Bell's Cathedrals: The Cathedral Church of Ely Part 3

CHAPTER II.

THE CATHEDRAL: EXTERIOR.

Few persons would dispute the statement that for external grandeur of effect the cathedral at Ely is surpa.s.sed only, if at all, in England by Durham and Lincoln. With the natural advantages of position enjoyed by those cathedrals Ely cannot compete. In both these cases, also, there are grand mediaeval buildings of great size near at hand, that group well with the cathedrals and materially improve the effect. But, compared with the adjacent country, Ely does stand on an eminence, and consequently can be seen from a great distance in all directions. At Durham the distant view is limited by the hilly nature of the district; Lincoln, except on the north side, can probably be seen more than thirty miles off, from the ground.[1] Ely can be seen quite well from the tower of Peterborough--about thirty-five miles as the crow flies. Ely is nearly, but not quite, the highest spot in the Fenland. One place in Ely is 109 feet above mean sea-level. The highest elevation in the Fenland is near Haddenham, some five miles to the south-west of Ely, where a few bench-marks give 121 and 122 feet above sea-level.

It is not only its magnificence that makes the view of Ely Cathedral so remarkable, there is also the feeling that it has so many striking features, to which we can find nothing to compare. "The first glimpse of Ely overwhelms us, not only by its stateliness and variety of its outline, but by its utter strangeness, its unlikeness to anything else."

So says Professor Freeman[2] and again: "Ely, ... with its vast single western tower, with its central octagon unlike anything else in the whole world, has an outline altogether peculiar to itself."

Although Ely, with the single exception of Wells,[3] is the smallest of the ancient episcopal cities[4] of England, the area of the cathedral is exceeded only by four others--York, S. Paul's, Lincoln, and Winchester. The church certainly gives the impression of being out of all proportion to the town.[5] There has been nothing to occasion any considerable increase in the number of the inhabitants. Sixty years ago there were within about four hundred as many as now. The town, as has been pointed out above, grew out of the foundation of the monastery.

"The history of Ely is the history of Wells, Lichfield, Peterborough, Bury Saint Edmunds, and a crowd of others, where the church came first and the town grew up at the gate of the bishop or abbot." The great wealth of the monastery accounts for the original magnificence of the church; and even when the resources both of the see and the cathedral body were reduced, they were still amply sufficient to maintain the fabric without the loss of any material portion of it. We have no knowledge of the occasion of the ruin of the northern part of the west transept, but there is no suggestion that it was allowed to fall through want of means to keep it up.

#The West Front.#--The visitor will naturally commence his investigation of the cathedral with studying the view of the tower from the west; and here he should endeavour to picture to himself the appearance of the west front as it originally stood. It has, indeed, been questioned whether the northern limb of the western transept had ever been really completed. The prevailing opinion is that it was completed, and the weather-mould against the north wall of the tower is held by many to be almost conclusive evidence of the fact. From what we see remaining, it is clear that it was (if ever built) similar to the southern limb; and it was doubtless terminated in the same way by two ma.s.sive octangular towers. Imagine, therefore, a west front, having to the left of the tower (as we look at it from the west) a limb corresponding to that on the right; imagine also a line of roof, extending over both western transepts, situated in a line with the foot of the three lancet windows just below the clock; imagine also, further, a roof of similar pitch over the galilee porch,[6] and, instead of the present Decorated stage at the summit, a pyramidal spire of timber, leaded. "The front, with its tower thus terminated, with leaded spires also on the four terminal towers of the transept, and with the high roofs of the transept and western porch, must have presented a _tout ensemble_ of the most imposing and majestic character."[7]

