THE SHRINE OF ST. DAVID.

“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]

“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 advantageouslythe 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:

“In honorem Dei, et in memoriam Gulielmi Lucy, S.T.P., hujus Ecclesiæ Cathedralis regnante Carolo Secundo, præclari episcopi; has picturas murales et fenestras superne pietate adductus, dat dedicat Johannes Lucy per multos annos Hamptoni Luci Rector, A.D. 1871.”

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£ 4d. DriOweno Pole Mrooperis ad usũ fabriciæ per venerabilẽpatrem Robertū nuper Menev. Epūm 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 wemay 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

THE PARCLOSE SCREEN, E. SIDE.

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 theParclose 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.

TheStallsare inscribed as follows:[32]

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

ARCH BETWEEN THE S. TRANSEPT AND THE CHOIR AISLE.

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 hereapplied 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]

DOUBLE PISCINA, ST. THOMAS’S CHAPEL.

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.

TheChapel 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 CanterburyCathedral 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 originalChapter House, later the Grammar School, now theLibrary. 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 stairleading 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.

TheThrone(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.”

TheSediliaare 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 frommal de merand 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 SEDILIA.

The decanal stall was formerly assigned to the Bishop as Dean, and accordingly inscribedDom. Epī., but when thePrecentor 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.

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 amovableferetrum, 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 butbehindthe 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

Photo, J. Valentine.THE SHRINE OF ST. DAVID.

Photo, J. Valentine.

THE SHRINE OF ST. DAVID.

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 gaveinter aliatwo 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 anddespoiled.[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 bearsthe 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. Davidhimself is painted in his Pontificalibus; and on each side of him is a Bishop Saint; one by the Inscription is known to beSt. 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.

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 SHRINE OF ST. CARADOC.

The capitals of the pier-shafts on the aisle side resemble thosein 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.

SCREEN OF BISHOP VAUGHAN’S CHAPEL.

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 at the far east end of the church are extraordinarilyextensive 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 architecturalpot-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 totâ 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,

ROOF OF BISHOP VAUGHAN’S CHAPEL.

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 beenobtained from the open passage left for pilgrims to reach the ancient recess in the east wall, which is apparentlyin situand 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 elegantrichness. 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.

RECESS IN BISHOP VAUGHAN’S CHAPEL.

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 thecentral 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.

BOSSES ON THE CORNICE.

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.

RECENTLY DISCOVERED WINDOW IN BISHOP VAUGHAN’S CHAPEL.

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 stancheonsin 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.

NICHE, BISHOP VAUGHAN’S CHAPEL.

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

BISHOP VAUGHAN’S CHAPEL.

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 ofSt. 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 Α Ω 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 theChapel 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-headmoulding 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).

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