_Historical account of the building of the monastery, and description
of the architectural peculiarities of the present cathedral._
Having in the preceding chapters given a brief history of the former
monastery and present cathedral of Peterborough, up to the present
time, it now remains for us to say something of its architectural
peculiarities, and to notice some of the remarkable relicts of
antiquity which are still to be found within its walls. It has already
been stated, that in the year 655, the foundation for a monastic
institution was laid at _Medeshamstede_; that it was completed seven
years afterwards;--and was destroyed by fire in 870. The architectural
character of the building at this period cannot be strictly
ascertained; but, from the accounts given of it by monkish writers, it
is supposed to have been of the pure Saxon style. The monastery was
again re-built in 966, and again destroyed by the lawless hands of
barbarian invaders. Five successive times did it undergo various
changes of ruin and desolation, until the year 1117, when a new
building was raised upon the foundations of the old one, and many
additions were made to it;--extending its circuit, and improving its
architectural appearance.
The immense stones which were laid as the foundation of the minster of
_Medeshamstede_, is a sufficient proof of the vastness and massive
strength of the building which was raised upon it;[25]--yet, as we have
no definite information respecting the size of the monastery, we must
leave it to be imagined by the reader, and proceed with the "new
church," which was commenced in 1117, under the rule of John de Sais,
and which we have already noticed in the first chapter of our history.
This John was a Norman by birth, and an admirer of the Norman style of
architecture, which is discernable throughout the whole of this great
building. That there is a mixture of style, however, in the monastery,
is admitted on all hands;--nor could it well have been otherwise, if we
take into consideration the different character of the ages in which
additions were made to it. Still the leading features of the building
clearly show that they are of Norman origin; and in this opinion we are
supported by Mr. Britton, who says, "I cannot consent to discontinue
this phrase, [viz. that the cathedral is a specimen of Norman
architecture,] although it offends certain critics, who manifest more
prejudice than discrimination in their reprobatory animadversion. That
the Normans not only employed a peculiar style and character in the
buildings of their own provence, and in England, after they possessed
this country, is sufficiently proved by history, by the older edifices
still remaining, and by the admission of the best informed antiquaries.
It seems to me therefore absurd, as well as false, to say there is no
Norman architecture--that the term is misapplied,--that the Normans
were incompetent either to invent a novelty in art, or improve upon any
thing of their Saxon predecessors. The instance of the building before
us, which is said by its monastic historians to have been raised
between the years 1117 and 1250, is sufficient evidence to confute the
reasoning, or rather dogmatic assertions, of those who wish to exalt
the Saxons by depreciating the Normans: and we have a still stronger
confutation of this theory in the style and general character of the
Trinity chapel, Canterbury, the history of which is well authenticated
and generally credited. That it is a novelty and great beauty in
architecture can only be disputed by those who are blinded by
prejudice, or influenced by obstinacy and bad taste."[26]
During the prelacy of Bishop Marsh, 1819-1839, great efforts were made
to restore the cathedral to its original beauty, under the auspices of
Dr. Monk, then Dean of Peterborough, and afterwards Bishop of
Gloucester. "By him the noble west front, which he found in a very
ruinous state, was perfectly restored from top to bottom;
six-and-thirty windows were opened in various parts of the church,
which were built up, and two Norman doors were brought to light, which
had been hidden under mean depressed arches."
It may, perhaps, be desirable to describe the different portions of the
building in the order in which they present themselves to the visitor,
and in doing this, we shall avail ourselves of the excellent remarks
made by the Rev. Owen Davys, son of bishop Davys, in his work on the
cathedral, and also of the superior talent of a gentleman, formerly
well known in this city, (the Rev. T. Garbett,) who has investigated,
with great care, the whole plan of the building, and has laid the
result of his researches before the public.
[Sidenote: Western Gateway.]
First, then, is the ancient western gateway, built by Benedict, and
though it has since been much altered, a considerable part of the
original structure remains: "The western side has been faced with
Perpendicular work, and an arch of that character has been built in
front of the original Norman arch, above which is a very elegant
arcade, the alternate arches of which have small windows within them;
these light the chamber over the gateway which occupies the situation
of the chapel of St. Nicholas. The lower roof of this gateway is a good
specimen of a plain Norman roof, being groined with bold cross ribs.
The arcades on the right and left hand, which have lately been very
judiciously restored, are also worthy of notice; one of the arches in
each arcade is considerably larger than the others, and forms a
door-way. Above the arch, on the east side of this gateway, is a window
which may strike the architect at first sight as being somewhat
peculiar. It is in reality a part of an ancient Perpendicular shrine,
which formerly existed in the cathedral, of which a portion is still
standing in the northern part of the new building; it was brought
there, and turned to its present use as a window, some time ago."
[Sidenote: Thomas à Becket's Chapel.]
On the left hand, as we pass through the gate, is the grammar
school-room, formerly the chapel of Thomas à Becket, who was
assassinated at Canterbury, and canonized by the catholics as a saint
and a martyr. "The chancel of this building is of a very Late Decorated
character, in fact so late as almost to come under the denomination of
Transition from that style to Perpendicular; it has, on the south side,
two windows, each of three lights, which appear, at first sight, to be
Decorated, but, upon further examination, the architectural student
will perceive, by a tendency to right lines in the tracery, that they
are of Transition character, of which they form good examples. The east
window of this chancel is a very good one, it is of five lights, and
the tracery is very beautiful, though of a description not at all
uncommon; in fact most of the Decorated windows in parish churches
throughout Northamptonshire, which have any pretensions to size or
beauty, have their tracery of this form, as, for instance, the east
window of Higham Ferrers church, and many others. Above this window is
an elegant pierced cross, probably of the same date as the window
itself. The parapet of this chancel has nothing worthy of notice about
it; it is like the rest of the building, of plain Late Decorated
character."
[Sidenote: Palace Gateway.]
On the right of us, is the magnificent gateway which leads to the
bishop's palace, over which is a chamber, called the knights' chamber.
"This gateway is of somewhat peculiar Early English character, having a
fine groined roof, springing from very beautiful clustered shafts. A
line of arches, each of which contain within them two smaller arches,
continues along either side of the interior; which is entered on the
north and south sides, through fine and lofty arches supported by
clustered columns. The bases of all these columns, like those of many
others about the remains of this abbey, are covered with soil which the
lapse of years has caused to accumulate around them; this of course
much diminishes the height of each shaft. This beautiful gateway is
flanked at its angles by square turrets, each ornamented, as also is
the apex of the gable, with a fine niche, which has within it a figure
of an unusually large size. The niches on the south side, contain the
figures of St. Peter, St. Paul, and St. Andrew; those on the north,
contain the representations of King Edward II., Abbot Godfrey de
Croyland, and the Prior of the Abbey of that time, in full Benedictine
costume.
[Sidenote: West Front.]
"The splendid front of the building is the most interesting and
important of its members. This beautiful and original composition
cannot fail to strike the mind of the beholder with awe and admiration;
the first sight of it usually makes an impression on the memory which
is not easily obliterated. It is indeed one of the finest specimens
which the universe can produce, of the Pointed style of architecture.
