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Table of contents

Following on this we get some examples of Perpendicular work. Now, this series of changes is noticeable in itself, and remarkable because it has not affected the building in a way that might have been expected. The first impression, indeed, that a view of the exterior gives one, is that it is the result of one design, which is largely the case. It is only on closer inspection that the remnants of the pre-decorated periods are visible.

The second thing that strikes the visitor is that he has never seen a church quite like it. Putting aside the Saxon cathedral of Leofric it is possible to trace four distinct styles in what has been wisely called "the noblest monument of religious zeal of our forefathers in the [pg 20] west of England. Though it is possible to date the separate parts of the edifice, and recognize the varying forms of workmanship, the architects laboured with so clear an understanding of a beautiful result to be attained, that there is no appearance of patchwork.

The best views of the building are those to be got from a distance. In some ways this is not without compensation; for the cathedral church was, and is, not only splendid as a building, but the centre of the spiritual life of the diocese. It is, therefore, appropriate that it should seem most beautiful to the dwellers in the villages and hamlets beyond the city, giving them, as it were, a kind of property in the building, which they might not have felt had it been less visible.

Nearing Exeter by train, from the Plymouth side, the noble roof and towers are seen above the red houses of the city. The site, indeed, was well chosen.

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Below the hill on which the city stands are gardens gay with flowers and fair apple orchards. Above, there is a blue sky richer and deeper than is usual in England. On all sides but one stretches the beautiful Devonshire country, meadow, hedgerow, and wooded hill. On that side the Exe flows rapidly, broadening as it goes, towards the sea. Southward but a few miles, the blue channel waters creep up against the yellow sand dunes.

No cathedral, not even Lincoln, boasts a more lovely and appropriate position. Ruskin, "the church itself was most frequently symbolized under the image of a ship," There is no country so saturated with traditions of the sea as Cornwall and Devon. Maybe this was only the grateful jest of some seaman who found himself, after the winter storms, gliding up the quiet river with the city walls rising up before him.

Yet the remembrance of such western heroes as Raleigh and Drake, who bade their followers sit well in order, and strike—. A closer view may seem at first disappointing. Every writer has echoed Dr. Oliver's regret that it should be surrounded "by dwelling-houses of such disparate character. The towers, exquisitely traceried windows, sculptured doorways, and magnificent roof, easily persuade us to forget its mean surroundings.

The Towers. The exterior of no other cathedral boasts so unusual a feature. Their position is extraordinary and has given rise to endless controversies. It has been suggested that they were meant to stand as western towers, and that the building was to stand east of them, and that, as an afterthought, they were converted into transepts. But Canon Freeman, in his history, 3 dismisses this view as merely attractive. They would certainly be more elaborate, he thinks, if they had been built as western towers, but they have neither portal nor ornamental work.

Indeed, up to more than half their height they have very much the appearance of fortresses. It may well be that they served as such in Stephen's time, for the northern one was severely battered.

PREFACE TO THE THIRD EDITION

It differs somewhat in detail from that on the south side, there being an interlacing arcade half-way up, possibly being so rebuilt when the devastation caused by the siege was being repaired. There are six stages on each tower, but only the uppermost four are in any way ornamented. These have blind arcades and window openings of circular form; but the details differ slightly on each.

The turrets at the angles of the summits, and the battlements were added in the fifteenth century, but the effect is not inharmonious, and the original details are well preserved. According to an old seventeenth-century print, the north tower formerly had an attic with a pyramidal roof. This was probably an addition when the great bell was first hung see p. The effect of [pg 24] these transeptal towers is so fine as to make us regret their rarity. A case in which they were obviously imitated is to be seen in the fine parish church of Ottery S.

Mary, Devon.


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There are also most practical reasons in their favour, and a consideration of them tends to increase one's wonder that they should not be found more frequently. In the first place it is possible to get a continuous, uniform, stretch of vault, the roof being broken by no central tower.

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Also the plan is simplified, and nave and choir have more architectural continuity. Again, by building transeptal towers and discarding the usual central tower, the interior escapes a danger it is often hard to overcome, the difficulty of holding up the central tower. It is quite possible that Warelwast was far-seeing enough to anticipate this trouble. The histories of other cathedrals prove it to be a very real one.

