Fan vaulting, Peterborough Cathedral

click photo to enlarge
On a recent visit to Peterborough we made a brief visit to the cathedral. I've said elsewhere in this blog that it is one of the most overlooked and least well-known of our major medieval cathedrals, a building of exceptional architecture that deserves to be much more widely recognised.

One of Peterborough's glories is the fan-vaulting of the retrochoir that is every bit as good as the more celebrated example at Gloucester. I've photographed and written about Peterborough's on more than one occasion on this blog, so I won't repeat myself here. On our recent visit the fall of the light and the visitors reminded me of the etchings and woodcuts of cathedral views popular in publications of the late eighteenth and early nineteenth centuries. These frequently show small, relatively insignificant people dwarfed by the enormous columns and arches. This effect is heightened by naves empty of seating, something that is seen only occasionally today. However, the retrochoir is usually seat-free, and though it is a smaller space with a lower roof, the visitors here reminded me of those early illustrations. It took a few shots, a few changes of position and a wait for people to populate the scene before I got the image I wanted.

photograph and text © Tony Boughen

Photo Title: Fan Vaulting, Peterborough Cathedral
Camera: Olympus E-M10
Mode: Aperture Priority
Focal Length: 9mm (18mm - 35mm equiv.)
F No: f5.6
Shutter Speed: 1/80 sec
ISO:500
Exposure Compensation: -0.3 EV
Image Stabilisation: On

Good enough is fine by me

click photo to enlarge
In 2010 I posted a piece called "Enthusiast photographers and camera angst" wherein I said that most DSLRs since the time resolution reached 8MP are good enough for most keen photographers. I referred to Alamy's recommended camera list (here is the current one), to show that this is the case. My view on that hasn't changed. That being so you may be wondering why I changed my camera system. Well, it wasn't because I believed the new system would deliver better photographs, or that I sought features that Canon's 35mm sized sensor and lenses didn't offer. It was basically down to size and weight - Micro Four Thirds is simply easier to carry and therefore more likely to be available to me when I'm out and about. And the fact is, that in terms of detail, there is no discernible difference in until I begin to print at sizes that I've never printed at - ever!

On a recent visit to Peterborough Cathedral I thought I'd try a hand-held shot of the crossing using the 9-18mm wide-angle zoom set at an aperture that would ensure close to maximum sharpness and 6400 ISO, the level I have set as the maximum I want from the camera (higher numbers are available). I'm not displeased with the outcome. I could have halved, possibly quartered the ISO and still hand-held the shot to increase the quality, but the outcome with the settings I chose would, I'm sure produce an A4 print that would satisfy me, and a little work may well give a reasonable result at A3. The image above is slightly cropped and rotated because I didn't get everything quite square.

photograph and text © Tony Boughen

Camera: Olympus E-M10
Mode: Aperture Priority
Focal Length: 9mm (18mm - 35mm equiv.)
F No: f5.6
Shutter Speed: 1/60 sec
ISO:6400
Exposure Compensation: 0 EV
Image Stabilisation: On

Depicting demons

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When it came to depicting the devil and his minions Christianity seems to have drawn on two sources of inspiration - visions and animals. Many religious figures down the ages have claimed to have seen, conversed with and battled the forces of darkness, and their descriptions have been a source of inspiration for the artists and craftsmen who decorated churches. Animals that people often find repugnant or ugly have also been used as a source for the images of demons, the devil and all things evil. Elements of bats, snakes, lizards and goats have been heavily used to described the form of these creatures of the underworld.

