be seen, was the picture of Our Saviour seated on a throne; one
hand erected and holding a globe in the other, attended with the
four Evangelists and saints on each side, with crowns in their
hands, intended, I suppose, for a representation of Our Saviour’s
coming to judgment. This was defaced and spoilt by the discharge of
muskets.
“Then they rob and rifle the tombs and violate the monuments of the
dead....
“When they had thus demolished the chief monuments, at length the
very gravestones and marbles on the floor did not escape their
sacrilegious hands. For where there was anything on them of
sculptures or inscriptions in brass, these they force and tear off.
“Having thus done their work on the floor below, they are now at
leisure to look up at the windows above.
“Now the windows of this church were very fair, being adorned and
beautified with several historical passages out of Scripture and
ecclesiastical story; such were those in the body of the church, in
the aisles, in the New Building, and elsewhere. But the cloister
windows were most famed of all, for their great art and pleasing
variety. One side of the quadrangle containing the history of the
Old Testament; another, that of the New; a third, the founding and
founders of the church; a fourth, all the kings of England
downwards from the first Saxon king. All which notwithstanding were
most shamefully broken and destroyed. Yea, to encourage them the
more in this trade of breaking and battering windows down, Cromwell
himself (as ’twas reported) espying a little crucifix in a window
aloft, which none perhaps before had scarce observed, gets a ladder
and breaks it down zealously with his own hand.
“Thus, in a short time, a fair and goodly structure was quite
stript of all its ornamental beauty, and made a ruthful spectacle,
a very chaos of desolation and confusion, nothing scarce remaining
but only bare walls, broken seats and shattr’d windows on every
side.”--(P.)
The old story of neglect--“scarce any cathedral in England is more
neglected,” wrote Browne Willis in 1742--is told of Peterborough in the
Eighteenth Century; but in 1764-1791 Dean Tarrant collected all the
fragments of stained glass and inserted them in the two central windows
of the apse. They deal chiefly with scenes in the life of St. Peter. The
late history of the Cathedral is only that of repairs, restorations, and
gifts.
We enter the Minster Precincts by the western gateway, built by Abbot
Benedict, in the Norman style, in the Twelfth Century. It was altered at
the end of the Fourteenth Century. The approach is monastic in the
extreme. The room over the gate was once the Chapel of St. Nicholas.
After passing through this gate, on the left hand we see all that
remains of the Chapel of St. Thomas of Canterbury (Fourteenth Century).
The various gateways, doors, arcades, and remains of ancient buildings
harmonize well with the venerable and elegant Cathedral.
“A fine view of the best feature of Peterborough, the west front,
is immediately opened with a foreground of smooth turf. The great
portico, with its three arches, eighty feet high, of pure Early
English style, is unlike anything else in England, and inspires
universal surprise and admiration. It was built on the old Norman
church, but does not actually touch the western walls.
“The spires of the portico are of different sizes and designs. The
northern does not group well with the transeptal tower behind it,
and there is a certain confusion to the eye when so many towers are
in our view. The southern transeptal tower was never carried above
the roof. The central tower over the choir after being repeatedly
repaired and restored, fell in 1884, destroying the interior
fittings and stalls, but, on the whole, doing less damage than
might have been expected. The tower has been rebuilt, but not to
the old pattern, and the four corner turrets have
disappeared.”--(W. J. L.)
The =West Front=, with its three magnificent doorways and original wooden
doors, was the work of Abbots Zachary and Robert of Lindsay (about 1200
to 1222).
“Immediately before us we see the noble West Front ‘the pride and
glory of Peterborough,’ the finest portico in Europe. With the
exception of the porch, the style is pure Early English. On the
north and south are two lofty turrets, flanked at the angles with
clustered shafts, and crowned with spires. Between these are three
pointed arches, supported by clustered shafts, six on each side
with foliated capitals. The central arch is narrower than the rest,
but its mouldings are ornamented with crockets and dog-tooth. A
string-course runs along the top of the arches, and the spandrels
have trefoils, quatrefoils and niches with statues. Above the
string-course is a series of trefoiled arches, some of which have
statues. Between the three gables are pinnacles much ornamented.
