hich are full-length representations of nineteen
saints and patriarchs, and many armorial bearings. The full beauty of
the glass can only be seen from the interior. The south side of the
Cathedral is very similar to the northern one, except that the portion
east of the tower is hidden from view by the episcopal palace.

Once inside the nave, which should be entered by the western portal, the
dullest eye cannot fail to perceive the uniform character of the work, a
quality which gives to this Cathedral a congruity of structural forms
and an architectonic value that is lacking in buildings which exhibit
the styles of various periods. Here we see the complete architectural
expression of one master mind, although the edifice was erected under
the supervision of successive bishops. The present Cathedral was begun
by Bishop Bronescombe (1258-80), to whom is due a portion of the Lady
Chapel. His successor, Quivil (1280-91), furnished designs for the
entire rebuilding of the church, and how faithfully his successors
adhered to these plans is proved by the fact that a great deal of this
Decorated building was erected at a time when the Perpendicular style
was in full swing all over the country. With the exception of the great
east window, which is of the Perpendicular period, the whole of the
interior is of the purest Decorated work, and is the finest, as it is
the most complete, example of this style on a large scale in the
country. Exception has been taken to the lack of height in the nave, due
to the low spring of the vaulting, and there is some justification for
the criticism. The vaulting, however, is exceedingly beautiful, and the
long line of unbroken roof stretching from the west end of the nave to
the east end of the choir is so charming a feature that when inside the
building we no longer regret the absence of a central tower.

[Illustration: THE SANCTUARY, EXETER CATHEDRAL]

The bosses that unite the vaulting ribs represent a variety of subjects,
the last but one, near the west window, depicting the martyrdom of
Becket. The corbels from which the vaulting shafts spring are mostly
sculptured heads of the Plantagenets; those on each side of the
Minstrels' Gallery depict Edward III and Queen Philippa. This gallery
cuts into the triforium on its north side, and contains niches in which
are sculptured angels with musical instruments. Until the middle of the
last century it was customary for the surpliced choir to sing the