.

St. Etheldreda. King Edgar. Abbot Simeon. Abbot Richard. Bishop Hervey. Bishop Ridel.

SOUTH SIDE.

Bishop Alcock. Alan de Walsingham. Prior Crauden. Bishop Hotham. Bishop Northwold. Bishop Eustachius.

The fronts of the stalls are generally of open work, shewing the hinged seats, or misereres as they are usually called, behind; in both series of stalls these are curiously and grotesquely carved beneath. On the faces of the stall-ends of the lower tier are various emblematical devices, crests, and shields, beautifully carved; our list is made in the same order as of the statuettes.

NORTH SIDE.

Crest of Dean Peacock. Crest of the late Canon Sparke. Crest of Canon Fardell. Arms of Canon Ashley. Bull--emblem of St. Luke. Eagle--emblem of St. John.

SOUTH SIDE.

Arms of the See of Ely. Arms of Canon Selwyn. Arms of Canon Mill. Pelican--ancient Church symbol. Lion--emblem of St. Mark. Angel--emblem of St. Matthew.

An elegant brass lectern the gift of the late Canon Sparke, has been placed in the Choir, as a memorial of H.S. le Strange, Esq., who painted the ceiling of the Tower and the western portion of the Nave ceiling.

The organ is placed in a position differing from that of most others in England, although not unusual in Continental Cathedrals. The pedal and swell organs have been placed in the triforium on the north side, and the great organ, with the choir organ beneath it, project in front of the third bay, resting upon an over-hanging chamber behind the stalls. The organ was reconstructed, with great additions, by Messrs. Hill and Son, of London, when the removal took place in 1851, and several important additions were made in 1867, by the same firm.[39] The magnificent organ-case, with its sculptures, was executed by Mr. Rattee; the pipes in front have been gilded and ornamented by Mr. Castell, of London, and much of the woodwork having been left in its natural colour forms an agreeable contrast, and the effect produced, from almost every point of view, is rich and beautiful; while from its unusual position it loses little of its power or sweetness of tone, but sends forth its pealing sounds reverberating through the lofty arches with fine effect. We know nothing more sublime than the voices of a congregation, guided and supported by such an instrument, praising and adoring the great Creator and Father of all, and are led to exclaim with the poet Milton--

"There let the pealing organ blow,
To the full voiced choir below,
In service high and anthems clear,
As may with sweetness through mine ear,
Dissolve me into ecstacies,
And bring all heaven before mine eyes."

[Footnote 39: See Appendix I.]

The division between the Early English work of Bishop Northwold and that part generally spoken of as Hotham's work is marked by two steps in the floor, and by two strong piers rising from the floor to the vault, which were in fact the original Norman shafts near the commencement of the apse or east end taken down by Hugh de Northwold, eighth bishop, who added the six beautiful eastern bays at his own expense; these form a pure and good example of Early English work, and were completed A.D. 1252, and dedicated in the same year, in the presence of King Henry III., and many nobles and prelates. This was called the "Presbytery," or "Sanctuary," a common name at that time for the east end of a church.

"The character of the three western bays is singularly yet beautifully arranged to harmonize, in point of elevation of its parts, with the six eastern arches; this and the very great excellence of the details, render this part of the edifice a most valuable study."[40] The absolute contact here of the two styles, Early English and Decorated, affords the spectator an opportunity of contrasting them, and of judging of the comparative merits of each. By many, the eastern bays are preferred for their chaste and elegant appearance, not being so profusely ornamented as those of the western ones, but, as Mr. Millers observes, "everything seems in its proper place and fitly proportioned: all harmonize, and taken altogether, give a general character of lightness and elegance. This is nowhere more conspicuous than in the roof; the plain ribs of which, diverging from their imposts, instead of crossing each other and spreading into intricate forms, go straight to a longitudinal midline running from west to east, and decorated with coloured figures or flowers where the springers meet it. There is a precise line of separation between this and the more elaborate ceiling of Bishop Hotham's work; being thus brought into contact the two may be compared with singular advantage."[41]

[Footnote 40: Rickman.]

[Footnote 41: Millers' Description of Ely Cathedral, p. 74.]