When we examine the details of the architecture we can express nothing but the greatest admiration. The whole of the south wing of the front belongs to the last quarter of the twelfth century. The lowest stage of all (for there are six stages, divided by horizontal strings) is blank; the next three are late Norman. These have in the lowest stage in each of the two divisions an arcade of seven tall lancets; in the next above are four broader arches, each containing two small lancets beneath; in the upper one is a large window, under a round arch of four receding orders, with a blank lancet on each side. In the north wing, it should be noted, the late Norman work was carried up one stage higher than on the south. The upper stages are Transitional in character, but they carry on the idea of the Norman design below. Here we see first an arcade of four trefoiled lancets, of greater depth than those underneath; while the uppermost stage has a large pointed window, with a lancet on each side, and above each lancet a quatrefoil in a circle. The arches of the window and lancets are highly enriched with carving. Below the parapet is a good corbel table. The fourth and sixth stages are further covered with admirable diaper panel-work. The octagonal towers at the end of the southern transept, of which that to the west is larger than the other, have three more stages, the central one having small, deeply sunk trefoiled lancets; the other two, large plain ones; the uppermost tier of lancets being open. A singular effect is produced in the third stage from the top by the lancets being divided in the centre by the main shaft that rises from the ground at the angles of the tower.

On the south and east these shafts are not perfect.

#The Galilee Porch# is of excellent Early English work, with details of great beauty. Certainly nowhere in England, possibly nowhere in the world, is there to be seen so fine a porch. "Perhaps the most gorgeous porch of this style in existence is the Galilee at the west end of Ely Cathedral: this magnificent specimen of the Early English style must be seen to be duly appreciated; it combines the most elegant general forms with the richest detail; a very happy effect is produced by the double arcade on each side, one in front of the other with detached shafts, not opposite but alternate."[8] Each side, externally, is covered with lancet arcading in four tiers. In the upper tier the lancets are trefoiled, with dogtooth in the moulding; in the next lower tier the lancets are cinquefoiled, with two sets of dogtooth. The lancets in the west face are all cinquefoiled, and the three lower tiers here have trefoils in the spandrels. Nearly all are highly enriched with dogtooth; while the mouldings of the west door have conventional foliage as well. The lancets here are deeper than on the sides of the porch, and were probably designed to hold figures. Of the three large lancets in the west window the central one is slightly more lofty than the others.

[Ill.u.s.tration: DOORWAY OF THE GALILEE.]

The interior of the porch is even more beautiful; the profusion of ornamentation on the inner doorway and the exceeding gracefulness of the double arcades in the sides are quite unsurpa.s.sed. Both doorways are divided by a shaft, and both have open tracery of exceptional beauty above.

Bishop Eustace, to whom this porch is attributed, died in 1215. It is not surprising to learn that many careful students of English architecture have found a difficulty in believing that work of such consummate grace and perfection of detail can belong to so early a date.

Many dated examples belonging to later years in the century, which seem to indicate a steady growth from the simplest pointed lancets to the elaborately cusped arches which were themselves the prelude to the Geometric period, are adduced as evidence of the improbability of the Early English style having, so to say, grown suddenly to perfection at Ely. Numerous instances may, however, be found in other great minsters, where a similar difficulty has been encountered. The probable explanation is that the best artists and the most original designers belonged to the monastic or cathedral bodies. They maintained what would be described in modern language as schools of architects; and the very best talents and energies of such bodies would naturally be brought to bear upon any great work connected with their own church. We cannot suppose that a new conception in architectural design sprang into existence simultaneously in several different centres. There must have been a beginning in some one place. The idea would spread in the neighbourhood and in buildings where the particular abbey or cathedral had property or influence, and would by degrees be carried to other religious houses, and so become generally adopted, and mark a distinct change in style. But this would take time. Sometimes we can trace how new methods were carried about. Those who were brought over from Normandy by the Norman kings of England to be abbots in English monasteries, brought with them their characteristic style of building; and at the end of the twelfth century this had entirely superseded the old English style. One monastery pa.s.sed on the new fas.h.i.+on to another, as Simeon, at Ely, came fresh from the great work being carried on at Winchester under his brother Walkelin.

