Bell's Cathedrals: St. David's

This chapel is roofed with a neat Perpendicular vault and lit with a poor Perpendicular window, and a couple of depressed arches (i.e., with their springing below the capitals) open into the Lady Chapel. An enormous buttress, however, is an unsightly necessity to prevent the wall above these arches falling eastwards. Our view (page 67) is taken from the east, looking west, and shows one of these arches and, on the south side, the fine Decorated tomb of Bishop Martyn. The composition was that of a five-foiled arch, with open foliations between crocketed pinnacles rising from octagonal attached shafts with floriated capitals, all beneath a lofty straight-sided canopy. The detail seems to point to Bishop Gower as the author. The canopy blocks an Early Decorated window and cuts through a string, but its finial was evidently utilised as a corbel by Bishop Vaughan for his vaulted roof, traces of which are clearly discernible in the view at the south-west corner.

The sedilia, of three seats, is a fine design by Gower, the finials of the crocketed ogee arches forming bosses in the cornice as in some of his other designs.

The cross lying on the ground is one which once stood on the east end of the presbytery, probably designed by Sir G. Scott from an old example.

Nearly opposite is a recess for a tomb which seems to have been similar to that of Bishop Martyn. This was wrongly supposed to be that of Bishop Houghton, who founded and was buried in his own chapel of St. Mary’s College, not St. Mary’s Chapel, hence confusion. Archdeacon Yardley conjectures with plausibility that Gower erected these two tombs to his immediate predecessors, Martyn and Beck[66] (1280-1328). Externally, and to some extent even now internally, the Lady Chapel has assumed the appearance of a Perpendicular building, but as a matter of fact it is, in the main, a blend of Early English and Early Decorated.

The North Chapel Aisle.—At the east end of this aisle stood the altar to St. Nicholas, and in the south-east corner is a trefoil-headed piscina with a quatrefoil drain. The changes which took place in the Early Decorated period in this aisle are not so extensive as those of the same date in its sister, where the whole of the southern and eastern walls were rebuilt, but the result is even more of a patchwork in appearance. The walls were raised, windows inserted and preparations made for vaulting, but, nevertheless, the round Early English vaulting shafts (c. 1248) appear below the octagonal ones of the Decorated period. On reference to the plan it will be noticed that the Lady Chapel is not on the central axis of the choir, and that between it and the north aisle is a space, which, we cannot but think, was occasioned by the timidity which we find throughout the cathedral in dealing with vaults. The north wall of the Lady Chapel was thus moved inwards to reduce the span and obtain—as they undoubtedly did, from whatever cause—a much better proportioned building. The monuments in both aisles are much decayed owing to their long exposure to the weather. East of the screen opening to Bishop Vaughan’s Chapel is a small piece of a Decorated tomb canopy, but the chapel arch has cut through the remainder. “Its existence seems to prove that the ‘waste place’ now occupied by the chapel must have been closed at the sides by walls; although there must surely have been some door or entrance, however narrow.”[67] Just beneath[68] this crocketed fragment of a canopy is a small stone with a finely-conceived representation of a crucifixion in relief with the figures of SS. Mary and John, obviously placed here for preservation; and low down under this is an altar-tomb with a panelled arcade, which once bore the figure of a priest in eucharistic vestments, and above the panelling the inscription, “Orate pro Anima Johannis [Hiot] nuper Archi....” which indicates that it was the monument of John Hiot, Archdeacon of St. David’s, who died in 1419.

In this aisle a chantry was founded early in the fourteenth century by Sir John Wogan, of Picton, Chief Justiciary of Ireland under Edward the First, and it is conjectured that the two monuments opposite (i.e., in the north wall) were erected by and to members of this family. The one to the west (No. 2) is a mutilated figure of a knight in chain armour about the date of Henry III.; the other (No. 1) is an exceedingly fine example of a recumbent, eucharistically vested priest having

