Bell's Cathedrals: The Cathedral Church of Ely Part 4

[3] Population of Ely, 1891, was 6,646; of Wells, 5,899.

[4] Ely is almost universally called a city, upon the supposition that the mere fact of its having a cathedral const.i.tutes the town a city. But since the Norman Conquest the dignity of a city has always been conferred by grant, and no such grant is known to have been made to Ely.

[5] An American visitor whom the writer was once conducting over Peterborough Cathedral observed, "This is a very large church for so small a place." Ely is about a quarter of the size of Peterborough in respect to population.

[6] But there is no indication that such a roof actually reached the tower.

[7] Scott's Paper, read at Biss.e.xcentenary Festival, 1873.

[8] From the additions to Rickman's "Attempt to Discriminate the Styles of Architecture in England," given in the 5th ed., 1848.

The "happy effect" described is in the interior of the porch.

[9] Some money was raised towards the expense of this rebuilding by means of a brief. At Castor, co. Northants, 5_s._ 4_d._ was sent "for Ely Cathedral"; this was in 1701. In the same year, at Bishop's Hatfield, co. Herts, 1 5_s._ 2_d._ was raised upon the "Brief for Ely Cathedral." In the following year a brief was issued for a fire in the city of Ely, but it does not appear that this had anything to do with the cathedral.

[10] "Historical Memorials," p. 116.

[11] One shield has a saltire: Bishop Barnet used a saltire with a leopard's head in chief.

[12] Murray's "Eastern Cathedrals," p. 221.

[13] The cost of this pinnacle was defrayed by Mr. Beresford Hope.

The corresponding pinnacle on the north is still wanting. It is, however, figured, by mistake, in the view of the east end in Murray's "Eastern Cathedrals."

[14] Professor Willis's observations upon this subject are given in Stewart's "Architectural History," pp. 76-81.

[15] Bishop Goodwin's "Ely Gossip," 1892, p. 48.

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

_Photochrom Co. Ltd. Photo._]

[Ill.u.s.tration: S. CATHARINE'S CHAPEL.

_Photochrom Co. Ltd. Photo._]

CHAPTER III.

THE CATHEDRAL: INTERIOR.

Entering the cathedral from the west, we have the full view of the entire building, the vista being not broken, but relieved, by the open screen. Before examining the nave itself, the visitor should inspect the lower part of the west tower, beneath which he is standing. The curious labyrinth worked in the pavement was there placed by Sir G. G. Scott, and is believed to have been designed by him, and not copied from any foreign example. The troubles that arose from the great weight of the tower have been already described. We can here see the methods taken to secure the stability of the structure.[1] Very ma.s.sive Perpendicular arches have been built beneath the lofty Norman ones; and all the four great piers were surrounded with masonry at the same time. Both Bentham and Miller give the date 1405-1406 for the beginning of this work. This date is quite consistent with the character of the mouldings of the arches. There was at one time a plaster ceiling just above these lower arches.

Above the inner west door is a series of panels bearing coats of arms, so much resembling the fronts of galleries built for the accommodation of instrumental performers--which were known as "Minstrels'

galleries"--as to suggest the idea that the large room over the porch was devoted to this purpose. The window above is an unfortunate insertion, dating only from 1800; and this, as well as the stained gla.s.s with which it is filled, could well be spared.

#The Western Transept# and #S. Catharine's Chapel.#--The Transitional character of the late Norman work here is more marked than on the outside of the west front. It will be noticed that the great arches of the tower, though retaining all other characteristics of the period, are pointed. There are two rows of mouldings, and in the spandrels above are pointed ovals. Above the string-course are three stages: the lowest has three sets of lofty trefoiled lancets, supported by double detached shafts; above is a similar series, less lofty; at the top are three large glazed windows. The painted ceiling of the tower was Mr. le Strange's first experiment in painting at Ely. Some ancient decoration in the vault of the south aisle of the nave had been brought to light when he was on a visit at the Deanery, and this to some extent suggested the thought of painting the flat roof of the tower. The subject is the Creation. We see the right hand of the Lord; the Saviour holding a globe, surrounded by the heavenly bodies of the fourth day of the Creation; the Holy Dove; angels holding scrolls, with the Trisagion; and all these are in circular designs, united by branches of foliage. A very sad accident occurred during the early period of the restoration of the tower in 1845, when Mr. Basevi, the architect, met his death by falling from the upper floor of the scaffold which had been erected for the work. He was buried in the cathedral, and a bra.s.s has been laid over his grave. He was not in any way professionally connected with the work of the restoration.

[Ill.u.s.tration: THE NAVE, LOOKING EAST.]