The gables have circular windows of beautiful design and a cross
on the apex; they are ornamented with dog-tooth and have niches
with statues--St. Peter in the centre, with SS. John and Andrew on
either side. The turrets on the north and south have six stages
panelled with arches. The spires are good examples of the
difference between those of the Early Decorated and Perpendicular
periods. The south spire is connected with the pinnacles of the
tower by clustered pinnacles springing from an arch; these are
decorated with crockets, and the spire belongs to the early
Fourteenth Century; whereas the spire on the north has no such
connection and is Early Perpendicular.
“We now notice the Porch with the parvise over it. This was built
late in the Fourteenth Century in order to give additional strength
to the west front and act as a kind of buttress to the piers of the
central arch. The design is very beautiful. The entrance has an
obtuse arch, and above a Perpendicular window with elliptical arch.
Buttresses empanelled with niches stand on each side. It has a
stone vault of good design. One boss is curious, representing the
Trinity. The attitude of the Saviour shows that the figure was
designed by a freemason, and bears witness to the antiquity of that
fraternity. The parvise is now a library.”--(P. H. D.)
In the latter years of the Fourteenth Century the central porch, with
its upper room, =Parvise=, was added between the two middle piers of the
west front. It has been regarded by some critics as a blemish and by
others as an improvement, but it was probably a necessity for the
purpose of extra stability.
“The construction of this elegant little edifice is extremely
scientific, especially in the matter in which the thrust is
distributed through the medium of the side turrets so as to fall
upon the buttresses in front. These turrets being erected against
one side of the triangular columns, on the right and the left hand,
support them in two directions at once, viz., from collapsing
towards each other, and from falling forward. The latter pressure
is thrown wholly upon the buttresses in front, which project seven
feet beyond the base of the great pillars.”--(F. A. P.)
Turning now to a description:
“It is vaulted in two bays, the first being of the same dimensions
as the inner width of the portico; the western bay (of the same
size) thus reaches beyond the two great piers and the corner
turrets and buttresses in all project about seven feet. This gives
a very substantial support to the piers. The whole composition is
very fine, and quite worthy of the great portico to which it is an
adjunct. It must be left to each spectator to decide for himself if
it improves or diminishes the effect of the whole. It is of late
Decorated date, highly enriched with profuse carving. The staircase
turrets, as well as the great window, are embattled. The spaces
north and south, and within the portico, have tracery on the walls
similar to the window. The groining is very fine. One of the
central bosses has a representation of the Trinity. The Father is
represented as the Ancient of Days, with a Dove for the Holy Spirit
above the shoulder and the figure of the Saviour on the Cross in
front. Freemasons are recommended to look for a special symbol
which they alone can understand and appreciate. The floor of the
portico is paved with gravestones, some apparently in their
original position. The place was at one time appropriated as a
burial-place for the Minor Canons.”--(W. D. S.)
This porch hides the fine central doorway, which is divided by a central
pillar. A Benedictine monk tortured by demons--probably a hint to the
brothers--is carved upon it.
“With a few exceptions, the whole of the interior of the Cathedral
is in the Norman style, and many judge it to be the most perfect
specimen in England. The plan consists of a nave of ten bays, with
aisles and a western transept; transepts of four bays, terminating
in an apse, nearly semicircular, with aisles; and beyond the apse a
large square-ended addition for more chapels having a groined
stone-roof of fan-tracery, now known as the New Building. The
ritual choir, as distinguished from the architectural choir,
extends two bays into the nave. This arrangement is a return to the
ancient one used by the Benedictines, the choir in Dean Monk’s
alterations having been limited to the position east of the central
tower.
“As we enter at the west door we see at a glance the entire length
and the whole beauty of the admirable proportion of the several
parts. While many may wish that the great arches of the tower which
can be seen from the west end had never been altered from the round
form of the Norman builders, few will regret that the Decorated
arches which took their place were retained when the tower was
rebuilt, instead of having new arches in the Norman style
substituted. The want of colour which is so marked a defect in many
English cathedrals is not so conspicuous here, because of the
painted ceiling.”--(W. D. S.)
