Philip A. Robson

At the South Porch, by which the visitor usually enters, the ogee-headed holy-water stoup should be noticed, and a general view be made of the church, as it is most unusual and has a character all its own. The majority of the work is that of Bishop Peter de Lei (1176-1198), and is therefore Transitional in character; that is to say, it is at the point of fusion between Norman and Early English. The pointed arch of the latter is not yet adopted, but the round (more or less) arch is still employed, probably in some degree to avoid the greater height otherwise entailed, but the details verge on the purity of the most refined Early English. De Lei evidently intended sexpartite groining to form an internal ceiling, but an earthquake and the fall of the tower doubtless instilled caution—even if funds were forthcoming—and the project was never carried out. The exceedingly rich ceiling, however, of Irish oak does not make one regret this circumstance, for its very bizarrerie and semi-arabesque character, coming so closely in contact with the great Norman arches, combine to make the interior of St. David’s one of unusual beauty. The more so, by contrast, on entering from the almost bald exterior.

“Possibly the circumstances which conduced to the lack of external ornament may have led its designers to counterbalance this deficiency by a superabundance of internal decoration. Certain it is that very few structures of the same size equal this cathedral in richness and elaborateness of execution lavished upon this portion of the interior. In fact, much of the solemnity of a Romanesque nave is lost, an effect which is

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ELEVATION OF A BAY OF THE NAVE, N. SIDE.

From a Drawing by J. Taylor Scott.

certainly far better produced by more massive proportions and a greater extent of unadorned surface.”[9]

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NORMAN SHAFT WITH RE-CARVED CAPITAL, EASTERN PIER IN S. NAVE ARCADE. (See p. 27.)

But although we miss the characteristic massiveness of most Norman naves, we also enjoy the freedom—which may fairly be claimed as the structural note of this interior—from their attendant heaviness. In fact, the very large span of the arches detracts from the size of the piers, the actual bulk of which is great.

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DETAILS OF PIER ARCHES.

(From J. & F. p. 58.)

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CARVED PANELS AND ARCH ORNAMENTS IN THE TRIFORIUM.

(From J. & F. p. 58.)

The details of the arcade are of an interesting character. The piers are alternately round and octagonal (irregular), with attached shafts at the cardinal points. Towards the aisles the shafts are clustered, being intended for vaulting. The plinths are more varied than is usual, but the tongue of foliage, which is a favourite method of ornamenting the space caused by the change from the square to the round or octagonal, is here conspicuous by only one example, and that a timid one on the south side. The bases are of quite an Early English type, with the usual hollow, but the capitals prove an instructive study. The most frequent type of these is the rather common “cushion,” which the Transitional carvers have vivified in the most exquisite way by, apparently, experimenting with several forms of stiff-leaved foliage, some of which approach more nearly to the classic type than is usual in this country, and least of all was it to be expected at the land’s end of Wales. On the south side towards the east is one of special beauty, where one sees how the carver has treated the Norman cushion cap as a boss on which to let his fancy play. The arches are of exceptional richness and elaborately moulded towards the nave—in fact, just as little of the Romanesque character as is consistent with the Norman arch is retained. The westernmost arches, being narrower in span than the others, are skilfully kept the same in height by being pointed, and the details differ; which prompts the suggestion that De LeiÂ, finding his nave somewhat short in appearance, decided to lengthen it by another bay, and was only confined by the river Alan, which at the north-west corner even now runs quite close to the foundations. A strong horizontal line is carried east and west, close above the Norman hood-moulding, which, combined with the great width of the nave and the huge span of the arches, conduces towards the feeling of stuntedness already noticed in the exterior.

The deeply recessed clerestory of round-headed windows is curiously amalgamated with the triforium of couplets having pointed arches; in the spandril between each of which latter are elaborately decorated circles, some with a kind of rude dog-tooth star and others with a kind of eternal interlacing which looks something like an interwoven horseshoe pattern. In other instances, as at Southwell Minster, the triforium absorbs the clerestory, but at St. David’s it retains its character and becomes a screen to the passage over the arcade. The result is a very rich confusion. The amalgamation of distinct members not only precludes either the usual appearance of a church with or without a triforium, but the treatment of the triforial arches themselves is clever without being pleasing (see illustrations, pp. 22, 24, 25). The arches which enclose both the triforium and clerestory are again very rich, and the ornamentation is carried down their whole length without shafts or cappings. Clustered shafts with the Norman cushion capitals having square abaci receive the shafts of the wooden ceiling.

Of the previous nave-roof we have no date, but very possibly it may have resembled that at Peterborough or St. Alban’s, as something similar seems to have existed at Llandaff. The present roof is generally accredited to the Treasurer, Owen Pole (1472-1509), and in all likelihood that of the choir may be also.

“This very singular, if not unique, structure is, in its construction, simply a flat ceiling of timber laid upon the walls; but, by some, certainly unjustifiable, violations of the laws of architectural reality, such as are not uncommon even in the stone roofs of that period, it is made to assume a character wholly its own, and which it is very difficult to describe in an intelligible manner. By the employment of vast pendants, which at the sides take the form of overlapping capitals to the small shafts already mentioned, the ceiling appears to be supported by a system of segmental arches effecting a threefold longitudinal division of the roof, and crossed by a similar range springing from the walls. Of course these arches in reality support nothing, but are in fact borne up by what appears to rest on them. Notwithstanding this unreality and the marked inconsistency of the roof with the architecture below, notwithstanding that its general character would have been much more adapted to some magnificent state apartment in a royal palace, still the richness and singularity of such an interminable series of fretted lines renders this on the whole one of the most attractive features of the cathedral. Both the arches themselves, and the straight lines which divide the principal panels, drip with minute foliations like lace-work in a style of almost Arabian gorgeousness. It is much to be regretted that this ceiling cuts off the top of the western arch of the lantern, which at once spoils the effect of the latter, and gives an unpleasant appearance to the unfinished pendants of the ceiling, when seen from behind, out of the choir. Still this very view of the roof, in which hardly any other part of the nave is visible, is wonderful in the extreme” (J. & F., p. 59).

