Part 3

Sparrow succeeded to the see in 1667. During his episcopate the Grand Duke Cosmo visited Exeter and wondered at the worthy bishop, his wife, and his nine children. The Duke of Tuscany was spoken of in the local reports as the Duke of Tuskey, and he received from the corporation a gift of "£20, or thereabouts." Sparrow, on his translation to Norwich, was succeeded by Lamplugh, whose political acumen, at any rate, compels admiration, if not respect. He fervently bade his flock rally round the unfortunate James II, and then, posting to London, was rewarded by the grateful king with the archbishopric of York. He then without any compunction crowned William of Orange, King of England. But his smartness availed little, "for within three years continuance of that high throne of York he was summoned before an higher." Macaulay has finely described the entrance of the prince into the cathedral. "As he passed under the gorgeous screen, that renowned organ, scarcely surpassed by any of those which are the boast of his native Holland, gave out a peal of triumph. He mounted the bishop's seat, a stately throne, rich with the carving of the fifteenth century. Burnet stood below, and a crowd of warriors and nobles appeared on the right hand and on the left. The singers robed in white sang the 'Te Deum.' When the chaunt was over Burnet read the Prince's declaration; but as soon as the first words were uttered, prebendaries and singers crowded in all haste out of the choir. At the close, Burnet, in a loud voice, cried, 'God save the Prince of Orange,' and many fervent voices answered 'Amen.'" This is certainly the most remarkable, as it is also the last, of the great historical events that have happened under the shadow of the cathedral walls. There had been nothing to compare with it since the day when Grandisson with his armed retainers met Mepham at the close gate three hundred years before. Offspring Blackall is the last bishop we need mention. He was a famous preacher, and worked hard for the comfort and education of the indigent classes. To him Exeter owes her charity schools.

Of the remaining bishops there is nothing of moment to record.

It has seemed wiser in this brief sketch to devote a paragraph to each of those bishops who either architecturally or historically made their episcopates events of national importance. The early bishops, especially, busied themselves exceedingly in making beautiful their principal church. It is by knowing something of their lives and times that one can best appreciate their labours, and trace with intelligent interest the causes of the splendid result to be studied minutely in the remaining chapters of this book.

Moreover, all lovers of the great in art, all who love what is beautiful, as all may with a little trouble, will not be sorry to have even a passing acquaintance with those who have wrought so nobly. And this short notice of the most famous of the bishops of Exeter proves that they were for the most part chosen, not for their lineage, however splendid, nor the favour they had gained as gracious courtiers, but for their excellent lives, their plain living and high thinking, their taste and learning, and for qualities which, if rarer now, were not common even hundreds of years ago.

THE FABRIC OF THE CATHEDRAL.

THE EXTERIOR.

Before examining the various details, it may be well to recall the following facts, which have already been referred to. First, the cathedral was Saxon and remained so for nearly seventy years; then came a Norman bishop who pulled down the existing building and replaced it by the foundations and towers of a finer one. For ninety-nine years, sometimes languishingly, sometimes vigorously, the work continued: so that by the end of Marshall's episcopate (1206) Warelwast's noble ambition was realized. Between this date and 1280 the church was scarcely touched, but a chapter house was built by Bishop Bruere "to God and the Church of St. Mary and St. Peter, a sufficient area to make a Chapter House in our garden near the Tower of St. John." A third style, Early English, was then introduced, to be followed by the almost complete transformation of the entire building into the Decorated style. 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 Church," as Professor Freeman neatly puts it, "grew up after one general pattern, but with a certain advance in detail as the work went westward."

The second thing that strikes the visitor is that he has never seen a church quite like it. "It forms a class by itself, and can be compared with nothing save its own miniature at Ottery."

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 west of England." But in discovering these the feeling of wonder increases as the building is found to be not a mere jumble but a complete whole. 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. 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. "In the minds of all early Christians," says Mr. 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. "Exe terra"--out of the earth--is sometimes declared to be the derivation of the name Exeter. 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--

"The sounding furrows, for my purpose holds To sail beyond the sunset and the baths Of all the Western stars until I die,"[2]

makes one realize how fit it is that the towers of the cathedral should look across the country to the "deep waters," and be to the mariner as the masts of a vessel whereon was safety, however fierce the storm.

[2] Tennyson's "Ulysses."

From many parts of the surrounding country fine views may be obtained, from Waddlesdown, Alphington Causeway, and many a canal and river bank.

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." But even a nearer survey is, with patience, rewarded. The towers, exquisitely traceried windows, sculptured doorways, and magnificent roof, easily persuade us to forget its mean surroundings.

#The Towers.#--To many these will be the most interesting portion of the building. 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. 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. 74). The effect of 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. 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. 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 1107 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 1861. 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.

[3] "Architectural History of Exeter Cathedral," by Philip Freeman, Archdeacon and Canon of Exeter (Bell), 1888.

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.#--This was the northern entrance of the Norman church, and from the outside it is possible to trace the line where the fifteenth-century front was added to the old structure. It is decorated with seven canopied niches in the style of that period. These, however, remained vacant until 1920, when they were filled with statues, by Mr. H. 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. Ambrose. 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. Mary and St. John standing on either side. Over the inside doorway is a niche that probably once held a figure of the Virgin.

#The West Front# is one of the features which gives a peculiar character to this cathedral. 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. The date must be about 1350. 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. Peter.

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.'s reign. 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.K. 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 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. Peter, Our Lady, Our Lord, and St. Paul. At some unknown date the statue of the Virgin was destroyed, and a figure intended to represent Richard II was substituted in 1818. 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.

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 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. 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 asserted, 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 buttresses of Norman form and masonry, or else traces of their removal. These remains, linking together the obviously Norman towers and the massive 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 quantities. 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.

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.

The nave has seven bays, and the arcades are supported by clustered 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 cluster 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 clustered columns, broken in one place only on the north side to make way for the Minstrels' Gallery.