[19] This ancient record is said to have been written about the year 1217, by a monk named Hugh Candidus. It is a MS. account of the History of the Abbey from its foundation. Dean Patrick gives the following account of its singular preservation:—"One book indeed, and but one, still remains, which was happily redeemed from the fire by the then precentor of the church, Mr. Humfrey Austin, who knowing the great value of it, first hid it, in February, 1642, under a seat in the quire: and when it was found by a soldier on the twenty-second of April, 1643 (when all the seats were pulled down), rescued it again by the offer of ten shillings, 'for that old latin bible' as he called it, and about which he pretended to enquire. The name of the bible by the help of the ten shillings, preserved this precious treasure from the flames, whither it was going, as Mr. Austin hath left a record in the beginning of the book; with a copy of the soldier's acknowledgement:—'This booke was hide in the Church by me Humphrey Austin; February, 1642. And found by one of Coll. Cromwelle souldyers when they pul'd down all the seats in the quire, April 22th, 1643. And I makeing inquirie amongst them for an old Latin Bible which were lost, I found out at last the partie who had it, and I gave him for the booke tenn shillings as you see by this acquittance.... The coppie of his acquittance:—I pray let this Scripture Book alone, for he hath paid me for it, and therefore I would desire you to let it alone. By me HENRY TOPCLIFFE, souldyer under Captain Cromwell, Colonel Cromwell's sonn; therefore I pray let it alone.—By me Henry Topcliffe.'" This Ancient Manuscript book is now kept with other documents in the Chapter house of the Cathedral.

[20] Dean Patrick, in his supplement to Gunton's History of the Cathedral, says it was famous for three things, "a stately front, a curious altar piece, and a beautiful cloister." Mr. Davys, in his Guide, also says, "we learn, from other writings, that the stall-work, in its choir, was remarkably fine, that its windows of painted glass were of a most superb description, and that, in the number, and beauty of its monuments and brasses, it excelled most of the other churches of the realm. Its central tower, though then in an incomplete state, was much finer than it now is, as it had a handsome octagon above what now forms the central tower. The north western transept tower was also adorned with a lofty spire. This spire, which was of wood covered with lead, was taken down soon after this time."

[21] "Wulfade was much addicted to hunting, and one day pursuing a goodly hart, which being hotly pursued, took soil in a fountain near unto the cell of St. Chad, who espying the hart weary, and almost spent, was so compassionate towards him that he covered him with boughs and leaves, conjecturing, as if heaven had some design in the access and deportment of that beast. Presently comes Prince Wulfade, and enquired of St. Chad concerning the hart, who answered, That he was not a keeper of beasts, but the souls of men, and that Wulfade was then, as an hart to the water brooks, sent by God to the fountain of living water: which Wulfade hearing with astonishment, entered into further conference with St. Chad in his cell, and was by him baptized: and returning with joy to his father's court, he secretly told his brother Rufine of all that had passed, perswading him to be baptized also; to which Rufine consenting, Wulfade brought him to St. Chad, who likewise baptized this other brother."

[22] "This Christian pair of brothers did often resort to a private oratory, where they performed their devotions; but at length being discovered to their father by the steward Werbode, who instigated, and enflamed the fire of paternal fury against the sons, King Wolfere, the father, watching the time when his sons were gone to pray, followed them, and entering the oratory, slew both his sons with his own hand; and he, and Werbode demolishing the place, left the bodies of his sons buried in the rubbish." "Queen Ermenild, having searched for the bodies of her sons, found them out, and giving them burial, [in one stone coffin,] built in the same place where they were slain, a church of stone."

[23] Dean Kipling, on the authority of tradition, is of opinion, that St. Chad's well was in the quadrangle on the south side of the minster, called the laurel court; but Gunton says, "St. Chad had his cell in the county of Stafford, was the first bishop of Lichfield, where he founded the cathedral church, and there lieth buried." And this assertion would appear to be born out by the fact that the "church of stone" referred to in the previous note, is known to have been erected at Stone, in Staffordshire.

[24] The present painted windows are of modern date, excepting one or two, which are composed of fragments of the windows of the cloisters above described.



CHAPTER IV.

Historical account of the building of the monastery, and description of the architectural peculiarities of the present cathedral.

Having in the preceding chapters given a brief history of the former monastery and present cathedral of Peterborough, up to the present time, it now remains for us to say something of its architectural peculiarities, and to notice some of the remarkable relicts of antiquity which are still to be found within its walls. It has already been stated, that in the year 655, the foundation for a monastic institution was laid at Medeshamstede; that it was completed seven years afterwards;—and was destroyed by fire in 870. The architectural character of the building at this period cannot be strictly ascertained; but, from the accounts given of it by monkish writers, it is supposed to have been of the pure Saxon style. The monastery was again re-built in 966, and again destroyed by the lawless hands of barbarian invaders. Five successive times did it undergo various changes of ruin and desolation, until the year 1117, when a new building was raised upon the foundations of the old one, and many additions were made to it;—extending its circuit, and improving its architectural appearance.

The immense stones which were laid as the foundation of the minster of Medeshamstede, is a sufficient proof of the vastness and massive strength of the building which was raised upon it;[25]—yet, as we have no definite information respecting the size of the monastery, we must leave it to be imagined by the reader, and proceed with the "new church," which was commenced in 1117, under the rule of John de Sais, and which we have already noticed in the first chapter of our history.

This John was a Norman by birth, and an admirer of the Norman style of architecture, which is discernable throughout the whole of this great building. That there is a mixture of style, however, in the monastery, is admitted on all hands;—nor could it well have been otherwise, if we take into consideration the different character of the ages in which additions were made to it. Still the leading features of the building clearly show that they are of Norman origin; and in this opinion we are supported by Mr. Britton, who says, "I cannot consent to discontinue this phrase, [viz. that the cathedral is a specimen of Norman architecture,] although it offends certain critics, who manifest more prejudice than discrimination in their reprobatory animadversion. That the Normans not only employed a peculiar style and character in the buildings of their own provence, and in England, after they possessed this country, is sufficiently proved by history, by the older edifices still remaining, and by the admission of the best informed antiquaries. It seems to me therefore absurd, as well as false, to say there is no Norman architecture—that the term is misapplied,—that the Normans were incompetent either to invent a novelty in art, or improve upon any thing of their Saxon predecessors. The instance of the building before us, which is said by its monastic historians to have been raised between the years 1117 and 1250, is sufficient evidence to confute the reasoning, or rather dogmatic assertions, of those who wish to exalt the Saxons by depreciating the Normans: and we have a still stronger confutation of this theory in the style and general character of the Trinity chapel, Canterbury, the history of which is well authenticated and generally credited. That it is a novelty and great beauty in architecture can only be disputed by those who are blinded by prejudice, or influenced by obstinacy and bad taste."[26]

During the prelacy of Bishop Marsh, 1819-1839, great efforts were made to restore the cathedral to its original beauty, under the auspices of Dr. Monk, then Dean of Peterborough, and afterwards Bishop of Gloucester. "By him the noble west front, which he found in a very ruinous state, was perfectly restored from top to bottom; six-and-thirty windows were opened in various parts of the church, which were built up, and two Norman doors were brought to light, which had been hidden under mean depressed arches."