The bases of the piers of the lower arches are octagonal, but the shafts are cylindrical, surrounded by slenderer detached ringed shafts with foliated capitals, all of Purbeck marble. The triforium (except in the first and second bays on both sides,) extends over the aisles, and is lighted by large windows with Decorated tracery in the outer wall; and the arches are separated by a cluster of slender shafts into two smaller ones with trefoil heads; and between the two is a quatrefoil; all highly adorned with mouldings. Between each of these lower arches is an enriched corbel of Purbeck marble, adorned with foliage in high relief, from which rises the vaulting-shaft, in a group of three, between the arches of the triforium to the base of the clerestory, having a capital of leafage, and from the top of which spring the ribs of the vaulting. The spandrils throughout are relieved with trefoils and quatrefoils, deeply sunk and backed with Purbeck marble; and, on the whole, the contrast of light and shade, depth and projection, produces a very fine effect. The clerestory arches are of the same span, but each is divided into three smaller ones, the centre arch being higher than those on either side, in order to admit light through the windows behind, which are three lancet-shaped lights under one arch in the outer wall, and are, we believe, original; these windows have been filled with stained glass, which is another important step towards the general improvement.

The windows of the aisles and triforium were originally three lancet-shaped lights under one arch, but were replaced in the fourteenth and fifteenth centuries by larger windows of a flamboyant character. In the first and second bays on both sides the triforium windows are placed in the inner wall, probably to give more light to the high altar, the position of which was indicated by a boss in the ceiling with a figure of St. Peter; and also to give greater effect to the rich and gorgeous shrine of St. Etheldreda, said to have been of pure silver adorned with jewels, which at that period stood near the altar and to her place of sepultre, indicated by a boss in the ceiling with her effigy on it. The tracery in these windows bears a similarity to those in the corresponding arches of Hotham's work, but is not so ornamented. All have been filled with stained glass by Mr. Wailes, the expense defrayed out of the east window fund:

The western window on the north side--The descent of the
Holy Ghost, with figures and emblems.

The eastern window--The Ascension, with figures, &c.

The western window on the south side--Incidents from the
history of Moses, with figures, &c.

The eastern window--Incidents from the history of Elijah,
with devices, &c.

"The east end," says Mr. Millers, "is eminently beautiful, and will not by any means shrink from comparison with the more gorgeous termination of any church built after great end windows came into fashion. There are two tiers of lights; the lower consists of three very high lancet-shaped lights, nearly all equal; the second of five, the middle one being higher, and those on the sides gradually lower."[42] They are enriched by slender columns, with leafy capitals, and ornamented with toothed and other mouldings, presenting altogether more gracefulness and elegance than one large window filling nearly the whole end. In the last century Bishop Mawson had formed a design of filling this window (for it is generally considered as one window of eight lights,) with stained glass, and selected an artist to carry it into effect; the work, however, was not then finished; a figure of St. Peter, and the arms of the bishop and contemporary members of the Chapter, are the only remains of it known to be in existence, and these were lately removed from the centre lancet and placed in the east window of the north triforium of the Nave. The window has at length been completed by the liberality of Bishop Sparke, who gave in his lifetime a large sum for that purpose.[43] The bishop died some few years after making his munificent donation, and his two sons, Rev. J.H. Sparke and Rev. E.B. Sparke, then Canons of the cathedral, as Trustees of the fund, took steps to carry his wishes into effect. Several designs were prepared, and one by Mr. Wailes was selected, but the execution was deferred for some years in order that advantage might be taken of further experience, and thus, if possible, to realize some of those gorgeous effects which have made the thirteenth century windows of Canterbury, Chartres, Bourges, and elsewhere, so justly celebrated.

[Footnote 42: Millers' Description of Ely Cathedral, p. 76.]

[Footnote 43: See note p. 53.]

The eastern lancets were executed by Mr. Wailes in 1857, and the representatives of the donor have good reason to be satisfied with the result. The general effect produced is magnificent; the three lower lancets in particular present that happy combination of sparkling brilliancy with that somewhat mysterious indefiniteness in the distribution of colour which is so well suited to the architectural effect. It is sufficient to compare the present window with others in the Cathedral, not excluding the productions of Mr. Wailes himself, to shew the great advance which the art of glass-painting has recently made, both in the richness of the colours employed and their arrangement--the improvement arising, doubtless, from a more accurate study of the great masters of the middle ages.