Having noticed the details and their curious effects in the nave, the observant visitor still feels that he has not fully explained to his satisfaction the complete secret of its bizarre effect. It only unfolds itself on measuring and levelling. The whole nave floor slopes considerably—more than two feet—from east to west, following the natural fall of the ground, and the arcades slope outwards respectively north and south, and, in consequence, their piers lengthen as one nears the west end. A settlement, owing to the very wet site and bad foundations, probably aided by an earthquake (1248) and the unusual width of the nave (for a Norman church) are enough to account for these peculiarities; and the slope of the nave floor seems to have been purposely so devised for the sake of drainage in flood-time.

At the west end of the south aisle, on three octagonal steps, stands the Font. Its original shaft is missing. The marble base is octagonal, and rudely arcaded with sixteen pointed arches, but no part is specially beautiful.

The nave aisles do not call for any very special remarks. At the east end of both will be seen traces of the original vaulting, and on the north side the vaulting-shafts are taller than on the south. Also on that side the Perpendicular flying-buttresses are seen which make such a strange show outside, where once was the cloister garth, with their huge props. Speaking of the aisles generally, Freeman says: “It must be remembered that none of these preparations for vaulting were ever carried into effect. This is, indeed, no unusual phenomenon, yet there is certainly something striking in so many designs for a stone roof being traced out upon the same walls, and none of them being ever brought to perfection. In the nave aisles it may perhaps be accounted for by the strange and untoward shapes which the great width of the pier arches compelled the lateral arches of the vaulting to assume; it may have been found actually impossible to vault the aisles either at this (1328-1347) or the earlier Romanesque period. But this argument does not apply to any of the other unfinished vaults in the church of whatever date.”[10]

The interior of the west front has been as nearly as possible restored to its former state, but has now no triforium passage. There are a couple of tiers of windows over the original west entrance. All the lights are round-headed and are set in a Norman rear-arch.

Some of the nave piers still show traces of polychromatic decoration. On the north and south sides, on the easternmost pier but one, are the remains of some frescoes, as also on the middle pier of the south arcade. But Bishop Field’s white-wash of 1630, which was removed about 1830 under the careful superintendence of the Ven. Archdeacon Davies, doubtless spoilt whatever beauty these mural decorations ever had.

It requires considerable discernment to distinguish very clearly what the designs are, but Freeman[11] made out that on the third southern pier (from the east) is a representation of the Blessed Virgin seated beneath a canopy. The figure is within a vesica, vested in a cope and has a nimbus; beneath which is an inscription, “Virgo Maria.” Above is our Lord and the emblems of the four Evangelists, and on the small attached shafts are figures of seven candlesticks, evidently referring to the vision of St. John.[12]

On the south-east face there is a full-length crowned figure of a king in plate-armour with the basanet and camaille, holding a sword and standing under a canopy. On the left arm is the initial H, which—the date of the plate-armour with knee-caps and elbow-pieces corresponding—has been taken to denote Henry IV.

On the two other piers are achievements of arms which Freeman[13] states to be “a banner bearing a bend, a shield party per chevron, and a casque with crest and mantlings, the crest being a head crowned.”

The Rood Screen.—The elaborate rood-screen, which separates the nave and choir, projects into the nave nearly half a bay. A daÏs[14] of three steps in height occupies the remainder of the bay. The entrance to the choir is vaulted in two bays, and there are some very unusual flying groin-ribs, which are shown in the illustration. The work is unmistakably that of Bishop Gower (1328-1347), and was perhaps the completion of the Decorated scheme which he inaugurated throughout the fabric. On the sunny south side the tomb of the Bishop gains by contrast with the heavy arch-shadow.

On the north side, facing the nave is a peculiarly flat and shallow arcade in three bays, which formed a kind of reredos to the altar of the Holy Cross—the piscina being on the north. On the oblique side, facing north-west is a doorway with a semi-octagonal arch leading to the roof and organ loft.

On the south side of the western bay are two tombs, and on the north one, all of which will be described with the monuments in the nave (see p. 71).

The backing to the screen was, when Freeman wrote, solid, and he surmised, with some accuracy, what Sir G. G. Scott found on his restoration of the screen. In Scott’s words:[15]

“I mentioned in my first Report the massive stonework, some seven or eight feet in thickness, which blocked the rood-screen, and which I suppose to have been added to strengthen the tower piers. On examination this was found originally to have been hollow, but to have been filled up solid for the purpose suggested. The entrance to the choir was through a roof and uncouth archway in this vast wall, but on searching the contents of the

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GROINING OF ROOD SCREEN, SHOWING THE FLYING RIBS.

wall the dÉbris was discovered of the original archway, and of the side doorways into the hollow spaces. These details were found to be parts of a beautifully groined space, closely resembling the existing archway through the rood-screen, and forming a second, though varied, bay of that beautiful entrance. We have been enabled to reconstruct this feature, using the old remains so far as they would go. This beautiful addition to the choir was wholly beyond anything I had anticipated.”

In the Computus under 1492 is an entry recording that the sum of 100 shillings[16] for materials for a work which would seem to be for the blocking up of the screen, and no doubt the constant trouble arising from the weakness of the western tower arch rendered some such course imperative.

In De LeiÂ’s time, or rather later, the screen probably stood between the tower piers, as the bases of their eastern responds are raised above those of the nave and suggest an earlier screen and its platform. And it is not unlikely that the pleasing incongruity of the western side of the screen is due to the retention of some portions of earlier work. There are two steps to the first bay of the screen, and on the second stand the wrought-iron gates (1847), and to the second bay there are three more steps before we reach the level of the choir. Gower’s characteristic ornaments and mouldings are somewhat lavishly bestowed about the screen, and doubtless his statue was intended to stand in the niche on the south side towards the nave above the curious aperture fitted with intersecting tracery. For a description of the tombs, see p. 71.

Along the length of the screen runs an oak cove cornice—possibly Butterfield’s work—copied from an existing piece which is original. The arches are fitted with late Perpendicular tracery, very white in appearance, and the springers of the vaulting seem not to have been completed. The groining has now been finished and an oak cornice added, and on the rood-screen is the organ. In 1571 30s. seems to have been paid for taking down the rood-loft, but it is now almost impossible to be sure what precisely this meant.[17]

The views north, south, east, and west are well worth the little walk on to the organ-loft level. Various details are well seen from this height, notably the interior of the tower, the nave-roof, and the general arrangements and fittings of the choir.

