There’s a certain rivalry between the Devonshire cities of Exeter and Plymouth, the nature of which might be akin to that of Edinburgh versus Glasgow, where the former is considered more genteel than the latter.
Atop a hill,
some seven miles southwest of the city, sits Exeter Racecourse, in the middle
of which is a campsite, where I stayed one night last week, buffeted by the
departing storm Austen – or Polystyrene, as it was named by us after it washed
up loads of the stuff on our local beach in Plymouth. I was en route to poke
around our rival city and see what it has to be snooty about.
Well, a
racecourse, for one – though such a facility seems, to me, superfluous, elitist
and not without the taint of cruelty to animals. I know nothing about the lives
of horse owners, breeders, trainers or jockeys but, on the face of it, not even
the economics of a racecourse make much sense. It must be hard to make a profit
with huge, fixed costs and a short season of races. I suppose the campsite is a
clue to the possibility of ancillary activities that boost the revenue column.
A few days
previously, I had been to The Box, Plymouth’s award-winning municipal
archive/gallery, for the opening of an exhibition, The Way We Live Now. It’s
an exploration of ideas and attitudes relating to planning for community in the
light of anticipated new investment to meet the challenges of housing shortage,
High Street decay and other related issues.
Plymouth has
particular experience of urban reconstruction, as we are reminded by the showing
of Jill Craigie’s 1946 film, The Way We Live*. The centre of the city
was so badly damaged by the Luftwaffe that it was decided subsequently to raze
what was left and build anew. A visionary scheme incorporating modern planning
and architecture was developed and executed over the next few years. Jill
Craigie’s film dramatizes the planning process with local people acting
alongside professionals. Plymouth’s city centre is now a protected conservation
area.
Well, says
the proud Exonian, most of our city centre is also protected by conservation
orders – and so it is, though the criteria differ. Exeter is a not untypical
mish mash of medieval and later historic buildings – including a cathedral –
that elicit nostalgia and lend it the feel of a place with hidden depth and
historic heft. Such centres, these days, are regarded as deserving protection,
if only for the venal reason of being popular with tourists.
The proud
Plymothian (known locally as a ‘Janner’) may point to the distinction of being native
of a city that also has medieval roots (the Barbican) but embraced modernity
with its ambitious, post-war reconstruction and, whilst I cannot claim to be a
Janner myself, I am uplifted daily by the optimistic, expansive architecture of
their city centre.
In Exeter, I
sought out the municipal archive/gallery, the equivalent of Plymouth’s The Box
(which was renovated, remodelled, retitled and reopened in 2022) and was
unsurprised to find it housed in a Victorian structure named, prosaically, the
Royal Albert Memorial Museum. There is a modern extension at the back, a glazed
and elevated platform from which remnants of the city’s Roman wall may be
observed, but it was closed for repairs. Otherwise, the displays within are top
class and the contents reflect the city’s mercantile heritage.
As to why John
Lewis, Ikea and a host of posh retail outlets chose to do business in Exeter rather
than more populous Plymouth: this can be explained, no doubt, by marketeers
with demographic statistics to hand. An everyday clue might be found in the
fact of Exeter University’s high status in the national rankings. But when it
comes to native pride of place, ‘Janner’ says a lot. Why does Exeter have no
equivalent demonym?