Exeter, the noble city of the west, which proudly bears the motto granted to it by Queen Elizabeth, Semper Fidelis—"Always Faithful," has a venerable Cathedral, which was commenced in Norman times on the site of a Saxon church, entirely removed. The principal feature of Exeter is its Decorated work. A large portion of the Cathedral was erected during that period; and as Salisbury is the most perfect example of Early English architecture, Exeter represents the most beautiful specimen of the Decorated style.

Southey's judgment on the Cathedral was that "it looked finest when you could only see half of it." Indeed, it is difficult to obtain a good view, and the north side is the only one which presents a favourable prospect. The historian of Exeter Cathedral, Mr. Hewett, wrote: "As we walk round this, we cannot but consider that the Cathedral, though far from lofty, and presenting none of the majestic features of several of its sister churches, is nevertheless a fine composition. The aisles of the choir and nave, intercepted by the stately Norman towers, further broken by the prominence of their chantries, and spanned by flying buttresses richly pinnacled; the large, pure windows, which pierce both aisles and clerestory; the roof, highly pitched, and finished with crest-tiles, form a decidedly graceful and pleasing whole." With this excellent description all visitors will agree.

Glancing back at the early history of the see, we find that Crediton was the ancient seat of the bishop, where was born in 680 St. Winfrid, called Boniface, the apostle of the Germans. There was a monastery at Exeter in the time of Athelstan, which was much plundered by the Danes. In 1050 Bishop Leofric, the favourite of Edward the Confessor, removed his episcopal seat to Exeter, and continued to hold it when William the Conqueror came. Osbern was appointed in 1072, but he contented himself with the old Saxon church, and it was not until William Warelwast (1107-1136), nephew of William the Conqueror, became bishop that the present Cathedral was begun. The Norman work was continued by Bishop Marshall (1194-1206), who is said to have "finished the building according to the plot and foundation which his predecessors laid."

Exeter has suffered many sieges, and during that of Stephen, in 1136, the Cathedral was much injured by fire. The two towers at the end of the transepts are all the portions that remain of Warelwast's building, and one of these (that on the north) has been much altered, until it has assumed the features of Perpendicular style. This was done by Bishop Courtenay (1478-1487), when he transferred here a great bell from Llandaff.

In 1258 a poor man's son, one Walter Bronescombe, though not in priests' orders, was elected bishop, and set to work to rebuild his Cathedral, his labours being continued by his successor. The Lady Chapel with adjoining chapels was partly built by this bishop. His successor, Bishop Quivil, the foe of the Franciscans (1280-1291), finished it, and erected the north and south transepts. The choir, nave, porches and west front were built by Bishops Stapledon (1308-1326) and Grandisson (1327-1369). Stapledon was a great statesman, and in the troubles of the second Edward's reign took the side of the king against the queen and Mortimer, and was murdered by the citizens of London in Cheapside. Grandisson was also a mighty prelate who refused to allow the Archbishop of Canterbury to visit his Cathedral as his ecclesiastical superior. He, with a band of armed men, met the intruding archbishop at the west door and forbade him to enter, and an armed conflict was with difficulty averted. These mediÆval bishops were very powerful. They usually built a strong wall with gates around the precincts of the Cathedral, and ruled their clergy, their servants and dependants quite independently of any external control. The conflicts between the clergy and the townsfolk were very numerous, and the struggle severe in nearly all our cities and monastic towns.

When Queen Elizabeth came to the throne, "visitors" were appointed to examine churches and to remove all that savoured of "superstition." Their zeal outran their discretion, and much mischief was wrought in Exeter and elsewhere by their iconoclastic violence. Strange events took place during the Commonwealth period. The Cathedral was divided into two portions by a brick wall, and in one called "West Peter's" an independent preacher thundered forth his declamation, while in the other, "East Peter's," a Presbyterian divine conducted his form of service. Happily the Restoration put an end to these curious proceedings, and the wall was taken down, and the Church of England service renewed.

We will now examine the west front erected at the close of the fourteenth century. The screen is very remarkable and beautiful, and has three rows of figures of saints and kings and warriors. In the first row appear angels; the second has figures of kings and knights, and the third saints, and figures of Athelstan and Edward the Confessor stand above them. Some of the ancient figures have crumbled away and been replaced by modern sculptures. Bishop Brantyngham was the builder of this screen, who lived in the time of Richard II., and the crowns and armour represented on the figures belong to that period. The figures in the lower row, beginning on the left, are:—

In the upper row, beginning at the left hand, are:—

The sculpture has been pronounced "remarkable, characteristic and beautiful," but that at Wells and Lincoln is earlier and perhaps better.

Above the screen is a platform on which the bishop used to stand when he blessed the people, and also the choristers and minstrels when they hailed with song the advent of distinguished persons.