As a west front, scarcely any in this kingdom can be brought into
comparison with it for beauty of proportion, and elegance of design.
The west fronts of the cathedrals of Wells, York, and Lichfield have
been mentioned as surpassing it in some respects; and in point of
richness of detail, the two first may be perhaps considered as superior
to it; but they all of them fall far short of Peterborough in the
grandeur of their general effect.
"The outline of this front forms a regular square of 156 feet, that
being the height of the side spires, and also the extreme width of the
building. Its plan consists of three lofty arches of the same height,
of which that in the middle is considerably the narrowest, the two side
ones being of equal dimensions. These rest on triangular piers faced
with shafts. At either extremity of this arcade are two lofty turrets,
flanked at the angles by clustered columns, instead of buttresses,
which run the whole height of the turrets. These turrets connect the
arcade with the western wall of the church, from which it is distant
fifteen feet, which gives the appearance of great depth and beauty to
the arches." [_Davys' Guide._]
"There was, perhaps little or no interval between the completion of the
nave in the Circular style of architecture, and the erection of the
north-west tower, in the Lancet, or first style of the Pointed. The
original plan of the front, like that of Lincoln, comprised, no doubt,
two towers rising at the western extremity of the side aisles of the
nave, having a Norman base with circular lights, and an additional
transept, projecting north and south beyond the line of the side
aisles. But before this design could be carried into execution,
architecture itself had undergone a change; pointed arches were
substituted for circular ones, and slender isolated columns for the
clustered shaft, or solid cylinder. Hence the difference in style of
the tower just referred to: the string moulding at the base of it,
together with the superstructure, and the pinnacles and pediment which
surmount the adjacent transept, being all of a later order than the
work of the nave: and hence also the union of both styles in the
transept itself--its lofty arches, parallel to the side walls, being
highly pointed, but with the zigzag ornament, and resting on Norman
shafts; and the doorways of the front having circular heads, in
accommodation to the arches of the nave, but with pointed mouldings and
pillars.
"The tower, towards the south, appears never to have been finished,
although unquestionably included in the architect's design. The present
base, above the transept, is of a comparatively modern date, and
altogether inferior to the work of the north-west tower. In the
progress of great undertakings it not unfrequently happens that fresh
objects present themselves to the mind, which at first were not thought
of. Such appears to have been the case in respect of this cathedral,
the architect of which, while completing the front, seems to have
caught a new idea--that of erecting two lofty turrets beyond the outer
angles of the transept, towards the west, and of converting the
intermediate space into a sort of piazza, by arches constructed in
front of the nave and closed in above by a vaulted roof. This idea so
unique and at the same time so splendid, he was enabled to realize: and
posterity, at the distance of six centuries, beholds with ineffable
delight and admiration, a composition, the outlines and details of
which, for their beauty and variety, render it one of the noblest
facades in existence. Towards the north and south are two lofty
turrets, flanked at the angles by clustered shafts, rising from a
projecting base and crowned with spires, the height of which from the
ground, makes a square with the breadth of the front. The space between
these turrets is occupied by three pointed arches, reaching the whole
height of the upper walls of the nave, and resting on triangular piers,
which are faced with clustered shafts like those of the turrets, and
terminate in octangular pinnacles, resting each upon a square basement,
and divided by a moulding into two stages, the upper one of which is
perforated with narrow lights, edged with the dog-toothed quatrefoil.
The sides of the pier are lined with isolated columns in channelled
recesses, each column sustaining a ribbed moulding of the arch above,
and the whole series being finished with interlaced and foliated
capitals.
"The centre arch is narrower than the outer ones, the reason of which
will appear when we look at the situation of the doorways opening into
the side aisles of the nave. Had the architect designed the three
arches of equal breadth, the piers which sustain the centre arch must
have stood immediately in front of these door-ways, or the outer arches
must have been so contracted as to bring the turrets within the line of
the transept, and thereby conceal, in part at least, the towers behind.
"This circumstance of itself shows that the turrets, piers, and arches,
as they now exist, formed no part of the original plan. The interstices
between the pillars which sustain the centre arch differ from those of
the outer arches, in that they are chequered at regular distances with
clumps of foliage, as if exuberance of ornament were designed to
compensate for inequality in other respects. This inequality has been
still further obviated by the erection of a porch, which, after a
minute inspection, appears to have been inserted by way of support to
the central piers, both of which had previously swerved from the
perpendicular, as may still be seen. Over each arch rises a lofty
pediment, bounded by the wave and billet ornaments, and surmounted by a
perforated cross. The spandrils formed by the base of the pediment and
the arches beneath, severally contain, first, a deeply recessed
quatrefoil, above this two trefoil arches, and still higher two pointed
arches, resting on slender pillars, and filled with statues,--and also
a hexagon, the featherings of which clasp a human head.
"The pediments contain each a large circular light, with other
apertures and niches. The circle of the central pediment is divided by
mullions into eight lights, under trefoil arches radiating from an orb.
Those on the sides are divided into six lights, the featherings of
which are very beautiful. The mullions, or radii, are all faced with
small pillars and capitals, and lined with the dog-toothed quatrefoil.
The outer moulding of the central circle is composed of closely
compacted trefoils, that of the others has the wave ornament. At the
base of each circle is a series of trefoil arches, rested on isolated
columns, four of which admit light into an apartment above the
vaulting, and three contain statues. The intermediate spaces formed by
the circle and the pediment, contain two niches, one on each side and
another above, all filled with statues. The niche in the apex of the
central pediment contains a statue, apparently of St. Peter, to whom
the church is dedicated, representing the apostle with the mitre, pall,
keys, and other insignia of the bishop of Rome.
"The turrets, before mentioned, are divided by the round moulding and
string courses into six stages, which are empannelled in front with
arches of different forms and dimensions. In the first stage from the
ground, and rising from a channelled base, are two lofty pointed arches
resting on slender pillars. In the second stage are four trefoil arches
similarly supported; this range is continued round the facings of the
inner wall immediately over the doorways, and forms the base of the
windows. The third stage contains one pointed arch, intersected by a
pillar in the centre, with curved mouldings, forming two lesser arches;
which last are again subdivided by pillars sustaining one circular arch
in the centre, and segments of arches on the sides.
"The interstices above contain two trefoil arches, with brackets at the
base for the figures. The mouldings of the outer arch, with the sides
of the pillars and all the sub-divisions, are studded with the
dog-toothed quatrefoil. In the fourth stage, are two deeply recessed
pointed arches, resting on clustered pillars; immediately over these is
a string course of stemmated trefoils, which is continued round the
front, the transepts, and the base of the north-west tower, together
with the more modern base towards the south. In the fifth stage are
four trefoil arches, like those of the second stage: these lie parallel
with those at the base of the pediments, already described, and with
those also of the side transepts. The sixth stage contains four long
and narrow pointed arches, having corbels in the space above, and
resting, like the whole series of arches below, on slender isolated
columns, with prominent foliated capitals: above these is a string
course of rosettes, forming the base of the parapet. Thus far the two
turrets are strictly uniform; but in the parapets, by which they are
surmounted, and in the pinnacles, which terminate the clustered shafts,
there is a marked difference.
