Bell's Cathedrals: The Cathedral Church of Exeter Part 2

The Photochrom Co. Photo.]

[Ill.u.s.tration: THE NAVE, FROM THE SOUTH TRANSEPT (FROM BRITTON'S 'EXETER,' 1826).]

THE FABRIC OF THE CATHEDRAL.

THE INTERIOR.

Fine as is the exterior, the interior of the building is quite as beautiful. 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 c.u.mbersome 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. But this objection is, surely, rather trivial. For though the long vaulted roof, uninterrupted the whole length of the building, might tend to take away from the appearance of height, the work on the roof itself, the delicate ornaments on capitals and windows, do much to atone for this effect. To the ordinary visitor, it may safely be a.s.serted, lack of height will only be obvious when pointed out to him.

#The Nave.#--Little of the Norman masonry is now to be seen, yet it is clear that when Marshall completed Warelwast's design he found the nave finished. To quote Canon Freeman, whose book, too technical for the general public, is of incalculable value to the student: "On the interior face of both north and south walls of the nave aisles, disturbances of masonry occurring at regular intervals indicate the position of a series of Norman pilasters, the base of one of them having recently been found _in situ_ beneath the stone seat. Outside, and corresponding to the position of each several pilaster, may be observed either flat b.u.t.tresses of Norman form and masonry, or else traces of their removal. These remains, linking together the obviously Norman towers and the ma.s.sive west wall, point to the conclusion that the Norman cathedral, as Marshall found it, included the entire nave."

When the changes began, the Fabric Rolls, if they "do not entirely desert us," give us but meagre help, so that the exact date and cost of each detail is only to be guessed at. Stapledon probably intended, as early as 1325, to begin the work of recasting the nave. In that year he made purchases of "15 great poplar trees bought for scaffolds, and 100 alder trees." Further entries tell us of seven and eightpence worth of timber "bought by the Bishop at London," and "48 great trees from Langford." The work hitherto attempted by Stapledon did not demand an outlay of this kind; so, though Grandisson gets the honour of having finished the nave, something is due to Stapledon for having given the initiative. The large balances of the preceding nine years had left a great sum of money in the latter's hands, and a donation of Stapledon's further increased that balance by the substantial sum of 600. In January, 1333, is a record of William Canon's bill for marble he had been commissioned to furnish. He had agreed to supply the Purbeck pillars for the nave, receiving 10 16s. for eleven large columns, and 5s. a-piece for bases and capitals. This is one of the most interesting items we have of the building and cost of the cathedral, and occurs fortunately at a time when such information is unusually scanty. In addition to the above-mentioned Purbeck marble, stone from the quarries of Caen in Normandy, and other places nearer home, was procured in large quant.i.ties. In 1338 the bishop gave permission to the Dean and Chapter to obtain from his agents at Chudleigh "twelve suitable oaks from his wood there." About 1350 the building of the nave was completed. It was extensively restored in recent years under the guidance of Sir Gilbert Scott. The Purbeck columns had fallen into a most dilapidated state, and were carefully repaired, the material used being obtained from those spots which had supplied the original builders.

The view of the nave as one enters the west door is most impressive. Its full height of seventy feet is not dwarfed by the unhindered stretch of roof. The groined and ribbed roof itself is of marvellous beauty and springs from slender vaulting shafts, of which the bosses are exquisitely carved with a strange mixture of religious and legendary figures, foliage and animals. The artists seem to have ransacked the whole universe for subjects, and to have interpreted their ideas with great cunning. The corbels that support the vaulting shafts are equally elaborately carved.

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

The Photochrom Co. Photo.]

[Ill.u.s.tration: CORBELS AND BOSSES (FROM BRITTON'S 'EXETER,' 1826).

