glazing upwards of thirty of its windows, which had previously been stuffed with straw. He likewise erected in the southern walk of the cloister built by William de Waterville, a beautiful marble lavatory.

Arrived at Peterborough, tourists naturally wend their way to its Cathedral, and few carry away feelings of disappointment with respect to the picturesque beauty of its surroundings. From the market place exquisite little glimpses of cross, turret, and pinnacle, flashing in the sunlight of a bright summer day, are caught by the visitor, which appear to prepare his mind for the magnificent effects of light and shade produced by the three superb arches, which give entrance to the Cathedral.

But I am forestalling. The fine Norman gateway under which visitors pass was the work of Abbat Benedict, (1177-1193.) Since the time of its erection it has been faced with a mass of Perpendicular work, and the chapel dedicated by its ancient founder in honour of the blessed S. Nicholas has, I believe, been converted from its original purpose into a music room. Such desecrations, and even far worse, have occurred in the times that have passed, but we must make allowances for the fearfully low ebb to which religion has fallen since the Reformation, and then with lightened hearts thank GOD that in our days an increased feeling of respect and reverence is gaining ground for all that is holy, and that restoration is now the prevailing cry throughout the land. That cry has been the forerunner of practice, as so many of our cathedrals and parish churches bear rich and ample testimony. Adjoining, is the choristers' school, formerly the chapel of S. Thomas of Canterbury, dating from the abbacy of Ashton, (1438-96,) the gateway leading to the Bishop's Palace dating from the year 1319, and the deanery gate, the erection of Abbat Kirton, about 1515, but of the latter more anon.

At the consecration of the cathedral, which, according to reliable testimony, took place in 1143, the various reliques possessed by the monastery, including the arm of the saintly Oswald, were exhibited in view of the assembled multitude. At the ceremony, were present Alexander Bishop of Lincoln, and the abbats of the far

famed abbeys of Croyland, Ramsey, and Thorney, of

which the proverb runs:

"Ramsey, the rich of gold and of fee,

Thorney, the flower of many fair tree,

Crowland, the courteous of their meat and drink,
Spalding, the gluttons as all men do think,
Peterborough the proud,

Sawtrey, by the way, that old abbey,

Gave more alms in one day than all they."

In ancient times none dared to pass under Benedict's gateway without having previously taken their shoes from off their feet, in acknowledgment that they stood upon holy ground. It must also be recollected that few abbeys in England enjoyed a greater number of privileges than "Peterborough the proud." The documents which confirmed certain of these privileges were delivered to Edgar by the monks, who it appears had taken care of them during the Danish invasion. It was declared in one of them that any person who desired to visit Rome, and could assign valid reasons for not doing so, such as distance or bad health, should be permitted to make a pilgrimage to this Abbey which should be considered as equivalent to a travel to Rome. Here also they should receive the absolution and apostolical benediction; and it can well be imagined what immense numbers this privilege and the prestige it conferred drew to the old

town.

Before the west front, those most prejudiced to Gothic architecture must acknowledge that they stand before one of the masterpieces of the art, and one most fit and appropriate to give entrance to the earthly temple and sanctuary of the Almighty. Its design is exceptional, at least in England. Elegant triangular piers, standing some considerable distance from the nave wall, support three beautifully formed arches, which measure eightyone feet from the ground, and are enriched with capitals of foliage. As Paley says, "the fineness of the masonry, and the close jointing of the deeply moulded arch stones, are unsurpassed by anything of this period in the kingdom." Many of the arch mouldings are filled by ornament: the centre arch is considerably narrower than its

fellows, and to some height from the ground is filled with a porch, of which I shall speak presently. Above the arches are gables crowned with crosses of elegant design. The spandrils of the arches are decorated with niches, containing effigies of saints, and above, separated by a sculptured moulding, is a beautiful series of arcading, three of the compartments in each gable being filled with statues of the apostles. To the right and left of the rose windows are placed single niches, which are said to be filled with statues of the monarchs who occupied the English throne from the period of the Conquest until the date of the erection of this front. Between each gable rises an elegant spire, capped turret, or pinnacle.

