In the year 673, then, behold the ecstatic Etheldreda come out of many perils to Ely. Here, where she thought the Isle lifted its crest highest above the waters, she founded a mixed monastery for monks and nuns. At this point the ground is one hundred and nine feet above sea-level: at Haddenham, the crowning crest is but thirteen feet higher. Here she ruled as Abbess for six years, when she died, and was succeeded by her sister, the sainted Sexburga. It was Sexburga who, sixteen years from this time, determined to honour Etheldreda to the best of her ability, bethought her of translating the body from the humble graveyard of the monastery to the church itself. She sent forth a number of the brethren on a roving commission to find a block of stone for a coffin, and as stone of any kind is the least likely thing to find for many miles around Ely, theirs looked to be a long and difficult quest. They had, indeed, wandered as far as the ruins of Roman Cambridge before they discovered anything, but there they found a magnificent sarcophagus of white marble, which they joyfully brought back, and in it the remains of Etheldreda, entire and incorrupt, were laid.

In 870, the time of the fourth Abbess, St. Withburga, a great disaster befell the monastery of Ely. For years past the terror of the heathen Vikings, the ruthless Danes and Jutes from over sea, had been growing. Wild-eyed fugitives, survivors of some pitiless massacre of the coastwise settlements by these pirates, had flung themselves, exhausted, upon the Isle, and now the peril was drawing near to this sanctuary. A special intercession, "Deliver us, O Lord, from the Northmen," distinguished morning and evening office, but the prayer was unanswered. Presently along the creeks came the beaked prows of the ruthless sea-rovers, and the monastery was sacked and burnt and all upon the Isle slain. That is history. To it the old chronicler must needs put a clinching touch of miraculous vengeance, and tells how a bloodstained pirate, thinking the marble shrine of St. Etheldreda to be a treasure-chest, burst it open. "When he had done this there was no delay of Divine vengeance, for immediately his eyes started miraculously from his head, and he ended there and then his sacrilegious life."

Before many years had passed, a new monastery was founded upon the blackened and bloodstained ruins of the old. This was a College of Secular Clergy, patronised by King Alfred. It was succeeded by a new foundation, instituted by Ethelwold, Bishop of Winchester, who made it a Benedictine House; but even of that we have no trace left, and the church under whose roof Canute worshipped and Edward the Confessor was educated was swept away in the great scheme of rebuilding, entered upon by Simeon, the first Norman Abbot, in 1080. Twenty-six years later the relics of St. Etheldreda were translated to the choir just completed. The translation took place on October 17th, a day ever afterwards, while the Roman Catholic religion prevailed, celebrated by a religious festival and a secular fair. Pilgrims flocked throughout the year to St. Audrey's shrine, but many thousands assembled on her feast-day, and, that no doubt should rest upon their pilgrimage, purchased such favours and tokens as "St. Audrey's chains," and images of her. The chains were lengths of coloured silks and laces, and were, like most articles sold at the stalls, cheap and common. From them, their vulgar showiness, and their association with the Saint, comes the word "tawdry."

Two years after this translation of St. Audrey, the Abbey Church was made the Cathedral of the new diocese of Ely, carved out of the vast See of Lincoln. Of the work wrought by Abbot Simeon and his successor, Richard, the great north and south transepts alone remain. The choir they built was replaced in the thirteenth century by that lovely Early English work we now see; the nave they had not reached. This is a work of some sixty years later than their time, and is one of the finest examples of late Norman architecture in the country. The Norman style went out with a blaze of architectural splendour at Ely, where the great west front shows it blending almost imperceptibly into Early English. It is a singular architectural composition, this western entrance and forefront of Ely Cathedral; the piling up to a dizzy height of a great tower, intended to be flanked on either side by two western transepts each ending in a smaller tower. The north-western transept fell in ruins at some unknown period and has never been rebuilt, so that a view of this front presents a curiously unbalanced look, very distressing to all those good folk whose sensibilities would be harrowed if in their domestic establishment they lacked a pendant to everything. To the housewife to whom a fender where the poker is not duly and canonically neighboured by the tongs looks a debauched and sinful object; to the citizen who would grieve if the bronze or cut-glass lustre on one side of his mantel-shelf were not matched on the other, this is a sight of the most dolorous sort. It must have been to soothe the feelings of all such that a sum of £25,000 was appealed for when Sir Gilbert Scott was restoring the Cathedral, many years ago, and its rebuilding was proposed. The money was not forthcoming, the work was not done, and so Scott did not obtain the £2500 commission. Scott's loss is our gain, for we are spared one more example of his way with old cathedrals.

The ruins of the missing transept are plain to see, and a huge and ugly buttress props up the tower from this side; but, were that building restored, we should only have again, in its completeness, a curiously childish design. For that is the note of this west front and of this great tower, rising in stage upon stage of masonry until the great blocks of stone, dwarfed by distance, look like so many courses of grey brick. So does a child build up towers and castles of wooden blocks.