It is not claimed for Bishop Eustace that his work here is the earliest known specimen of the style finished in so perfect a form. At Lincoln the choir was erected in the time of Bishop Hugh, who died in 1200. Some features there have been pointed out that shew that the style was a new departure, and that the architect was feeling his way. It is admitted that there is not to be found an earlier dated example of the finest Early English work than the choir at Lincoln. Second only to this the galilee porch at Ely may take rank. Other erections of very nearly the same date have admirable work, such as the lady-chapel at Winchester and the east end of Chichester; but there is nothing in either of those examples to compare with the elaborate richness of detail at Ely.

#The West Tower# has six stages of Early English date above the porch. Three of these have each three separate lancet windows, the two lower having banded shafts. In the projecting corner turrets are lancets of similar design in the two upper stages, but not so broad and not pierced for windows; while in the lowest stage in the turrets above the porch are several tall, thin, trefoiled lancets, having more the character of Transition Norman work. Between the window ranges are arcades of short, deep, trefoiled lancets; at the top below the parapet and corbel table are five quatrefoils in circles, one not pierced. On the north and south sides are but two ranges of windows. The tower must, of course, have been built before the porch, and may consequently be a.s.signed to the last years of the twelfth century; and it is a n.o.ble specimen for such an early date. The upper Decorated stage consists of an octagon having a fine window of three lights in each face, the part below the transom not glazed, and an open parapet above. At the corners are octagonal turrets, with open lights above the level of the central portion, and plain parapets. The turrets are detached from the centre, except at the top and bottom. The latest calculations give the height of these turrets as 215 feet. This would be nearly the same as the central tower at Durham.

The Early English tower must have had some erection above it, probably of wood, of a low pyramidal form. But before long it was replaced by something of a better style. Bishop Northwold (1229-1254) "construxit de novo turrim ligneam versus galileam ab opere cementario usque ad summitatem." This was in turn removed when the present octagonal stage was erected, about the year 1400. This addition was soon found to be a source of danger, and it threatened the destruction of the whole tower.

For several years, in the middle of the fifteenth century, the tower was undergoing repairs. Before this the upper part had been braced together with frames of timber. In the interior, as will be seen hereafter, inner arches of great strength were inserted under the original Norman arches of the tower. A light and thin wooden spire was unwisely placed at the top, and this was in 1757 reported to be in bad condition, and injurious to the tower. It was not finally restored till about 1801, when the whole of the upper portion, including the corner turrets, was materially strengthened.

[Ill.u.s.tration: THE WEST TOWER FROM THE SOUTH.]

On the west face of the b.u.t.tress, built against the tower in the north, can be seen some panels of Perpendicular date. These have suggested the idea that it was in contemplation to rebuild what had fallen in a later style.

Notwithstanding the ruins, the view of the cathedral from the north-west is very striking, and in some respects more remarkable than any other (see p. 2). We have here the only external view of the whole length of the #North Side Of The Nave#. With the exception of the clerestory range, and, of course, the north transept, the first impression is not that of a Norman building. The single broad light of the Norman clerestory, with its adjacent round-headed lancets in the wall, remains in each bay unaltered. Above these windows was once a battlement; but Miller records, in 1834, that it was "removed within the last sixty years." The aisle battlement remains. The walls of the triforium were raised, and the Norman windows, both of the aisle and triforium, altered, in the Perpendicular period, the alterations having been begun on the south side in 1469. All these windows now have ogee arches, and are of three lights. The tracery is unimposing. About the middle of the wall can be distinctly seen the marks of the door and covered way that led from the cathedral to the Church of S. Cross. This church had been erected in the early part of the fourteenth century, but (as has been mentioned, p. 29), was found in 1566 to be too dilapidated for use, and beyond repair. It was accordingly destroyed, and the lady-chapel a.s.signed, in lieu of it, to the paris.h.i.+oners for their parish church.