The central porch is only an addition, being added about the year 1470, and does not add to the beauty of the appearance of the front; indeed, Paley asserts it to have been erected "as an abutment against the west front, which by a bulging outwards of the pillars, or a settlement of the foundation, was falling forwards towards the west." The basement portion is occupied by an arch which supports the little chamber above, and which is lighted by a window filled with perpendicular tracery. The three large arches are flanked by small towers or turrets, which are arcaded in various stages, and are crowned with spires and pinnacles. The spire on the north-west tower is Perpendicular, and was erected about 1470, while its companion on the south-west was added about 1320, and is of Decorated character.

The surface of the west wall is arcaded, and contains entrances to the north and south aisles of the nave. The projecting façade is skilfully connected with this wall by a groined roof of Early English design.

The spectator can obtain exquisite glimpses of the upper part of the north-west tower rising from the western transept, which was erected for a belfry between the years 1249-74, by Richard of London and John de Calais. Its fellow on the south rises but a very short distance above the roof. On the north side the grouping formed by the junction of the nave with its western transept and elegant gable, the tower rising behind, and the

north-west turret is very picturesque. The wall of this transept is pierced with a fine traceried window, above is a window filled with perpendicular tracery, flanked on either side with a semicircular arch. The next stage of the composition is a series of windows recessed deeply behind a trefoiled arcade, supported by single columns with foliaged capitals, while above is seen a beautiful rose window. The gable is flanked with elegant octagonal turrets, capped with spires.

The beautiful trees, shrubs, and grass on this side of the Cathedral are not inappropriate surroundings, and greatly enhance the beauty of the scene presented by the noble architecture of the building. Next in order are seen the many windows of aisles and clerestory, and then the projection of the transept. From its eastern wall formerly extended the beautiful outline of the Ladye Chapel. It was erected by Prior Parys during the government of Abbat De London, and was begun in 1272. Its walls were covered with frescoed figures of the English monarchs, its floor inlaid with superb slabs and brasses of the abbats, and Gunton states its east window, which was full of stained glass, to have been "the fairest and goodliest in all the church, scarcely a finer in any other Cathedral." My readers will thus be enabled to form an idea as to the magnificence of the building, which was wantonly destroyed by the Puritans, who razed it to the ground to save the expense of the repairs it needed from their ill-usage. Their liberality consisted in defiling our temples of worship, and never in restoring and erecting them, as the examples of the Abbats and Bishops of the faith they reviled might have taught them.

The central tower was altered considerably in 1340, and is now pierced with windows on each side, and at the angles rise long turrets, against which the battlemented parapet is stopped. The tower is very large and heavy in the appearance it presents, and cannot compare with the elegant north-west tower of the western transept.

Eastward runs the extension of the choir, flanked at the commencement of its apsidal termination with spireVOL. VI. (N. 8.)

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capped turrets, and at a lower elevation the new building erected by Abbats Ashton and Kirton, which occupy the site of the stone of Abbat Hedda and his monks. The east elevation is divided into five divisions, which each contain one large traceried window, by means of four buttresses, which are crowned with the figures of the Apostles. Here can be discerned the initials and hieroglyphics of the abbats under whom it was erected, and in the parapet the monograms of our SAVIOUR and Blessed Mary His Mother.

The south front of the Cathedral is similar to the north, and needs no description. The roof of the west porch is groined, and is enriched with some very beautiful bosses. The little room above is used as a library. The nave is divided into eleven bays (including its western transept,) by a range of ten massive sculptured piers with plain bases and capitals.

"Arches on arches. See the moonbeams shine
As 'twere its natural torches, for divine

Should be the light which streams here to illume
This long-explored but still exhaustless mine

Of contemplation, and the azure gloom

Of a still summer night, where the deep skies assume
Hues which have words, and speak to ye of heaven,
Floats o'er this vast and wondrous monument,
And shadows forth its glory."

Abbat Andrew's transepts are transition Norman, and date from 1193 to 1200. The two towers which are formed out of this transept, and to which the visitor is immediately admitted by the north and south doorways, are supported by elegant arches. The triforium arcade of Abbat Benedict is bold and striking. One vast semicircular arch comprises within it two smaller arches, supported by a plain single shaft or column. The present octagonal wooden roof of the nave replaces a flat one, which, like this, was painted. The roof is painted in panelled compartments, containing figures of saints, abbats, and kings, &c. The generality of the figures are represented in a sitting posture.

The portrait of a Sexton, generally termed "Old Scarlett," is, if it has not been lately removed, placed against