  Dedication: St. Ethelreda. Church of a Benedictine Monastery. Special features: The Octagon; Galilee Porch; Lady-Chapel; Bishop Alcock’s Chapel; Bishop West’s Chapel; Monk’s Door. Ely is perhaps the most singular and beautiful of English cathedrals, when seen from a distance; for the massive building, with its turrets, buttresses, and pinnacles, rises with splendid majesty from the green meads that make a perfect foreground. “The first glimpse of Ely overwhelms us, not only by its stateliness and variety of its outline, but by its utter strangeness, its unlikeness to anything else. Ely, with its vast single western tower, with its central octagon unlike anything else in the whole world, has an outline altogether peculiar to itself.”—(E. A. F.) About 655 Etheldreda, daughter of the King of East Anglia, went to live in the fen-land district, known as the Isle of Ely, that had come into her possession according to the terms of her marriage settlement with Tonbert, one of the noblemen of her father’s court. The civil government of her territory she gave to a steward named Ovin, while she devoted herself to good works. She was induced to marry Egfrid, son of Oswy, King of Northumberland, who became king in 670. Etheldreda, wearied of court life, became a nun; and when Egfrid determined to force her to return to court she fled from Coldingham to the Isle of Ely, where she established a religious house. She began to The monks of Ely educated Edward the Confessor, who had been offered on this altar in infancy by his parents. After he became king he continued his “favourable regard to the place.” His brother, Alfred, whose eyes were put out by Earl Godwin, died and was buried in Ely. Ely was the last stronghold of Hereward; and it took the monks a long time to make their peace with the Conqueror. In order to raise enough money to purchase forgiveness they were forced to sell almost every article of gold and silver that they owned. Thurston, the last Saxon abbot (1066-1072), remained in charge of the monastery until his death. When Simeon, prior of Winchester, and brother of Walkelyn, Bishop of Winchester, was made abbot in 1081, it was deemed necessary to build a more sumptuous church. Simeon contributed a great part of his large fortune. He began with the transepts; and built the central tower, often called “Simeon’s Tower.” Richard (1100-1107), a Norman, and relative of In 1109 Ely was made a cathedral; but nothing seems to have been done to the building until Bishop Riddell (1174-1189) “carried on the new work and Tower at the west end of the church, almost to the top.” Eustache (1198-1215), one of the bishops appointed to excommunicate King John, built the celebrated Galilee Porch at the west end. He contributed large sums out of his private fortune. Hugh Norwold, or Northwold (1229-1254), built the six eastern bays of the presbytery, and the palace. Again were the remains of St. Etheldreda, St. Sexburga, St. Ermenilda, and St. Withburga removed to this part of the church, and the Cathedral was dedicated in 1252. King Henry III. and Prince Edward were present. When Bishop Norwold died (1254), he was buried at the feet of St. Etheldreda. His monument was removed to the north side of the presbytery, third arch from the east. John Hotham (1316-1337) built the choir. It was during his bishopric that the Tower fell, and he provided for the building of the wrecked western bays. The Fourteenth Century brings us to the greatest of all the Ely builders, the supreme artist and architect, Alan de Walsingham, sub-prior, sacrist, and finally prior. In 1321 he began the Lady-Chapel, which was finished in 1349. Its position is peculiar—north-east of the north transept. Its site was chosen in all probability because St. Etheldreda’s shrine occupied the sacred east end. Walsingham’s great work, however, is the celebrated Octagon. On the eve of St. Ermenilda’s Day, February 12, 1322, just after the monks had finished matins, the central tower fell and destroyed three bays of the choir. There was no wicked king in this case to blame for the calamity, as was the case with the similar tower built by Simeon’s brother at Winchester (see pages 55-56). “No one could possibly have been found in the whole kingdom better qualified to cope with the great disaster that took place at Ely in 1322 than the officer of the house who had the special custody of the fabric. The originality and skill with which he designed and carried out the noble work that takes the place of the central tower, which is without a rival in the architecture of the whole world, are beyond all praise. The exquisite work in the Lady-Chapel would in itself have been sufficient to establish Walsingham’s reputation as an architect of the very highest order of merit; but it would have revealed nothing, if it stood alone, of the consummate constructive genius which he displayed in the conception of the octagon. “The