I rolled past lanes and cottages to Exeter, where I had counted upon the cathedral. When one has fairly tasted of the pleasure of cathedral-hunting the approach to each new possible prize of the chase gives a peculiarly agreeable zest to the curiosity. You are making a collection of great impressions, and I think the process is in no case so delightful as applied to cathedrals. Going from one fine picture to another is certainly good; but the fine pictures of the world are terribly numerous, and they have a troublesome way of crowding and jostling each other in the memory. The number of cathedrals is small, and the mass and presence of each specimen great, so that as they rise in the mind in individual majesty they dwarf all the commoner impressions of calculated effect. They form indeed but a gallery of vaster pictures; for when time has dulled the recollection of details you retain a single broad image of the vast grey edifice, with its head and shoulders, its vessel and its towers, its tone of colour, its still green precinct. All this is especially true perhaps of one’s sense of English sacred piles, which are almost alone in possessing, as pictures, a spacious and harmonious setting. The cathedral stands supreme, but the close makes, always, the _scene_. Exeter is not one of the grandest, but, in common with great and small, it has certain points in favour of which local learning discriminates. Exeter indeed does itself injustice by a low, dark front, which not only diminishes the apparent altitude of the nave, but conceals, as you look eastward, two noble Norman towers. The front, however, which has a gloomy impressiveness, is redeemed by two fine features: a magnificent rose-window, whose vast stone ribs (enclosing some very pallid last-century glass) are disposed with the most charming intricacy; and a long sculptured screen—a sort of stony band of images—which traverses the façade from side to side. The little broken-visaged effigies of saints and kings and bishops, niched in tiers along this hoary wall, are prodigiously black and quaint and primitive in expression; and as you look at them with whatever contemplative tenderness your trade of hard-working tourist may have left at your disposal, you fancy that they are broodingly conscious of their names, histories, and misfortunes; that, sensitive victims of time, they feel the loss of their noses, their toes, and their crowns; and that, when the long June twilight turns at last to a deeper grey and the quiet of the close to a deeper stillness, they begin to peer sidewise out of their narrow recesses and to converse in some strange form of early English, as rigid, yet as candid, as their features and postures, moaning, like a company of ancient paupers round a hospital fire, over their aches and infirmities and losses and the sadness of being so terribly old. The vast square transeptal towers of the church seem to me to have the same sort of personal melancholy.