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Church in Somerset, England

The Abbey Church of Saint Peter and Saint Paul, commonly known as Bath Abbey, is a parish church of the Church of England and former Benedictine monastery in Bath, Somerset, England. Founded in the 7th century, it was reorganised in the 10th century and rebuilt in the 12th and 16th centuries; major restoration work was carried out by Sir George Gilbert Scott in the 1860s. It is one of the largest examples of Perpendicular Gothic architecture in the West Country. The medieval abbey church served as a sometime cathedral of a bishop. After long contention between churchmen in Bath and Wells the seat of the Diocese of Bath and Wells was later consolidated at Wells Cathedral. The Benedictine community was dissolved in 1539 during the Dissolution of the Monasteries. The church architecture is cruciform in plan An active place of worship, it also hosts civic ceremonies, concerts and lectures. There is a heritage museum in the cellars. The abbey is a Grade I listed building, 100 hides near Bath for the establishment of a convent. This religious house became a monastery under the patronage of the Bishop of Worcester. King Offa of Mercia successfully wrested "that most famous monastery at Bath" In 944 Folcwin reformed the Abbey of Saint Bertin in France along Benedictine lines and monks who opposed the reform fled to England. King Edmund I gave them the church at Bath, which was then in royal hands. Little is known about the architecture of this first building on the site. Monasticism in England had declined by that time, but Eadwig's brother Edgar (who was crowned "King of the English" at the abbey in 973) began its revival on his accession to the throne in 959. He encouraged monks to adopt the Rule of Saint Benedict, which was introduced at Bath under Abbot Ælfheah (St. Alphege), who also repaired the church. Sometime in the 10th century, as a result of the monastic reforms of Oswald and Dunstan, the monastic community of the site was re established as a Benedictine monastery, which it remained until the Dissolution of the Monasteries in the 16th century.

Bath was ravaged in the power struggle between the sons of William the Conqueror following his death in 1087. The victor, William II Rufus, granted the city to a royal physician, John of Tours, who became Bishop of Wells and Abbot of Bath. Shortly after his consecration John bought Bath Abbey's grounds from the king, as well as the city of Bath itself. Whether John paid Rufus for the city or whether he was given it as a gift by the king is unclear. The abbey had recently lost its abbot, Ælfsige, and according to Domesday Book was the owner of large estates in and near the city; it was likely the abbey's wealth that attracted John to take over the monastery. By acquiring Bath, John also acquired the mint that was in the city. In 1090 he transferred the seat, or administration, of the bishopric to Bath Abbey, probably in an attempt to increase the revenues of his see. Bath was a rich abbey, and Wells had always been a poor diocese. By taking over the abbey, John increased his episcopal revenues. William of Malmesbury portrays the moving of the episcopal seat as motivated by a desire for the lands of the abbey, but it was part of a pattern at the time of moving cathedral seats from small villages to larger towns. There are several stories that, on a visit to Bath, King had a dream in which he "saw the Heavenly Host on high with angels ascending and descending by ladder" which is now represented on the west front of the cathedral. However, this interpretation, which first appeared in the writings of John Harington, around 100 years after it was supposed to have happened, has been challenged. Robert and William Vertue, the king's masons were commissioned, promising to build the finest vault in England, promising "there shall be none so goodely neither in England nor France". Their design incorporated the surviving Norman crossing wall and arches. They appointed Thomas Lynne to supervise work on site and work probably began the following spring. Oliver King planned a smaller church, covering the area of the Norman nave only. He did not live to see the result, but the restoration of the cathedral was completed just a few years before the Dissolution of the Monasteries in 1539.

