P. H. Ditchfield

The towns and cities of England owe their origin to various causes. Some arose around the walls of great castles, some as trading centres or harbours, some clustered around the palace of a bishop, and others sheltered themselves beneath the shadow of a monastery.

Peterborough, or Medeshamstede, is of this last class. It is a monastic town, and owes its existence to the great fenland Monastery of St. Peter, the minster church of which is now this beautiful Cathedral. Peada, the son of Panda, King of Mercia, first founded a monastery here in 654, of which Saxulph was the first abbot. The Pagan Danes came in 870 with fire and sword, and wrought fearful havoc in all this region, burning the holy house of Medeshamstede, and slaughtering the monks. For a hundred years the monastery lay in ruins; then came the religious revival under the rule of Dunstan and King Edgar. Monastic houses increased in number greatly, and Bishop Ethelwold of Winchester began to rebuild the waste places of the ruined Saxon Medeshamstede, and constructed a minster, some foundations of which still remain. The Abbey flourished for nearly a century, but sad misfortunes befell. Hereward the Wake, the hero of Kingsley's story, the gallant "last of the English," was making his last brave stand against William the Norman, and in conjunction with the Danes attacked the Abbey, and wrought much destruction. Fires and robbers were also occasionally dread visitants, and at last, in the time of Henry I., a great fire destroyed the whole buildings. The then abbot was John de Sais, who set to work immediately to erect a new monastery. This was in 1117. Then was begun the glorious minster which is the pride and glory of the fenlands. Subsequent abbots continued the work. Abbots Martin de Vecti and William de Waterville completed the transepts and tower and part of the nave, which was finished by Abbot Benedict (1177-1193). There is a striking uniformity of design throughout all this Norman work, which shows that the builders followed one plan, and imitated the work of their predecessors. The western transept, however, shows evidences of the coming change, and when we come to the beautiful west front we find unmistakable Early English work. This part was probably finished in 1238, in the time of Abbot Walter of St. Edmunds, when the church was dedicated by Bishop Grosseteste of Lincoln. Abbot Robert de Lindsay, who liked not the windows of his monastery "stuffed with straw" to keep out wind and rain, filled many of them with glass, and built the lavatory in the cloister. Gradually the erection of the monastic buildings was being completed, and refectory and infirmary added, and Prior Parys built the Lady Chapel and one of the steeples at the close of the thirteenth century, which also saw the removal of the Norman windows from the aisles and the substitution of Early Decorated ones. This was a time of much splendour and magnificence for the Abbey, when Godfrey was abbot, and King Edward often visited it and received aid for his Scottish wars. This Godfrey built the large gateway. A century later the abbot was endowed with the privilege of a mitre, and thus took his seat in the House of Peers; and during this fourteenth century the lantern tower was erected with an octagon framed of wood, the triforium windows changed into the Decorated style, and the west front improved by the erection of the spire and the central porch. During the fifteenth century we hear sad complaints of the relaxation of the discipline of the monks, who too often frequented taverns and "the vulgar company of dancers and ballad singers." Abbot Kirton was a notable man, who built, or rather finished, "that goodly building at the east end of the church, now commonly known by the name of the new building," begun by his predecessor Ashton; and his rebus—a kirk and a tun—appears on the grand gate, now leading to the Deanery. At this time several Norman windows were filled with Perpendicular tracery. We see Cardinal Wolsey visiting the Abbey, and on Maundy Thursday washing the feet of poor persons, and the luckless Catherine of Arragon being buried here in 1535.

Then came the dissolution of monasteries, and Peterborough shared the fate of the rest. Whether it was on account of the subservience of the abbot, or because it contained the ashes of his queen, Henry VIII. spared the church, and made it a Cathedral, the last abbot being the first bishop. The burial of Mary Queen of Scots in 1587 is the next historical event which was here witnessed. We can imagine the scene of the torchlight procession bearing the executed body of the frail but fair queen into the church, and the last solemn obsequies of that sad and stormy life. Cromwell's soldiers "did after their kind," and Dean Patrick tells us of "the rifling and defacing" that ensued:—

"The next day after their arrival, early in the morning, they break open the church doors, pull down the organs, of which there were two pair.