The Organ.—The present organ and case can hardly be

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THE ROOD-SCREEN AND ORGAN.

described as things of beauty, though in point of tone the instrument is undoubtedly strong, yet sweet. It was built by Messrs. Willis in 1883, and is almost entirely new. Like the organ at Winchester, it used to occupy the north lantern arch, and was re-erected there in 1843 by Lincoln of London, but the present instrument stands on the rood-screen, care being, however, taken that it should obstruct as little of the view as possible. The tubular pneumatic system has been here adopted, and there are three manuals. A few points concerning the previous organs may be of interest, as it is not unusual to neglect this branch of archÆology. According to tradition the present position of the organ is the original one. Browne Willis[18] says: “The Organ, before the Rebellion Stood in the Rood-Loft, under the West Arch, and fac’d the Altar; it is now removed to the North Arch: It is a new one, and those that are Judges, say, a pretty good one.” This amusing criticism gives further evidence to the notion that Browne Willis did not visit the church before—or at any rate very recently before—he wrote his interesting but somewhat unreliable little survey, which has now become very rare in any form. The items—“Et Sol Willo Warryn organizanti 40^s” and “to y^e m^r of y^e children for keeping of y^e organs and teaching of y^e quoristers, £10,” and others from the Liber Communis, imply the existence of an organ in 1490, 1492, 1557 and 1565. In the last year the magnificent sum of 6d. was spent on two stops “for y^e great organs,” from which we may infer that our organs of to-day are far larger than in 1565. At any rate some small organ might easily have stood under the western arch of the tower, although this arch was then built up as it “fac’d the altar.”[19]

“Probably the tradition of the organ having stood there, led Browne Willis to suppose that the arch had been recently built up. However this may be, there are strong signs of its having occupied that position subsequently to the erection of the wall. The balustrade which surmounts the canopies of the stalls projects at this point, as if to give greater room for a small organ; and the door which pierces the wall, and is apparently coeval with it, is not set in the centre, where it would have interfered with the organ, but near the northern pier of the arch. This seems to have been the usual place of the organ in our churches, and to have been retained from the mere force of habit to the present time, when, from the greater size of our instruments, it is far less convenient.”[20]

A new organ was built in 1581—“ad usum divini servitii”—but was ruined in the great rebellion.[21] The ever-interesting Manby, however, gives another account, by which the organist, hearing some rebel discussing the demolition of the organ, and fearing that he might lose his position, dropped a stone from the loft and killed a Roundhead, an “aids-du-camp.” The organist fled and thus diverted attention from his instrument, having found a hiding place in the great bell by holding on to the clapper! This same bell the rebels stole, but their vessel was wrecked off Ramsey Sound, and the superstitious still say that the tolling of this bell presages a great storm!

It is clear there was an organ in 1691, as Precentor Ellis, in his answer to Bishop Watson’s Visitation Articles, says: “I answeare that we have an Organ, but out of order, for how long I doe not remember.”

Early in the eighteenth century Bernard Schmidt, the celebrated builder of that in St. Paul’s Cathedral, constructed an organ as the result of an order of the Chapter (1695), by which £10 was, for five years, to be set apart “out of the allowance to the Master of the Fabric”; and in 1698 each canon was ordered to advance £10 towards the new organ, for which the canons had expressed a great desire.

A very interesting communication from Archdeacon Davies to Archdeacon Yardley, of August 3, 1740, gives further particulars:

“What Particular time y^e new Organ was set up here, I cannot be positive, but do believe, from y^e accounts, it must be in the year 1704 or 1705. What Exact Sum~ it stood y^e Chapter In, I cannot for certain say, but am apt to think, from Various Items in various Years picked up about it, in their Accounts it could not be less, including all Charges, than £300, whatever More; and in a very little time after it was set up, they were at a Considerable Expense in repairing it again, after it had been damaged by a Storm, which uncovered y^e very part of y^e Roof of y^e Church under which it lay, and exposed it to y^e Rain and y^e open Sky; and they were obliged to have an Organ Builder (down from London I think) at a great Expense to put things to rights again.

“Upon looking over some loose Papers in y^e Chest at St. David’s, I have found these Receipts from Mr. Bernard Smith of London, Organ Builder (who made this Organ at St. David’s) for y^e Summe of £290 paid to Him only upon that Account. So that when y^e Charge of bringing it down, y^e Necessary workmanship here, and other articles relating to it are put together, I dare say, before it could be compleatly set up, y^e Expense was much nearer to £400 than £300.”[22]

This organ seems to have been used till that consisting of a choir organ and swell was put up by Lincoln in 1843 (as already noted), and the old case “of Norway oak”[23] was re-used. Six of the present stops are Father Smith’s originals.[24]

In the present restoration this organ was removed, and, to the very great discredit of all concerned, the splendid case with carvings if not actually by, certainly worthy of, Grinling Gibbons, was allowed to be broken up. A few of the best pieces were recently put together and a neat organ-screen constructed for the Church of St. Martin, Haverfordwest. A brief list of organists will be found on p. 95.

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THE PRESBYTERY IN 1856.

Drawn by J. H. Le Keux (from Jones & Freeman).

THE CHOIR AND TRANSEPTS.

On passing through the rood-screen up five steps from the daÏs the choir is reached, which affords one of the most

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Photo: F. Frith & Co.

THE CHOIR AND PRESBYTERY IN 1895.

pleasing prospects in the cathedral. This view gains by comparison with the nave because of the latter’s over-intricacy, which complication is avoided in the choir by the absence of a triforium. There are four Transitional bays of very good proportions, if we except perhaps a tendency to heaviness in the alternately round and octagonal piers. Here we have—what the nave-bay design so much wants—strong vertical lines in the clustered shafts. The Transitional vaulting-shafts stop a little above the string over the arcade, and continuing them are slender Decorated ones with elaborate capitals. The clerestory lights (also Transitional) are beautifully detailed with a bold kind of chevron.

The east end is one of the finest pieces of Norman blending with Early English in the cathedral, or, for the matter of that, in the kingdom. It is composed of three lancets below and four above, Sir G. G. Scott having restored it to the state in which it was after the rebuilding of 1220, consequent upon the fall of the tower, except that Bishop Vaughan’s Chapel has made it desirable that the three lower lights should not be open as they originally were. They are now filled with mosaics.

