Whatever else, then, the student and lover of Gothic architecture omits, he must not omit to visit Exeter. He will find it fresh and different from anything he has seen before. Its unique plan, without central or western towers, the absence of obstructive piers at the crossing, the consequently uninterrupted vista, the singleness and unity of the whole design, the remarkable system of proportions, based on breadth rather than height, the satisfying massiveness and solidity of the building, inside and outside, and at the same time the airiness and lightness of the interior, the magnificence of its piers of marble, the delightful colour-contrast of marble column and sandstone arch, the amazing diversity of the window tracery, the exquisite carving of the corbels and bosses, the abundant and admirable Tudor work, the wealth of chantries and monuments, the superb sedilia, screen, and throne, the misereres, the vaults, the extraordinary engineering feats from which its present form results, the originality of the west front and of the whole interior and exterior, place Exeter in the very forefront of the triumphs of the mediæval architecture of our country. The Cathedral Church of St. Peter, Gloucester. [Illustration: NAVE.] The foundation of Gloucester, like that of Ely, has gone through many changes. In 681 it was founded as a nunnery, and remained so till 767. About 821 it was refounded for secular priests; who, in the time of Canute, through the influence of Dunstan, were replaced by Benedictine monks. It remained a Benedictine monastery till 1541, when it was placed on the New Foundation, thus reverting to secular priests once more. The abbey-church then became a cathedral, with a diocese carved out of that of Worcester.