The two most western triforium arches in the presbytery are glazed, the roof of the triforium itself being wholly removed. The object of this alteration has been fully explained in the account of the exterior of the cathedral. On the ground beneath were the shrines; and under one of the arches was erected, not long afterwards, the monument of Bishop Barnet, in whose time and at whose expense the alteration was made.
The arrangement of the lancets at the east end is even more effective within than without. The east end of Ely, says Professor Freeman, "is the grandest example of the grouping of lancets.... Ely is also undoubtedly the head of all east ends and eastern limbs of that class in which the main body of the church is of the same height throughout, and in which the aisles are brought out to the full length of the building."[7]
It will hardly be believed that the magnificent stalls which were formerly ranged in the octagon, and at a later period in the presbytery, were once painted all over with a mahogany colour. They are the finest Decorated stalls in England, the beautiful ones at Winchester being of late thirteenth-century date. The carved panels in the upper parts are new, and are the gifts of individual donors. They were executed in Belgium. It is not known how these spaces were originally filled; Mr. le Strange thought possibly with heraldic devices. The designs on the south are from the New Testament, those on the north from the Old Testament The seats in the lower range are also modern, as are the various statuettes at the Stall ends, which represent the builders of the most important parts of the fabric. On the misereres of the ancient stalls are some wonderful grotesque carvings. The brass eagle lectern has been copied, as to its main features, from an ancient example at Isleham. The organ is in the triforium, on the north, and part of the case projects over the easternmost arch of the choir.
The reredos is the first example in modern cathedral work of the elaborate style of decoration for the most holy part of the sanctuary, which is now not uncommon. It was the gift of Mr. John Dunn Gardner, of Chatteris, and was designed by Scott. It forms the central portion of a screen of stone which extends for the whole width of the presbytery. The lower part of the whole is of deeply cut diaper-work; the upper part has an open arcade of six arches, each with a mullion and tracery in the early Decorated style. The reredos itself is of alabaster, and consists of five main arches under canopies, and with tracery, and is ornamented with a rich abundance of mosaic work, panels, medallions, statuettes, twisted columns, and various kinds of carving. Five scenes from the last days of our Lord's life on earth are carved in relief under canopies beneath the chief arches. A full description, giving all the details of the sculpture, and the materials of the mosaic, and the different persons and emblematic graces represented by the busts and figures, would require more space than we can give. The altar cross, of silver gilt, is in memory of Bishop Woodford.
The Lady-chapel.—Notwithstanding the cruel mutilation of the sculpture all round this chapel, it can be seen that for perfection of exquisite work there is no building of the size in this country worthy for one moment to be compared with this in its unmutilated state. Its single defect strikes the beholder at once: the span of the roof is too broad and the vaulting too depressed for the size of the chapel. The windows, of which those on the north have been restored, have already been described. The end windows, which are of great size, are of later date; that to the east has a look of Transition work about it. The building was finished in 1349, and the east window was inserted by Bishop Barnet, circa 1373. For a possible explanation of the insertion of this window, only a quarter of a century after the completion of the chapel, see ante, p. 52. It is not thought probable that the original designers left anything incomplete. The great beauty of the interior consists in the series of tabernacle work and canopies that runs round all the four sides below and between the windows. The heads of the canopies project. In the tracery beneath, at the head of the mullion, was a statue. The delicate carving of the cusps and other tracery is varied throughout. On the spandrels were incidents connected with the history of the Virgin Mary (mainly legendary) and of Julian the Apostate; and though in no single instance is a perfect uninjured specimen left, yet enough remains, in all but a few cases, for the original subjects to be identified.[8] All was once enriched with colour, and many traces remain; and in various parts of the windows there are fragments of stained glass. Most of the monumental tablets which once disfigured the arcade below the windows have been happily removed into the vestibule. The arches and canopies at the east end are arranged differently from those on the sides. In the roof, which reminds us of the contemporary roof in the choir, are some carved bosses, not large, but singularly good. Among the subjects can be recognised a Crucifixion, with half-figures beside the cross; Adam and Eve; the Virgin Mary and Elizabeth, holding between them a book inscribed "Magnificat"; the Annunciation, with "Ave Maria Gracia plena"; the Ascension, indicated by the skirt and feet of the Saviour and five heads of apostles; the coronation of the Virgin; and the Virgin in an aureole.