In the fifteenth century, when the Perpendicular window was inserted, the stonework of the previous wall and upper tier of lights was used for heightening the side walls. Finding these walls to be a mine of the dÉbris of the earlier windows, and the Perpendicular window in a bad state of decay, Scott determined to replace the old work.

After the fall of the tower the rebuilders were astonishingly conservative in their avoidance of novelty. It cannot have been from any want of ability, and we incline to the belief that it was the result of a genuine desire to make the new work harmonise with that in the nave and, by re-using a certain amount of old material, to relieve a possibly not overflowing exchequer of a larger disbursement. In the fifteenth century the steep-pitched roof of cradle-pattern, marks of which remain on the tower, was removed, the gable lowered, and the walls at each side raised about six feet. A roof of very flat pitch (as now) and the Perpendicular east window were added.

Finally, when Bishop Vaughan added his chapel behind the east end the lower lancets were walled up. During the Civil War the lead was stripped from the aisle roofs and the main arcades of the presbytery were filled up by walling, and the huge props to the roof were inserted which appear in Freeman’s view. The eastern windows are deeply recessed, and the banded shafts have caps of stiff-leaved foliage, and angels form the termination to the hood-moulding. Just below the cills is an early example of an embattled band, almost Greek in its severity, and beneath this again are numbers of intersecting semicircular arches with a ball ornament.

After four centuries of immurement the upper range of lights are restored to their former arcaded glory, behind the graceful shafts of which runs a passage. The restored portions are readily recognisable by their being made of oolite, whilst the original stones are all of purple Caerfai. These windows are now filled with stained glass by Hardman, the gift of the Rev. J. Lucy. The subjects are the Last Supper, Gethsemane, the Transfiguration, and the Nativity. The large lower lancets are filled with mosaics by Salviati, which are good of their kind. They form a fixed reredos, and were also part of a memorial by the Reverend John Lucy, Rector of Hampton Lucy, Warwickshire, to his ancestor, William Lucy, Bishop of St. David’s, 1660-1677. The designer of the mosaics as well as the glass above was Powell, of Hardman’s glass works in Birmingham.

“The subjects are—in the central window, the Crucifixion, with the attendant figures of the Virgin and St. John; the Magdalene kneels at the foot of the cross. In the side windows are full-lengths of ‘Ecclesia’ and ‘Synagoga,’ the Christian Church and the Jewish. In a predella below the central mosaic is a representation of the brazen serpent, with figures of Moses and Aaron. Below the others are—St. David distributing alms to the poor, and St. David addressing the Synod of Llandewi Brefi. Each of the larger subjects has a rich architectural canopy, and a broad border of very beautiful design surrounds the whole....

“Immediately under the Crucifixion are the words, ‘Ecce Agnus Dei, ecce qui tollit peccata mundi’; and below again, within an arcade of three arches are the brazen serpent, Moses, and Aaron—one bearing his rod, the other his ‘rod that budded.’ Under the figure of Ecclesia is St. David, in a grey monastic robe, bestowing alms. Under Synagoga, he is addressing the Bishops at Brefi.... He stands in the centre, while the Bishops are seated round, with a white robed Abbot in the foreground.”[25]

The golden ground which backs the mosaics sets off advantageously the delicate garb and pale flesh-tinting of the principal figures. The borders and other ornaments are rich and varied in colour; and considering that the east end of the presbytery is somewhat dimly lit, it was unquestionably desirable that the designs of the mosaics should be firm in drawing. The heads are perhaps the best part, which is no small achievement, being as a rule the worst executed. The effect of the mosaics, with their shimmer of gold, and solemn figures lighting up the dark wall of the sanctuary, is by no means bad, and, moreover, they harmonise with the deep hues of the surrounding stonework. There is a pleasing fitness, too, in the “Old coat” of the Lucys being placed in the pavement of the presbytery, and stained glass above—a memorial no less of the former Bishop than of the giver of these handsome decorations.

Under the central recess on a brass is:

The panelled roof of the presbytery is of flat pitch, and dates from the period of Owen Pole’s treasurership (1472-1509), to whom also that same feature of the nave is attributed. Scott restored the ancient decorations, ignoring that of the seventeenth century, when he was forced to repair and largely renovate the much-decayed beams, &c. The beams are so large that considerable difficulty was experienced before suitable oaks could be found; these were eventually procured from Salop, Radnor, Hereford, and the Forest of Dean. The main bosses are richly blazoned with shields and gilt, and the armorial bearings include those of Bishop Robert Tully (1461-1481), Bishop Richard Martyn (1482-1483), and those of Edmund, Earl of Richmond, impaling Lady Margaret. Freeman says[26] “the arms of Tully and Martyn occurred also in the clearly contemporary upper east window.” If this was contemporary glass we trust it has been carefully preserved. The entry in 1490, which is repeated in 1492, “Et sol 9£ 4^d. D^ri Oweno Pole M^ro operis ad usu fabriciÆ per venerabil? patrem Robertu nuper Menev. Epum per suas litteras patentes assignat,”[27] seems to imply an annual payment, and that probably this roof was completed soon after this date. The colouring is rather bright in black, white, and red, and the ornaments are on a ground of yellowish white. The shields adorn their original positions, and those not mentioned above are France and England quartered, Edward V., Richard III., Henry VII., Rhys ap Tudor, Bishop Gomeg, and that assigned to Rhodri Mawr, King of Gwynedd, killed 877. The corbels receiving the walling shafts had lost their decorations, and Scott re-blazoned them with the arms of the Bishop, Dean, Canons, and Archdeacons of 1864.[28]

The rise from the choir to the eastern bay containing the altar is of four steps.[29] The tiles in the presbytery are excellent examples of fifteenth-century encaustics in the usual red-brown and yellow, set diagonally. Some are, of course, modern, and these are good copies of the old ones, which are decorated with the arms of Edward III., the Berkeley and Beauchamp families, and the Tudor rose. Near the sedilia are some ancient bordering tiles. From the continual repetition of the Berkeley arms Freeman traces these encaustics to the celebrated Malvern factory.[30]

On the second step of the presbytery, and at about its centre, is a squared mortice. This may have received the stem of the reader’s lectern, which was distinct from those often found in the nave. It may possibly have received even the processional cross or the cross which Alcuin tells us was placed in this position on Good Friday to be kissed by both the clerics and the laity.