In the tower of Winchester fell in. At Salisbury the spire is still a constant source of anxiety, despite "a complex arrangement of iron bands and ties," which has been reinforced more than once. The tower of Chichester collapsed in There is a legend of the fall of a central tower at Christchurch Priory, and other warnings could be cited, such as Hereford, Selby, Peterborough, and Wells. Originally these two towers were cut off, by two arches underneath, from the body of the church. But Quivil, wishing to enlarge the interior, did so by "throwing the Tower spaces into it.

The Roof is one of the most striking features of the building, especially as it is seen from a distance. The long line of the ridge of nave and choir, unbroken by a central tower, give it a unique distinction amongst English cathedrals. The delicate cresting of fleurs-de-lis, and the pinnacles which crown the supporting buttresses obviate any impression of heaviness, and together with the long series of clerestory windows, alike in form yet differing in their admirable tracery, give a singular impression of beauty.

The North Porch. It is decorated with seven canopied niches in the style of that period. These, however, remained vacant until , when they were filled with statues, by Mr. Read of Exeter, representing the patron saints of England and the Allies: St. George, St. Denys, St. Joseph; SS. Cyril and Methodius; St. Vladimir, and St.

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The roof is vaulted, and on the central boss is a finely-carved Agnus Dei. Within a recess of the eastern wall are three headless figures, representing, in the centre, the Crucifixion, St. John standing on either side. Over the inside doorway is a niche that probably once held a figure of the Virgin. In the wealth of imagery on the projecting screen which forms the lowest stage of the front it is second only to Wells amongst English cathedrals.

The actual west wall of the church is the work of Bishop Grandisson, who formed on the south side of the central doorway the small chapel of St. Radegunde as a burial place for himself. The greater part of the end wall of the nave is filled by a large window with remarkably beautiful tracery in its head.

Phillpotts, Henry (DNB00)

The date must be about Above this is a battlemented parapet sloped at each end to follow the lines of the aisle-roofs. Above this parapet appears the gable of the main roof in which is inserted a triangular window, with elegant tracery, lighting the space between the vault and outer roof. At the apex of the gable is a niche containing a small statue of St. The screen, which forms the lowest stage of this front, must have been finished in Brantyngham's time, though it seems probable that it was designed if not begun by Grandisson.

It contains eighty-eight figures, in three rows, representing angels, warriors, kings, and saints. Their costume and armour are characteristic of the fashions of Richard II. The lowest row consists of angelic figures each sustaining a triple pilaster with capitals. On these capitals stand the statues of the second row, a long line of knights and kings, above which are the angels and apostles of the third row.

Above the third row stand two figures, said to represent Athelstan and Edward the Confessor. The former once drove out the Britons from the city; the latter, as we know, founded the bishopric. This group of statues has been the subject of a monograph by Miss E. Prideaux, who shows that the intention was to symbolize the Heavenly Jerusalem, where angels, saints, and monarchs unite to honour the enthroned Saviour and His Blessed Mother, who, as representative of the Church Triumphant, is [pg 28] being crowned by her Son. The Coronation of the Virgin was depicted in the central group immediately over the great doorway, the figures being those of St.

At some unknown date the statue of the Virgin was destroyed, and a figure intended to represent Richard II was substituted in Two other figures, assigned to James the Less and King William I, are modern reproductions by Alfred Stevens; some new heads were also added. Many circumstances have combined with the action of time to injure these sculptures: but the general effect is rich if somewhat heavy.

Above the screen is a platform, from which the bishop probably blessed the people, and the minstrels welcomed with song the approach of royal or illustrious visitors. The three doorways in the screen are worthy of notice, being richly decorated. That on the south side is the most beautiful, and contains two fine pieces of sculpture, one generally declared to be an angel appearing to Joseph in a dream, the other certainly recording the Adoration of the Shepherds.

The central porch is decorated with sculptured foliage, and the Crucifixion is exhibited on the central boss of the groined roof tracery. Restoration of an unusually careful and discreet style has done much to revive the deteriorated splendours of the place. Sixty years ago the nave was filled with hideous and cumbersome pews, and such work as had been done towards keeping the place in repair was in the worst possible taste. But a change has been wrought of the happiest kind in recent years, so that no cathedral in the country can boast a more admirable interior.

It has been the custom to deplore the lack of elevation, and its lowness has compelled comparisons with the cathedrals of France.