The chronicler tells us how he "rose up by night and came and stood over the heap of ruins, not knowing whither to turn. But recovering his courage, and confident in the help of God and of His kind Mother Mary, and in the merits of the holy virgin, Etheldreda, he set his hand to the work." In answer to his prayers, an inspiration came to him. In place of the square tower that had fallen, he would build one octagonal in form, with a wider base gained by cutting off the angles of the transepts and choir, and he would crown it with a lantern of woodwork. His idea was bold and original, and the lantern-crowned Octagon of Ely Cathedral as it now stands, a glorious specimen of the Decorated work of the fourteenth century, still bears witness to the genius and courage of the young architect who designed and engineered it, while at the same time he planned the reconstruction of the Norman choir. With this scheme in his mind, Alan of Walsingham set labourers at once to remove the huge mass of rubbish, and meantime he sent far and near to procure timber for the work in hand; while the famous quarries of Barnack in Northamptonshire supplied him with stone. By 1349, after twenty-six years of toil, the tower with its lantern of wood was finished. This wood was covered outside with lead, while within it was gorgeous with gold and stencilled painting, all the work of the most skilled hands that could be hired. We are told that the Sacrist himself provided gold florins to be turned into leaf by "Ralph le goldbeter." The very names of the workmen employed have an interest for us, as we read of John Attegrene, the master mason, of William Shank, the chief decorator, of John of Burwell, the best wood-carver. Nor must we forget John Hotham, of whom we shall hear more. Being Bishop at this juncture, he provided funds for the restoration and beautifying of his cathedral.