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 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.



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, formerly used as a muniments 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.



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 L150." 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.



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.



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.



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]

[4] Richard Clarke Sewell, 1825, Magdalen College.

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.



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.



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.



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 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 protege 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 L1,400 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 L145 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 [Greek: EIKON BASILIKE]. 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- ).



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."



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.

* * * * *

[Illustration: PLAN OF EXETER CATHEDRAL From Britton's 'Antiquities of Exeter.'

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.]

* * * * *

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