"Then the souldiers enter the quire, and their first business was to tear in pieces all the common-prayer books that could be found. The great bible indeed, that lay upon a brass eagle for reading the lessons, had the good hap to escape with the loss only of the apocrypha.

"Next they break down all the seats, stalls and wainscot that was behind them, being adorned with several historical passages out of the old testament.

"When they had thus defaced and spoilt the quire, they march up next to the east end of the church, and there break and cut in pieces, and afterwards burn the rails that were about the communion table. The table itself was thrown down, the table-cloth taken away, with two fair books in velvet covers; the one a bible, the other a common-prayer book, with a silver bason gilt, and a pair of silver candlesticks beside. But upon request made to Colonel Hubbert, the books, bason and all else, save the candlesticks, were restored again.

"Now behind the communion table there stood a curious piece of stone-work, admired much by strangers and travellers: a stately skreen it was, well wrought, painted and gilt, which rose up as high almost as the roof of the church, in a row of three lofty spires, with other lesser spires growing out of each of them. This now had no imagery work upon it, or anything else that might justly give offence, and yet because it bore the name of the high altar, was pulled all down with ropes, lay'd low and level with the ground.

"Over this place, in the roof of the church, in a large oval yet to 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. First then they demolish Queen Katherin's tomb: they break down the rails that enclosed the place, and take away the black velvet pall which covered the herse: overthrow the herse 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 villany. What did remain [of the herse of Mary Queen of Scots] that is, her royal arms and escutcheons which hung upon a pillar near the place where she had been interr'd, were most rudely pulled down, defaced and torn.

"In the north isle of the church there was a stately tomb in memory of Bishop Dove, who had been thirty years bishop of the place. He lay there in portraicture in his episcopal robes, on a large bed under a fair table of black marble, with a library of books about him. These men soon destroy'd all the tomb.

"The like they do to two other monuments standing in that isle.

"In a place then called the new building, and since converted to a library, there was a fair monument, which Sir Humphrey Orm (to save his heir that charge and trouble), thought fit to erect in his own life time, where he and his lady, his son and wife and all their children were lively represented in statues, under which were certain English verses written:—

"Mistake not, Reader, I thee crave, This is an Altar not a Grave, Where fire raked up in Ashes lyes, And hearts are made the Sacrifice, &c.

"Which two words, altar and sacrifice, 'tis said, did so provoke and kindle the zealots' indignation, that they resolve to make the tomb itself a sacrifice: and with axes, poleaxes, and hammers, destroy and break down all that curious monument, save only two pilasters still remaining, which shew and testifie the elegancy of the rest of the work.

"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 any thing 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 to 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 isles, 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.

"But before I conclude the narrative, I must not forget to tell, how they likewise broke open the chapter-house, ransack'd the records, broke the seals, tore the writings in pieces, specially such as had great seals annexed unto them, which they took or mistook rather for the popes' bulls.

"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 shatter'd windows on every side.

"Many fair buildings adjoyning to the minster, were likewise pulled down and sold by publick order and authority, such were the cloysters, the old chapter-house, the library, the bishop's hall and chapel at the end of it: the hall was as fair a room as most in England; and another call'd the green-chamber, not much inferior to it. These all were then pull'd down and destroyed; and the materials, lead, timber and stone exposed to sale, for any that would buy them. But some of the bargains proved not very prosperous; the lead especially that came off the palace was as fatal as the gold of Tholouse; for to my knowledge, the merchant that bought it, lost it all, and the ship which carried it, in her voyage to Holland."