It may, perhaps, be desirable to describe the different portions of the building in the order in which they present themselves to the visitor, and in doing this, we shall avail ourselves of the excellent remarks made by the Rev. Owen Davys, son of bishop Davys, in his work on the cathedral, and also of the superior talent of a gentleman, formerly well known in this city, (the Rev. T. Garbett,) who has investigated, with great care, the whole plan of the building, and has laid the result of his researches before the public.

[Sidenote: Western Gateway.]

First, then, is the ancient western gateway, built by Benedict, and though it has since been much altered, a considerable part of the original structure remains: "The western side has been faced with Perpendicular work, and an arch of that character has been built in front of the original Norman arch, above which is a very elegant arcade, the alternate arches of which have small windows within them; these light the chamber over the gateway which occupies the situation of the chapel of St. Nicholas. The lower roof of this gateway is a good specimen of a plain Norman roof, being groined with bold cross ribs. The arcades on the right and left hand, which have lately been very judiciously restored, are also worthy of notice; one of the arches in each arcade is considerably larger than the others, and forms a door-way. Above the arch, on the east side of this gateway, is a window which may strike the architect at first sight as being somewhat peculiar. It is in reality a part of an ancient Perpendicular shrine, which formerly existed in the cathedral, of which a portion is still standing in the northern part of the new building; it was brought there, and turned to its present use as a window, some time ago."

[Sidenote: Thomas a Becket's Chapel.]

On the left hand, as we pass through the gate, is the grammar school-room, formerly the chapel of Thomas a Becket, who was assassinated at Canterbury, and canonized by the catholics as a saint and a martyr. "The chancel of this building is of a very Late Decorated character, in fact so late as almost to come under the denomination of Transition from that style to Perpendicular; it has, on the south side, two windows, each of three lights, which appear, at first sight, to be Decorated, but, upon further examination, the architectural student will perceive, by a tendency to right lines in the tracery, that they are of Transition character, of which they form good examples. The east window of this chancel is a very good one, it is of five lights, and the tracery is very beautiful, though of a description not at all uncommon; in fact most of the Decorated windows in parish churches throughout Northamptonshire, which have any pretensions to size or beauty, have their tracery of this form, as, for instance, the east window of Higham Ferrers church, and many others. Above this window is an elegant pierced cross, probably of the same date as the window itself. The parapet of this chancel has nothing worthy of notice about it; it is like the rest of the building, of plain Late Decorated character."

[Sidenote: Palace Gateway.]

On the right of us, is the magnificent gateway which leads to the bishop's palace, over which is a chamber, called the knights' chamber. "This gateway is of somewhat peculiar Early English character, having a fine groined roof, springing from very beautiful clustered shafts. A line of arches, each of which contain within them two smaller arches, continues along either side of the interior; which is entered on the north and south sides, through fine and lofty arches supported by clustered columns. The bases of all these columns, like those of many others about the remains of this abbey, are covered with soil which the lapse of years has caused to accumulate around them; this of course much diminishes the height of each shaft. This beautiful gateway is flanked at its angles by square turrets, each ornamented, as also is the apex of the gable, with a fine niche, which has within it a figure of an unusually large size. The niches on the south side, contain the figures of St. Peter, St. Paul, and St. Andrew; those on the north, contain the representations of King Edward II., Abbot Godfrey de Croyland, and the Prior of the Abbey of that time, in full Benedictine costume.

[Sidenote: West Front.]

"The splendid front of the building is the most interesting and important of its members. This beautiful and original composition cannot fail to strike the mind of the beholder with awe and admiration; the first sight of it usually makes an impression on the memory which is not easily obliterated. It is indeed one of the finest specimens which the universe can produce, of the Pointed style of architecture. As a west front, scarcely any in this kingdom can be brought into comparison with it for beauty of proportion, and elegance of design. The west fronts of the cathedrals of Wells, York, and Lichfield have been mentioned as surpassing it in some respects; and in point of richness of detail, the two first may be perhaps considered as superior to it; but they all of them fall far short of Peterborough in the grandeur of their general effect.

"The outline of this front forms a regular square of 156 feet, that being the height of the side spires, and also the extreme width of the building. Its plan consists of three lofty arches of the same height, of which that in the middle is considerably the narrowest, the two side ones being of equal dimensions. These rest on triangular piers faced with shafts. At either extremity of this arcade are two lofty turrets, flanked at the angles by clustered columns, instead of buttresses, which run the whole height of the turrets. These turrets connect the arcade with the western wall of the church, from which it is distant fifteen feet, which gives the appearance of great depth and beauty to the arches." [Davys' Guide.]

"There was, perhaps little or no interval between the completion of the nave in the Circular style of architecture, and the erection of the north-west tower, in the Lancet, or first style of the Pointed. The original plan of the front, like that of Lincoln, comprised, no doubt, two towers rising at the western extremity of the side aisles of the nave, having a Norman base with circular lights, and an additional transept, projecting north and south beyond the line of the side aisles. But before this design could be carried into execution, architecture itself had undergone a change; pointed arches were substituted for circular ones, and slender isolated columns for the clustered shaft, or solid cylinder. Hence the difference in style of the tower just referred to: the string moulding at the base of it, together with the superstructure, and the pinnacles and pediment which surmount the adjacent transept, being all of a later order than the work of the nave: and hence also the union of both styles in the transept itself—its lofty arches, parallel to the side walls, being highly pointed, but with the zigzag ornament, and resting on Norman shafts; and the doorways of the front having circular heads, in accommodation to the arches of the nave, but with pointed mouldings and pillars.

"The tower, towards the south, appears never to have been finished, although unquestionably included in the architect's design. The present base, above the transept, is of a comparatively modern date, and altogether inferior to the work of the north-west tower. In the progress of great undertakings it not unfrequently happens that fresh objects present themselves to the mind, which at first were not thought of. Such appears to have been the case in respect of this cathedral, the architect of which, while completing the front, seems to have caught a new idea—that of erecting two lofty turrets beyond the outer angles of the transept, towards the west, and of converting the intermediate space into a sort of piazza, by arches constructed in front of the nave and closed in above by a vaulted roof. This idea so unique and at the same time so splendid, he was enabled to realize: and posterity, at the distance of six centuries, beholds with ineffable delight and admiration, a composition, the outlines and details of which, for their beauty and variety, render it one of the noblest facades in existence. Towards the north and south are two lofty turrets, flanked at the angles by clustered shafts, rising from a projecting base and crowned with spires, the height of which from the ground, makes a square with the breadth of the front. The space between these turrets is occupied by three pointed arches, reaching the whole height of the upper walls of the nave, and resting on triangular piers, which are faced with clustered shafts like those of the turrets, and terminate in octangular pinnacles, resting each upon a square basement, and divided by a moulding into two stages, the upper one of which is perforated with narrow lights, edged with the dog-toothed quatrefoil. The sides of the pier are lined with isolated columns in channelled recesses, each column sustaining a ribbed moulding of the arch above, and the whole series being finished with interlaced and foliated capitals.