The figures and groups in the three noble lancets are executed with great spirit; and although numerous, are arranged, more especially in the central window, in masses which the eye can readily follow, and by occupying so large a portion of the entire surface, leave little room for the monotonous repetitions of foliage or other patterns; the distribution of colour is also thus sufficiently varied without its masses in one part of the window unduly preponderating over those in another, a condition which is never grossly violated without serious injury to just architectural effect.

In the central window of the clerestory range, the spaces between the medallions and the border are filled with a diapered ground, which, though rich in colour, is somewhat formal in effect; whilst the field in the side windows, within the border, is too narrow to allow the figures to be sufficiently separated and relieved from the rest of the ground. It arises, probably, from these or other causes that the general effect which the upper lancets produce, though otherwise good, is by no means so rich and sparkling as that of the lower windows.

The subjects of the three lower lights are illustrative of
the history of our blessed Lord; commencing at the bottom of
the south lancet--where is represented a figure of Jesse,
from whose body issues a genealogical tree--and continuing
in ascending order, through a series of nine medallions,
following in the same manner through a similar number in
the north lancet, and five others in the central lancet;
alternately with these five are quatrefoils containing
representation of types from the Old Testament of the events
of the Passion represented in the other medallions; and in
the segmental spaces round these quatrefoils are represented
eighteen other incidents of the last days of the Saviour. In
the segmental spaces in the south lancet the figures of the
kings are disposed in pairs; and in the north lancet these
spaces are filled with the figures of Moses, Elias, and the
prophets; and at the bottom a kneeling figure of the donor.
The five upper windows, two on the north and two on the
south, contain figures of the apostles; at the top of the
central window our Lord is represented as sitting in glory,
beneath which are depicted four incidents which occurred
after the Crucifixion.

The floor of the Choir has been re-laid with marble combined with Minton's encaustic tiles, and a large marble slab has been placed over the grave of Bishop Hotham, inlaid with brass and bearing the arms of the see and those of the bishop, surrounded by an inscription. At the foot of this another has been laid over the grave of Prior Crauden, superior of the monastery at the time of the erection of the Octagon; this is the original gravestone of the prior, but it had been removed with several others to another part of the church; the brass insertion has been renewed, shewing a kneeling figure with a large foliated cross issuing from his bosom, with the initials I.C. on either side, and surrounded by an inscription.

In the wide treading of one of the steps at the end of the stalled choir are placed the arms of some of the benefactors to the restoration of the Cathedral;[44] executed by Messrs. Minton. In the Presbytery, where the absence of stall-work allows space for more elaborate design, it will be seen much care and skill has been used, and the effect produced is very good. The communion table is raised five steps above the level of the floor, each step being laid in mosaic and encaustic tiles of beautiful and varied patterns, used in conjunction with veined, and faced with black, marble.

[Footnote 44: In the centre are the arms of the Duke of Bedford; on the south side those of Alexander Beresford Hope, Esq., and the Rev. T. Halford; on the north those of J. Dunn Gardner, Esq., and J.C. Sharpe, Esq.]

The new reredos or altar screen is remarkable for its chaste but elaborate design and richness of detail, as well as skill in execution; and is not, perhaps, surpassed by any modern work of the kind; our limited space will not allow us to attempt anything like an adequate description of this beautiful work, but we will endeavour briefly to point out the prominent features, and recommend to the visitor a careful examination of its various details.