"The parapet of the north turret consists of the wave ornament, with
double featherings and intersections: the pinnacles at the angles are
hexagonal, corbelled at the base of the pyramid with human heads, and
finished above with crockets and finials.
"The parapet of the south turret contains a series of quatrefoils,
while the pinnacles at the angles are beautifully blended with the
clustered shafts, so as to form a regular and continuous course and
termination; the mouldings are carried up in high pointed pediments,
and from these a cinquefoil arch at each angle, surmounted also by a
pediment, with a quatrefoil in the spandril, connects them with the
spire in the centre, and sustains a lofty triangular pinnacle, which,
like the pediments below, is decorated with crockets and a finial. In
this respect the south spire differs from the other, which has no
connection with the side pinnacles. Both are pierced with pointed
windows in two ranges, four in each range, divided by mullions, and
crowned with crocketted pediments; and the apex of each is terminated
by a finial and a cross, included in the extensive repairs carried on
by the present dean[27] and chapter.
"The style of these spires, with the parapets and pinnacles, marks them
out as a later work than the turrets beneath; and we may infer from the
similarity of their details to those of the porch, that they formed a
part of the repairs and alterations which the whole front appears to
have undergone when the appendage was inserted; and when the central
window of the nave was enlarged, and that, and the others which now
enliven the inner wall, were filled with perpendicular tracery. The
porch is vaulted with stone, and is entered by an obtuse arch, over
which is an elliptical window, divided by mullions into six lights
under cinquefoil arches, which are again subdivided in the head into
lesser arches.
"The spandrils formed by the curve of the arch, and the base of the
window, are enriched with circles, clasping shields of arms, and
rosettes with other devices. The arches and windows are bounded by
buttresses, which are broken by offsets and empannelled with niches.
Besides these, the porch is flanked with staircases, one on each side,
forming three parts of an octagon, and leading to an apartment now used
as a library. The summit is closed with an embattled parapet, having a
pediment at each end, and one in the centre. The surface of the walls
is enriched with canopied niches, pilasters, brackets, panel work, and
string courses in all the wildness and profusion which distinguish the
last stage of gothic architecture.
"Besides the arch before mentioned, the porch has two smaller arches,
north and south, parallel with the piazza formed by the great arches
and piers of the front, and keeping up the communication with its
opposite extremities. Over these also are mullioned windows with blank
interstices.
"The great window of the nave, the outer arch of which is obviously an
alteration from the original design, is divided by mullions into five
lights,--those of the side aisles into three lights, both under
cinquefoil arches, and the lancet windows of the transepts into two
lights, under trefoil arches: these windows are parted, each by an
embattled transome into an upper and lower range of lights, and the
heads filled with subordinate tracery.
"The door-ways beneath are exceedingly rich, and in point of execution
and delicacy of detail perhaps the finest portions of the front. The
central door-way is divided by a pillar, rising from a carved
cylindrical base into two smaller arches; but the whole design and
finish cannot be made out, in consequence of the introduction of the
porch, the foundation and butments of which are built against it.
"The arches of the side door-ways are lined with isolated columns,
receding in the manner of perspective; the ribbed mouldings between
these columns, the interlaced and pendent foliage of the capitals, and
the multiplied mouldings of which the arches above are composed, cannot
be too closely examined, or too much admired. This is that peculiar
style of gothic architecture, in which the beauty of the pointed arch,
with its accompaniments is best discerned; and, therefore, it is that
judges are wont to give it the preference over all subsequent
alterations and refinements. The spaces between these door-ways, like
those of the windows over them, are empannelled with pointed arches,
subdivided by smaller arches, and resting on slender pillars.
"From the description thus given of this stately front, the reader will
perceive that it was begun in one age, and finished, as we now behold
it, in another. Some discrepancies of style may therefore be expected
to present themselves, but these are so eclipsed by the grandeur in its
leading features, that the eye takes in the whole as a single
conception, and overlooks, in its contemplation of such a magnificent
association of objects, the marks of difference that exist between the
efforts of earlier and later genius."[28]--The Purbeck pillar, which
divides the greater arch of the West door into two lesser arches, has a
curiously sculptured base, apparently representing a sinner being
tormented by devils.
[Sidenote: Gateway and Deanery.]
As we cross the square to the north-eastern side of the church, we pass
another gateway, which leads into the deanery, which is a fine specimen
of architecture, and bears the monogram of its builder, viz.--the
letter R, a kirk, and a tun, [R. Kirkton] and we then enter at once
into the
Burial Ground.
[Sidenote: Exterior north, east, and south.]
A finer association of beautiful and mournful objects could not well be
imagined than is here presented to us. The most graceful trees,
arranged in delightful groups, hang over the decayed tombs, which are
carpeted to their base by a green sward, covered with flowers. As we
pass along, we get a view of the deanery, and at the end of the eastern
part of the church we see Tout Hill with the Training College for
schoolmasters on the left, and the pretty villa in the vineyard, with a
splendid avenue of old elm trees leading to it by a broad gravel walk.
We pass likewise the large painted window, and as we turn the eastern
end of the building, we catch a glimpse of the ruins of the infirmary
and great hall, with their magnificent arches and ivy clad columns.
Proceeding round to the southern side of the cathedral, we enter the
square, where are the ruins of the cloisters, through a fine old
door-way with a pointed arch, surmounting others of a circular form,
and enriched with sculptural mouldings and figures. The southern and
western walls of the cloisters remain, and contain a singular variety
of tracery, mouldings, columns, and door-ways. Two door-ways to the
southern aisles of the nave are also seen in the cloisters--one having
a semicircular arch, with archivolt mouldings, enriched with the
chevron and other Norman ornaments; the other in the pointed or gothic
style, with raised mouldings, and supported by slender shafts at the
sides.[29] At the southern extremity of the cloisters is another
door-way of the same style and character as that by which we entered
them, which leads through the bishop's garden to the palace.[30] Passing
along the western wall of the cloisters we go through a plain Norman
door-way, which brings us again, by a narrow passage, to the west front
of the cathedral.
The Dimensions
_Of the several parts of the Cathedral are as follows:--_
The breadth of the west front, measuring from corner to corner on the
outside of it, is 156 feet.
The length of the whole cathedral, measured on the outside of it, is
471 feet. In this measurement are included the most prominent
buttresses at the west and east ends.
The distance from the inside of the west door of the cathedral to the
organ screen at the entrance into the choir is 267 feet.
From the organ screen to the altar screen, 117 feet.
From the altar table to the east window 38 feet. So that the distance
from the west door to the east window is 422 feet.
The length of the two cross aisles or transepts within, including the
diameter of the lantern, 180 feet.
The breadth of the nave within, measuring from the south wall to the
north wall, is 78 feet; that is half the breadth of the west front.