"The centre arch is narrower than the outer ones, the reason of which will appear when we look at the situation of the doorways opening into the side aisles of the nave. Had the architect designed the three arches of equal breadth, the piers which sustain the centre arch must have stood immediately in front of these door-ways, or the outer arches must have been so contracted as to bring the turrets within the line of the transept, and thereby conceal, in part at least, the towers behind.

"This circumstance of itself shows that the turrets, piers, and arches, as they now exist, formed no part of the original plan. The interstices between the pillars which sustain the centre arch differ from those of the outer arches, in that they are chequered at regular distances with clumps of foliage, as if exuberance of ornament were designed to compensate for inequality in other respects. This inequality has been still further obviated by the erection of a porch, which, after a minute inspection, appears to have been inserted by way of support to the central piers, both of which had previously swerved from the perpendicular, as may still be seen. Over each arch rises a lofty pediment, bounded by the wave and billet ornaments, and surmounted by a perforated cross. The spandrils formed by the base of the pediment and the arches beneath, severally contain, first, a deeply recessed quatrefoil, above this two trefoil arches, and still higher two pointed arches, resting on slender pillars, and filled with statues,—and also a hexagon, the featherings of which clasp a human head.

"The pediments contain each a large circular light, with other apertures and niches. The circle of the central pediment is divided by mullions into eight lights, under trefoil arches radiating from an orb. Those on the sides are divided into six lights, the featherings of which are very beautiful. The mullions, or radii, are all faced with small pillars and capitals, and lined with the dog-toothed quatrefoil. The outer moulding of the central circle is composed of closely compacted trefoils, that of the others has the wave ornament. At the base of each circle is a series of trefoil arches, rested on isolated columns, four of which admit light into an apartment above the vaulting, and three contain statues. The intermediate spaces formed by the circle and the pediment, contain two niches, one on each side and another above, all filled with statues. The niche in the apex of the central pediment contains a statue, apparently of St. Peter, to whom the church is dedicated, representing the apostle with the mitre, pall, keys, and other insignia of the bishop of Rome.

"The turrets, before mentioned, are divided by the round moulding and string courses into six stages, which are empannelled in front with arches of different forms and dimensions. In the first stage from the ground, and rising from a channelled base, are two lofty pointed arches resting on slender pillars. In the second stage are four trefoil arches similarly supported; this range is continued round the facings of the inner wall immediately over the doorways, and forms the base of the windows. The third stage contains one pointed arch, intersected by a pillar in the centre, with curved mouldings, forming two lesser arches; which last are again subdivided by pillars sustaining one circular arch in the centre, and segments of arches on the sides.

"The interstices above contain two trefoil arches, with brackets at the base for the figures. The mouldings of the outer arch, with the sides of the pillars and all the sub-divisions, are studded with the dog-toothed quatrefoil. In the fourth stage, are two deeply recessed pointed arches, resting on clustered pillars; immediately over these is a string course of stemmated trefoils, which is continued round the front, the transepts, and the base of the north-west tower, together with the more modern base towards the south. In the fifth stage are four trefoil arches, like those of the second stage: these lie parallel with those at the base of the pediments, already described, and with those also of the side transepts. The sixth stage contains four long and narrow pointed arches, having corbels in the space above, and resting, like the whole series of arches below, on slender isolated columns, with prominent foliated capitals: above these is a string course of rosettes, forming the base of the parapet. Thus far the two turrets are strictly uniform; but in the parapets, by which they are surmounted, and in the pinnacles, which terminate the clustered shafts, there is a marked difference.

"The parapet of the north turret consists of the wave ornament, with double featherings and intersections: the pinnacles at the angles are hexagonal, corbelled at the base of the pyramid with human heads, and finished above with crockets and finials.

"The parapet of the south turret contains a series of quatrefoils, while the pinnacles at the angles are beautifully blended with the clustered shafts, so as to form a regular and continuous course and termination; the mouldings are carried up in high pointed pediments, and from these a cinquefoil arch at each angle, surmounted also by a pediment, with a quatrefoil in the spandril, connects them with the spire in the centre, and sustains a lofty triangular pinnacle, which, like the pediments below, is decorated with crockets and a finial. In this respect the south spire differs from the other, which has no connection with the side pinnacles. Both are pierced with pointed windows in two ranges, four in each range, divided by mullions, and crowned with crocketted pediments; and the apex of each is terminated by a finial and a cross, included in the extensive repairs carried on by the present dean[27] and chapter.

"The style of these spires, with the parapets and pinnacles, marks them out as a later work than the turrets beneath; and we may infer from the similarity of their details to those of the porch, that they formed a part of the repairs and alterations which the whole front appears to have undergone when the appendage was inserted; and when the central window of the nave was enlarged, and that, and the others which now enliven the inner wall, were filled with perpendicular tracery. The porch is vaulted with stone, and is entered by an obtuse arch, over which is an elliptical window, divided by mullions into six lights under cinquefoil arches, which are again subdivided in the head into lesser arches.

"The spandrils formed by the curve of the arch, and the base of the window, are enriched with circles, clasping shields of arms, and rosettes with other devices. The arches and windows are bounded by buttresses, which are broken by offsets and empannelled with niches. Besides these, the porch is flanked with staircases, one on each side, forming three parts of an octagon, and leading to an apartment now used as a library. The summit is closed with an embattled parapet, having a pediment at each end, and one in the centre. The surface of the walls is enriched with canopied niches, pilasters, brackets, panel work, and string courses in all the wildness and profusion which distinguish the last stage of gothic architecture.

"Besides the arch before mentioned, the porch has two smaller arches, north and south, parallel with the piazza formed by the great arches and piers of the front, and keeping up the communication with its opposite extremities. Over these also are mullioned windows with blank interstices.

"The great window of the nave, the outer arch of which is obviously an alteration from the original design, is divided by mullions into five lights,—those of the side aisles into three lights, both under cinquefoil arches, and the lancet windows of the transepts into two lights, under trefoil arches: these windows are parted, each by an embattled transome into an upper and lower range of lights, and the heads filled with subordinate tracery.

"The door-ways beneath are exceedingly rich, and in point of execution and delicacy of detail perhaps the finest portions of the front. The central door-way is divided by a pillar, rising from a carved cylindrical base into two smaller arches; but the whole design and finish cannot be made out, in consequence of the introduction of the porch, the foundation and butments of which are built against it.

