Bell's Cathedrals: The Cathedral Church of Exeter: A Description of Its Fabric and a Brief History of the Episcopal See — John Shaqi
Bell's Cathedrals: The Cathedral Church of Exeter: A Description of Its Fabric and a Brief History of the Episcopal SeeAddleshaw, Percy
Religion
Bell's Cathedrals: The Cathedral Church of Exeter: A Description of Its Fabric and a Brief History of the Episcopal See
Addleshaw, Percy
Exeter Cathedral
#The Minstrels' Gallery.#--This is the most beautiful gallery of its
kind to be found in England, its twelve decorated niches containing
figures of musicians. The musical instruments represented include the
cittern, bagpipe, hautboy, crowth, harp, trumpet, organ, guitar,
tambour, and cymbals, with two others which are uncertain. The tinted
figures of the angels, standing out against an orange-coloured
background--each in a separate niche with an elaborately carved
canopy--playing upon the various instruments, are admirably carved and
most graceful in form and arrangement. The two niches on either side of
the gallery contained figures of St. Mary and St. Peter; the niches are
supported by corbelled heads of Edward III and Queen Philippa. Edward
III created the Black Prince Duke of Cornwall in 1337, and made the city
of Exeter part of the duchy. "The city," according to Izacke, "being
held of the said duke, as parcel of the dutchy, by the fee farm rent of
twenty pounds per ann." To this connexion has been traced the erection
of the gallery, for such duchies "were territorial realities," and the
prince would be received by minstrels chaunting in the gallery whenever
he paid a visit to his feudal dependency. It is asserted that it was
first used after the battle of Poictiers, when the Black Prince brought
with him to England, visiting Exeter _en route_ for London, the captured
French King. But Professor Freeman thinks the Duke did not pay a visit
to Exeter at that time, and that local tradition refers really to a
later date when "he came home as a sick man" not long before his death.
The lofty character of the clerestory above the gallery, and set
somewhat farther back, is remarkable. The tracery of all the windows is
of the best type of the fourteenth century and is unrivalled by that of
any other English cathedral of similar date. In their main features the
opposite windows are alike, though they vary in detail.
[Illustration: BAYS OF NAVE, WITH THE MINSTRELS' GALLERY
(FROM BRITTON'S 'EXETER,' 1826).]
[Illustration: THE 'PATTESON' PULPIT.
The Photochrom Co. Photo.]
Public-domain text, read in full here on John Shaqi.
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