It is probable that the wealth of the monastery had kept the fabric itself in such a state of complete repair that there was no occasion for much sustentation work for a long time after the Reformation—at least, we read nothing of any work being undertaken or of any portions of the building falling into decay. In the Commonwealth period the cathedral suffered less than in many places. The stained glass was indeed destroyed, and the cloisters and some parts of the domestic buildings pulled down, by order of commissioners. As Oliver Cromwell was Governor of the Isle of Ely, and often in the city, he was not likely to let the cathedral services alone. In January, 1644, he interfered during service, and stopped it, ejecting the congregation, and is said to have professed that this was an act of kindness, in order to prevent damage to the building. According to Carlyle,[19] he had written to the officiating minister, requiring him "to forbear altogether the choir service, so unedifying and offensive, lest the soldiers should in any tumultuary or disorderly way attempt the reformation of the cathedral church." If the people of Ely had heard about the "reformation" of the cathedral church at Peterborough, as carried out by the soldiers of the Parliament in July of the preceding year, they were certainly well advised in taking this hint. Bishop Wren—an eager opponent of the Puritans—was at the time in prison, where he remained until the Restoration.
The only account we have met with of disrepair in the seventeenth century says: "A little part of the end of the North Part fell down March 28, Anno 1699, but it was soon neatly rebuilt again at the Charge of the Church, with some Assistance from a Brief."[20] This was the north-west[21] corner of the north transept. The rebuilding was carried out under the direction of Sir Christopher Wren, nephew of the bishop.
There is an account of the impression produced upon a visitor to Ely in the reign of William and Mary, the quaintness of which may perhaps justify the length of the quotation: "The Bishop does not care to stay long in this place, not being good for his health; he is Lord of all the island, has the command and ye jurisdiction.... There is a good palace for the Bishop built, but it was unfurnished. There are two Churches. Ely Minster is a curious pile of building all of stone, the outside full of Carvings and great arches, and fine pillars in the front, and the inside has the greatest variety and neatness in the works. There are two Chappels, most exactly carv'd in stone, all sorts of figures, Cherubims Gilt, and painted in some parts. Ye Roofe of one Chappell was One Entire stone most delicately Carv'd and hung down in great poynts all about ye Church. The pillars are Carv'd and painted with ye history of the bible, especially the new testament and description of Christ's miracles. The Lanthorn in ye quire are vastly high and delicately painted, and fine Carv'd work all of wood. In it ye bells used to be hung (five); the demention of ye biggest was so much that when they rung them it shooke ye quire so, and ye Carv'd worke, that it was thought unsafe; therefore they were taken down. There is one Chappel for Confession, with a Roome and Chaire of State for ye priest to set to hear ye people on their knees Confess into his Eare through a hole in ye wall. This Church has ye most popish remaines of any I have seen. There still remains a Cross over the alter; the Candlesticks are 3 quarters of a yard high, massy silver gilt, very heavy. The ffont is One Entire piece of White Marble, stemm and foote; the Cover was Carv'd Wood, with ye image of Christ's being baptised by John, and the holy Dove descending on him, all finely Carv'd white wood, without any paint or varnish."[22]
In the eighteenth century some extensive repairs became necessary, and some alterations in the arrangements of the choir were carried out. The former chiefly affected the roofs of the octagon and presbytery. Other parts of the cathedral seem to have needed some repair, but not to a considerable extent. The latter consisted in the moving of the ritual choir to the extreme east end of the church, the returned stalls at its western limit being at the sixth piers from the east end. This alteration was effected in 1770.
The position of the high altar has been perhaps more often moved in this cathedral than in any other. In the Norman choir the altar was situated in the centre of the fourth bay east of the present octagon. When Bishop Northwold enlarged the presbytery it was moved one bay further east. After the rebuilding of the three bays west of Northwold's work, it seems to have been moved again westward, as far as the first piers east of the octagon. Again in 1770, at the time of which we are now speaking, it was moved to the extreme east end, and was placed just against the east wall. Now it stands between the second piers from the east.
