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 gla.s.s 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.

[Ill.u.s.tration: THE TRANSEPT, NORTH, SHOWING THE ORGAN AND CLOCK.

The Photochrom. Co. Photo.]

#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 pa.s.sage 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 & n.o.ble 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 a.s.sisted 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 G.o.d'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 G.o.dly men." But the princ.i.p.al 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.

[Ill.u.s.tration: 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 antic.i.p.ated 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.

[Ill.u.s.tration: 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 quant.i.ties 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.

[Ill.u.s.tration: THE CHOIR, LOOKING WEST.

The Photochrom. Co. Photo.]

[Ill.u.s.tration: 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 mult.i.tude 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.

[Ill.u.s.tration: THE CHOIR, LOOKING EAST.

The Photochrom. Co. Photo.]

[Ill.u.s.tration: SEDILIA IN THE CHOIR.

The Photochrom. Co. Photo.]

#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 gla.s.s 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.

[Ill.u.s.tration: PULPIT IN THE CHOIR.

The Photochrom. Co. Photo.]

[Ill.u.s.tration: ST. JAMES' CHAPEL (DRAWN BY H.P. CLIFFORD).]

#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. Brons...o...b.. altered them considerably, and the first item in the Fabric Rolls is, "for 3 windows for St. James Chapel 8s. 9d.; for gla.s.s 16s." This is the last year of Brons...o...b..'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 att.i.tude 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 subst.i.tute for one of the old apsidal chapels of the Norman choir.

Stapledon completed the renovations so as to make it a parallel to Brons...o...b..'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.

[Ill.u.s.tration: 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 pract.i.tioner. 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 pa.s.sage "into the great church of St.

Peter's-in-the-East, part.i.tioned 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.