A Guide to Peterborough Cathedral Part 6

"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 cl.u.s.tered 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 s.p.a.ce 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 cl.u.s.tered 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 cl.u.s.tered 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 b.u.t.tresses, 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 s.p.a.ces 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 a.s.sociation 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 pa.s.s 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 a.s.sociation 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 pa.s.s 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 pa.s.s 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] Pa.s.sing along the western wall of the cloisters we go through a plain Norman door-way, which brings us again, by a narrow pa.s.sage, 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 b.u.t.tresses 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 ma.s.sive 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 a.s.sumes 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, a.s.sisted 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 bra.s.s plate with the following inscription:--

THIS ORGAN SCREEN WITH THE CHOIR AND ALTAR SCREEN, WAS ERECTED A.D. MDCCCx.x.x.

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 ma.s.sive appearance. The princ.i.p.al 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 Ecclesiae Cathedralis XL.; Anno Canonici P.C. Filii Superst.i.tes 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 princ.i.p.al 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 s.e.xton, 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.