Bell's Cathedrals: The Cathedral Church of Ely / A History and Description of the Building with a Short Account of the Monastery and of the See

by W. D. Sweeting

In 1757 Essex recommended the removal of the galilee as being an encumbrance. The roof was ruinous, the walls were in bad condition; it was "neither ornamental nor useful"; it would cost a large sum to put it into decent repair. Happily this advice was not followed. In the course of the renovation then undertaken it was discovered that the remains of an older porch had been incorporated with the present one.

Bishop Northwold (1229-1254) commenced the building of the present presbytery.[8] There are now nine bays between the screen and the east end. The apse, if such were the termination of the Norman church, was situated between what are now on each side the fourth and fifth piers from the screen. A line drawn from the west side of the fifth piers north and south would just touch the eastern end of the apse. Bishop Northwold pulled down the apse and one bay west of it, and extended the presbytery four more bays to the east, building in all six bays, of which two were included in the ritual choir, and four were to the east of the high altar. All this was done between the years 1235 and 1251. The bishop also erected a lofty timber spire on the west tower, which remained until the present Decorated stage was built.

We have no account of the consecration of the Norman choir. But after this extension of the building eastwards we read that the whole church was solemnly dedicated on September 17, 1252, in honour of Saints Mary, Peter, and Etheldreda. King Henry III. was present, as well as Prince Edward, afterwards king. When the new portion of the church was ready, the remains of the four saints were removed further east. In the Norman church the high altar was in the chord of the apse, assuming one to have been built; after Bishop Northwold's alterations it was placed at the east end of the present sixth bay, where the apse terminated. The shrine of the foundress was placed some feet further to the east, its eastern face standing about twelve feet in front of the existing altar.

This work of Bishop Northwold completed the plan of the cathedral as it now stands. The lady-chapel was indeed built afterwards, but that is to all intents and purposes a separate building. Nor is there any later thirteenth-century work in the church itself. The building operations of the second half of the century were confined to the domestic part of the monastery. As these were doubtless carried out by the convent from its own resources, there is little notice to be found of them in the records of the see. It is known that the rectory, now in the deanery grounds, belonged to this period. It was finished in the time of Prior Hemmingston (1274-1288).

The first half of the next century was a time of great and important work at the church. In 1321 the first stone of the lady-chapel was laid by Alan de Walsingham, the sub-prior, afterwards sacrist. It was finished in 1349; and though John of Wisbech had the charge of the erection, the sacrist having more important work to do at the church itself, we can hardly doubt that the designs were by Walsingham. The position of the lady-chapel, to the north-east of the north transept, is unique. At Bristol it is to the north of the north choir aisle. At Peterborough the lady-chapel (destroyed during the Commonwealth) was in a nearly similar situation, projecting eastward from the north transept. Whatever may have been the reason at Peterborough for this unusual position (some say that a public road close to the apse prevented an extension of the choir to the east), there is no necessity to question the accuracy of the explanation generally given of the site of the lady-chapel here—namely, that the place of honour, east of the high altar, was already appropriated to the shrine of S. Etheldreda.

On the night of February 12, 1322, the eve of S. Ermenilda's day, the central tower fell. Its insecurity had long been known. The monks had just left their matin service in S. Catharine's Chapel. Some persons conclude from this fact that the choir had already been disused as being unsafe; but unless there is other evidence of this, the mere fact of the monastic matins being held in the chapel nearest to the domestic buildings seems hardly sufficient to justify the conclusion. The chapel here named was not (according to Dean Stubbs) the one now dedicated to S. Catharine at the west end of the cathedral, but one that adjoined the chapter-house. The fall of the tower destroyed three bays of the choir. Different opinions are held as to the character of the architecture of the bays thus destroyed. Some hold that Bishop Northwold built the choir and presbytery, from the central tower to the east end, in the Early English style, and that three of his bays were thrown down by the fall of the tower[9]; others think that the bays now ruined were part of the Norman work.[10] It is most probable that Northwold, designing to increase the length of the presbytery, only pulled down so much of the Norman work as was necessary for his purpose, leaving the western arches standing. This opinion is adopted in the account of his work given above. If this is correct, there would have been four Norman arches left standing between the tower and the Early English work. Of these, three on each side fell. When the new choir was constructed, the octagon taking up the space of the first bay, the fourth bay—presumably left uninjured—was removed, as being out of keeping between the Early English and the new Decorated bays; and hence three new bays were built, reaching to Bishop Northwold's work. All accounts agree that three bays were destroyed. But if both choir and presbytery were of Early English date, there must have been four bays overthrown, because the three Decorated bays now existing do not correspond in position to the three destroyed, for the present third bay from the screen is where the fourth bay was when the tower was standing.

No one could possibly have been found in the whole kingdom better qualified to cope with the great disaster that took place at Ely in 1322 than the officer of the house who had the special custody of the fabric. The originality and skill with which he designed and carried out the noble work that takes the place of the central tower, which is without a rival in the architecture of the whole world, are beyond all praise. The exquisite work in the lady-chapel would in itself have been sufficient to establish Walsingham's reputation as an architect of the very highest order of merit; but it would have revealed nothing, if it stood alone, of the consummate constructive genius which he displayed in the conception of the octagon. Of the design itself we shall speak hereafter. No time was lost in removing the mass of ruins; and we can imagine, as the ground was cleared and the grandeur of the opportunity gradually dawned upon Walsingham's mind, how he formed the design of dispensing with the four central pillars, and thereby securing eight instead of four for the support of his substitute for a central tower. At the same time the weight which these supports would have to bear was very much less than that of a massive tower of stone; so that there need be little fear of the fall of the lantern. Fergusson has pointed out that the roof of the octagon is the only Gothic dome in existence. Beresford Hope[11] compares the octagonal lanterns of Milan and Antwerp with that at Ely, which he calls unique in this country.

The building was begun as soon as the space was cleared. The stonework was finished in 1328, little more than six years after the tower fell. The woodwork of the vaulting and lantern took longer time; but this also was quite complete in 1342. Walsingham had become prior in the previous year. The weight of the lantern, it need hardly be said, is not borne, though it looks like it from below, by the vaulting that we see. There is a perfect forest of oak hidden from sight, the eight great angle posts being no less than 3 feet 4 inches by 2 feet 8 inches in section. There is also the leaden roof of the octagon (of that part which is exclusive of the lantern), 18 feet above the vaulting, to be supported. A glance at Plate 44 in Bentham's "History" gives some slight idea of the method of construction.[12]