The Cathedral Church of Peterborough Part 3

[Ill.u.s.tration: The Choir.]

Between the choir bays and the apse is solid wall, rather longer than the distance between the central lines of adjoining piers. Here are two ma.s.sive half-pillars, reaching to the roof, undoubtedly meant to be crowned with a round arch like those to the transepts; and this seems to shew that the intention was to vault the apse with stone. The apse is by far the best large Norman apse remaining in this country. At Norwich, where is the only possible rival, the lower part only is semicircular and original, the whole of the upper part being of Decorated date, and pentagonal. This apse is in five divisions, separated by cl.u.s.tered shafts which rise to the roof. Originally there were three tiers of round-headed Norman windows; the nine windows in the centre were enlarged and filled with very good tracery in the Decorated period, and the lower windows also on the other two sides. When, in the Perpendicular age, the new building was added, the three lowest windows were removed altogether and the wall beneath them, leaving three open arches. The inner wall surface of the five lowest windows has been filled with elegant hanging tracery of fourteenth century date, the designs being all different. In some cases this tracery is placed just below the Norman stringcourse, but in others the stringcourse has been removed to make room for it. There was no necessity to convert the two lowest side windows into arches; and they accordingly remain there to this day; but being no longer exposed to the outer air all the gla.s.s is gone, though the notches that held it, and the strong bars that protected it, have been suffered to stay. There was never any ambulatory round the apse outside; we can still see, from the new building, portions of a stringcourse which was external, as well as other evidences that the apse was the end of the church. It is also known that there was a highway at the east end of the church, almost touching it.

In the stage corresponding to the triforium are to be seen on the walls the remains of painted coats of arms, the shape of the shield suggesting that they are as early as the thirteenth century; some also have been cut in half by the later Decorated alterations.

[Ill.u.s.tration: View from the Triforium South of Choir.]

The choir roof is vaulted in wood. In the time of Dean Saunders it was repainted with gold and colours. From the character of the bosses, and the capitals where the wood is joined to the tall shafts rising from the pillars in the choir, and from the general ornamentation, it is manifest that this was constructed towards the end of the fifteenth century. It was at one time painted all over yellow and white. The carving of the different bosses is well worth attention. There has not been discovered any mark or initials that might help us to a.s.sign a positive date. We can see, among other designs, the cross keys of the patron Saint; the Saviour on the Cross accompanied by S. Mary and S. John (this is in the central line, near the tower); three lilies; three fishes with intersecting tails. The roof over the apse is flat. It has been decorated from a design by Sir G.G. Scott, with an emblematical representation of Christ as a Vine, the Disciples being half-figures in medallions among the foliage. An inscription bearing upon the subject forms the border. The general effect will be like, though not identical with, the original painting in this place. This was one of the decorations of the church that excited the fury of the soldiers and others who dismantled the minster in the civil war in the seventeenth century. "This is the Idol they worship and adore" was the cry of some of the party; upon which muskets were discharged, and the picture wholly defaced. The description of the design is given in these words:[26]

"Over this place" (that is, the altar-screen) "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."

[Ill.u.s.tration: North Transept and Morning Chapel.]

The flat roof of the apse being lower than the roof of the choir, the s.p.a.ce between the levels is filled with twelve painted figures.

The whole of the internal fittings of the choir (speaking now of the ritual choir) are new, and are part of the recent restoration. The new woodwork began to be placed in position in 1890. There is indeed a little old work, which was in the old choir before it was altered in the early part of this century. When removed, some of the front desks had been placed in the morning chapel, though much of the projecting tracery work was taken off. It was realised, when the existing stall-work was being designed, that these would be very suitable for use in their old position. Accordingly, all that could be so used have been placed again in the choir, with their traceried panels restored; and the new work is made of the same character. The =New Stalls= are of the finest oak, with miserere seats; the backs have rich tracery, with raised shields, moulded groined ceilings, and carved bosses at the intersection of the ribs. They are surmounted by octagonal canopies, in three stages, the uppermost containing a niche for a carved figure to each stall, while other figures, of much smaller size, are to be seen below. A few have at the back the armorial bearings of the donor, or some other symbol, such as the masonic emblems in those given by the Freemasons of England. The names of the cathedral officers and others to whom the different stalls are a.s.signed, have been inscribed on the label at the head of each; the donor's name is recorded on the seats.