Either the fabric of this church must have been strangely neglected by its custodians, or it must have been very inferior in merit of construction to Walsingham's work, which was being erected at the same time, if it could last no longer than about two hundred and thirty years. Round the clerestory windows and arcading can be seen the billet moulding; under the triforium parapet is a corbel table with billets; below the triforium windows is a string-course consisting of little double squares with a diagonal (sometimes called the hatched moulding), a form of ornament not one of the most common. Good examples of it are to be seen in Westminster Hall. In the sixth bay from the transept is a tablet with the date 1662. This must be the time when some alterations were made; but it can neither refer to the raising of the triforium walls, nor to the building up the wall when the door to the destroyed church was no longer needed. Between this point and the transepts can be plainly seen the marks of the original Norman windows over the heads of the existing Perpendicular ones.

#The Octagon# can be nowhere seen to better advantage than from this point of view. Restored as a memorial to Dean Peac.o.c.k, it has been brought as nearly as possible to what Walsingham intended; for it is not quite certain that he entirely completed his own design. The quadrangular turrets, for instance, at the corners of the lantern, were probably meant to be surmounted by pinnacles. These were included in Scott's original designs for the restoration, but have not been erected.

Indeed, two of Bentham's views of the building represent pinnacles at the corners of both octagon and lantern, while one view has them to neither. It is certain also that there were slighter pinnacles designed for the middle of the longer sides of the octagon. These have now been built. The lantern has quite recovered its original beauty, after being sadly mutilated and altered at various times. During the discussions about the correct way of completing the lantern not a few persons maintained that the true termination of the whole was a lofty, light, open spire, and that if Walsingham never erected one, he must, at least, have had one in contemplation. The examination of the interior construction leaves no doubt whatever that no such fleche was ever erected, and also that Walsingham intentionally completed the whole without making any preparation for the addition of such a feature, a preparation which he would beyond question have made had he thought a spire was necessary to the completion of the work.

The octagon is not equilateral. The cardinal faces, being equal to the inner breadth of the nave and transepts, are the longer. In all the faces just below the open parapet are arcades of cinquefoiled arches, some of them pierced for windows. The cardinal faces have each six such arches, and the other faces only three. These shorter sides only have large windows, the others ab.u.t.ting directly upon the roofs. These large windows have exquisite tracery; they are all of four lights, with transoms, and are beneath arches unusually acute for the Decorated period. The windows in the lantern are new, Ess.e.x having destroyed the original four-light windows and subst.i.tuted poor ones of three lights each.

The way in which the octagon and lantern combine in producing a perfectly harmonious composition is in great part due to two points of difference, points which very few observers detect. These are, firstly, that the lantern is a regular octagon, having all its sides equal, in this respect being unlike the stone octagon beneath it; and, secondly, that the eight faces of the lantern are not parallel to the eight faces of the octagon. The new windows of the lantern are similar to the large ones below, but are not mere copies of them. The upper stage of the lantern, above the roof as seen from within, was once a bell-chamber; its lights are not, and never have been, glazed. The whole of the lantern is of wood, covered with lead. Two flying b.u.t.tresses rise from the corners of the nave and transept aisles to the corbel table of the clerestory range. There are also eight elegant flying b.u.t.tresses, one to each of the angles of the lantern. These are part of the new work, the originals having long disappeared.

#The North Transept# retains its original Norman windows in the lower stage of its western aisle, though we must remember that the north-western angle of this transept fell down in 1699, and was rebuilt[9] under the superintendence of Sir Christopher Wren. It is said that an earthquake had occurred some few years before, and had caused some damage which was not suspected at the time. However much we may admire Wren's constructive genius, we cannot justify the incongruous door in the north wall of the transept, for which we take it for granted he was responsible. It is in the cla.s.sical style, utterly out of keeping with the architecture near. The arch and jambs of the Norman window above it were replaced; but this again is spoilt by the insertion of rude unadorned mullions. The corresponding window over the eastern aisle is original and unaltered. The north end of the transept has also Norman lights, larger than those below, on the second range; while above are two large Perpendicular windows, each of three lights, with transoms. To see the east wall of the transept we have to go round the lady-chapel.

