and not copied from any
foreign example. The troubles that arose from the great weight of the
tower have been already described. We can here see the methods taken to
secure the stability of the structure.[1] Very massive Perpendicular
arches have been built beneath the lofty Norman ones; and all the four
great piers were surrounded with masonry at the same time. Both Bentham
and Miller give the date 1405-1406 for the beginning of this work. This
date is quite consistent with the character of the mouldings of the
arches. There was at one time a plaster ceiling just above these lower
arches.

Above the inner west door is a series of panels bearing coats of arms,
so much resembling the fronts of galleries built for the accommodation
of instrumental performers--which were known as "Minstrels'
galleries"--as to suggest the idea that the large room over the porch
was devoted to this purpose. The window above is an unfortunate
insertion, dating only from 1800; and this, as well as the stained glass
with which it is filled, could well be spared.

#The Western Transept# and #S. Catharine's Chapel.#--The Transitional
character of the late Norman work here is more marked than on the
outside of the west front. It will be noticed that the great arches of
the tower, though retaining all other characteristics of the period, are
pointed. There are two rows of mouldings, and in the spandrels above are
pointed ovals. Above the string-course are three stages: the lowest has
three sets of lofty trefoiled lancets, supported by double detached
shafts; above is a similar series, less lofty; at the top are three
large glazed windows. The painted ceiling of the tower was Mr. le
Strange's first experiment in painting at Ely. Some ancient decoration
in the vault of the south aisle of the nave had been brought to light
when he was on a visit at the Deanery, and this to some extent suggested
the thought of painting the flat roof of the tower. The subject is the
Creation. We see the right hand of the Lord; the Saviour holding a
globe, surrounded by the heavenly bodies of the fourth day of the
Creation; the Holy Dove; angels holding scrolls, with the Trisagion; and
all these are in circular designs, united by branches of foliage. A very
sad accident occurred during the early period of the restoration of the
tower in 1845, when Mr. Basevi, the architect, met his death by falling
from the upper floor of the scaffold which had been erected for the
wo