Chapter XII: Part 12

We now enter the _Angel Choir_ (1256-1280), pronounced by Sir Gilbert Scott to be "the most splendid work of that period which we possess, and did it not lack internal height, I do not think it could be exceeded in beauty by any existing church." It is the latest portion of the main fabric, and was built when the Early English style was developing into the Decorated. The piers are beautiful clustered shafts, with carved capitals of Purbeck marble. The east window of eight lights is very fine (the glass is modern), and is said to be the noblest example of Geometrical Decorated in the kingdom. The choir takes its name from the carved angels in the spandrels of the triforium, which exhibit combined grace and dignity. The famous _Lincoln Imp_ can with difficulty be distinguished on the north side, above the most eastern pier. Early English glass fills the east windows of the north and south aisles. On the north of the Angel Choir is the _Fleming Chantry_, which contains the double effigy of the bishop (d. 1431), the founder of Lincoln College, Oxford, first in his episcopal robes, and then of his corpse in a state of decay. Bishop Fleming exhumed and burnt the bones of Wyclif. Opposite this chantry is the _Russell Chantry_, founded by Bishop Russell (d. 1494), Chancellor of Richard III., and near this the Chantry of Bishop Longland (d. 1547).

Here in the Angel Choir stood, in former days, the rich shrine of St. Hugh, plundered at the Reformation, and a monument of Queen Eleanor, the beloved wife of Edward I., who caused to be erected the famous Eleanor crosses at every place where her body rested, as it was borne to its final resting-place at Westminster. This monument was destroyed by Cromwell's soldiers, and recently a modern copy of the original has been erected. The Burghersh monuments are worthy of careful study. The family played an important part in history, and held high honours. Also we notice the tombs of Nicholas de Cantelupe (much mutilated), the artists Peter De Wint (d. 1849) and W. Hilton (d. 1839); Bishop Fuller's memorial of St. Hugh, Bishop Fuller (d. 1675), Bishop Gardiner (d. 1705) and Sub-Dean Gardiner (d. 1732), Bishop Wordsworth (d. 1885), Dean Butler (d. 1894), Bishop Sutton (d. 1299) and Robert Dymoke (d. 1735), whose family held the office of King's Champion.

The _Cloisters_ were erected in the thirteenth century, with the exception of the north colonnade, which was built by Sir Christopher Wren. Over this is the _Library_, which contains many treasures: an original copy of Magna Charta, a letter of Edward I.; a chalice of Bishop Grosseteste (1254) and his ring; Bishop Sutton's ring and chalice and paten (1299); a Roman mile-stone (260 A.D.). Of books there is a large collection, including a MS. copy of the Vulgate (1106), other valuable MSS., and many versions of the Bible in English. The old desks are curious and interesting.

The beautiful _Chapter-House_ is of Early English design, and was completed about 1230. It is ten-sided, and has a central pillar girt with Purbeck marble shafts, and a stone vaulted roof; lancet windows, filled with good modern glass enlighten the chamber, two in each side. An arcade runs round the walls beneath the windows, and in the carving we see the tooth ornament. There is a very ancient Chair of State here, which is said to have been the throne of Edward I. when he held his Parliament in this room.

* * * * *

[My grateful thanks are due to the Very Reverend the Dean of Lincoln for the great assistance which he has kindly rendered me in investigating the history of his Cathedral.]

DIMENSIONS

Total length 482 ft.
Length of nave 252 ft.
Breadth of nave with aisles 80 ft.
Height of nave 82 ft.
Length of choir 158 ft.
Length of presbytery 72 ft.
Height of central tower 271 ft.
Height of west towers 200 ft.
Area 44,400 sq. ft.

PRINCIPAL BUILDING DATES

Norman (1074-1092)--Central part of west front, fragments of
first bay of nave.
(1123-1183)--West doors, arcade of west front, three lower
storeys of west towers.
Early English (1192-1253)--Choir and presbytery, nave, transept
to west chapels, turrets and screen of west front, Galilee,
vestries, two lower stages of tower and chapter-house.
(1255-1296)--Angel Choir, cloisters.
Decorated (1307-1380)--Upper storeys of tower, "Bishop's Eye,"
stalls, statues over west door, upper stages of west towers.
(1450-1500)--Chapels.
(1674)--North colonnade of cloister and library.

FOOTNOTES:

[17] This swineherd is said to have given a peck of silver pennies to the building of the Cathedral.

[18] Page 291.

SOUTHWELL CATHEDRAL

The ancient and interesting Church of St. Mary, Southwell, became a Cathedral in 1884, when the bishopric was founded, and the building is worthy of its high honour. In the time of Henry VIII. it nearly attained that rank, Southwell being one of the sees which that monarch proposed to found out of the spoils of the monasteries, but his good intentions were not fulfilled. For centuries it was in the large Diocese of York, and was esteemed as the Mother Church of the district, and enjoyed many rights and privileges.