The three doorways should be noticed. The central one has a moulding of carved foliage, and on the central boss of the groined roof is a representation of the Crucifixion. The south doorway has two sculptures, the appearance of an angel to Joseph in a dream, and the Adoration of the Shepherds. Between the south and central doorways is the Chantry of St. Radegunde, which we will examine on entering the Cathedral. The north porch was built by Grandisson, and is very beautiful with its triple canopy. The Puritan soldiers have mutilated the Crucifixion scene on the east wall. On the central boss is a well-carved Agnus Dei. Notice the cresting of the roof in a fleur-de-lis pattern, which somewhat relieves the long, unbroken stretch of leaden roofing.

We now enter the Cathedral. Though the nave is less lofty than many, it is most beautiful, and the richness of the architectural details abundantly atones for the lack of height, which is 70 feet. The roof springs from slender vaulting shafts and is studded with beautifully-carved bosses, representing foliage, animals, strange figures and heraldic shields. The murder of Thomas À Becket occurs in one of these bosses. Clustered pillars of Purbeck marble support the roof and separate the nave from the aisles. Notice the sculptured corbels between the arches, which are peculiar, and the exquisite carving of the leaves and figures. In the triforium on the north side is the Minstrels' Gallery, the most perfect in England, where the musicians played on high festivals, or on the occasion of some Royal visitor. The figures are represented as playing on various instruments—cittern, bagpipes, flageolet, violin, harp, trumpet, organ, guitar, some unknown wind instrument, tambour and cymbals. The heads of Edward III. and his queen, Philippa, support two niches. This gallery is a very beautiful example of mediÆval art.

Instead of the usual triforium we have a blind arcade, the height of which is much less than in most cathedrals, but above this there is a very lofty clerestory. The windows of the nave are Decorated, and have a great variety of most beautiful and elaborate tracery. They are arranged in pairs, one window corresponding to its opposite. The glass of the west window, erected in 1766, is a great eyesore, and spoils the beauty of the stone tracery.

We have abundant evidence that this noble nave was constructed almost entirely in Norman times, and subsequently transformed into the Decorated style, just as Winchester was changed from Norman to Perpendicular work. Disturbances of masonry in both north and south walls indicate the position of Norman pilasters, and outside flat buttresses of Norman type are observed which correspond to the position of these. We gather that the nave was finished in Norman times by Bishop Marshall, and that Stapledon (1308-1326) began the transformation, which was carried on and completed by Grandisson (1327-1369).

Nor must the work of our modern men be disregarded. The nave was in a very dilapidated state. The Purbeck marble columns were fallen into decay, and hideous high pews disfigured the view. Sir Gilbert Scott in recent times most judiciously restored the Cathedral, and made it again one of the finest in the land.

We will now examine the chapels and monuments in the nave. On the left of the west door is the Chapel of St. Radegunde, which contained formerly the body of Bishop Grandisson; but in the time of Queen Bess the tomb was plundered and his remains scattered no one knows whither. St. Radegunde was a Frankish princess, the wife of Chlotar, the son of King Clovis. Notice the carved figure of our Lord on the roof, His hand outstretched to bless, and the holes in the stone for suspending lamps.

On the north side is the Chapel of St. Edmund, which is earlier than the nave itself, and was connected with it by Bishop Grandisson.

The following monuments in the nave should be examined:—

North Aisle—

Tablet memorial of Lieutenant Allen, and window to memory of one of the Earls of Devon.
Brass memorial of men of North Devon Regiment slain in Afghan war (1880-1881), with regimental flags.
Memorial of 9th Lancers who died in India.
Tablet to the musician Samuel Wesley.

South Side of Nave—

High tomb of Hugh Courtenay (d. 1377), second Earl of Devon, and of his Countess, Margaret (d. 1391), a connection of Edward I. The effigies have been much mutilated.

Brass to memory of General Elphinstone, V.C. (d. 1890).
Brass to Hugh, second Earl of Devon.
Window to Thomas Latimer.
Window to Dean Cowie.

We now pass into the north transept. The Norman towers at each end of the transepts were originally separated from the church. Bishop Quivil, however, wishing to enlarge the building, took down the massive walls which divided the interior of the towers from the body of nave, and constructed arches to sustain the sides of the tower. The original Norman walls remain, and in the north transept one Norman window and two narrow, circular-headed doorways. Quivil also erected the two galleries. On the east of north transept is St. Paul's Chapel, used as a vestry for lay choral vicars; there are here some interesting old tiles with heraldic devices, and amongst them the arms of Richard, Duke of Cornwall, brother of Henry III. Near this is the Sylke Chantry, founded in 1485 by William Sylke, sub-chanter, whose skeleton effigy proclaims the message—Sum quod eris, fueram quod es, pro me, precor, ora. An interesting mural painting has been discovered representing the Resurrection.