With the exception of the first figure, the whole of the larger figures at the top of the canopies have some special connection with the monastery or the cathedral. Beginning at the Dean's stall, and proceeding eastwards, the statues on the south side represent the following:--

Two at the summit of the Dean's stall, SS. Paul and Andrew.

1. S. Peter, the Patron Saint.

2. Saxulf (656), the first Abbot.

3. Adulf (971), Abbot, afterwards Archbishop of York.

4. Kenulf (992), Abbot, afterwards Bishop of Winchester.

5. Leofric (1057), Abbot.

6. Turold (1069), Abbot, appointed by William the Conqueror.

7. Ernulf (1107), Abbot, afterwards Bishop of Rochester.

8. Martin de Bee (1133), Abbot when the choir was dedicated.

9. Benedict (1175), Abbot. He built the greater part, if not all, of the nave.

10. Martin of Ramsey (1226), Abbot.

11. John of Calais (1249), Abbot. He built the infirmary, probably the refectory, and part of the cloisters.

12. Richard of London (1274), Abbot. He built the north-western tower.

13. Adam of Boothby (1321), Abbot.

14. William Genge (1396), first mitred Abbot.

15. Richard Ashton (1438), Abbot. He began the new building.

16. Robert Kirton (1496), Abbot. He finished the new building, and built the Deanery gateway.

17. John Towers (1638), Bishop. Previously Dean (1630).

18. Thomas White (1685), Bishop. Nonjuror.

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 are these:--

Two at the summit of the Vice-Dean's stall, Kings Wolfere and Ethelred.[27]

1. Peada, King of Mercia, founder of the monastery.

2. Cuthbald (675), second Abbot.

3. Edgar, King of Mercia and Wess.e.x, restorer of the monastery.

4. Ethelfleda, his queen.

5. Brando (1066), Abbot.

6. Hereward, the Saxon patriot (1070), nephew of Abbot Brando, and knighted by him.

7. John deSais (1114), Abbot. He commenced the building of the existing choir.

8. Hedda (died 870), Abbot, murdered by the Danes.

9. Robert of Lindsey (1214), Abbot. He holds a model of the west front, probably built or begun in his time.

10. G.o.dfrey of Crowland (1299), Abbot. He bears a model of the gateway to the palace grounds.

11. William Ramsey (1471), Abbot. He was one of the donors of the bra.s.s eagle lectern still in use.

12. William Parys (died 1286), Prior. He built the Lady Chapel.

13. S. Giles, the famous Benedictine Abbot, with his tame hind beside him.

14. Hugo Candidus, the chronicler.

15. Henry of Overton (1361), Abbot.

16. Queen Katherine of Arragon.

17. John Cosin (1640), Dean, afterwards Bishop of Durham.

18. Simon Gunton (1646), Prebendary, the historian of the church.

19. Herbert Marsh (1819), Bishop.

20. George Davys (1839), Bishop.

21. James Henry Monk (1822), Dean, afterwards Bishop of Gloucester and Bristol.

22. Marsham Argles (1891), Dean. Previously Canon (1849).

The dates in the above lists, unless stated otherwise, are the dates of appointment. With the single exception of Henry of Overton, of whom very little indeed is known except that he was abbot for nearly thirty years, the selection that has been made appears to be very good. In some way or other all the persons represented are eminent. The authorities are to be congratulated upon their including in the series several dignitaries of the last century.

The smaller figures on the south side are all characters from the New Testament; those on the north side are taken from the Old Testament. The carving on the sides of the two westernmost stalls is of great interest.