(2) Virgin and Child. (3) Minstrel and tumbler. (4) Coronation of the Virgin. (5) Murder of S. Thomas (Becket), from Nave. (6) From Lady Chapel. (7) From Choir. (8) and (11) Heads popularly identified with Edward III and Q. Philippa. (10) The Virgin and her Coronation. (See Prideaux and Shafto, "Bosses and Corbels of Exeter Cathedral.")]

They consist of figures and foliage, and the variety of subjects chosen is no less surprising than the skill the artists have shown in the realization of their ideas. Whether they are peculiar to Exeter or not, it may be safely said that one could not easily find their equals either in design or execution. The subjects treated are too numerous for detailed treatment in this place, but the carving of vines and acorns and oakleaves will be readily admired.

[Ill.u.s.tration: THE MINSTRELS' GALLERY.

The Photochrom Co. Photo.]

The nave has seven bays, and the arcades are supported by cl.u.s.tered pillars of Purbeck marble, showing various tints of blue and grey. There are sixteen shafts in each pier corresponding with the eight subordinate mouldings in each pair of arches, and the diagonal position of each cl.u.s.ter adds much to its graceful appearance. In the retro-choir there are earlier examples of this kind of pier, showing how the builders experimented with the grouping of the shafts before they attained the perfect proportions of the pillars in the nave and choir. It seems that they utilized the Norman pillars as the central core round which to group the Purbeck shafts. The triforium, in groups of four arches, is unusually low, and rests on small cl.u.s.tered columns, broken in one place only on the north side to make way for the Minstrels' Gallery.

#The Minstrels' Gallery.#--This is the most beautiful gallery of its kind to be found in England, its twelve decorated niches containing figures of musicians. The musical instruments represented include the cittern, bagpipe, hautboy, crowth, harp, trumpet, organ, guitar, tambour, and cymbals, with two others which are uncertain. The tinted figures of the angels, standing out against an orange-coloured background--each in a separate niche with an elaborately carved canopy--playing upon the various instruments, are admirably carved and most graceful in form and arrangement. The two niches on either side of the gallery contained figures of St. Mary and St. Peter; the niches are supported by corbelled heads of Edward III and Queen Philippa. Edward III created the Black Prince Duke of Cornwall in 1337, and made the city of Exeter part of the duchy. "The city," according to Izacke, "being held of the said duke, as parcel of the dutchy, by the fee farm rent of twenty pounds per ann." To this connexion has been traced the erection of the gallery, for such duchies "were territorial realities," and the prince would be received by minstrels chaunting in the gallery whenever he paid a visit to his feudal dependency. It is a.s.serted that it was first used after the battle of Poictiers, when the Black Prince brought with him to England, visiting Exeter _en route_ for London, the captured French King. But Professor Freeman thinks the Duke did not pay a visit to Exeter at that time, and that local tradition refers really to a later date when "he came home as a sick man" not long before his death.

The lofty character of the clerestory above the gallery, and set somewhat farther back, is remarkable. The tracery of all the windows is of the best type of the fourteenth century and is unrivalled by that of any other English cathedral of similar date. In their main features the opposite windows are alike, though they vary in detail.

[Ill.u.s.tration: BAYS OF NAVE, WITH THE MINSTRELS' GALLERY (FROM BRITTON'S 'EXETER,' 1826).]

[Ill.u.s.tration: THE 'PATTESON' PULPIT.

The Photochrom Co. Photo.]

#St. Radegunde's Chapel.#--On the south side of the main entrance and within the thickness of the western wall is the chapel of St. Radegunde, one of the most interesting in the cathedral. As early as 1220 a deed belonging to the Chapter makes mention of this chapel "within St.