From the floor of the nave to its painted wooden roof is a height of 81
feet.
The height of the lantern within the church is 135 feet. The whole
height of it without is 150 feet.
The height of each gothic arch at the west front of the cathedral is 82
feet.
The distance from the ground to the top of each pinnacle at the corners
of the west front is 156 feet; that is, the same with the breadth of
the front.
The Interior of the Building
is grand beyond conception. The northern and southern aisles are formed
by massive ranges of pillars, supporting vast arches of singular
simplicity and beauty. The great pictured roof or ceiling in the nave
of the church, is a curious specimen of fanciful ingenuity. The
divisions are of a diagonal form filled with various devices, some
representing kings and queens or early patrons and founders of the
monastery: others being of an hieroglyphical character.
"The nave and its aisles," says Mr. Britton, [page 70] "display a
uniform style of architecture in their arches, piers, triforia, and
walls; but the windows of the clerestory, triforia, and aisles are all
of a later date, and are evident insertions in the original
walls,--excepting indeed the exterior walls of the triforium, which
appear to have been raised, and a new roof formed when some great
alterations were made to the church. On the eastern side of the
transept is an aisle, the southern division of which is separated into
three chapels, or oratories, as they were originally appropriated, but
now used as appendages to the choir. Over this aisle is a triforium,
behind an arched screen, which extends along the aisles of the choir to
their junction with the new work."
The lantern is another remarkable feature in this building. It "is open
to the vaulted roof," and is a fearful height to contemplate.
The choir is nearly of the same kind of architecture as the transept.
Its vaulted roof is boarded, but assumes an imitation of the florid
pointed style,--being disposed in several compartments by thin ribs.
Over the altar end it is painted with an emblematical representation of
Christ as a vine, and his disciples the branches. The remaining portion
of the roof, which had been painted white and yellow, has also been
recently restored to its original character, the bosses being gilt and
the spandrils painted bright blue and richly ornamented.
Until the year 1827, the choir of this cathedral was composed of deal
painted to resemble oak, and "although in good repair," was generally
allowed to be "unworthy of the magnificent structure to which it
belonged." At the suggestion, and under the immediate patronage of the
then dean and chapter, a subscription was entered into for the purpose
of erecting a new choir and organ screen; and the sum of £5021 11s. 0d.
was shortly obtained towards that object. The architect employed was
the celebrated Mr. Blore, who, assisted by Mr. Ruddle, of Peterborough,
completed the work in 1830.
The organ screen is composed of clunch stone, and is decorated with
spiral turrets, having a number of gaudily painted shields in the
spandrils, which, together with the rainbow hues of the organ pipes,
give it an appearance rather offensive to modern taste, although
strictly in accordance with the rest of the work, which is in the style
of the 1st and 3rd Edward.
On the right of the entrance to the choir is a brass plate with the
following inscription:--
THIS
ORGAN SCREEN
WITH THE
CHOIR AND ALTAR SCREEN,
WAS ERECTED A.D. MDCCCXXX.
BY SUBSCRIPTION
FROM THE MEMBERS OF THIS CATHEDRAL CHURCH,
THE INHABITANTS OF THE
CITY AND NEIGHBOURHOOD OF PETERBOROUGH,
AND
OTHER ADMIRERS OF ECCLESIASTICAL ARCHITECTURE,
UNDER THE AUSPICES OF
THE VERY REV. JAMES HENRY MONK, D.D.,
DEAN.
The New Pulpit,
Erected to the memory of the Rev. John James, D.D., for 40 years Canon
of the Cathedral, has a most massive appearance. The principal material
used in its construction is Dumfries stone, with pillars of Devonshire
and Greek marble. The body rests on a centre marble base, with corner
pillars of Greek marble. At each corner of the pulpit stand figures of
the four evangelists. The three panels are richly carved, and in the
centres are cut the figure of a lamb, a Norman cross, and the letters
I.H.S. Greek marble has been employed as pillars for the stair rails,
along which and around the upper part of the pulpit is Devonshire
marble. The following inscription inlaid with gold is cut in the Greek
marble bordering:--"In Memoriam. Johannes James, S.T.P., hujus Ecclesiæ
Cathedralis XL.; Anno Canonici P.C. Filii Superstites A.D. MDCCCLXXIII,
O.B. XV Dec. MDCCCLXVIII." The arms of the See and the Dean and Chapter
are cut in the stone body. The architect was Mr. Barry, of London, and
the work was executed by Messrs. Field, Poole, and Sons, Westminster.
Monuments.
There are very few ancient monuments remaining in this cathedral, the
greater portion having been destroyed by Cromwell's soldiers. A brazen
eagle, or lectern, in the centre aisle of the choir, from which the
daily lessons are read; an ancient stone at the east end of the
building, till lately supposed to be commemorative of the murder of
eighty-four monks by the Danes, in 870;[31] and a picture of old
Scarlet, who died in 1594, aged 98, are the principal objects of
interest.
Turning to the left, as you enter the west door of the cathedral, hangs
the portrait of this celebrated character, who buried within the walls
of the cathedral, Catherine of Arragon, who died at Kimbolton Castle,
in 1536; and Mary Queen of Scots, who was executed at Fotheringhay
Castle fifty-one years afterwards. The accompanying engraving is a
representation of the old sexton, with his spade, pickaxe, and other
emblems of office.
In the south-west or opposite corner of the nave, is an _ancient
font_, originally composed of native marble, obtained from the
quarries at Alwalton.[32] The basin of this font was, for many years, in
one of the prebendal gardens, where it was placed upon the base of an
old Norman pillar, and used for holding flowers, but was removed by Dr.
Monk, when dean of Peterborough, to the chapterhouse. The celebrated
statuary, Mr. Gresley, of Oxford, put it upon its present pediments,
which are composed of Purbeck marble, and it was then placed where it
now stands. It is considered a very fine piece of workmanship.
[Illustration: YOV SEE OLD SCARLEITS PICTVRE STAND ON HIE BVT AT YOVR
FEETE THERE DOTH HIS BODY LYE HIS GRAVESTONE DOTH HIS AGE AND DEATH
TIME SHOW HIS OFFICE BY THEIS TOKENS YOV MAY KNOW SECOND TO NONE FOR
STRENGTH AND STVRDYE LIMM A SCAREBABE MIGHTY VOICE WITH VISAGE GRIM HEE
HAD INTERD TWO QVEENES WITHIN THIS PLACE AND THIS TOWNES HOVSE HOLDERS
IN HIS LIVES SPACE TWICE OVER: BVT AT LENGTH HIS OWN TVRN CAME WHAT HEE
FOR OTHERS DID FOR HIM THE SAME WAS DONE: NO DOVBT HIS SOVL DOTH LIVE
FOR AYE IN HEAVEN: THO HERE HIS BODY CLAD IN CLAY.]
As you enter the south aisle of the choir, upon the wall is a neat
marble tablet to the _Rev. Dr. William Parker_, who died October 3rd,
1730.
