e 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.]

#St. Radegunde's Chapel.#--On the south side of the main entrance and
within the thickness of the western wall is the chapel of St. Radegunde,
one of the most interesting in the cathedral. As early as 1220 a deed
belonging to the Chapter makes mention of this chapel "within St.
Peter's cemetery," and is dated in the mayoralty of one Turbest and
attested by the then bishop, Simon de Apulia. Grandisson, in accordance
with the custom of his day, while completing the work of transforming
the cathedral, looked out for a suitable place of burial for himself. He
chose this chapel, and in 1350 the Fabric Rolls contain a reference to
the glazing of the windows and the better securing of them with nine
bars of iron. In accordance with a clause in his will, "Corpus vero meum
volo quod sepeliatur extra ostium occidentale Ecclesiae Exon. ita
celeriter sicut fieri poterit," his remains were placed under the low
arch in the east of the chapel. Here they lay for many years, but in the
later years of Elizabeth, apparently without creating any public
indignation, his tomb was rifled and his ashes scattered to the "four
winds." There seems to be no good reason why religious fanaticism should
have caused the tomb of so great and good a man to be despoiled. Two
interesting details are the carved figure of Christ on the roof and the
holes in the stones from which the lamps were formerly hung.

#St. Edmund's Chapel#, in the north-west corner of the nave, was part of
the Norman church, and was incorporated in his new work by Bishop
Grandisson. In it is a large font of modern Gothic style, presented in
the nineteenth century by Archdeacon Bartholomew.

#The Font.#--At the south-west side of the nave stands the
chalice-shaped font of white marble, purposely made in 1644 for the
baptism of Henrietta Anne, youngest child of Charles I, afterwards
Duchess of Orleans, who was born in Exeter during the Parliamentary
wars. The font is said to have been made in a fortnight, whi