• 12th - 13th centuries the ceiling was built.
• In the 1740's a board replacement scheme was put in place.
• In 1834 another board replacement scheme was in place.
• During the 1920's the death watch beetle threatened much of the woodwork.
• In the 1930's a detailed study was conducted and useful photographs were produced.
• In 1955 another study was conducted.
• In the 1990's it became apparent that the condition of the ceiling was deteriorating.
• In 1997 restoration work started on the ceiling; it was a 5-year programme.
• In 2001 there was an arson attempt on the Cathedral that put the restoration process back.
• In 2007 the work was completed.

Architecture:

The ceiling structure consists of 80 cambered horizontal joists, jointed at each end with a halving joint to a sloping joist. It is made from oak boards laid edge over edge and fastened to a network of trusses by nails driven in from below. Over the centuries this suspension system has been reinforced by a number of other means. During the restorations in 1834 bolts were put through many of the boards to secure the ceiling to the roof trusses.

The ceiling measures 62.2m by 10.7m (204.1 ft by 35.1 ft) and is divided into 10 bays. Each bay consists of 16 rectangular panels of alternately diagonally set boards, forming a series of diamond shapes. The 2 central rows of panels form a flat ceiling with the two outer rows being canted at 45^. The original oak ceiling boards are riven and generally tapered in section with maximum thickness ranging from about 175mm to 220mm (6.9 in to 8.7 in). The full-length boards are on average just under 2.1m (6.9 ft) long.

Overall the number of boards is approximately 3450, of which 1240 are later replacements. The ceiling is 25m (82 ft) above the ground. Some of the oak boards have been replaced with conifer boards and the space between the lower edge of the ceiling and the stone wall is filled with extant ashlar boarding.

A study suggests that the ceiling was constructed in an east - west order and would have taken several years to complete, with it being wholly or mostly painted on the ground before being hoisted up.

It is painted in a style known to have been prevalent in the fenland area in the 1220's. The ceiling can be appreciated by dividing it into 3 themes; power, morality, and knowledge. The 1st obvious theme can be found on the long central backbone of the ceiling, in the row of kings, bishops and archbishops (6 kings, 3 bishops and 2 archbishops). The kings and prelates are paired in peaceable dialogue. This is a picture of harmony and continuity. The number of figures precludes a straightforward representation of the Kings of England since the Conquest. The ceiling, however, does not include any local saints.

On either side of the easternmost kings and bishops are 4 musicians including a cornet blowing angel, a fiddler and a dulcimer player. Musical imagery became a popular topic in Gothic church art from the 13th century onwards because it could be used to illustrate the dichotomy of good and evil.

The main theme of the ceiling is the powers through which God creates and rules the world. The line of lozenges along the centre of the ceiling shows the representation of space and time, life and death, good and evil at 1 end, and the sun and moon at the other. These are alongside the kings, bishops and archbishops and can be seen as powers through which God rules the earthly Kingdom, the power of the church and the power of the state. They can also be seen as the 2 protectors of His church. The liberal arts occupy side panels toward the west end. There are many more pagan symbols on the ceiling that were common in Christian art from early times.

Social history:

The ceiling has been said to highlight a transition from the age of the great painted ceiling to that of the carved vault boss. It also tells us about the way that Peterborough monks related to ideas to one another: power, knowledge and morality were connected.

It is suggested that there is an optical illusion found within the ceiling. The impression is gained not of a closed ceiling with panels but of the beams of an open roof. It is only within a limited area of the roof and from a certain distance that illusion is perfect. The frames round the painted figures in the lozenges together with the canted form of the roof produce the effect. The term for a similar effect was the 'scissor beam' roof, which was very common in the late 12th century.