We must, however, not accuse the original designers of the tower of this mere striving after enormous height. The uppermost stage, where the square building takes an octagonal form, is an addition of nearly two hundred years later, when the nice perceptions and exquisite taste of an earlier period were lost, and size was the goal of effort, rather than beauty. Those who built at that later time would have gone higher had they dared, but if they lacked something as artists, they must at least be credited with engineering knowledge. They knew that the mere crushing weight of stone upon stone would, if further added to, grind the lower stages into powder and so wreck the whole fabric. So, at a height of two hundred and fifteen feet, they stayed their hands; but, in earnest of what they would have done, had not prudence forbade, they crowned the topmost battlements with a tall light wooden spire, removed a century ago in one of the restorations. It was from the roof of this tower, in 1845, that Basevi, an architect interested in a restoration then in progress, fell and was killed.

The octagonal upper stage of this great western tower was added in the Decorated period, about 1350, when the great central octagon, the most outstanding and peculiar feature of the Cathedral, was built. Any distant view of this vast building that commands its full length shows, in addition to the western tower, a light and fairylike lantern, like some graceful coronet, midway of the long roof-ridge, where choir and nave meet. This was built to replace the tall central tower that suddenly fell in ruins in 1332 and destroyed much of the choir. To an architect inspired far above his fellows fell the task of rebuilding. There are two works among the whole range of ancient Gothic art in these islands that stand out above and beyond the rest and proclaim the hand and brain of genius. They are the west front of Peterborough Cathedral and the octagonal lantern of Ely. We do not know who designed Peterborough's daring arcaded front, but the name of that resourceful man who built the great feature of Ely has been preserved. He was Alan of Walsingham, the sacrist and sub-prior of the monastery. He did not build it in that conventional and deceitful sense we are accustomed to when we read that this or that mediæval Abbot or Bishop built one thing or another, the real meaning of the phrase being that they provided the money and were anything and everything but the architects. No: he imagined it; the idea sprang from his brain, his hands drew the plans, he made it grow and watched it to its completion.

No man dared rebuild the tower that had fallen; not even Alan, or perhaps he did not want to, being possessed, as we may well believe, by this Idea. What it was you shall hear, although, to be sure, no words have any power to picture to those who have not seen it what this great and original work is like. The fallen tower had been reared, as is the manner of such central towers, upon four great pillars where nave and choir and transepts met. Alan cleared the ruins of them away, and built in their stead a circle of eight stone columns that not only took in the width of nave and the central alleys and transepts and choir that had been enclosed by the fallen pillars, but spread out beyond it to the whole width of nave aisles and the side aisles of choir and transepts. This group of columns carries arches and a masonry wall rising in octagonal form above the roofs, and crowned by the timber structure of the lantern itself. The interior view of this lantern shows a number of vaulting ribs of timber spreading inwards from these columns, and supporting a whole maze of open timber-work pierced with great traceried windows and fretted and carved to wonderment. The effect is as that of a dome, "the only Gothic dome in the world" as it has been said. How truly it is a "lantern" may be seen when the sun shines through the windows and lights up the central space in the great church below. Puritan fury did much to injure this beautiful work, and its niches and tabernacles, once filled with Gothic statuary, are now supplied with modern sculptures, good in intention but a poor substitute. The modern stained-glass, too, is atrocious.

To fully describe Ely Cathedral in any but an architectural work would be alike impossible and unprofitable, and it shall not be attempted here: this giant among English minsters is not easily disposed of. For it is a giant. Winchester, the longest, measuring from west front to east wall of its Lady Chapel five hundred and fifty-five feet, is but eighteen feet longer. Even in that particular, Ely would have excelled but for the Lady Chapel here being built to one side, instead of at the end, owing to the necessity that existed for keeping a road open at the east end of the building.

Like the greater number of English minsters, Ely stands in a grassy space. A triangular green spreads out in front, with the inevitable captured Russian gun in the foreground, and the Bishop's Palace on the right. By turning to the south and passing through an ancient gateway, once the entrance to the monastery, the so-called "Park" is entered, the hilly and magnificently wooded southern side of what would in other cathedral cities be named the "Close," here technically "the College," and preserving in that title the memory of the ancient College of Secular Clergy which ruled sometime in that hundred years between A.D. 870 and 970.

It was from this point of view, near the ancient mound of "Cherry Hill," the site of William the Conquerors Castle, that Turner painted his picture. Many remains of the monastic establishment are to be seen, built into charming and comfortable old houses, residences of the Cathedral dignitaries. Here are the time-worn Norman pillars and arches of the Infirmary, and close by is the Deanery, fashioned out of the ancient thirteenth-century Guesten Hall. Quiet dignity and repose mark the place; every house has its old garden, and everyone is very well satisfied with himself. It is a pleasant world for sleepy shepherds, if a sorry one for the sheep.