“A blind arcade, taking the place of the triforium, deeply recessed and arranged in groups of four arches under each bay, runs above the nave arches; and in the central bay on the north side projects the Minstrels’ Gallery, an arrangement for the accommodation of musicians on high festivals, which occur in this perfection nowhere else in England. There are, indeed, other examples at Wells and at Winchester, but of far less interest and importance. Each of the twelve niches into which its front is divided contains the figure of a winged angel playing on a musical instrument and surmounted by a rich canopy. The instruments beginning from the west are, a cittern, bagpipes, flageolet, crowth or violin, harp, an unknown or unseen instrument (the fingers are put close to the mouth), trumpet, organ, guitar, wind instrument, tambour and cymbals. The two corbelled heads below, supporting niches, are possibly those of Edward III. and Philippa. The manner in which the hands and arms are raised above the heads is unusual. Above the arcade and minstrels’ gallery is the clerestory, along which a gallery is pierced in the thickness of the wall.
“The windows of the nave, all of the best and purest (geometrical) Decorated, are said to exhibit a greater variety of tracery than can be found in any other building in the kingdom. They are arranged in pairs, on opposite sides of the cathedral; so that no two side by side will be found to resemble each other. The varied and graceful patterns of the lead-work should also be noticed. The stained glass in the great west window is, for the most part, modern and worthless (it dates from 1766) injuring the beauty of the window itself by its entire want of harmony and meaning. The ruby glass in this window is said to be some of the latest that was manufactured in England before M. Bontemps revived the art.”—(R. J. K.)
Walking back to the west end, we stop to examine the Chantry of St. Radegunde,
“constructed in the thickness of the screen by Bishop Grandisson for the place of his own sepulture. His tomb formerly existed here, but it was destroyed by Elizabeth’s visitors and the high-born prelate’s ashes scattered ‘no man knoweth where.’”—(R. J. K.)
Opening from the first bay of the Nave is the small Chapel of St. Edmund, of earlier date than the Nave. In the fifth bay, on the same side, is the North Porch. In the last bay on the south side is an Early English doorway that formerly opened into the cloisters; and between the first two buttresses on the south side a finely carved consecration cross attracts our notice.
The Pulpit dates from 1684.
The Transepts, one bay each, occupy the space under the towers. East of the North transept is the Chapel of St. Paul, built by Quivil and now used as a vestry. In the corner we find the tomb and chantry of Sylke, a sub-chanter, who founded this chantry in 1485 and was buried in it in 1508. His effigy lies here. Against the east wall are memorials to the soldiers of the 20th, or East Devon Regiment who fell in the Crimean War. Here is also the famous clock which has two dials. It is supposed to date from the reign of Edward III.
A door below the clock opens to the stairs into the North tower, in which is hung the Great, or Peter Bell, the second largest bell in England. It weighs 12,500 pounds.
“The Peter bell was crazed on Nov. 5, 1611, most probably from a too violent ringing in commemoration of the Gunpower Plot, and was recast in 1676. Its diameter at the mouth is 6 feet 3 inches; its height nearly 4 feet 8 inches. It is, of course, never rung, but the hours are struck on it by an enormous hammer. The visitor who happens to be in the tower at the time of striking will experience a new sensation,—the humming of the great mass of metal lingers for many minutes among the huge beams and rafters. A superb view of the city surrounded by trees and gardens, of the river and of its junction with the sea at Exmouth, is obtained from the top of the tower, the upper part of which (of Perpendicular character) was raised and adapted by Bishop Courtenay for the reception of Great Peter, which he brought from Llandaff.”—(R. J. K.)
The South Transept is a counterpart of the north, and the Chapel of St. John the Baptist