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| Name | Church of St Pega |
| Date | 11th Century |
| Location | Chestnut Close, Peakirk, Peterborough, Cambs PE6 7NW |
| Type | Church |
| Original use | Church |
Architecture::
The church has a unique dedication and consists of a chancel with a north vestry (sacristy), a small north chapel, a nave of 3 bays with north and south aisles, a south porch, and a triple western bell turret (Rutland) on the west gable of the nave.
The fabric of the nave is late Saxon, while the North arcade is well-developed Norman work; the South arcade is early English. The chancel arch is of intermediate transitional style. It was restored in 19th century.
St Pega's is known for its series of medieval paintings covering most of the North Aisle, the whole of the north wall of the Nave, and part of the south wall and South Aisle were uncovered in the 1950's. Artistically the paintings are poor quality but there are people's art, intended to convey their meaning at a glance to simple folk who would be familiar with the version of the Gospel story as told in the Miracle and Passion Plays by the priest, in the Golden Legend. There is a lack of proportion in some of the figures and features, where the central figure has been drawn larger to become the focal point of the painting, and where torturers and executioners are deliberately drawn with grotesque countenances or ill-proportioned bodies and heads. The size of St. Christopher is purposely exaggerated and the colours are bright and are of the same (mainly red and yellow) due them being the only colours available. They are accompanied with inscriptions and were probably painted by the same artist.
The paintings that exist are a Passion Cycle, a St. Christopher, 2 Moralities or warning pictures, and 2 unidentified scenes as well as post-reformation texts.
South Porch
The main entrance / south porch has a double-chamfered pointed arch and semi-circular responds and dates from 1220.
South Aisle
The South arcade is Early English and has double chamfered pointed arches and circular piers with capitals and abaci with nail head decoration. It has a 3-light straight headed window with hood mould with ball flower decoration.
A 14th century Aumbry is in the north east part of the south aisle and a plain arched Piscina (Basin with drain) showing that here was once an altar with a chapel. North West of the south aisle is an octagonal 14th century font. In the north wall a square locker rebated for a door.
The west respond of the South Arcade retains much evidence of red pigment and the arch mouldings also show traces of red colouring. There is also a 13th century lancet in the west end.
Near the south door is the lower part of a 13th Century heart memorial. Opposite the South door is a large figure of St. Christopher. He stands with his huge straight staff, against a background of scrollwork, while a donor with scroll kneels on one side, balanced by a mermaid on the other. It is of interest that his figure interrupts the Passion Cycle with which the whole of the rest of the wall is occupied, although it is contemporary. It is believed he was placed there so he protects travellers and worshippers as they leave.
The painting near the doorway is 2.9m (9.5ft) x 1.6 (5ft 4") wide including the borders. These upright borders are of faded black or grey outlined in yellow, with white diamond shapes also outlined in yellow in each of which is a 5 petal rose or flower in pink with red centre and divisions between the petals. The water at the base is in irregular, flowing red and white lines with traces of fish in black. Above this, the river banks are yellow. The whole of the rest of the background is covered with double scroll-work with trefoil leaves and tendrils (a primitive vine scroll) in deep red. On the left is a kneeling donor with a scroll balanced by a mermaid on the right, with comb and mirror and scroll. The Saint has bare legs and is clad in a white cloak with hood or cape lined with red and has elaborate edging. His staff is long and straight, and is in fact in the form of a pillar with base and bell-capital.
In the southeast corner was originally connected with the altar since it was placed over the surviving aumbry and piscina. It measures just over 1.98m (6.5ft) x 1.68. (5.5ft) being within a border 11.43cm (4.5") to 12.7cm (5") wide. The border varies from the 'perspective cube' used throughout the nave and north aisle. The corners are squared off, and each contains a charming 4-leaved hawthorn foliage pattern. There are 2 main figures, the one on the left is in a grey cloak with red tunic or surcoat beneath and is seated on a throne. 1 leg is visible and appears to be in armour, or with a very elaborate long pointed shoe or solleret. The figure leans over and with a long stick, spear or lance, appears t strike a shorter object held in the right hand of a 2nd figure who inclines towards the 1st; the other hand of the 2nd figure is raised as if in wonder. Beneath the 2nd major figure is 1 on a slightly smaller scale, apparently kneeling on 1 knee and holding a long white rod or staff which nearly touches the base of the throne on which the 1st major figure sits. Below this smaller figure is a fragment of contemporary Gothic script lettering.
Nave
The Eastern angles of the nave are 11th Century but principally it was built in the 12th Century. It is 5.32m (17ft 6") wide and its length is 10.7m (35ft). The nave has cusped 13th century lancet clerestory windows and parapet with moulded coping.
The west wall of the navies from an aisle less Norman building and has 3 flat buttresses with set-offs.
In the northeast corner of the nave there is an opening through the wall, which was formerly the entrance onto the road - left gallery across the chancel arch. 3 steps remain.
The Nave also has a Norman South doorway with 1 order of colonnettes and tympanum with fan design and arch zigzag carvings.
The organ case and pews at the west end of the nave, the pulpit and priest's stall are all examples of mid-19th Century woodwork.
