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Title: Bell's Cathedrals: The Cathedral Church of Exeter

Author: Percy Addleshaw

Release date: October 1, 2006 [eBook #19424]

Language: English

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*** START OF THE PROJECT GUTENBERG EBOOK BELL'S
CATHEDRALS: THE CATHEDRAL CHURCH OF EXETER ***

E-text prepared by Jonathan Ingram, Keith Edkins,
and the Project Gutenberg Online Distributed Proofreading Team

(http://www.pgdp.net/)

EXETER CATHEDRAL—FROM THE SOUTH-WEST.

THE CATHEDRAL CHURCH OF
EXETER

A DESCRIPTION OF ITS FABRIC
AND A BRIEF HISTORY OF THE
EPISCOPAL SEE

BY PERCY ADDLESHAW, B.A. (Oxon.)

WITH XXXVII

ILLUSTRATIONS

LONDON G. BELL AND SONS, LTD. 1921

First Published, January 1898
Second Edition, Revised, 1899
Third Impression, 1907
Fourth Impression, 1912
New and Revised Edition, 1921.

AUTHOR'S PREFACE

Among various books consulted the author specially owes his
acknowledgments to "The Fabric Rolls"; Leland's "Itinerary"; Holler's
"History"; Izacke's "Antiquities of Exeter"; Britton's "History and
Antiquities of Exeter"; "Transactions of Exeter Architectural Society";
Oliver's "Lives of the Bishops of Exeter"; Murray's "Handbook of Exeter";
Archdeacon Freeman's "Architectural History of Exeter Cathedral";
Professor Freeman's "Exeter" (Historic Towns Series); Prince's "Worthies of
Devon"; Worth's "History of Devonshire"; Fuller's "Worthies of Devon";
Macaulay's "History of England"; and Green's "Short History of the English
People." The author would also express his special thanks to the late Canon
Hingeston-Randolph, the learned editor of the Episcopal Registers of the
Diocese, for information which contributed largely to the improvement of
the second edition of this book.

PREFACE TO THE THIRD EDITION

In reissuing this handbook, which during the lapse of twenty-three years
had become out of date in many ways, the editor has introduced
considerable alterations in the arrangement of the matter, with a view to
facilitating its use as a guide to the various parts of the Cathedral. For
suggestions as to this, and for numerous improvements and corrections in
detail he is particularly indebted to Miss Beatrix F. Cresswell, whose
published works "Exeter Churches," "Notes on the Churches of the Deanery
of Ken," and "Edwardian Inventories for the City and County of Exeter"
have made her an authority on the ecclesiology of the Diocese.
E.B.
June, 1921.

CONTENTS

HISTORY OF THE CHURCH OF ST. MARY AND ST.
1
PETER IN EXETER
THE FABRIC OF THE CATHEDRAL. EXTERIOR 19
The Towers 23
The Roof 24
The North Porch 24
The West Front 27
THE FABRIC OF THE CATHEDRAL. INTERIOR 31
The Nave 31
The Minstrels' Gallery 36
St. Radegunde's Chapel 36
St. Edmund's Chapel 39
Monuments in the Nave 39
The North Transept 43
Sylke Chantry 44
St. Paul's Chapel 44
The South Transept 44
Monuments in the South Transept 47
The Choir Screen 48
The Organ 52
The Choir 52
The Choir Stalls 55
The Reredos 56
The Bishop's Throne 56
The Sedilia 56

St. James' Chapel 59
St. Andrew's Chapel 61
The Ambulatory 61
Speke's Chantry 63
Bishop Oldham's Chantry 63
The Lady Chapel 65
Bronscombe's Tomb 66
Stafford's Tomb 66
Tomb of Sir John and Lady Doddridge 67
St. Gabriel's Chapel 69
Quivil's Tomb 69
St. Mary Magdalen Chapel 69

TOMBS IN THE CHOIR AND CHOIR AISLES 71
THE CHAPTER HOUSE AND CLOISTER 73
THE CLOSE AND CATHEDRAL LIBRARY 78
THE BISHOP'S PALACE 79
THE DIOCESE OF EXETER 83
ROUGEMONT CASTLE AND THE GUILDHALL 91
DIMENSIONS 96
INDEX 97

ILLUSTRATIONS

Exeter Cathedral—from the South-west Frontispiece
Arms of the Diocese Title
View of the Cathedral from the South xii
Interior—Chapter House 13
Exeter Cathedral, from an old print 21
The Cathedral—from the South-east 22
The Northern Tower 25
The West Front 26
Portals of the West Front 29
The Nave—from the South Transept 30
The Nave—looking West 33
Corbels and Bosses 34
The Minstrels' Gallery 35
Bays of Nave 37
The "Patteson" Pulpit 38
The Nave—looking East 41
The Transept—looking North 45
Interior in the last century 49
The Choir Screen 51
The Choir—looking West 53
The Choir before Restoration 54
The Choir—looking East 57
The Sedilia 58
Pulpit in the Choir 60
St. James' Chapel 61

St. George's Chapel 62
The Lady Chapel 64
Bishop Bronscombe's Monument 66
Screen of St. Gabriel's Chapel 68
Tomb of Bishop Stapledon 72
Monument of Bishop Marshall 73
The East Gate (pulled down in 1784) 77
The Bishop's Palace 81
Old Houses in Fore Street 90
Rougemont Castle 93
The Guildhall, Exeter 94
PLAN OF THE CATHEDRAL at end

EXETER CATHEDRAL, FROM THE SOUTH.

EXETER CATHEDRAL.

HISTORY OF THE CHURCH OF ST. MARY
AND ST. PETER IN EXETER.

The history of any ancient cathedral must always be interesting, and that of
Exeter is no exception, though "it supplies less of architectural history than
those churches whose whole character has been altered over and over
again." A cathedral represents not only the spiritual, but the active,
laborious, and artistic life of past generations. The bishop, too, was in many
ways the head man of the province, and combined, not seldom, the varied
qualities of priest, warrior, and statesman. The acts of such ecclesiastics
were full of importance, not for their own city only, but often also for the
whole nation. As men who had frequently travelled much and studied
deeply, they summoned to their aid in the building and beautifying of their
churches the most skilled artists end artificers of their time; so, with the
story of the lives of the bishops of a diocese, the history of a cathedral's
building is inextricably woven. To be elevated to a bishopric generally
meant to be put into possession of great wealth—when Veysey became
bishop the revenues of the see of Exeter have, by some authors, been
computed at £100,000; Canon Hingeston-Randolph puts them, with more
reason and authority, at the sum of £30,000—and a large portion of this
money was spent on works connected with the chief church of the diocese.
It is not wonderful, therefore, this generosity being joined to marvellous
skill and taste, that our old cathedrals are at once the despair and envy of
the modern architect. And it is with a feeling of reverence that one recalls
the history of those who built in the heart of each populous city "grey cliffs
of lonely stone into the midst of sailing birds and silent air."
The story of Exeter has an unique interest, and its church, as we shall see, is
in many respects without a rival. The fact that a building of such great
beauty should adorn a city so situated is remarkable; for long after—as we
read in Macaulay—weekly posts left London for various parts of England,

Exeter was still, as it were, on the borders of territories scarcely explored,
and was the furthest western point to which letters were conveyed from the
metropolis. Fuller thus describes the county of Devonshire in his day
(1646): "Devonshire hath the narrow seas on the South, the Severn on the
North, Cornwall on the West, Dorset and Somersetshire on the East. A
goodly province, the second in England for greatness, clear in view without
measuring, as bearing a square of fifty miles. Some part thereof, as the
South Hams, is so fruitful it needs no art; but generally (though not running
of itself) it answers to the spur of industry. No shire showes more
industrious, or so many Husbandmen, who by Marle (blew and white),
Chalk, Lime, Seasand, Compost, Sopeashes, Rags and what not, make the
ground both to take and keep a moderate fruitfulness; so that Virgil, if now
alive, might make additions to his Georgicks, from the Plough-practice in
this county. As for the natives thereof, generally they are dexterous in any
employment, and Queen Elizabeth was wont to say of the gentry: They were
all born courtiers with a becomming confidence."
The city of Exeter is of great age. "Isca Damnoniorum, Caer Wise,
Exanceaster, Exeter, keeping essentially the same name under all changes,
stands distinguished as the one great city which has, in a more marked way
than any other, kept its unbroken being and its unbroken position
throughout all ages." But though Whitaker asserts that in the middle of the
fifth century it was the seat of a bishop, Professor Freeman, with more
authority, declares that the city did not become a bishop's see till the latter
half of the eleventh century, at which period the bishopstools were removed
from the small to the great towns. Until 703 A.D. Devonshire formed part
of the vast diocese of Wessex. About the year 900 A.D. the diocese of
Devon and Cornwall was divided into two—the former with its bishop's
seat at Crediton—only to be reunited again a hundred and fifty years later
when Leofric was appointed bishop.
The first record of a church dedicated to SS. Mary and Peter in Exeter, is
that of an abbey church founded by Athelstan. But Sweyn destroyed it
seventy years later, and it seems frequently to have been attacked by
invaders previous to its destruction. But in 1019 Canute endowed a new
church and confirmed by charter their lands and privileges to the monks.
This building must have been of some pretensions, for it was given to
Leofric for his cathedral church in 1050. It occupied the site of the present

Lady Chapel. When Warelwast and Marshall built their Norman church
they placed it on the east of the old church, leaving an intervening space.
Their nave occupied the site of the present nave, the transeptal towers were
the same, but the choir was shorter and probably terminated in an apse
flanked by smaller apses at the ends of the choir aisles. Traces of one of
these have been found at the end of the third bay of the north choir aisle.
Bronscombe and Quivil (see p. 5) began their reconstruction at this end, and
by adding the ambulatory and Lady Chapel linked together the sites of the
old and new churches.
With the episcopate of Leofric, Exeter first assumes the rank of a cathedral
city. The sees of Devon and Cornwall had been held together by Lyfing, the
last bishop of Crediton. But Crediton, an unfortified "vill," was an easy prey
to the Irish, Danes, and other pirates, who devastated the diocese from time
to time. Leofric felt the urgent necessity for a change, and fixed on the
walled town of Exeter to be his cathedral city. He sent a clerk to the pope
asking him to write to the king recommending the change. The king readily
consented, and the church of St. Mary and St. Peter was given to the bishop
as his cathedral church. The event was clearly regarded as of considerable
importance, for at his installation Edward the Confessor "supported his
right arm and Queen Eadgytha his left." Archbishops, bishops, and nobles
also assisted at the ceremony. Leofric proved a hard-working and wise
prelate, and gave generously of lands and moneys to his church. He had
found it but poorly furnished, the wardrobe only containing "one worthless
priest's dress." He also remembered it in his will, and the great "Liber
Exoniensis" was his gift.
But if the history of the see has its birth with Leofric, the story of the
cathedral begins with the appointment in 1107 of Warelwast as bishop. This
noteworthy man was a nephew of the Conqueror and chaplain to both
William II and Henry I. Inheriting to the full the Norman passion for
building, he pulled down the Saxon edifice and began to erect a great
Norman cathedral in its stead. The transeptal towers attest the magnificence
of his scheme. There is nothing quite like them anywhere else, though at
Barcelona and Chalons-sur-Marne may be seen something similar. But they
suffice to stamp him as an architect of exceptional genius. He laboured
zealously in other matters, founding at Plympton a wealthy Augustinian
priory; he also represented the king at Rome in his famous quarrel with

Anselm. It is said that he became blind and died, an old man, at his priory
of Plympton.
The next important date to notice is 1194, when Henry Marshall, brother of
Walter Earl Marshall, was made bishop. For two years the episcopal throne
had remained empty, the king being absent from England in the Holy Land.
But with the appointment of Marshall a most important stage is reached.
King John gave to the see the tithes of the tin in Devonshire and Cornwall.
This must have largely increased the episcopal income, for Marshall
quickly set about completing the work Warelwast had begun a hundred
years before. To this end he granted the emoluments of St. Erth's Church,
near Hayle, Cornwall, to be used towards defraying the cost of repairs. He
also called upon each householder to show his interest in the work by
subscribing, at Pentecost, an alms of "unum obolum ad minim." For the
sufficient remuneration of the choral vicars he made over to them the
church of St. Swithun in Woodbury, "with all its appurtenances."
To Marshall we owe extensive additions to the nave, the north porch, and
the cloister doorway. He completed the Norman church begun by
Warelwast, but there is no evidence that he extended to the eastward, as is
sometimes stated. The position of the tomb in the "founder's place" on the
north side of the choir indicates that it terminated only a few yards farther
to the east. Beyond there must have been an open space between the
Norman and the old Saxon cathedrals.
For nearly fifty years there are but scant records of work done to the
building. Though Professor Freeman 1 speaks of its "not long-lived
perfection," it is quite possible that Marshall's work was considered, by his
own and the succeeding generation, to be final. Any interest there may be in
the lives of two of the succeeding bishops, until the election of Bronscombe
in 1257, is for the most part due to their labours in other matters. For
example, under Simon de Apulia, the city of Exeter was divided into
parishes; and by William Bruere the chapter house and stalls of the old
choir were completed. He was one of the leaders of the English army at
Acre in 1228. He also created the deanery of Exeter.
But with the arrival of Walter Bronscombe a new career of architectural
energy begins. Now dawns that wonderful transformation period, at the

close of which the church stood pretty much as we now know it.
Concerning Bronscombe's character there has been somewhat bitter dispute.
It is certain that he was accused of craftiness and meanness. But William of
Worcester, whose testimony is valuable, called him Walter le Good.
Whatever may be the real truth of the matter, he seems to have made an
admirable bishop, his election reflecting considerable credit on the acumen
of those concerned in it. For he had not, surely, much to recommend him, at
first sight, for so important a position. Though he was Archdeacon of Surrey
at the time of his appointment, he was not a priest, and he was quite a
young man. He was a vigorous supporter of learning throughout the
diocese, probably because of his anxiety to give other men of humble origin
a fair chance of making their way in the world. He restored the College of
Crediton, and built one at Glaseney. Bronscombe may be credited with
giving the first impetus to the reconstruction of the cathedral by his work in
the Lady Chapel and the chapels on either side of it, viz., that of St. Mary
Magdalen on the north, and St. Gabriel on the south, the latter being
destined for his own tomb. To his Dean and Chapter he appropriated the
church of St. Bruared in Cornwall, that the feast of his patron saint, Gabriel,
might be worthily maintained.
Peter Quivil, his successor in the see, was probably working with him, as he
was a canon of the cathedral before being raised to the bishopric. He
invented and designed the Decorated cathedral, and transformed the
transepts. He must be classed with Warelwast as the chief of the building
bishops. Admirably and sympathetically as his work was continued by those
who followed him, their claim on our recognition and gratitude is less. His
skill, too, seems to have been almost equalled by his generosity, for out of
gratitude the Chapter promised to maintain his yearly obit. In the office of
the mass, in the memento for the dead, his name was ordered to be spoken
primum et praecipium. He seems to have given the Franciscans some cause
for anger; it is suggested that his Dominican confessor urged him to treat
the followers of St. Francis with severity. Anyhow, the aggrieved ones had
their revenge, for the bishop's death, which happened on the eve of St.
Francis, "after drinking of a certain sirrop," was popularly attributed to the
direct intervention of the saint himself. He is buried in the Lady Chapel,
which he had transformed and decorated with such tender care, and a slab

in the centre of the pavement, bearing the legend "Petra tegit Petrum nihil
officiat sibi tetrum," is dedicated to his memory.
It has been ascertained by Canon Hingeston-Randolph that Bishop Quivil
was the first to endow the office of chaunter with an adequate salary, and
that the first to enjoy the benefit of it was Walter de Lecchelade or
Lechlade, though he was by no means the first chaunter or precentor. A
dispute that long agitated antiquaries has thus been settled. For it was
contended by some that John the chaunter was the first to hold the office, by
others that Quivil founded the office and that the bishop's name was really
John Cauntor. But the explanation that the stipend was only increased by
Quivil, and that it existed before his day, was entirely satisfactory, we may
hope, to the supporters of the rival theories. The above-mentioned Walter
Lechlade was murdered "about two in the morning" on his return from
matins in the cathedral cloisters. The murderers escaped through the south
gate of the city, which was left open. An extraordinary sensation was
created, not in Exeter only but throughout England. The bishop invited
Edward I. and his queen to keep their Christmas at the Palace. We are told
"they were very industrious in finding out the murtherers." At last Alfred
Dupont, an ex-mayor and porter of the south gate, was found guilty and
executed accordingly. Perhaps, had the office of chaunter not been
endowed, Walter Lechlade might have continued for many long years to
chaunt in sonorous voice "matins, vespers, obits, and the like." At any rate
the story is worth telling, being an interesting picture of manners in the
middle ages. It will be found given, with many interesting details, in an
appendix by Canon Hingeston-Randolph to his edition of the Register of
Bishop Quivil (p. 438).
Quivil's successor was Thomas De Bytton, Dean of Wells. Under his
guidance the work of transformation planned by his predecessor was loyally
continued, for he faithfully adhered to the original design. Though Bytton
appears to have been less active outside his diocese than many of the Exeter
bishops, his mode of life must have commended itself to a large circle. A
grant of forty days' indulgence was the reward of all those who availed
themselves of his spiritual ministrations, or offered prayers for his
prosperity during his life and after death. Among the signatures appended to
the document notifying this singular privilege are those of numerous
archbishops and bishops, among them being those of the archbishops of

