und arch, with its borrowed Grecian
architecture partly cut away; and this, next to the dome, is the most
striking feature of the interior.

Before proceeding to the different members, the symmetry and
correspondence of parts and details require to be mentioned. They
strike the eye everywhere. Those who claim that in this respect Exeter
is the most perfect cathedral, not only in England but throughout the
world, must limit their comparison to the older buildings. Here, when
we have described the details of the architecture of the nave, we have
little or nothing that requires to be said of the architecture of the
choir and transepts. The dome, of course, has features peculiar to
itself.

THE NAVE.

As we pass under the western portico we notice the bas-reliefs of
Francis Bird above the doors, and on either side of the main door.
They are respectable and nothing more. Over the central door St. Paul
is preaching at Berea. The original pavement of Purbeck, Welsh, and
Torbay marble remains throughout the building, excepting where the new
reredos has necessitated certain alterations. The length to the dome
area is a little over 200 feet, the width as above, and the height of
the central vaulting 89 feet.

The main west doorway has the round arch resting upon coupled
pilasters, the keystone is adorned with the head and arms of a winged
figure. On either side are likewise coupled pilasters of the largest
size. The doors of the small rooms or closets on either side reveal
the enormous size of the end piers projecting from the west wall.
Above the entablature of the main arch is a gallery, and the window
has lately been filled in with designs in Munich glass in memory of
Mr. Thomas Brown, of the firm of Longmans and Co. The subjects are
appropriately taken from the life of St. Paul--the Conversion, and the
subsequent visit of Ananias at Damascus. The kneeling figures below
are those of Mr. Brown and his wife.

[Illustration: THE CHOIR AND NAVE, FROM THE EAST END.]

The general ground-plan is of five compartments. Four are formed by
the arcading, and the fifth by the great transverse archway connecting
the nave and dome. The western bay or severy has a greater extension
east and west than the three to the east, and corresponds to the
adjacent chapels. It is square in the plan, and the others oblong; an
important difference, as we shall see when we come to the Vaulting.

There are throughout in reality three stages in