designs of Sir G. G. Scott. Nothing has been removed which in the smallest degree merited preservation. The new wood-carving is probably the best modern work of its class which has been executed in this country; and the general effect is one of very great beauty. The Purbeck marble of the piers throughout this part of the church was found to be greatly decayed. It has been renewed with stone from the quarry used by the original builders, and the difference is not to be distinguished. (For a full account of all these modern works, see APPENDIX, Note VII.)

The Norman choir, as at first constructed, terminated probably in a triple apse, at the end of the third bay from the choir screen. Bishop Marshall added four bays, with aisles and retrochoir; doing away with the triple apse. Upon the Norman and Transition work thus existing, Bishop BITTON (12921307) began the process of transformation; first carrying it out in the eastern half of the choir, that built by Marshall, and then proceeding to the western portion. The massive Norman walls were cut through, the arches raised, new pillars of marble erected, clerestory windows inserted, and the vault raised. (See, for the evidences of this reconstruction, APPENDIX, Note IV.) The aisles were altered at the same time. Quivil (see post, § XXXI.) had already remodelled the Lady-chapel; and the windows inserted in the choir by Bitton, although resembling Quivil's, are an advance upon them. His mouldings are also to be distinguished from those used by Quivil. The church had thus

been renewed as far as the first bay of the nave, when Grandisson, who dedicated the high altar in 1328, in writing to his patron, Pope John XXII., at Avignon, asserts that the cathedral, then half completed, would, when finished, be superior in its kind to any church in France or England: "Ecclesia Exoniensis, fere ad medium constructa, mirabili super ceteras in genere suo Regni Anglie vel Francie, si perficiatur, pulchritudine renitebit.”—(Grandisson's Register, vol. i. fol. 39.) High as this praise was, the beauty of the vaulted roof, and the extreme grace of the details are proofs that it was scarcely exaggerated. (See ApPENDIX, Note IX.) The roof-bosses and corbels [Plate V. figs. 2, 3, 4] are of the same character as those in the nave; but the choir corbels are even more admirable in design, and far more varied in foliage. Maple, oak, ash, the filbert with its clusters of nuts, and the vine with fruit and tendrils, could hardly be reproduced more faithfully. On the corbel above the organscreen, on the north side, is a coronation of the Virgin, and on that beyond it a Virgin and Child with censing angels. The four eastward bays differ from those below them only in the arcade above the arches, which in the latter is not so deeply recessed. This (see APPENDIX, Note IV.) was owing to the difference of thickness in the original walls. The very narrow arch at the entrance of the choir is probably due (see the same Note) to a similar reason. The beautiful sedilia, the work of Bishop STAPELDON, have been thoroughly repaired during the late restoration (1874);

and, together with the modern reredos, are fully described in the APPENDIX, Note VII. The original colouring has been restored to the vaulting. (See Note IX.) The east window is early Perpendicular, and was inserted by Bishop Brantyngham about 1390. The stained glass with which it is filled is for the most part ancient, and very fine. Much of it dates apparently from the first half of the fourteenth century (temp. Edw. I. and II.), and was removed from the earlier window; the shields below are those of early bishops and benefactors; the figures of saints above, most of which are to be recognised by their emblems, deserve careful notice. Beginning with the lowest row, and at the left hand, are,--St. Margaret, St. Catherine, St. Mary Magdalene, St. Barbara, the Virgin and Child, St. Martin, St. Peter, St. Paul, and St. Andrew. All these figures are under very rich and varied canopies. The first three and the last three are of the first period; the others of Brantyngham's time. In the middle row are,-St. Sidwell, or Sativola, believed to have been a British lady of noble birth, and contemporary with St. Winfrith of Crediton (first half of the eighth century). Her legend asserts that she was beheaded by a mower, at the instigation of her stepmother, who coveted her possessions, near a well outside the walls of Exeter. This well, long known as St. Sidwell's well, had over it a very ancient" castellum aquæ," which was destroyed by the railway works in 1858. In the window St. Sativola appears with a scythe in her left hand, whilst at her right is a well