Cosensa and Jerusalem, and Manfred, Bishop of St. Mark's, Venice. "The
seal of Manfred," Dr. Oliver says, "is perfect; he stands robed, with a piece
of embroidery on his alb. The crozier is simply curved. His legend is S.
MANFREDI. DEI. GRA. EPISCOP. SCI. MARCHI." It was dated at Rome
in the year 1300. Possibly Bytton's great learning, by which he had risen to
be Professor of Canon Law at Oxford and Pope's Chaplain, was partly the
reason of so notable a compliment. But the noble work he was doing in the
cathedral church of his diocese, we may hope, had not a little to do with the
honour. For to him we owe the entire transformation of the choir with its
aisles. Bytton's labours were, indeed, very great. We hear of large quantities
of stone procured from Barley, and of sandstone from Salcombe and
Branscombe. He also put a good deal of stained glass into the windows; so
that in the eleventh year of his episcopate the following item is recorded:
"Master Walter le Verrouer for setting the glass of the upper gable and of
eight upper windows, and of six windows in the aisles of the new work, in
gross, £4 l0s." Bytton was succeeded, in 1308, by Walter de Stapledon, the
most famous of all the bishops of Exeter. A younger son of Sir Richard
Stapledon of Annery, his appointment was the first of a succession of
aristocratic nominations. He, too, had been a professor of canon law at
Oxford, was a chaplain to the Pope and precentor of the cathedral church of
Exeter. The feast given after his enthronement was unusually splendid, the
revenues for a whole year being spent on the festivities. It seems as though,
conscious of his great talents, he determined to signalize his accession to
the episcopal office by some event of unusual magnificence. It must be
remembered that Exeter was at this time one of the largest and richest sees
in England. As Professor Freeman has pointed out, "The Bishop of Exeter,
like the Archbishop of York, was the spiritual head of a separate people."
Stapledon set about expediting the work of transforming the cathedral into
the Decorated style in vigorous fashion. The Fabric Rolls record that he
himself gave the (then) enormous sum of £1,800 towards defraying the cost.
His generosity encouraged others to subscribe liberally towards the building
fund. One of his first duties was to complete the choir, a payment being
made to William Canon of £35 2s. 8d. for "marble from Corfe for the
columns." But the choir was really Bytton's, the new bishop had only to
give to it "a few final, though not unimportant, touches." Still he found
plenty of work to hand that might receive the impress of his sole initiative.
He designed and completed the triforium arcade above the choir arches, and

directed the colouring of the choir vault, the total expenses for oil and
colour being estimated at £1 9s. 7¾d. By these "final touches" the
transformation of the choir into the Decorated style was completed. But
Stapledon determined to further enrich his already beautiful church with
accessories of surpassing splendour. He erected a high altar of silver, also
the beautiful sedilia, and though there has been a good deal of dispute about
the matter, the more trustworthy authorities attribute to him the bishop's
throne of carved wood. At any rate, in 1312, there is a charge of £6 12s.
8½d. for "timber for the bishop's seat." The altar, unfortunately, has
disappeared, but it is reputed to have cost a sum equivalent to £7,000 of our
money. Canon Freeman thus describes it: "Above, as it should seem (for the
entries are very obscure), was a canopy of considerable extent, wrought
with bosses internally. The whole seems to have been surmounted by a
figure of our Lord." With Stapledon building seems to have been a favourite
recreation; for though he gave most largely both of time and money to the
cathedral work, he found opportunity to build and endow Harts Hall,
Stapledon Inn—now Exeter College—Oxford, and the "very fair" Essex
House in London. In 1320 he was created Lord High Treasurer by Edward
II., and later in the same year received from his sovereign the power of
holding pleas of "hue and cry" in the lands, tenements, and fees of the
bishopric in the county of Cornwall. The neglected condition of many of the
parish churches in his diocese distressed him, and almost his last public
appearance in the west of England was at Lawhitton, where he spoke
severely on this matter to his Dean and Chapter, and bade them see to it that
in future there should be no good cause of complaint. In the autumn of 1324
he set out for France, accompanying the young Prince Edward, who was
about to do homage to the French king for the duchies of Aquitaine and
Poitou. But his "irreproachable integrity" made him unpopular, and his life
was threatened. On his return to England he saw that a crisis was at hand,
and almost immediately after his arrival Queen Eleanor landed on the coast
of Suffolk. Edward II., in a brief moment of wisdom, assigned to the
faithful bishop the government of London and retreated to Bristol. But it
was too late to effect a reconciliation or prevent a catastrophe. With a firm
hand Stapledon endeavoured to restore order and quiet, and promulgated a
decree by which all rebels were excommunicated. But the citizens, wisely
perhaps, sided with the conquerors, and the bishop died a martyr to duty.
The story is well told in the French chronicles quoted by Dr. Oliver. "The

Bishop of Exeter, riding towards his inn or hotel, in Eldeanes-lane for
dinner, encountered the mob, and, hearing them shout Traitor, he rode
rapidly to St. Paul's for sanctuary, but was unhorsed, taken to Cheapside,
stripped and beheaded. About the hour of vespers, the same day, October
15th, the choir of St. Paul's took up the headless body of the prelate and
conveyed it to St. Paul's, but, on being informed that he died under
sentence, the body was brought to St. Clement's beyond the Temple, but
was ejected; so that the naked corpse, with a rag given by the charity of a
woman, was laid on the spot called 'Le Lawles Cherche,' and without any
grave, lay there with those of his two esquires, without office of priest or
clerk. His house was attacked, the gates burned, quantities of jewels and
plate plundered."
In another account of his death it is stated that his head was "fixed on a long
pole by way of trophy, that it might be to all beholders a lasting memorial
of his attempted crime." There was a personal reason why the bishop was
unpopular among the citizens, for "he procured that the justices in eyre
should sit in London; on which occasion, because the citizens had
committed various offences, they were heavily punished by the loss of their
liberties, by pecuniary mulcts, and by bodily chastisment, as they
deserved." But the queen caused his body to be rescued from the "hepe of
rubische," and it was removed to Exeter, where it lies on the north side of
the choir. He left behind him large sums of money and plate, a valuable
library and, unique item, ninety-one rings. He was certainly one of the
greatest prelates in English history, and though he may have been, as his
detractors asserted, "fumische and without pite," he was revered in his
diocese, and left an example of courage and honesty to succeeding
generations. His executors, animated by a wish to do what he would have
desired, distributed £210 8s. 8d. in charities, and gave considerable sums to
other worthy objects. And the Abbot of Hartland caused the 15th of October
to be solemnly observed, out of gratitude for the late bishop's bounty, and
decreed that on that day "for all future times 'XIII. pauperes in aulâ abbatis,
pro ipsius anima, pascantur.'"
To follow so redoubtable a prelate as Stapledon must have been an
extremely difficult task. But Grandisson, who was appointed after
Berkeley's short episcopate ended, has sometimes been called the most
magnificent prelate who ever filled the see. He was nominated directly by

the pope, and consecrated by his holiness at Avignon. His chief glory is that
he allowed the splendour of the see in no wise to diminish, and he kept up
the Stapledon traditions of princely hospitality and well-doing. His
reputation of "grave, wise, and politick" seems to have been fairly earned.
As a descendant of the great ducal house of Burgundy, he had lived much
with princes and held the position of nuncio "at the courts of all the
mightiest princes of Christendom." His election was carried out in direct
opposition to the wishes of the canons of Exeter, but a wise choice had been
made, and by his long episcopate of forty years he gained honour for
himself and good fortune for his people. He had to face many difficulties at
first that might well have appalled a weaker man. The tragic death of
Stapledon had terrified all men, the great work of that giant intellect
remained unfinished, and required some one of exceptional energy to
complete it fitly. Added to these difficulties, the episcopal manors had been
plundered and the accounts were terribly muddled. Grandisson, luckily, was
a man who looked upon difficulties as things to be overcome. He applied to
the members of his family for funds, and the negotiations are to his family
and subsequently to the diocese at large for funds. The negotiations are
interesting, for the borrower is the only person who maintained his dignity
unimpaired. With courteous pertinacity and a fitting show of anger, he got
the supplies he needed. With indomitable energy he managed to arrange in
perfect order the confused affairs of his diocese. Turning eagerly to the task
of completing the building of his church, he transformed the six west bays
of the nave, vaulting, aisles, west window, and north cloister. In spiritual
and temporal affairs he was equally busy. Twice at least he was the host of
royalty, once the Black Prince visited his diocese with the captive king of
France. The same illustrious warrior, shortly before his death, again enjoyed
the bishop's hospitality.
In 1343 Grandisson was sent as ambassador to Rome, and the sound sense
he had shown at Exeter was equally apparent in the conduct of his mission,
so that it was written of him that "he did his message with much wisdom
and honour." Certainly, few bishops have had so exalted a view of the
dignity and importance of the episcopal office, and none ever dared to fight
more boldly for his imagined rights. When the Archbishop Mepham
determined to make a personal visitation, Grandisson's anger was kindled.
Gathering round him a body of armed retainers, he met the archbishop at

the north-west gate of the close. There might have been a bloody conflict,
for neither prelate was likely to give way. Fortunately, sober counsels
prevailed, and the quarrel was referred to the pope. His holiness decided in
Grandisson's favour, and "the dispute did half break Mepham's heart, and
the Pope, siding with the Bishop of Exeter, did break the other half." So
writes Fuller, and the quaint sentence does not lack authority, for the
archbishop died shortly after the termination of the quarrel.
Grandisson remembered his cathedral in his will. He bequeathed to his
successors his crozier and mitre, and to the diocese 2,000 marks. At his
funeral, in accordance with his instructions, a hundred poor persons were
clothed and money was distributed among the prisoners and the sick. He
remembered, too, the needs of the poorer clergy and the hospitals, while to
Pope Urban and Edward III. he left splendid legacies. His funeral, as his
life, was simple and economical. For his magnificent presents, his gorgeous
works on the structure of his church, were made possible by his own
simple, almost parsimonious manner of living. He was buried in the chapel
of St. Radegunde, but the tomb was destroyed in Elizabeth's time, and his
ashes lie "no man knows where."
Brantyngham, the next bishop, completed the cloisters, the east window and
west front. But, as Canon Freeman has said, "the rest of the works of this
and the following century are little else than petty restorations; of course in
a later and inferior style, and generally to the detriment of the building."
But there is still much in the history of the church and the see that deserves
a passing notice. Under Brantyngham, the old feud that Grandisson had
finished so satisfactorily to himself, began again. But the victory this time
was with the archbishop. At Topsham, a village not far from the city, the
bishop's servants attacked savagely the archbishop's mandatory. Full of zeal
for the honour, as they conceived it, of their own prelate, they made the
wretched creature eat the archbishop's writ and seal. But the meal of
parchment and wax did not by any means settle the dispute. The bishop's
cause, indeed, was irretrievably damaged, the king was furious, an appeal to
the pope was unsuccessful, and Brantyngham had to make full submission
to the offended primate. Henceforth the archbishop's right of visitation was
not opposed. Had another than Grandisson been bishop in Mepham's day
the dispute would never, probably, have arisen; for the archbishop was

undoubtedly only exercising his rights, such visitations being according to
canon, and of ancient usage.
The next bishop whose episcopate is important is Lacy, who glazed the
nave windows and raised the chapter house. He has, too, an unique claim on
our regard because of his saintly character. As yet no saint had made the
cathedral venerable, and the sentimental affection and profit which saintly
relics were wont to cause was still lacking. It is said that Iscanus had
contrived to get some relics of Becket for his cathedral, but there was no
local saint, and this want Lacy supplied. Yet the days of his episcopacy
were by no means absolutely calm. At the very moment of his accession he
involved himself in a dispute with the city corporation as to the liberties of
his cathedral. Nor was he, though meek and holy, at all inclined to submit to
any infringement of his prerogatives, even when the transgressor happened
to wear a crown. Indeed, he most successfully protested against the conduct
of Henry VI., who held a jail delivery in the bishop's hall. Two men were
condemned to death, but the bishop remonstrated so forcibly against this
exercise of temporal authority within the precincts of the sanctuary, that
they were released. As an author Lacy gained a considerable reputation. His
"Liber Pontificalis" is still preserved, his office in honour of Raphael the
Archangel was admired and used in many cathedrals and churches. When
he died miracles were performed at his tomb, and pilgrimages were
constantly made to it by the common people.

THE CHAPTER HOUSE (FROM
BRITTON'S "EXETER", 1826).
From this time onward the architectural history of the cathedral becomes
less important. Its great periods may thus be summed up, 1107 to 1206
Warelwast and Marshall built the Norman church; 1257 to 1280
Bronscombe and Quivil began the Decorated work; 1292 to 1308 Bytton
and Stapledon completed the eastern part; 1327 to 1369 Grandisson and
Brantyngham completed the nave, west front, and cloister. The fifth and last
change is the introduction of Perpendicular work, chiefly noticeable in the
chapter house, the west screen, and the great east window. The day of the
great builders was waning fast. The old faith that inspired them was
dwindling, the attraction of national concerns was too great for local effort.
Moreover, the desire to make intricately beautiful, right enough in itself,
had vitiated, as it was bound to do, the taste of architect and builder. The old
Norman cathedrals, however rugged, were imposing in their stern and
simple strength. The desire for decoration affected various transformations,
which at first left the building more beautiful and not less strong. But

gradually the simplicity and strength disappear altogether. Luckily, as we
shall see, the great church of St. Mary and St. Peter has suffered less than
most buildings that have undergone so many changes. "As it is, the church
of Exeter is a remarkable case of one general design being carried out
through more than a hundred years." The church is Quivil's design, and the
variations, though important, do not seriously detract from it.
The events of the next five hundred years belong more to the history of the
see, and even of England, than to the church. In the election of George
Neville (1458) we notice the immense value put on noble birth. Only one
other reason can be alleged as weighing with those responsible for the
choice. And this reason is so ridiculous as to be almost incredible. None the
less it had, doubtless, a good deal to do with Neville's election to the
bishopric. He was not only a brother to the great Earl of Warwick, but he
early showed his intention of keeping up the almost kingly traditions of his
family. Here is an account of the festivities that took place at Oxford after
he had performed "his exercises in the nave of St. Mary's Church, as the
custom now is, and before was, for nobleman's sons." "Such entertainment
was given for two days space that the memory of man being not now able to
produce, I have thought it worth my pains to remember. On the first day
therefore were 600 messes of meat, and on the second 300 for the
entertainment only of scholars and certain of the Proceeders, relations and
acquaintances." A later Oxford historian asserts that Neville was elected
chancellor the very next year "by an appreciative university!" It is not at all
unlikely, therefore, that this display of hospitality had something to do with
his being chosen bishop, as a fitting successor to the office once filled by
Grandisson. For four years after his election he was unable, owing to his
youth, to be consecrated. But by one of those ecclesiastical scandals, which
seem not to have annoyed or astonished his contemporaries, he was
permitted to enjoy the temporalities of the see. At the age of twenty-seven
he was fully ordained bishop, and a few years later was transferred to York.
During the episcopate of his successor, Bothe, the city was besieged by
Perkin Warbeck. In 1495 Oliver King, who was elected in 1492, was
translated to the see of Bath and Wells, and to him is due the rebuilding of
the abbey church of Bath which was then ruinous.
From 1504 to 1519 Oldham, a Lancashire man, was bishop. He built the
Oldham and Speke chapels.