A few days ago we were in Peterborough Cathedral where I paused in front of a window in St Benedict's Chapel in the south transept chapel that was a work from 1958 of the stained glass artist, William Thomas Carter Shapland. The whole composition - clearly drawn, colourful figures in settings placed in clear glass - was quite typical of many practitioners of the mid-century. What caught my eye was his scene showing Hell below the main figure. It featured a crow (raven?) with bread in its beak, a snake slithering out of a broken jar, flames and three colourful demons. These were not all alike, varying in colour especially. Their heads were inspired by goats (beards and horns), bats (ears) and reptiles (scales and dragon's tail). What particularly surprised me about these three was the brightness of the colours used for their bodies. It matched the brightness elsewhere in the window, but eschewed the more subdued colours and darker tones frequently reserved for such subjects.

photograph and text © Tony Boughen

Camera: Olympus E-M10
Mode: Aperture Priority
Focal Length: 100mm (200mm - 35mm equiv.)
F No: f5.6
Shutter Speed: 1/200 sec
ISO:500
Exposure Compensation: 0 EV
Image Stabilisation: On

Tomb of Catherine of Aragon

click photo to enlarge
The inability of Henry VIII and Catherine of Aragon to produce a male heir was a trigger that set in motion the English Reformation and the creation of the Church of England. Henry had married Catherine, who was the widow of his older brother, Arthur, under a special dispensation given by the pope. When the desired son was not produced Henry decided to do without Rome. He sought a new wife and removed all the symbols and features of Catherine's royal position. She lived in relative poverty at Kimbolton Castle, Cambridgeshire, until her death in 1536, at which timeCatherine was buried in Peterborough Abbey. This building was raised to cathedral status in 1541. The presence of Catherine of Aragon's tomb may have been a factor in its change of status.

The tomb of Henry's first wife can still be seen in the cathedral. It is in the north aisle next to the sanctuary and is marked by an engraved slab of marble. Above the tomb hangs the Royal Banner of England of the period with fleurs de lys and lions passant guardant, as well as a banner based on the coat of arms of Catherine. On our most recent visit the slab was decorated with flowers and seven pomegranates. This fruit is usually present on the tomb as an acknowledgement of the part it plays in Catherine's coat of arms.

As royal tombs go this is a very modest affair. The cathedral authorities must have recognised this because they commissioned a sign made of individual gold letters to draw attention to it. The letters spell the deceased queen's name with a "K" rather than the more usual (today) "C". However, the tomb's setting alongside the richly decorated sanctuary and the massive stonework of the Norman columns, capitals and vaulting is undoubtedly impressive. On the other side of the sanctuary is the site of Peterborough's other royal connection. Mary, Queen of Scots, was buried here in 1587 after her execution at nearby Fotheringhay Castle. Her body was re-buried in Westminster Abbey on the orders of her son, King James I of England so what we see now is the site of the earlier tomb. It too has gold lettering to mark the location.

photograph and text © Tony Boughen

Photo 1
Camera: Canon
Mode: Aperture Priority
Focal Length: 105mm
F No: f7.1
Shutter Speed: 1/30
ISO: 3200
Exposure Compensation:  -0.33 EV
Image Stabilisation: On

Peterborough Cathedral

click photo to enlarge

In yesterday's post I called Henry VIII's order for the Dissolution of the Monasteries an act of vandalism. It was as far as the laying to waste of many fine abbeys, monasteries and priories went. But it was also a political act, part of his move to usurp the pope as head of the English church and replace him with himself and all subsequent sovereigns. It had the added advantage, of course, of shifting the enormous wealth of the monastic establishments into the hands of the crown and the exchequer. But, though many fine buildings were wholly or partly destroyed some were retained to act as regional centres of the new Church of England. One such building is at Peterborough.

What became the cathedral in 1541, and remains so today, was until the time of the Reformation, a Benedictine monastery. It was founded by Peada, King of Mercia in about 650 AD. It suffered sacking at the hands of the Danes (870) and Hereward (1070) though the church was spared in the second assault only to suffer a great fire in 1116. In the present building some pre-conquest remains are eviden, but most of the work dates from 1118 and later.

The west front (seen above) was completed by the time of the great consecration in 1238. Stylistcally it is what architectural historians call Early English. The three great arches or portals that mark the facade indicate the nave (centre) and the flanking aisles. For reasons best known to whover instigated it, a porch was added to the central arch at the end of the fourteenth century. Many who see it accept it, but to my eye it is, with the large window above and behind it, an intrusion on the essentially lancet forms of the front.