Here both triforium and clerestory are in their original Norman condition. The lower windows are Decorated.

It cannot but be regretted that the two large windows east and west of #The Lady-Chapel# are not portions of the building as it stood at first. That to the east, of seven lights, is known to have been inserted by Bishop Barnet, who died in 1373. The authority for this is the sacrist's roll for that year. The item is given in Dean Stubbs'

"Historical Memorials," p. 147. The bishop's executors paid 20 "for making a certain window in the lady-chapel near the high altar in the preceding year." The west window, of eight lights, is of somewhat later date. Considering that the chapel was finished in 1349, and that there is no reason to doubt that the east and west ends were adorned with fine windows of the same character as those in the sides, it seems extraordinary that within twenty-five years it should have been thought worth while to alter the eastern end. Was the alteration made in connection with the insertion of a grander reredos than had been at first provided? This seems possible, as may be judged from the following observations of the present Dean: "It is evident from indications supplied by the masonry of the central light of the east window, the mullions of which are of unusual solidity, that the Reredos and East window were originally combined in some structure, of which the chief object was the large figure of S. Mary, often mentioned in the Rolls of the Custos Capellae, and which must have occupied a canopied niche, blocking up the whole of the middle light from sill to transom."[10] The design of the east window is inelegant, the transom is heavy, and the tracery in the large circle at the top spoils the effect of the window as a whole.

[Ill.u.s.tration: THE CHOIR AND LADY-CHAPEL FROM THE NORTH-EAST.]

The west window, except for the central portion at the top and the heavy mullions, is just like two of the side windows placed side by side. But here again the vertical lines in the upper part harmonise ill with the rest. There are some good niches at the west end above the window, but there are no figures in them; and there are shallow arches on the surface of the wall, on each side of the window as well as beneath it.

Above most of the niches are s.h.i.+elds with heraldic bearings, twelve in all. Among these are the coats of Edward the Confessor, the See of Ely, Bishops Hotham, Montacute, Fordham, and perhaps Barnet.[11] One s.h.i.+eld has a cross, and one a lion between three helmets. The arms of the monastery--three keys (said to have been adopted from Bishop Ethelwold of Winchester)--occur four times, in three cases with initials beneath.

These initials are: A. W., which may certainly be a.s.signed to Alan de Walsingham; J. C.; and C. W. S. From the occurrence of Bishop Fordham's arms we may conclude that this west end was reconstructed, or at least that its reconstruction was completed, in his time (1388-1425). In some of the lower niches are memorial tablets.

On each side of the lady-chapel are five large windows of four lights each, with very beautiful tracery. Those on the north side have been thoroughly restored within the last few years. At the same time the cusps have been replaced in the large circles, of which two are over the head of each window. Between the windows are b.u.t.tresses, necessarily large, to support the vast extent of the stone-groined roof. At the four corners are double b.u.t.tresses, with much larger pinnacles, and two niches toward the top, the upper one shallow, but the lower deep enough to hold a statue, and with a projecting canopy. The east end is less decorated than the west. There was once, as it seems, some sculptured figure or figures in front of the upper part of the window, no doubt destroyed when the interior was mutilated.

[Ill.u.s.tration: ELEVATION OF ORIGINAL BAYS OF BISHOP NORTHWOLD'S PRESBYTERY.]

"The #East End# of the cathedral itself (Bishop Hugh's work) is a grand example of Early English."[12] Except for the windows of the chapels of Bishops Alc.o.c.k and West in the aisles, and that the Early English lancets in the triforium range in the south aisle have been removed and a plain wall subst.i.tuted, this eastern front is almost unaltered. It does not appear when this last alteration was made. In the view in Bentham, dated 1767, are represented lancets glazed and blank, exactly similar to those in the triforium on the north. The windows are all lancets, without any cusping. Their grouping is specially effective.