Veysey, who succeeded him, lived during the reign of Henry VIII. His
courtly manners made him popular. In addition to his rich ecclesiastical
office, he became Lord President of Wales and tutor to the Princess Mary.
He founded the town of Sutton Coleshill, now Sutton Coldfield, and
introduced there the making of kersies. On this enterprise he spent the
larger part of his fortune. At the accession of Edward VI. he was left
undisturbed, though suspected of favouring the old religion. But when a
rising in favour of the unreformed church disturbed the western counties, he
was accused of participation in the movement, and resigned his charge. But
he retained the temporalities, and on Mary's accession was reinstated. But
he was nearly 103 years old, and soon after died at his town of Sutton
Coleshill in 1555.
Miles Coverdale, the translator, with Tyndale, of the Bible, his successor,
was bishop for only two years. He was unpopular, although his life was
"most godly" and virtuous. But "the common people," says Hoker, "whose
bottles would receive no new wine, could not brook or digest him, for no
other cause but because he was a preacher of the Gospel, an enemy to
Papistry, and a married man." This dislike is easily accounted for. Exeter
was very far from London, the new ideas travelled slowly, and the west was
staunchly conservative. As with many reformers, too, his zeal was spoilt by
indiscretion; the sternness of the Puritan militated against his success, and
people preferred the old errors more becomingly supported. His successor,
Turberville, was a man quite after the heart of the people, and he won praise
from Protestant and Catholic alike.
He was succeeded by William Alleyn, and as a result of Veysey's
extravagance and Henry's greed it may be noticed that, by royal charter, the
number of canons was limited to nine.
In 1627 the see was held by Joseph Hall, a man of great distinction. Though
too conciliatory to care greatly for Laud's policy, he wrote a justly famous
"Defence of the Church of England and her doctrines." After his translation
to Norwich he underwent a good deal of persecution, which he himself has
recorded, and was for six months a prisoner in the Tower. He is buried in
Higham parish church, his monument a skeleton holding "in the right hand
a bond to death sealed and signed, 'Debemus morti nos nostrique,' and in his
left the same bond torn and cancelled, with the endorsement 'Persolvit et

quietus est.'" Fuller says of the famous satirist that he was "not unhappy at
controversies, more happy at comments, very good in his characters, better
in his sermons, best of all in his meditations."
John Gauden, who became bishop in 1660, was far more fortunate, though
probably not more happy. He does not seem to have been over scrupulous,
and his desire for "a good manger" is unpleasantly obvious. But as the
author of the ΕΙΚΩΝ ΒΑΣΙΛΙΚΗ he is remembered. The authorship has
been disputed, but Charles II. certainly recognized his claim, and Clarendon
believed his assertions about it. He was clever enough to have written even
a better book, and there is no sufficient ground for depriving him of this
honour. It is certain that he owed his preferment to his reputed merit as its
author; though, oddly enough, he had taken the covenant and preached a
notorious sermon against "pictures, images, and other superstitions of
popery." But he publicly recanted, later, and protested against the murder of
the king, whose supposed last prayers and meditations he was skilfully
inventing. After being in Exeter two years he was removed to Worcester.
But he had looked to become bishop of Winchester, and it is said that his
death was hastened by disappointment.
Seth Ward, who followed him, had, as dean of Exeter, distinguished himself
by his zeal and courage. He drove from the cathedral precincts the buyers
and sellers who had encroached thereon, and the partition wall that divided
the cathedral was taken down at his request. During the Commonwealth
"the building which was now formally called 'the late cathedral church' was
divided by a brick wall into two places of worship, known as East Peter's
and West Peter's." The east portion was used by the Independents and the
west by Presbyterians. Ward spent £20,000 on redeeming the cathedral from
the degradation it had suffered, and bought an organ, "esteemed the best in
England," which cost him £2,000. He was translated to Salisbury in 1667.
He was a man of considerable ability and was a founder of the Royal
Society.
Sparrow succeeded to the see in 1667. During his episcopate the Grand
Duke Cosmo visited Exeter and wondered at the worthy bishop, his wife,
and his nine children. The Duke of Tuscany was spoken of in the local
reports as the Duke of Tuskey, and he received from the corporation a gift
of "£20, or thereabouts." Sparrow, on his translation to Norwich, was

succeeded by Lamplugh, whose political acumen, at any rate, compels
admiration, if not respect. He fervently bade his flock rally round the
unfortunate James II, and then, posting to London, was rewarded by the
grateful king with the archbishopric of York. He then without any
compunction crowned William of Orange, King of England. But his
smartness availed little, "for within three years continuance of that high
throne of York he was summoned before an higher." Macaulay has finely
described the entrance of the prince into the cathedral. "As he passed under
the gorgeous screen, that renowned organ, scarcely surpassed by any of
those which are the boast of his native Holland, gave out a peal of triumph.
He mounted the bishop's seat, a stately throne, rich with the carving of the
fifteenth century. Burnet stood below, and a crowd of warriors and nobles
appeared on the right hand and on the left. The singers robed in white sang
the 'Te Deum.' When the chaunt was over Burnet read the Prince's
declaration; but as soon as the first words were uttered, prebendaries and
singers crowded in all haste out of the choir. At the close, Burnet, in a loud
voice, cried, 'God save the Prince of Orange,' and many fervent voices
answered 'Amen.'" This is certainly the most remarkable, as it is also the
last, of the great historical events that have happened under the shadow of
the cathedral walls. There had been nothing to compare with it since the day
when Grandisson with his armed retainers met Mepham at the close gate
three hundred years before. Offspring Blackall is the last bishop we need
mention. He was a famous preacher, and worked hard for the comfort and
education of the indigent classes. To him Exeter owes her charity schools.
Of the remaining bishops there is nothing of moment to record.
It has seemed wiser in this brief sketch to devote a paragraph to each of
those bishops who either architecturally or historically made their
episcopates events of national importance. The early bishops, especially,
busied themselves exceedingly in making beautiful their principal church. It
is by knowing something of their lives and times that one can best
appreciate their labours, and trace with intelligent interest the causes of the
splendid result to be studied minutely in the remaining chapters of this
book.
Moreover, all lovers of the great in art, all who love what is beautiful, as all
may with a little trouble, will not be sorry to have even a passing

acquaintance with those who have wrought so nobly. And this short notice
of the most famous of the bishops of Exeter proves that they were for the
most part chosen, not for their lineage, however splendid, nor the favour
they had gained as gracious courtiers, but for their excellent lives, their
plain living and high thinking, their taste and learning, and for qualities
which, if rarer now, were not common even hundreds of years ago.

THE FABRIC OF THE CATHEDRAL.
THE EXTERIOR.

Before examining the various details, it may be well to recall the following
facts, which have already been referred to. First, the cathedral was Saxon
and remained so for nearly seventy years; then came a Norman bishop who
pulled down the existing building and replaced it by the foundations and
towers of a finer one. For ninety-nine years, sometimes languishingly,
sometimes vigorously, the work continued: so that by the end of Marshall's
episcopate (1206) Warelwast's noble ambition was realized. Between this
date and 1280 the church was scarcely touched, but a chapter house was
built by Bishop Bruere "to God and the Church of St. Mary and St. Peter, a
sufficient area to make a Chapter House in our garden near the Tower of St.
John." A third style, Early English, was then introduced, to be followed by
the almost complete transformation of the entire building into the Decorated
style. Following on this we get some examples of Perpendicular work.
Now, this series of changes is noticeable in itself, and remarkable because it
has not affected the building in a way that might have been expected. The
first impression, indeed, that a view of the exterior gives one, is that it is the
result of one design, which is largely the case. It is only on closer inspection
that the remnants of the pre-decorated periods are visible. "The Church," as
Professor Freeman neatly puts it, "grew up after one general pattern, but
with a certain advance in detail as the work went westward."
The second thing that strikes the visitor is that he has never seen a church
quite like it. "It forms a class by itself, and can be compared with nothing
save its own miniature at Ottery."
Putting aside the Saxon cathedral of Leofric it is possible to trace four
distinct styles in what has been wisely called "the noblest monument of
religious zeal of our forefathers in the west of England." But in discovering
these the feeling of wonder increases as the building is found to be not a

mere jumble but a complete whole. Though it is possible to date the
separate parts of the edifice, and recognize the varying forms of
workmanship, the architects laboured with so clear an understanding of a
beautiful result to be attained, that there is no appearance of patchwork.
The best views of the building are those to be got from a distance. In some
ways this is not without compensation; for the cathedral church was, and is,
not only splendid as a building, but the centre of the spiritual life of the
diocese. It is, therefore, appropriate that it should seem most beautiful to the
dwellers in the villages and hamlets beyond the city, giving them, as it
were, a kind of property in the building, which they might not have felt had
it been less visible. Nearing Exeter by train, from the Plymouth side, the
noble roof and towers are seen above the red houses of the city. The site,
indeed, was well chosen. Below the hill on which the city stands are
gardens gay with flowers and fair apple orchards. Above, there is a blue sky
richer and deeper than is usual in England. On all sides but one stretches the
beautiful Devonshire country, meadow, hedgerow, and wooded hill. On that
side the Exe flows rapidly, broadening as it goes, towards the sea.
Southward but a few miles, the blue channel waters creep up against the
yellow sand dunes. No cathedral, not even Lincoln, boasts a more lovely
and appropriate position. "In the minds of all early Christians," says Mr.
Ruskin, "the church itself was most frequently symbolized under the image
of a ship," There is no country so saturated with traditions of the sea as
Cornwall and Devon. "Exe terra"—out of the earth—is sometimes declared
to be the derivation of the name Exeter. Maybe this was only the grateful
jest of some seaman who found himself, after the winter storms, gliding up
the quiet river with the city walls rising up before him. Yet the
remembrance of such western heroes as Raleigh and Drake, who bade their
followers sit well in order, and strike—
"The sounding furrows, for my purpose holds
To sail beyond the sunset and the baths
Of all the Western stars until I die,"2
makes one realize how fit it is that the towers of the cathedral should look
across the country to the "deep waters," and be to the mariner as the masts
of a vessel whereon was safety, however fierce the storm.

EXETER CATHEDRAL, FROM AN ENGRAVING BY DANIEL
KING, c. 1650.

THE CATHEDRAL—FROM THE SOUTH-EAST.

From many parts of the surrounding country fine views may be obtained,
from Waddlesdown, Alphington Causeway, and many a canal and river
bank.
A closer view may seem at first disappointing. Every writer has echoed Dr.
Oliver's regret that it should be surrounded "by dwelling-houses of such
disparate character." But even a nearer survey is, with patience, rewarded.
The towers, exquisitely traceried windows, sculptured doorways, and
magnificent roof, easily persuade us to forget its mean surroundings.
The Towers.—To many these will be the most interesting portion of the
building. The exterior of no other cathedral boasts so unusual a feature.
Their position is extraordinary and has given rise to endless controversies.
It has been suggested that they were meant to stand as western towers, and
that the building was to stand east of them, and that, as an afterthought, they
were converted into transepts. But Canon Freeman, in his history, 3
dismisses this view as merely attractive. They would certainly be more
elaborate, he thinks, if they had been built as western towers, but they have
neither portal nor ornamental work. Indeed, up to more than half their
height they have very much the appearance of fortresses. It may well be that
they served as such in Stephen's time, for the northern one was severely
battered. It differs somewhat in detail from that on the south side, there
being an interlacing arcade half-way up, possibly being so rebuilt when the
devastation caused by the siege was being repaired. There are six stages on
each tower, but only the uppermost four are in any way ornamented. These
have blind arcades and window openings of circular form; but the details
differ slightly on each. The turrets at the angles of the summits, and the
battlements were added in the fifteenth century, but the effect is not
inharmonious, and the original details are well preserved. According to an
old seventeenth-century print, the north tower formerly had an attic with a
pyramidal roof. This was probably an addition when the great bell was first
hung (see p. 74). The effect of these transeptal towers is so fine as to make
us regret their rarity. A case in which they were obviously imitated is to be
seen in the fine parish church of Ottery S. Mary, Devon. There are also
most practical reasons in their favour, and a consideration of them tends to
increase one's wonder that they should not be found more frequently. In the
first place it is possible to get a continuous, uniform, stretch of vault, the
roof being broken by no central tower. Also the plan is simplified, and nave

and choir have more architectural continuity. Again, by building transeptal
towers and discarding the usual central tower, the interior escapes a danger
it is often hard to overcome, the difficulty of holding up the central tower. It
is quite possible that Warelwast was far-seeing enough to anticipate this
trouble. The histories of other cathedrals prove it to be a very real one. In
1107 the tower of Winchester fell in. At Salisbury the spire is still a constant
source of anxiety, despite "a complex arrangement of iron bands and ties,"
which has been reinforced more than once. The tower of Chichester
collapsed in 1861. There is a legend of the fall of a central tower at
Christchurch Priory, and other warnings could be cited, such as Hereford,
Selby, Peterborough, and Wells.
Originally these two towers were cut off, by two arches underneath, from
the body of the church. But Quivil, wishing to enlarge the interior, did so by
"throwing the Tower spaces into it."
The Roof is one of the most striking features of the building, especially as
it is seen from a distance. The long line of the ridge of nave and choir,
unbroken by a central tower, give it a unique distinction amongst English
cathedrals. The delicate cresting of fleurs-de-lis, and the pinnacles which
crown the supporting buttresses obviate any impression of heaviness, and
together with the long series of clerestory windows, alike in form yet
differing in their admirable tracery, give a singular impression of beauty.
The North Porch.—This was the northern entrance of the Norman church,
and from the outside it is possible to trace the line where the fifteenth-
century front was added to the old structure. It is decorated with seven
canopied niches in the style of that period. These, however, remained
vacant until 1920, when they were filled with statues, by Mr. H. Read of
Exeter, representing the patron saints of England and the Allies: St. George,
St. Denys, St. Joseph; SS. Cyril and Methodius; St. Vladimir, and St.
Ambrose. The roof is vaulted, and on the central boss is a finely-carved
Agnus Dei. Within a recess of the eastern wall are three headless figures,
representing, in the centre, the Crucifixion, St. Mary and St. John standing
on either side. Over the inside doorway is a niche that probably once held a
figure of the Virgin.

THE NORTHERN TOWER.