I've photographed this facade a few times but have never been entirely happy with the outcomes. On the day of my recent visit the sky and light were kinder than previously and I secured this shot. I've converted it to black and white to better emphasise the details.

photograph and text (c) T. Boughen

Camera: Canon
Mode: Aperture Priority
Focal Length: 104mm
F No: f6.3
Shutter Speed: 1/800
ISO: 100
Exposure Compensation:  -0.33 EV
Image Stabilisation: On

Cathedrals old and new

click photo to enlarge

There have been only three*(see below) completely new Anglican Cathedrals built in England since the Reformation of the sixteenth century - St Paul's in London, Truro and Liverpool. All the others were either built in earlier centuries, are former parish churches raised to cathedral status, for example Blackburn, or, as in the case of Coventry, are substantially new but replace and adjoin a medieval building that was severely damaged. One thing that distinguishes the newer cathedrals from the ancient buildings is the shorter period of time over which they were constructed, and the consequently smaller range of building styles that the structure shows.

St Paul's is, of course, a Renaissance building in almost every respect except its floor plan which was modified to more closely match those of medieval cathedrals. Wren was given the project in 1669, the first services took place inside the cathedral in 1697, and it was officially opened and declared complete in 1711, a mere forty two years later. Truro is a Victorian Gothic Revival cathedral, considerably smaller than St Paul's, and the work of John Loughborough Pearson. Building began in 1880, it was consecrated in 1887, and work was completed in 1910 - only thirty years later. Liverpool's Anglican Cathedral is the biggest cathedral in Britain and one of the largest in the world. Not surprisingly it took longer to build than St Paul's and Truro. In 1903 Giles Gilbert Scott's Gothic design was chosen from over one hundred competition entries, and the foundation stone was laid in 1904. Despite significant changes to the design it was consecrated in 1924, regular services began in 1940 and the central tower was completed in 1942. The Second World War slowed building progess, but the cathedral was finally finished in 1978, eighteen years after the death of its architect.

Of course all cathedrals are added to in some way as succeeding generations make their mark on the structure. For example, Truro had a chapter house added in 1967. But the point of today's reflection is the great difference in the construction time and styles of newer cathedrals compared with their medieval predecessors. Today's photograph shows some of the Norman (Romanesque) style at Peterborough Cathedral. It dates from the twelfth century when much of the main structure was built. However, most cathedrals of this sort were being added to, modified, brought "up to date", and generally knocked about by builders, bishops and others for 500 years or more. One consequence of this is the succession of architectural styles (fashions if you will) that exemplify this work - including the relatively heavy, crude and utilitarian of the Norman quadripartite vaulting shown above to the delicate Perpendicular style fan vaulting of the 1500s shown in this earlier post.

* 23/02/2010 18.27pm
As I washed the dishes after our evening meal a thought came to me - "What about Guildford Cathedral?" This is a building I've never visited but which I know from photographs to be modern. A bit of research showed that it was begun in 1936 and completed in 1961. So, for three above, read four. In fact, any advance on four?

photograph and text (c) T. Boughen

Camera: Canon
Mode: Aperture Priority
Focal Length: 60mm
F No: f7.1
Shutter Speed: 1/20
ISO: 3200
Exposure Compensation: -0.33 EV
Image Stabilisation: On

Looking up No. 2

click photo to enlarge

"Looking Up" was the title of a blog post that I made in May 2008 featuring the same subject as today's entry - the underside of the tower, together with the ceilings of the nave, chancel and transepts of Peterborough Cathedral. As part of my workout that aims to make me familiar with my new camera's strengths, weaknesses and peculiarities, I've been photographing a range of subjects, some that I've shot before, using different lenses, apertures, shutter speeds, ISOs and EV settings. This shot is with my unstabilized 17-40mm lens, and the shutter speed of 1/10 second is about the limit of what I can successfully hand-hold. Viewed at 100% this shot is pretty sharp. Of course, the ISO of 3200 is what makes the image possible. You might wonder why I didn't open the lens up, but I find that some corner softness appears at its maximum of f4. This isn't too much of a problem with, say, a landscape, but with the straight, sharp lines of architecture - even the several hundred years old variety - it can be noticeable.

