Ely Cathedral Part 10
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 n.o.ble 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 s.p.a.ce, 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.
[Footnote 34: He was made Sub-Prior, then Prior, and elected Bishop, A.D. 1344, but the election was not confirmed.]
"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 princ.i.p.al 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 cl.u.s.tered 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 n.o.ble 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 s.p.a.ces 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.
[Footnote 35: These were contributed by the Bishop of Carlisle (5), Dr. Kennedy, Sir G.G. Scott, Captain Horton, Canon Underwood, and others.]
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 pa.s.sage 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 gla.s.s 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 princ.i.p.al 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. s.e.xburga, 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 acc.u.mulation of the money given by Bishop Sparke[36] for the east window.
[Footnote 36: Bishop Sparke gave 1500 stock in the Reduced Three per cents. about 1833, but the east window was not completed until 1857; the amount had in the mean time acc.u.mulated considerably, and proved sufficient to defray the cost of the east window, of six windows in the clerestory of the Choir, of the four windows of the triforium of the Presbytery, and half the cost of the north-west window of the Octagon.]
The window in the south-west angle also contains eight figures in the four princ.i.p.al 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. Peac.o.c.k, 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 Peac.o.c.k 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 gla.s.s, 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]
[Footnote 37: This great work is designed as a memorial of Dean Peac.o.c.k, and a more fitting one could scarcely be found, as it is one of the great works he had in contemplation. "The Dean and Chapter felt that they could not propose any record of the zealous exertions of the late Dean, so appropriate as the restoration of the central portion of the Cathedral Church; which, after the great improvements executed under his superintendence in the eastern and western portions of the fabric, would form as it were a keystone of the whole work."
Subscriptions amounting to about 10,000, were given by many n.o.blemen as well as other friends of Dean Peac.o.c.k; the capitular body contributing very largely towards the work.]
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 princ.i.p.al artist was Walter; he is dignified by the name of "Pictor," but he only received Eightpence per week, "_praeter 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 princ.i.p.ally 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 att.i.tude 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 gla.s.s, 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 mediaeval 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, (ill.u.s.trating 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 att.i.tude 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 s.p.a.ce 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 ma.s.s 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