EXETER CATHEDRAL—THE WEST FRONT.
The West Front is one of the features which gives a peculiar character to
this cathedral. In the wealth of imagery on the projecting screen which
forms the lowest stage of the front it is second only to Wells amongst
English cathedrals. The actual west wall of the church is the work of Bishop
Grandisson, who formed on the south side of the central doorway the small
chapel of St. Radegunde as a burial place for himself. The greater part of
the end wall of the nave is filled by a large window with remarkably
beautiful tracery in its head. The date must be about 1350. Above this is a
battlemented parapet sloped at each end to follow the lines of the aisle-
roofs. Above this parapet appears the gable of the main roof in which is
inserted a triangular window, with elegant tracery, lighting the space
between the vault and outer roof. At the apex of the gable is a niche
containing a small statue of St. Peter.
The screen, which forms the lowest stage of this front, must have been
finished in Brantyngham's time, though it seems probable that it was
designed if not begun by Grandisson. It contains eighty-eight figures, in
three rows, representing angels, warriors, kings, and saints. Their costume

and armour are characteristic of the fashions of Richard II.'s reign. The
lowest row consists of angelic figures each sustaining a triple pilaster with
capitals. On these capitals stand the statues of the second row, a long line of
knights and kings, above which are the angels and apostles of the third row.
Above the third row stand two figures, said to represent Athelstan and
Edward the Confessor. The former once drove out the Britons from the city;
the latter, as we know, founded the bishopric.
This group of statues has been the subject of a monograph by Miss E.K.
Prideaux, who shows that the intention was to symbolize the Heavenly
Jerusalem, where angels, saints, and monarchs unite to honour the
enthroned Saviour and His Blessed Mother, who, as representative of the
Church Triumphant, is being crowned by her Son. The Coronation of the
Virgin was depicted in the central group immediately over the great
doorway, the figures being those of St. Peter, Our Lady, Our Lord, and St.
Paul. At some unknown date the statue of the Virgin was destroyed, and a
figure intended to represent Richard II was substituted in 1818. Two other
figures, assigned to James the Less and King William I, are modern
reproductions by Alfred Stevens; some new heads were also added. Many
circumstances have combined with the action of time to injure these
sculptures: but the general effect is rich if somewhat heavy. Above the
screen is a platform, from which the bishop probably blessed the people,
and the minstrels welcomed with song the approach of royal or illustrious
visitors.
The three doorways in the screen are worthy of notice, being richly
decorated. That on the south side is the most beautiful, and contains two
fine pieces of sculpture, one generally declared to be an angel appearing to
Joseph in a dream, the other certainly recording the Adoration of the
Shepherds. The central porch is decorated with sculptured foliage, and the
Crucifixion is exhibited on the central boss of the groined roof tracery.

PORTALS OF WEST FRONT.

THE NAVE, FROM THE SOUTH TRANSEPT (FROM BRITTON'S
"EXETER," 1826).

THE FABRIC OF THE CATHEDRAL.
THE INTERIOR.

Fine as is the exterior, the interior of the building is quite as beautiful.
Restoration of an unusually careful and discreet style has done much to
revive the deteriorated splendours of the place. Sixty years ago the nave
was filled with hideous and cumbersome pews, and such work as had been
done towards keeping the place in repair was in the worst possible taste.
But a change has been wrought of the happiest kind in recent years, so that
no cathedral in the country can boast a more admirable interior.
It has been the custom to deplore the lack of elevation, and its lowness has
compelled comparisons with the cathedrals of France. But this objection is,
surely, rather trivial. For though the long vaulted roof, uninterrupted the
whole length of the building, might tend to take away from the appearance
of height, the work on the roof itself, the delicate ornaments on capitals and
windows, do much to atone for this effect. To the ordinary visitor, it may
safely be asserted, lack of height will only be obvious when pointed out to
him.
The Nave.—Little of the Norman masonry is now to be seen, yet it is clear
that when Marshall completed Warelwast's design he found the nave
finished. To quote Canon Freeman, whose book, too technical for the
general public, is of incalculable value to the student: "On the interior face
of both north and south walls of the nave aisles, disturbances of masonry
occurring at regular intervals indicate the position of a series of Norman
pilasters, the base of one of them having recently been found in situ beneath
the stone seat. Outside, and corresponding to the position of each several
pilaster, may be observed either flat buttresses of Norman form and
masonry, or else traces of their removal. These remains, linking together the
obviously Norman towers and the massive west wall, point to the

conclusion that the Norman cathedral, as Marshall found it, included the
entire nave."
When the changes began, the Fabric Rolls, if they "do not entirely desert
us," give us but meagre help, so that the exact date and cost of each detail is
only to be guessed at. Stapledon probably intended, as early as 1325, to
begin the work of recasting the nave. In that year he made purchases of "15
great poplar trees bought for scaffolds, and 100 alder trees." Further entries
tell us of seven and eightpence worth of timber "bought by the Bishop at
London," and "48 great trees from Langford." The work hitherto attempted
by Stapledon did not demand an outlay of this kind; so, though Grandisson
gets the honour of having finished the nave, something is due to Stapledon
for having given the initiative. The large balances of the preceding nine
years had left a great sum of money in the latter's hands, and a donation of
Stapledon's further increased that balance by the substantial sum of £600. In
January, 1333, is a record of William Canon's bill for marble he had been
commissioned to furnish. He had agreed to supply the Purbeck pillars for
the nave, receiving £10 16s. for eleven large columns, and 5s. a-piece for
bases and capitals. This is one of the most interesting items we have of the
building and cost of the cathedral, and occurs fortunately at a time when
such information is unusually scanty. In addition to the above-mentioned
Purbeck marble, stone from the quarries of Caen in Normandy, and other
places nearer home, was procured in large quantities. In 1338 the bishop
gave permission to the Dean and Chapter to obtain from his agents at
Chudleigh "twelve suitable oaks from his wood there." About 1350 the
building of the nave was completed. It was extensively restored in recent
years under the guidance of Sir Gilbert Scott. The Purbeck columns had
fallen into a most dilapidated state, and were carefully repaired, the material
used being obtained from those spots which had supplied the original
builders.
The view of the nave as one enters the west door is most impressive. Its full
height of seventy feet is not dwarfed by the unhindered stretch of roof. The
groined and ribbed roof itself is of marvellous beauty and springs from
slender vaulting shafts, of which the bosses are exquisitely carved with a
strange mixture of religious and legendary figures, foliage and animals. The
artists seem to have ransacked the whole universe for subjects, and to have

interpreted their ideas with great cunning. The corbels that support the
vaulting shafts are equally elaborately carved.

THE NAVE, LOOKING WEST.

CORBELS AND BOSSES (FROM BRITTON'S "EXETER," 1826).
(2) Virgin and Child. (3) Minstrel and tumbler. (4) Coronation of the
Virgin. (5) Murder of S. Thomas (Becket), from Nave. (6) From Lady
Chapel. (7) From Choir. (8) and (11) Heads popularly identified with
Edward III and Q. Philippa. (10) The Virgin and her Coronation. (See
Prideaux and Shafto, "Bosses and Corbels of Exeter Cathedral.")
They consist of figures and foliage, and the variety of subjects chosen is no
less surprising than the skill the artists have shown in the realization of their
ideas. Whether they are peculiar to Exeter or not, it may be safely said that
one could not easily find their equals either in design or execution. The
subjects treated are too numerous for detailed treatment in this place, but
the carving of vines and acorns and oakleaves will be readily admired.

THE MINSTRELS' GALLERY.
The nave has seven bays, and the arcades are supported by clustered pillars
of Purbeck marble, showing various tints of blue and grey. There are sixteen
shafts in each pier corresponding with the eight subordinate mouldings in
each pair of arches, and the diagonal position of each cluster adds much to
its graceful appearance. In the retro-choir there are earlier examples of this
kind of pier, showing how the builders experimented with the grouping of
the shafts before they attained the perfect proportions of the pillars in the
nave and choir. It seems that they utilized the Norman pillars as the central
core round which to group the Purbeck shafts. The triforium, in groups of
four arches, is unusually low, and rests on small clustered columns, broken
in one place only on the north side to make way for the Minstrels' Gallery.
The Minstrels' Gallery.—This is the most beautiful gallery of its kind to
be found in England, its twelve decorated niches containing figures of
musicians. The musical instruments represented include the cittern,
bagpipe, hautboy, crowth, harp, trumpet, organ, guitar, tambour, and
cymbals, with two others which are uncertain. The tinted figures of the
angels, standing out against an orange-coloured background—each in a
separate niche with an elaborately carved canopy—playing upon the
various instruments, are admirably carved and most graceful in form and
arrangement. The two niches on either side of the gallery contained figures
of St. Mary and St. Peter; the niches are supported by corbelled heads of

Edward III and Queen Philippa. Edward III created the Black Prince Duke
of Cornwall in 1337, and made the city of Exeter part of the duchy. "The
city," according to Izacke, "being held of the said duke, as parcel of the
dutchy, by the fee farm rent of twenty pounds per ann." To this connexion
has been traced the erection of the gallery, for such duchies "were territorial
realities," and the prince would be received by minstrels chaunting in the
gallery whenever he paid a visit to his feudal dependency. It is asserted that
it was first used after the battle of Poictiers, when the Black Prince brought
with him to England, visiting Exeter en route for London, the captured
French King. But Professor Freeman thinks the Duke did not pay a visit to
Exeter at that time, and that local tradition refers really to a later date when
"he came home as a sick man" not long before his death.
The lofty character of the clerestory above the gallery, and set somewhat
farther back, is remarkable. The tracery of all the windows is of the best
type of the fourteenth century and is unrivalled by that of any other English
cathedral of similar date. In their main features the opposite windows are
alike, though they vary in detail.

BAYS OF NAVE, WITH THE MINSTRELS' GALLERY (FROM
BRITTON'S "EXETER," 1826).

THE "PATTESON" PULPIT.
St. Radegunde's Chapel.—On the south side of the main entrance and
within the thickness of the western wall is the chapel of St. Radegunde, one
of the most interesting in the cathedral. As early as 1220 a deed belonging
to the Chapter makes mention of this chapel "within St. Peter's cemetery,"
and is dated in the mayoralty of one Turbest and attested by the then bishop,
Simon de Apuliâ. Grandisson, in accordance with the custom of his day,
while completing the work of transforming the cathedral, looked out for a
suitable place of burial for himself. He chose this chapel, and in 1350 the
Fabric Rolls contain a reference to the glazing of the windows and the
better securing of them with nine bars of iron. In accordance with a clause
in his will, "Corpus vero meum volo quod sepeliatur extra ostium
occidentale Ecclesiae Exon. ita celeriter sicut fieri poterit," his remains
were placed under the low arch in the east of the chapel. Here they lay for

many years, but in the later years of Elizabeth, apparently without creating
any public indignation, his tomb was rifled and his ashes scattered to the
"four winds." There seems to be no good reason why religious fanaticism
should have caused the tomb of so great and good a man to be despoiled.
Two interesting details are the carved figure of Christ on the roof and the
holes in the stones from which the lamps were formerly hung.
St. Edmund's Chapel, in the north-west corner of the nave, was part of the
Norman church, and was incorporated in his new work by Bishop
Grandisson. In it is a large font of modern Gothic style, presented in the
nineteenth century by Archdeacon Bartholomew.
The Font.—At the south-west side of the nave stands the chalice-shaped
font of white marble, purposely made in 1644 for the baptism of Henrietta
Anne, youngest child of Charles I, afterwards Duchess of Orleans, who was
born in Exeter during the Parliamentary wars. The font is said to have been
made in a fortnight, which may account for the inferior character of the
sculpture. But if not of artistic merit, it is certainly of historic interest, and
after being set aside for some years, was replaced in its present position in
1891, and is now always used for baptisms.
The Patteson Pulpit was placed in the nave in 1877. It is of Mansfield
stone, and is a beautiful example of modern sculpture. The panels represent
the Martyrdom of St. Alban, the embarkation of St. Boniface and his
companions for Germany, and the natives of Nukapu, Melanesia, placing
the body of Bishop Patteson in a canoe. The Martyred Bishop is shown
wrapped in a native mat, a relic still preserved in his family.

MONUMENTS IN THE NAVE

The great west window was filled with stained glass in 1904 in
commemoration of Dr. Temple, Bishop of Exeter 1869, of London 1885,
and in 1896 Archbishop of Canterbury. Figures in the lower lights represent
the most notable Bishops of Exeter from Leofric to Frederick Temple.
The monument under the west window commemorates services and losses
of the 1st Battalion of the Duke of Cornwall's Light Infantry, which, as the

32nd Regiment, greatly distinguished itself during the Sepoy revolt in India
in 1857-8.
On the north-west is a mural tablet with medallion portrait commemorating
Richard Blackmore, the author of Lorna Doone, 1825-1900. The three
lights of the small window above are filled with stained glass in connexion
with this memorial. The corresponding window on the south side was filled
with stained glass by Dean Cowie.
The largest monument in the north aisle is that to the memory of officers
and men of the 9th Lancers who fell during long and distinguished service
in India.
Farther on is a large brass, of no particular merit, to the memory of the men
of the 2nd Battalion of the North Devon Regiment who fell in the Afghan
War of 1880-81. It is surmounted by two regimental flags.
Above a mural tablet to Lieutenant G.A. Allen is a window of stained glass
erected to the memory of the 11th Earl of Devon. The colour scheme is
particularly good, and the design, representing Jacob's dream, is not
unsuccessful.
A plain tablet to the memory of Samuel Sebastian Wesley, the famous
musician, is the only other monument in the aisle of general interest.
In the same aisle have recently been placed the colours of those battalions
of the Devons who served in the great European War, 1914-18.
To complete the examination of the nave we must cross to the south aisle, in
the first bay of which is the ancient doorway, probably built by Bishop
Bruere, leading into the cloister. At the end of the aisle is the monument of
Colonel John Macdonald, who died in 1831, a son of the celebrated Flora
Macdonald. The most eastern window of the aisle is filled with stained
glass representing four bishops of the Courtenay family. Peter Courtenay,
Bishop of Exeter, will be recognized as he holds the great "Peter" bell, his
gift to the cathedral, which hangs in the north tower. He is the bishop
alluded to by Shakespeare (Richard III., Act iv, Sc. 4):
"In Devonshire
Sir Edward Courtenay, and the haughty Prelate,

Bishop of Exeter, his elder brother,
With many more confederates are in arms."
After the accession of Henry VII., he was translated to Winchester.

THE NAVE, LOOKING EAST.
Formerly there was a Courtenay chantry in the last bay of this aisle,
corresponding with Bishop Brantyngham's chantry on the north side. These
became ruinous and were removed early in the nineteenth century. The
Courtenay tomb in the south transept is entirely a restoration. The effigies
represent Sir Hugh Courtenay, 2nd Earl of Devon, and Margaret de Bohun,
his wife. The great brass of their son, Sir Peter Courtenay, also formerly in
the chantry, is now in the south choir aisle: it has been sadly injured by
being trodden under foot for many hundred years, and is now protected by
matting. He was standard bearer to Edward III. and Richard II., and one of
the first Knights of the Garter.
The centre window of the south nave aisle is filled with stained glass in
memory of those of the Devon Regiment who served in the South African

War, 1899-1901. The tablets with their names are in St. Edmund's Chapel.
Their flags hang on either side of the window.
The large brass tablet, though, like too many of the memorials in the nave,
unnecessarily large and far from meritorious in design, is not without
interest. It is to the memory of Major-General Howard Elphinstone, V.C.,
who was drowned off Ushant in 1890.
Above a tablet of brass to Hugh, 2nd Earl of Devon, and his wife, is a
window erected by Sir Edwin Watkin to the memory of Thomas Latimer.
The small window to the left, erected by Dean Cowie in memory of his
wife, should be noticed.
North Transept.—We have already seen that the two great towers of the
cathedral were in their nature transeptal from the beginning. But they were
quite separated from the body of the church, the arches connecting them
being filled in with strongly built masonry, forming a complete wall. But
Quivil, wishing to enlarge the interior of the building, took down these
walls, and he set about altering the arches and converting them into the
same Decorated style to match this work in the rest of the building. He also
altered and transformed the Norman chapels that projected on the east side
of each transept. In the north transept one window and two narrow
doorways still betray their Norman origin. The open galleries in each
transept are connected by a passage with the clerestory. This, too, is Quivil's
work, and his windows in the two chapels of St. John and St. Paul, easily
distinguishable by their wheel-shape, are interesting.
Here is Chantry's fine statue of the Devonshire artist Northcote, and a tablet
to the memory of the men and officers of the 20th (Devon) Regiment who
fell in the Crimea. Visitors will notice with interest a fairly successful mural
painting representing the resurrection, the soldiers in armour being drawn
with considerable spirit.
Sylke Chantry is in the north transept. Sylke was a person of considerable
importance in his day, and one who deserved and obtained no little honour
from his contemporaries. He administered the affairs of the diocese as
vicar-general during the absence of Bishop Courtenay, and also during that
of Bishop Fox. In 1499 he was made precentor, and held that office till his
death. The priests, grateful for the efforts he had made to further their

comfort, decided to keep his obit. The abbot and convent of St. Mary of
Cleeve, in Somersetshire, willing to show their sense of obligation to him
and Canon Moore, gave yearly to the Dean and Chapter the sum of £6 13s.
4d. to be spent in celebrating their anniversary. Sylke's tomb represents a
very ghostly figure with the epitaph, "Sum quod eris, fueram quod es, pro
me, precor, ora." The chantry is in the style of the later Gothic, and is one of
those "final touches" to the cathedral Archdeacon Freeman esteems so
happily imparted to it. The ancient works of the thirteenth-century clock,
upon the north wall, have been placed in this chantry, the machinery being
in motion though it does not now work any part of the actual clock. The
various parts are of different dates; the oldest wheel has been working more
or less regularly for about 700 years. The dial represents the sun and moon
revolving round the earth in the centre, the varying phases of the moon
being indicated.
St. Paul's Chapel is on the east side of the north transept. Attributed to the
time of Marshall or his immediate predecessors. On the tiles are the arms of
Henry III.'s brother, Richard of Cornwall, who was elected King of the
Romans. It is used as a vestry for the lay choral vicars.
South Transept.—Opening from the east wall is the Chapel of St. John
the Baptist. It corresponds with that of St. Paul in the north transept. Some
of the glass in the windows was placed there at the restoration of 1870. The
screen dividing it from the transept is Oldham's work. The chapel is now
furnished for private meditation and prayer.