The panels on the south represent the miraculous preservation of the arm of S. Oswald. This arm was one of the greatest treasures of the house, and was reputed to be the cause of many cures. The legend is given hereafter in the notice of Abbot Elsinus, the great collector of relics.

In the corresponding position on the north side is represented the story of S. Ethelwold, Bishop of Winchester. On the back of the stalls in the south aisle are two pieces of tapestry, picturing the release of S.

Peter and the healing of the lame man at the Gate Beautiful.

The carving on the =Pulpit= and =Throne= will repay careful study. In the niches at the base of the pulpit are four abbots, chiefly connected with the erection of the building. They are John de Sais, who holds a model of the apse, Martin de Bec, William of Waterville, and Walter of S. Edmunds. Round the main body of the pulpit are four saints in niches, SS. Peter, Paul, John and James, each easily identified by what is held in the hand. Between these niches are wide panels carved with subjects a.s.sociated with preaching. Abbot Saxulf preaching to the Mercians; Christ sending forth the Apostles; S. Peter preaching after the descent of the Holy Spirit at Pentecost.

The throne is raised on three steps. Above the canopy is a lofty spire.

On the sides of the seat are SS. Peter and Paul. On the book board are symbolical representations of the virtues of Temperance, Wisdom, Fort.i.tude, and Justice. In the lower tier on the canopy are six figures: Saxulf, first Abbot; Cuthwin, first Bishop of Leicester; John de Sais; Benedict; S. Hugh, Bishop of Lincoln, his hand resting on the head of his tame swan; and John Chambers, last Abbot and first Bishop of Peterborough. In the upper tier are four Bishops: Bishop Dove, the theologian; Bishop c.u.mberland, the philosopher; Bishop Kennett, the antiquary; and Archbishop Magee, the orator.

One of the statues over the stalls, that representing S. Giles, has also a figure of a hind; in the representation of S. Hugh of Lincoln on the throne we see a swan. The hind was really a type of solitude and purity of life, and as such is found in many ancient carvings and paintings accompanying various Saints. There is also a legend specially connecting this creature with S. Giles. In a retreat in a forest in the diocese of Nismes, the recluse, with one companion, is said to have lived on the fruits of the earth and the milk of a hind. Some dogs that were out hunting pursued this hind, and she took refuge in the dwelling of the Saint. The sportsman, Flavius Wamba, King of the Goths, treated him with every mark of respect, and gave him land wherewith to endow a monastery.

Of S. Hugh's swan a long account is given in the "Vita S. Hugonis Lincolniensis" published in the Rolls Series. A swan never before seen at the place flew to the Bishop at his manor at Stowe directly after he had been enthroned at Lincoln. He became pa.s.sionately attached to the bishop, but exhibited no liking for anyone else, he considered himself bound to protect his master, driving other people away from him, "As I myself," writes Giraldus Cambrensis, "have often with wonder seen,"

with his wings and beak.

[Ill.u.s.tration: The Pulpit.]

=The Organ= was rebuilt in 1894 by Hill and Son at a cost, including the case, of 4,400, and at the expense of the late Mr. W.H. Foster of Witley, Surrey, though his name, at his own wish, remained undisclosed during his lifetime. The action is now controlled by electricity.

The Great, Swell, Solo, and Pedal Organ (except the two stops Bourdon and Ba.s.s Flute of the last) are placed in four bays of the north triforium of the nave; the choir organ and the two Pedal stops are in the first bay of the north aisle, and the Console in the second bay behind the stalls. There are 68 speaking stops and 4,453 pipes as follows:

Great Organ (Compa.s.s CC to C in Alt.) 17 stops 1,342 pipes.

Choir " 11 " 671 "

Swell " 17 " 1,330 "

Solo " 11 " 720 "

Pedal " (Compa.s.s CCCC to F) 12 " 390 "

[Ill.u.s.tration: Apse and Canopied Reredos.]