And the next year, 1350-51, may well have witnessed the actual dedication of the "New Work." The entries towards the close of 1350 indicate all sorts of busy preparation, as if for such an event. "John Bellringer" is employed to clean all the statues above the high altar of the Church (80). The bells are put in order: especially the bell called "Grandisson;" no doubt the gift of the large-hearted Bishop at an earlier period. Even the lock of the font is mended. A man is hired to clean the dwellings of the Chapter's men (capitu-lares), called "le Holdecheker:" apparently the chamber over the north porch, or "old exchequer" now superseded by the exchequer over St. Andrew's Chapel, and used within this century as a dwelling for the Sacristan (81). In the Choir, two carpenters are busied for twelve weeks in making an entirely new set of forms, with lockers attached to them, for keeping the books. "New mats for the Chapter House," and the "trimming up of the garden of herbs within the cloister," are minor indications that something special was imminent.

And one extraordinary kind of preparation (such at least it seems until explained), is the treatment applied to the windows of the Nave. These "by the advice of the Dean and Chapter," were "closed with clay " (lnto). A little further on, however, it is called "painting all the windows with free mortar" and large quantities of "white clay or chalk " (argillum,) are bought for that purpose (82). A preparation of lime, no doubt, was applied to them, as is still sometimes done, to subdue the excess of light: an interesting proof that they were not as yet filled with stained glass. One exception, however, there was to this rule. True to his life-long purpose, Grandisson, it should seem, would not that the Church should be dedicated until the Radegunde Chapel was completed by filling its two windows with stained glass: which accordingly was put in, with all its iron-work, about Christmas in this year (Oliver p. 384).

Now, too, - with the single exception of the entry in 1353, which has been referred above to the Minstrels' Gallery, - the Fabric Rolls cease for twenty years, i.e.t during the remainder of Grandisson's Episcopate: the next that we find being that for 1371. Surely we may say that this was for no other reason than because the "Novum Opus," the "Fabrica Ecclesise," which at first suggested the keeping of such Rolls, was finished. In the words of Hoker, Grandisson had completed the Church, and "fully atchieved the buildings of the. same," in this year of grace 1350-51. The day of dedication, like the fact itself, we can only arrive at by conjecture. But as it was after Christmas 1350, we may well surmise that "the Feast of St. Peter in Cathedra," one of his three great days, January 18th, 1351, (the others are June 29th, August 1st,) may have been selected for the purpose. Certainly the designation of the Church, seems to have been henceforth that of "St. Peter" alone; and the statue of St. Peter alone surmounts the western Front.

The work had thus fulfilled exactly 70 years from the accession of Quivil, and from his commencement of the work in his first year, 1280-81. It even seems probable that that work, too, was inaugurated by a high service on the Feast just mentioned. For great pains were taken to have "the organs " and the bells ready, and the great southern or Bell Tower opened and provided with a new window, against " The Feast of St. Peter in Cathedra," i.e. Jan. 18, 1281.(83) Truly we may say that those were seventy well spent years of architectural toil. Not in vain had Quivil adopted from Bronescombe (who had made some faint beginnings of the work) the motto "Vincit patientia; " nor had Grandisson failed to make good his hereditary blazon of "eaglets displayed or," with the motto "petit ardua Virtus."

One or two details of the work thus accomplished call for some notice here. The Eastern half of the Nave exhibits two incontestible proofs that that work was a transformation. The great towers on either side did not interfere originally, we may be sure, with the small Norman windows adjacent to them in the aisles. But when Quivil (or Stapeldon, if as is possible, he put in the tracery as well as the stained glass,) determined to have large windows here in accordance with the general plan, the easternmost light in each of them was of necessity a blank one, being obstructed by the tower. And the same is the case with the easternmost light of the aisle window west of the north porch. There is a peculiarity, too, about the first pair of arches (eastward) of the Nave. They are 1ft. 3in. broader than the rest: no doubt because Quivil had to deal with broad surfaces, east of the Norman arches, and got over the difficulty by making his new arch broader than the rest could be. Bitton, we saw, solved the same difficulty in the Choir by a small pair of additional arches. At the west end, again, we find the last arch much narrower than the rest. But this becomes perfectly intelligible, if, as seems most probable, Grandisson found western towers there, and had to harmonize this part of his interior with the rest as well as he could. It is interesting to observe the more flamboyant character of the clerestory windows in the last two bays of the Nave, and of the upper window in the western gable. The difficulties attending the reconstruction of this portion of the Church will easily account for some delay, involving a slight change of style. And still, to the last, we seem to perceive the influence of French ways of building, of which we have seen many indications at an earlier period. We may now pass to the consideration of the comparatively minor operations of the Perpendicular Period.