The altar slab of grey sandstone and its supports of oak are new. These are kept clear of the east wall, as there is a peculiar opening into Bishop Vaughan’s Chapel just behind. A description of this will be found on p. 62. On the floor near the altar and behind it are placed sundry altar slabs brought from disused altars. One of these (to the south), being only 14¾ inches by 9 inches, is let into a larger stone. It is marked with the usual quintette of crosses and seems to be a picked piece of Caerfai stone in fine state, from which we may infer that it probably was used as an “altare portabile.” In the history of St. David we read of one of these altar stones which was presented to him by the Patriarch of Jerusalem. King suggests[31] that this stone may have been a “seal” for a reliquary or receptacle for altar relics, and if so, this one and

that recently unearthed in the Jesus Chapel of Norwich Cathedral are the only known ones extant.

The woodwork in the choir has many points of interest, notably the Parclose Screen, which is unique. It divides the presbytery and choir, and serves to emphasise the ancient three-fold ritual arrangement of nave, choir, and presbytery. Freeman considers the position of this screen very remarkable “in this country at least,” and the only churches with analogous indications that he can instance are Malmesbury and Dorchester. These divisions were usually well marked in large churches, but not with an actual screen. In the middle of the fourteenth century the parclose seems to have been moved to make room for Bishop Morgan’s throne, but as it always occupied a corresponding position, it is not unlikely that we here find a very ancient tradition in the church of St. David’s.

Apart from its position, however, the screen itself is not particularly noteworthy. The style is Decorated, verging towards Perpendicular. The upper part is open and filled with sexfoiled tracery, and the lower is, as usual, panelled. The centre is devoted to a wide entrance, and at different dates three others have been pierced.

The Stalls are inscribed as follows:[32]

The constructional arches in the transepts are pointed throughout, with an occasional decorative circular arch, but are

much plainer than those in the nave and choir. “The peculiar character of the more slender shafts has freer scope than in the nave and choir, where a more massive pier is employed; we may observe the general omission of the neck-moulding and the use of the ogee keel as at Llandaff. The latter is here applied very curiously, being, in several members, doubled and set laterally, the effect of which is by no means pleasing, though it may have had some influence on the architecture of the period.”[33]

The transepts are approached from the nave—not, as is usual, through an open arch, but through original Transitional doorways. The wall which contains these doors effectually cuts off the view from the transept to the nave, and also serves somewhat to make the contrast between the elaborate nave and the rather bare transepts less marked.

The Chapel of St. Thomas the Martyr, north of the north transept, and the buildings above form one of the many unique points of St. David’s. On reference to the ground-plan it will be seen that this remarkable building is placed at an unexpected angle, the reason for which is not apparent and remains unexplained.

The year of the fall of the tower—1220—was also that in which the body of St. Thomas, the martyred primate of Canterbury, was translated from the crypt of Canterbury Cathedral to the choir. St. David’s, in common with many other great churches, determined to dedicate a chapel to his memory. In 1329 this chapel was probably remodelled, when Sir R. Symonds gave his manor of St. Dogmell to secure two chaplains to celebrate daily mass for his soul and his wife’s at the altar of St. Thomas. It has the only original completed Decorated vaulting in the building (except the south porch), and two stages were added above, making the building taller than the transept and giving the remarkable external effect seen from the north-east. The chapel has served as a chapter-house, library, and vestry, and on its south side has a very beautiful double piscina, in character purely Early English. The trefoiled heads are characteristically moulded and the spandrils richly carved, one with stiff-leaved foliage, another with a bird and foliage, and the third represents a fight between a man and a devil which is trying to devour another man. This piscina is interesting, apart from its beauty, as showing that the Early English architects could work purely in that style when they desired, and that in all probability their use of Transitional detail was prompted by their artistic sense and desire to make their work harmonise with their predecessors’. The vaulting rises from octagonal shafts with round flowered caps, and the bosses at the crossing of the ribs are elaborate. One contains the head of our Lord, and another a similar subject, but the Head censed by angels.

The storey above was the original Chapter House, later the Grammar School, now the Library. This position is, we think, unique for a chapter-house. It is very plain and has a mediÆval recessed closet; also a fine Decorated fireplace (and in it a most unworthy stove), which is obviously the work of Gower, as it is almost precisely similar to one in the residential part of his palace over the river. There are also some Early English bracket capitals, one foliated and the other with the nail-head, probably to carry lights. On the cill of the north window is a fragment from the old organ-case, showing how well it was worthy of being, at any rate, attributed to Grinling Gibbons.

The room above this (third stage) was used as the Treasury, but is not of any great interest.

Scott did away with an unsightly temporary wooden stair leading to the chapter-house from the transept, and re-used the original entrance from the north choir aisle; but we do not consider the present arrangement very satisfactory, as it still has a temporary appearance.

The Throne (Bishop Morgan, 1496-1505) stands on the south side of the choir, and is a peculiar structure, rendered the more puzzling by being a blend of Decorated and Perpendicular, judging by the detail. If the Decorated parts, however, are not of that period, they are copied from similar work on the parclose screen. There are three seats, the centre being the Bishop’s, and the others probably for the Canonici Collaterales. Above are innumerable crocketed canopies, pinnacles, pediments, &c., terminating in a kind of open spire. The total height is little short of thirty feet.

At the time of the restoration of the tower all the woodwork in the immediate vicinity had necessarily to be removed, and under Scott’s direction was extensively repaired, “the greatest care being taken to preserve the ancient work as nearly untouched as possible.”

The Sedilia are of a pleasing Perpendicular design, with a cornice in oak of a peculiar white colour, which leads one to suppose that they were once coloured. The canopy work and coved cornice are better in detail and general design than those of the stalls. The buttresses which divide the seats are pierced with tracery, and are surmounted with crocketed pinnacles.

The oaken stalls—like almost all the woodwork in the choir—belong to the Perpendicular period, and were erected during the episcopate of Bishop Tully (1460-1480). They have plain arms, but the return stalls and those of the Chancellor and Treasurer are decorated with grotesque heads. The misereres are also conceived in a serio-humorous vein, some, indeed, being very unusual, the monks being represented as suffering from mal de mer and crapula. One carving exhibits a cowled fox offering the wafer to a goose with a human head, which Freeman thinks may have some bearing on the religious controversy of the time.[34] He also regards the cowled fox as “the carver’s version of the proverb ‘Cucullus non facit monachum.’”