building was begun as soon as the space was cleared. The stonework was finished in 1328, little more than six years after the tower fell. The woodwork of the vaulting and lantern took longer time; but this also was quite complete in 1342. Walsingham had become prior in the previous year. The weight of the lantern, it need hardly be said, is not borne, though it looks like it from below, by the vaulting that we see. There is a perfect forest of oak hidden from sight, the eight great angle posts being no less than 3 feet 4 inches by 2 feet 8 inches in section. “With such a man as Walsingham on the spot we cannot be wrong in assigning to him the authorship of all the architectural designs that were carried out in his lifetime. Walsingham, though elected bishop by the monks, was not confirmed by the Pope. However, when they placed the brass over his resting-place in front of the choir they represented “The Flower of Craftsmen” (Flos operatorum was his epitaph), with mitre and crozier. Ely suffered less than many churches during the Puritan wars. The most important work of late years has been the restoration of the octagon and lantern, as originally designed by Alan de Walsingham. The great West Tower (Early English and Decorated) was built before the Galilee Porch, about the last year of the Twelfth Century. It is surmounted by an octagon with a window of three lights in each face. An octagonal turret ornaments each corner. Windows and arcades mark each story. A fine view of it is obtained from the south side. The Galilee Porch is one of the finest examples of Early English in existence and is only surpassed by Bishop Hugh’s Choir at Lincoln. “Each side externally, is covered with lancet arcading in four tiers. In the upper tier the lancets are trefoiled with dog-tooth in the moulding; in the next lower tier the lancets are cinquefoiled, with two sets of dog-tooth. The lancets in the west face are all cinquefoiled, and the three lower tiers have trefoils in the spandrels. Nearly all are highly enriched with dog-tooth; while the mouldings of the west door have conventional foliage as well. The lancets here are deeper than on the sides of the porch, and were probably designed to hold figures. Of the three large lancets in the west window the central one is slightly more lofty than the others. “The interior of the porch is even more beautiful; the profusion of ornamentation on the inner doorway and the exceeding gracefulness of the double arcades in the sides are quite unsurpassed. Both doorways are divided by a shaft and both have open tracery of exceptional beauty above.”—(W. D. S.) In addition to this feature, Ely has the unique Octagon, a good view of which is obtained from the north-west. It is beautifully proportioned and beautifully decorated with windows of exquisite tracery. “The way in which the octagon and lantern combine in producing a perfectly harmonious composition is in great part due to two points of difference, points which very few observers detect. These are, firstly, that the lantern is a regular octagon, having all its sides equal, in this respect being unlike the stone octagon beneath it; and, secondly, that the eight faces of the lantern are not parallel to the eight faces of the octagon. The new windows of the lantern are similar to the large ones below, but are not mere copies of them. The upper stage of the lantern, above the roof as seen from within, was once a bell-chamber; its lights are not, and never have been, glazed. The whole of the lantern is of wood, covered with lead. Two flying-buttresses rise from the corners of the nave and transept aisles to the corbel table of the clerestory range. There are also eight elegant flying-buttresses, one The north-western part of the north transept fell in 1699, and was rebuilt by Sir Christopher Wren, nephew of Bishop Wren, then in office. The north end of the transept contains Norman windows, and above them are two Perpendicular windows, each of three lights. In the east wall of the transept the lower lights are Decorated; the upper windows are the original Norman. Next we come to the Lady-Chapel, the east window of which (seven lights) was inserted by Bishop Barnet (1366-1373), who also “beautified five of the windows in the presbytery.” The west window (eight lights) is of a little later date. In the side walls of the Lady-Chapel are five large windows, the tracery of which is very beautiful. The East End is a superb illustration of Early English, although slightly altered from its original state by the introduction of the windows in the chapels of Alcock and West, and a plain wall for the original windows in the south aisle. Flying-buttresses support the roof of the presbytery and choir. The Perpendicular window of seven lights attracts our notice in the south end of the south transept. The entrance to the Cathedral from the south opens from the eastern end of the cloisters