Part 5
This includes both arms, although for distinction it is frequently spoken of as the north and south Transept. This is the oldest portion of the Cathedral, having been begun by Abbot Simeon A.D. 1083, of whose work, however, but little more than the ground story remains. Before the fall of the Norman Tower in 1322, each arm was longer by one bay, which is now included in the plan of the Octagon, in the same manner as the Nave. Both arms have aisles, but those of the south, and one in the north, are enclosed for various purposes. In each arm there is a simple cylindrical shaft, of which no other specimen occurs in any other part of the church. The capitals of the columns and the arches above the lower tier are similar to those of the Nave. The roof in both is of bare rafters with rich cornices, painted with flowers and devices, and angels with wings expanded under the principals; both arms have recently undergone a thorough repair, the rafters and cornices have been re-painted and gilded in their original style, which, with the stained glass lately inserted in the windows, produces an amount of colour the effect of which is very striking.
We will first refer for details to the north arm; of which the western aisle is open, and is lighted by three Norman windows, all of which have been recently filled with stained glass:
The south window--executed by M. Lusson, of Paris; the subjects taken from the Parables; as a memorial of the Rev. A. Moore, of Walpole, who designed and executed three windows in the Cathedral.
The middle window, by the same artist; subject, the Good Samaritan: given by John Muriel, Esq.
The northern window was executed by the Rev. A. Moore; the subject taken from the parable of the Prodigal Son.
At the north end of the Transept is a small colonnade, the arches of which are irregular, those opposite the lower windows being higher than the others to allow free passage to the light. At the north-east corner is a doorway communicating with a staircase leading to the upper parts of the church. In the year 1699 the fall of a portion of the north-west corner took place, but it was so well rebuilt as not to be discernable in the interior. The windows in the triforium on the east side are original; those of the triforium on the west side, and the upper ones at the north end, are Perpendicular insertions; the rest are all in their original form, or have been restored to it; those in the north end have been filled with stained glass:
The two lower, and the western window of the second tier, by Mr. Wailes, at the cost of the late Canon E.B. Sparke.
The eastern window of the second tier, by the Rev. A. Moore. The subjects of these four windows are incidents in the history of St. Paul.
The windows in the upper tier--by Messrs. Ward and Hughes--also at the cost of the late Canon E.B. Sparke, contain figures of eminent persons in New Testament history, with arms, &c. in the tracery. Those in the western window represent Silas; Clement, bishop; Apollos; Judas Barsabas; Dionysius, areopagite; and Philip, deacon: in the eastern window, Titus, bishop; St. Paul; Timothy; St. Mark; St. Barnabas; and St. Luke.
The eastern aisle is divided by walls behind the columns into compartments; the northern one forms a communication with the entrance to the Lady Chapel; the middle one a vestry for the Grammar Scholars; and the third a vestry for the Lay-Clerks; remains of fresco paintings may be seen on the walls of both these compartments.
The stained glass window in the middle compartment contains subjects from the history of our Saviour; executed by Messrs. Clayton and Bell: presented by--Heywood, Esq., as a memorial to his mother.
The window in the third compartment, by the same artists, represents the Entombment and the Ascension, and is the gift of C.L. Higgins, Esq., of Turvey Abbey.
The floor of this portion has been recently re-laid by the munificence of the late Canon E.B. Sparke.
We now cross the Octagon (which we will examine afterwards) to the south arm of the Transept. At the south end is a colonnade, but differing in design to that in the north arm, the arches being all of equal height, but not so high as the others; over these is a row of intersecting arches. It is probable that these galleries were added at a period subsequent to the erection of the Transept, and intended as a means of communication from one triforium to the other; in the south east corner is a staircase leading to the triforium. Some remains of ancient decoration may be observed on the walls and capitals, portions of which have been renewed.
The eastern aisle was formerly divided by a wall behind each column into three compartments, with wooden screens in front; but these were all removed in 1814, when it was enclosed as we now see it to form the Library, which is lighted on the east by three Early English windows, and on the south by a Norman one. The western aisle appears to have been closed for many years, as on the walls built in the arches (and which until lately completely filled the openings,) there is an arcade of intersecting Norman arches. Of this aisle, thus inclosed, one portion is used as a vestry by the Vergers, having an entrance from the south aisle of the Nave; the remaining portion as a vestry for the Clergy. The carved oak door to this vestry deserves attention; it is not exactly known whether it originally belonged to the Cathedral, the carved devices are similar to those in the chapel of Bishop Alcock, in the north aisle of the Choir; there is no doubt that it belonged to some building erected by that prelate, if not to this, probably to the chapel of Jesus College, Cambridge, of which Bishop Alcock was the founder. It was found at Landbeach, and sent to the Cathedral by Canon Fardell.
The windows of the western aisle and those of the clerestory on both sides are in their original form, and so are those of the two lower tiers at the south end, but the others are of later age; in the gable is a low window of seven lights, very different to the upper windows in the north arm: those in the south end and two in the western aisle have been filled with stained glass:
The eastern window of the lower tier of the south end, by M. Henri Gerente, contains incidents in the history of Joseph; presented by the late Canon E.B. Sparke.
The western window by the same artist, contains incidents from the history of Moses: contributed by some of the then Lessees under the Bishop.
The eastern window of the second tier, by Messrs. Henri and Alfred Gerente, contains subjects from the history of Abraham, with parallels: the gift of Incumbents of livings in the diocese, and in the patronage of the Bishop.
The western window, by M. Alfred Gerente, contains subjects from the history of Jacob; the gift of Incumbents of livings formerly in the patronage of the Bishop, but not in his diocese.
The gable window contains six figures of the Patriarchs, with a figure of our Lord in the centre; some of which were executed by Mr. Howes and others by Mr. Preedy: the gift of some of the Peers and Prelates educated at the University of Cambridge.
The middle window of the western aisle, by M. Lusson; the subjects taken from the Book of Jeremiah: given by the Rev. G. Rous, Laverton, as a memorial of Dr. Hugh Thomas, nineteenth Dean of Ely.
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 noble 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 space, 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 principal 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 clustered 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 noble 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 spaces 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 passage 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 glass 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 principal 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. Sexburga, 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 accumulation of the money given by Bishop Sparke[36] for the east window.
[Footnote 36: Bishop Sparke gave L1500 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 accumulated 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 principal 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. Peacock, 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 Peacock 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 glass, 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 Peacock, 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 L10,000, were given by many noblemen as well as other friends of Dean Peacock; 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 principal 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 principally 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 attitude 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 glass, 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, (illustrating 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 attitude 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 space 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 L2500."