There is no Norman work at the west wall. The great doorway has a round
arch, but the arcade at the base consists of pointed arches. The
mouldings here are Early English; and it is inside an Early English arch
that the =West Window= of Perpendicular tracery is set. We may note that
the glass is modern and a memorial to officers and soldiers who were
killed in the South African War.
The =West Transept= extends beyond the aisles. The enormous pointed arches
have Norman mouldings. In the south end is a =Font= of the Thirteenth
Century; the north end is a vestry.
“As we enter we notice the distinctive character of the Norman work
of which this Cathedral is a notable and excellent example. In the
extreme west there is a blending of the two styles of Norman and
Early English, but the monks of Peterborough clung tenaciously to
their old ideas and to Norman and Romanesque models, and right up
to the end of the Twelfth Century built in this style, not from any
desire to imitate the work of their predecessors (as some writers
assert), but from an obstinate adherence to conservative tradition.
Even when the glorious tide of English Gothic was rising, and they
could no longer resist the flood, they clung to the old zigzag
mouldings. It is evident from the construction of the third column
that they intended to end their church there; but happily the
Thirteenth Century brethren decided to rear the noble twin-towered
front and the perfect portico. Some of the later columns show
Transition work; on one side we see a Norman base or capital, on
the other an Early English.
“There is a grand uninterrupted view of the whole length of the
Cathedral from west to east. It will be observed that the lower
arch is Decorated, and this adds to the beauty of this view. Before
leaving the west we notice some dog-tooth carved in wood, which is
somewhat rare.”--(P. H. D.)
The =Nave= consists of ten bays, with Norman arches. The triforium arches
are Norman; the clerestory windows are Perpendicular. The ceiling is
very peculiar and very interesting, and is, moreover, original Norman.
“All agree that the style of the painting is perfectly
characteristic of the period. The divisions are of the lozenge
shape; in each lozenge of the central line is a figure, and in each
alternate one of the sides. The middle set has more elongated
lozenges than the others. The borders are black and white, with
some coloured lines, in odd zigzag patterns. The figures, which are
mostly seated, are very quaint and strange. Some are sacred, some
grotesque. We can see St. Peter with the keys, kings, queens and
minstrels; we find also a head with two faces, a monkey riding
backwards on a goat, a human figure with head and hoof of an ass, a
horse playing a harp, a winged dragon, a dancing lion, an eagle,
and other curious devices.”--(W. D. S.)
The =Choir= begins with the two east bays of the nave (the same
arrangement occurs at Norwich), and runs through the space under the
tower and
[Illustration: PETERBOROUGH: CHOIR, EAST]
[Illustration: PETERBOROUGH: SOUTH]
takes up four bays east of the tower. The piers are alternately round
and polygonal.
“This portion was the earliest part of the Cathedral, and was
constructed by Abbot de Sais (1114-1125). The hatchet moulding is
conspicuous. The triforium arches are double like the nave, and the
clerestory has triple arches, the centre one being the highest. The
apse is particularly fine. The Decorated style is evident in the
windows, which were inserted in the Fourteenth Century instead of
the old Norman ones, and the hanging tracery of graceful design was
then added. The roof of the choir is late Fourteenth Century work
except at the east end where the roof is flat. Here Cromwell’s
soldiers discharged their muskets at the figure of our Lord in
glory, which they deemed to be an idol. This ceiling was decorated
in 1884 by Sir Gilbert Scott. The bosses of the rest of the roof
are curious. Nearly all the old glass was destroyed in the Puritan
desecration; the remaining fragments have been placed in the two
highest east windows. The fittings of the choir are modern except
an ancient lectern of Fifteenth Century date, given by Abbot Ramsay
and Prior Malden, as the inscription testifies, though it is now
scarcely legible. The choir-stalls are remarkably fine. The carved
figures contain a history of the Cathedral written in wood.”--(P.
H. D.)
Passing behind the High Altar we come to the Retro-Choir, or =New
Building=:
“The New Building built beyond the apse is a very noble specimen of
late Perpendicular work. It was begun by Abbot Richard Ashton
(1438-1471) and completed by Abbot Robert Kirton (1496-1528): the
works seem to have been suspended between these periods. The roof
has the beautiful fan tracery, very similar on a small scale to
that at King’s College Chapel at Cambridge. The building is of the
width of the choir and aisles together.