and is called the Monks’ Door. The ornamentation is very rich. One spiral column is especially fine. The arch is trefoiled with cusps, having circular terminations with star ornament, and in the spandrels are quaint, crouching At the west end of the north alley of the cloisters we come to the Prior’s Door, a fine specimen of late Norman. In the tympanum is a carving in high relief of the Saviour. Entering through the West we have a full view of the Cathedral, the vista fortunately not broken, for the open screen permits the gaze to wander the whole length to the east end. The massive Perpendicular arches here were built beneath the Norman ones to secure stability for the big tower that we have just examined. The Nave is one of the most perfect specimens of late Norman. It is very similar to that of Peterborough. Ely, however, offers no suggestion of the transition of the next style, as does Peterborough. The Ely nave is supposed to have been finished before 1173, a little before Peterborough’s, and after that of Norwich. It contains twelve bays and measures 208 feet. The piers are of alternate design. In front of each a shaft runs up to the roof. As we follow this with our eyes we see that the ceiling is painted with Biblical subjects; but these pictures need not detain us, as they are modern. The billet moulding decorates the string-course above the main arcade. Most of the capitals are cushion. The Octagon is the gem of the whole Cathedral. “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 “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 space being occupied with tracery of woodwork on painted boards, the Saviour on the Cross being painted in the middle. The wooden vaulting of the Octagon springs from the 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 St. Paul, not St. 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 glass. 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 St. Etheldreda; they commence at the north-west arch. The subjects (two to each arch) are as follows: “North-west arch: St. Etheldreda’s second marriage. Her taking the veil at Coldingham. “North-east arch: Her staff taking root. Her preservation in the flood at St. Abb’s Head. “South-east arch: Her installation as Abbess of Ely. Her death and burial (two scenes). “South-west arch: One of her miracles. Her translation. “In order to understand these wonderful sculptures more fully we refer to the Liber Eliensis which describes Etheldreda as hurrying away from Coldingham with two ladies, Sewenna and Sewara, and as reaching a rocky place on the coast where they were overtaken by the king, but the three ladies crossed the Humber and proceeded south, dressed as pilgrims. One night, while the queen slept, her staff, placed in the ground, burst into leaf and flower. On this spot a church was built and dedicated to St. Etheldreda. When the three pilgrims arrived in the Isle of Ely, they were joined by Wilfrid, the archbishop of York, who induced Etheldreda to take the veil. The miracle referred to in the south-west arch shows St. Etheldreda and St. Benedict appearing to a monk named Brytstan, who was charged with seeking refuge in a monastery in order to escape punishment for robberies of which he had been guilty. The miracle was told to Queen Matilda, who freed Brytstan.”—(W. D. S.) The Screen separating the choir from the Octagon was designed by Scott. It is of oak, delicately carved in geometric patterns, and bearing a cross on the cresting that runs along the top. The gates are brass. The first three bays of the choir were begun about 1240; the last six, forming the presbytery, were finished in 1340. The space of a hundred years thus lies between them. “In the juxtaposition of these two magnificent specimens of the Early English and Decorated periods of architecture there is an opportunity of comparison which on such a scale occurs nowhere else. It is to be remembered that in neither case is the treatment of the upper part quite in accordance with the usual practice of the period. When the presbytery was being built there were still standing east of the central tower the four original “The difference between the two styles of architecture is well marked in the groining of the roof, the Decorated portion being much more elaborate. Some of the bosses are very remarkable: one has St. Etheldreda with pastoral staff; one has the coronation of the Virgin Mary; one has the foundress bearing the model of a church, in which (as Dean Stubbs has pointed out) both arms of the western transept are represented, so that it is a fair inference that at the time this roof was constructed the whole of the western transept was standing. “Between the choir and presbytery there rise the mas The magnificent Choir-Stalls, with their beautiful canopies, are thought to be Walsingham’s work. They are considered the finest Decorated stalls in existence. The misereres show wonderful carvings. The Reredos, of alabaster, designed by Scott, stands in the centre of the screen of stone that runs along the whole of the presbytery, the lower part of which is a diaper pattern and the upper portion an open arcade of six arches (Early Decorated style). “The east end of Ely is the grandest example of the grouping of lancets.... Ely is also undoubtedly the head of all east ends and eastern limbs of that class in which the main body of the church is of the same height throughout, and in which the aisles are brought out to the full length of the building.”