[Illustration: _Photo: E. D. Percival, Ilfracombe._
[Illustration: _Photo: E. D. Percival, Ilfracombe._
The Castle of Rougemont is represented by not much more than an ivy-clad gateway tower of Norman date, and portions of the walls, which on one side have been levelled, and the timbered slopes converted into a pretty little recreation ground, known as Northernhay, where, among the statues of men whom Devonshire delights to honour, is one of the first Earl of Iddesleigh, gentlest of protagonists. Of the cathedral little can be said in this place except that it admirably exemplifies the development of the Decorated style, which here reaches its culmination in the venerable west front, its lower stage enriched with figures of kings and apostles and saints. The massive transeptal towers that distinguish Exeter from all other English cathedrals, and, indeed, from all other English churches, with the single exception of that of Ottery St. Mary, built in imitation of this, are much earlier than the rest of the fabric, for they were reared early in the twelfth century by Bishop Warelwast, nephew of the Conqueror, and were left standing when, towards the end of the thirteenth century, the reconstruction of the rest of the fabric was begun. Disproportionately large they may be, in relation both to their own height and to the body of the church; but, if they cannot be said to contribute to the harmony of the design, it must be allowed that in themselves they are exceedingly impressive.
The transformation of the cathedral, begun by Bishop Bronescombe, was continued by his successor, Peter Quivil, whose plans appear to have been pretty faithfully followed by those who came after him. Not until the year 1369 was the nave finished, under Grandisson, the bishop who re-built the church of Ottery St. Mary in its present form; and even then it was left to Bishop Brantyngham to add the rich west front. What most strikes one about the interior, which was restored with no lack of vigour by Sir Gilbert Scott, is the prolonged stretch of graceful vaulting, extending through all the fourteen bays of nave and choir, with, of course, no central tower to break the line. There is much beautiful carving, both ancient and modern, in the church, but the bishop's throne, attributed to Bishop Stapledon (1307-26), is perhaps of rather diffuse design, although the craftsmanship merits all the admiration that has been lavished upon it.