Two features in this great enterprise of glazing call for especial notice. The windows of the Lady Chapel had been left by Quivil, as far as we are informed, plain. And it required a special effort to accomplish this and other kinds of enrichment still wanting to that Chapel. As late as 1324, an "indulgence" was issued for all who should in any way aid in the good work (Deed 2190). These efforts were not without effect. In 1317 we find more than 800 ft. of glass bought at Rouen. And the entry gives just enough glass for the four side windows. The effort of Stapeldon's followed the completion of the Choir window. And it is remarkable, as confirming the account here given, that the Lady Chapel glass is pronounced by good judges to be somewhat more advanced in date than the Choir glass.

The other entry of importance refers to the two win-dowd in the Nave clerestory. These, as will be shown hereafter, had been included, as regards their framework, in Quivil's work, as long ago as 1285-90; only, no doubt, with plain glass. What is puzzling at first sight is, that the entry in question is for "two great forms," or shapes of glass, "in the Nave of the Church." Why "great?" for they are not larger now than the other Nave windows. But this is at once explained when we bear in mind that Quivil left all the other Nave windows in the simpler and smaller Norman or Early English forms, which Warelwast or Marshall had given to them. The scanty remains of glass in these two windows fully confirm the date thus assigned to them out of the Bolls. It must be borne in mind that some entries have no doubt perished; e.g., in 1317-18, several entries respecting glass work are illegible.

It is interesting to observe that (as may be seen in Note 67), the glass for the Lady Chapel was the last that came from abroad, except that for the tracery of the great transept windows. In all the later accounts the glass is English, at greatly reduced prices. And on the whole, the information we draw from the Bolls, and the light thereby thrown on the date of the Fabric, is marvellous, and probably almost unparalleled Nor can I forbear adverting to one or two entries of a very curious and at first sight incomprehensible character; which are however easily cleared up now that we know the history and facts of the great changes undergone by the Cathedral at this period. In 1319-20 occurs a most extraordinary charge of " 9d. for digging and making a grave for my Lord William Bruere, Bishop," who had been dead nearly eighty years. But when we remember that he was a great benefactor (as shown above) to the Chapter, and the probable author of the original stalls, we see at once that he would naturally be buried (as the Cathedral martyrology testifies he was) in the midst of Marshall's Norman-Transition choir; and would be likely to have his honoured remains transferred to the corresponding place in the restored choir of Bitton and Stapledon: where accordingly they were found in 1763 (Oliver, p. 36). So again we find, in the next year, a similar entry of "9d for making a grave for Lord R. Warwest," i.e., for the second Warelwast; who had been dead 160 years. The actual burying, i.e. re-interment, is recorded in the same year.

And now it only remained to dedicate to its high purposes this "glorious work of fine intelligence:" the life's labour of three Bishops - Quivil, Bitton, and Stapledon. One Bishop had conceived and well begun the work: another had carried it out thus far; a third had adorned it. But it was reserved for a fourth, Grandisson, to dedicate it. This was done on Sunday, Dec. 18th, 1328. (68 ) And the terms in which, in his well-known letter to the reigning Pope, to whom he had been chaplain (Oliver, p. 76), he speaks of the extent of the work, correspond exactly with the conclusions above arrived at out of the Fabric Rolls. "Ecclesia Exoniensis fere ad medium constructa," he calls it: "the Church of Exeter finished to just about the middle" (Grandisson's Register, vol. i, fol. 37.) For, as we have seen, the transformation included one bay, though no more of the Nave. But we must demur, at the same time, to Oliver's statement that Grandisson "found the Cathedral in a very unfinished and deplorable condition." Unfinished, certainly; but in no wise "deplorable;" incongruous - "mulier for-mosa superne;" but not, as Oliver imagined, either devoid of a termination, or having a merely ruinous one. As the reader by this time understands, the remainder of the Nave was there, of Norman and Transition style, with massive pillars, painted vaulting, and windows in part round-headed, in part lancet-shaped, as in the coeval building at Chichester.

But there was still a mighty work to be done. And that it was done, and done by Grandisson, we know, in a general way, from the concurrent evidence of the style and the records. Unhappily, we know little more. Our hitherto faithful friends and chroniclers, the Fabric Rolls, do not indeed altogether desert us; but they fail to supply those details out of which we have been able, thus far, to construct a tolerably complete and well-authenticated history. We have, indeed, as before, hundreds of feet of weekly bills, extending, though with intermissions, over a period of nearly 200 years, 1327-1513. But they are chiefly devoted to the mere record of workmen's wages. We look in vain, especially in the great building period on which we are now entering, (during some years, indeed, 1334-40, the Rolls are wanting altogether), for those rich and fertile notices, however obscure and puzzling on occasions, which have enabled us hitherto to ticket with its exact date almost every feature, large and small; from the Choir and Lady Chapel, as a whole, down to the "formae" and "hernesia" (glass shapes and traceries) of the windows, the " claves " and "sars " and "corball" (bosses, brackets,and corbels) of the vaulting; the "maremium" and "ymagines" (timber and statuettes) of the throne and the sedilia; together with the prices, for the most part, of every portion. Such notices of this kind as henceforth occur here and there refer chiefly to minor features, or to such as, having long ago utterly perished, - as the font, the cloisters, the cloister library, the " new vestry," and the western porches, - possess for us but little of present interest. Our chief loss, however, is that of glazing entries, as stained glass was not put into the Nave until the following century, and even then there is but a single entry on the subject.