Prior Holloway surrendered Bath Priory to the crown in January 1539. It was sold to Humphry Colles of Taunton. The abbey was stripped of its co cathedral status in the aftermath of the Dissolution when the cathedral was consolidated in Wells. The church was stripped of iron, glass and £4,800 worth of lead and left to decay. and in 1583 decreed that it should become the parish church of Bath. James Montague, the Bishop of Bath and Wells from 1608 to 1616, paid £1,000 for a new nave roof of timber lath construction; according to the inscription on his tomb, this was prompted after seeking shelter in the roofless nave during a thunderstorm. He is buried in an alabaster tomb in the north aisle. The restoration work on the Abbey financed by Montague was completed by 1611. Work carried out in the 20th and 21st centuries included full cleaning of the stonework and the reconstruction of the pipe organ by Klais Orgelbau of Bonn. The west
front of the building, having decayed badly in the 500 years since it was built, has been subject to almost wholesale restoration. The stonework of the west front had been subject to natural erosion therefore a process of lime based conservation was carried out during the 1990s by Nimbus Conservation under the guidance of Professor Robert Baker who had previously worked on the west front of Wells Cathedral. Some of the damage to sculptures had been made worse by the use of Portland cement by previous work carried out in the Victorian era. A statue of St Phillip was beyond repair and was removed and replaced with a modern statue by Laurence Tindall.

The Abbey is built of Bath stone, which gives the exterior its yellow colour, and is not a typical example of the Perpendicular form of Gothic architecture; the low aisles and nave arcades and the very tall clerestory present the opposite balance to that which was usual in perpendicular churches. As this building was to serve as a monastic church, it was built to a cruciform plan, which had become relatively rare in parish churches of the time. The interior contains fine fan vaulting by Robert and William Vertue, who designed similar vaulting for the Henry VII chapel, at Westminster Abbey. The building has 52 windows, occupying about 80% of the wall space, and was presented to the church by the Bath Literary Club. The window of the Four Evangelists over the northwest door is a memorial to Charles Empson, who died in 1861. In 2010 a stained glass window was uncovered in the abbey vaults. The design around the window is by William Burges.

The two stage central tower is not square but oblong in plan. It has two bell openings on each side and four polygonal turret pinnacles. The tower is 161 feet (49 m) high, and is accessed by a staircase of 212 steps.

In 1700 the old ring of six bells was replaced by a new ring of eight. All but the tenor still survive. In 1770 two lighter bells were added to create the first ring of ten bells in the diocese. The tenor was recast in 1870. The abbey's tower is now home to a ring of ten bells, which are hung unconventionally such that the order of the bells from highest to lowest runs anti clockwise around the ringing chamber, rather than in the usual clockwise fashion. The tenor weighs 33 cwt (3,721 lb or 1,688 kg). Bath is a noted centre of change ringing in the West Country.

The interior fan vaulting ceiling, originally installed by Robert and William Vertue, was restored by Sir George Gilbert Scott between 1864 and 1874. The fan vaulting provides structural stability by distributing the weight of the roof down ribs that transfer the force into the supporting columns via the flying buttresses. Gilbert Scott's work in the 1870s included the installation of large gas chandeliers made by the Coventry metalworker Francis Skidmore. They were converted to electricity in 1979. Other new features included a new pulpit and seating. A marble altarpiece from General George Wade in the sanctuary was removed and replaced with a decorative reredos. Pews installed in the nave during Scott's renovations were replaced with stackable chairs in 2018, a move which was opposed by the Victorian Society leading to a Consistory court case which was decided in favour of the Abbey. In the 1920s Thomas Graham Jackson redesigned the Norman Chapel into a War Memorial Chapel, now Gethsemane Chapel, and added a cloister. New quire screens were installed in 2004, partly to improve the acoustics, topped with 12 carved angels playing musical instruments. A tiled floor dating from the late 13th to early 14th centuries was discovered in August 2018. Work to rebury coffins which had previously been under the abbey and stabilise the floor included the digging of a trench in which the tiles were uncovered.

