List of Clergy and Officers.
Reading edition
Dean.
The Very Rev. Charles Merivale, D.D., D.C.L. 1869.
Canons.[16]
Thomas Jarrett, M.A.[17]1854.
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.
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.
"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.
N 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]
The Galilee[23] or Western Porch.
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]
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.
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.
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.
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.
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.
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: The text in the above illustration appears below. The first paragraph contains the text along the sides of the image.
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.'
ST. MATTHEW. ST. MARK. 10. THE NATIVITY. 'The Word was made flesh, and dwelt among us: full of grace and truth.' ST. LUKE. ST. JOHN.
MALACHI. 'The Sun of Righteousness shall arise.' ZECHARIAH. 'I will bring forth my servant the Branch.' 9. THE ANNUNCIATION. 'A Virgin shall conceive and bear a Son, and shall call his name Immanuel.' ZEPHANIAH. 'The Lord their God shall visit them.' NAHUM. 'Him that bringeth glad tidings.'
JEREMIAH. 'Unto David a righteous Branch.' 8. DAVID. 'Of the fruit of thy body shall I set upon thy throne.' EZEKIEL. 'My servant David shall be a Prince.'
DANIEL. 'He shall confirm the covenant.' 7. JESSE. 'There shall come forth a rod out of Jesse, and a branch shall grow out of his roots.' HAGGAI. 'The desire of all nations shall come.'
MICAH. 'Out of thee, Bethlehem, shall He come forth.' 6. THE MARRIAGE OF RUTH. 'The Lord make the woman like Rachel and Leah. Be thou famous in Bethlehem.' ISAIAH. 'There shall come a rod out of the stem of Jesse.'
AMOS. 'I will raise up the tabernacle of David.' 5. JACOB’S DREAM. 'In thee and in thy seed shall all the families of the earth be blessed.' HOSEA. 'O Grave I will be thy destruction.'
JONAH. 'Thou hast brought up my life from corruption.' 4. ISAAC CARRYING THE WOOD. 'Behold the fire and the wood, but where is the burnt offering?' JOEL. 'I will pour out my spirit upon all flesh.'
MOSES. 'The Lord shall raise up a prophet like unto me.' 3. NOAH’S SACRIFICE. 'I do set my bow in the cloud, to be a token of covenant between me and the earth.' NATHAN. 'I will stablish the throne of His kingdom.'
JOB. 'I know that my Redeemer liveth.' 2. THE FALL OF MAN. 'Her seed shall bruise they head, and thou shalt bruise his heel.' BALAAM. 'There shall come a star out of Jacob.'
ABRAHAM. 'My son, God will provide himself a lamb.' 1. THE CREATION OF MAN. 'Which was the son of God.' JACOB. 'The sceptre shall not depart until 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]
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-REQUIĒ.-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.
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.
"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.
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.
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.
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]
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.
This will be better understood by reference to the accompanying plans, (for the use of which we are indebted to the kindness of the Editor of the "Architectural Quarterly Review,") one shewing the position of the Choir previous to the year 1770, and the other the arrangement made at the last alteration.
GENERAL PLAN
[Enlarge]
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.
CHOIR AND TRANSEPT, shewing new arrangements.
[Enlarge]
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."
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]
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.
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.
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:—
"Agnus Dei qui tollis peccata mundi dona nobis pacem. Agnus Dei, miserere nobis."[46]
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.