his feet resting on a dog and his hands clasped. The head rests on a canopy of a spherical triangle crocketed. Freeman (p. 120) notes that a similar canopy occurs elsewhere in the cathedral, also in a small tomb in the chancel of Carew Church, and in an external tomb at Nangle in Pembrokeshire. But it is the main arch or canopy of the tomb that is its chief glory, and, strangely enough, the part least noticed by previous writers. The subtlety and delicacy of the mouldings is worth careful examination. The under side of the arch has been elaborately cusped, and might easily be restored. The top member is curved back to admit of a very unusual form of crocket, viz., two ivy leaves point to point, well conventionalised and most effective. At the west end this springs from the head of a greyhound, the other is defective. On the whole we are inclined to think that the priest’s effigy has been placed here as a convenient spot for its preservation and is a later insertion. Beneath is some panelling consisting of triangles trefoiled, but it is very flat and tame and in great contrast to the skilful treatment of the upper part. The material is Caerfai stone. Browne Willis shows on his plan[69] two monuments under the third and fourth windows of this aisle from the east, and calls them “Knights Templars”—possibly also Wogans—but they no longer remain.

MONUMENTS IN THE CHURCH OTHER THAN IN THE EASTERN CHAPELS.

Beginning with the remarkable rood-screen, we find three ecclesiastical effigies. During the excavations for the new foundations of the tower-piers and shoring it was necessary to disturb the tombs in the rood-screen, but the remains were carefully and severally restored to their original resting-places, and such rings, chalices, crosiers, and other valuables as were found were removed by the Chapter. The most interesting of these objects are in the Chapter House under glass. They comprise a Decorated gilt bronze pastoral staff (probably Gower’s) with a fragment of its standard, two chalices, and a quantity of cere cloth.

Two of the effigies cannot be with certainty identified, and we have only the tradition handed down by Browne Willis: “I should guess them to have been erected for Bishops of S. David’s, tho’ they have a Tradition here, that one belongs to a Chancellor, or, as some say, a Chantor; and the other to a Treasurer of this Church.”

However, we know that Bishop Gower’s Tomb occupies (No. 25) the southern compartment of the screen. He died in 1347, and is represented as vested eucharistically with a mitre and pastoral staff veiled in his left hand, and at his feet is a lion. The right hand is broken and was originally in the act of benediction. Before the rebellion Browne Willis[70] stated that this tomb was “inclos’d to the South and West with a Brass Pallisade: Upon the Facio of which, was this Inscription:[71]

But on pp. 19 and 71 he corrects himself, on the authority apparently of an eye-witness, and gives the following as being more correct:

“Henricus Gower, Episcopalis Palatii constructor.”

“The Rebels took that, and all the Brass upon the other Tombs of the Church, quite away; and now there are Wooden[72] Rails in Lieu of the Brass Pallisade. His body lies at length in his Episcopal Robes.” On the south side of the altar-tomb are eight figures of the Apostles in relief.

The altar-tomb in the second bay from the east on the south side of the nave is to Bishop John Morgan (1496-1564). The whole is in Bath stone. The mitred bishop is sculptured at full length in his chasuble, dalmatic, stole, alb, and maniple, and holds his veiled pastoral staff. He wears somewhat unusual gloves. Two kneeling angels support the cushioned head. Freeman[73] is very hard on the architecture of this tomb: “The head, foot, and north side of the tomb are

adorned with rectangular panels having their upper angles rounded off without any kind of foliation, and exhibiting cases of interpenetration in its worst form. Altogether the architectural ornaments are extremely poor, and nearly resemble much of the German work of that period.” This unnecessarily severe censure is, however, tempered with discriminating praise of the sculpture: “The sculpture, on the other hand, is extremely spirited and graceful, as well that of the principal figure, as those of the smaller images which adorn the sides. In the two panels on the north side there are six images of Apostles; six more evidently decorated the south side, but these have been cut away to make room for a pew. At the foot there is a group representing the resurrection of our Saviour, sculptured in alto-relievo with remarkable grace and freedom. At the head there is a griffin, Bishop Morgan’s bearing, supporting a shield with the letters W and I, or J, in a cypher. Whose initials they may be, we are at a loss to say; the heraldic bearing taken in connection with authority almost contemporaneous leaves us in doubt to whom we are to attribute the monument. This tomb, with its very advanced sculpture, and very debased architecture, is a striking commentary on the state of the arts at that important period of transition; and it is extremely curious to observe the corruptions of the latter art manifesting themselves in tombs in the first instance. The monument of Henry VII. in Westminster Abbey, is of course a remarkable case of the same kind.”