Within the abbey are 617 wall memorials and 847 floor stones. They include those dedicated to Beau Nash, Admiral Arthur Phillip (first Governor of the colony of New South Wales, which became part of Australia after federation in 1901), James Montague (Bishop of Bath and Wells), Lady Waller (wife of William Waller, a Roundhead military leader in the English Civil War), Elizabeth Grieve (wife of James Grieve, physician to Elizabeth, Empress of Russia), Sir William Baker, John Sibthorp, Richard Hussey Bickerton, William Hoare, Richard Bickerton and US Senator William Bingham. Many of the monuments in the churchyard were carved between 1770 and 1860 by Reeves of Bath. War memorials include those commemorating the First Anglo Afghan War (1841–42), the First World War (1914–18), and the Second World War (1939–45). The most recent memorial was installed in 1958 to commemorate Isaac Pitman, the developer of Pitman shorthand, who died in 1897. The compasses of the manuals were extended, one and a half octaves of pedals were added and the instrument renovated in 1802 by John Holland; further repairs were effected by Flight & Robson in 1826. then to St Mary's Church, Yatton, where it was subsequently rebuilt and extensively modified. The abbey's next organ was built in 1836 by John Smith of Bristol, to a specification of thirty stops over three manuals and pedals. This instrument was rebuilt on a new gallery in the North Transept by William Hill & Son of London in 1868, to a specification of forty stops spread over four manuals and pedals, although the Solo department, which would have brought the total to well over forty, was not completed. It was mostly removed to the Church of St Peter & St Paul, Cromer in 1896, the remainder being kept for incorporation in the new abbey organ. A new organ was supplied to the abbey in 1895 by Norman and Beard of Norwich. It had 52 stops spread over four manuals and pedals, and stood divided on two steel beams in the North and South crossing arches, with the console standing on the floor next to the north west pier of the crossing. New cases were to be provided to designs by Brian Oliver of Bath, but were never executed. In 1972 this was increased to a total of 65 speaking stops. The Positive division, with its separate case behind the console, was installed at the same time. Problems caused by the tonal scheme's lack of coherence—the 1895 pipework contrasting sharply with that of 1972—and with reliability, caused by the wide variety of different types of key actions, all difficult to access, led to the decision to have the instrument rebuilt yet again. The organ was totally reconstructed in 1997 by Klais Orgelbau of Bonn, retaining the existing instrument as far as was possible and restoring it largely to its 1895 condition, although the Positive division was kept. The instrument as it now stands has 63 speaking stops over four manuals and pedals, and is built largely on the Werkprinzip principle of organ layout: the case is only one department deep, except for parts of the Pedal sited at the back rather than the sides of the case. New 75 per cent tin front pipes were made and the case completed with back, side walls and roof. Pierced panelling executed by Derek Riley of Lyndale Woodcarving in Saxmundham, Suffolk, was provided to allow sound egress from the bottom of the case. The old console has been retained but thoroughly rebuilt with modern accessories and all new manuals. Twenty two of the organ's 83 ranks contain some pipework from the 1868 instrument. Four ranks are made up entirely of 1868 pipework, and 21 contain 1895 pipework. Only two ranks are entirely of 1895. Forty eight ranks contain some new pipework, 34 of which are entirely new. Old wind pressures have been used wherever possible. The old wind reservoirs have also been restored rather than replaced. The instrument has tracker key action on the manuals, with electrically assisted tracker action to the pedals. The stop action is electric throughout.

A four stop continuo organ was built for the abbey in 1999 by Northampton based organ builder Kenneth Tickell. The instrument, contained in a case of dark oak, is portable, and can be tuned to three pitches: A=440 Hz (modern concert pitch), A=415 Hz and A=465 Hz. It is also possible to tune at A=430. A lever pedal can reduce the stops sounding to only the 8' stop and, when released, returns the organ to the registration in use before it was depressed.

The abbey has sections for boys, girls, lay clerks and children (the Melody Makers). As well as singing at the abbey, they also tour to cathedrals in the UK and Europe. The choir has broadcast Choral Evensong on BBC Radio 3, and has made several recordings. It performed at the Three Tenors concert for the opening of the Thermae Bath Spa. The abbey is also used as a venue for visiting choirs and, from its inception in 1947, the City of Bath Bach Choir. The choirs of Bath Abbey sung the 2015 Christmas Service live on BBC One. They are led by the directors of music and assisted by the organists. The current Director of Music is Huw Williams who took the role in 2017. He replaced Peter King who served from 1986 to 2016.

Bath Abbey's Discovery Centre is located beneath the Abbey shop and features artefacts and exhibits about the Abbey's development and history. Displays included the history of the building of the Abbey, monastic life, and the Abbey's impact on the community, the architecture and sculptures of the buildings, and the role of the Abbey in present times. The Discovery Centre replaces the previous Heritage Museum.