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 about the Octagon that has not spoken of it as being without rival in the whole world; and the admiration that was expressed fifty and more years ago would have been far greater, and the enthusiasm more profound, had the writers seen it in its present state of perfect restoration. No description can do adequate justice to the grandeur of the conception or to the brilliancy of the execution of this renowned work.
“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.