Next, in a recess, is a tablet to abbot _Andreas_, and two of his
predecessors, with the following Latin inscription:--
"Hos tres abbates quibus est prior abba Iohannes
Alter Martinus, Andreas ultimus unus
Hic claudit tumulus; pro clausis ergo rogemus."
The following is a free translation of the above:--
"_These three abbots, of whom the first is abbot John,
The other Martin, the last Andrew,
This one tomb shuts up [incloses]; therefore for those shut up,
let us pray._"
Above this is a small tablet to the memory of _Mary_, the wife of the
_Rev. Payne Edmunds_.
Next, is a marble tablet to _Robert Pemberton_, who was a magistrate of
this city, and steward to the Rev. the Dean and Chapter. He died in
1695, in the 75th year of his age.
Near these, removed from the old chapter-house, founded by king Peada,
are the statues of _three other abbots_, whose names are unknown.
Adjoining, is an effigy of _Abbot Alexander_, whose body, with his
boots and crosier, were found by some workmen when making a foundation
for the new choir in 1830, as related at page 15 of this work.
Opposite to this, is a black marble slab, beneath which the body of
_Mary, Queen of Scots_, was at first deposited, and remained for
twenty-five years, when it was disinterred and removed to Westminster
Abbey, by order of her son, king James the 1st. Hanging near it is the
original letter of the king ordering the removal. See note on page 29.
At the end of this aisle are two handsome compartments; the left hand,
to the memory of _Joseph Stamford_, who died in 1683; and the right
hand, to _Thomas Whitwell_, who died at Wisbech in 1759.
Above that of _Joseph Stamford_, is a tablet to _Francis Lockier_, who
died 1740; and below, a small tablet to _John Speechley_, for 33 years
organist of the cathedral.
We now enter the building known by the name of
The New Building.
"The whole appearance of the interior of this beautiful building is
grand and imposing in the extreme; its roof, which is composed of the
elaborate fan vaulting, for which the Perpendicular style is so famous,
rises from slender shafts, and is ornamented with large and handsome
bosses, upon each of which is carved a shield, with armorial bearings.
In these respects, as well as in the general aspect of its details,
this building so nearly resembles the noble chapel of King's College,
Cambridge, as to warrant the supposition that they were both erected
from the designs of one architect. The New Building is lighted by
thirteen very fine windows, two of which are filled with modern painted
glass. The space below the windows is occupied by a rich cornice, an
elegant arcade, and a stone seat. Here is to be seen a monument, till
lately supposed to be that of abbot Hedda and his monks, whose massacre
by the Danes was spoken of in the first chapter of this work, which is
considered to be one of the oldest christian monuments now extant in
England." See note on page 4.
At the south end of this building, are the remains of a beautiful
marble monument, erected by Sir Humphrey Orme, the destruction of which
is recorded at page 34 of this work.
By the side of this monument are two tablets, one in memory of
_Archdeacon Davys_, his wife _Selina_, and their son _John William
Owen_; underneath which is a black tablet, surmounted by a shield,
bearing a coat of arms, with a mitre, in memory of _Francis Jeune,
D.C.L._, twenty-fifth bishop of Peterborough, who died in 1868.
On the south-east side of the altar, is a very stately and handsome
marble monument of the Corinthian order; on which is a portraiture of
the gentleman for whom it was erected, lying on his left side, and
leaning on a cushion, with his hand upon a scull; above which statue is
this inscription--
"Sacred to the memory of _Thomas Deacon_, Esq., a native of this
city; sometime high sheriff of this county: a person eminent for
his morality and good life; a true son of the established church: a
constant attendant on her worship and service: his piety consisted
not in empty profession, but in sincerity and unaffected truth. He
had an ample estate, which he fairly acquired, and increased by an
honest industry, and managed with excellent prudence, and disposed
of to laudable purposes. His charity (even in the time of his life)
was very large, extensive, and exemplary; of which he has left a
lasting monument in this city, by founding a charity school, and
endowing it with a freehold estate, of above one hundred and sixty
pounds per annum: And also, by settling another estate of
twenty-five pounds per annum, for a constant annual distribution of
alms to poor ancient inhabitants of this city. Having thus laid up
in store to himself a good foundation against the time to come, he
quietly departed this life, on the 19th day of August, 1721, aged
70 years.
"To whose memory as an instance of her conjugal affection, Mary,
his sorrowful relict, caused this monument to be erected."
Beneath his effigy, and upon the front of the tomb, is the following
inscription--
"In memory of _Mary_, the relict of Thomas Deacon, Esq.; daughter
of John Harvey, of Spalding, gent. To which place she was a kind
generous benefactor, and bestowed upwards of £400 in pious and
useful charities. She gave also to Fleet £250, for founding a
charity school in that parish. To the poor of this city, she
extended her daily bounty, so private as not to be told; so large
as not to be equalled; to which she added several public
benefactions, and gave towards augmenting the vicarage of St. John
Baptist £100; and likewise £100 to the salary of the grammar
school; she died January 27th, 1730, aged 77 years."
In a recess adjoining this monument, is a neat tablet to the memory of
_Mary_, the mother of the Rev. J. S. Pratt, formerly a prebendary of
this cathedral, and vicar of the parish of St. John the Baptist,
Peterborough.
Underneath this, a handsome tablet to the late _William Strong_, D.D.,
forty-five years archdeacon of this diocese, and for nearly half a
century a magistrate for the Liberty of Peterborough.
Near the last monument, behind the altar screen, are interred the
remains of six bishops, viz.:--_Cumberland_, _Kennett_, _Hinchcliffe_,
_Madan_, _Marsh and Davys_; tablets to the four latter, are in the
recess opposite the large painted window.
Beneath these, is an effigy, supposed to be that of _Abbot William de
Hotot_, who died in 1250.
On the north-east side of the altar, is a very handsome marble monument
to _Bishop Cumberland_, great grandfather to the celebrated dramatist
of that name.
Beneath this, is a neat tablet to _Joseph Parsons_, formerly a
prebendary of this cathedral, and _Letitia_, his wife; near which, is a
monument erected to his intimate friend _William Tournay_, D.D., also a
prebendary of this cathedral, and of St. Peter's, Westminster, and for
twenty-five years warden of Wadham College, Oxford, &c.
Adjoining, are the remains of an ancient shrine, supposed to be that of
_St. Ibba_.
Above this is a marble tablet to _Louisa Cole_, of the Vineyard.
On leaving the Lady Chapel, in the north aisle of the choir, is a
splendid monument to _Richard Trice_, beneath which is a handsome
double _piscina_.
Opposite to this, a small marble monument to _Frances_, wife of _Dean
Cosin_, who died March 25th, 1642; above which is an epitaph to
_Dorothy_, the wife of _Francis Standish_, formerly precentor of this
cathedral, who died in 1689.
Opposite, is another plain black marble slab, similar to that in the
south aisle, with a small brass inscription which marks the grave of
_Catherine of Arragon_.