THE TRANSEPT, NORTH, SHOWING THE ORGAN AND
CLOCK.
Chapel of the Holy Ghost.—This, one of the most ancient parts of the
cathedral, lies between the south tower and chapter house. It occupies the
place of the passage known as the slype in monastic churches. The plain
stone barrel roof should be noted. It is now used as the choristers' vestry.
The south transept contains a very interesting collection of monuments.
Monuments in South Transept.—On the east wall a shallow recess, in
which are set some fragments of sculpture, is traditionally described as the
tomb of Leofric, first Bishop of Exeter. Hoker thus tells the story: "This
Leofricus died an. 1073, and was buried in the cemetery or churchyard of
his own church, under a simple or broken marble stone; which place, by the
since enlarging of his church is now within the South Tower of the same,
where of late, anno 1568, a new monument was erected to the memory of

so good, worthy & noble a personage, by the industry of the writer hereof
but at the charges of the Dean & Chapter."
In the corner at the south-east is the grave of Bishop John the Chaunter,
who died in 1191. He was for thirty years precentor of the cathedral, and
was consecrated bishop by Baldwin, Archbishop of Canterbury, "preacher
and pilgrim of the Crusade," and a native of Exeter. Bishop John assisted at
the coronation of Richard I. He held the see for six years.
Sir Peter Carew, whose mural tablet is a conspicuous feature, was buried at
Waterford in Ireland. He is one of the most distinguished members of an
ancient western family. On the Whitsunday of 1549, the village of Samford
Courtenay rose in revolt against the new prayer-book that Edward VI. had
ordered to be used in the churches, and the whole diocese speedily followed
the lead. The people swore that "they would keep the old and ancient
religion as their forefathers before them had done." Sir Gawain Carew, Sir
Peter Carew, and Sir Thomas Dennis, the sheriff, were busy in stemming
the tide of rebellion. Efforts at compromise were useless. The people
bitterly demanded the old religion, and called the new form of worship "a
Christian game," while the Cornishmen declared that they, since "certain of
us understand no English, utterly refuse the new English." Early in July the
malcontents set siege to Exeter. The wealth of the civic dignitaries
stimulated the besiegers, who summoned the city to surrender three times,
vowing that "they would enter by force and take the spoil of it," were their
demands refused. There was discontent and plotting within the walls, and
food gave out. Many were eager to let in the rebels, and Hoker records that
"but two days before the delivery of the city," the malcontents paraded the
streets, crying out: "Come out these heretics and twopenny bookmen!
Where be they! By God's wounds and blood we will not be pinned in to
serve their turn: we will go out and have in our neighbours; they be honest
good and godly men." But the principal citizens, though nurtured in the old
faith, held out grimly for the king. The siege was raised by John, Lord
Russell, whom Sir Peter had hastily summoned from Hinton St. George, in
Somersetshire. Food was supplied to the city "by the special industry and
travels of a thousand Welshmen under Sir William Herbert." Sir Peter, on
his arrival in London, was threatened with hanging by the Lord Protector
"as having caused the commotion by burning the barns at Crediton. He
pleaded the king's letter under his hand and privy signet." But he escaped

with difficulty, though he obtained from Lord Russell the lands of
Winislacre as a reward. Later on he opposed Queen Mary's marriage with
the King of Naples, and as Fuller puts it: "This active gentleman had much
adoe to expedite himself, and save his life, being imprisoned for his
compliance with Sir Thomas Wyate." He lived an active, reckless life to the
last, closing his career by some "signal service" in Ireland. He was a brother
of the Earl of Totnes. The handsome Elizabethan monument is to Sir John
Gilbert, brother of the more famous Humphrey, and his wife, Elizabeth
Chudleigh. He was one of the merchant adventurers and a half-brother of
Raleigh. His relations with Exeter were very friendly, the merchants being
keenly interested in maritime discoveries, for they hoped in far away Asia
to get a new market for their cloth.
Heroes of later days are not forgotten in this gallant company, and a tablet
on the east wall commemorates the men of the 32nd Regiment (Cornwall
Light Infantry) who fell in the Indian Mutiny. The colours of the regiment
show the names of Waterloo and Lucknow.

INTERIOR OF THE NAVE IN THE LAST CENTURY (FROM A
PRINT IN THE BRITISH MUSEUM).
The Choir Screen.—This is the work of Bishop Stapledon, and was
probably completed about 1324. The Dean and Chapter anticipated the
admiration which this screen would cause in after ages, and we read that
they presented William Canon, the executor of the marble work, "£4, out of
their courtesy." High above the screen, as we learn from the Fabric Rolls,
the rood with Mary and John rested on an iron bar.

CHOIR SCREEN, LOOKING N.E. (FROM BRITTON'S
"EXETER," 1826).
The paintings within the panels above the beautifully carved spandrils have
little interest or merit, though it is thought that they date from the same
period as the screen itself. It is difficult, however, to believe that they can be
so old, or that such good and bad work could belong to the same period.
James I. introduced into the foliage of the spandrils the rose and thistle; but

this uncalled-for emendation was summarily removed in the year 1875. The
side arches of the screen were at one period filled up with thick walls, and
two strong doors barred the arch of entrance, but this was altered by the
restorers in 1875.
The Organ was originally built by John Loosemore about 1665. In its
existing form it is an enlarged reconstruction by Messrs. Willis, the old
instrument being incorporated in it as a choir-organ. The organ case, which
was an elegant specimen of Renaissance woodwork, has also undergone
alteration and renovation.
The Choir.—If the chief glory with regard to the exterior of the cathedral
remains undoubtedly with the designer and builder of the great towers, the
choir, the work of Bytton and Stapledon, is no less certainly the supreme
glory of the interior. The Norman choir reached no farther than the third
bay, counting from the choir screen. Traces recently discovered seem to
prove that it had an apsidal termination. Bishop Marshall, in completing
Warelwast's work, added four bays and destroyed the triple apse. It is also
possible that, as the transition period to Early English was in its birth, some
of the vaulting was pointed. Bytton converted the choir as left by Marshall
into the Decorated style, inspired to the work by the success which had
attended Quivil's efforts in the easternmost bay of the nave. The whole
work—the transformation of the choir with its aisles—took about fifteen
years to complete, the speed and skill with which it was accomplished being
due to the fact that the task was not entirely in the hands of one body of
labourers. It seems to have been divided into two portions, at which the
builders worked simultaneously. Admirable as Quivil's work in the nave had
been, that of Bytton in the choir is an improvement. Doubtless he had learnt
something from the difficulties his predecessor encountered, and knew how
to avoid them. At any rate, he pushed forward the work with great vigour
and boldness. He formed his pillars of horizontal sections of Purbeck
marble from nine to fifteen inches thick: five boutelles on each side
presenting "the appearance of twenty-five shafts bound in one." In the
pavement of the choir more than ten thousand tiles were used. For the
vaulting of the choir, also his work, though the honour due to him has till
lately been denied, he procured quantities of Portland stone. Material for
bases and capitals was imported also from Portland: the entry in the Fabric
Rolls runs: "For the purchase of 18 great blocks of stone at Portland for the

keys or bosses, together with 60 bases and capitals, including carriage by
sea £4 16 8." The colouring of the keystones was due to Stapledon in the
first year of his episcopate.

THE CHOIR, LOOKING WEST.

THE CHOIR BEFORE RESTORATION
(FROM AN ENGRAVING AFTER CHARLES WILD).
Between 1870 and 1875 the choir underwent very extensive repairs. For the
most part they were successful, and if in particular instances objection may
be taken, it would be hyper-criticism to detract from their value. Wherever
possible, the stone was taken from the quarries used by the first builders.
The Purbeck marbles especially had severely suffered, and the mouldings
and bases ruthlessly destroyed for the better accommodation of the
wainscoting to the stalls; moreover, the differences in the nature of the stone
were rendered null by a hideous yellow wash with which they had been
lavishly besprinkled. During the restoration the corbels and roof-bosses
were cleaned and carefully repaired. These, though of the same character as
those in the nave, are both richer and more varied in design and more
skilfully carved.
The Choir Stalls.—The stalls are entirely modern, and the work of Sir
Gilbert Scott. Originally, no doubt, they were similar in style to the bishop's

throne, one of the most admirable of Stapledon's additions to the cathedral.
They were probably surmounted with canopies, with an open arcade of
stone behind them. The modern designer has so constructed his stalls as to
bear out this idea, since as far as possible they are meant to replace the
earlier ones. The misericords of Bishop Bruere have been placed beneath
the seats. These misericords have not their equal in England. They are
richly carved, representing foliage, wild beasts, an elephant, men fighting,
others playing musical instruments, and legendary monsters. The
introduction of an elephant proves that these misericords were not
completed until after Bruere's death in 1244; the elephant having been first
brought into England in 1255. There is also a representation of a knight in a
swan-boat, showing that the legend of Lohengrin was known in England.
The Reredos.—This, too, is modern work, and most successfully has Earp
carried out the designs of Sir Gilbert Scott. It is of alabaster, inlaid with
agate, carnelian, and jasper. In the centre of the three compartments into
which it is divided is the Ascension, the other two groups representing the
Descent of the Holy Ghost and the Transfiguration. As the work has met
with considerable opposition, it is well to remember Archdeacon Freeman's
words, he having the best of all rights to speak. "With its delicate canopies
of alabaster, and sculptures wrought in bold relief, its inlay of choice
marbles, its redundance of costly stones, and its attendant angel figures, it
enshrines a multitude of ideas well harmonizing with its place and
purpose." The ancient altar of Stapledon's has long since disappeared. This
was mostly of silver, the mensa only being of marble. In the monument of
Leofric, erected by Hoker, the historian, was found a large slab of marble
marked with crosses. This possibly was a portion of Stapledon's altar
destroyed by an Order in Council, 1550 (see below, p. 69).
The Bishop's Throne was Stapledon's work, erected in 1316. It is notable
for not having a single nail in it, being entirely fixed together with wooden
pegs. This "magnificent sheaf of carved oak," as it has been called, rises to
the height of fifty-seven feet. The carving shows foliage and finials of great
beauty, and beneath the canopies are angel figures bearing the insignia of
the Bishop's office. On one side the chalice and Host of blessing; on the
other, the bell, book, and candle that conveyed the Bishop's curse.

At the date of the 1870 restorations the throne was in a very defective state.
It had been covered with brown paint, and the lower panels were not a little
damaged. There are traces of ancient colouring still, but only the paintings
at the base have been renovated, which commemorate the quartette of
famous bishops, Warelwast, Quivil, Stapledon, and Grandisson, and were,
no doubt, somewhat later than the throne itself. Originally the niches of the
tabernacle work were filled with figures, but these have disappeared.

THE CHOIR, LOOKING
EAST.

SEDILIA IN THE CHOIR.
The Sedilia.—It is natural after an examination of the throne in wood to
turn to Stapledon's equally splendid achievement in stone. The sedilia were
most carefully restored under Sir Gilbert Scott. There are three arches, each
ten feet high, of openwork, above which is a rich display of tabernacle
work. The niches once contained statues, for the sockets are visible. The
carving, extraordinarily skilful and intricate, consists of leaves and animals'
heads. Like much of the carving in the cathedral that is attributed to this
date, it was the work of De Montacute, a French artist. The seats are divided
by metal shafts, the terminal divisions being supported by lions. It has been
contended that these lions are of considerably earlier date than the rest of
the work; but there is no evidence to go upon except a fancied resemblance
to Early English work. There seems no reason why Stapledon should not
have chosen lions as a fitting decoration, and carved them in a style more or
less traditional. Three small heads are carved on the back of the sedilia, the
centre one being that of Leofric, and on either side the heads of Edward the
Confessor and his wife Eadgytha. It will be remembered that they were

present, with their whole court, at the installation of Leofric. The central
seat is known as Leofric's stone, on which he is traditionally said to have
sat, and there is an entry in the year 1418 recording that twenty pence was
paid "for writing on the stone of my Lord Leofric."
On the triforium arcading, just over the sedilia, the heads of Leofric,
Edward, and Eadgytha are repeated.
The decoration of the choir vault is by Messrs. Clayton and Bell. The
attempt to give life to the roofing by gilding the bosses and painting the ribs
red and blue and gold, while the ground colour is a dull white, is not
without merit.
Pulpit in Choir of Devon marbles and alabaster, erected in 1871. The
beautifully carved panels represent our Lord blessing the children; the
Sermon on the Mount; St. Peter preaching on the day of Pentecost; St. Paul
at Athens; and St. Paul before Festus.
The East Window.—Henry de Blakeborn, a canon of the cathedral,
enlarged "this Gable window in the Perpendicular style." Although it was
damaged a good deal in Cromwell's time, much of the old glass remains.
The shields on the upper part of the window are modern, but those at the
bottom are those of the first bishops and benefactors. The three centre
figures in the lowest row were added in Brantyngham's day.

PULPIT IN THE CHOIR.
St. James' Chapel.—In the aisle on the south of the choir. In the north aisle
immediately opposite is the companion chapel of St. Andrew. It will be
noticed how frequently one part balances another throughout the building.
These chapels are partly Marshall's work. When the apsidal chapels were
pulled down at the time the apse was destroyed, Marshall built the present
chapels of St. James and St. Andrew. Bronscombe altered them
considerably, and the first item in the Fabric Rolls is, "for 3 windows for St.
James Chapel 8s. 9d.; for glass 16s." This is the last year of Bronscombe's
episcopate, and proves he had, at any rate, almost finished the renovation of
this chapel. The most noticeable features are the upper chamber, and the
magnificent but half-destroyed monument popularly known as Leofric's
tomb. The chapel contained two altars, one dedicated to St. James and the
other probably to St. Thomas of Canterbury.
Nearly opposite this chapel are the effigies of two knights, dating from the
fourteenth century; their cross-legged attitude leading to the erroneous

notion that they were Crusaders.
They probably represent Humphrey
de Bohun, father of Margaret, wife
of Hugh Courtenay, 1332, and Sir
Arthur Chichester of Raleigh, 1301.
Old histories describe armorial
bearings painted on their shields,
but these have long since perished.
St. Andrew's Chapel.—Opposite
to, and corresponding with that of
St. James'. It was Marshall's work
originally, like its fellow chapel,
being a substitute for one of the old
apsidal chapels of the Norman
choir. Stapledon completed the
renovations so as to make it a
parallel to Bronscombe's restored
chapel of St. James. The detached
shafts are clearly an imitation of the
earlier bishop's work. The chapel
contains an upper chamber, ST. JAMES' CHAPEL
formerly used as a muniments (DRAWN BY H.P. CLIFFORD).
room. The chapel originally
contained altars to St. Andrew and St. Catherine. In 1305 is an order of
Bytton's that chantry services should be held here for Andrew de Kilkenny,
late dean, and others. Among the names we find that of Henry de Kilkenny,
who was at the time of Bytton's order still living, and a canon of the
cathedral.

