spreading into intricate
forms, go straight to a longitudinal midline running from west to
east, and decorated with coloured figures or flowers where the
springers meet it. There is a precise line of separation between this
and the more elaborate ceiling of Bishop Hotham's work; being thus
brought into contact the two may be compared with singular
advantage."[41]

[Footnote 40: Rickman.]

[Footnote 41: Millers' Description of Ely Cathedral, p. 74.]

The bases of the piers of the lower arches are octagonal, but the
shafts are cylindrical, surrounded by slenderer detached ringed shafts
with foliated capitals, all of Purbeck marble. The triforium (except
in the first and second bays on both sides,) extends over the aisles,
and is lighted by large windows with Decorated tracery in the outer
wall; and the arches are separated by a cluster of slender shafts into
two smaller ones with trefoil heads; and between the two is a
quatrefoil; all highly adorned with mouldings. Between each of these
lower arches is an enriched corbel of Purbeck marble, adorned with
foliage in high relief, from which rises the vaulting-shaft, in a
group of three, between the arches of the triforium to the base of the
clerestory, having a capital of leafage, and from the top of which
spring the ribs of the vaulting. The spandrils throughout are
relieved with trefoils and quatrefoils, deeply sunk and backed with
Purbeck marble; and, on the whole, the contrast of light and shade,
depth and projection, produces a very fine effect. The clerestory
arches are of the same span, but each is divided into three smaller
ones, the centre arch being higher than those on either side, in order
to admit light through the windows behind, which are three
lancet-shaped lights under one arch in the outer wall, and are, we
believe, original; these windows have been filled with stained glass,
which is another important step towards the general improvement.

The windows of the aisles and triforium were originally three
lancet-shaped lights under one arch, but were replaced in the
fourteenth and fifteenth centuries by larger windows of a flamboyant
character. In the first and second bays on both sides the triforium
windows are placed in the inner wall, probably to give more light to
the high altar, the position of which was indicated by a boss in the
ceiling with a figure of St. Peter; and also to give greater effect to
the rich and gorgeous shrine of St. Etheldreda, sai