On the north wall of the side aisle is a monument by the celebrated
Gibbons, with the following inscription--
"Sacred to the memory of _Constance_, daughter of _John May_, of
Rawmeare, in Sussex, Esquire; and of _Constance_, his wife, one of
the daughters and co-heiress of _Thomas Panton_, of Westminster,
knight and baronet, and wife of _John Workman_, prebendary of this
church, who, having by all christian virtues and good qualities,
been an ornament to her worthy family, and an honour to all her
relations in her life, resigned up her soul to God with admirable
patience at her death; she deceased in childbed at London; and,
together with her infant son, she was according to her desire, here
interred, where she had frequently worshipped God, in hope of a
joyful resurrection, September 30th, A.D. 1681."
Next, is a tablet to _James Duport_, formerly dean of this cathedral,
chaplain to Charles II., and professor of Greek at Trinity College,
Cambridge.
Adjoining, is another tablet to the memory of the _Rev. John Workman_,
M.A., formerly a prebendary of this cathedral, and rector of Peakirk,
&c.
Next, is a tablet to _William Rowles_, of Washingley, and _Ann
Wilkinson_, his daughter.
The next is to the _Rev. William Gery_, also a prebendary of this
cathedral, and Susannah, his wife, who lived together 47 years. This is
a very handsome tablet.
The last is a handsome tablet to the _Rev. William Waring_, A.M.,
formerly master of the grammar school, who died 1726, aged 66.
In a small chapel, known as the Morning Chapel, dedicated to St. John
and St. James, is some _ancient tapestry_; one piece representing St.
Peter and St. John healing the lame man at the beautiful gate of the
temple; the other representing St. Peter's deliverance from prison. In
the north-east corner is a tablet to the _Rev. John Stevens_, A.M.,
rector of Folksworth, Hunts.; and in the centre of the east wall is a
stained glass window, representing four scenes from the life of our
Lord. Here also are the remains of the woodwork of the _old choir_,
which have been converted into seats, and will serve to show to the
curious its former character and style.
The Organ,
Which is placed above the screen, dividing the nave from the choir, is
a very fine toned instrument, and was built in 1809, by the late Mr.
Allen, of Sutton Street, Soho. It has within the last few years been
much improved and enlarged. It contains forty-eight stops,
viz.:--twelve in the great organ, twelve in the swell, ten in the
choir, eight in the pedal organ, and six couplers. These improvements
were made by H. P. Gates, Esq., of the Vineyard, and are commemorated
by a brass plate on the south side of the organ, inscribed as follows:
"To the praise and glory of God and memory of John and Frances Gates,
this organ was re-built and enlarged at the charge of Henry Pearson
Gates, their son, Anno Domini 1871." The case of the instrument, which
is of carved oak, presents towards the nave, a front in the early
English style, while on the side looking into the choir, the fronts are
decorated, to harmonize with the interior fittings.
The Choir.
As we enter the choir, the bishop's throne, with the stalls, pulpit,
pews, and altar screen burst upon us, all of which are beautifully
carved. The altar screen is composed of a soft white stone, found near
Cambridge; the rest that we have mentioned, is oak, very finely carved
in the decorated style of architecture. The bishop's throne especially,
with its ogee canopies, and elegant and almost fairy-like spire, rivets
the eye of the spectator. The _coup d'oeil_ of the choir is so
strikingly beautiful, from the good arrangement and entire keeping of
the whole, that it can scarcely be surpassed.
At the east end, immediately under the large window, are three tablets
with the names of all the Abbots, Bishops, and Deans from the
foundation of the monastery to the present time, of which the following
is a copy:--
List of the Abbots of the Cathedral,
_With the date of their appointment._
Saxulphus 654
Cuthbaldus 673
Egbaldus
Pusa
Beonna
Celredus
Hedda 833
Adulphus 972
Kenulphus 992
Elsinus 1005
Arwinus 1055
Leofricus 1063
Brando 1066
Thoroldus 1069
Godricus 1098
Matthias 1103
Ernulpus 1107
Iohn of Salisbury 1114
Henricus de Angeli 1128
Martinus de Vecti 1133
William de Waterville 1155
Benedictus 1177
Andreas 1194
Acharius 1200
Robert of Lindsay 1214
Alexander 1222
Martin of Ramsey 1226
Walter St. Edmonds 1233
William Hotot 1246
Iohn de Caleto 1249
Robert Sutton 1262
Richard of London 1274
William of Woodford 1295
Godfrey of Croyland 1299
Adam Boothby 1321
Henry Morcot 1338
Robert Ramsey 1346
Henry of Overton 1361
Nicholaus 1391
Willielmus Genge 1396
Johannes Deeping 1408
Richard Ashton 1438
William Ramsey 1471
Robert Kirton 1496
Iohn Chambers 1528
Iohn Chambers was the last Abbot and the first Bishop.
List of the Bishops of Peterborough,
_With the date of their appointment._
Iohn Chambers, B.D. 1541
David Pool, LL.D. 1556
Edmund Scambler, D.D. 1560
Richard Howland, D.D. 1584
Thomas Dove, A.M. 1600
William Pierse, D.D. 1630
Augustine Lindsel, D.D. 1632
Francis Dee, D.D. 1634
Iohn Towers, D.D. 1638
Benjamin Lany, D.D. 1660
Joseph Henshaw, D.D. 1663
William Loyd, D.D. 1679
Thomas White, D.D. 1685
Richard Cumberland, D.D. 1691
White Kennet, D.D. 1718
Robert Clavering, D.D. 1728
Iohn Thomas, D.D. 1747
Richard Terrick, D.D. 1757
Robert Lamb, LL.D. 1764
Iohn Hinchliffe, D.D. 1769
Spencer Madan, D.D. 1794
John Parsons, D.D. 1813
Herbert Marsh, D.D. 1819
George Davys, D.D. 1839
Francis Jeune, D.C.L. 1864
William Connor Magee, D.D. 1868
Bishop Davys was advanced to this see in 1839. He was formerly a fellow
of Christ's Church College, Cambridge, and took a wrangler's degree in
1803. He subsequently became curate of Littlebury, and in 1814 of
Chesterford; this latter curacy he held until Dr. Bloomfield, the late
bishop of London, was presented to that living, when Mr. Davys became
curate of Swaffham Prior; he afterwards removed to Kensington, and was
appointed tutor to the Princess Victoria. Shortly after this he was
presented to the rectory of All-Hallows, London, and in 1831 to the
deanery of Chester, on which occasion he took the degree of doctor of
divinity. He discharged his episcopal duties for a period of about
twenty-five years in such a manner as to gain universal esteem; and
died at Peterborough, after a short illness, in the 84th year of his
age, on the 18th April, 1864.