The very late appearance of the highly enriched work in the south part of the western transept makes it probable that this part was completed in quite the latest years of the twelfth century. The zigzag mouldings to the two arches in the east are of extraordinary richness; one opens to the south aisle, and one to S. Catharine's chapel. The whole of this arm of the transept was at one time walled off, and the chapel itself was destroyed. This has been rebuilt, under the advice and authority of Professor Willis. The Woodford Trustees of the Theological College were at the expense of providing the alabaster altar; and the chapel is now used for the daily service of the members of that college, as well as for early celebrations of Holy Communion. Although now known as S.

Catharine's chapel, it has never, strictly speaking, been so dedicated; and the present Dean has pointed out that the name was given under a misapprehension. The font in the transept was the gift of Canon Selwyn.

Its style is in keeping with the adjacent architecture. The north portion of the western transept is entirely walled off. No doc.u.mentary evidence has been discovered to decide if it had been actually built.

The old tradition of the cathedral was that it had been finished by Bishop Eustace at the beginning of the thirteenth century.

#The Nave.#--Originally of thirteen bays, but since the fall of the central tower of twelve bays, the nave is a most complete and perfect specimen of late Norman work. The naves of Ely and Peterborough are conspicuously the best examples of the period in England. In most respects they are very similar, and it would be difficult to p.r.o.nounce one superior to the other. In one point, indeed, the superiority is with the Ely nave. There is not in it the slightest mixture of any Transitional details. At Peterborough we can detect, towards the west, some unmistakable evidences of the approaching change in style.

It is believed that the nave was completed in the time of Bishop Riddell--that is, before 1173. This is probably somewhat earlier than the nave at Peterborough; but both were obviously being built at the same time for the greater part of the period of their erection. Both are manifestly superior to Norwich, where (to mention only one point) the excessive height of the triforium arches and the comparative low elevation of the nave arches--so that the two arcades are almost of the same dimensions--produce an unpleasing effect. But the work at Norwich was earlier, perhaps by thirty years, than either of the others. It is very difficult to obtain exact and authoritative measurements; but those usually given supply the following comparison:--Norwich, 14 bays; length of nave, 250 feet: Peterborough, 11 bays; length of nave, 228 feet: Ely, 12 bays; length of nave, 208 feet. From this it will be seen that before the tower fell the naves of Ely and Peterborough were almost exactly of the same length, while the former had two more bays than the latter.

The piers are of alternate design. In front of each an inner shaft runs up to the roof. The string-course above the main arcade has the billet moulding. All the attached shafts in all three stages have cushion capitals. Under each of the large triforium arches are two smaller ones.

Though it has been said that there is no trace of any change of style throughout the entire nave, yet it has been noticed that there is a certain roughness about the execution of the arches towards the east which is not seen further west. The floors of the nave and its aisles are on one level; but till recently the floors of the aisles were a few inches lower, and this is believed to have been the original arrangement. The clerestory range has three arches, the central being the highest.

[Ill.u.s.tration: PANELS IN THE NAVE CEILING.

_Photochrom Co. Ltd. Photo._]

The western half of the #ceiling# was painted by Mr. Styleman le Strange, of Hunstanton Hall, in Norfolk, between 1858 and 1861. He died in 1862.

The eastern half was then undertaken by Mr. Gambler Parry, of Highnam Court, near Gloucester; and the main design of Mr. le Strange was carried to a most successful issue. The original idea had been that a Jesse tree should commence at the seventh bay, and the arrangement of the subjects towards the west was meant to lead up to this. But Mr. le Strange himself, as the work proceeded, realised that a grander effect would be produced by introducing larger scriptural subjects towards the east; and Mr. Gambier Parry accordingly acted upon what was known to be the intention of the original designer. It has been many times said that the whole design was suggested by the painted ceiling at Hildesheim, and some words of Sir G. G. Scott have been quoted as proof of this; but Dean Goodwin says that the scheme was not taken in any way from the foreign example, and that Mr. le Strange had not seen the Hildesheim ceiling when his design was formed.[2] It is worth noting that some of the faces of the prophets are portraits; that of Isaiah, for instance, is a portrait of Dean Peac.o.c.k. The general tone of the colouring is intentionally subdued, and the effect of this is said to be to increase the apparent height of the nave.

