Chapter 7

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

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

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

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

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

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

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

[Footnote 43: See note p. 53.]

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[Footnote 45: Ecclesiologist.]

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

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

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

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

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

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

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

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

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

+North Aisle of the Choir,+

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

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

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

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

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

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

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

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

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

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

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