portrait of the leaf of the vine, nor design a more graceful wreath, nor execute his design with a more masterly finish.” It is regrettable that the carving of the sedilia is attributed to a Frenchman. Then came the great work of all—the high altar, with its reredos, perhaps the most magnificent in Europe; the cost of it would amount now to £7,500. Of this not a fragment remains. Finally, the choir was closed in with a great screen to the west, from which was read the Epistle and Gospel, as in the two ambos of the early Christian basilicas. And on it was placed an organ; the ancient and best position for a cathedral organ. The accounts show that 500 lbs. of iron bars were used to hold the screen together. This concluded Bishop Stapledon’s work, except that he built a cloistered walk as far as the doorway of the chapter-house. “The cathedral of Exeter,” as Stapledon’s successor wrote to the Pope, “now finished up to the nave, is marvellous in beauty, and when completed, will surpass every Gothic church in England or in France.” Stapledon died in 1327. The completed choir was consecrated by Bishop Grandisson in 1328. BISHOP GRANDISSON (1328-1369). Grandisson was “the most magnificent prelate who ever filled the see of Exeter.” He had been nuncio to the Pope at the courts of all the noblest princes of Christendom. He was even strong enough to bar the way to Archbishop Meopham, of Canterbury, when he attempted to enforce a Visitation of the cathedral. Great as were his riches and magnificence, he was a strict economist. He lived forty years Bishop of Exeter; finished his cathedral, did many great works elsewhere, and yet died wealthy. Quivil, we have seen, had built one bay of the nave. It remained for Grandisson to complete the remaining seven bays. The piers of the nave were erected by 1334; the whole work was complete in 1350. Stapledon had commenced the Cloister; Grandisson built the north walk, running, in curious fashion, under a second and outer range of flying-buttresses, as does the cloister of Westminster. The west front (except the west screen) was now built, but not the fan-vaulting of the north porch, which is later. And the curious Chapel of St. Radegunde in the thickness of the west wall he remodelled, to form his mortuary chapel, expecting there ever to lie, looking towards the nave where his great work had been done. But his tomb was destroyed by Elizabeth’s Visitors, and his ashes were scattered to the winds.