are capped with elegant turrets and pinnacles; behind this they are carried by a graceful arch to the walls of the nave and choir, and finally soar far above the parapet, crowned with turrets and pinnacles, adorned with crockets and finials.

To obtain a good view of the eastern front of S. Peter's, we must take our stand in the grounds attached to the palace of the bishop. Standing a little way off, we gain views of the elegant chapels of our Lady and S. Gabriel, of the quaint little chantry known by the name of Bishop Oldham's or S. Saviour's, of S. James' chapel, and the upper portion of S. John's tower, together with a rich and picturesque mass of buttresses, turrets, and pinnacles. The east wall of the choir is pierced with a rich Perpendicular window surmounted by a parapet and flanked with turrets and pinnacles. Above is the gable containing a beautiful circular window filled with Decorated tracery. There is a nameless charm attached to the view from here or on the north side; the grouping of the whole, the pleasing contrast offered by the fresh, bright green of the grass and the rich masses of ivy climbing up one or two of the buttresses near Oldham's chantry, with the sombre grey of the ancient walls, make up a picture pleasing to the eye of the most critical observer.

Naturally, on entering the nave, our eyes are raised to its roof, and we notice its beautiful stone groining, rich in design and execution; while on our right remarking a pretty door placed beneath a wide ogee arch, rich with pendants, tracery, and crockets, we seek to enter, and find ourselves face to face with that most dreaded of cathedral officials-a verger, to whose chamber it gives admittance. Erected by the generous Grandisson for the purpose-not, dear reader, of housing a church beadle who will charge churchmen so much per head for the privilege of entering certain portions of God's temple, but for receiving his own mortal remains, he dedicated the little chapel to S. Rhadagunde, and here he was laid to rest, A.D. 1369. To the south of the altar is a beautiful little piscina, springing from a single shaft or column, and on the roof a defaced sculpture of our SAVIOUR. The reign of our "Protestant Pope," Elizabeth, wit

nessed the utter demolition of the good bishop's tomb; and, says an historian in plain words, but instinct with meaning and regret, "his ashes were scattered abroade, and the bones bestowed no man knoweth where." What could this have been but wanton, deliberate, sacrilege, and mischief, wrought by the hands of intolerant fanatics? Was this outrage perpetrated upon the remains of a Christian prelate, committed in a moment of mad excitement and phrenzy, consequent upon a victory? Does it not bear as well as many other such occurrences, the impress of coolly-planned malice ?

Isacke says, "The reliques of this worthy prelate deserved a more reverent respect, even amongst savage beasts."

A few steps more, and the beautiful vista of the interior of the Cathedral is before us entire. One wonders how those grand old priest-architects could have conceived and executed such a perfect specimen of groining, as the roof above our heads. The reed-like vaulting shafts resting on beautifully carved corbels, spring from between the arches and at a considerable height, with exquisitely and differently carved capitals support the ribs of the vaulting, which spread and soar upwards in elegant symmetry. The groining ribs are diversified at the various points of intersection with elegant bosses, and the vaulting stretches in one unbroken length from the western portal of the Cathedral to its very sanctuary. The arches of the nave, seven in number, are supported by elegant columns of Purbeck marble arranged in clusters. The organ-screen, which is very magnificent, the work of Bishop Brantyngham, was erected during the reign of Edward III. It consists of three richly-feathered arches resting on clustered pillars of Purbeck marble supporting an arcade of thirteen divisions, which contain paintings on stone of-1. The Creation; 2. Adam and Eve in Paradise; 3. The Deluge; 4. Destruction of Pharaoh and his host; 5. Devastation of Solomon's Temple; 6. Erection of Second Temple; 7. Angel appearing to Zacharias; 8. The Nativity; 9. Baptism of CHRIST; 10. Taking down from the Cross; 11. Resurrection; 12. Ascension; and 13. The Descent of the

HOLY GHOST. The whole is crowned by a modern parapet. Above stands the organ, which was erected in 1665, by John Loosemore; since that time it has been greatly enlarged, and now contains 1600 pipes, made of the finest metal used in organ work. The largest pipes are 23 feet long, 4 feet in circumference, and 1 foot 4 inches in diameter. In 1688, William of Orange arrived at Exeter, and after entering the city with great state on a milk-white horse, entered the Cathedral. "As," (says Macaulay,) "he passed under the gorgeous screen, that renowned organ, scarcely surpassed by any of those which are the gift 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 chant 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 cried with a loud voice,' GOD save the Prince of Orange;' and many fervent voices answered, Amen." That quaint little piece of workmanship, the minstrels' gallery, projects from the north wall of the church, resting on a carved bracket or corbel. The various little niches contain angels playing upon musical instruments.