Peter's cemetery," and is dated in the mayoralty of one Turbest and attested by the then bishop, Simon de Apulia. Grandisson, in accordance with the custom of his day, while completing the work of transforming the cathedral, looked out for a suitable place of burial for himself. He chose this chapel, and in 1350 the Fabric Rolls contain a reference to the glazing of the windows and the better securing of them with nine bars of iron. In accordance with a clause in his will, "Corpus vero meum volo quod sepeliatur extra ostium occidentale Ecclesiae Exon. ita celeriter sicut fieri poterit," his remains were placed under the low arch in the east of the chapel. Here they lay for many years, but in the later years of Elizabeth, apparently without creating any public indignation, his tomb was rifled and his ashes scattered to the "four winds." There seems to be no good reason why religious fanaticism should have caused the tomb of so great and good a man to be despoiled. Two interesting details are the carved figure of Christ on the roof and the holes in the stones from which the lamps were formerly hung.

#St. Edmund's Chapel#, in the north-west corner of the nave, was part of the Norman church, and was incorporated in his new work by Bishop Grandisson. In it is a large font of modern Gothic style, presented in the nineteenth century by Archdeacon Bartholomew.

#The Font.#--At the south-west side of the nave stands the chalice-shaped font of white marble, purposely made in 1644 for the baptism of Henrietta Anne, youngest child of Charles I, afterwards d.u.c.h.ess of Orleans, who was born in Exeter during the Parliamentary wars. The font is said to have been made in a fortnight, which may account for the inferior character of the sculpture. But if not of artistic merit, it is certainly of historic interest, and after being set aside for some years, was replaced in its present position in 1891, and is now always used for baptisms.

#The Patteson Pulpit# was placed in the nave in 1877. It is of Mansfield stone, and is a beautiful example of modern sculpture. The panels represent the Martyrdom of St. Alban, the embarkation of St. Boniface and his companions for Germany, and the natives of Nukapu, Melanesia, placing the body of Bishop Patteson in a canoe. The Martyred Bishop is shown wrapped in a native mat, a relic still preserved in his family.

MONUMENTS IN THE NAVE

The great west window was filled with stained gla.s.s in 1904 in commemoration of Dr. Temple, Bishop of Exeter 1869, of London 1885, and in 1896 Archbishop of Canterbury. Figures in the lower lights represent the most notable Bishops of Exeter from Leofric to Frederick Temple.

The monument under the west window commemorates services and losses of the 1st Battalion of the Duke of Cornwall's Light Infantry, which, as the 32nd Regiment, greatly distinguished itself during the Sepoy revolt in India in 1857-8.

On the north-west is a mural tablet with medallion portrait commemorating Richard Blackmore, the author of _Lorna Doone_, 1825-1900.

The three lights of the small window above are filled with stained gla.s.s in connexion with this memorial. The corresponding window on the south side was filled with stained gla.s.s by Dean Cowie.

The largest monument in the north aisle is that to the memory of officers and men of the 9th Lancers who fell during long and distinguished service in India.

Farther on is a large bra.s.s, of no particular merit, to the memory of the men of the 2nd Battalion of the North Devon Regiment who fell in the Afghan War of 1880-81. It is surmounted by two regimental flags.

Above a mural tablet to Lieutenant G.A. Allen is a window of stained gla.s.s erected to the memory of the 11th Earl of Devon. The colour scheme is particularly good, and the design, representing Jacob's dream, is not unsuccessful.

A plain tablet to the memory of Samuel Sebastian Wesley, the famous musician, is the only other monument in the aisle of general interest.

In the same aisle have recently been placed the colours of those battalions of the Devons who served in the great European War, 1914-18.

To complete the examination of the nave we must cross to the south aisle, in the first bay of which is the ancient doorway, probably built by Bishop Bruere, leading into the cloister. At the end of the aisle is the monument of Colonel John Macdonald, who died in 1831, a son of the celebrated Flora Macdonald. The most eastern window of the aisle is filled with stained gla.s.s representing four bishops of the Courtenay family. Peter Courtenay, Bishop of Exeter, will be recognized as he holds the great "Peter" bell, his gift to the cathedral, which hangs in the north tower. He is the bishop alluded to by Shakespeare (_Richard III._, Act iv, Sc. 4):

"In Devons.h.i.+re Sir Edward Courtenay, and the haughty Prelate, Bishop of Exeter, his elder brother, With many more confederates are in arms."