The Rev. Dr. Francis Jeune, who was appointed to the Bishopric in the
room of Dr. Davys, was educated at Pembroke College, Oxford, were he
graduated in 1827, when he took a first-class in classics. In 1832 he
was admitted into Holy Orders by Dr. Bagot, Bishop of Oxford, being
then tutor of his College. In 1834 he was elected to the Head
Mastership of King Edward's School, Birmingham, and held that
appointment until 1838, when he was nominated to the Deanery of Jersey,
and the Rectory of St. Heliers. In 1843 he was elected to the
Mastership of Pembroke College, with a canonry at Gloucester annexed,
and almost immediately afterwards he was presented by the Dean and
Chapter of Gloucester to the Rectory of Taynton. In 1850 he was
appointed one of Her Majesty's Commissioners of Inquiry for the
University of Oxford, and in 1859 was elected Vice-Chancellor of the
University. About three months previous to his promotion to this
Bishopric, Dr. Jeune was made Dean of Lincoln, in the room of the Rev.
Thomas Garnier. Dr. Jeune lived only four years after his appointment
to the see. Suffering from an internal disease he went to Whitby for
change of air, where he died on the 21st of August, 1868, after a short
and painful illness, and was succeeded by the Rev. W. Connor Magee.
Bishop Magee was born at Cork in the year 1821, his father at that time
holding a cure in that city before being presented to the living of St.
Peter's, Drogheda, in 1829. His grandfather filled the Metropolitan see
of Dublin previous to Archbishop Whately. The future bishop of
Peterborough received his earliest education at Kilkenny, from which
place, at the age of thirteen, he was removed to Trinity College,
Dublin. Here he obtained a scholarship in 1838, and Archbishop King's
Divinity prize. He graduated A.B. in 1842, A.M. and B.D. in 1854, and
D.D. in 1860. In 1844 Mr. Magee received deacon's orders at the hands
of the Bishop of Chester, and in the following year was ordained priest
by the Bishop of Tuam. His first curacy was that of St. Thomas, Dublin,
which he was obliged to resign through ill health, and after a two
years' residence abroad he accepted a curacy at St. Saviour's, Bath, in
1848. Two years later he was appointed to the joint incumbency of the
Octagon Chapel, Bath. During his residence in Bath, Mr. Magee published
two volumes of sermons. In 1859 he was nominated an Hon. Canon of Wells
Cathedral, and received the degree of D.D. from his University; and on
the resignation of Dr. Goulburn, minister of Quebec Chapel, Portman
Square, London, Canon Magee was appointed to the vacant post. In 1860
he was transferred to the precentorship of Clogher in conjunction with
the rectory of Enniskillen; in 1864, on the death of Dr. Newman, he was
installed Dean of Cork; and in 1866 was appointed Dean of the Chapel
Royal, Dublin. He was enthroned as Bishop of Peterborough shortly after
the death of Bishop Jeune in 1868, receiving his appointment from the
Conservative Prime Minister, Mr. Disraeli.
List of the Deans of Peterborough,
_With the date of their appointment._
Francis Abree, D.D. 1541
Gerard Carlton, B.D. 1543
James Curtop, A.M. 1551
Iohn Boxhall, LL.D. 1558
William Latimer, D.D. 1560
Richard Fletcher, D.D. 1585
Thomas Nevil, D.D. 1590
Iohn Palmer, D.D. 1598
Richard Cleyton, D.D. 1608
George Meriton, D.D. 1612
Henry Beaumont, D.D. 1616
William Pierse, D.D. 1622
Iohn Towers, D.D. 1630
Thomas Jackson, D.D. 1638
Iohn Cosin, D.D. 1640
Edward Rainbow, D.D. 1660
James Duport, D.D. 1664
Simon Patrick 1679
Richard Kidder, D.D. 1689
Samuel Freeman, D.D. 1691
White Kennet, D.D. 1707
Richard Reynolds, LL.D. 1718
William Gee, D.D. 1721
Iohn Mandevil, D.D. 1722
Francis Lockyer, D.D. 1725
Iohn Thomas, D.D. 1740
Robert Lamb, LL.D. 1744
Charles Tarrant, D.D. 1764
Charles M. Sutton, D.D. 1791
Peter Peckard, D.D. 1792
Thomas Kipling, D.D. 1797
James Henry Monk, D.D. 1822
Thomas Turton, D.D. 1830
George Butler, D.D. 1842
Augustus P. Saunders, D.D. 1853
J. J. Stewart Perowne, D.D. 1878
The present Dean of Peterborough, The Very Rev. John James Stewart
Perowne, D.D., was born about the year 1823, and married in 1862 Anna
Maria, third daughter of the late Humphry William Woolrych, Esq.,
Serjeant-at-Law, of Croxley, Hertfordshire. His family is of French
(Huguenot) extraction, which came over to this country at the
Revocation of the Edict of Nantes. He was appointed to the Deanery in
August, 1878. He was educated at Norwich Grammar School and at Corpus
Christi College, Cambridge, of which College he became a Fellow. He was
a Bell's University Scholar in 1842, took the Members' Prize for a
Latin Essay on three different occasions, viz., 1844, 1846, and 1847,
and graduated B.A. in 1845, in which year he was also Crosse Scholar,
and in 1848 he proceeded M.A. and was Tyrwhitt's Hebrew Scholar. Eight
years afterwards he took the degree of B.D., having in the meantime
been ordained deacon in 1847 and priest in the same year that he took
his master's degree. In 1855 he was appointed examining chaplain to the
Bishop of Norwich, and was made prebendary of S. Andrew's and canon of
Llandaff cathedral in 1869. In 1872 he became prælector in Theology of
Trinity College, Cambridge, and in 1873 took his degree of D.D., and
became Fellow of Trinity College. In 1875 Her Majesty was pleased to
graciously appoint him one of her hon. chaplains, and in the same year
he was appointed Hulsean Professor of Divinity. In 1851 and 1852 he was
examiner for the Classical Tripos at Cambridge, and select preacher
before the University on several different occasions. For 10 years he
held the vice-principalship of St. David's College, Lampeter, which
appointment he resigned in 1872. Before this, he had been Lecturer in
Divinity at King's College, London, and assistant preacher at Lincoln's
Inn. In 1868 he was Hulsean Lecturer, and Lady Margaret's Preacher in
1874-5. From 1867 to 1872 he was third cursal prebendary of S. David's
Cathedral. From 1874 to 1876 he was one of the Whitehall preachers. The
Dean is the author of "The Book of Psalms, a New Translation with
Notes, Critical and Exegetical;" Hulsean Lectures on "Immortality"; a
volume of Sermons; occasional Sermons; Articles in Dr. Smith's
Dictionary of the Bible; _Contemporary Review; Good Words, &c._ And he
is a member of the Company engaged on the revision of the Old
Testament.
[25] Gunton says, "that in the foundation thereof, Peada laid
such stones, as that eight yoke of oxen could scarce draw one of
them."
[26] See _Britton's His. Cathedral Church of Peterboro'_, note p.
53.
[27] James Henry Monk, afterwards bishop of Gloucester.
[28] _Garbett's Architectural Account of Peterborough Cathedral._
[29] Britton, in speaking of these door-ways, says, "There are
also two door-ways to the southern aisle of the nave, _both_
having _semicircular_ arches, &c.;" but this is evidently an
oversight.