"The arches of the side door-ways are lined with isolated columns, receding in the manner of perspective; the ribbed mouldings between these columns, the interlaced and pendent foliage of the capitals, and the multiplied mouldings of which the arches above are composed, cannot be too closely examined, or too much admired. This is that peculiar style of gothic architecture, in which the beauty of the pointed arch, with its accompaniments is best discerned; and, therefore, it is that judges are wont to give it the preference over all subsequent alterations and refinements. The spaces between these door-ways, like those of the windows over them, are empannelled with pointed arches, subdivided by smaller arches, and resting on slender pillars.

"From the description thus given of this stately front, the reader will perceive that it was begun in one age, and finished, as we now behold it, in another. Some discrepancies of style may therefore be expected to present themselves, but these are so eclipsed by the grandeur in its leading features, that the eye takes in the whole as a single conception, and overlooks, in its contemplation of such a magnificent association of objects, the marks of difference that exist between the efforts of earlier and later genius."[28]—The Purbeck pillar, which divides the greater arch of the West door into two lesser arches, has a curiously sculptured base, apparently representing a sinner being tormented by devils.

[Sidenote: Gateway and Deanery.]

As we cross the square to the north-eastern side of the church, we pass another gateway, which leads into the deanery, which is a fine specimen of architecture, and bears the monogram of its builder, viz.—the letter R, a kirk, and a tun, [R. Kirkton] and we then enter at once into the

Burial Ground.

[Sidenote: Exterior north, east, and south.]

A finer association of beautiful and mournful objects could not well be imagined than is here presented to us. The most graceful trees, arranged in delightful groups, hang over the decayed tombs, which are carpeted to their base by a green sward, covered with flowers. As we pass along, we get a view of the deanery, and at the end of the eastern part of the church we see Tout Hill with the Training College for schoolmasters on the left, and the pretty villa in the vineyard, with a splendid avenue of old elm trees leading to it by a broad gravel walk. We pass likewise the large painted window, and as we turn the eastern end of the building, we catch a glimpse of the ruins of the infirmary and great hall, with their magnificent arches and ivy clad columns. Proceeding round to the southern side of the cathedral, we enter the square, where are the ruins of the cloisters, through a fine old door-way with a pointed arch, surmounting others of a circular form, and enriched with sculptural mouldings and figures. The southern and western walls of the cloisters remain, and contain a singular variety of tracery, mouldings, columns, and door-ways. Two door-ways to the southern aisles of the nave are also seen in the cloisters—one having a semicircular arch, with archivolt mouldings, enriched with the chevron and other Norman ornaments; the other in the pointed or gothic style, with raised mouldings, and supported by slender shafts at the sides.[29] At the southern extremity of the cloisters is another door-way of the same style and character as that by which we entered them, which leads through the bishop's garden to the palace.[30] Passing along the western wall of the cloisters we go through a plain Norman door-way, which brings us again, by a narrow passage, to the west front of the cathedral.

The Dimensions

Of the several parts of the Cathedral are as follows:—

The breadth of the west front, measuring from corner to corner on the outside of it, is 156 feet.

The length of the whole cathedral, measured on the outside of it, is 471 feet. In this measurement are included the most prominent buttresses at the west and east ends.

The distance from the inside of the west door of the cathedral to the organ screen at the entrance into the choir is 267 feet.

From the organ screen to the altar screen, 117 feet.

From the altar table to the east window 38 feet. So that the distance from the west door to the east window is 422 feet.

The length of the two cross aisles or transepts within, including the diameter of the lantern, 180 feet.

The breadth of the nave within, measuring from the south wall to the north wall, is 78 feet; that is half the breadth of the west front.

From the floor of the nave to its painted wooden roof is a height of 81 feet.

The height of the lantern within the church is 135 feet. The whole height of it without is 150 feet.

The height of each gothic arch at the west front of the cathedral is 82 feet.

The distance from the ground to the top of each pinnacle at the corners of the west front is 156 feet; that is, the same with the breadth of the front.

The Interior of the Building

is grand beyond conception. The northern and southern aisles are formed by massive ranges of pillars, supporting vast arches of singular simplicity and beauty. The great pictured roof or ceiling in the nave of the church, is a curious specimen of fanciful ingenuity. The divisions are of a diagonal form filled with various devices, some representing kings and queens or early patrons and founders of the monastery: others being of an hieroglyphical character.

"The nave and its aisles," says Mr. Britton, [page 70] "display a uniform style of architecture in their arches, piers, triforia, and walls; but the windows of the clerestory, triforia, and aisles are all of a later date, and are evident insertions in the original walls,—excepting indeed the exterior walls of the triforium, which appear to have been raised, and a new roof formed when some great alterations were made to the church. On the eastern side of the transept is an aisle, the southern division of which is separated into three chapels, or oratories, as they were originally appropriated, but now used as appendages to the choir. Over this aisle is a triforium, behind an arched screen, which extends along the aisles of the choir to their junction with the new work."

The lantern is another remarkable feature in this building. It "is open to the vaulted roof," and is a fearful height to contemplate.

The choir is nearly of the same kind of architecture as the transept. Its vaulted roof is boarded, but assumes an imitation of the florid pointed style,—being disposed in several compartments by thin ribs. Over the altar end it is painted with an emblematical representation of Christ as a vine, and his disciples the branches. The remaining portion of the roof, which had been painted white and yellow, has also been recently restored to its original character, the bosses being gilt and the spandrils painted bright blue and richly ornamented.

Until the year 1827, the choir of this cathedral was composed of deal painted to resemble oak, and "although in good repair," was generally allowed to be "unworthy of the magnificent structure to which it belonged." At the suggestion, and under the immediate patronage of the then dean and chapter, a subscription was entered into for the purpose of erecting a new choir and organ screen; and the sum of L5021 11s. 0d. was shortly obtained towards that object. The architect employed was the celebrated Mr. Blore, who, assisted by Mr. Ruddle, of Peterborough, completed the work in 1830.

The organ screen is composed of clunch stone, and is decorated with spiral turrets, having a number of gaudily painted shields in the spandrils, which, together with the rainbow hues of the organ pipes, give it an appearance rather offensive to modern taste, although strictly in accordance with the rest of the work, which is in the style of the 1st and 3rd Edward.

On the right of the entrance to the choir is a brass plate with the following inscription:—

THIS ORGAN SCREEN WITH THE CHOIR AND ALTAR SCREEN, WAS ERECTED A.D. MDCCCXXX. BY SUBSCRIPTION FROM THE MEMBERS OF THIS CATHEDRAL CHURCH, THE INHABITANTS OF THE CITY AND NEIGHBOURHOOD OF PETERBOROUGH, AND OTHER ADMIRERS OF ECCLESIASTICAL ARCHITECTURE, UNDER THE AUSPICES OF THE VERY REV. JAMES HENRY MONK, D.D., DEAN.