The old clock is very remarkable, which is about 700 years old. The historian of the Cathedral thus describes it:—

"On the face or dial, which is about 7 feet in diameter, are two circles: one marked from one to thirty for the moon's age; the other figured from one to twelve twice over for the hours. In the centre is fixed a semi-globe representing the earth, round which a smaller ball, the moon, painted half white and half black, revolves monthly, and by turning on its axis shows the varying phases of the luminary which it represents. Between the two circles is a third ball, representing the sun, with a fleur-de-lis, which points to the hours as it daily revolves round the earth."

The maker of the clock was a believer in the old-fashioned astronomy which recognised the earth, and not the sun, as the centre of the solar system. Below the clock is a door leading to the tower, which contains the great bell called "Peter," which is only exceeded in weight by the Great Tom of Oxford. It was brought from Llandaff by Bishop Courtenay at the end of the fifteenth century, and weighs 12,500 tons. It was cracked on 5th November 1611, "from a too violent ringing in commemoration of the Gunpowder Plot."

We now enter the south transept, which is similar to the north. The monuments here are interesting. There is the supposed tomb of Bishop John the Chaunter (1185-1191), but is of later date; a sixteenth-century monument of Leofric, the first Bishop of Exeter; a mural tablet to the memory of Sir Peter Carew, who played an important part in the rebellion of the Devon men, caused by the changes introduced into the Prayer-Book at the Reformation, when they besieged Exeter and well-nigh gained an entrance. Sir John Gilbert has a monument, a relative of Sir Walter Raleigh, one of the brave discoverers of the Elizabethan age and founders of our maritime supremacy. The colours of the Cornwall Light Infantry hang here, which were carried at Waterloo and in the Indian Mutiny.

The Chantry of the Holy Ghost in the south-west corner of this transept is a Norman structure. It has a font which was first used at the baptism of Henrietta, daughter of Charles I., who was born in Exeter in 1644. The Chapel of St. John the Baptist, on the east side, is similar to that of St. Paul in the north transept. Bishop Oldham, whose chantry is in the south choir aisle, erected the screen of this chapel. Beyond the Chapel of the Holy Ghost is the chapter-house. The cloisters were destroyed by the Puritans. The chapter-house has been recently restored. Notice the Early English character of the arcade (thirteenth century) in the lower part; the upper part has Perpendicular niches. The Chapter Library has about 8000 volumes.

Retracing our steps we approach the choir, entered by a door in the beautiful screen supporting the organ. This was the old rood-screen, on which formerly stood the rood or figure of our Lord on the Cross. It was erected in the fourteenth century. The rose and thistle in the carvings were inserted later, in the time of James I., to mark the Union of England and Scotland under one monarch, but these have happily been removed, and probably the worthless paintings belong to the same period. The organ was built by Loosemore in 1665 (one of the oldest in England), rebuilt in 1819, and has been so much renovated that very little of the old work remains.

The choir is remarkably fine. The style is now Decorated. The original Norman choir extended to the third arch. Bishop Marshall completed this by adding four more bays. Then came the builders of the early fourteenth century who transformed the Norman pillars and other details, and converted the choir into Decorated work. The bishops who accomplished all this were De Bytton (1292-1306) and Walter de Stapledon (1306-1329) and Bishop Grandisson (1327-1369). The last dedicated the high altar in 1328. The bosses of the vaulted roof are worthy of especial examination, so remarkable are they for the delicacy of the carved foliage. The choir has been carefully restored in recent years, and the stalls, pulpit and reredos are modern, and were designed by Sir Gilbert Scott. Notice the interesting old misereres, which are very remarkable, and probably the oldest and most curious in England. The foliage denotes the Early English period, and they were probably designed by Bishop Bruere (1224-1244). Notice the mermaid and merman on the south side, the elephant, knight slaying a leopard, a minstrel, etc. The lofty bishop's throne was erected by Stapledon, and is said to have been taken down and hidden away during the civil war period. The painted figures represent the four great building bishops—Warelwast, Quivil, Stapledon and Grandisson. The sedilia by Stapledon are very fine. Notice the carved lions' heads, and the heads of Leofric, Edward the Confessor and his wife Editha. The east window is Early Perpendicular, inserted by Bishop Brantyngham in 1390, and contains much old glass. The tombs in the choir are:—

On North Side—

Bishop Stapledon (holding a crozier and a book).
Bishop Marshall (d. 1206).
Bishop Lacey (d. 1455), to which tomb pilgrimages used to be made on account of the reported miracles wrought there.
Bishop Bradbridge (d. 1578).

On South Side—

Bishop Chichester (d. 1155).
Bishop Wolton (1594).

Entering the north choir aisle we see the Chapel of St. Andrew, renovated by Stapledon, having an upper chamber containing the archives, the Fabric Rolls, MSS. of Roger Bacon, Leofric's book of Saxon poetry, and many other valuable treasures.