In the centre, in the lowest stage, are three broad lancets of equal height, divided by shafts, and with deep mouldings, and with two sets of dogtooth all round. Below the string-course above are four deep quatrefoils. In the next stage the lancets are five in number, the central one being the tallest, while above the outer ones are trefoiled niches; and there are two six-foils below the next string-course. The upper stage has three lancets of equal height, which give light to the s.p.a.ce above the stone-groined roof, with a small trefoiled arch, unglazed, and half of another on each side. In the gable are three large sunk panels, two of six cusps, and one of eight. The whole is surmounted by a large handsome cross, restored at the expense of Lady Mildred Hope.

The large b.u.t.tresses on each side of the central group of windows have four niches on each side, the three upper ones having bases to support statues; the upper and lower of these have trefoiled heads, the two others cinquefoiled heads. At the summit are sunk trefoils under the gabled tops; and a little further to the west, on the south, the whole is finished by an octangular turret with shallow arches and a pyramidal top with crockets.[13] The b.u.t.tresses at the corners of the aisles have much loftier pyramidal heads. These have also crockets. The east end of the triforium range on the north is particularly good. The east window of Bishop Alc.o.c.k's chapel, which was of course in existence long before his time, is round-headed, with four lights, and some good Decorated tracery. That to Bishop West's chapel, in the south aisle, is of five lights, of very late Perpendicular character. It may be noticed that the window in the north aisle is in the wall as originally built, but in the south aisle the whole wall has been advanced further east, as far as the bases of the b.u.t.tresses.

Both of #The Aisles# have on the sides large pinnacled b.u.t.tresses of graceful design; and from all of these on the north, and from some on the south, there rise flying b.u.t.tresses to support the roof of the presbytery and choir. Two of the bays on the south side have the Early English triforium range unaltered. This gives the original height of Bishop Hugh's triforium walls. Below the parapet here is a characteristic corbel table. These bays form the western portion of Bishop Hugh's work in the presbytery.

[Ill.u.s.tration: THE LANTERN AND SOUTH TRANSEPT.

_Photochrom Co. Ltd. Photo._]

The retention of this little portion of the Early English #Triforium# is very interesting and instructive; for we should otherwise not have known precisely how this part of the work had been carried out.

Professor Willis traced out with great care the alterations to which the presbytery had been subjected, and his conclusions are given in Canon Stewart's book. Early triforium windows were only for lighting the triforium pa.s.sage; they were small, and could not be seen from the floor of the church. It will be noticed that the windows remaining in the portion spoken of are quite small and quite close to the floor. The changes that were made in the three great Norman minsters, Norwich, Peterborough, and Ely, were "made evidently for the purpose of introducing more light into the church." The walls were raised, the windows much enlarged, and the slope of the roof consequently much flattened. No doubt, as regards dimensions, Bishop Hugh's triforium was a continuation of the Norman triforium of the choir. The first appearance of a high triforium outer wall is in Bishop Hotham's work (1316-1337). "In the following centuries this new form was extended by alterations, first to Hugh de Northwold's presbytery and next to the nave. But before the Early English gallery had been thus completely transformed, it happened that some architect, apparently employed by Bishop Barnet [1366-1374], introduced in two of the southern compartments a method of getting rid of the gloom of the low-windowed, Early English triforium, which, although perfectly successful within the church, would, if it had been carried throughout, have been productive of a most injurious effect upon the appearance of the fabric within and without, as may be seen at present in the compartments in question."[14]

This method was to remove entirely the triforium roof, and to convert the open arcade of the triforium towards the church into windows by filling the tracery with gla.s.s. The designer thus introduced a flood of light upon the choir altar, the shrines in the neighbourhood, and Bishop Barnet's tomb under the pier arch, which is beneath one of these windows. Fortunately the experiment was not repeated. After some time had elapsed, the changes above indicated were carried out; the low Early English triforium outer wall was removed, and the loftier Decorated wall and windows erected. In the extract above given it looks as if the removal of the triforium roof, putting a lead roof to the aisle below, and turning the triforium arches into windows, were confined to these two bays on the south. But the same thing was also done in the two corresponding bays on the north. But there, when the later raising of the triforium walls took place, this raised wall was continued over the two bays in question; and we do not now see there any remains of Early English work.

