extraordinary richness—at Great Hempston, Ipplepen, Harberton, and Berry Pomeroy—covered with gold and adorned with paintings. But none are perfect. A screen consisted of three parts. The lower was the sustaining arcade, then came the fan-groining to support the gallery, above that, the most splendid feature of all, the gallery back, which consisted of a series of canopied compartments containing paintings representing the gospel story. This still exists in Exeter Cathedral; the uppermost member is also to be seen at Atherington, as has been already stated, but everywhere else it has disappeared. Formerly there stood a reredos at the east end of the chancel of Grecian design, singularly out of character with the building, but hardly worse than the contemptible concern that has been erected in its place.
At the east end of the church, on the outside, the apprentices of Totnes were wont to sharpen their knives, and the stones are curiously rubbed away in the process.
The registers of Totnes are very early and of great interest, as containing much information concerning the old merchant families and the landed gentry of the neighbourhood with whom they married.
The nearest great manorial house is that of Dartington, which was a mansion of the Hollands, Dukes of Exeter, and now belongs to the Champernownes. It possesses ruins of the splendid hall, of the date of Richard II., whose device, a white hart chained, appears repeated several times. On the opposite side of the river is the most interesting and unique