[30] These door-ways are supposed to have been built in the
middle of the 12th century. It is worthy of remark, that one
door-way in the western wall, which is now filled up, is
attributed to the Anglo-Saxon age.
[31] Vide note at page 4 of this work.
[32] The columns of the beautiful west front were also composed
of the same marble; but, being much dilapidated, they were in the
time of Dean Monk, taken down, the best sorted and again put up,
and the others replaced by Ketton stone.
GEO. C. CASTER, PRINTER, MARKET-PLACE, PETERBOROUGH.
LIST OF BOOKS & FORMS
PUBLISHED BY
_GEO. C. CASTER, Printer & Bookseller_,
MARKET PLACE, PETERBOROUGH.
FASTING. A Lenten Sermon, by the Very Rev. J. J. Stewart Perowne, D.D.,
Dean of Peterborough. Price 3d.
NATIONAL EDUCATION. A Sermon by the Very Rev. J. J. Stewart Perowne,
D.D. Price 3d.
OUR DEBT TO THE PAST. Two Sermons by the Rev. Brooke Foss Westcott,
D.D., Canon of Peterborough. Price 6d.
ADVENT SERMONS, Preached in Peterborough Cathedral: "The Gospel
Preached to the Poor," by the Very Rev. J. J. Stewart Perowne, D.D.,
Dean; "The Word of God," by the Rev. B. F. L. Blunt, M.A., Vicar of
Scarborough; and "Preparation," by the Rev. F. W. Farrar, D.D., Canon
of Westminster. 6d. each, by post 7d.; or the three in wrapper, 1/-, by
post 1/1.
PETERBOROUGH CATHEDRAL. A General, Architectural, and Monastic History.
By Thomas Craddock. Fcap. fo., 234 pages, fancy wrapper, 2/6, cloth
gilt, 5/-
NEW GUIDE TO PETERBOROUGH CATHEDRAL. By G. S. Phillips. Illustrated,
Crown 8vo., 1/-
PETERBOROUGH CATHEDRAL at the Commonwealth; being extracts from Simon
Gunton's History, with a sketch of his life. The work is illustrated by
four photographs from scarce engravings, showing the original Ladye
Chapel, Altar Screen, etc. Crown 4to., bevelled boards, red edges, 6/-
NOTES ON THE PARISH CHURCHES in and around Peterborough, including the
Cathedral, and Crowland, Ramsey, and Thorney Abbeys. By the Rev. W. D.
Sweeting, M.A., Head Master of the King's School, Peterborough,
Illustrated by 32 Photographs. Demy 8vo., cloth antique, bevelled
boards, 21/-; or in three parts, wrappered, 2/6 each.
NOTES ON TWENTY PARISH CHURCHES in the five mile circle round
Peterborough, comprising Alwalton, Castor, Eye, Farcet, Fletton,
Glinton, Helpstone, Marholm, Orton Longueville, Orton Waterville,
Paston, Peakirk, Stanground, Thorpe, Waternewton, Werrington,
Whittlesey (St. Mary), Whittlesey (St. Andrew), Woodstone, and Yaxley.
Paper covers, 1/-; cloth, 1/6.
FIRST WORDS AND LAST, or EASTER THOUGHTS, in verse. By Rev. A. S.
Newman, M.A. Crown 8vo., paper covers, 1/6; cloth gilt, 2/-
CROWLAND AND THORNEY ABBEYS. By the Rev. W D. Sweeting, M.A., with two
photographs, wrappered, 1/-
WILD FLOWERS. Being a list of varieties found in the neighbourhood of
Peterborough. By F. A. Paley, M.A. Price 1/-
CÆSAR'S COMMENTARIES. For the use of Junior Classes, Book II., with
vocabulary. Price 6d.
CANTICLES POINTED FOR CHANTING. Suitable for Village Choirs. By John
Speechley, late Organist of Peterborough Cathedral. Price 1d.
SAVIGAR'S ARITHMETICAL TABLES. For the use of Schools, with rules for
mental accounts. Price 1d.; or twelve copies, post free, 1/-
THE SHOWER OF PEARLS. By Charlotte Phillips. A collection of Poems
suitable for Home and School use. 14th edition, Demy 18mo., cloth gilt,
1/-
THE BOOK OF ANTHEMS. As used in Peterboro' Cathedral, with a new
appendix. Crown 8vo.,
Cloth lettered on side, red edges 2/6
Ditto, bevelled boards 3/-
Roan, lettered on side, red edges, burnished 3/6
French Morocco limp, gilt or red edges 5/-
Persian limp, gilt or red edges 6/-
Best Calf limp, gilt or red edges 7/-
Best Turkey Morocco do. 7/6
PHOTOGRAPHS OF PETERBOROUGH CATHEDRAL. In various sizes, at 6d., 1/-,
2/6, and 5/-
PHOTOGRAPHS OF THE CHURCHES in Sweeting's "Notes on Parish Churches."
Carte de Visite size, 6d. each.
DIRECTORY OF PETERBOROUGH and 52 Neighbouring Places, with Plan of the
City. Price 2/6.
SPIRIT STOCK BOOKS. 1/- each.
OVERSEER'S and SURVEYOR'S BOOKS and FORMS.
NOTICES TO QUIT. Tenant to Landlord or Landlord to Tenant. 1d. each.
CERTIFICATE FORMS for Baptism, Burial, Banns of Marriage, and Marriage.
1d. each; two dozen, assorted, 1/6.
DISTRAINT NOTICES. 1d. each.
PROBATE FORMS. BANKRUPTCY FORMS.
PARCELS DELIVERY BOOKS. Strongly bound. 100 pages, 2/6; 200 pages, 3/6.
CASTER'S HOUSEKEEPER'S ACCOUNT BOOK. To commence at any time, and last
one year. Price 2/-
CONFIRMATION CARDS. In red and black. 1d. each; 25 for 1/6.
AGREEMENT FORMS. For letting Unfurnished Apartments.
RECEIPT BOOKS.
MAP OF PETERBOROUGH, and 20 miles around. Plain, 1/-; Coloured, 1/6;
Mounted on Cloth in case, 4/-; Mounted on Roller and varnished, 5/-.
AN APPEAL.
THE DEAN AND CHAPTER _earnestly hope that Visitors to the Cathedral
will contribute something to the Fund in aid of its Restoration. For
this purpose a box has been placed in the Nave, under the Screen, and a
book in which names, together with the amount of the donation, may be
entered. It will be seen that the need of Restoration is urgent, the
central tower being much shattered, and its south-eastern pier
presenting a very unsightly appearance. One of the most striking
features of the Cathedral, the beautiful groined roof of this tower is
at present entirely concealed by a scaffolding put up some years ago
when the work of Restoration was suspended for want of funds._
THE DEAN AND CHAPTER _feel that they may with the more confidence
appeal to the liberality of Visitors in aid of the Restoration, because
the Cathedral is open free of all charge throughout the day (except
during the hours of Divine Service), the Vergers not being allowed to
ask for any gratuity._