The centre of today's image shows the timber lierne vault on the underside of the central (crossing) tower of the cathedral. The other ceilings are also timber. This is not unusual with the wide spans of a Romanesque building of the twelfth century. The ability to throw stone vaulting over such a distance hadn't been developed at that time, though it was used in the narrow aisles here. The hierarchy of decoration that can be seen in the four main ceilings reflects the relative importance of each  part of the cathedral. Thus, the painted, closely coffered ceiling, with decorative bosses, flanked by vaulted coving over the chancel (on the right), that dates from the fifteenth century, emphasises the liturgical centre of the church, the place where the clergy worked, and the location of the high altar. The painted nave roof with its elongated diamonds each with a central figure - kings, queens, saints, fantastic animals etc - dates from about 1220. Pevsner calls it "a precious survival". This is over the part of the church devoted to the laity. The other two ceilings that roof the transepts are also original, and though the wood is again laid in diamonds, it is not painted, and they are definitely subsidiary to the main two.

I often think that photographs of this subject, taken from directly below with symmetry, have something of the look of a kaleidoscope image, and this one is no exception. For more views of vaulting and the underside of towers see these photographs from Louth and Ludlow, Morton, Brant Broughton, Pershore, Boston, Norwich, and Ely.

photograph and text (c) T. Boughen

Camera: Canon
Mode: Aperture Priority
Focal Length: 17mm
F No: 7.1
Shutter Speed: 1/10
ISO: 3200
Exposure Compensation: -0.33 EV
Image Stabilisation: N/A

Cathedrals and a fan vault

click photo to enlarge

The cathedral that I was most familiar with in my younger years was York Minster. From my position of ignorance, I took it as the yardstick against which I measured others. As I came to realise in later years, this was very unfair. Its importance as the seat of one of England's two archbishoprics, its enormous size and wealth, and the setting among the medieval walls, churches, and streets of York, gave it an advantage that few could match. It was only after I moved to the East Riding of Yorkshire, became interested in church architecture, and travelled around England looking at other cathedrals that I realised this. But by then, my eye had been trained and my understanding enlarged, and the subtleties that I began to see in other buildings became as important as York's imposing magnificence.

If, today, I were to list the cathedrals (and I include minsters under that heading) that I like best, then I would have to say that my absolute favourite is the often overlooked Beverly Minster in the East Riding for its superb details but also for the uniformity of the nave. This was partly brought about by the conscious decision of medieval builders to carry on with an "outdated" style for the sake of continuity, a practice also followed at Westminster Abbey. Then I would list Durham and Lincoln for the high quality of their details from all periods, but especially for their high and very visible sites that show them off to great advantage, and yes, York for its majesty and the white stone that makes it look, in certain lights like a great ocean liner. Finally I would add Peterborough, a cathedral with which I wasn't very familiar until relatively recently, but one which displays the grandeur of the Norman to perfection in its nave, and has new interest and beauty to be discovered with each visit.

Peterborough also has, in its retrochoir, some lovely fan vaulting dating from around 1500. Today's photograph of part of it was shot as an experiment with my relatively new camera. The 17-40mm lens that I used is not stabilised, so in order to achieve a realistic shutter speed the image was taken at 3200 ISO, a rating that a few years ago would have been unwise, and in the days of film virtually unthinkable. However, this combination handled the job quite well without recourse to a tripod. For  another shot of this vaulting, taken in better light with an Olympus DSLR at 800 ISO, see here.

photograph and text (c) T. Boughen

Camera: Canon
Mode: Aperture Priority
Focal Length: 17mm
F No: 7.1
Shutter Speed: 1/20
ISO: 3200
Exposure Compensation: -0.33 EV
Image Stabilisation: N/A

Terrorism and architectural photography

click photo to enlarge
I photograph quite a bit of archit- ecture, though less than I used to do. My move from a coast near a cluster of urban centres to a more rural setting means fewer buildings, and a narrower range of building types at which to point my camera.

