The unhappy wife of Charles I arrived at Exeter in 1644, having a few days previously bidden her husband "Good-bye" for the last time, a sorrowful parting which we had heard about at Abingdon, where it had taken place, and whither Charles had accompanied her from Oxford. She stayed at Bedford House in Exeter, where she was delivered of a daughter, who was named Henrietta, being baptized in the cathedral in a magnificent new font erected especially for the occasion. The Queen left the city on July 14th, and sailed from Falmouth to France, where she stayed at the Court of Louis XIV. Twelve days later the King reached Exeter, and called to see his infant daughter, and he again stayed at Bedford House on his return from Cornwall on September 17th, 1645.
EXETER CATHEDRAL, WEST FRONT.
In 1671 Charles II, his son, also passed through Exeter, and stayed to accept a gift of £500 from the city as a testimony of its loyalty and gratitude for his restoration and return; and the "Merrie Monarch" afterwards sent the city a portrait of his sister, the unfortunate Henrietta, to whom he was passionately attached. As Duchess of Orleans she had an unhappy life, and her somewhat sudden death was attributed to poison. Her portrait, painted by Lely, was still hanging in the Guildhall, and was highly prized as one of the greatest treasures of the city.
We went to see the Cathedral, but were rather disappointed with its external appearance, which seemed dark and dismal compared with that of Salisbury. A restoration was in progress, and repairs were being carried out with some light-coloured and clean-looking stone, not of a very durable nature, which looked quite beautiful when new, but after being exposed to the weather for a few years would become as dull and dark-looking as the other. The interior of the cathedral, however, was very fine, and we were sorry we had not time to explore it thoroughly. Some very old books were preserved in it—the most valuable being a Saxon manuscript called Codex Exoniensis, dating from the ninth century, and also the Exeter Domesday, said to be the exact transcript of the original returns made by the Commissioners appointed by William the Conqueror at the time of the Survey, from which the great Domesday was completed.
The minstrel gallery dated from the year 1354, and many musical instruments used in the fourteenth century were represented by carvings on the front, as being played by twelve angels. The following were the names of the instruments: cittern, bagpipe, clarion, rebec, psaltery, syrinx, sackbut, regals, gittern, shalm, timbral, and cymbals!
Some of these names, my brother remarked, were not known to modern musicians, and they would be difficult to harmonise if all the instruments had to be played at the same time; his appreciation of the bagpipe was doubtless enhanced, seeing that it occupied the second position.
The cathedral also possessed a marvellous and quaint-looking clock some hundreds of years old, said to have been the production of that famous monk of Glastonbury who made the wonderful clock in Wells Cathedral, which on striking the hour sets in motion two armoured figures of knights on horseback, armed with spears, who move towards each other in a circle high above the central arches, as if engaged in a tournament.
The clock at Exeter showed the hour of the day and the age of the moon, and upon the face or dial were two circles, one marked from 1 to 30 for the days of the month, and the other figured I to XII twice over for the hours. In the centre was a semi-globe representing the earth, round which was a smaller ball, the moon, painted half gold and half black, which revolved during each month, and in turning upon its axis showed the various phases of the luminary that it represented. Between the two circles was a third ball representing the sun, with a fleur-de-lys which pointed to the hours as the sun, according to the ancient theory, daily revolved round the earth; underneath was an inscription relating to the hours:
PEREUNT ET IMPUTANTUR