The twelve subjects along the central portion of the ceiling, commencing at the west, are these: (1) The Creation, (2) The Fall, (3) The Sacrifice of Noah, (4) The Sacrifice of Isaac, (5) Jacob's Dream, (6) The Marriage of Ruth, (7) Jesse, (8) David, (9) The Annunciation, (10) The Nativity, (11) The Adoration of the Shepherds and of the Magi, (12) The Lord in Glory.[3]

On the inner slope on each side of the central line for the ten western bays are figures of patriarchs and prophets, each with a scroll bearing some of his own words, all having prophetic reference to the Messiah. On the outer slope on each side are heads in circular medallions, three in each bay. "The heads forming the border represent the human ancestors of our Lord, according to the genealogy in S. 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."[4]

The sloping sides of the ceiling follow the course of the great beams supporting the roof. Till it was resolved to construct this ceiling the beams were exposed, and the whole was open to the leads. Canon Stewart speaks of it as a "remarkable example of a trussed rafter roof of seven cants," and says that such a roof was sometimes called a compa.s.s roof.

He thinks it might have taken the place of an original roof of the thirteenth century.

[Ill.u.s.tration: THE NORTH AISLE OF THE NAVE.

_Photochrom Co. Ltd. Photo._]

#The Nave Aisles.#--These retain their groined roofs. Some remains of coloured decoration may be seen in various places, especially in the south aisle; and the appearance of more elaborate colouring at one place seems to indicate that there was a side altar beneath. The rood-screen in the nave was by the pier in which is a small canopied niche. In the north aisle, beneath the windows, is an arcade of round-headed lancets, four in each bay. Above the arcade was originally a string of chevron moulding running along the whole length of the aisle; but this has been hacked off, except beneath the most eastern window. In the south aisle there are five such lancets in each bay west of the prior's door, and four in each bay beyond. The windows east of this door are higher in the wall than the others, because of the cloister, and the wall arcade is correspondingly more lofty. The chevron moulding remains in this aisle for seven bays, after which (until the last bay but one) the marks of it are clearly to be seen. One of the windows in the south aisle is original; all the rest, except one, have been recently made like it. In the north aisle all the windows are of the Perpendicular period, and have three lights under ogee arches. All are filled with stained gla.s.s.

[Ill.u.s.tration: THE SOUTH AISLE OF THE NAVE.

_Photochrom Co. Ltd. Photo._]

In the south aisle is placed an ancient memorial stone of the greatest interest. It consists of the square base and part of the shaft of a cross. It was brought here from Haddenham, where it had been used as a horse-block, by Mr. Bentham. On the base is this inscription:

LVCEM TVAM OVINO DA DEVS ET REQVIE(M) AMEN.

Ovin has been named in the account of the foundress as being her chief agent, to whom was entrusted the civil government of her territory.

There is every reason to believe that this cross was erected either by him or to his memory; and if so it must be twelve centuries old.

Just west of the monks' door is the entrance to the recently constructed vestry for the choir-boys. This is thought to have been originally the entrance to the cloister library or bookcase.

#The Octagon.#--Few visitors will perhaps be disposed to examine any of the objects of interest in the cathedral before an inspection of the beauties of this magnificent erection, the first sight of which, from one of the smaller arches towards the aisles, is a thing never to be forgotten. There is not one of the many able artists and architects who have written about the octagon that has not spoken of it as being without rival in the whole world; and the admiration that was expressed fifty and more years ago would have been far greater, and the enthusiasm more profound, had the writers seen it in its present state of perfect restoration. No description can do adequate justice to the grandeur of the conception or to the brilliancy of the execution of this renowned work.

The four great arches rise to the full height of the roof; that to the east, indeed, is higher than the vaulted roof of the choir and presbytery, the intervening s.p.a.ce being occupied with tracery of wood-work on painted boards, the Saviour on the Cross being painted in the middle. The wooden vaulting of the octagon springs from capitals on the same level as those of the great arches. The four small arches to the aisles are of course no higher than the roofs of the aisles: above these, on each side, are three figures of apostles, under canopies with crockets. The figures are seated, and each holds an emblem, by which it can be seen for whom the figure is intended. It may be noticed (in the central figure on the south-west side) that S. Paul, not S. Matthias, is put in the place of Iscariot. The hood-moulds of the arches are terminated by heads, of which six are portraits. King Edward III. and Queen Philippa are at the north-east, Bishop Hotham and Prior Crauden at the south-east, Walsingham and his master mason (so it is believed) at the north-west; those to the south-west are mere grotesques. Above the seated figures on each side is a window of four broad lights, filled with stained gla.s.s. The eight chief vaulting shafts rise from the ground as slight triple shafts; they support, a little above the spring of the side arches, large corbels, which form bases for exquisitely designed niches, and through these spring more shafts reaching to the vault. On each of the corbels is a boldly carved scene from the career of S.

Etheldreda; they commence at the north-west arch. The subjects (two to each arch) are as follows: