Chapel of the Holy Ghost.—This, one of the most ancient parts of the cathedral, lies between the south tower and chapter house. It occupies the place of the passage known as the slype in monastic churches. The plain stone barrel roof should be noted. It is now used as the choristers' vestry.
The south transept contains a very interesting collection of monuments.
Monuments in South Transept.—On the east wall a shallow recess, in which are set some fragments of sculpture, is traditionally described as the tomb of Leofric, first Bishop of Exeter. Hoker thus tells the story: "This Leofricus died an. 1073, and was buried in the cemetery or churchyard of his own church, under a simple or broken marble stone; which place, by the since enlarging of his church is now within the South Tower of the same, where of late, anno 1568, a new monument was erected to the memory of so good, worthy & noble a personage, by the industry of the writer hereof but at the charges of the Dean & Chapter."
In the corner at the south-east is the grave of Bishop John the Chaunter, who died in 1191. He was for thirty years precentor of the cathedral, and was consecrated bishop by Baldwin, Archbishop of Canterbury, "preacher and pilgrim of the Crusade," and a native of Exeter. Bishop John assisted at the coronation of Richard I. He held the see for six years.
Sir Peter Carew, whose mural tablet is a conspicuous feature, was buried at Waterford in Ireland. He is one of the most distinguished members of an ancient western family. On the Whitsunday of 1549, the village of Samford Courtenay rose in revolt against the new prayer-book that Edward VI. had ordered to be used in the churches, and the whole diocese speedily followed the lead. The people swore that "they would keep the old and ancient religion as their forefathers before them had done." Sir Gawain Carew, Sir Peter Carew, and Sir Thomas Dennis, the sheriff, were busy in stemming the tide of rebellion. Efforts at compromise were useless. The people bitterly demanded the old religion, and called the new form of worship "a Christian game," while the Cornishmen declared that they, since "certain of us understand no English, utterly refuse the new English." Early in July the malcontents set siege to Exeter. The wealth of the civic dignitaries stimulated the besiegers, who summoned the city to surrender three times, vowing that "they would enter by force and take the spoil of it," were their demands refused. There was discontent and plotting within the walls, and food gave out. Many were eager to let in the rebels, and Hoker records that "but two days before the delivery of the city," the malcontents paraded the streets, crying out: "Come out these heretics and twopenny bookmen! Where be they! By God's wounds and blood we will not be pinned in to serve their turn: we will go out and have in our neighbours; they be honest good and godly men." But the principal citizens, though nurtured in the old faith, held out grimly for the king. The siege was raised by John, Lord Russell, whom Sir Peter had hastily summoned from Hinton St. George, in Somersetshire. Food was supplied to the city "by the special industry and travels of a thousand Welshmen under Sir William Herbert." Sir Peter, on his arrival in London, was threatened with hanging by the Lord Protector "as having caused the commotion by burning the barns at Crediton. He pleaded the king's letter under his hand and privy signet." But he escaped with difficulty, though he obtained from Lord Russell the lands of Winislacre as a reward. Later on he opposed Queen Mary's marriage with the King of Naples, and as Fuller puts it: "This active gentleman had much adoe to expedite himself, and save his life, being imprisoned for his compliance with Sir Thomas Wyate." He lived an active, reckless life to the last, closing his career by some "signal service" in Ireland. He was a brother of the Earl of Totnes. The handsome Elizabethan monument is to Sir John Gilbert, brother of the more famous Humphrey, and his wife, Elizabeth Chudleigh. He was one of the merchant adventurers and a half-brother of Raleigh. His relations with Exeter were very friendly, the merchants being keenly interested in maritime discoveries, for they hoped in far away Asia to get a new market for their cloth.
Heroes of later days are not forgotten in this gallant company, and a tablet on the east wall commemorates the men of the 32nd Regiment (Cornwall Light Infantry) who fell in the Indian Mutiny. The colours of the regiment show the names of Waterloo and Lucknow.
The Choir Screen.—This is the work of Bishop Stapledon, and was probably completed about 1324. The Dean and Chapter anticipated the admiration which this screen would cause in after ages, and we read that they presented William Canon, the executor of the marble work, "£4, out of their courtesy." High above the screen, as we learn from the Fabric Rolls, the rood with Mary and John rested on an iron bar.
The paintings within the panels above the beautifully carved spandrils have little interest or merit, though it is thought that they date from the same period as the screen itself. It is difficult, however, to believe that they can be so old, or that such good and bad work could belong to the same period. James I. introduced into the foliage of the spandrils the rose and thistle; but this uncalled-for emendation was summarily removed in the year 1875. The side arches of the screen were at one period filled up with thick walls, and two strong doors barred the arch of entrance, but this was altered by the restorers in 1875.
The Organ was originally built by John Loosemore about 1665. In its existing form it is an enlarged reconstruction by Messrs. Willis, the old instrument being incorporated in it as a choir-organ. The organ case, which was an elegant specimen of Renaissance woodwork, has also undergone alteration and renovation.
The Choir.—If the chief glory with regard to the exterior of the cathedral remains undoubtedly with the designer and builder of the great towers, the choir, the work of Bytton and Stapledon, is no less certainly the supreme glory of the interior. The Norman choir reached no farther than the third bay, counting from the choir screen. Traces recently discovered seem to prove that it had an apsidal termination. Bishop Marshall, in completing Warelwast's work, added four bays and destroyed the triple apse. It is also possible that, as the transition period to Early English was in its birth, some of the vaulting was pointed. Bytton converted the choir as left by Marshall into the Decorated style, inspired to the work by the success which had attended Quivil's efforts in the easternmost bay of the nave. The whole work—the transformation of the choir with its aisles—took about fifteen years to complete, the speed and skill with which it was accomplished being due to the fact that the task was not entirely in the hands of one body of labourers. It seems to have been divided into two portions, at which the builders worked simultaneously. Admirable as Quivil's work in the nave had been, that of Bytton in the choir is an improvement. Doubtless he had learnt something from the difficulties his predecessor encountered, and knew how to avoid them. At any rate, he pushed forward the work with great vigour and boldness. He formed his pillars of horizontal sections of Purbeck marble from nine to fifteen inches thick: five boutelles on each side presenting "the appearance of twenty-five shafts bound in one." In the pavement of the choir more than ten thousand tiles were used. For the vaulting of the choir, also his work, though the honour due to him has till lately been denied, he procured quantities of Portland stone. Material for bases and capitals was imported also from Portland: the entry in the Fabric Rolls runs: "For the purchase of 18 great blocks of stone at Portland for the keys or bosses, together with 60 bases and capitals, including carriage by sea £4 16 8." The colouring of the keystones was due to Stapledon in the first year of his episcopate.
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 £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.
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
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.
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.