The decanal stall was formerly assigned to the Bishop as Dean, and accordingly inscribed Dom. Epi., but when the Precentor in 1840 assumed the title of Dean[35] this was changed. It will be observed that the seats of most dignity are the extremes, and the western end and southern side take precedence. As in the arrangement of stalls which existed in the colleges of Abergwili and Llanddewi Brefi, founded by Bishop Beck in this diocese, the Bishop’s Vicar (Subdean) sits on the decanal side, and the Subchanter in a similar position on the Precentor’s side.

The delicate silver altar-cross was designed by Mr. T. G. Jackson, and is a choice addition to the cathedral plate. The east end hangings are at once recognisable as one of the happiest of Mr. Bodley’s exquisite designs.

THE SHRINE OF ST. DAVID.

This shrine, which is, and always has been, one of the most important in the country, occupies a very modest position in the presbytery, viz., the third bay from the east on the north side. It is, however, rather a base and a frame for a movable feretrum, for we know it was carried to battle. Although the shrine of Edward the Confessor at Westminster and St. Thomas À Beckett at Canterbury—to mention two great instances—were placed behind the high altar with much dignity and with plenty of room for pilgrims to circulate, yet it seems most likely that the somewhat extraordinary position of the shrine of the patron Saint of Wales is due to a retention of an ancient British custom.[36] The tombs of St. Trilo and St. Dubricius rest in similar places in Llandaff Cathedral, and that of St. Ninian at Whitherne, in Galloway, occupies an identical position. On the other hand, Dr. Rock[37] writes: “I cannot bring myself to think that the shrine stood anywhere but behind the high altar, in its full dignity and splendour;” which, however, has not been the case, certainly since the fifteenth century, as the stone altar stood against the east wall of the presbytery.

We are inclined to think that the monks divided these relics, which were so infinitely precious that kings came to venerate, and that some were kept in a movable shrine or feretory, and that the remainder were shown in a recently

discovered recess behind the high altar.[38] Probably these are the same relics which were found in the lower part of the recess run with mortar and formed into a solid mass, evidently to prevent desecration. The relics have been extracted and are carefully preserved in the cathedral.

St. David, whom Walcott[39] gives as Bishop from 519-542 (when he presumably died), was canonised by Pope Calixtus II. (Guido of Vienne)[40] 1119-1124, and judging by the numerous Edwardian coins found in the neighbourhood the shrine attained the height of its celebrity during the thirteenth and fourteenth centuries. Bishop Gower was thus able to build his magnificent palace as a hostelry for the many distinguished pilgrims. Amongst the kings who paid homage to St. David were William I. in 1081,[41] when he subdued Wales, and this shrine doubtless formed in some sense a common bond between conquerors and conquered; Henry II., on his way to and from Ireland (1171-1172) when he gave inter alia two velvet copes “for the singers in serving God and St. David,”[42] and it was while waiting here for a fair wind that Henry is reported to have learnt from a bard that King Arthur was buried in the Isle of Avalon; whilst the last royal visit recorded is that of Edward I. and Queen Eleanor in 1284.[43]

It appears that the remains of St. David’s confessor, St. Justinian, were translated from Porthotinan, near St. David’s, to a new tomb in the cathedral in which he himself was also subsequently interred.[44] But it is not clear at what date the relics were translated to a movable feretory. However, it is certain that it was portable, as in 1086 it was stolen and despoiled.[45] In spite of William of Malmesbury definitely stating that the relics were transferred to Glastonbury in 946,[46] they were still in their place when Henry II. made his pilgrimage, and a century later (1275) we find Bishop Richard de Carew building a new shrine which agrees with the general architectural character of the existing structure.[47] But we find that the relics, or some of them, were inclosed in a portable shrine long after this. An Extent of the Bishop’s lands made in the year 1326 informs us that the burgesses of St. David’s were bound to follow the Bishop in time of war with the shrine of St. David for one day’s journey in either direction,[48] and under a statute of Bishop Nicholas the chantry priests were enjoined to carry the shrine in procession on the instructions of the precentor or president of the Chapter.[49] Yet the evidence[50] of those who certainly saw the shrine before the Reformation, convinces us that this structure is the same that anciently bore the name, and, as Freeman[51] says, “the term feretrum, in spite of its etymology, was continually applied to standing shrines, as, for instance, to the celebrated shrine of St. Cuthbert at Durham.” By a statute[52] of Bishop Beck, 1287, recited and confirmed by Bishop Gower in 1342, three officers are directed to take charge of all things given or left “tam ad fabricam, quam ad Feretrum, sive caput.”

The style of the shrine is Early English merging towards Decorated. The base extends from pier to pier of the third arch from the east on the north side of the presbytery. On this are three low chamfered and pointed arches, about 12 inches high, and four deeply-sunk quatrefoils occupy the spandrils; the recesses beneath the arches are also about 12 inches in depth and backed with a stone wall. The outer quatrefoils are merely ornamental, but the two central ones communicate with lockers at the back for offerings. Above these arches is a flat table, restored in many places, on which rested the movable feretory and which also bears the principal structure of three arches and round shafts. The capitals are rather Early English in character, as are the heads[53] at the junctions of the arches, but the crocketed hood-moulding and label running across the archway are most undesirable Perpendicular additions. The arches contained frescoes on the wall at the back. According to Browne Willis,[54] “St. David himself is painted in his Pontificalibus; and on each side of him is a Bishop Saint; one by the Inscription is known to be St. Patrick (to the west); the other is somewhat defac’d.” It is a figure in episcopal attire and said to be St. Denis. He goes on to say that the whole was formerly surmounted by a wooden canopy—“a fair Arch of Timber work painted”—and marks of this remain. The back—towards the north choir aisle—is supposed to be imperfect. It has three low rounded arches, the centre being the widest, and over each was a chamfered quatrefoil, and between these were two rather high niches. A string runs round the each opening, but does not run along the base of the quatrefoils. Quite recently stones were to be seen in the pavement hollowed by continual friction with the knees of the pilgrims. Undoubtedly this shrine suffered when the presbytery arcade was walled up owing to the collapse of the aisle roofs, but now that all is dry and in good repair the three saints might well be repainted.

THE SHRINE OF ST. CARADOC.

