Today the Ely Diocese has two bishops, and they use these two chairs on the South side of the Presbytery which were made for the Queen and Prince Philip for the Royal Maundy Service in 1987. PLAN
143. HIGH ALTAR
The Italian style marble reredos was designed by George Gilbert Scott, the architect of the Victorian restoration. Its five panels depict the events of Holy Week, the last week of Jesus’ life, from his entry into Jerusalem on Palm Sunday to his death on Good Friday. The central panel shows the Last Supper, which is recalled in the Eucharist celebrated at this altar every Sunday. This completes the first part of our tour of Ely Cathedral. Click on the folllowing link to go to the Conclusion, or continue to visit the Stained Glass Museum.
144. SOUTHWEST TRANSEPT WINDOWS
We return to the Southwest transept, enter through the corner doorway and climb the spiral staircase. This leads to a balcony across in front of these windows. As we saw earlier, these windows show (left) Isaac and Rebecca, Boaz and Ruth, the Marriage at Cana; and (right) Jacob, Rachel, and Esther. Continuing along the balcony brings us to the foyer of the Stained Glass Museum.
146. THREE EXAMPLES
The museum describes the history and making of stained glass windows. There are also fine examples of stained glass, mostly rescued from other churches which were in a state of disrepair or being demolished. Here we see King David playing his lyre, a praying angel, and an unusual picture of the Nativity with Mary asleep and Joseph keeping watch over the Baby.
147. TRIFORIUM WINDOW
Most of the triforium windows are clear lattice work in design, so I was interested to see this window featuring St Peter across the nave. This photograph is the result of some careful reconstruction! This completes our tour of the Stained Glass Museum. Click on the small X at top left to exit, or continue to come on the tour of the Octagon.
148. THE OCTAGON TOUR
I found the tour of the octagon, though hard work, a very interesting part of our visit to Ely Cathedral. The tour starts by entering through a corner door in the North transept, and ascending a spiral staircase to the triforium level. From here we look down past the flags and regimental colours to the nave altar.
149. NAVE ALTAR
The nave altar has an octagonal setting and lies directly below the octagonal lantern. I am interested that the setting is rotated through 22.5°, so that vertices of the octagon point North, South, East and West. Then I discover that this is true of the actual lantern as well!
150. FLAGS AND COLOURS
We get a good view of the various flags and regimental colours from this triforium viewpoint.
151. TRANSEPT ROOF
We get a good view too of the the transept roof with its hammer-beam construction, and its rows of flying angels.
152. OUTSIDE VIEW
Another door leads from the triforium level, and another spiral staircase! We come out on a balcony skirting the roof of the Processional way, between the Lady Chapel and the Presbytery. Looking East here, the Chapel is on our left, the Presbytery on our right. We can see some of the flying buttresses at right, and the gate in the wall in the far distance.
153. OCTAGON PANELS
The balcony leads to another door and spiral staircase – this one quite narrow and claustrophobic. This brings us to the lantern itself, and these decorative panels. We are standing a metre below the panels which are hinged, allowing us to look out. The scene is very musical, with angels singing and playing various instruments in worship. On occasion, the Cathedral choir sings from on high up here.
154. LANTERN WINDOWS
Above the octagon panels are the lantern windows, patterened in a regular way, and designed to be bright and light..
155. OCTAGON FRIEZE
Below the octagon panels is a strip of decorated quatrefoils, bearing Christian symbols. Our guide John is making an unexpected appearance too!.
156. LANTERN ROOF
More wooden vaulting forms the lantern roof. At the centre is a wooden boss carved from a single piece of oak, showing Christ in Majestry. The elaborate joinery and timberwork was brought about by William Hurley, master carpenter in the royal service.
157. TOWER WINDOWS
We have already described the Tower windows in some detail, but we see them again here from a different vantage point.
158. VIEW DOWN TO THE CHOIR
Looking down on the choir area gives a good perspective on the various tilings. We can also appreciate the sculpted decoration at the top of the arch.
159. FROM THE LANTERN ROOF
It is also possible to ascend to the roof of the lantern. From here we can look out in all directions – for example, to the East, as here.
160. THE LANTERN EXTERIOR
The lantern construction is equally impressive from the outside. The builders chose their materials to make the lantern as light as possible, but in the end, their choice of timber, lead and glass put considerable downward stress on the Tower and its foundations.