“The junction of this addition with the original Norman apse is
admirable, and should be specially noticed. Parts of the original
external string-course of the apse can be seen. The ornamentation
on the bosses of the roof and in the cavetto below the windows, and
round the great arches from the choir aisles, is very varied.
“It must be sufficient here to indicate some of the designs. Most
need little explanation, but a few are hard to understand. On the
roof may be seen the three lions of England, a cross between four
martlets, three crowns each pierced by an arrow, and another
design. The smaller designs include four-leaved flowers, Tudor
roses, fleur-de-lys, the portcullis, some undescribable creatures,
crossed keys, crossed swords, crossed crosiers, crosses, crowns,
crowns pierced with arrows, crowned female head, an eagle, the head
of the Baptist in a charger, an angel, mitres, three feathers
rising from a crown, St. Andrew’s cross, and perhaps others. There
are also some rebuses and some lettering. On the north wall, in six
several scrolls, the letters AR before a church and a bird on a tun
occur more than once. This certainly refers to Abbot Robert Kirton;
but what the bird means is not clear. In the moulding over the
large arch to the south choir are four sets of letters. They form
the last verse of the psalter. The words are contracted: they stand
for _Omnis spiritus laudet Dominum_.”--(W. D. S.)
The relic of greatest interest in the New Building is the famous =Monks’
Stone=, which, according to tradition, was constructed in commemoration
of the massacre of Abbot Hedda and his monks by the Danes in 870.
Critics are divided in opinion. Some think it Norman, but many accept
the theory that it is Saxon work. In 1887 remains were found of the
original Saxon church, which was sacked by the Danes, rebuilt and
visited by King Edgar and Dunstan. Traces of the fire that destroyed it
were also found. The east wall stood at the piers of the present south
transept.
Queen Katherine of Aragon was buried in the north-choir-aisle outside
the most eastern arch (1535). This was violated by the Puritans. Dean
Patrick says: “First they demolish Queen Katherine’s tomb; they break
down the rails that enclosed the place and take away the black velvet
pall which covered the hearse; overthrow the hearse itself, displace the
gravestone that lay over her body, and have left nothing now remaining
of that tomb, but only a monument of their own shame and villainy.” A
few slabs were recently found beneath the floor; and a marble stone
bearing coats-of-arms and inscription has lately been placed over this
spot.
In the south-choir-aisle a tablet tells us that here Mary Stuart was
buried in 1587, just within the choir. The body was removed to
Westminster Abbey in 1612. Remains of the hearse between the pillars
were seen as late as 1800. These royal arms and escutcheons were also
defaced and torn by the Puritans.
The =Transepts= are Norman, and characteristic Norman mouldings are
universal. A Perpendicular screen in each separates the transept from a
sort of eastern aisle, divided by pillars into chapels. In the =North
Transept= the two chapels of St. John and St. James have been thrown into
one--now the =Morning Chapel=. Some old Saxon coffin lids are preserved
here.
The chapels of St. Oswald, St. Benedict, and St. Kyneburga and St.
Kyneswitha still remain in the =South Transept=. West of the South
Transept we come to the old =Chapter-House= (very small), now a music
room. It is late Norman, but it has a Perpendicular doorway.
At the north-east corner of the close we come to the =Deanery Gateway=,
leading to the Deanery. It is a fine specimen of Late Perpendicular, and
was erected by Abbot Kirton (Kirkton), whose rebus (a church on a tun)
appears over the side-door. It has a Tudor arch, with the arms of the
See in spandrels, and is also ornamented with the Tudor rose and
portcullis and the Prince of Wales’s feathers. We gain here a very good
view of the north side of the Cathedral.