ST. GEORGE'S CHAPEL (OR SPEKE'S CHANTRY). DRAWN BY
H.P. CLIFFORD.
The Ambulatory.—Between the high altar and the Lady Chapel is the
ambulatory. It is noticeable that the shafts differ from those in other parts of
the building. The north and south windows are of the time of Bishop Bruere
(thirteenth century). The architecture throughout the retrochoir is Early
Decorated.
Two old oak bible-boxes are attached, one to each pillar: though ugly and
clumsy they are distinctly interesting.
The windows are modern and excellent. Messrs. Clayton and Bell have
seldom done anything better. The colours are quite admirable and well
blended. Two monuments of Jacobean work are well worthy of attention.
Concerning the subject of one, Jacob Railard, there is nothing to be learnt;

but the other, John Bidgood, was "one of the most accomplished and
beneficial physicians of his age," and was born in 1623. He was deprived of
his fellowship at Exeter College in 1648 "for drinking of healths to the
confusion of Reformers." Like many another good man he had to suffer for
his loyalty. He obtained his doctor's degree at Padua and won a great
reputation as a skilful and humane practitioner. With the Restoration he
obtained his Oxford degree but continued to practise in his native city. He
died in his sixty-eighth year.
At the north end of the ambulatory is Speke's Chantry, also called St.
George's Chapel. It is of late, and exceedingly rich, Perpendicular work.
Oliver notices that in 1657 the east window and altar were destroyed to
make a passage "into the great church of St. Peter's-in-the-East, partitioned
from West Peter's by a brick wall erected, plastered, and whitened on both
sides by Walter Deeble, at the expense of £150." The effigy of Sir John
Speke rests in the chapel; the carving behind the figure is very elaborate.
His home was at White Lackington in Somersetshire, and he was the owner
of Brampford Speke near Exeter. To secure the observance of his and his
wife's obit, he endowed the chapel with the "lands, tenements, and
hereditaments in Langford, Frehead, and Ashill, in Somersetshire."
The north window is to the memory of Archdeacon Bartholomew, and was
placed here in 1865.

THE LADY CHAPEL.
At the other end of the ambulatory is Bishop Oldham's Chantry,
dedicated to our Saviour. It was richly restored by Bishop Oldham, who
also restored the Speke—or St. George—Chantry immediately opposite. It
is to this bishop we owe the "delicate and elegant screening which imparts
distance and veiling to all nine chapels and to Prior Sylke's chantry in the
north transept." The walls and vaulting are richly decorated, and the
panelling and rebus at the north-east corner contain a rebus on the bishop's
name (oul-dom), being decorated with owls. In accordance with his object
in restoring the chapel, his body was buried there and his effigy lies in a
niche of the south wall. Oldham was a part founder of Corpus Christi
College, Oxford, by whose orders the chapel was restored some years ago.
He settled the arms of the see—gules, a sword erect in pale argent,
pommelled and hilted or, surmounted with two keys in saltire of the last. He
was a native of Manchester, founded the grammar school there, and held the
post of warden. He was a man of very methodical habits, according to
Hoker. He dined regularly at eleven, and supped at five. "To ensure

precision he had a house clock to strike the hours and a servant to look after
it. Should his lordship be prevented by important business from coming to
table at the appointed time, the servant would delay the clock's striking the
hour until he knew that his master was ready. Sometimes, if asked what was
the hour, he would humorously answer, 'As your lordship pleaseth,' at
which the bishop would smile and go away."
The Lady Chapel.—It has been suggested that this chapel occupies the site
of the choir in the old cathedral of Leofric. The earliest mention of it is in a
deed of Bishop Bruere's in 1237. It was remodelled by Bronscombe and
Quivil. But the "two pointed arches with solid piers—totally different from
any others in the Cathedral—dividing the Chapel from the side chapels,"
though their moulding has been altered very considerably in order to tally
with a later style, show evidence of much earlier date. The shafts are of
Purbeck marble, and the windows, arranged as in the nave, contain the last
importation of glass from abroad, save that in the transeptal windows, used
in the cathedral. The bosses in the eastern bay, with the evangelists'
emblems and head of Christ, should be noticed. The elaborate fourteenth
century reredos is the work of Grandisson. The central niche contained a
figure of the Virgin, before which a lamp was suspended. The sedilia and
double piscina on the south side are interesting.
The Lady Chapel contains several monumental tombs of interest. Beneath
the arches conducting to the side chapels are the effigies of Bishops
Bronscombe and Stafford.
Bronscombe died in 1280, Stafford in 1419; but with a regard to symmetry,
which is conspicuous in the cathedral, the earlier effigy of Bronscombe was
raised and provided with a new canopy to correspond with Stafford's tomb
on the opposite side. Bronscombe lies on the south side, at the entrance to,
or the north side of, his chapel of St. Gabriel. The colouring on the effigy
must have been uncommonly splendid, and even the remnants of the
patterns have not faded out of all beauty.

BISHOP BRONSCOMBE'S MONUMENT (FROM
BRITTON'S "EXETER," 1826).
Stafford's tomb is on the north side at the entrance to the chapel of St. Mary
Magdalen. It has had to contend with severer enemies than old age, but
shockingly as the effigy has suffered, it still preserves something of its
original beauty and stateliness. The attitude is simple; the gloved hands of
the bishop are joined over his breast in an attitude of prayer. The face is thin
and ascetic, its saintly austerity being rendered more noticeable owing to
the rich mitre that crowns the head. The folds of the robe are managed with
a consummate simplicity and skill. In Leland's "Itinerary" the bishop's
epitaph is preserved:
"Hic jacet Edmundus de Stafforde intumulatus,
Quondam profundus legum doctor reputatus,
Verbis facundus, Comitum de stirpe creatus,
Felix et mundus Pater hujus Pontificatus."
Tomb of Sir John and Lady Doddridge.—Sir John Doddridge came of an
old Devonshire family, for in 1285 one Walter Doddridge and his wife
surrendered to the Dean and Chapter of Exeter a right of entrance into the
close from their house in High Street. Fuller says of him that it were "hard

to say, whether he was better artist, divine, Cure, or Common Lawyer,
though he fixed on the last for his publick Profession." He was second
justice of the King's Bench, and gained great renown as a judge of stern
integrity. Sir John was three times married, the lady whose effigy is here
represented being his third wife, Dorothy, daughter of Sir Amias
Bampfylde. She died in 1615. Sir John, who became a judge of the King's
Bench, lived till 1628. He won the nickname of the "sleepy judge," for he
always closed his eyes in court, the better to keep his attention fixed on the
case. The monument is very elaborate, and if not beautiful is well worth
attention on account of its technical qualities and the probable accuracy of
its representation. The dress of Lady Dorothy Doddridge exhibits a good
example of costume; the skirt embroidered with pansies and carnations; the
ruff and cuffs showing old Devonshire "bone lace." It was no doubt copied
from one of the lady's actual gowns.
On the south side of the Lady Chapel are two most interesting monuments
of early bishops. That towards the east has been assigned to Bartholomew
Iscanus (1161-84), but in all probability it represents one of his far earlier
predecessors. The sculpture is almost archaic in style, the mitre low, the
face bearded, and the type extraordinarily Byzantine. The left hand holds
the pastoral staff, the point of which impales a winged dragon, with a
sphinx-like head, at his feet. In the angles of the archway at the tomb are the
figures of two angels with censers.
The other tomb is that of Simon de Apulia (d. 1223). It presents a great
contrast to that just described. The great advance made in the art of
sculpture is noticeable in the more human character of the face, which is
clean shaven, and the more skilful management of the hands. The artist, too,
seems to have courted difficulties, for the bishop's robe and mitre are richly
jewelled, and the foliage and animal at his feet, though conventional, are
most elaborately designed.

SCREEN OF ST. GABRIEL'S
CHAPEL.
Bishop Peter Quivil (1291).—This tombstone in the centre of the
pavement was restored here in 1820 on the representation of Mr. John Jones
of Franklyn; the cross and letters were re-cut under his directions. The
epitaph is "Petra tegit Petrum, nihil officiat sibi tetrum," and Westcott in his
"View of Devon" writes, "which verse was written in an ancient character,
each letter distant from the other at least four inches; so that this short verse
supplied the whole large circumference, and cost me some labour in finding
out and reading it."
Certainly this is one of the most interesting memorials in the cathedral;
indeed, it may be well considered the most interesting, for it is dedicated to
the man by whose genius the whole great design was begotten. Its
simplicity is noteworthy. But Quivil required no elaborate sepulture; the
cathedral itself is his mighty monument, since it was he who founded—

"A fane more noble than the vestal trod—
The Christian's temple, to the Christian's God."4
St. Gabriel's Chapel.—This chapel was transformed by Bishop
Bronscombe (1257-80). The vaulting has been recoloured in conformity
with the ancient tints and patterns. The chapel contained several
monuments, but these have been removed to other parts of the cathedral.
Bronscombe transformed the chapel that it might be used for his burial
place. St. Gabriel was his patron saint, and he caused the day of the
archangel to be celebrated with honours similar to Easter Day and
Christmas Day. There is some old glass in the windows. Note the kneeling
figure of the bishop with the scroll: "O Sancte Gabriel Archangele,
intercede pro gratia." The skilful restoration of the south window with
pieces of old glass is one of the most happy results of later work in the
cathedral. The altar slab marked with five crosses, appears to have been
used in Leofric's monument, where it was found in the last century. It was
placed here by Dean Cowie.
St. Mary Magdalen Chapel, first mentioned in the Fabric Rolls for 1284.
It was probably Marshall's work originally, Bronscombe further improved
it, and Quivil entirely remodelled it. With the exception of the
Perpendicular screen shutting it off from the north aisle, it is of the same
date as the Lady Chapel. The north window is Bronscombe's work, and the
still finer east window, containing a good deal of the early fifteenth-century
glass, is Quivil's. The chapel originally contained an altar to St John the
Evangelist and a figure of the Magdalene, for in Bishop Lacy's register are
the words, "extra vestibulum coram ymagine Sanctae Marie Magdalene."
On the floor of the chapel is a brass to Canon Langton, dated 1413. He was
a cousin of Bishop Stafford. He is represented kneeling, clothed in a most
rich cope and alb, on which is designed the Stafford knot. His hands are met
in prayer. The epitaph only gives the date of his death, and refers to his
relationship with the above-named bishop.
In this chapel also is a magnificent monument to Sir Gawain Carew and his
wife, and their nephew, Sir Peter. It is in two parts: on the upper lie the
figures of Sir Gawain and his dame, on the lower that of the more famous
nephew, with his legs crossed, an unusual position for a figure on so late a
tomb. Sir Peter and his uncle took an active part in quashing the rebellion

that disturbed the western counties in the reign of Edward VI. The former
died at Waterford, in Ireland, 1575. Sir Peter Carew sat on the King's
Commission of 1552, which summoned the Dean and Chapter to the
bishop's palace, "then and there to answer all demands and questions
concerning the jewells plate and other ornaments of your cathedrall
churche."
In 1857 the monument was admirably restored by the members of the
Carew family, the whole being gilded and coloured.

TOMBS IN THE CHOIR AND CHOIR AISLES.

The first tomb to notice on the north side of the choir is that of the
murdered bishop, Stapledon. The canopy was judiciously restored at the
beginning of the century. From beneath it one observes a great image of
Christ, the pierced hands raised to bless. The wounded feet stand upon a
sphere, possibly to represent His dominion over the world, and an
insignificant earthly king, in scarlet robes, seems to take refuge in the
shadow of the Saviour. Beneath the canopy lies the figure of the bishop,
grasping the crozier in his left hand and a book in his right. The keys upon
his sleeve represent the arms of the see. Above the monument the arms of
the bishop figure on the choir screen, and over the tombs of Lacy and
Marshall the same plan has been observed. This screen was erected about
the close of the fourteenth century.
Below the sacrarium, on the north, are the tombs of the Elizabethan bishop,
William Bradbridge, and that of Bishop Lacy (1420-55). His arms, "Three
shovellers heads erased," may be seen on the screen work above it. The
tomb is despoiled of the brass that once adorned it—said to have been taken
out by the Reformation Dean, Simon Hayes (who also despoiled St.
Radegunde's Chapel), because pilgrims resorted to Lacy's tomb, and
regarded him as a saint.
The next tomb, that of Marshall, is of peculiar interest, and it is unfortunate
that a good view is not easily attainable. It has been pointed out by a
specialist that the ornament on the chasuble is almost unique, reminding
one of the foliage in Early English work. The medallions at the side are
especially interesting.
At the west, near the Speke Chantry, is the remarkable monument, generally
supposed to be the tomb of Sir Richard de Stapledon, an elder brother of the
great bishop whose tragic death we have already described in the first

chapter of this book. He was a lawyer and one of his Majesty's judges.
Prince's quaint description of his tomb is worth quoting in full: "In a niche
in the wall is a monument erected to his Memory, representing his Figure
lively cut in stone sitting on horseback; where is cut out also in the same, a
cripple taking hold of the foreleg of his horse: which seems to confirm the
Tradition, That a certain Cripple, as Sir Richard was riding into the City of
London with his Brother, lying at the gate, laid hold on one of his Horse's
Fore-legs, and by crossing of it threw Horse and Rider to the Ground; by
which means he was soon slain; and that from this occasion the place
obtain'd the name of Cripple-gate, which it retains to this day." It is a pity so
quaint a story belongs to the realm of legend, for there is no substantial
proof forthcoming of its truth.

TOMB OF BISHOP STAPLEDON.
The next monument on this side is an emaciated figure, or Memento Mori, a
gruesome style popular in the fifteenth century. It may have been intended
for a cenotaph of Bishop Bothe, the legend, nearly erased, at the top, being
the same as that on his brass in the church of East Horsley, Surrey, where he
is buried.

MONUMENT OF BISHOP
MARSHALL
(FROM BRITTON'S "EXETER,"
1826).
The monument to Anthony Harvey of Colomb John is of no great interest,
being poorly designed. Its date is 1564. Harvey was steward of the abbeys
of Hartland, Buckland, and Newenham at the time when the religious
houses were suppressed. He is said to have amassed very considerable
wealth; for, in addition to the profits derived from the spoliation of the
above monasteries, he received from Henry VIII considerable lands
belonging to the abbey of Tewkesbury, which he sold, probably most
advantageously, to a clothier of Crediton. Harvey was connected with the
Carews through the marriage of his daughter, and heiress, with George
Carew, Dean of Exeter, the notorious pluralist. Their son, Harvey's
grandson, was created Earl of Totnes, but died without issue.

At the west end of the south aisle is the monument of Bishop Gary (1621-
26) and a mural tablet commemorating Robert Hall, eldest son of Bishop
Hall, and treasurer of the cathedral. To him Exeter owes a perpetual debt of
gratitude, for, when the city surrendered to Fairfax in 1646, he took down
the Bishop's Throne and concealed it (buried it according to local tradition),
and after the Restoration was able to re-erect in its proper place the most
magnificent Bishop's throne in England.
Neither the effigy of Bishop Cotton (1621) nor the angel resting on the
sarcophagus of Bishop Weston—a typical Georgian monument—are of
much intrinsic merit. Flaxman's statue to General Simcox, the hero of the
Queen's Rangers in the American War, is the only other notable
monumental achievement in the south choir aisle.
The Peter, or Great Bell, of Exeter is said to have been a gift of Bishop
Courtenay's. This opinion is very much disputed, as the Fabric Rolls show
that there were bells here in the time of Edward II. As early as 1351 is an
entry of 6s. for mending the Peter Bell. Again in 1453, twenty-five years
before Courtenay was created bishop, mention is made of the spending of
twenty pence "in una bauderick pro Maxima Campana in Campanili
Boreali." Oliver, however, acutely points out that this last entry is dated the
very year that Courtenay was appointed Archdeacon of Exeter, and suggests
that "on that occasion he may have offered such valuable presents." On the
5th November, 1611, the bell was crazed, but was recast in 1676. Its reputed
weight is 12,500 lb. If this is correct, it is the second largest bell in England.
Great Tom of Christ Church, Oxford, is more than 5,000 lb. heavier, but it
easily exceeds its other rivals, Tom of Lincoln and the Great Bell of St.
Paul's, which weigh respectively 11,296 lb. and 8,400 lb.

