Until the plain colour-wash with which the vault had been covered was removed in 1850 there was no knowledge of what had been the character of the original decoration. Traces of colouring were then discovered, and in some places geometrical designs, but there was no evidence of anything very elaborate. The whole of the present decoration forms accordingly an entirely new design; it is by Mr. Gambier Parry, who himself painted the principal figures. The central boss of the lantern is carved in oak, and is original; only its painting is new. All the remaining figures are wholly new. Groups of seraphim, bands of heavenly minstrels bearing all kinds of ancient musical instruments, monograms, and sacred emblems, all combine to give a rich variety.
The Transepts.—The architectural student will find the transepts of the greatest interest; as in them is to be seen the earliest work in the cathedral. They are similar in general character to those at Winchester, which were built by Abbot Simeon's brother. The transepts at Winchester were ready for consecration in 1093, and this was seven years before Simeon came to Ely. The triforium is probably only in part Simeon's work; and the clerestory was almost certainly added by his successor. Both transepts have aisles, but in the south transept the western aisle is walled off. Along the western wall in the north transept is a stone bench. The square capitals of the piers here have indentations at the corners, and this is an early example of such indentation. Some slight ornamentation may be noticed in the cushions of the capitals, especially in the south transept, where there are traces of ancient colouring. The three chapels to the east of the north transept are divided by walls, and two have wooden screens. One of these has been restored by Professor Stanton for use as a chapel for early celebrations and for private devotion. Some early paintings on the vaulted roof, representing the martyrdom of S. Edmund, are sufficient to justify this being called S. Edmund's chapel. It is probable that this was the Chantry on the Green (so called from the place of residence of the four chaplains) founded by Bishop Northwold. The screen in front of this chapel is exceedingly light and graceful; it dates from about 1350. At one time it is said to have been in the south transept, and afterwards where it now stands; it was removed in 1865, but is now replaced. In the south transept the whole of the eastern aisle is walled off for the library. In the plan in Bentham's History, 1770, only the single bay to the south is marked as the library. The walls of partition between the chapels were taken down in 1814. The western aisle has always been separated by a low wall of Norman date, possibly a little later than the adjacent piers; this wall has an intersecting arcade of round arches, with a string of chevrons above. This aisle is used as a vestry. Within is the ancient Norman vaulting; and there are some good original windows, which cannot be seen from without except from the Deanery gardens. From the devices on the late Perpendicular door it is clear that it belonged to some church erected by Bishop Alcock; it was only brought here from Landbeach about fifty years ago.
The triforium and clerestory ranges are almost identical with those in the nave. In the south transept the western windows of the triforium have been altered into three-light Perpendicular windows. The roofs of both transepts have been raised, but it is not known at what time. At the north end are two large windows of good Perpendicular character; at the south is a single window of seven lights, of very singular design. At the ends of the transepts are two original galleries, level with the triforium, supported on round-headed arches. On the north are five arches, not of equal height, the two most lofty of which reach nearly to the triforium level. On the south are six much lower arches, and above them is a blank arcade of intersecting arches. In the floor of the south transept are laid some very remarkable ancient tiles.
The Choir and Presbytery—A beautiful screen of oak, with brass gates, designed by Scott, divides the choir from the octagon. It is of early geometric character; and if there had been an original screen of this design it would have been intermediate in date between the presbytery and the choir. The tracery is very graceful. A rich cresting runs along the top, cut through by the gable over the gates, which bears a terminal cross. On both sides the small niches have statuettes.