Often mistaken for, somewhat similar to, and of about the same date as, the shrine of St. David, is that of St. Caradoc on the south side of the north transept (dedicated to St. Andrew), where he was buried by his own express wish near the altar of St. Stephen. He died in 1124, and at the instance of the historian Giraldus was canonised by Pope Innocent III.[55] The tomb consists of a round arch, with a stone shelf below supported by a wall in which are two pointed arches and a couple of quatrefoils chamfered inwards. Above the arch is a small portion of wall containing some air-holes. It has been suggested that as this transept has been dedicated to St. Andrew, one of the patron saints of the Church, that it was designed as a receptacle of relics of that saint.[56]

The Aisles of the Presbytery, except for sundry attractive monuments, are not very interesting, but have undergone various changes. After the fall of the tower they were reconstructed in the prevalent Transitional style. In the Early English period the wall of the south aisle was rebuilt further south.[57] The old roofs were removed, the walls raised, and new windows inserted in the Decorated period by Bishop Gower (1328-1347). Three hundred years later they were in a ruined condition. In the general restoration of the latter part of this century they have been re-roofed and extensively repaired.

The capitals of the pier-shafts on the aisle side resemble those in the presbytery, but the piers themselves are peculiar. A group of shafts is attached to each pier; these, however, finish below the capitals of each pier with a bracket. It has been supposed that these were intended for figures, and it is quite likely that this may have been the best way the Transitional architects saw of avoiding a raw appearance when they gave up their groining system.

The eastern walls of the presbytery aisles both show the very steep pitch of the early roof, which apparently remained till the walls were raised by Gower.

In the south-east angle of the north aisle is a doorway leading to the arcaded passage in front of the main east windows. Scott restored the original Decorated windows, which he found much decayed on the north side; but on the south side, where no remains of the tracery were extant “and even the jambs were so shattered that it was only by a fragment here and there that the mouldings were recovered,”[58] the tracery he introduced was “founded on fragmentary evidence from other parts of the church of the same date.” But this archÆologic proceeding has not resulted in any specially beautiful design, though, doubtless, it was the best thing that could be done.

The modern roofs are decidedly good and solid—of a Decorated character and well carven.

The north choir aisle is different to the south on account of the Chapel of St. Thomas, which blocks up the westernmost bay. A modern wooden staircase near the west end of the north aisle leads to the chapter-house.

The large north window in the north transept was inserted in 1846 by Butterfield. It is based on one at Sleaford, Lincolnshire, and replaced another of late and inferior design. The west wall of both transepts is of De LeiÂ’s time, and the remainder, after the fall of the tower, about 1220. The north transept is dedicated to St. Andrew, and his altar stood in the central eastern arch and the south transept was known as the Chanters’ Chapel, with an altar dedicated to the Holy Innocents and almost certainly one to St. David. This transept had at first but a single chapel (Decorated), with a space between it and the aisle of the choir, but in the sixteenth century these two were joined and the chapel became a vestry. In this century, when the south transept was fitted up as a parish church it formed the eastern aisle. Scott restored the original arrangement.

The transepts show more clearly than any other part of the church the influence of the west of England on Welsh architecture, and it is remarkable that it should have started thus early. The Transitional and even Early English architecture at St. David’s and Llandaff resembles in mouldings that at Slymbridge and in foliage some of the great Gloucestershire churches. It is not surprising that the later splendid Perpendicular and Decorated examples of Somerset and the Bristol district should have made their impress felt in Wales. But this Early English connection certainly seems wonderful.

THE CHAPELS EAST OF THE PRESBYTERY.

The chapels at the far east end of the church are extraordinarily extensive and most remarkable for a comparatively small cathedral like St. David’s. This being so it is best to refer to the plan, which will simplify what seems bewildering in mere description. Generally speaking the ground-plan may be considered as an extension of the main body of the church, terminating in a Lady Chapel, with aisles continuing those of the choir for part of the length. But, inasmuch as no part of the cathedral seems to have attracted the attention of the various prelates who were successively benefactors to the church, more than this; and, as the changes were numerous and but little regard appears to have been paid to preceding plans, the inevitable result is a kind of architectural pot-pourri. It is, however, a very attractive medley.

De LeiÂ’s church clearly terminated at the existing east wall of the presbytery and aisles, and apparently at the time of the rebuilding occasioned by the fall of the tower in 1220, no attempt was made to lengthen the church eastwards. It is not unlikely, however, that shortly before the time of the earthquake of 1248 a Lady Chapel or retro-choir was contemplated and even begun, but discontinued. As we see it now it is also not improbable that the original plan may have been followed, with many changes in detail in the succeeding centuries. The aisles continuing those of the presbytery are connected by a sort of retro-choir or ambulatory—embracing the space now occupied by Bishop Vaughan’s Chapel between it and the east wall of the presbytery. This is all Early English, i.e., thirteenth century, work. Bishop Martyn (1290-1328) completed the present ground-plan by adding his Lady Chapel.

Bishop Gower (1328-1347), the Menevian Wykeham, raised the north and east walls of the north chapel aisle and rebuilt the south and east walls of the south aisle from the ground, probably on Early English foundations. Also, this aisle was projected a few feet in an easterly direction and many changes made in the Lady Chapel, where Gower founded a charity in 1334. Bishop Vaughan (1509-1522) appropriated the space east of the presbytery which was described[59] as “vilissimus sive sordidissimus locus in tot ecclesiÂ,” and converted it into the beautiful chapel which bears his name. Previous to this we can find no early references to this space which was walled in north,

south, east, and west (according to Freeman) and may previously never have been roofed. With regard to this numerous suggestions have been made which do not seem entirely satisfactory. At any rate the east windows of the cathedral were glazed and required light, which we venture to suggest may have been obtained from the open passage left for pilgrims to reach the ancient recess in the east wall, which is apparently in situ and bears unmistakable marks of having been polished by use. And, that the remainder of the space was screened off and roofed for the immurement of a recluse, who could perhaps watch unseen the movements of the pilgrims. It must be remembered also that stealing relics carried its own absolution. This might account, too, for its filthy state which necessitated the four pence of 1492[60] to clean. In those days an unusually large sum. In making this Trinity Chapel, Bishop Vaughan blocked up the lower east windows of the cathedral and probably added the upper tier shown on p. 36, and then added his fan-traceried roof and other ornaments.