The New Pulpit,

Erected to the memory of the Rev. John James, D.D., for 40 years Canon of the Cathedral, has a most massive appearance. The principal material used in its construction is Dumfries stone, with pillars of Devonshire and Greek marble. The body rests on a centre marble base, with corner pillars of Greek marble. At each corner of the pulpit stand figures of the four evangelists. The three panels are richly carved, and in the centres are cut the figure of a lamb, a Norman cross, and the letters I.H.S. Greek marble has been employed as pillars for the stair rails, along which and around the upper part of the pulpit is Devonshire marble. The following inscription inlaid with gold is cut in the Greek marble bordering:—"In Memoriam. Johannes James, S.T.P., hujus Ecclesiae Cathedralis XL.; Anno Canonici P.C. Filii Superstites A.D. MDCCCLXXIII, O.B. XV Dec. MDCCCLXVIII." The arms of the See and the Dean and Chapter are cut in the stone body. The architect was Mr. Barry, of London, and the work was executed by Messrs. Field, Poole, and Sons, Westminster.

Monuments.

There are very few ancient monuments remaining in this cathedral, the greater portion having been destroyed by Cromwell's soldiers. A brazen eagle, or lectern, in the centre aisle of the choir, from which the daily lessons are read; an ancient stone at the east end of the building, till lately supposed to be commemorative of the murder of eighty-four monks by the Danes, in 870;[31] and a picture of old Scarlet, who died in 1594, aged 98, are the principal objects of interest.

Turning to the left, as you enter the west door of the cathedral, hangs the portrait of this celebrated character, who buried within the walls of the cathedral, Catherine of Arragon, who died at Kimbolton Castle, in 1536; and Mary Queen of Scots, who was executed at Fotheringhay Castle fifty-one years afterwards. The accompanying engraving is a representation of the old sexton, with his spade, pickaxe, and other emblems of office.

In the south-west or opposite corner of the nave, is an ancient font, originally composed of native marble, obtained from the quarries at Alwalton.[32] The basin of this font was, for many years, in one of the prebendal gardens, where it was placed upon the base of an old Norman pillar, and used for holding flowers, but was removed by Dr. Monk, when dean of Peterborough, to the chapterhouse. The celebrated statuary, Mr. Gresley, of Oxford, put it upon its present pediments, which are composed of Purbeck marble, and it was then placed where it now stands. It is considered a very fine piece of workmanship.



As you enter the south aisle of the choir, upon the wall is a neat marble tablet to the Rev. Dr. William Parker, who died October 3rd, 1730.

Next, in a recess, is a tablet to abbot Andreas, and two of his predecessors, with the following Latin inscription:—

"Hos tres abbates quibus est prior abba Iohannes Alter Martinus, Andreas ultimus unus Hic claudit tumulus; pro clausis ergo rogemus."

The following is a free translation of the above:—

"These three abbots, of whom the first is abbot John, The other Martin, the last Andrew, This one tomb shuts up [incloses]; therefore for those shut up, let us pray."

Above this is a small tablet to the memory of Mary, the wife of the Rev. Payne Edmunds.

Next, is a marble tablet to Robert Pemberton, who was a magistrate of this city, and steward to the Rev. the Dean and Chapter. He died in 1695, in the 75th year of his age.

Near these, removed from the old chapter-house, founded by king Peada, are the statues of three other abbots, whose names are unknown.

Adjoining, is an effigy of Abbot Alexander, whose body, with his boots and crosier, were found by some workmen when making a foundation for the new choir in 1830, as related at page 15 of this work.

Opposite to this, is a black marble slab, beneath which the body of Mary, Queen of Scots, was at first deposited, and remained for twenty-five years, when it was disinterred and removed to Westminster Abbey, by order of her son, king James the 1st. Hanging near it is the original letter of the king ordering the removal. See note on page 29.

At the end of this aisle are two handsome compartments; the left hand, to the memory of Joseph Stamford, who died in 1683; and the right hand, to Thomas Whitwell, who died at Wisbech in 1759.

Above that of Joseph Stamford, is a tablet to Francis Lockier, who died 1740; and below, a small tablet to John Speechley, for 33 years organist of the cathedral.

We now enter the building known by the name of

The New Building.

"The whole appearance of the interior of this beautiful building is grand and imposing in the extreme; its roof, which is composed of the elaborate fan vaulting, for which the Perpendicular style is so famous, rises from slender shafts, and is ornamented with large and handsome bosses, upon each of which is carved a shield, with armorial bearings. In these respects, as well as in the general aspect of its details, this building so nearly resembles the noble chapel of King's College, Cambridge, as to warrant the supposition that they were both erected from the designs of one architect. The New Building is lighted by thirteen very fine windows, two of which are filled with modern painted glass. The space below the windows is occupied by a rich cornice, an elegant arcade, and a stone seat. Here is to be seen a monument, till lately supposed to be that of abbot Hedda and his monks, whose massacre by the Danes was spoken of in the first chapter of this work, which is considered to be one of the oldest christian monuments now extant in England." See note on page 4.

At the south end of this building, are the remains of a beautiful marble monument, erected by Sir Humphrey Orme, the destruction of which is recorded at page 34 of this work.

By the side of this monument are two tablets, one in memory of Archdeacon Davys, his wife Selina, and their son John William Owen; underneath which is a black tablet, surmounted by a shield, bearing a coat of arms, with a mitre, in memory of Francis Jeune, D.C.L., twenty-fifth bishop of Peterborough, who died in 1868.

On the south-east side of the altar, is a very stately and handsome marble monument of the Corinthian order; on which is a portraiture of the gentleman for whom it was erected, lying on his left side, and leaning on a cushion, with his hand upon a scull; above which statue is this inscription—

"Sacred to the memory of Thomas Deacon, Esq., a native of this city; sometime high sheriff of this county: a person eminent for his morality and good life; a true son of the established church: a constant attendant on her worship and service: his piety consisted not in empty profession, but in sincerity and unaffected truth. He had an ample estate, which he fairly acquired, and increased by an honest industry, and managed with excellent prudence, and disposed of to laudable purposes. His charity (even in the time of his life) was very large, extensive, and exemplary; of which he has left a lasting monument in this city, by founding a charity school, and endowing it with a freehold estate, of above one hundred and sixty pounds per annum: And also, by settling another estate of twenty-five pounds per annum, for a constant annual distribution of alms to poor ancient inhabitants of this city. Having thus laid up in store to himself a good foundation against the time to come, he quietly departed this life, on the 19th day of August, 1721, aged 70 years.

"To whose memory as an instance of her conjugal affection, Mary, his sorrowful relict, caused this monument to be erected."

Beneath his effigy, and upon the front of the tomb, is the following inscription—

"In memory of Mary, the relict of Thomas Deacon, Esq.; daughter of John Harvey, of Spalding, gent. To which place she was a kind generous benefactor, and bestowed upwards of L400 in pious and useful charities. She gave also to Fleet L250, for founding a charity school in that parish. To the poor of this city, she extended her daily bounty, so private as not to be told; so large as not to be equalled; to which she added several public benefactions, and gave towards augmenting the vicarage of St. John Baptist L100; and likewise L100 to the salary of the grammar school; she died January 27th, 1730, aged 77 years."