Of all the types of photography that you can engage in architectural photography should be one of the least stressful. Photographing wildlife requires planning, stealth, and then frustration when your subject "legs it". Motorsports and aviation photography must be pretty fraught too - all that noise and a subject that is frequently moving very fast. People, of course, present problems too many to enumerate, which is why I don't often point my camera their way. But architectural photography? The subject stands perfectly still for you, you can travel a long way to your chosen building knowing that it's invariably going to be there when you arrrive, and it doesn't complain or sulk if it has to be shot during inclement weather. Yes, buildings have a lot going for them as subjects for the camera.

Or so I thought until I read of the Austrian tourists who were made to stop photographing Vauxhall bus station in London, and compelled to erase their memory cards, by officious police over-stepping the bounds of their authority. But what made me wonder even more was reading this tale about an architectural photographer plying his trade in London a couple of weeks ago, and his brush with police hyped up on anti-terrorism legislation and training (or the lack of it). It made me recall the photography that I've done over the years in the capital city, and that which I'll be undertaking there again quite soon. Will I eventually come up against an authority figure who takes exception to me snapping shots of architecture? I've only been queried once about why I was doing photography of this sort - it was outside Queen's Terrace, Fleetwood - and my interrogator was an elderly inhabitant of one of the flats in the building. She was satisfied by my response that I wanted an image of this architecturally significant building, and she was interested to discover that in the UK anyone has the right to photograph virtually anything from a public place.

Today's photograph presented no such problems. To photograph inside Peterborough Cathedral requires the payment of a small fee (a mere £2.00), and it can then be done with the blessing (!) of its owners. On my recent visit I wanted to capture something of the mystery of the building so I took several shots of the darker sanctuary - a contrast to the other images that I've posted of this building (here, here and here).

NOTE: Any UK photographer concerned about restrictions being placed on photography in our country should sign this petition.

photograph & text (c) T. Boughen

Camera: Olympus E510
Mode: Aperture Priority
Focal Length: 11mm (22mm/44mm equiv.)
F No: f2.8
Shutter Speed: 1/50 seconds
ISO: 100
Exposure Compensation: -1.0 EV
Image Stabilisation: On

New tops on old bottoms

click photo to enlarge
My desk is the same size as many internal doors - 6 feet 6 inches (1.98m) long and 2 feet 6 inches (0.76m) wide. I know this because it is an internal door resting on some small, old, vertical, chests of drawers.

A few years ago I decided I needed a bigger work surface to accommodate my computer and printer that would still leave space to write. Looking around I found plenty of cheap and cheerful small desks, quite a few small and expensive desks, and some large and extremely expensive desks. So, I went back to first principles, decided that I neeed a big flat surface with storage below, and cast around for the materials to supply that need. When I decided I already had the storage a door immediately came to mind. Sapele-faced internal doors were relatively inexpensive, well made, perfectly flat, and ready-varnished. So now I have a big desk that perfectly meets my needs with the added advantage that it can be easily taken apart when required!

What has my tale of a new top on old foundations got to do with today's photograph? Well, my main subject, the font at the west end of the nave of Peterborough Cathedral, is similarly arranged. When the Victorians came to restore the font they wanted to keep the thirteenth century bowl with its sensuous undulations and stiff-leaf carving, but felt it needed better support. So they designed new columns that drew their inspiration from the period of the upper part, and put the whole together. It looks marvellous. A couple of years ago the font was moved into its present position and the flower-like paving was designed to give it emphasis. That was an excellent decision: not only does it draw attention to this delightful object, but it provides wonderful foreground interest for a shot down the length of the nave with its Norman arcades and nave ceiling of c.1220!

photograph & text (c) T. Boughen

Camera: Olympus E510
Mode: Aperture Priority
Focal Length: 11mm (22mm/35mm equiv.)
F No: f5.6
Shutter Speed: 1/20
ISO: 400
Exposure Compensation: -0.7 EV
Image Stabilisation: On