Peterborough Cathedral

And thus the church continued for some time ruined and desolate. A relative of Cromwell, Oliver St. John, was granted the possession of it, and converted it into a parish church. The Lady Chapel was pulled down in order to obtain material for repairing the main building; the painted boards of the ceiling they found useful for making the backs for the choir. At the Restoration Dean Cosin was recalled, and since that time many alterations and much reparation have been undertaken, though often with more zeal than good taste. Dean Tarrant (1764-1791) collected the fragments of stained glass, and placed them together in two windows at the east end. Dean Kipling removed the octagon, and erected four hideous turrets, which no longer disfigure the tower. Dean Monk (1822-1830) did much for the Cathedral, though little of his work remains. Since then the tower has been rebuilt (finished in 1886), much internal decoration added, and the west front rendered secure. Much controversy has raged about the restoration of this west front. Experts on both sides have expressed divers opinions, the relative merits of which it is difficult to decide. Certainly to take down a building stone by stone and rebuild it again is not legitimate restoration. But whether it was possible to make the north gable secure without this drastic treatment it is for experts to decide, and it is presumptuous for others to express an opinion or attempt to arbitrate when these experts puzzle us with the variety of their judgments.

The Exterior

We enter the precincts by the western gateway, built by Abbot Benedict in Norman style, but subsequently altered at the end of the fourteenth century. There is a Late Decorated arch, and two arcades of the same date built over the Norman wall; but the Norman arcades proclaim its ancient origin. The upper room was the home of the Peterborough branch of the Spalding "Society of Gentlemen," who advanced learning and published papers at the beginning of the eighteenth century. Previously it was the Chapel of St. Nicholas. On the left of the close is an old building, also erected by Benedict, the remains of the Chapel of St. Thomas of Canterbury. The old Grammar School, founded by Henry VIII., utilised the building until recent years. The style of the present building is Decorated.

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 floriated 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 at 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 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.

A Late Perpendicular gateway at the north-east, erected by Abbot Kirton, whose rebus appears over the side door, leads to the Deanery. It has a Tudor arch, with the arms of the see in spandrels, and is ornamented with Tudor rose and portcullis, and Prince of Wales's feathers. Here is the old burial-ground, and a fine view of the Cathedral is obtained from the north-east. The Norman character of the building is evident, though there have been many changes. The Norman windows in the clerestory have been filled with Perpendicular tracery. The low Norman aisles have been raised, the windows taken out and replaced by thirteenth-century substitutes in the lowest range and by Decorated ones in the triforium. Below this the old Norman arcade remains. A good Norman door, called the Dean's Door, is in the centre of this north wall. An Early English parapet crowns the aisle walls, and a Decorated one surmounts the clerestory, which is continued in the North Transept, where similar alterations have taken place, and Perpendicular tracery inserted in Norman windows.

The central Tower was rebuilt in 1884. The necessity for continued rebuilding and restoration at Peterborough is much to be deplored. Probably the cause is the draining of the fens, which makes the clay to contract and thus produces insecure foundations. It has some good windows. We have already recorded the history of the previous structures. As much of the old work as possible was preserved in the rebuilding of the present tower.

Walking around the church we come to the east of transept, where formerly stood the Lady Chapel, pulled down at the Restoration by the townspeople, and its materials sold in order to provide funds for restoring the church after Puritan destruction. Notice the marks of the gable of Lady Chapel in the transept wall. The thirteenth-century builders pierced the Norman wall with lancets.

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.

On the south-east of the Cathedral are the ruins of the infirmary of the monks, always a pleasant place in a monastery. It is a thirteenth-century building, and consisted of a hall, with aisles and a chancel. The aisles were used as cells or couches for the sick monks, and the religious services of the infirmary were performed in the chancel. On the south are the remains of the monastery. Only the south and west walls of the cloister court remain. There is a good thirteenth-century doorway and Perpendicular lavatory. The south view of the Cathedral is very fine. Passing through the cloisters, which once echoed with the tread of the monks, or saw them poring over their tomes and writing their beautiful MSS., we retrace our steps to the west front and so enter the Cathedral.

The Interior

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 tower 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. The south end of this west transept is the baptistry, the font of which has a thirteenth-century bowl. The north end is now used as a vestry. The west window has Perpendicular tracery.

