"The character of the three western bays is singularly yet beautifully arranged to harmonize, in point of elevation of its parts, with the six eastern arches; this and the very great excellence of the details, render this part of the edifice a most valuable study."[40] The absolute contact here of the two styles, Early English and Decorated, affords the spectator an opportunity of contrasting them, and of judging of the comparative merits of each. By many, the eastern bays are preferred for their chaste and elegant appearance, not being so profusely ornamented as those of the western ones, but, as Mr. Millers observes, "everything seems in its proper place and fitly proportioned: all harmonize, and taken altogether, give a general character of lightness and elegance. This is nowhere more conspicuous than in the roof; the plain ribs of which, diverging from their imposts, instead of crossing each other and 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.