With the exception of a few fragments, no part of the present church dates further back than the twelfth century. There was an early Saxon church here, which was probably founded by Paulinus when he converted the wild folk of Nottinghamshire and Lincolnshire to the Christian faith. Then came the savage Danes, who swept away all traces of Christianity. The next church is said to have been built by the Saxon King Edgar, in 960 A.D., which was one of much importance before the Conquest; and in 1061 Aldred, Archbishop of York, founded prebends here, and built refectories for the canons. In the time of Henry I. it was raised to the dignity of Mother Church of the district, and the church was entirely rebuilt in the Norman style. When Walter de Grey was Archbishop of York (1216-1255), he was very energetic in improving the condition of his diocese and in erecting churches. He rebuilt the nave of Southwell, granting an indulgence of thirty days' pardon to all who should assist the work. John de Romeyn, sub-dean, whose son was afterwards Archbishop of York, assisted him in the work. There is a close resemblance between the nave of York Cathedral and the earlier choir of Southwell, and it is not improbable that the latter served as a model for the former. There is also a very close resemblance between the chapter-house of the two Cathedrals, which are evidences of the same designer and workmanship. Archbishop John de Romeyn was doubtless the architect of both buildings.

The community of clergy at Southwell consisted of the prebendaries, who formed the chapter, the vicars-choral and chantry priests and choristers. The prebendaries had much power and many privileges. They held property, and each had a large house, hunted in neighbouring forests, and lived as country gentlemen as well as canons of Southwell. At the Reformation they surrendered their goods to Henry VIII., who contemplated making Southwell a Cathedral. He despoiled the church of vast quantities of plate and other valuables. In 1574, however, the college, like other similar institutions, was seized by the unscrupulous advisers of Edward VI. In Mary's reign it reverted to the Crown, and she restored the college to its former owners and uses, and this arrangement was happily left undisturbed by her successors. During the Civil War Cromwell's soldiers stabled their horses in the nave of the church. Charles I. stayed in the town at the "Saracen's Head," and here he delivered himself up to the Scotch commissioners, who stayed at the Palace. Cromwell wished to destroy the nave, but was stayed in his fanatical design by the intercession of one of his officers. The story is told of the wife of a hunted Royalist, named William Clay, registrar of the minster, hiding herself in the parvise, or room over the porch, and there giving birth to a child, while the soldiers lived in the church. A general pillage took place in the church at this time; the font was destroyed, lead torn from the roofs, brasses from the tombs, and every vestige of an image swept away.

The College of Southwell has suffered in many other ways, sometimes from the carelessness of the prebendaries and their lack of zeal, sometimes from the effects of unwise and revolutionary legislation. In 1846 its position as a peculiar ceased to exist. Southwell is now a Cathedral with a diocese of its own, and if the ecclesiastical commissioners and the friends of the Church could see their way to granting an adequate endowment and means for carrying on its great work, Southwell would be able to maintain the dignity of an important see, and fulfil its mission to the Church and nation.

EXTERIOR

The finest view of this noble minster is obtained from the north-west corner of the churchyard. We notice the general Norman character of the building. The massive western towers, capped with spires, the lantern tower, the north transept and beautiful chapter-house, the noble roof, all combine to form a magnificent example of dignified and noble building.

The _West Front_ has been altered in character from its original Norman work. We see a huge Perpendicular window with an embattled parapet over it, an alteration made in the fifteenth century. The windows in the lower stages of the towers are modern imitation of Norman work. The towers have seven stages, and the sixth is enriched with fine arcading composed of intersecting arches. The present spires are modern imitations of the originals destroyed by fire in 1711. These were immediately restored, but removed in 1802, and have now again been replaced. The old Norman doorway is remarkably fine. It has five orders, the zigzag and filleted edge roll being the chief mouldings.

Passing to the south side we see the wall of the nave pierced by apparent Norman windows, but these are modern imitations. The most western window in the north side is the only original Norman window; the rest are copied from it, and were erected in 1847.

Four Perpendicular windows were inserted in the fifteenth century. There is a row of small square windows above which light the triforium, and the clerestory has a curious series of circular windows which are unique in this country. The roof is high pitched, having been erected in modern times by the architect Christian, and the parapets are Perpendicular in style.

The south doorway should be noticed, of Norman workmanship with zigzag string-course over it. Near here are the remains of the old Palace. The banqueting hall has been recently restored. The kitchens belong to the time of Henry VI. On the east of the transepts there were formerly apsidal chapels, which were removed when the present choir was built in the Early English period.