Looking up

click photo to enlarge

Mankind's impact on the earth is much discussed these days, particularly with regard to global warming, diminishing resources, the extinction of life forms, and the despoiling of land and the sea. Such are the demands that we make of our finite planet, it is increasingly hard to find a place where the mark of man is not visible. The uninhabited desert is frequently littered with the debris of wars. Mount Everest is marked by the dumps of successive generations of climbers. The jungles of the tropics are scarred by new roads and burnt clearings. And now we read that the seas are becoming a soup of decaying plastic as well as a dump for sewage and other noxious materials.

So, where can we look to see a sight unchanged from that seen by our ancestors? Well there clearly are still some locations on land and sea but they usually have to be sought out. The most convenient place is actually above our heads! Especially at night. The stars have held a fascination for mankind ever since he first glanced skywards. They offer a unique sight that is available to all without the inconvenience of travel. Or they should. The problem is that light pollution from cities hides all but the brightest stars, the moon and planets, and today it's only in the countryside away from street lighting that we can see the heavens in all their beauty - the odd satellite or aircraft permitting! The International Dark-Sky Association and its affiliated organisations work to return our birthright to us. Interestingly the shape of the constellations has changed slightly since Stone Age man gazed upwards, but essentially, what he saw, we see.

When the builders of our medieval cathedrals came to decide how to finish their ceilings they often painted golden stars on a blue background to represent the night sky or heaven, the destination of believers. As vaulting became more intricate and the short decorative ribs called liernes were introduced, it seemed obvious to make it into a star pattern (called a stellar vault), and symbolise heaven with one beautiful, radiant star. That is what happened to the underside of the crossing tower of Peterborough Cathedral shown in the photograph above.

photograph & text (c) T. Boughen

Camera: Olympus E510
Mode: Aperture Priority
Focal Length: 14mm (28mm/35mm equiv.)
F No: f6.3
Shutter Speed: 1/30
ISO: 800
Exposure Compensation: -1.3 EV
Image Stabilisation: On

The fan vault

click photo to enlarge

The builders of our medieval cathedrals and churches were men of great ingenuity. The structural problems that they had to overcome - spanning ever greater spaces, erecting ever taller buildings, bringing light into the centre of wide buildings - were challenges familiar to architects today. The difference is that now we use computers, man-made materials, electricity and high technology in designing and building: in the middle ages it was muscle power, wood, stone and chisels that did the work.

Go into any major church and look up. The chances are that somewhere in the building you'll see vaulting. Springing from the forest of columns will be arches of stone that spread across naves, chancels, aisles and transepts. Often they will form star-like patterns across the ceiling, and if you look carefully you'll see the spaces between these ribs filled with carefully crafted pieces of stone. From the humble barrels and groins of the eleventh and twelfth century, through the quadripartite, sexpartite, tiercerons, liernes and stellar vaults of subsequent centuries, the progress of English Gothic vaulting is a story of increasing complexity and beauty, the final flowering of which is the stunning fan vault of the late fifteenth century.

This type of vaulting is peculiar to English Gothic architecture, with no parallels on the continent of Europe. It seems to have developed in the cloisters of Gloucester Cathedral around 1350. The best examples of the fully developed form are to be found in King's College, Cambridge, in Christ Church, Oxford, in Bath Abbey and in the retrochoir of Peterborough Cathedral (seen in today's photograph). Fan vaults differ from earlier vaulting in not comprising ribs and infilling, but rather halved concave cones with blind tracery carved on their surfaces. The organic forms and complexity of the decorative patterns make the experience of walking into a space roofed in this way incomparable!

photograph & text (c) T. Boughen

Camera: Olympus E510
Mode: Aperture Priority
Focal Length: 11mm (22mm/35mm equiv.)
F No: f5.6
Shutter Speed: 1/125
ISO: 800
Exposure Compensation: -1.0 EV
Image Stabilisation: On