He was also Seneschal of Canterbury Cathedral, an architectural advisor at Winchester Cathedral, sat on the Oxford diocesan committee, and carried out work for New College, Oxford. Peers became a Fellow of the Society of Antiquaries in 1901. He served as secretary of the Society from 1908 until 1921, when he became its Director; as President from 1929 and 1934; and he was awarded its gold medal in 1938. Peers became a Commander of the Order of the British Empire in 1924, and was knighted in 1931. He received honorary doctorates from Leeds University and London University, became a governor of Charterhouse, and was an honorary fellow of King's College, Cambridge. He was a commissioner of the Royal Commission on the Historical Monuments of England from 1921 and became a Fellow of the British Academy in 1926. He became a trustee of the London Museum in 1930, and a trustee of the British Museum in 1933. He was also a Fellow of the Royal Institute of British Architects, and received its gold medal in 1933. He was Antiquary to the Royal Academy from 1933 to 1952. He was elected President of the first session of the Congress of Prehistoric and Protohistoric Sciences in 1932, and became a Knight Commander of St Olav during its second session in Oslo in 1936. Peers married art historian Gertrude Katherine Shepherd on 13 April 1899. They had three sons together. They moved to 18th century Chiselhampton House in Oxfordshire in 1924, having inherited the property from Peers' father in 1921. Peers suffered from a long-term illness during the last seven years of his life, and died at a nursing home in Coulsdon. After a funeral service at Westminster Abbey, his ashes were interred in its Islip Chapel. By the time of his death, Peers had set a standard for the excavation and public presentation of medieval military and monastic sites which endured for several decades. His work has been reassessed in more recent years. Although he is still praised for his contribution towards the protection and preservation of medieval ruins, he has been criticised for the extensive clearance of monastic sites which removed evidence of use and occupation after the medieval period. The clinical presentation of ruins set in lawns with herbaceous borders has also been criticised for removing natural context, and for eliminating the romanticism of overgrown, tumbledown, ivy-clad ruins. Westminster Abbey Muniment Room, London - files about his work at the Abbey and elsewhere.