The stained glass of the great west window, representing saints, apostles, and coats of arms, casts a mellow glow into the church, yet there is too much yellow in the composition for the window to look pleasing: the tracery is exquisite. The various other windows of aisles and clerestory, contain some excellent specimens of ancient glass.

From the north transept, which is under S. Paul's tower, is entered S. Paul's chapel, now used as a vestry for the Lay Vicars. The various windows are filled with beautiful tracery. Umbrella-stands, hat-pegs, &c., form the remaining decorations. Merely inclosed from the transept by a pretty open screen beautifully carved, is the little chantry, founded by William Sylkes, who was here

interred in 1518, having founded it in 1485. The inscription, "I am what thou wilt be, and was what thou art. Pray for me, I intreat. William Sylkes," is inscribed in the cornice. A fine wall painting is uncovered on the north wall of the chantry. The figure of our LORD is excellent, soldiers occupy the foreground, and the three Marys are seen approaching the tomb. The screen is decorated with statues of the saints, representations of the Crucifixion, the taking down from the Cross, S. Michael and the Dragon, and the Blessed Mary bearing the dead body of her Son. The figure of Sylkes is under an arch in front of the chapel. The contents of the chapel are so singular, that I append them in a note.1

The ancient clock is a most singular piece of mechanism, telling us the hour of the day, accompanied with the warning, that "they perish, and are reckoned up," and also the age of the moon. The Peter or Great Bell, weighing 12,500 lbs., is in the tower above. The chantry of S. John, entered from the south transept, is uniform with that of S. Paul. The traceried windows are elegant. To the south of the altar still remain a beautiful piscina and credence. In the transept are various monuments, the principal being that of "Leofricus, the first Byshoppe of Exeter," and a tomb highly enriched and carved, supporting the effigies of Hugh, Earl of Devon and his wife the Countess Margaret. Cleaveland tells us, that over this monument was a sumptuous, curious little chapel built," the altar of which was consecrated by Courtenay, Bishop of London, June 30, 1381.

In the south tower are placed eleven bells, ten of which form the heaviest peal rung in England. The tenor, weighing 7,552 lbs., tolls the curfew every night at eight.

We enter the choir through the door in the organscreen: on our right and left were placed altars dedicated to our Lady and S. Nicholas. The ceiling is beau

1 Large brushes, huge bales of matting, a syringe, old baskets, a dilapidated candlestick and a small piece of candle, a dust-pan, several old pieces of timber and huge blocks of wood. The dean is paid a good sum per annum.

tifully groined. Fairly in the choir the beauty of the eastern window and the bishop's throne can be observed. The latter, standing on the south side of the choir, put together without a nail, is a beautiful piece of workmanship, soaring to the height of fifty-five feet, elegantly decorated with carving; it still remains the grandest monument in existence of the ancient glories of episcopal grandeur in England. Cherubs holding chalices, patens, &c., form portions of the carving. It was the work of Bishop Bothe (1465-1478.)

The misereres dating from the time of Bishop Marshall (1194-1206,) are the earliest and finest in England. They are fifty-one in number.

The beautiful eastern window, inserted by Bishop Brantyngham, (1390,) is filled with figures of saints and Apostles: the colours are very rich and striking.

Underneath this window is the reredos, composed of seven divisions, surmounted by elegant canopies, while to the right stand the elegant sedilia. To the left of the altar, and its confusion of chairs, door-mats, and loungingdesks, is placed the beautiful tomb of Bishop Stapleton. Under the head of the graceful canopy is a painting, representing our SAVIOUR with pierced hands and feet, head surrounded with the glory and hands raised in benediction, standing upon a globe, while at the side is represented a king in a scarlet robe, climbing as if towards Him. Stapleton's effigy is nicely sculptured.

The enthronization of this prelate was of great magnificence, while his tragical end invests his memory with unwonted interest and respect. We are told, how that on the flight of Edward II. from London, he sent "Walter Stapleton, Bishop of Exeter, his treasurer, to be guardian of the cyte, with the mayre, and he cummyn to the Guildhalle, desired, according to his commission, the keys and custody of the cyte. To whom the commons answered, that they wolde kepe the towne for the king, the queen, and his sonne. And the bishop expressing his dissatisfaction at this answer, they (the mob) toke him and smith of his hedde in the middle of Westchepe." Stapleton was most liberal in his gifts to the cathedral, bestowing upon it the immense sum