Katherine Cross in Ampthill Park, Bedfordshire, was one of the most archaeologically sensitive sites Cambridge masons Rattee & Kett have ever worked on. But that was not all that made it memorable. First newts, then temperatures of -6ºC and then snow combined to thwart the masons’ efforts. But when everyone has forgotten the obstacles, they will still be able to see the quality of the Portland stonework. Rattee & Kett Director Andy Brown praises the clients, the town council of Ampthill, for their commitment, and the architect, Chris Garrand, for ensuring that that commitment was realised. “They deserve recognition for having done the job properly – and I’m sure they’ll get it. This will be an award-winning project,” says Andy.

It isn’t the biggest project Rattee & Kett have ever undertaken but the restoration of the Scheduled Ancient Monument of Katherine’s Cross in Ampthill Park, Bedfordshire, is certainly one of the most sensitive. The site is so important from an archeological perspective that even replacing a 1980s wooden fence around the cross is an issue, for fear of damaging some important relic lying below the surface.

The fact that the cross was erected in commemoration of the incarceration of Katherine of Aragon on the site while she was being divorced by Henry VIII, gives an indication of the importance of this location. Katherine spent three years in a fortified house called Ampthill Castle that stood on top of what is now a grassy hill. It had been built in the 15th century by Sir John Cornwall, an ally of Henry V, and became one of Henry VIII’s favourite hunting lodges.

After Katherine’s death it was neglected and by 1600 had become ruins, much of the stone being purloined for other developments, probably including Ampthill Park House below the hill. In the late 18th century Capability Brown created the open landscape of the park as it is seen today.

The Gothic cross commemorating Katherine’s time at Ampthill is recorded as having been built in 1773 by architect James Essex for Lord Ossory, although Rattee & Kett discovered the date of 1760 carved on the inside of one of the stones when they dismantled the cross. The design by James Essex is said to have been influenced by the poet and writer Horace Walpole, Earl of Orford. There is a verse by Walpole cut into the stone at the base of the cross and reproduced on a more modern plaque in front of it (see photo on the next page). It was believed that the lettering was the original from the 18th century until the cross was dismantled and an inscription on the back of the stone was discovered stating that it had been re-cut in 1868.

Katherine’s Cross gained additional fame in the latter part of the 20th Century, as it was at the base of this monument that Kit Williams’ Golden Hare treasure was buried. Williams wrote the book Masquerade that included clues to the hiding place and sent the nation on a treasure hunt.

These days, digging a hole anywhere near the cross is considered sacrilege because there is a danger it would damage treasure far more valuable in historical terms than the Golden Hare. Rattee & Kett were not allowed to penetrate the ground. They had to stand the scaffolding on protective plates and covered an area large enough for a 12m stone delivery truck to turn round on in interlocking plastic panels so that the tyres did not damage any artefacts just below the surface.

The constraints also meant that the footings of the cross could not be disturbed. If they had been it would have involved a full scale archaeological investigation, which would have been the first ever undertaken and would, no doubt, have been fascinating, but would also have been expensive. As the local ratepayers were footing half the bill through the council (the rest came from grants), it was more than was wanted to protect and preserve the cross.

As if there were not enough constraints from the archaeology, when Rattee & Kett arrived on site they found newts were living in and around the structure. They duly reported it and work stopped while English Nature surveyed the area and found both smooth and great crested newts. It delayed the project, of course, but as Rattee & Kett Director Andy Brown says: “It’s nice to know you haven’t messed up the ecology of the area.”

The discovery resulted in a little bit of re-design by architect Chris Garrand, of Luton, who oversaw the project. He incorporated open joints into stonework at ground level so the newts could continue to live and breed there.

Slots have also been incorporated into the stonework higher up the plinth on which the cross stands. They are ventilation slots, not for the comfort of the newts, but to allow air to circulate, the architect having decided that a gap should be left between the brick and the stone to prevent moisture penetration. The stone is tied to the brick by stainless steel clamps.

The decision to carry out work on the cross resulted from some obvious movement of the stone, creating the gaps that had allowed the newts in. As the structure was dismantled it became apparent that the brick core had disintegrated to about half its thickness. Rattee & Kett had to replace about 50% of the bricks.

Because the work started in November last year, the scaffolding was enclosed and heated, not only for the masons but also so the lime mortar being used could be protected from the frost. Even so, when temperatures reached -9ºC in January the work had to come to a halt and then it snowed in February and Rattee & Kett’s masons could not even get to the site. “We were just waiting for the earthquake,” says Andy Brown.

The original idea had been to dismantle the cross and take all the material back to the stonemasons’ yard at Longstanton in Cambridgeshire, but on site it seemed a better idea to carry out most of the work there, although the cross itself did go to Longstanton. The top finial is thought to be original and the side finials later replacements.

Four people worked on site – two masons, a conservator and a labourer.

Chris Garrand praises the skills of Rattee & Kett’s people, especially conservator Michael Brown and mason Mani Cortis. Mani comes from Malta and joined Rattee & Kett when they were working on Westminster Abbey in London in the 1980s. He has been with them ever since.

Chris credited Mani with the practical solutions to questions raised on site by knowing what the original masons would have done. For example, Mani said the 18th century masons would have put the stone of the plinth up first and then built the brick inside it. “That made a lot of sense to me,” says the architect.

Again, it was at Manni’s suggestion that the top tier of stone was completely replaced using the Broadcroft basebed Portland limestone that was a perfect match to the original and was used for all the indents and replacement stonework on the project. And he presented the solution to the question of the stability of the cross. Previously held simply by a dog cramp, he suggested adding a block of stone (a piece of Clipsham that was in the masons’ yard was used) secured by a stainless steel dowel at the base of the shaft.

The greatest praise in conservation work is to ask what work has been carried out because it is not obvious. Chris says: “To the untrained eye it doesn’t look as if much has been done here, but actually they have done a lot.”

He is pleased with the quality of the work produced and the way it was achieved. “I actually enjoyed working with the people on site,” he told NSS. “I was open to ideas and suggestions from anyone on site and in the end I think we were all very pleased with the way the job went. It’s a bit rare that professional and craft sides work together so well.”