The north side is very fine. The arcading on the side of the tower is
identical with that on the west front. Next we must notice the big
windows of the western transept, early and fine specimens of cusped and
traceried windows. The jambs are very peculiar because one side is
Norman with square capitals, and the other side Early English. The arch
of the window reaches as high as those of the triforium. Above is a
round-headed window, and the gable, surmounted by a cross and bordered
with the wavy ornament, contains a rose-window. Pinnacles, resembling
those on the west front, adorn the sides of this west transept. The nave
rises in five stages: a tier of small lights separates the triforium
from the aisle.
The =Dean’s Door= on this side of the nave is Norman. The three shafts on
either side, with their cushion capitals, carry round arches with
characteristic and different mouldings. There are ten windows, very
broad, of five lights each, under depressed arches. They were inserted
in the Thirteenth Century. The parapet at the top is Early English.
The north transept has seven stages of windows (Perpendicular), and
blind arcades and a battlemented gable, flanked by octagonal turrets.
Here we gain a view of the lantern tower, rebuilt in 1884. Then we come
to the choir, and lastly to the =New Building=. The Decorated windows of
the apse are particularly fine.
“The east end of Peterborough is rather peculiar. There remains the
old Norman apse with Decorated windows inserted, and this is
surrounded by what is called the New Building, though it is 400
years old, formed by extending the walls of the choir and building
a square end to the Cathedral. This was erected by Abbot Kirton.
His work possesses the best features of Perpendicular style. It is
richly ornamented and when we examine his work we cannot say that
the glories of Gothic achievement had quite departed. We see the
twelve buttresses, each terminated with a seated figure, usually
said to be one of the Apostles.”--(P. H. D.)
Turning round the east end we come to the ruins of the Infirmary,
erected about 1260. Some fine arcading is still to be seen. Afterwards
we come to the =Slype=, once vaulted, but now open to the sky, which
formerly connected the Refectory with the Chapter-House, on the east
side of the =Cloister=. Only the south and west walls of the =Cloister
Court= remain. This is always called =Laurel Court=, though the origin is
unknown.
The south side of the Cathedral is more beautiful than the north, from
which it differs by having two doorways into the nave from the
cloisters, and a very fine south-west spire, early Fourteenth Century
work. A beautiful view of this spire and the bell-tower is obtained from
=Laurel Court=.
ELY
DEDICATION: ST. ETHELREDA. CHURCH OF A BENEDICTINE MONASTERY.
SPECIAL FEATURES: THE OCTAGON; GALILEE PORCH; LADY-CHAPEL; BISHOP
ALCOCK’S CHAPEL; BISHOP WEST’S CHAPEL; MONK’S DOOR.
Ely is perhaps the most singular and beautiful of English cathedrals,
when seen from a distance; for the massive building, with its turrets,
buttresses, and pinnacles, rises with splendid majesty from the green
meads that make a perfect foreground.
“The first glimpse of Ely overwhelms us, not only by its
stateliness and variety of its outline, but by its utter
strangeness, its unlikeness to anything else. Ely, with its vast
single western tower, with its central octagon unlike anything else
in the whole world, has an outline altogether peculiar to
itself.”--(E. A. F.)
About 655 Etheldreda, daughter of the King of East Anglia, went to live
in the fen-land district, known as the Isle of Ely, that had come into
her possession according to the terms of her marriage settlement with
Tonbert, one of the noblemen of her father’s court. The civil government
of her territory she gave to a steward named Ovin, while she devoted
herself to good works. She was induced to marry Egfrid, son of Oswy,
King of Northumberland, who became king in 670. Etheldreda, wearied of
court life, became a nun; and when Egfrid determined to force her to
return to court she fled from Coldingham to the Isle of Ely, where she
established a religious house. She began to build in 673. The monastery
over which Etheldreda presided as abbess was a mixed community. Bede
calls it a nunnery. Etheldreda died in 679 and was buried, according to
her own request, in the nuns’ graveyard. Her body was, however, removed
into the church on October 17, 695. When the body was placed in a marble
sarcophagus it was found in perfect preservation, and miracles took
place. Two hundred years later the Danes ravaged Ely and destroyed the
monastery (870), which was rebuilt in 970 by King Edgar and Bishop
Ethelwold, of Winchester. The prior of Winchester, Brithnoth (970-981),
was appointed its first abbot. There were no nuns in the new monastery.