In a recess adjoining this monument, is a neat tablet to the memory of Mary, the mother of the Rev. J. S. Pratt, formerly a prebendary of this cathedral, and vicar of the parish of St. John the Baptist, Peterborough.

Underneath this, a handsome tablet to the late William Strong, D.D., forty-five years archdeacon of this diocese, and for nearly half a century a magistrate for the Liberty of Peterborough.

Near the last monument, behind the altar screen, are interred the remains of six bishops, viz.:—Cumberland, Kennett, Hinchcliffe, Madan, Marsh and Davys; tablets to the four latter, are in the recess opposite the large painted window.

Beneath these, is an effigy, supposed to be that of Abbot William de Hotot, who died in 1250.

On the north-east side of the altar, is a very handsome marble monument to Bishop Cumberland, great grandfather to the celebrated dramatist of that name.

Beneath this, is a neat tablet to Joseph Parsons, formerly a prebendary of this cathedral, and Letitia, his wife; near which, is a monument erected to his intimate friend William Tournay, D.D., also a prebendary of this cathedral, and of St. Peter's, Westminster, and for twenty-five years warden of Wadham College, Oxford, &c.

Adjoining, are the remains of an ancient shrine, supposed to be that of St. Ibba.

Above this is a marble tablet to Louisa Cole, of the Vineyard.

On leaving the Lady Chapel, in the north aisle of the choir, is a splendid monument to Richard Trice, beneath which is a handsome double piscina.

Opposite to this, a small marble monument to Frances, wife of Dean Cosin, who died March 25th, 1642; above which is an epitaph to Dorothy, the wife of Francis Standish, formerly precentor of this cathedral, who died in 1689.

Opposite, is another plain black marble slab, similar to that in the south aisle, with a small brass inscription which marks the grave of Catherine of Arragon.

On the north wall of the side aisle is a monument by the celebrated Gibbons, with the following inscription—

"Sacred to the memory of Constance, daughter of John May, of Rawmeare, in Sussex, Esquire; and of Constance, his wife, one of the daughters and co-heiress of Thomas Panton, of Westminster, knight and baronet, and wife of John Workman, prebendary of this church, who, having by all christian virtues and good qualities, been an ornament to her worthy family, and an honour to all her relations in her life, resigned up her soul to God with admirable patience at her death; she deceased in childbed at London; and, together with her infant son, she was according to her desire, here interred, where she had frequently worshipped God, in hope of a joyful resurrection, September 30th, A.D. 1681."

Next, is a tablet to James Duport, formerly dean of this cathedral, chaplain to Charles II., and professor of Greek at Trinity College, Cambridge.

Adjoining, is another tablet to the memory of the Rev. John Workman, M.A., formerly a prebendary of this cathedral, and rector of Peakirk, &c.

Next, is a tablet to William Rowles, of Washingley, and Ann Wilkinson, his daughter.

The next is to the Rev. William Gery, also a prebendary of this cathedral, and Susannah, his wife, who lived together 47 years. This is a very handsome tablet.

The last is a handsome tablet to the Rev. William Waring, A.M., formerly master of the grammar school, who died 1726, aged 66.

In a small chapel, known as the Morning Chapel, dedicated to St. John and St. James, is some ancient tapestry; one piece representing St. Peter and St. John healing the lame man at the beautiful gate of the temple; the other representing St. Peter's deliverance from prison. In the north-east corner is a tablet to the Rev. John Stevens, A.M., rector of Folksworth, Hunts.; and in the centre of the east wall is a stained glass window, representing four scenes from the life of our Lord. Here also are the remains of the woodwork of the old choir, which have been converted into seats, and will serve to show to the curious its former character and style.

The Organ,

Which is placed above the screen, dividing the nave from the choir, is a very fine toned instrument, and was built in 1809, by the late Mr. Allen, of Sutton Street, Soho. It has within the last few years been much improved and enlarged. It contains forty-eight stops, viz.:—twelve in the great organ, twelve in the swell, ten in the choir, eight in the pedal organ, and six couplers. These improvements were made by H. P. Gates, Esq., of the Vineyard, and are commemorated by a brass plate on the south side of the organ, inscribed as follows: "To the praise and glory of God and memory of John and Frances Gates, this organ was re-built and enlarged at the charge of Henry Pearson Gates, their son, Anno Domini 1871." The case of the instrument, which is of carved oak, presents towards the nave, a front in the early English style, while on the side looking into the choir, the fronts are decorated, to harmonize with the interior fittings.

The Choir.

As we enter the choir, the bishop's throne, with the stalls, pulpit, pews, and altar screen burst upon us, all of which are beautifully carved. The altar screen is composed of a soft white stone, found near Cambridge; the rest that we have mentioned, is oak, very finely carved in the decorated style of architecture. The bishop's throne especially, with its ogee canopies, and elegant and almost fairy-like spire, rivets the eye of the spectator. The coup d'oeil of the choir is so strikingly beautiful, from the good arrangement and entire keeping of the whole, that it can scarcely be surpassed.

At the east end, immediately under the large window, are three tablets with the names of all the Abbots, Bishops, and Deans from the foundation of the monastery to the present time, of which the following is a copy:—

List of the Abbots of the Cathedral,

With the date of their appointment.

Saxulphus 654 Cuthbaldus 673 Egbaldus Pusa Beonna Celredus Hedda 833 Adulphus 972 Kenulphus 992 Elsinus 1005 Arwinus 1055 Leofricus 1063 Brando 1066 Thoroldus 1069 Godricus 1098 Matthias 1103 Ernulpus 1107 Iohn of Salisbury 1114 Henricus de Angeli 1128 Martinus de Vecti 1133 William de Waterville 1155 Benedictus 1177 Andreas 1194 Acharius 1200 Robert of Lindsay 1214 Alexander 1222 Martin of Ramsey 1226 Walter St. Edmonds 1233 William Hotot 1246 Iohn de Caleto 1249 Robert Sutton 1262 Richard of London 1274 William of Woodford 1295 Godfrey of Croyland 1299 Adam Boothby 1321 Henry Morcot 1338 Robert Ramsey 1346 Henry of Overton 1361 Nicholaus 1391 Willielmus Genge 1396 Johannes Deeping 1408 Richard Ashton 1438 William Ramsey 1471 Robert Kirton 1496 Iohn Chambers 1528

Iohn Chambers was the last Abbot and the first Bishop.

List of the Bishops of Peterborough,

With the date of their appointment.

