It is probable that most of the screens were the work of native craftsmen, but there are some whose style shows distinct signs of foreign influence. The beautiful screen at Harberton, for example, suggests Spanish work or influence, that of Colebrook French, that of Kenton Flemish, and that of Swymbridge Italian. While by far the greater number are of the Perpendicular period, that of Washfield is Jacobean, and that of Cruwys Morchard is Georgian. It is perhaps generally considered that the magnificent screen at Kenton is the finest of all; but it has a good many rivals which closely approach it in beauty of design and in excellence of workmanship. Other splendid specimens, all of them of great beauty, are those at Kentisbere, Hartland, Hemyock, Swymbridge, Kingsnympton, Dartmouth, Honiton, Holbeton, Tawstock, Lustleigh, Lapford, Pinhoe, and Uffculme. The last-named, which measures sixty-seven feet, is the longest, and that at Welcombe is believed to be the oldest, in the county. Carved pulpits are another special feature of Devonshire churches. The finest stone pulpit, which is at Harberton, contains, like the beautiful examples at South Molton and Chittlehampton, full-length figures in panels. Other good stone pulpits are at Pilton, Totnes, Paignton, Dartmouth and elsewhere. Two particularly fine carved oaken pulpits are those of Hartland and Kenton, the latter of which is very richly decorated with gold and colour. There are also good specimens at East Allington, Tor Bryan, Ipplepen, and Holne. Ancient stained glass is very rare in Devon, much having been destroyed by Puritan fanatics. The best which has survived is at Doddiscombeleigh, where there are four very beautiful windows. There is also very good glass at Cheriton Bishop and Budleigh; and some less striking but noteworthy examples may be seen at Ashton, Christow, Cadbury, Manaton, Atherington and other places. The great east window in Exeter Cathedral contains some very fine coloured glass, and there are a few remains in some of the clerestory windows. Among the very striking recumbent effigies of warriors and churchmen and great ladies to be found in our churches there are some not to be surpassed in England; and the magnificent examples in Exeter Cathedral, in particular, afford most valuable chronological studies both of costume and of carving. Among the finest of those in the cathedral are the splendid thirteenth century alabaster effigy of Bishop Bronescombe, the fourteenth century mail-clad figures of Humphrey de Bohun and Sir Richard Stapledon, and the sixteenth century effigy of Bishop Hugh Oldham. Perhaps the grandest of those in parish churches, to name a few only out of many, are the fourteenth century effigies of Sir Otho Grandisson and his wife at Ottery St Mary, and the seventeenth century figures of Denys Rolle and his wife at Bicton. Other fine effigies are at Paignton, Broadclyst, Landkey, Tawstock, Haccombe, and Horwood and the Seymour tomb at Berry Pomeroy.