Next in order we see the Chantry of St. George, or Speke's Chantry (Perpendicular style), containing the monument of Sir John Speke, who endowed this chantry for the good of his soul. When the Cathedral was divided into two portions in the days of the Puritans, a doorway was made through the east window as an entrance to "East Peter's." At the east end of this aisle is the Chapel of St. Mary Magdalene, erected originally by Bronescombe, transformed by Quivil, but has Perpendicular screen. The east window has good fifteenth-century glass. Notice the noble monuments of Sir Gawain Carew (1589, restored in 1857), his wife and nephew, Sir Peter Carew (see p. 172). The latter is remarkable as a very late example of cross-legged effigy. The monuments in this north choir are—a cross-legged effigy of Sir Richard de Stapledon, brother of the bishop (d. 1330). [It need not be stated that this fashion of crossing the legs has nothing to do with the Crusades]; effigy of Bishop Carey (d. 1626); a tablet to Robert Hall, son of the bishop; tablet to Canon Rogers (d. 1856); an emaciated sepulchral figure; Elizabethan tomb of Anthony Harvey (1564), who gained great wealth from the dissolution of monasteries.

Passing behind the high altar we come to the ambulatory, or "procession path." The style is Early Decorated. Notice the ancient Bible-boxes and the two Jacobean tablets. The windows contain good modern glass.

The Lady Chapel was entirely transformed by Bishop Quivil (1280-1291) into the Decorated style. The bosses in the east bay show the Saviour's head and the emblems of the Evangelists. The reredos was erected by Grandisson, but only the central portion is ancient, the rest has been severely "restored." This chapel contains the tombs of:—

1. Bishop Peter Quivil (d. 1291), a slab with the inscription—Petra tegit Petrum nihil officiat sibi tetrum.

2. Bishop Bartholomaus Iscanus (d. 1184), a bearded figure, of military type.

3. Bishop Simon of Apulia (d. 1223). This effigy, when compared with the last, shows the advance of art made in a century.

4. Bishop Bronescombe (d. 1280). The canopy is older than the monument, and is Perpendicular.

5. Bishop Stafford (d. 1419). A fine monument, much defaced.

6. Sir John and Lady Doddridge. Sir John (d. 1628) was one of the judges of James I., called by Fuller the "sleepy judge, because he would sit on the bench with his eyes shut to sequester his sight from distracting objects." The dress of Lady Doddridge is remarkable.

In the south choir aisle we see first the Chapel of St. Gabriel, similar to that of St. Mary Magdalene on the north. This was built by Bishop Bronescombe, whose patron saint was St. Gabriel. The colouring of the roof has been carefully restored. Some early glass is in the windows. Then we enter Bishop Oldham's Chantry, or the Chapel of St. Saviour. This bishop died in 1519. His chantry resembles the Speke Chantry in the opposite aisle. Notice the effigy of the bishop, with the owls in the panels, referring to the first syllable of his name, "old," or "owld." The bishop was a Lancashire man, and in that county old is usually pronounced owld.

The third chapel in the south choir aisle is that of St. James, built by Bishop Marshall, and renovated by Bishop Bronescombe in very Early Decorated style. It contains a beautiful monument, raised in the fifteenth century to the memory of Leofric, first Bishop of Exeter. There are two cross-legged effigies in this aisle, which are usually said to represent Crusaders.

With this chapel our tour of the Cathedral closes. Of some of the great men who have been Bishops of Exeter we have already spoken. The names Warelwast, Marshall, Bronescombe, Quivil, Stapledon, Grandisson, have often been mentioned, and of others whose tombs still adorn their mighty resting-place. Others there are whose memory remains. Miles Coverdale, the well-known reformer; Joseph Hall, the famous theologian; John Gauden, the supposed author of the Eikon Basilike (though modern scholars have come round to the belief that the book was really written by Charles I.); the learned Seth Ward; Trelawny, one of the seven bishops committed to the Tower by James II.; Phillpots and Temple, have all added lustre to the See of Exeter.

The city of Exeter is full of interest. The old Guild Hall and scanty remains of Rougemont Castle should be visited, and fifteen miles away is the noble collegiate Church of Ottery St. Mary, which well repays a minute examination. In construction it somewhat resembles the Cathedral of Exeter, and the main part of the building belongs to the fourteenth century.

Dimensions

Total length, 383 ft.; length of nave, 140 ft.; breadth of nave, 72 ft.; height of nave, 66 ft.; area, 29,000 sq. ft.

Principal Building Dates

1107-1200—Part of towers in transept and core of walls of nave; 1224-1244—stalls; 1258-1291—Lady Chapel and transepts; 1308-1369—choir, nave, porches and west front; 1390-1519—east window, part of chapter-house, Oldham's Chantry, Speke's Chantry.