Iohn Chambers, B.D. 1541 David Pool, LL.D. 1556 Edmund Scambler, D.D. 1560 Richard Howland, D.D. 1584 Thomas Dove, A.M. 1600 William Pierse, D.D. 1630 Augustine Lindsel, D.D. 1632 Francis Dee, D.D. 1634 Iohn Towers, D.D. 1638 Benjamin Lany, D.D. 1660 Joseph Henshaw, D.D. 1663 William Loyd, D.D. 1679 Thomas White, D.D. 1685 Richard Cumberland, D.D. 1691 White Kennet, D.D. 1718 Robert Clavering, D.D. 1728 Iohn Thomas, D.D. 1747 Richard Terrick, D.D. 1757 Robert Lamb, LL.D. 1764 Iohn Hinchliffe, D.D. 1769 Spencer Madan, D.D. 1794 John Parsons, D.D. 1813 Herbert Marsh, D.D. 1819 George Davys, D.D. 1839 Francis Jeune, D.C.L. 1864 William Connor Magee, D.D. 1868

Bishop Davys was advanced to this see in 1839. He was formerly a fellow of Christ's Church College, Cambridge, and took a wrangler's degree in 1803. He subsequently became curate of Littlebury, and in 1814 of Chesterford; this latter curacy he held until Dr. Bloomfield, the late bishop of London, was presented to that living, when Mr. Davys became curate of Swaffham Prior; he afterwards removed to Kensington, and was appointed tutor to the Princess Victoria. Shortly after this he was presented to the rectory of All-Hallows, London, and in 1831 to the deanery of Chester, on which occasion he took the degree of doctor of divinity. He discharged his episcopal duties for a period of about twenty-five years in such a manner as to gain universal esteem; and died at Peterborough, after a short illness, in the 84th year of his age, on the 18th April, 1864.

The Rev. Dr. Francis Jeune, who was appointed to the Bishopric in the room of Dr. Davys, was educated at Pembroke College, Oxford, were he graduated in 1827, when he took a first-class in classics. In 1832 he was admitted into Holy Orders by Dr. Bagot, Bishop of Oxford, being then tutor of his College. In 1834 he was elected to the Head Mastership of King Edward's School, Birmingham, and held that appointment until 1838, when he was nominated to the Deanery of Jersey, and the Rectory of St. Heliers. In 1843 he was elected to the Mastership of Pembroke College, with a canonry at Gloucester annexed, and almost immediately afterwards he was presented by the Dean and Chapter of Gloucester to the Rectory of Taynton. In 1850 he was appointed one of Her Majesty's Commissioners of Inquiry for the University of Oxford, and in 1859 was elected Vice-Chancellor of the University. About three months previous to his promotion to this Bishopric, Dr. Jeune was made Dean of Lincoln, in the room of the Rev. Thomas Garnier. Dr. Jeune lived only four years after his appointment to the see. Suffering from an internal disease he went to Whitby for change of air, where he died on the 21st of August, 1868, after a short and painful illness, and was succeeded by the Rev. W. Connor Magee.

Bishop Magee was born at Cork in the year 1821, his father at that time holding a cure in that city before being presented to the living of St. Peter's, Drogheda, in 1829. His grandfather filled the Metropolitan see of Dublin previous to Archbishop Whately. The future bishop of Peterborough received his earliest education at Kilkenny, from which place, at the age of thirteen, he was removed to Trinity College, Dublin. Here he obtained a scholarship in 1838, and Archbishop King's Divinity prize. He graduated A.B. in 1842, A.M. and B.D. in 1854, and D.D. in 1860. In 1844 Mr. Magee received deacon's orders at the hands of the Bishop of Chester, and in the following year was ordained priest by the Bishop of Tuam. His first curacy was that of St. Thomas, Dublin, which he was obliged to resign through ill health, and after a two years' residence abroad he accepted a curacy at St. Saviour's, Bath, in 1848. Two years later he was appointed to the joint incumbency of the Octagon Chapel, Bath. During his residence in Bath, Mr. Magee published two volumes of sermons. In 1859 he was nominated an Hon. Canon of Wells Cathedral, and received the degree of D.D. from his University; and on the resignation of Dr. Goulburn, minister of Quebec Chapel, Portman Square, London, Canon Magee was appointed to the vacant post. In 1860 he was transferred to the precentorship of Clogher in conjunction with the rectory of Enniskillen; in 1864, on the death of Dr. Newman, he was installed Dean of Cork; and in 1866 was appointed Dean of the Chapel Royal, Dublin. He was enthroned as Bishop of Peterborough shortly after the death of Bishop Jeune in 1868, receiving his appointment from the Conservative Prime Minister, Mr. Disraeli.

List of the Deans of Peterborough,

With the date of their appointment.

Francis Abree, D.D. 1541 Gerard Carlton, B.D. 1543 James Curtop, A.M. 1551 Iohn Boxhall, LL.D. 1558 William Latimer, D.D. 1560 Richard Fletcher, D.D. 1585 Thomas Nevil, D.D. 1590 Iohn Palmer, D.D. 1598 Richard Cleyton, D.D. 1608 George Meriton, D.D. 1612 Henry Beaumont, D.D. 1616 William Pierse, D.D. 1622 Iohn Towers, D.D. 1630 Thomas Jackson, D.D. 1638 Iohn Cosin, D.D. 1640 Edward Rainbow, D.D. 1660 James Duport, D.D. 1664 Simon Patrick 1679 Richard Kidder, D.D. 1689 Samuel Freeman, D.D. 1691 White Kennet, D.D. 1707 Richard Reynolds, LL.D. 1718 William Gee, D.D. 1721 Iohn Mandevil, D.D. 1722 Francis Lockyer, D.D. 1725 Iohn Thomas, D.D. 1740 Robert Lamb, LL.D. 1744 Charles Tarrant, D.D. 1764 Charles M. Sutton, D.D. 1791 Peter Peckard, D.D. 1792 Thomas Kipling, D.D. 1797 James Henry Monk, D.D. 1822 Thomas Turton, D.D. 1830 George Butler, D.D. 1842 Augustus P. Saunders, D.D. 1853 J. J. Stewart Perowne, D.D. 1878