After the accession of Henry VII., he was translated to Winchester.

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

The Photochrom. Co. Photo.]

Formerly there was a Courtenay chantry in the last bay of this aisle, corresponding with Bishop Brantyngham's chantry on the north side. These became ruinous and were removed early in the nineteenth century. The Courtenay tomb in the south transept is entirely a restoration. The effigies represent Sir Hugh Courtenay, 2nd Earl of Devon, and Margaret de Bohun, his wife. The great bra.s.s of their son, Sir Peter Courtenay, also formerly in the chantry, is now in the south choir aisle: it has been sadly injured by being trodden under foot for many hundred years, and is now protected by matting. He was standard bearer to Edward III.

and Richard II., and one of the first Knights of the Garter.

The centre window of the south nave aisle is filled with stained gla.s.s in memory of those of the Devon Regiment who served in the South African War, 1899-1901. The tablets with their names are in St. Edmund's Chapel.

Their flags hang on either side of the window.

The large bra.s.s tablet, though, like too many of the memorials in the nave, unnecessarily large and far from meritorious in design, is not without interest. It is to the memory of Major-General Howard Elphinstone, V.C., who was drowned off Ushant in 1890.

Above a tablet of bra.s.s to Hugh, 2nd Earl of Devon, and his wife, is a window erected by Sir Edwin Watkin to the memory of Thomas Latimer. The small window to the left, erected by Dean Cowie in memory of his wife, should be noticed.

#North Transept.#--We have already seen that the two great towers of the cathedral were in their nature transeptal from the beginning. But they were quite separated from the body of the church, the arches connecting them being filled in with strongly built masonry, forming a complete wall. But Quivil, wis.h.i.+ng to enlarge the interior of the building, took down these walls, and he set about altering the arches and converting them into the same Decorated style to match this work in the rest of the building. He also altered and transformed the Norman chapels that projected on the east side of each transept. In the north transept one window and two narrow doorways still betray their Norman origin. The open galleries in each transept are connected by a pa.s.sage with the clerestory. This, too, is Quivil's work, and his windows in the two chapels of St. John and St. Paul, easily distinguishable by their wheel-shape, are interesting.

Here is Chantry's fine statue of the Devons.h.i.+re artist Northcote, and a tablet to the memory of the men and officers of the 20th (Devon) Regiment who fell in the Crimea. Visitors will notice with interest a fairly successful mural painting representing the resurrection, the soldiers in armour being drawn with considerable spirit.

#Sylke Chantry# is in the north transept. Sylke was a person of considerable importance in his day, and one who deserved and obtained no little honour from his contemporaries. He administered the affairs of the diocese as vicar-general during the absence of Bishop Courtenay, and also during that of Bishop Fox. In 1499 he was made precentor, and held that office till his death. The priests, grateful for the efforts he had made to further their comfort, decided to keep his obit. The abbot and convent of St. Mary of Cleeve, in Somersets.h.i.+re, willing to show their sense of obligation to him and Canon Moore, gave yearly to the Dean and Chapter the sum of 6 13s. 4d. to be spent in celebrating their anniversary. Sylke's tomb represents a very ghostly figure with the epitaph, "Sum quod eris, fueram quod es, pro me, precor, ora." The chantry is in the style of the later Gothic, and is one of those "final touches" to the cathedral Archdeacon Freeman esteems so happily imparted to it. The ancient works of the thirteenth-century clock, upon the north wall, have been placed in this chantry, the machinery being in motion though it does not now work any part of the actual clock. The various parts are of different dates; the oldest wheel has been working more or less regularly for about 700 years. The dial represents the sun and moon revolving round the earth in the centre, the varying phases of the moon being indicated.

#St. Paul's Chapel# is on the east side of the north transept.