It comprises a centre with wings, having openings with geometrical tracery and foliated mouldings, surmounted by an elegant cresting. The front of the central portion is of the most beautiful design, executed in alabaster, enriched with colour and gilding, and will doubtless claim the first attention of the visitor. The sides of the space occupied by the altar is covered with diaper work exhibiting a series of roses, apparently connected together by their stems running through the pattern under the bars of the diaper-work; above this, the whole width is divided into five compartments--the centre one being wider than the others--separated by enriched columns, around which are spiral belts with cornelians and blood-stones on a gold ground, and having elegant foliated capitals, copied from natural objects; on these capitals stand a series of angels bearing instruments of the passion--cross, crown of thorns, nails, spear, &c., and each having under his feet a dragon or other reptile, typical of the triumph over Satan by the Sacrifice of the Atonement. The lower part of each compartment is occupied by quatrefoils ornamented with ball-flowers, and filled in with mosaic work of _verd antique_, _rosso antico_, _gialo antico_, and _lapis lazuli_: above these are panels containing alto-relievo sculptures of great excellence, the subjects taken from the life of the Saviour; beginning on the north side, we find Christ's entry into Jerusalem, Christ washing His disciples' feet, the Institution of the Sacrament, Christ's agony in the Garden, and Christ bearing His cross: another series of spiral pillars stand in the front and on the sides of these panels with capitals similar to those already mentioned. These pillars have their spiral course in the opposite direction to the former, which adds to the general beauty of the whole. Above the sculptured panels, each of the four side compartments is surmounted by two small gables with their outer mouldings foliated, crowned with a finial, and finished at the bottom by a grotesque figure of a dragon or other animal; the inner face of each gable contains within a circle a head in bas-relief, those on the north side representing the major prophets, Isaiah, Jeremiah, Ezekiel, and Daniel; those on the south represent four doctors of the church, Jerome, Ambrose, Augustine, and Gregory; the other portions being filled in with mosaic work. The centre compartment has three projecting canopies, the faces of which are enriched with mosaic, the angles are crocketed, and finished at the bottom with roses and grotesque figures. Above the centre canopy, on a lofty enriched pinnacle, stands a figure of our Lord; on the north side, on a lower pinnacle, stands a figure of Moses; and on the south side a figure of Elias, the three being typical of the Transfiguration.

The upper portion of the white stone screen behind the alabaster work is also divided into five compartments of open work with geometrical tracery; in front rise five gables, the centre being larger and higher than the others. The outer mouldings of the centre gable are enriched with foliated crocketing with which is intermixed the early church symbol--pelican feeding her young--and the apex surmounted by a figure of our Lord enthroned: the inner portion of the gable contains, in a trefoil, a basso-relievo of the Annunciation, in alabaster. The four side compartments are also surmounted by gables, on the top of which stand respectively the figures of the four Evangelists, in alabaster, their respective emblems being worked in the crockets; on the inner faces of the gables, within trefoils, are busts in relief, those on the north side represent Mary Magdelene and Mary the mother of James; those on the south, St. John the Baptist and St. John the divine; the remaining space in each gable being filled in with mosaic. Outside and between these gables rise spiral pillars, on the tops of which are placed figures of the virtues, Faith, Hope, and Charity, on the north side; and of the graces, Justice, Prudence, and Fortitude, on the south side, executed in alabaster.

The wings also are of white stone, and not so high as the centre; in each are three openings with geometrical tracery; and below these openings the wall is covered with diaper-work of an elegant pattern.

The portion of this screen, which forms the reredos, is the munificent gift of John Dunn Gardner, Esq., of Chatteris, in this county, and designed as a memorial to his first wife. The work took upwards of five years to execute, and cost about £4000. Some of the more important of the sculptures, mosaics, and other decorations, were suggested by the donor, and the whole was designed by Sir G.G. Scott, and affords a magnificent example of his skill and taste. The stone-work, including the architectural carving, was executed by Mr. Rattee and his successors, at Cambridge; the sculptures by Mr. Philip; the mosaics by Mr. Field; and the gilding and painting by Mr. Hudson.

The Reredos was expressly designed with reference to a painted window placed behind it: it is hardly necessary to say that it is greatly benefitted by the general reduction of the glare of light, which rendered the outlines of much of the statuary and more delicate ornaments undistinguishable at a distance, but still more by the transmission through it of glimpses of the most beautiful colours, which change with every movement, however slight, in the position of the eye, and whose very indistinctness and transitory character contributes not a little to the effect which they tend to produce on the mind.

The altar being raised above the level of the floor shews to advantage the magnificent altar cloth, which is of rich crimson velvet, embroidered with much taste and skill by Miss Agnes and Miss Ellen Blencowe, and is thought to be worthy of the best ages of Mediæval embroidery. "Its length is divided into three parts; the middle containing a very beautiful figure of our Lord as risen, contained within a pointed aureole of a deep blue colour, and bordered by radiating beams. Broad orphreys embroidered in flowers divide the middle compartment from the sides, which are of red velvet powdered with conventional flowers;"[45] the largest were copied from ancient examples at East Langdon, Kent, and the others from Ottery, Somersetshire. The following passage is worked in gold on the super-frontal:--

[Maltese cross symbol] "+Agnus Dei qui tollis peccata mundi
dona nobis pacem. Agnus Dei, miserere nobis.+"[46] [Maltese
cross symbol]

[Footnote 45: Ecclesiologist.]