The _Choir_ is a noble specimen of Early English work and "seems to be an emanation from Lincoln," wrote Sir Gilbert Scott, which it much resembles. We notice the extensive use of the dog-tooth ornament. Lancet windows give light to the interior. Two flying buttresses support the walls on the south side, and were added subsequently in the Decorated period to help them to bear the weight of the vaulted roof.

The _Chapter-House_ is on the north side, and was built in the Decorated period during the reign of Edward I., when York was extremely prosperous and profited by the presence of the court. The resemblance between the chapter-houses of York and Southwell is very striking, and both were evidently designed by the same architect. This one is octagonal, and has windows of three lights with trefoil and circular ones in the heads. The roof is modern. A vestibule connects it with the church. An Early English wall with an arcade of lancets connects the vestibule with the north transept. The _North Porch_ is good Norman work, and has a parvise which is very unusual in a porch of this date. This parvise was the scene of the story of the hiding of Mistress Clay in the troublous times of the Civil War. The inner doorway is very fine with its zigzag and beak-head moulding.

THE INTERIOR

We now enter the church by the west door, and looking down the nave (1110-1150) we are impressed by the massive appearance of the interior. The piers are rather short, only 19 feet high, six on each side, with square bases and round capitals. The triforium is large, and above is the clerestory with its unique plain circular windows. The Norman mouldings, zigzag, billet, hatchet, etc., are easily recognised. The present roof was erected in 1881.

The _Font_, erected in 1661, is a poor substitute for the one destroyed by the soldiers of Cromwell. The _Pulpit_ is modern; the figures represent the Virgin and Child, King Edwin and his queen, Augustine and Paulinus. The second pillar from the east on the south side is called Pike's Pillar, and retains faint traces of a mural painting of the Annunciation; the nave aisles have some good vaulting. A plain stone bench runs along the walls. This was common in old churches, and was the origin of the saying, "let the weakest go to the wall," where they could sit and rest, as the days of pews were not yet. The only original Norman window which remains is at the west end of the north aisle. Formerly there were several chantry chapels in the aisles, but all have been destroyed. The marble slab in the north aisle marks the site of one.

The _Tower_ is a lantern, and also has a peal of bells. The chimes were given by Wymondesole in 1693. This tower is part of the original Norman church, and was built in 1150. The cable moulding round the four large arches should be noticed. It is composed of a series of double cones.

The _Transepts_ are beautiful specimens of the work of Norman builders, and are full of interest. Originally there were apsidal chapels on the east side of both transepts. One has been destroyed, but the arch which connected it with the church can be seen in the wall, with its zigzag and cable mouldings. The Norman chapel on the east of the north transept has been replaced by a Late Early English building which will repay careful study. There were formerly two altars here, as the piscinæ and aumbreys show. The old Norman arch is replaced by two pointed arches of unequal width. The windows are later insertions, and belong to the Decorated period. There is an upper storey, formerly the treasury, now the library. The chapel has been recently restored, and is a most interesting architectural study. Returning to the north transept we see a curious tympanum over the belfry doorway, with strange carving representing the teaching of Psalm xci. 13: "The lion and the dragon shalt Thou tread under Thy feet." Other interpretations are given of this subject, but this is the one usually accepted by scholars. It is also said by some to be Saxon, but this is incorrect. There is a very similar sculpture in the church of Charney Bassett, Berks. Here is the fine alabaster tomb of Archbishop Sandys (d. 1588). He is represented in his episcopal robes, and the details of his dress are important, as they show what the vestments of a bishop really were in the time of Elizabeth, a point often disputed by English Churchmen of to-day. The east arch of the central tower has some curious sculptured capitals hidden by the organ which belong to the twelfth century. Beginning on the south side, the subjects are lamb and dove, Triumphal Entry into Jerusalem, Nativity or Resurrection, Last Supper, bishop saying Mass, the Blessed Trinity, and the Virgin and Child.

A stone _Screen_ of rich Decorated work separates the transept from the choir, over which is now the organ (a modern instrument). The screen is richly ornamented, and a noble specimen of the work of the period. There are three arches opening to the space beneath the tower, separated by slight piers of clustered shafts, the capitals carved with foliage of a Late Decorated character. The walls of the screen support the old rood-loft, access to which is gained by two staircases.

Entering the _Choir_ we see on each side of the doorway three prebendal stalls with _misereres_, on which are carved some foliage. The bishop's stall was once occupied by Cardinal Wolsey. The choir, as we have said, was built by Archbishop Grey in Early English style (1230-1250). There are six arches, with piers of eight clustered shafts. The dog-tooth moulding is conspicuous in the arches, and on the vaulting of the roof. It will be noticed that the triforium and clerestory are blended together. The east window consists of two rows of lancets, the lower ones containing old glass brought from Paris in 1815, where it was formerly in the Chapel of the Knights Templar. The Baptism of our Lord; Raising of Lazarus (Francis I. is to be seen in a crimson cap); Christ entering Jerusalem (Luther is near our Lord, Louis XI. and the Duke of Orleans); the Mocking of our Lord (the figure of Dante appears).