The Chapter House lies at the south end of the transept beyond the Chapel
of the Holy Ghost. The lower part of the room is the original building of the
early thirteenth century, between 1224 and 1244, and the face of the wall is
decorated with Early English arcades separated by delicate shafts. This
building probably had a stone vaulted roof. Lacy heightened it, adding lofty
Perpendicular windows; and the whole is completed by a rich tie-beam
roof, partly the work of Bishop Bothe (1465-78), whose arms, with Lacy's,
are painted on it (see p. 13). The east window, recently restored, contains

many coats of arms in ancient glass. Among these is the Austrian eagle
quartered with the lion of Bohemia, reminding us that Richard, Earl of
Cornwall, brother of Henry III, and lord of Rougemont Castle, Exeter, was
about 1260 elected King of the Romans, thus associating Exeter with the
highest secular honour then known to Europe.
The Cloister.—Archdeacon Freeman thinks that originally the cloister "was
confined to the east side, as a necessary communication between the
chapter house and the great south door of the nave." During Stapledon's
time a desire had been evinced to enlarge this cloister; and in 1323 there is a
record to the effect that eight heads had been carved for vaulting the
cloister. In the Fabric Rolls are entries that show the work of building
proceeded with some activity and considerable cheapness. Here are a few
extracts that are interesting:
"Twenty-five horse-loads of sand for the cloister, 9d. A thousand lath nails
and healing pins for do. S. Clifford sculpanti 18 capites 3/9: 10 do. 2/-."
By 1342 the work was probably finished to the north, and forty years later
the whole must have been completed. It has been said that the old cloister
was inferior to those of Worcester and Gloucester. But they must have had
considerable merit if Mr. Pearson's restoration really represents, and there is
little doubt it does, the old structure.
It is curious that the cloister, certainly the least offensive and not the most
beautiful part of the cathedral, should have suffered so severely at the hands
of the Puritans. For on the whole the cathedral proper escaped with but
small damage. Professor Freeman, in discussing the alleged desecrations
suffered by St. Mary and St. Peter, after the entrance of Fairfax and his
army into the city, writes thus: "The account in Mercurius Rusticus, which
has given vogue to the common story is wholly untrue." He further adds:
"Some fanatic soldier may, indeed, according to the story, have broken off
the head of Queen Elizabeth, mistaking her for our Lady. But no general
mutilation or desecration took place at this time. And at Exeter, one form of
mutilation, which specially affected the west front, was not the work of
enemies but of devotees. For ages the country folk who came into the city
loved to carry home a Peter stone for the healing of their ailments." It is
only fair to add that Archdeacon Freeman refers in very different language

to the result of the occupation by the Puritans, but though the decorative
portions of the cloister may have suffered, we cannot account for the
disappearance of the exterior walls without a better reason for their
destruction. It should be noted, however, that in the fifteenth century the
Dean and Chapter bitterly complained of the conduct of the Exeter boys,
who played "unlawfull games as the toppe, queke, penny pryke & most atte
tenys" in the cloister, whereby they were "defowled & the glas windows all
to-brost." But at this time the cathedral and municipal authorities were far
from friendly to each other. Dr. Oliver writes of the ruins in his day that
they "have disappeared with the exception of part of a fluted column at the
west corner of the carpenter's shop." With the debris small and mean houses
were built. On the 30th of October, 1657, we are given a hint as to what
may have been the meaning of this wanton destruction. Apparently the
ground set apart for "the convenience of the studious and contemplative"
was found to have valuable attributes as a market-place, for on the above
day the "Friday cloth market for serges and other drapery" was ordered to
be held in this place. Commerce did not triumph for long, though, as only
three years later the buyers and sellers were bundled back into South Street.

THE EAST GATE, PULLED DOWN IN 1784.

A large number of bosses and carvings of the original structure, discovered
during the recent excavations, have been skilfully incorporated by Mr.
Pearson in his restoration. Above the cloister is a library containing 8,000
volumes, many of them bequeathed by the late Chancellor Harrington.
The Close.—This was an important adjunct to all cathedrals in the days
following the Conquest. We have seen that on one occasion at least the
cathedral church of Exeter was severely bombarded, with the result that the
northern tower differs considerably from the southern in places. The church,
then, we may presume, was intended to be used, when necessary, as a
fortress: but as it was also something else very different, this necessity was
rather shunned than courted. Therefore it was customary to separate the
church from the world by walls and gates of proved strength. This space so
secured formed an outer fortress, against which the attacks of an enemy
must, perforce, have been directed first. It placed entirely in the hands of
the clergy the defence of their own church, a task they were quite capable of
performing with credit; for Matthew Paris tells us of one bishop of Exeter,
Bruere, that he displayed activity both "spiritual and temporal" in the Holy
Land. The defence of the city, that of the sacred building being thus
provided for, was the business of the captains and men-at-arms. The walls
and gates of the close have vanished, without leaving a trace of their
existence. One privilege, however, yet haunts the place—the corporation
have no jurisdiction over it.
In the close at the north side of the cathedral has been placed a statue of
Richard Hooker, the theologian (1553-1600), author of "The Laws of
Ecclesiastical Polity." The "Judicious Hooker" was born in Exeter, and was
a nephew of John Vowel, alias Hoker, Chamberlain and Historian of the
city.
The Cathedral Library was founded by Leofric himself. One of his
principal reasons for translating the see from Crediton to Exeter being his
fear lest the valuable books he had collected should at any time be
destroyed by raiders in an unfortified town.
When, in the beginning of the seventeenth century, Sir Thomas Bodley,
himself a native of Exeter, founded the Bodleian Library at Oxford, the
Dean and Chapter of Exeter presented to it a large number of books and

manuscripts, many of which had belonged to Leofric. Fortunately one
volume remained in Exeter, overlooked by owners then unaware of its
value, possibly of its very existence. This volume, "The Exeter Book," is
the greatest treasure possessed by the Dean and Chapter, being an Anglo-
Saxon manuscript, containing almost a third of all the Anglo-Saxon
literature that is known. The contents include "Cynewulf's Christus," a
poem on the life of our Lord; some legends of saints; and a quaint
collection of riddles and jokes. The ink of its writing, nearly one thousand
years old, is as fresh as if it had been inscribed but recently.
As already mentioned, the muniments room was formerly above St.
Andrew's Chapel. At a later date the library was placed in the Lady Chapel,
and was thence removed to the chapter house. Towards the end of the last
century Canon Cook and Chancellor Harrington left their valuable libraries
to the Dean and Chapter, and in order to accommodate the books Dean
Cowie restored the south side of the cloister, and built a new library over it.
Here may be seen the Exeter Book, the Exeter Domesday, Grandisson's
Ordinale, Lacy's Pontifical, and other beautiful examples of illumination.
Also the original charter of Edward the Confessor appointing Leofric
Bishop of Exeter, signed by the King and Queen, Earl Godwin, and a
notable group of Saxon Thanes.
Among the printed books are a First Folio of Shakespeare, and the sealed
Prayer Book of King Charles II.
The library is open to the public after Matins on Tuesdays and Fridays.
The Palace is a building so closely associated with the cathedral as to
demand a brief notice. In it is the chapel of St. Mary, which seems to have
been frequently used in preference to the cathedral for the celebration of
espiscopal functions. Ordination services were often held within its walls. It
was originally built that services might be said there for the repose of the
souls of dead bishops of Exeter. A document is quoted by Oliver, in which
the parish of Alwyngton is called upon to pay the officiating chaplain a
yearly sum of four marks and that of Harberton two. This chapel, now
restored, is used for domestic purposes. But at one time it was clearly
regarded as pertaining to the cathedral, for the Dean and Chapter, on the
festival of St. Faith, presented to it a pair of wax candles. Brantyngham, in

1381, mentions the "fructus et proventus cantariae infra Palatium nostrum
Exonie, pro animabus predecessorum nostorum ipsius fundatorum." The old
entrance was under the great archway, and battlements, by gracious
permission of royalty, surrounded the whole. In the great hall feasts were
held for 100 poor people; but the palace now is shorn of a good deal of its
grandeur. The Ecclesiastical Commissioners in 1845 decided to rebuild and
repair what remained.

THE BISHOP'S PALACE.

THE DIOCESE OF EXETER.

A chronological list of the bishops of the diocese, from the days of Leofric,
when the seat of the bishopric was removed from Crediton, to our own day,
when the diocese of Truro has been carved out from that of Exeter, is here
given briefly, since the more notable holders of the see have been already
mentioned in the first chapter.
Leofric (1046-1072). In 1050 the see was removed from Crediton and the
new See of Exeter founded.
Osbern (1072-1103). No alterations were made to the building during this
period. The bishop was admired for his "simplicity of English manners and
habits," for although Norman by birth he had been educated in England.
William Warelwast (1107-1136), a nephew of William the Conqueror,
began to demolish the Saxon Church. To him may be attributed the towers,
choir, apse, and nave of the Norman building. The story of his blindness,
and of his being sent on an embassy to Rome, rests on somewhat slender
authority.
Robert Chichester (1138-1155) was promoted from the deanery of
Salisbury at the Council of Northampton. He continued Warelwast's work.
Robert Warelwast (1155-1160) was a nephew of the former bishop of that
name.
Bartholomaeus Iscanus (1161-1184), a native of Exeter, was of humble
birth. He is said to have been an enemy of Becket's and was called by Pope
Alexander III. "the luminary of the English Church."
John the Chaunter (1186-1191) continued the buildings which had been
suspended during the last episcopate.

Henry Marshall (1194-1206), brother to the Earl of Pembroke, Marshal of
England, was promoted from York, of which cathedral he was dean. He
completed the buildings as designed by the first Warelwast. To him we owe
the Lady Chapel, the larger choir, the north porch, cloister doorway, and six
chapels. He assisted at the coronation of King Richard at Winchester in
1194, and at that of John in 1199.
Simon de Apulia (1214-1223). But little is recorded of this bishop. He
assisted at Henry III.'s coronation at Gloucester when the king was a lad of
ten. To him also is attributed the fixing of the boundaries of the city
parishes. His tomb is in the Lady Chapel.
William Bruere (1224-1244) served as Precentor of Exeter before he was
made bishop. To him are due the chapter house and stalls in the old choir.
For five years he was in the Holy Land, and Matthew Paris writes of his
energy and untiring devotion in administering to the wants of his
countrymen.
Richard Blondy (1245-1257). According to Hoker this bishop was the son
of Hilary Blondy, Mayor of Exeter in 1227.
Walter Bronescombe (1257-1280), a native of Exeter, was only in deacon's
orders when chosen bishop. He restored the chapels of St. Gabriel, St. Mary
Magdalene and St. James. He also founded a college at Glasney and
restored "the establishment of Crediton" to much of its former splendour.
Peter Quivil (1280-1291) was born in Exeter, and a protégé of
Bronescombe's. His first preferment was as Archdeacon of St. David's, from
whence he was promoted bishop of his native city. He it was who designed
the Decorated cathedral and transformed transepts with chapels, eastern bay
of the nave, and the Lady Chapel.
Thomas de Bytton (1292-1307) continued Quivil's work, transforming the
choir and its aisles. He was a native of Gloucestershire and had been Dean
of Wells. An indulgence of forty days was granted by the Pope, Boniface
VIII., three archbishops and five bishops, to all who should pray for his
prosperity. The rules he made for the government of the collegiate church at
Crediton won general approval.

Walter de Stapledon (1308-1326) was Professor of Canon Law at Oxford
and a chaplain to Pope Clement V. He was killed by a London mob. The
transformed choir transepts are his work, and he erected the organ screen,
bishop's throne, and sedilia. During his episcopate, also, the cloisters were
begun.
James Berkeley (1326-1327), Archdeacon of Huntingdon, and grandson of
William de Ferrers, Earl of Derby, died a few weeks after his consecration.
John Grandisson (1327-1369) was born in Herefordshire, of good family.
His long tenure of the see is one of the most memorable chapters in the
history of Exeter. The fatal Black Death occurred during his episcopacy,
1348-1369. He inherited the transforming zeal of his predecessors and set
his seal on the six western bays of the nave, the great west windows, and
the vaulting and the aisles. He completed the north cloister.
Thomas Brantyngham (1370-1394) was educated at the Court of Edward
III., and was a canon of Exeter when chosen bishop. He was a constant
adviser of the king, only being released from his privy council and
parliamentary duties when his advanced age made them irksome to him. He
was very busy in all the affairs of the diocese, but found time to complete
the cloisters, east window, and west front.
Edmund Stafford (1395-1419) came of a greatly distinguished family. He
was a canon of York when Pope Boniface IX. advanced him to the See of
Exeter. For a time he served the king as Lord High Chancellor. He has been
abused by Campbell in his "Lives of the Lord Chancellors of England": but
there seems little doubt that he deserved the reputation he certainly got of
being learned, grave, and wise, and "very well accounted generally of all
men." To him are attributed the canopies over the tombs in the Lady
Chapel.
John Ketterick or Catterick (1419) died at Florence a month after his
appointment.
Edmund Lacy (1420-1455), composer of an office in honour of the
Archangel Raphael, left a saintly reputation, and pilgrimages were, for long,
made to his tomb. According to Canon Freeman he raised the chapter house
and glazed the nave windows.

George Neville (1458-1465) was a son of the Earl of Salisbury. He was
Chancellor of Oxford, and only twenty-four when made bishop. Though for
several years Lord High Chancellor, and translated to York, he died in
disgrace and comparative poverty.
John Bothe (1465-1478) was the son of a Cheshire knight. He has often,
but wrongly, been credited with being the donor of the throne. With more
certainty the roof of the chapter house has been acknowledged as his work.
Peter Courtenay (1478-1486), son of Sir Philip Courtenay of Powderham,
had been Archdeacon of Exeter and Wiltshire, and Dean of Windsor and
Exeter before he was appointed Bishop of Exeter. He assisted at the
coronation of Richard III., but was none the less translated, for his services,
by Henry to the diocese of Winchester.
Richard Fox (1487-1491), the next bishop, was held in great esteem by
Henry VII., whom he represented for a time as Ambassador at the Court of
Scotland. He arranged the preliminaries of the marriage of Henry's daughter
Margaret with James IV. He was translated to Bath and Wells, then to
Durham, and finally to Winchester. He is said to have refused the dignity of
Archbishop of Canterbury, which his godson, Henry VIII., was anxious he
should accept.
Oliver King (1492-1495) was Bishop of Exeter for a short time only, being
translated to Bath and Wells. He began building the Abbey Church at Bath,
but did not live to see much of it completed.
Richard Redman (1496-1501) was translated to Exeter from St. Asaph. He
resigned the see on becoming Bishop of Ely.
John Arundell (1502-1503) was translated from the See of Lichfield and
Coventry. He was famous for his benevolence and hospitality. He died after
barely two years' tenancy of the western bishopric.
Hugh Oldham (1504-1519) came of an ancient Lancashire family. A large
and flourishing manufacturing town in that county bears his name. He
founded the grammar school in Manchester, and on his elevation became
famous throughout the west of England for his learning and piety.

John Vesey (Harman) (1519-1551). A lengthy account is given of this
bishop in the first chapter.
Miles Coverdale (1551-1553) was a famous reformer, and revised
Tyndale's translation of the Bible. He was not popular in the diocese, and on
Queen Mary's accession was deprived of his see, to the great satisfaction of
his flock.
James Turberville (1555-1559) was deprived of his see on his refusal to
acknowledge the ecclesiastical supremacy of Elizabeth. He had been
popular in the west of England, where the Reformation was at first heartily
disliked.
William Alleyn (1560-1570). Oliver writes the surname Alley. The diocese
was now so poor that he was compelled to reduce the number of canons
from twenty-four to nine. Only by accepting the rectorship of Honiton was
the bishop himself able to support the dignity of his office. He was the
author of several religious books that had considerable popularity in their
day.
William Bradbridge (1570-1578) is said to have speculated largely in
agricultural land, and to have died a debtor for a large amount, including
£1,400 owed to Queen Elizabeth. Beyond this little is recorded of him
except that he lived at Newton Ferrers, of which he held the living in
commendam, which must have put his clergy to great inconvenience.
John Wolton (1579-1594). During Wolton's episcopate the revenues were
restored to the chapter, the crown reserving to itself the sum of £145 yearly.
The priest-vicars, also, received back from the queen the greater portion of
their possessions.
Gervase Babington (1595-1597) was translated from Llandaff. He
remained at Exeter but a short time. He seems to have been a favourite with
the queen, who took an early opportunity to promote him to the wealthy See
of Worcester.
William Cotton (1598-1621).
Valentine Carey (1621-1626) had been Master of Christ's College,
Cambridge, and Dean of St. Paul's.