[Footnote 46: "O Lamb of God, that takest away the sins of the world, grant us Thy peace. Lamb of God, have mercy upon us."]

We now direct our attention to the monuments in the Choir, and commence with the first arch on the south side of the Presbytery which is occupied by the once gorgeous monument of Bishop de Luda, or Louth (1290-1298), it consists of a lofty central arch with smaller openings on the sides; above the arches are enriched gables with pinnacles and finials; over the centre arch in a trefoil is a figure of the Saviour; the restoration of the north side of this monument will afford some idea of its original appearance; the effect has been somewhat subdued by the softened light from the east window. The indent in the gravestone under the arch leaves no doubt of its having been once finished with a brass effigy.

The next arch contains the tomb of Bishop Barnet (1366-1373); it is of Purbeck marble, with quatrefoils on the sides, and had originally the effigy of the bishop engraved in brass on the table of the tomb.

Under the third arch is the high monument of John Tiptoft, earl of Worcester, one of the patrons of Caxton, the first English printer; this is in the Perpendicular style, but less beautiful than that of Bishop Redman, on the opposite side: on the table of the tomb are the effigies of the earl and his two wives; the two latter only were buried here, the earl having been beheaded and buried in London in 1470.

The tomb of Bishop Hotham (1316-1337) has been partially restored and placed in the next arch, on the south side of the altar; it formerly stood under a high canopy on the north side, but originally in the first arch of his own work. There was probably a recumbent figure on the top, but it has long since disappeared.

Opposite to this, on the north side of the altar, on a base of Purbeck marble, are placed the interesting remains of the tomb of Bishop Northwold (1229-1254), the munificent founder of the Presbytery, which were originally placed over his grave in the centre of his own work. It is a large slab of Purbeck marble, highly adorned with carving; perhaps one of the finest specimens of its period: the effigy of the prelate is represented as resting beneath a cinquefoil canopy in his robes, bearing his crosier, with a lion and dragon under his feet; beneath this is a representation of the martyrdom of St. Edmund, a prince of East Anglia, by the Danes, commemorative of his having been lord abbot of Bury before he was preferred to the see of Ely; the niches in the sides of the prelate's stall have statuettes--on the left, St. Etheldreda, an abbess crowned, and a nun; on the right, a king, an abbot, and a monk: at the top on each side of the head are angels with censers, and other symbolical figures.

The monument or shrine which was formerly placed over the tomb of Bishop Hotham, has been in part restored, and now occupies the third arch on the north side. This, with the tomb now on the south side of the altar under it, originally stood in the first arch of his own work, near his place of sepultre; it is in the Decorated style, and was richly coloured and gilded. Part of it was cut away in order to make room for the stalls when the choir occupied the six eastern arches, but this has been rebuilt. This is now thought to have been part of the sub-structure of the shrine of St. Etheldreda, as adapted by Alan de Walsingham.

The second arch from the west, is occupied by the tomb of Bishop Kilkenny (1254-1256,) who died at Sugho, in Spain, while on an embassy to the Spanish Court; his body was buried there, his heart being only interred here. The tomb is of Purbeck marble, and is a fine example of the Early English style. The bishop is represented as in the act of benediction, with a pastoral staff, and in full pontificals; his head is shown as resting on a cushion, and is surmounted by a trefoil arch with a crocketed gable, and a censer-bearing angel on each side.

In the next, or more western arch, is the beautiful monument of Bishop Redman (1501-1505). It is a fine specimen of the Perpendicular Style, and is richly ornamented with niches and canopies, and a variety of shields with arms, and emblems of the passion; the effigy of the bishop is recumbent on a high tomb under a rich canopy, with a space left at the foot for a chantry priest. Passing through this space we enter the

+North Aisle of the Choir,+

and first proceeding towards the western end of it, we notice the new back screens which have been erected to mask the stall work in two of the bays, and against which have been placed the monuments of Bishop Fleetwood (1714-1723), and of his son Dr. Charles Fleetwood (1737); the third bay is occupied by the new and elegant staircase to the organ; it is of open work, richly carved, with foliated mouldings and ornaments.