—(E. A. F.) At the end of the north-choir-aisle we come to the Chapel of Bishop Alcock (died 1500), Bishop of Ely from 1486 to 1500. He was a great architect, built the great hall in the Bishop’s palace at Ely and also this very ornate chapel. It dates from 1488. The roof is composed of fan-tracery, with a large pendant; and the walls are covered with canopies, tabernacles, crockets, niches, panels and other decorations with lavish display. The figures have gone from the niches. A cock on a globe—Alcock’s rebus—occurs on the stone-work very frequently. At the end of the south-choir-aisle we find the corresponding Chapel of Bishop West (died 1533). This is similar in style to the Alcock chapel, but less ornate. Several bishops are buried in this chapel. Though we may care little or nothing for the careers of the dignitaries who lie there, or who are perpetuated by monuments, we find among the tombs some fine examples of sculpture and ornament of the past. For instance, that of Bishop Louth (died 1298), under the first arch of the presbytery in the south-choir-aisle, is a fine example of Early Decorated. In the last arch, before reaching Bishop West’s Chapel, the tomb of Bishop Hotham (died 1337) calls for attention. Under the four arches of the presbytery on the north, between the stalls and the altar, is that of Bishop Redman (died 1505), a very fine specimen of enriched Perpendicular work. Next is the effigy of Bishop Kilkenny (died 1256), a fine example of Early English. In the next arch a large Decorated structure of two stories, believed by Scott to have been built by Walsingham as the base for the Shrine of St. Etheldreda, was formerly known as Bishop Hotham’s shrine. In the arch north of the altar is the tomb of the builder of the presbytery, Bishop Northwold (died 1254), who is represented in full vestments. It is only natural that the transepts should show similarity with those of Winchester, consecrated in 1093, seven years before Simeon of Winchester came to Ely. He began his work, as we have seen, here, and got up as far as the triforium. The clerestory was added by his successor. Alterations took place at later periods, and now both triforium and clerestory are almost identical with those in the nave. In the south transept Perpendicular windows of three lights have replaced the western windows of the triforium. Two large Perpendicular windows ornament the north end and a curious window of seven lights adorns the south. Galleries, arches, and arcades afford exceedingly interesting study. On the east of the north transept are three chapels, one of which has been restored for private devotion. Old paintings of the Martyrdom of St. Edmund on the roof have given it the name of St. Edmund’s Chapel. The screen in front dates from about 1350. From the north transept we enter the Lady-Chapel. “Notwithstanding the cruel mutilation of the sculpture all round this chapel, it can be seen that for perfection of exquisite work there is no building of the size in this country worthy for one moment to be compared with this in its unmutilated state. Its single defect strikes the beholder at once: the span of the roof is too broad and the vaulting too depressed for the size of the chapel. The windows on the north have been restored. The end windows, which are of great size, are of later date; that to the east has a look of Transition work about it. The building was finished in 1349, and the east window was inserted by Bishop Barnet, circa 1373. The great beauty of the interior consists in the series of tabernacle work and canopies that run round all the four sides below and between the windows. The heads of the canopies project. In the tracery beneath, at the head of the mullion, was a statue. The delicate carving of the cusps and other tracery is varied throughout. On the spandrels were incidents connected with the history of the Virgin Mary (mainly legendary) and of Julian the Apostate; and though in no single instance is a perfect uninjured specimen left, yet enough remains, in all but a few cases, for the original subjects to be identified. All was once enriched with colour, and many traces remain; and in various parts of the windows there are fragments of stained glass. Most of the monumental tablets which once disfigured the arcade |
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