The nave has ten bays with Norman arches; the triforium has likewise Norman arches, but each of these has two sub-arches. The windows of the clerestory have Perpendicular tracery. The Ceiling is intensely interesting, and is original Norman work. It has various figures within lozenge-shaped medallions, viz.:—Agnus Dei, SS. Peter, Paul, Edward the Martyr, Edward the Confessor, Moses, and other kings, archbishops, bishops and allegorical and grotesque figures. As we have seen from the exterior, the walls of the aisles have been raised, and later windows inserted. The roofs of the aisles were vaulted by Norman builders. The visitor may discover for himself some mason marks in the south aisle.

As at Norwich the Choir begins with the two east bays of the nave, which was the original arrangement, and not unusual in Benedictine minsters, and extends over the space under the tower, and besides the apse occupies four bays east of the tower. The gates are good modern iron-work. The erection of a screen is in contemplation. Two pillars have been placed in position; but the scheme presents difficulties which have not yet been solved. The piers are alternately round or 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, and as the carved figures contain a history of the Cathedral written in wood, it may be well to record their names. We will begin with the dean's stall and proceed eastward:—

• 1. St. Peter, the Patron Saint.
• 2. Saxulph (656), first Abbot, afterwards Bishop of Lichfield.
• 3. Adulph (971), Abbot Chancellor to King Edgar, afterwards Bishop of Worcester, and Archbishop of York.
• 4. Kenulph (992), Abbot, afterwards Bishop of Winchester.
• 5. Leofric (1057), Abbot.

• 6. Turold (1069), Abbot, appointed by William the Conqueror.
• 7. Ernulph (1107), Abbot, afterwards Bishop of Rochester.
• 8. Martin de Vecti or Bec (1133), Abbot. During his time the choir and transept aisles were finished, and solemnly dedicated.
• 9. Benedict (1175), Abbot, Keeper of the Great Seal for Richard I. He built the greater part, if not all, of the nave.
• 10. Martin de Ramsey (1226), Abbot.
• 11. John de Caleto or Calais (1249), Abbot, one of the King's Justices. He built the infirmary, and probably the refectory and part of the cloisters.
• 12. Richard de London (1274), Abbot. He built the north-western tower.
• 13. Adam de Boothby (1321), Abbot.
• 14. William Genge (1296), first mitred Abbot.
• 15. Richard Ashton (1438), Abbot.
• 16. Robert Kirton (1496), Abbot. He built the Deanery Gateway, and the new building; his rebus, a church on a tun, carved in stone, is to be seen on most of his work.
• 17. John Towers (1638), Bishop, previously Dean.
• 18. Thomas White (1685), Bishop. He was one of the seven bishops committed by James II.; and also one of the seven non-juring bishops.
• 19. William Connor Magee (1868), Bishop, afterwards Archbishop of York.
• 20. Simon Patrick (1679), Dean, afterwards Bishop of Chichester, and finally of Ely.
• 21. Augustus Page Saunders (1853), Dean.
• 22. John James Stewart Perowne (1878), Dean, afterwards Bishop of Worcester.

The upper figures on the north side represent the following:—

• 1. Peada (655), King of Mercia, founder of the monastery.
• 2. Cuthbald (675), second Abbot.
• 3. King Edgar and his Queen.
• 4. Ethelfleda.
• 5. Brando (1066), Abbot.
• 6. Hereward, the Saxon Patriot (1070), nephew of Abbot Brando, and knighted by him.
• 7. John de Sais (1114), Abbot. He commenced the building of the existing choir.
• 8. Hedda (d. 870), Abbot murdered by Danes.
• 9. Robert de Lindsay (1214), Abbot, with model of west front.
• 10. Godfrey of Crowland (1299), Abbot. Gateway.
• 11. William Ramsay (1471), Abbot.
• 12. William Parys (1286), Prior, builder of Lady Chapel.
• 13. St. Giles, with hart.
• 14. Hugo Candidus, historian of Abbey.
• 15. Henry de Overton (1361), Abbot.
• 16. Queen Catherine of Arragon.
• 17. Dean Cosin, afterwards Bishop of Durham.
• 18. Simon Gunton (1546), historian of the church.
• 19. Herbert March (1819), Bishop.
• 20. George Davys (1839), Bishop.
• 21. Dean Monk, afterwards Bishop of Gloucester and Bristol.
• 22. Dean Argles (1891).

