Ely Cathedral Part 7

"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.+

In taking a survey of this n.o.ble 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 princ.i.p.al 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 b.u.t.tresses; 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 pa.s.sed 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 a.s.suming 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]

[Footnote 22: Hewitt's description of Ely Cathedral, p. 13.]

+The Galilee[23] or Western Porch.+

[Footnote 23: The name "Galilee" is thus accounted for by the late Rev. G. Millers in his "Description of Ely Cathedral," p. 43. "As Galilee, bordering on the Gentiles, was the most remote part of the Holy Land from the Holy City of Jerusalem, so was this part of the building most distant from the sanctuary, occupied by those unhappy persons, who, during their exclusion from the mysteries, were reputed scarcely, if at all better than heathens."

Another writer gives as a reason for the name, that upon a woman applying for leave to see a monk, her relation, she was answered in the words of Scripture, "Behold he goeth before you into Galilee, there you shall see him."]

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]

[Footnote 24: Stewart, p. 53.]

[Footnote 25: Mr. Scott's Lecture.]

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 Devons.h.i.+re marble with Purbeck plinths and capitals; the vesica in the tympanum has been filled with stained gla.s.s 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.

[Footnote 26: Parker's "Introduction to the study of Gothic Architecture," p. 91.]

+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 quant.i.ty of stone and materials.[27] The tops of the four fine arches which originally supported the Tower can now be partially seen; they were s.p.a.cious 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 archaeological 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 G.o.d of Sabaoth." The eastern centre contains a s.h.i.+eld 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.

[Footnote 27: At the time these works were in progress (Oct., 1845), Mr. Ba.s.sevi, the eminent architect of the Fitzwilliam Museum, at Cambridge, visited the Tower, and unfortunately fell from one floor to another, and was killed. He was buried in the north aisle of the Choir, and an elegant monumental bra.s.s, by Messrs. Waller has been laid over his remains.]

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 gla.s.s, 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 s.h.i.+elds 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 c.o.c.ksedge, of which Mrs. Waddington was a member.

Before proceeding further the visitor should pause, and observe the great length of the Cathedral, the n.o.ble 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 n.o.ble 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 wors.h.i.+p of Almighty G.o.d--and let their aspirations of prayer and praise ascend to Him in thankfulness for the privilege afforded to them of freely and openly wors.h.i.+pping 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 gla.s.s 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 Peac.o.c.k.

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.

[Footnote 28: A font, the gift of Dean Spencer, in 1693, formerly stood under the third arch on the south side of the Nave, but having no accordance in style with the architecture of the building, it has been removed, and placed in a newly erected church at p.r.i.c.kwillow, near Ely.]

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 gla.s.s by Mr. Wilmshurst:

The east window, representing the Baptism of our Lord, by John, after a picture by Ba.s.sans; 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 cl.u.s.tered 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 pa.s.sage 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 bra.s.s 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.

[Footnote 29: Bishop Turton by his will left the sum of 500 towards this object, and Bishop Harold Browne gave a like sum towards the completion of the paving of the Nave and aisles.]

[Footnote 30: A portion of the expense of this work was defrayed by a bequest by the Rev. G. Millers, a Minor Canon, augmented by the liberality of his Executors to 400.]

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.