The _Sedilia_ were erected in 1350, and are good Decorated work. They have the unusual number of five seats on the same level. The arches are ogee-shaped, and are richly carved. The sculptured figures are remarkable, and represent the Creation and the Redemption. Beginning at the east we see the Father holding the world (two groups uncertain), Joseph's Dream, the Nativity and Flight into Egypt.

The _Lectern_ belonged to the monks of Newstead Abbey, who threw it into the lake to hide it from the commissioners of Henry VIII. Its date is about 1500. The choir aisles had several altars, as we see from the piscinæ and aumbreys which are left. We will now visit the _Chapter-House_, and pass through the vestibule which leads to it, entering by a beautiful doorway in the north aisle. The transition between the Early English work of the choir and the Decorated style of the chapter-house is very gradual. The doorway, with its two arches and shafts of Purbeck marble, is remarkably fine. There is a small cloister court, with a stone-covered well. In the vestibule we see the walls covered with beautiful arcading of lancet arches of an Early English character. The capitals are beautifully carved with foliage. There is a curious boss of sculpture representing a secular priest shaking the regular monk by his hair, which figuratively depicts the supremacy of the former in the church of Southwell.

The _Chapter-House_ (1285-1300) is described by Ruskin as "the gem of English architecture," and all architects agree in singing the praises of this noble building. It much resembles that of York, but is smaller and perhaps more beautiful. It is octagonal, has no central pillar, and is remarkable for its fine sculpture. The historian of Southwell says: "The foliage everywhere is most beautiful: the oak, the vine, the maple, the white-thorn, the rose, with a vast variety of other plants, are sculptured with exquisite freedom and delicacy; and no two capitals or bosses or spandrels are found alike. Everywhere we meet, in ever-changing and ever-charming variety, with some fresh object of interest and admiration. Figures are introduced amid the foliage, heads with branches issuing out of their mouths, birds and lizard-like monsters. In the capitals a man reclines beneath a tree, puffing lustily at a horn, or a goat is gnawing the leaves, or a bird pecking the berries, or a pair of pigs are grunting up the acorns, or a brace of hounds just grabbing a hare. All this is the work of no mere chiseller of stone, but of a consummate artist; than whom it may be doubted whether any sculptor, of any age or country, ever produced anything more life-like and exquisitely graceful." The entrance doorway is remarkably fine and is worthy of close study. The main arch is divided into two by a slender shaft, and over them is a quatrefoiled circle, of beautiful design. The leaf ornament is largely used, both in the smaller arches and in the main arch. Filleted rounds and hollows are the other mouldings used.

Southwell once contained the shrine of a Saxon saint--St. Eadburgh, Abbess of Repton (d. 714). "The Pilgrim's guide to the Saints of England" (a MS. in the British Museum, written in 1013) states that "the shrine of St. Eadburgh is still at Southwell," but no trace of it can now be found. There are several incised monumental slabs in the minster which have been cut and set in the floor. There is a Latin inscription to the memory of William Thorton, a chorister of the church, and the humble epitaph of William Talbot, who was a shining light in his day and died 1497, is of pathetic interest:--

"Here lies William Talbot, wretched
and unworthy priest, awaiting
the resurrection of the dead under the sign of the Cross."

[My thanks are due to the kindness of Archdeacon Richardson, Rector of Southwell Minster, for his kindness in explaining to me the interesting features of his church. I am also indebted to the works of Mr. Dimock, Mr. Livett and Mrs. Trebeck for much valuable information.]

DIMENSIONS

Length, 306 ft.; breadth, 61 ft.; length of transept, 123 ft.; height of central tower, 105 ft.; height of west towers and spires, 150 ft.

PETERBOROUGH CATHEDRAL

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."

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:--

"You see old Scarlett's picture stand on hie,
But at your feet there doth his body lye;
His gravestone doth his age and death-time show,
His office by these tokens you may know.
Second to none for strength and sturdye limm,
A scarbabe mighty voice, with visage grim,
He had inter'd two queens within this place
And this towne's householders in his live's space

Twice over; but at length his own turne came,
What he for others did for him the same
Was done; no doubt his soul doth live for aye
In heaven: though here his body clad in clay."

DIMENSIONS

Total length of interior 426 ft.
Nave, length 228 ft.
Nave, width 35 ft.
Transept, length 185 ft.
Transept, width 58 ft.
Height of interior 78 ft.
Area 41,090 sq. ft.

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.

ELY CATHEDRAL