The main series of paintings occupies the north wall of the Nave. Within the nave, above the Norman arcade, there is a 14th century painting of 'The Passion Cycle'. There are 11 scenes remaining intact and in 2 rows. They are framed, divided horizontally by a chevron or perspective cube motif in red and white, painted as if in relief. Each scene is divided with pillars and capitals in yellow. The division in the upper row do not correspond with those in the lower. A large painting of St. Christopher interrupts the paintings and 2 single-light trefoiled clerestory windows also break the subjects. Damage was done when a series of heavy iron ties were bolted through the north nave wall below the clerestory to the wall-plate of the aisle roof.
The Cycle chosen is a most unusual one, and strongly suggests a Passion Play as its prototype. The commencement with the Last Supper instead of the Triumphal Entry; and the conclusion with the Appearance to Mary Magdalene instead of the Ascension is the 1st unusual point - thought it is just possible that these scenes might have been shown on other walls. The inclusion of such rare scenes as the Washing of the Disciples' feet, the Mocking and Buffeting of Christ, the mission of the almost 'standard' scenes of the Carrying of the Cross and the Descent into Hell.
Chancel
The transitional chancel arch with its tall double-chamfered arch and circular responds, once capital has waterleaf decoration and the other has deep undercut foliage. It bears evidence of having been painted with the 'perspective cube' border pattern, with chevrons on the soffit of the arch. There was painting on the wall flanking the Chancel arch itself, but it has almost entirely perished.
The chancel measures internally 7.77m (25ft 6") by 3.88m (12ft 9") and has a large East window of 5 trefoiled lights with tracery, under a four-centred head, and 2 Perpendicular south windows of 4-centred arch 3-lights. These windows date from 1480. There are 4 corbels in the chancel and were brackets for the timber members of a former roof.
In the north wall of the chancel there is a 15th century Aumbry (cupboard) with modern doors, used to hold the sacred vessels for Mass and Communion. There is a 15th century Piscina on the south wall of the chancel near the High Altar. The Piscina's were used for washing the Communion vessels, and the priest's hands.
Over the west end is a Norman gabled bellcote with 3 round-arched bell-openings with 3 round-arched bell-openings.
In the external wall at the northeast corner of the chancel there is an elongated quatrefoil opening, with holes for a former iron grille, which would have been used for the periodical exhibition of a relic.
The earliest painting in the church was found in the North West corner of the chancel and consists of a few fragments of masonry lines in red- part of the late 12th or early 13th century scheme of decoration. There are faint traces of post-Reformation texts - black-letter text on a continuous scroll, passing in front of and behind a tree. The 16th century text is Colossians 3,1. 'If ye be risen with Christ', etc, the Epistle for Easter Day.
North Aisle
The North aisle of circa 1170 has a plain chamfered round arched doorway and 3-light straight headed windows. There is an 11th century scalloped capital brought from Crowland Abbey on the window sill.
At the east end of the Aisle is a fragmentary subject, in the same boarder and with the same flowered background. It is 1.83m (6ft) x 1.7m (5.5ft).The soldier in a close-fitting mail coif is probably a torturer or executioner in the scene of the martyrdom of a saint. The subject of the work is too far gone to identify but people believe it is the torture or execution of a female Saint Catherine, or perhaps Margaret.
In the centre section of the aisle, between the large 3-light window and the north door, is 1 of the best preserved subjects in the church. The first of the Deaths in the 3 Living and 3 Dead subject was also damaged when a buttress was erected against a crack or settlement in the heavily leaning north aisle wall in Victorian times.
Over the North door the painting is a warning against the sin of the idle gossip or scandalmogering, such as is described in Dr. Owst's "Medieval Preaching'. The gossiping ladies of Peakirk, with the devil perched on their shoulders. The moral is that gossip and idle chatter, particularly in church, would lead you to hell.
The last painting is extremely fragmentary and largely concealed by the organ, but its identification is quite certain. It dates to the 2nd half of the 15th century. When the nave series was damaged by structural changes, the St. Christopher there ceased to be visible so he was replace by an even large figure west of the north door, which would still be visible from the south entrance. The remains consist of a grey cloak with red lines and a pink under tunic. The sleeve was lined in red and hangs in elaborate folds. The Saint has had an elaborate, curled beard and long hair, and a highly decorated halo.
There is also a 13th century lancet in the west end.
North Chapel
Adjoining the North Aisle on the east is a 12th Century north chapel, which retains one feature the arch with its rounded soffit. The entrance to the north chapel is 15th century woodwork and Jacobean panelled screen, which also seems to have Perpendicular fragments.
The north window of the chapel has 3 wide trefoiled lights and a 15th century 4 centred head. The chancel arch consists of well-designed foliate capitals (the upper part of an architectural pillar) and a moulded square-edged abacus recessed at the angles. The arch is pointed and was rebuilt in the 13th century.
There are 2 corbels in the north chapel where they may have served as image or light brackets and 1 in the vestry. There is also part of a cross slab from a grave.
Vestry
A small 4 centred doorway opens onto the North vestry to the chancel and a modern west doorway leads to the north chapel, which is lit on the east by a window of 2 trefoiled lights.
West of the vestry there is evidence of a painting but the remains are too fragmented.
The wrought iron entrance gates to the south porch of the churchyard are 18th Century as well as many of the headstones.
The building was listed as a Grade I building on 15th December 1955.
Social History :
