ers observes, on account of its
height and breadth, should be viewed from a competent distance; a good
point of observation may be easily found on the Palace Green. Even in
its present state it must be admired for its impressive though
irregular grandeur, but when the north wing was standing,
corresponding with the south, which remains comparatively
perfect--before the erection of the octagonal story on the Tower, and
the Galilee or portico, which, however beautiful in itself, has no
proper connection with the rest--it must have presented a frontage
exceedingly grand, and inferior to but few others in the kingdom.
Such, we believe, was the original design, but succeeding bishops or
rulers made such alterations and additions as their tastes dictated,
and in the style then prevailing. This may in some measure account for
the alterations of windows and other parts from their original
designs, and the transitions from one style to another, producing
examples partaking of two periods, but not perfect in either.

The stone used in the erection of the Cathedral was brought from
Barnack, near Stamford, and is of a much harder nature than what was
commonly used; it gives proof of great soundness and durability in the
excellent preservation of some of the mouldings. The soft white stone
used for some of the interior decorations is called "clunch," and is
found within a few miles of Ely; it is well adapted for the purposes
to which it is applied, it is easily worked and capable of being
highly finished, but will not bear exposure to the weather. Most of
the pillars with their capitals and bases, as well as many of the
mouldings and ornaments in the Early English portion of the church,
are of Purbeck marble.

The lower portions both of the Tower and wings were built by Bishop
Ridel (1174-1189), and completed as high as the first battlements,
during the episcopate of his successor, Longchamp (1189-1197), who
however, spent none of his money on the fabric; the lower part of this
work is late Norman, but the upper portions show indications of
transition towards the pointed style. The architecture of the Tower is
worthy of attention, as it shews some beautiful specimens of arcading
in bands between rows of windows, all enriched with mouldings of
various kinds; the western face shows three rows of windows, the
others but two, as the lower one would have been hidden by the roof of
the nave and of the wing on each side, these last being