Joseph Hall (1627-1641) was Dean of Worcester when promoted to the See
of Exeter. He was a famous theological writer, and was translated to
Norwich in 1641. There he suffered a great deal of unmerited persecution,
which he bore bravely, though the ill-treatment of his enemies killed him.
Ralph Brownrigg (1642-1659), Master of St. Catharine's, Cambridge, was
bishop in troublous times. He had to retire to a friend's house in Berkshire.
He was elected Preacher of the Temple, and was buried at the cost of the
Inn.
John Gauden (1660-1662) was Master of the Temple. His title to fame is
as the reputed author of the ΕΙΚΩΝ ΒΑΣΙΛΙΚΗ. Being the first bishop
appointed after the Restoration, his arrival in Exeter was gladly welcomed
by the loyal citizens. But he does not seem to have been a lovable man, and
was over-eager for riches. He was translated to Worcester on his complaint
of poverty reaching the king's ears.
Seth Ward (1662-1667) was already popular as dean when he succeeded
Gauden as bishop. He cleared the cathedral of the small traders who
desecrated the precincts, and gave to his church the finest organ then known
in England. He was translated to Salisbury, and became Chancellor of the
Order of the Garter. He obtained an enviable reputation for his good sense,
piety, learning, and generosity.
Anthony Sparrow (1667-1676) was Master of King's College, Cambridge,
when consecrated bishop. Cosmo III. visited Exeter during his tenancy of
the see.
Thomas Lamplugh (1676-1688) seems to have been a clever politician. By
expressing his loyalty to James II., when William had landed at Torbay, he
was created Archbishop of York; thereupon he actively supported the Prince
of Orange. "My Lord, you are a genuine old Cavalier," was the king's
greeting. One hopes the memory of those words troubled the archbishop
during his three years' experience of an ill-deserved dignity.
Jonathan Trelawny (1689-1707) came of a famous Cornish family. As
Bishop of Bristol he was already famous, for he was one of the seven
bishops whose trial and acquittal hastened the downfall of the last Stuart
king. He was translated to Winchester. A popular refrain, wedded to verses

by the celebrated parson Hawker, of Morwenstow, keeps his memory alive
in the western counties.
Offspring Blackball (1708-1716) was chiefly and honourably known as a
promoter of charity schools.
Launcelot Blackburne (1717-1724). Of this bishop there is little to record.
He was translated to the Archbishopric of York in 1724.
Stephen Weston (1724-1742). The episcopal registers were now kept for
the first time in English. His long reign seems to have been quite
uneventful, and probably was, therefore, entirely successful.
Nicholas Claggett (1742-1746) was translated from St. David's.
George Lavington (1747-1762).
Frederick Keppel (1762-1777), a son of the Earl of Albemarle, was a
canon of Windsor when appointed Bishop of Exeter.
John Ross (1778-1792).
William Buller (1792-1796), of an old west country family, was promoted
from the deanery of Canterbury.
Henry Reginald Courtenay (1797-1803), translated to this see from
Bristol.
John Fisher (1803-1807) was tutor to the Duke of Kent, father of Queen
Victoria. He was translated to Salisbury in 1807.
George Pelham (1807-1820) was translated from Bristol. After, according
to Oliver, "for thirteen years expecting higher preferment," he was
promoted to Lincoln.
William Carey (1820-1830), head master of Westminster School. When he
had been ten years at Exeter he was translated to St. Asaph, a curious
reversal of the usual proceeding. For although a Welsh bishopric often led
to an English one, a change from Exeter to St. Asaph could hardly have
been "preferment" in the ordinary sense.

Christopher Bethell (1830-1831). Exeter, for this bishop also, was merely
a stepping-stone between Gloucester and Bangor.
Henry Phillpotts (1831-1868) was the most famous bishop who has held
the see in this century. He restored the palace, which had fallen into a ruined
condition. He was energetic about the affairs of his diocese, a born ruler of
men, and a scholar of eminence. The story of his episcopate is a well-
known chapter to students of the ecclesiastical history of the first half of the
queen's reign.
Frederick Temple (1869-1885), head master of Rugby, 1858-1869; Bishop
of Exeter, 1869; translated to London, 1885, and to the Metropolitan See of
Canterbury, 1896.
Edward Henry Bickersteth (1885-1901) was Dean of Gloucester when
appointed bishop. Resigned.
Herbert Edward Ryle (1901-1903) translated to Winchester. On resigning
the see of Winchester he became Dean of Westminster.
Archibald Robertson (1903-1916). Resigned.
Rupert Ernest William Gascoyne Cecil (1916- ).

OLD HOUSES IN FORE
STREET
.

ROUGEMONT CASTLE AND THE
GUILDHALL.

It is related that when Gytha fled towards the river and William the
Conqueror marched through the eastern gate of the city, claiming it as his
prize, he promised the citizens their lives, goods, and limbs. But, although
he adhered strictly to his promise, and took care that his victorious soldiers
should not pillage or insult the inhabitants, he was well aware of the
supreme value of his conquest. The taking of Exeter was practically the
taking of all western England. So he determined to make his position
impregnable, and to this end set about the building of a castle on the Red
Mount. The task was not a hard one: the Norman engineers had little need
to display their peculiar ingenuity. Nature had done much, and to her work
Briton, Roman, and Englishman had made additions. As Professor Freeman
puts it: "The hillside was ready scarped, the ditch was ready dug." Baldwin
de Molles was appointed superintendent and commander, and so well did he
carry out his trust that within a year the castle was built and the men of
Cornwall and Devon had attacked its walls in vain. Perhaps because
William had been a merciful conqueror, not despoiling or ill-using the
citizens, perhaps because the citizens were afraid, knowing the just man
was strong and his hand heavy in anger, the besiegers found no help within
the city walls. Henceforth Exeter was for the king.
A curious example of its loyalty was shown in the troubled days of King
Stephen. Earl Baldwin, from all accounts a cruel and violent man, took
arms against the king. Stephen demanded that the castle should be delivered
up. For his answer the Earl laid in provisions, and at the head of his
followers patrolled the streets of the city threatening vengeance on those
who opposed his will. Stephen, speedily apprised by his faithful citizens of
these riotous doings, sent two hundred knights to confront the rebel. Later
he came himself, and the castle was closely besieged. After three months'

heavy fighting the wells in the castle gave out. Deprived of water, Baldwin,
who was brave enough, made shift with wine, using it both for cookery and
extinguishing the fires. But at last the king was victorious and, not heeding
the wise counsel of his brother Henry of Winchester, permitted the
followers of Baldwin to "go forth with their goods and follow what lord
they would."
In 1483, Richard III., fearing that the west favoured the claims of Henry,
Earl of Richmond, hastened to Exeter. He was civilly greeted by John
Attwill, the mayor. But his coming was not very welcome, nor did his
conduct contribute to the gaiety of the inhabitants. In his train was Lord
Scrope, whose business it was to try the rebels. None could be found,
however, save the king's brother-in-law, St. Leger, and his esquire, John
Rame. Richard none the less determined to strike terror into the hearts of all
who wavered in their allegiance. So both men were beheaded at the Carfax.
This done, the king busied himself in studying the surrounding country, and
made careful note of the city and castle. The military strength of
Rougemont pleased him, though the name did not. A west country accent,
some say, gave it a sound like Ridgemount, too close an echo of his rival's
title. The incident is referred to by Shakespeare in these well-known lines:
"Richmond! when I last was at Exeter,
The mayor in courtesy showed me the castle,
And called it Rougemont—at which name I started;
Because a bard of Ireland told me once,
I should not live long after I saw Richmond."
The castle was considerably injured a few years later when Perkin Warbeck,
at the head of his Cornishmen, attacked the city. The fight seems to have
been a long and furious one. The North Gate was burned, and both there
and at the East Gate the rebels were temporarily successful. But after the
Earl of Devon and his retinue came to the help of the citizens the rebels
were expelled and had to make their way to Taunton, unsuccessful. Henry
soon afterwards arrived bringing Perkin Warbeck with him. By his
clemency towards the rebels he created real enthusiasm, so that the
prisoners "hurled away their halters and cried God Save the King."

By the time Charles I. came to the throne the castle was already showing
"gaping chinks and an aged countenance." Fairfax and his Roundheads
completed the ruin. But it was not war only which left the building as we
now see it. An ivy-covered gateway is all that remains. Yet from its summit
one has a fine view of the surrounding country, and can readily understand
of what strategical value its possession must have been in "battles long
ago."

ROUGEMONT CASTLE.

THE GUILDHALL, EXETER.
The hand of the reformer proved stronger than that of the victorious captain.
What war had failed to do enterprising citizens accomplished in times of
peace. About the year 1770 the city fathers seem to have been animated by
an unholy passion for destruction. Not only was the house of the Earls of
Bedford, a house full of historic and majestic memories, pulled down, but
the venerable fortress attracted attention. First a gateway, then the chapel,
later the castellan's house disappeared. New assize courts, superlatively
ugly, proudly rose in their stead. But even then the zeal of the reformers
was not satiated. "Ten years later the Eastern Gate, with its two mighty
flanking towers soaring over the picturesque house on each side with its
wide and lofty Tudor arch spanning the road, its statue of Henry the
Seventh, commemorating its rebuilding after the siege by Perkin Warbeck
—the gate which was heir to that through which the conqueror made his
way—all perished, to the great satisfaction of the Exeter of that day; for 'a
beautiful Vista was opened from St. Sidwell's into the High Street, a very
great and necessary improvement.'" It is easy to share Professor Freeman's

indignation; less easy, unhappily, to persuade men of our own day to deal
kindly by the ancient monuments that are still left to us.
Another building that has played a notable part in the history of the city is
the Guildhall, of which the portico makes so pleasing an ornament to the
High Street. The building is a picturesque medley, "English windows and
Italian pillars," and Professor Freeman wittily suggests that it serves to
remind us of the jumble of tongues characterizing "much of the law
business that has been done within it." The present building was built in
1464, replacing one of earlier date. There are many pictures of local interest
in the hall, and also portraits by Sir Peter Lely of Princess Henrietta, Anne,
Duchess of Orleans, and of General Monk. The Princess was born in Exeter,
and the portrait was presented to the city by Charles II after the Restoration.
General Monk belonged to a Devonshire family whose residence was near
Torrington. There seems to have been at one time a guild or confraternity
connected with the chapel of St. George, erected over the hall about the last
year of Richard III. In the accounts are found entries such as this:
"Principae and others for exequis and masses said in the chapel of Guildhall
for the repose of the souls for the brothers and sisters of the fraternity of St.
George."
When Richard III was nearing the end of his reign, the roof was fortified by
a gun placed in charge of John Croker and ten soldiers. It is a strange
coincidence that the chapel should have been built at this time. Evidently
the wise citizens were determined to protect their interests both here and
hereafter.

DIMENSIONS.

Internal length 383 ft.
Nave, length 140 ft.
" breadth (with aisles) 72 ft.
" height 66 ft.
Choir, length 123 ft.
Transept, length 140 ft.

Area 29,600 sq. ft.

INDEX

Ambulatory, 61.

Bell, great, 74.
Bishops, list of, 83-89.
Bishop's throne, 56.
Blackall, Offspring, Bishop, 18.
Brantyngham, Th., Bishop, 11.
Bronscombe, Walter, Bishop, 4;
his tomb, 66.
Bruere, Wm., Bishop, 4, 8.
Bytton, Thomas de, Bishop, 6, 78.

Carew monument, 70.
Chapels and Chantries:
St. Andrew's, 61.
St. Edmund's, 39.
St. Gabriel's, 69.
Holy Ghost, of the, 47.
St. James', 59.
St. John Baptist's, 44.
Lady, 65.
St. Mary Magdalen's, 69.
Oldham's, 63.
St. Paul's, 44.
St. Radegunde's, 36.

Speke's, 63.
Sylke's, 44.
Chapter House, 75.
Choir, 52-61.
Choir screen, 48.
Choir stalls, 55.
Clock, 44.
Cloister, 75.
Close, 78.
Corbels and Bosses, 32, 35.
Courtenay memorials, 40, 57.

Dimensions, 96.
Doddridge Tomb, 67.

Font, 39.

Gauden, John, Bishop, 16.
Grandisson, John, Bishop, 10;
his tomb, 38.
Guildhall, 95.

Hall, Joseph, Bishop, 16.

Lacy, Edmund, Bishop, 12.
Lady Chapel, 65.
Lamplugh, Thomas, Bishop, 17.
Lechlade, Walter de, Cantor, 6.
Leofric, 1st Bishop, 3.
Liber Exoniensis, 3.
Library, Cathedral, 78.

Marshall, Henry, Bishop, 4.
Minstrels' gallery, 36.
Misericords, 55.
Monuments, nave, 39-43;
transepts, 44, 47.

Nave, interior, 31-43.
Neville, George, Bishop, 14.

Oldham, Hugh, Bishop, 15, 63.
Organ, 52.

Palace, 79.
Porch, north, 24.
Pulpits, 39, 59.

Quivil, Peter, Bishop, 5;
his tomb, 69.

Radegunde, St., chapel of, 36.
Reredos, 56.
Richard III, at Exeter, 96.
Roof, 24; interior, 32.
Rougemont Castle, 91.

Sedilia, 56-59.
Simon de Apulia, Bishop, 4; his tomb, 67.
Stafford, Edmund, Bishop, his tomb, 66.
Stapledon, Walter de, Bishop, 7-10.
Sylke, his chantry, 44.

Tombs:

Bradbridge, 71.
Bronscombe, 66.
Stafford, 66.
Sir John and Lady Doddridge, 67.
Iscanus. 67.
Simon de Apulia, 67.
Quivil, 69.
Marshall, 71.
Simcox, 74.
Stapledon, 71.
Towers, 23.
Transept, North, 43; South, 44.
Triforium, 35.

Vault, 32.
Vesey, John, Bishop, 15.

Ward, Seth, Bishop, 17.
Warelwast, Bishop, 3.
West Front, 27-29.
William III, at Exeter, 17.
Window, East, 59.
Windows of nave, 39-43; tracery, 36.

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PLAN OF EXETER CATHEDRAL

REFERENCES TO PLAN.

A. B. West Doors.
C. The Nave.
D. D. Nave Aisles.
E. Chapel of St. Edmund.
F. North Porch
G. Transept North (St. Paul's Tower).
H. Chapel of St. John the Baptist.
I. Canon's Vestry.
J. The Choir.
K. K. Choir Aisles.
L. Syke's Chantry.
M. Chapel of St. James.

N. Chapel of St. George (Speke's Chantry).
O. Chapel of St. Saviour (Bishop Oldham's Chantry).
P. Lady Chapel.
Q. Chapel of St. Mary Magdalen.
R. Chapel of St. Gabriel.
T. Transept South (St. Peter's Tower).
U. Chapel of the Holy Ghost.
V. The Chapter House.
Y. St. Paul's Chapel (North Transept).
Z. St. Radegunde's Chapel.

Footnotes.

1 "Exeter" (Historic Towns Series), by Prof. E. A. Freeman (Longmans).
2 Tennyson's "Ulysses."
3 "Architectural History of Exeter Cathedral," by Philip Freeman, Archdeacon
and Canon of Exeter (Bell), 1888.
4 Richard Clarke Sewell, 1825, Magdalen College.

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