It is not a little singular to notice the enthusiasm with which this eighteenth-century change was greeted. Bentham says[23] it was "an alteration which had long been wished for, by all persons of true taste." And again: "It is allowed by the best judges to be one of the most useful and ornamental Improvements that could have been effected"; and he gives a long disquisition highly praising the alteration. The eastern portion, formerly "an useless encumbrance," was now brought into use. The organ and voices could be better heard, the view of the octagon was greatly improved, and the nave and transepts "have acquired their due Dimensions." Compare this with Hewett's observations less than eighty years later: "Never was there a more ill-judged step than the removal of the Choir hither, towards the latter portion of the last century. To give it such stinted proportions, and for this purpose to displace some of the fine old monuments, and to hide others, to obscure the pillars, and, above all, to erect the miserable organ gallery which we now behold, may surely be pronounced most tasteless performances"[24] When he wrote, the proposal was to replace Walsingham's stalls in the octagon, and to make Bishop Hotham's three Decorated bays into a sacrarium, and so presumably re-erect the high altar on the very spot where it stood in Norman times.
Bishop Mawson contributed £1000 towards the removal of the choir to the east end. He had also been at the expense of paving the choir with black and white marble, and of inserting stained glass at the east end. The work done at this time was under the superintendence of the architect Essex. An organ-gallery was placed at the entrance of the choir: judging by the plan given by Bentham, this occupied the whole of the eastern bay of Hotham's work. Screens of some sort are marked as crossing both aisles, as a continuation of the western face of this organ-gallery: or perhaps these were only metal gates. The design of the whole seems to have been very poor: "the miserable organ gallery" is what Hewett calls it. The original stone screen that formed the entrance to the choir before the tower fell, situated in the bay of the nave next to the octagon, was still standing. It had served as the organ-loft until the alteration. Browne Willis, who wrote before Bishop Mawson came to Ely, records that the choir had been paved with black and white marble at the charge of Bishop Gunning, and that he had proposed to move the choir to the east end nearly a hundred years before it was actually done, "which if he had done ... it would have added vastly to the Beauty of the Church."[25]
Still later in the century, in 1796, Wyatt "the destructive" was directed to make a report on the state of the fabric, and to supply estimates for a restoration. Among other things he recommended the selling of the lead on the roof, the removal of the rood-loft, and the reducing of the number of bells from five to one.
The nineteenth century began with works of destruction. In 1801[26] the spire on the tower was taken down. Soon afterwards, in accordance with Wyatt's recommendation, the ancient rood-loft in the nave was removed. As it had ceased to be the entrance to the choir, it was probably deemed useless. The roof of the galilee was also removed, and the lancets at the west of the cathedral blocked up. Mr. Bernasconi's contract, in 1801, for the repair of part of the west end, amounting to £232 14s. 6d.,[27] probably covered the whole of this. A note on the receipt speaks of a picture at the east end in 1800, a pulpit in 1806, and a new window in 1808; but whether all these were new or merely repaired does not appear. From Goodwin's "Ely Gossip" we learn that the upper part of the doorway of the galilee porch was "renewed in plaster." In a pamphlet published in 1827 it is said that "so much has been done to this cathedral of late as to afford a reasonable ground of hope, that ere long the beautiful Purbeck shafts will be cleared of the yellow ochre which coats and defiles them, and that the earth will be cleared away from the walls on the north side, where at present it is injuring both walls and pavement."[28] What had then been recently done, and thus mentioned, apparently with approval, did not long satisfy the public taste, although a large outlay testified to the good intentions, if not the judgment, of the authorities. Walsingham's stalls were painted; and the nave, octagon, lantern, and transepts were colour-washed. Within about twenty-five years what had been introduced as embellishments were removed as disfigurements, and the removal cost possibly as much as the introduction.