The Lady Chapel and the ambulatory or vestibule were evidently twice prepared for vaulting before Bishop Vaughan actually completed the scheme, but during the Civil War it was denuded of lead, which eventuated in its collapse about 1775 and in the erection of the extraordinary modern buttresses which prop up the inner walls of the chapel and its aisles.

This brief general description may help the visitor to realise the many changes which produced these peculiar eastern adjuncts, and we will now discuss each more in detail.

Bishop Vaughan’s, or The Trinity, Chapel.—This chapel is a peculiarly subtle example of Perpendicular, and retains both its internal and external roofs. Freeman, who does not usually pay high tribute to any phase of Perpendicular, says,[61] “Bishop Vaughan’s Chapel is an extremely fine specimen of late Perpendicular, and that of the best kind, and is the more conspicuous, as being the only portion of the cathedral of any merit or importance belonging to that style. It exhibits the same chasteness of design and delicacy of execution which distinguishes King’s College Chapel, opposed alike to the meagreness of Bath Abbey and the corrupt form and overdone ornament of Henry the Seventh’s Chapel. The arches, one on each side, which divide the chapel from the aisles, command admiration for the justness of their proportions and the purity of their detail, being well moulded, and having shafts with good capitals and bases; the stone screens also with which they are fitted up increase the effect of elegant richness. It is much to be regretted that they should remain exposed to the effect of the weather, even comparatively sheltered as they are by the main body of the cathedral.

The roof is of excellent fan-tracery, consisting of two bays, running north and south, with a small portion of panelled barrel vaulting at each end. It rises from shafts, of which the central ones at each end are corbelled off. The eastern one would have interfered with the altar of the chapel, the western with the doorway[62] which then opened behind the high altar, and whose arch may still be traced.” The angel which acts as a corbel over the Transitional recess is very finely conceived and carved, as also are the bosses of sculpture on the screens. Indeed they are as fine as anything the Perpendicular men ever did. The recess itself is shown on p. 61. The centre cross is 2 feet 3 inches square and is cut out of a stone 1 ft. 9 in. thick, the four spandrils between the arms being pierced through to the high altar. The height of the top of the cill is about 3 feet from the present floor of the chapel and 1 ft. 6 in. from that of the sanctuary. As already mentioned,[63] the lower part was found to contain human bones, run into a solid mass with mortar to prevent desecration, which probably was done at the time of the religious changes in the sixteenth century. The other crosses surrounding the large one are probably some of those cut for dedication purposes; and as the lowest at any rate is earlier than the centre, it is probably a once much venerated relic of St. David’s own church before that of De LeiÂ.

On the opposite side of this chapel—i.e., in the wall between Bishop Vaughan’s Chapel and the ante-chapel—is more finely detailed Perpendicular work.

In 1898 an interesting discovery was made, and our view was taken the same year immediately after. On the west side of this wall stood the altar to the Holy Trinity, with a tall canopied niche on each side.

On either side of these again traces of a four-centred arch showed faintly through the smooth ashlar at the back, and on removing the ashlar two beautiful windows were disclosed. They have their saddle-bars and stancheons in situ, in some places almost rusted through, and it is clear that the windows have not been, nor were they intended to be, glazed. Another interesting point is that they seem scarcely to have been finished before they were walled up again, for the masonry has not even been rubbed down. This seems so unusual a treatment for windows of such refinement, that one is tempted to conjecture that some zealous subordinate of the Bishop’s, anxious to give him a pleasant surprise, had, during his absence, caused these windows to be made, but on his return the incensed prelate promptly ordered their immurement. A squint was, however, left in the centre light of each window, so that from the Trinity Chapel altar the celebrations at those at the east end of the north and south aisles could be seen. When removing the masonry in 1898, it was decided to leave these squint-stones in order not to destroy an important link in the history of these windows.

Curiously enough, the backs of the windows, towards the ambulatory are different from the fronts (one of which we illustrate) and have merely four-centred arches.

At the north end of this chapel is the tomb of Archdeacon Hiot and that of Sir John Wogan, recently brought here for the sake of preservation. The former stood in the chapel of St. Nicholas. Bishop Vaughan’s own tomb is in front of the altar, the leger-stone once bearing a brass on which was engraved his effigy.[64]

Several Celtic stones bearing crosses, which were found at Pen Arthur, are at present in this chapel. The earliest—from the eighth to the eleventh century—Professor Westwood found doing duty as a gate-post on a farm. The holes show the marks where the hinges were. At the top, on the left, can be read ? O and (?) JHS. On the right is XPS, cut after the corner was broken away, and below is “Gurmarc.” On the back is another cross of a still earlier character. It is supposed to have commemorated some battle fought in the neighbourhood, and was found on the moor.

The South Chapel Aisle.—On coming through the east door of the south choir aisle we enter the Chapel of King Edward the Confessor, and we notice on the right a Decorated recess said to have contained the monument of a priest; but the great buttresses, which meet the eye looking east, are only temporary supports and in no sense form part of the original design. Opposite the Decorated recess is the tomb of a knight (8), but unfortunately this has been badly treated at the hands of the buttress builders. On the north side of the altar is a piscina with a pointed arch, cinquefoiled, and a projecting bracket of singularly bold design which seems to interrupt the Decorated string.[65] A curious groining boss, apparently in order to preserve it, is let into the wall to the west above the piscina. It is carven into the form of three beasts (asses or rabbits) with long ears. The peculiarity of the design, which is met with elsewhere, is that there are only three ears, yet each beast has its full complement.

The Ante-Chapel.—Briant (p. 57) says this chapel is known locally as the Chapel of the Seven Sisters, on account of the seven hideous heads which are said to be types of the beauty of South Wales. We can find no such record.

This narrow space, which intervenes between Bishop Vaughan’s Chapel and the Lady Chapel to the east, is separated from the aisles by pairs of very elegant Early English arches north and south, and Freeman is of opinion that they differ slightly in date. The capitals have a delicate nail-head moulding not to be found elsewhere in the cathedral. One of the arches on the southern side has a figure lying down doing duty for a corbel which was designed to carry the vaulting; it is, however, more curious than beautiful. A segmental relieving arch in rough ashlar embraces both arches. In this chapel was found the “Abraham” stone now placed in the south transept (see p. 79).

VIEW LOOKING N. IN ANTE-CHAPEL TO LADY CHAPEL.