Opposite to this, in the north wall, is a beautiful door-arch, formerly the means of communication with the Lady Chapel; it has statues in large niches on each side, many smaller niches, crockets, and finials, and over the keystone a sitting figure; the mouldings and ornaments were originally beautified by colours and gilding, but all are injured and defaced, and the figures have disappeared.

A little further eastward is the memorial brass laid over the grave of Mr. Bassevi, the eminent architect of the Fitzwilliam Museum at Cambridge, who was accidentally killed by a fall in the western Tower in 1845.

The monuments of Bishop Redman and Kilkenny, which we noticed in our survey of the Choir, are in their original places; and we now pass in succession those of Bishops Patrick (1691-1707), Mawson (1754-1770), and Laney (1667-1675). In 1770 many monuments were removed from the Presbytery to make room for the Choir, and a few were again removed for the purpose of carrying out the recent arrangements. In the last bay but one (now opening to the Retro-Choir) stood the monument of Bishop Gray (1454-1478), but the gravestone only remains, from which the brass has been removed. The arms of this prelate may be observed in the sides of three of the windows of this aisle, no doubt altered by him to their present form.

The first or western window of the Presbytery has been
filled with stained glass executed by M. Lusson, of Paris,
illustrative of the history of St. John the Baptist; the
gift of the Rev. Chancellor Sparke.

The second window, executed by Messrs. Clayton and Bell,
contains subjects illustrative of the miracles; designed as
a memorial of the Rev. J.H. Sparke, many years Canon of the
Cathedral, and Chancellor of the Diocese.

The third window, by the same artist, also contains subjects
illustrative of the miracles; designed as a memorial of
Agneta, widow of Chancellor Sparke.

The fourth window, executed by Mr. Hughes, contains subjects
from the parables--the wheat and tares, the vineyard, and
the lost sheep; and the miraculous draught of fishes,
designed as a memorial of Eliza, widow of Canon Fardell.

The fifth window, executed by Mr. Ward, contains in the two
western lights subjects from the parable of the ten virgins;
and in the others illustrations of the passage in Matt. XXV.
35, 36. "I was an hungered and ye gave me meat," &c.;
designed as a memorial of Rev. H. Fardell, Canon of Ely.

At the end of this aisle, occupying the space of one bay, is the +Chapel of Bishop Alcock+, (1486-1500), who was comptroller of works under Henry VII., and founder of Jesus College, Cambridge. The chapel is in the Perpendicular style, and was built A.D. 1488, as appears from a stone found underground some years ago, and inserted in the wall under the east window, bearing the following inscription, scarcely legible:

"+Johanes Alkoc epus Eliesis hanc fabrica fieri fecit.
M.cccclxxxviii.+"

The ornamental portion is curiously executed, but the pinnacles are disproportioned and crowded, presenting a confused and heavy appearance; the vaulted ceiling is rich and elaborate, with a large pendent of curious workmanship in the centre. The principal entrance is on the west, but there is a door on the south side; and the bishop's tomb is on the north side with a window behind containing some fragments of stained glass. It is probable from its appearance that the monument contained two effigies, one representing the bishop in his pontifical robes and another on a higher ledge, which represented a body in a state of decay, as contrasting life and death. A carved oak door at the foot of the monument appears as an entrance to a chantry, or as by some supposed to have been a confessional. The bishop was buried in the centre of the chapel; his favorite device--a rebus of his name--a cock standing on a globe, and his arms may be seen in the window and in several other places. The chapel has been much defaced and many figures and ornaments have disappeared, but something has been done towards restoration at the cost of the Master and Fellows of Jesus College; the new portion of the floor was laid at the cost of the Rev. Lord Aylwyne Compton; and we hope ere long to see the east window filled with stained glass, which will contribute much to its improvement.

+The Retro-Choir.+

This occupies the space of the two eastern bays of the Cathedral, allowing a passage behind the altar-screen from one aisle to the other, and affords a good position for a closer inspection of the lower portions of the east window, under which are some remains of ancient decoration on the wall.