Much history is also contained in the carvings of the pulpit and bishop's throne. The altar has a marble canopy over it, which is a magnificent piece of work, but perhaps hardly suitable for its position. The mosaic pavement is remarkably fine. We now pass into the Choir Aisles, which have Norman vaulted roofs, and formerly had apsidal ends, but these were removed when Abbots Ashton and Kirton built the New Building or square end to the church, or perhaps earlier, as there are some aumbreys and double piscinÆ of the thirteenth century, and also on the south wall some painted shields and a scroll border of the same date. The windows are later insertions as in the nave. Traces of the old entrance to the destroyed Lady Chapel may be seen in the north wall.

We have noticed the building of the ambulatory called the New Building from the exterior of excellent Perpendicular work. Perhaps the most striking features of the interior is the fan-tracery of the roof, the curious bosses, the rebuses of the two Abbots Ashton and Kirton, and the monuments. The principal ones in the choir and aisles are a modern memorial stone of Catherine of Arragon (the old tomb was destroyed by the Puritans, of which fragments have been discovered); the tablet in memory of Mary Queen of Scots; Archbishop Magee's marble monument; Sir Humprey Orme's mutilated tomb; several abbots' tombs and tablets to bishops; Late Saxon tombs of two Archbishops of York, and the famous Monks' Stone which popular tradition associates with the massacre of the Peterborough monks by the Danes in 870. Recent investigators have assigned a later date, and attribute it to Norman work, but we are inclined to favour the Saxon theory.

We will now visit the Transepts, which are of Norman character. Norman fish-scale ornament and cable and saw-tooth mouldings are plentiful. In both north and south transepts there is an eastern aisle separated by pillars and forming several chapels, which are divided off by Perpendicular screens. The Morning Chapel occupies the aisle of the north transept, formerly the Chapels of SS. John and James, and here is preserved two pieces of old Flemish tapestry, and portions of the old nave screen, and ancient tiles. In this transept are some interesting Saxon coffin lids. In the south transept are the Chapels of SS. Oswald and Benedict. In the former the relics were kept. Here Abbot Sutton's heart was buried. The window is modern. A pre-Reformation inscription is carved round the edge of a stone much worn by time. The old chapter-house, now a music-room, is on the west of this transept. It is Late Norman. A Perpendicular doorway has been inserted here instead of the old Norman door.

A very interesting discovery was made here during the alterations a few years ago, and that is the remains of the actual original Saxon church which was sacked by the Danes, rebuilt by Bishop Ethelwold and visited by King Edgar and Dunstan, and then destroyed by fire. Evidences of this destruction were not wanting when the discovery was made. The east wall of the chancel stood just where the piers of the aisle of the transept stand. The church was cruciform. This discovery is of great interest and importance.

Old Scarlett's memory must not be forgotten, the aged sexton, who lived ninety-eight years, and buried two queens in the Cathedral, dying in 1594. The painting is a copy of the original made in 1747. The well-known rhymes beneath are:—

Dimensions

Principal Building Dates

• Norman (1117-1193)—Choir, transepts, central tower (rebuilt in 1886), nave, ceiling of nave, chapter-house.
• Early English (1214-1295)—West front, font, infirmary, refectory and part of cloisters, north-west tower, windows and parapet in aisles of nave.
• Decorated (1299-1400)—Large gateway, west porch, roof of choir, south-west choir, parapet of clerestory, inserted windows.
• Perpendicular (1400-1528)—New building, north-west spire, north-east gateway, Perpendicular tracery in windows, and west window.