[Ill.u.s.tration: THE PRIOR'S DOORWAY.

_Photochrom Co. Ltd. Photo._]

In the east wall of the #South Transept# are broad, geometrical windows of two lights each. At the top of the southern face of this transept, deeply recessed, is an extraordinary Perpendicular window of seven lights. There seems no record of this being constructed. By the remains of corbels in the lower part of the wall we see that there was once a covered pa.s.sage here, no doubt connecting the cloister with the chapter-house.

Beyond the transept are three Norman doors of exceptional interest. One, indeed, is in the west side of the transept, and must have been the original entrance here into the church. It is now quite blocked up with stone. It has only recently been discovered. There are remains of two Norman doors, the lower, with enriched mouldings and shaft, being considerably later in date than the round arch above it. This latter has the nail-head ornament. The northern end of the arch is concealed, as well as the eastern end of the adjoining door into the south aisle, by a ma.s.s of masonry built for a b.u.t.tress.

The door into the south aisle is known as #The Monks' Door#, and is the regular entrance into the cathedral from the south. It opened from the eastern walk of the cloister. It is of later date than the wall in which it is placed. The ornamentation is very rich; one spiral column is especially noteworthy. There is a trefoiled arch, the cusps having circular terminations with the star ornament. In the spandrels are quaint, crouching monks, each holding a pastoral staff. Above are two curiously twisted dragons.

#The Prior's Door# is nearly at the west end of the north alley of the cloister. Like the monks' door, it is an insertion, being later than the wall. It is a very fine specimen of late Norman. The tympanum is filled with carving in high relief. In the centre is the Saviour, seated, enclosed within a _vesica piscis_, His right hand uplifted in blessing, His left hand resting on an open book; His bare feet rest upon the border of the oval enclosure. This oval is supported by two angels, the arms which hold the upper part being abnormally lengthened.

On each side is a round shaft, enriched with a deeply cut series of ornaments running in a spiral; and at the head is a cus.h.i.+on capital with interlacing ornamentation. On each side of the shaft is a square pillar, the outer one having some curious figures of beasts and other objects enclosed in circular rings, while the foliage of the inner one is singularly like a premature specimen of Early English conventional decoration. The topmost stone of this inner jamb is enlarged into a corbel to support the lintel, and is carved with a large face. The expense of the restoration of this doorway was undertaken by the Bedfords.h.i.+re Architectural Society.[15]

One or two bays of the north alley of #The Cloister# have been lately restored by Canon d.i.c.kson as a vestry for the choir-boys. These are not, of course, now open to the air. Against the wall of the church can be seen the Norman arcading, showing there were cloisters from the first; while the remains of the windows towards the cloister enclosure, to be seen in the north and east alleys, tell us that they were rebuilt in the Perpendicular period, probably in the last quarter of the fifteenth century. Some corbels remain in the wall of the cathedral. The roof of the cloister was therefore of wood; but there are remains of vaulting to the west of the prior's door, so perhaps the western alley had a stone roof. The first window to the west of the prior's door is original Norman; all the rest (except one) were changed into three light windows, apparently of the same date as those in the north aisle, but have lately been reconstructed in the Norman style. This applies only to the windows in the aisle; those in the triforium are of three lights, similar to those removed from the aisle; and those in the clerestory are the original Norman, just as on the north side.

FOOTNOTES:

[1] Not many persons who travel by the Great Northern main line know that a good view of Lincoln Cathedral is to be obtained from it.

[2] Introduction to Farren's "Cathedral Cities of Ely and Norwich."