Beyond the Choir, the ambulatory, or procession-path (Early Decorated), with Speke’s Chantry on the left or north and Bishop Oldham’s on the right or south, leads to the Lady Chapel. This was built by Quivil, and is remarkable for its beautiful foliage carvings, old reredos, graceful openings to the chantries on either side and magnificent east window.
“Quivil first transformed the Lady-Chapel; to him are due the shafts, sedilia, double piscina, and the vaulting, the rib-mouldings of which are of earlier character than those of the choir; and the windows, which closely resemble those of Merton College, Oxford, which we know was commenced in 1277. In the centre of the Lady-Chapel Bishop Quivil is buried; he died in 1291. The chapels on either side may have been remodelled or partly remodelled by Bronescombe; but the east windows are later in style, and are Quivil’s. The piers hereabout are very interesting. Those of the Lady-Chapel looking into the side chapels are composed of four columns. The north-east and south-east piers of the choir have clusters of eight shafts instead of four; while in the pier between them the cluster of eight is developed into a cluster of sixteen columns. Finally notice that these piers are set diamond-wise, with four flat faces, and the angles to the north, west, south and east.”—(F. B.)
In the centre of the pavement is the tombstone of Bishop Peter Quivil (died 1291), author of the present plan of the cathedral. Other effigies of bishops are interesting works of art, but those of Sir John and Lady Doddridge are very curious. Sir John (died 1628), one of James I’s judges of the King’s Bench, was called “the sleepy judge,” because he always sat on the bench with closed eyes; but more interesting is Lady Doddridge, who wears a rich dress brocaded with roses and carnations and also a remarkable ruff and headdress.
Under the arches opening from the Lady-Chapel to the side chapels are tombs of Bishops Bronescomb and Stafford. Bishop Bronescomb’s effigy (1280), on the south side, is a fine piece of carving. Stafford’s opposite (1419) is of alabaster, and it is famous for the rich tabernacle-work above the head.
We have been long attracted by the lovely East window. Now we can see the details.
“The east window is early Perpendicular and was inserted by Bishop Brantingham 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. Edward 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 Brantingham’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. Winifred 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. In the window St. Sativola appears with a scythe in her left hand, whilst at her right is a well with a stream of water flowing from it. These emblems may either form a rebus of her name (scythe-well) or refer to her martyrdom. Beyond St. Sidwell are St. Helena, St. Michael, St. Margaret, St. Catherine, Edward the Confessor and St. Edmund. All the figures in this row are of Brantingham’s period. The three figures in the uppermost row are Abraham, Moses and Isaiah. These are of the first period. The tone of colour throughout this window is very fine and solemn. The heraldry in the upper part of the window is modern. In the north clerestory windows of the central bay are four headless figures of early Decorated character. The beautiful running pattern forming the ground on which they are placed should be noticed.”—(R. J. K.)
In the north-choir-aisle is a curious tomb with a cross-legged effigy of a Fourteenth Century knight in armour with one esquire at his head and another holding a horse at his feet. This is supposed to be a memorial to Sir Richard de Stapledon, a brother of the Bishop.
Returning as we came, we pass the Chantry of St. George, founded by Sir Thomas Speke in 1518. It is a mass of rich carving. The effigy of the founder lies within.
Opposite is Bishop Oldham’s Chantry, also a mass of carving, where the owl in the panels refers to his name (the word old is pronounced owld in Lancashire, where the Bishop was born). The Bishop’s effigy lies in a niche in the south wall.
“The Tudor work (1485-1519) is exceptional in importance. It includes the north entrance and other late portions of the western screen, two exquisite chapels both built by Bishop Oldham—his own chantry (St. Saviour’s) on the south side of the retro-choir, the Speke chantry (St. George’s) on the north—and in addition, Prior Sylke’s chantry on the north transept. All this work is admirable in design and execution. In Oldham’s chantry is a charming series of owls with the scroll Dam, a rebus on his name, proceeding from the beak of each little owl. To Bishop Oldham also (1504-1519) is due the grand set of stone screens—one of the glories of the cathedral—no less than ten, which veil all the nine chapels and Prior Sylke’s chantry, and add fresh beauty to the beautiful choir.”—(F. B.)