But the monks had not finished even now. They were dissatisfied with the lighting of the older part of the cathedral. So they took out the thirteenth-century lancets, not only those of the aisles but those of the outer wall of the triforium of the presbytery, and replaced them by broad windows of flowing tracery. Even this was insufficient, and so they substituted a flat roof for the steep sloping roof of the two western bays of the presbytery aisles, and glazed the openings of these two bays of the triforium. Thus more light was obtained for St. Ethelreda’s shrine, which then stood between these two bays; its exact position is marked by the elaborate boss in the vault of the choir. Externally, the result is hideous, a big hole being left in the choir aisles, where the lean-to roof formerly extended continuously. All this piercing of the walls with bigger windows weakened the supports of the vaults, and the builders therefore took the precaution to weight the buttresses with heavy pinnacles, and to add flying-buttresses.
Beautiful stalls were then put up under the octagon—the panels are modern—and above the ancient white marble tomb of St. Ethelreda a stone canopy and watching-loft were erected. It now stands between the south piers of the presbytery, in the fourth bay from the west. On this was placed the Norman silver reliquary, “embossed with many figures, with a golden majesty blazing in its centre, with countless jewels of crystal and pearl, onyx and beryl, and amethyst and chalcedony.”
Nor was this all. Alan designed for his friend Prior Crauden a little chapel which would be the cynosure of any other cathedral, but which passes almost unnoticed amid the glories of Ely.
VI. Perpendicular (1360-1485).—In this period the monks continued their improvements in the lighting of the cathedral, treating the Norman nave very much as they had treated the Lancet choir—i.e., putting bigger windows in the aisles, and also raising the aisle-walls so as to get space for an upper range of windows, in the hope that some light might filter through across the triforium into the nave.
Moreover, they added another storey to the great west tower, making it octagonal, in order to bring it more into harmony with Alan’s lantern. The additional storey threw more weight on the Norman arches below, under which new strengthening arches had to be built. This saved the tower; but the northern half of the western transept collapsed, and has never been rebuilt.
The great east and west windows of the new Lady chapel also soon showed signs of weakness, and Perpendicular was substituted for flowing tracery.
To this period also belong the hammer-beam roofs of the transepts, the cloisters, and the Ely Porta or Walpole Gate.
VII. Tudor.—In 1488 was erected the chantry of Bishop Alcock at the east end of the north aisle of the choir; and in 1534 that of Bishop West in a similar position in the south aisle. They are perhaps the two most superb chantries in England, of marvellous richness and delicacy and vigour. That of Bishop West is of exceptional interest for its Renaissance vaulting and scroll-work. One so rarely sees in an English cathedral the delicate art of the early Italian Renaissance.
VIII. In 1539 the monks were expelled; secular canons took their place. In 1699 Sir Christopher Wren contributed a classical doorway to the north transept. The roofs of the nave and the lantern were painted c. 1862 by Mr. Le Strange and Mr. Gambier Parry. To Sir Gilbert Scott is due the gorgeous reredos.