The present Dean of Peterborough, The Very Rev. John James Stewart Perowne, D.D., was born about the year 1823, and married in 1862 Anna Maria, third daughter of the late Humphry William Woolrych, Esq., Serjeant-at-Law, of Croxley, Hertfordshire. His family is of French (Huguenot) extraction, which came over to this country at the Revocation of the Edict of Nantes. He was appointed to the Deanery in August, 1878. He was educated at Norwich Grammar School and at Corpus Christi College, Cambridge, of which College he became a Fellow. He was a Bell's University Scholar in 1842, took the Members' Prize for a Latin Essay on three different occasions, viz., 1844, 1846, and 1847, and graduated B.A. in 1845, in which year he was also Crosse Scholar, and in 1848 he proceeded M.A. and was Tyrwhitt's Hebrew Scholar. Eight years afterwards he took the degree of B.D., having in the meantime been ordained deacon in 1847 and priest in the same year that he took his master's degree. In 1855 he was appointed examining chaplain to the Bishop of Norwich, and was made prebendary of S. Andrew's and canon of Llandaff cathedral in 1869. In 1872 he became praelector in Theology of Trinity College, Cambridge, and in 1873 took his degree of D.D., and became Fellow of Trinity College. In 1875 Her Majesty was pleased to graciously appoint him one of her hon. chaplains, and in the same year he was appointed Hulsean Professor of Divinity. In 1851 and 1852 he was examiner for the Classical Tripos at Cambridge, and select preacher before the University on several different occasions. For 10 years he held the vice-principalship of St. David's College, Lampeter, which appointment he resigned in 1872. Before this, he had been Lecturer in Divinity at King's College, London, and assistant preacher at Lincoln's Inn. In 1868 he was Hulsean Lecturer, and Lady Margaret's Preacher in 1874-5. From 1867 to 1872 he was third cursal prebendary of S. David's Cathedral. From 1874 to 1876 he was one of the Whitehall preachers. The Dean is the author of "The Book of Psalms, a New Translation with Notes, Critical and Exegetical;" Hulsean Lectures on "Immortality"; a volume of Sermons; occasional Sermons; Articles in Dr. Smith's Dictionary of the Bible; Contemporary Review; Good Words, &c. And he is a member of the Company engaged on the revision of the Old Testament.

[25] Gunton says, "that in the foundation thereof, Peada laid such stones, as that eight yoke of oxen could scarce draw one of them."

[26] See Britton's His. Cathedral Church of Peterboro', note p. 53.

[27] James Henry Monk, afterwards bishop of Gloucester.

[28] Garbett's Architectural Account of Peterborough Cathedral.

[29] Britton, in speaking of these door-ways, says, "There are also two door-ways to the southern aisle of the nave, both having semicircular arches, &c.;" but this is evidently an oversight.

[30] These door-ways are supposed to have been built in the middle of the 12th century. It is worthy of remark, that one door-way in the western wall, which is now filled up, is attributed to the Anglo-Saxon age.

[31] Vide note at page 4 of this work.

[32] The columns of the beautiful west front were also composed of the same marble; but, being much dilapidated, they were in the time of Dean Monk, taken down, the best sorted and again put up, and the others replaced by Ketton stone.



GEO. C. CASTER, PRINTER, MARKET-PLACE, PETERBOROUGH.



LIST OF BOOKS & FORMS

PUBLISHED BY GEO. C. CASTER, Printer & Bookseller, MARKET PLACE, PETERBOROUGH.

FASTING. A Lenten Sermon, by the Very Rev. J. J. Stewart Perowne, D.D., Dean of Peterborough. Price 3d.

NATIONAL EDUCATION. A Sermon by the Very Rev. J. J. Stewart Perowne, D.D. Price 3d.

OUR DEBT TO THE PAST. Two Sermons by the Rev. Brooke Foss Westcott, D.D., Canon of Peterborough. Price 6d.

ADVENT SERMONS, Preached in Peterborough Cathedral: "The Gospel Preached to the Poor," by the Very Rev. J. J. Stewart Perowne, D.D., Dean; "The Word of God," by the Rev. B. F. L. Blunt, M.A., Vicar of Scarborough; and "Preparation," by the Rev. F. W. Farrar, D.D., Canon of Westminster. 6d. each, by post 7d.; or the three in wrapper, 1/-, by post 1/1.

PETERBOROUGH CATHEDRAL. A General, Architectural, and Monastic History. By Thomas Craddock. Fcap. fo., 234 pages, fancy wrapper, 2/6, cloth gilt, 5/-

NEW GUIDE TO PETERBOROUGH CATHEDRAL. By G. S. Phillips. Illustrated, Crown 8vo., 1/-

PETERBOROUGH CATHEDRAL at the Commonwealth; being extracts from Simon Gunton's History, with a sketch of his life. The work is illustrated by four photographs from scarce engravings, showing the original Ladye Chapel, Altar Screen, etc. Crown 4to., bevelled boards, red edges, 6/-

NOTES ON THE PARISH CHURCHES in and around Peterborough, including the Cathedral, and Crowland, Ramsey, and Thorney Abbeys. By the Rev. W. D. Sweeting, M.A., Head Master of the King's School, Peterborough, Illustrated by 32 Photographs. Demy 8vo., cloth antique, bevelled boards, 21/-; or in three parts, wrappered, 2/6 each.

NOTES ON TWENTY PARISH CHURCHES in the five mile circle round Peterborough, comprising Alwalton, Castor, Eye, Farcet, Fletton, Glinton, Helpstone, Marholm, Orton Longueville, Orton Waterville, Paston, Peakirk, Stanground, Thorpe, Waternewton, Werrington, Whittlesey (St. Mary), Whittlesey (St. Andrew), Woodstone, and Yaxley. Paper covers, 1/-; cloth, 1/6.

FIRST WORDS AND LAST, or EASTER THOUGHTS, in verse. By Rev. A. S. Newman, M.A. Crown 8vo., paper covers, 1/6; cloth gilt, 2/-

CROWLAND AND THORNEY ABBEYS. By the Rev. W D. Sweeting, M.A., with two photographs, wrappered, 1/-

WILD FLOWERS. Being a list of varieties found in the neighbourhood of Peterborough. By F. A. Paley, M.A. Price 1/-

CAESAR'S COMMENTARIES. For the use of Junior Classes, Book II., with vocabulary. Price 6d.

CANTICLES POINTED FOR CHANTING. Suitable for Village Choirs. By John Speechley, late Organist of Peterborough Cathedral. Price 1d.

SAVIGAR'S ARITHMETICAL TABLES. For the use of Schools, with rules for mental accounts. Price 1d.; or twelve copies, post free, 1/-

THE SHOWER OF PEARLS. By Charlotte Phillips. A collection of Poems suitable for Home and School use. 14th edition, Demy 18mo., cloth gilt, 1/-

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PHOTOGRAPHS OF THE CHURCHES in Sweeting's "Notes on Parish Churches." Carte de Visite size, 6d. each.

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AN APPEAL.

THE DEAN AND CHAPTER earnestly hope that Visitors to the Cathedral will contribute something to the Fund in aid of its Restoration. For this purpose a box has been placed in the Nave, under the Screen, and a book in which names, together with the amount of the donation, may be entered. It will be seen that the need of Restoration is urgent, the central tower being much shattered, and its south-eastern pier presenting a very unsightly appearance. One of the most striking features of the Cathedral, the beautiful groined roof of this tower is at present entirely concealed by a scaffolding put up some years ago when the work of Restoration was suspended for want of funds.

THE DEAN AND CHAPTER feel that they may with the more confidence appeal to the liberality of Visitors in aid of the Restoration, because the Cathedral is open free of all charge throughout the day (except during the hours of Divine Service), the Vergers not being allowed to ask for any gratuity.

THE END