Opposite Morgan’s tomb, under the eastern window of the south aisle, is a Decorated recess containing the tomb of an unknown priest (No. 27), all in Caerfai stone. The canopy is very fine.[74] It is part of a concave-sided octagon, at the points of which are radial finials. This form is to be found in Bristol Cathedral, and “is clearly a development of the idea which produced the semi-octagonal doorways in the rood-screen and the palace.”[75] Gower’s characteristic ornaments—the pellet, four-leaved flower and wave-moulding—spring from octagonal shafts with a big projection. On each side is a pinnacle having an odd and ugly decoration at the offsets, but it is on the whole preferable to Gower’s customary flat quatrefoil. The altar-tomb is of plain ashlar, and on it lies a priest in eucharistic vestments, his head on a double cushion carried by angels, and at his feet a dog.

There are some slabs with crosses near here and some shells before the daïs, which once contained matrices of the brasses, with figures about half full size to William Wilcock (1502) and Richard Ragader[76] (1530), prebendaries of St. Nicholas and masters of St. Mary’s College Chapel, which will probably account for several unidentifiable slabs in the choir and elsewhere.

The monument occupying the most important position in the presbytery is that (No. 6)[77] to Edmond Tudor, Earl of Richmond, son of Owen Tudor and Queen Catherine of Valois (widow of Henry V.) and father of Henry VII., who died in 1456, and was buried in the church of the Grey Friars at Caermarthen.[78] But at the dissolution the remains and the tomb were together brought to St. David’s. The position is close to the shrine of St. David, and, as it was unusual to permit any interment in the immediate vicinity of a great shrine, it may be well to note that this tomb was not placed here till after the probable shrine of St. David had been removed. The altar-tomb is in Purbeck marble, and is ornamented with shallow Perpendicular quatrefoils reticulated. Each panel has a shield in the centre, and a brass occupied the leger-stone. These inscriptions were restored by Jones and Freeman[79] from some drawings bound up with a MS. in the possession of the Earl of Cawdor. On the verge:

“Under this Marble Stone here enclos’d, resteth the Bones of that noble Lord Edmond, Earl of Richmond, Father and Brother to Kings, the which departed out of this World in the Year of our Lord God, a thousand four hundred fifty and six, the first Day of the Month of November; on whose Soul, Almighty Jesu have Mercy. Amen.”

On the tomb (at its foot probably) was:

The length and sentiments of the inscription, however, hardly atone for the fact that this is a mean ornament to so important a person, and one cannot help contrasting it with that of his illustrious son—King Henry VII.’s Chapel in Westminster Abbey.

With St. David’s shrine we have already dealt (see ante, p. 50).

Turning to the corresponding arch on the south side of the presbytery, we find two tombs (Nos. 17 and 18). One (18) in Purbeck marble supports the figure of a bishop eucharistically vested and mitred, with a veiled pastoral staff in his left hand. The right hand is raised in benediction. Browne Willis conjectures[81] that this was the tomb of Bishop Gervase or Jorwerth (1215-1229), but later[82] he definitely states that it was unknown, but “was unanimously assur’d to me to be the Monument of Bishop Jerworth.” It is possible that the figure (which is later than 1229) was placed over the remains of Gervase, during whose episcopate the present presbytery was largely erected. A pastoral staff (copper gilt) and part of its wooden stave, of a rich design, were found near here in 1844, and, Freeman notes[83] “is at present in the possession of the Bishop of S. David’s.”

The other (No. 17) is to Bishop Anselm le Gras (1231-47), according to the inscription on the trefoiled canopy supported by angels and adorned with foliage:

Petra Precor Dic Sic Anselmus Episcopus Est Hic.

The Bishop is in relief and wears eucharistic vestments, with a rich mitre and pastoral staff unveiled but turned outwards, and the right hand is in the act of benediction. There is a kind of nimbus to the head and at the feet are two dogs, one of whom is pierced by the staff.

Proceeding to the next arch further east immediately behind

the sedilia, there is a recumbent figure in the armour of the late fourteenth century. This is attributed to Rhys ap Tewdwr, Prince of South Wales.[84] “The head, which has the conical basanet and camaille, is reclining upon a casque surmounted by the crest, On a chapeau a lion sejant. The body armour is covered by a jupon, on the breast and back of which are embroidered the wearer’s arms [Gules,] within a bordure engrailed [or,] a lion rampant [of the second]. It is not quite clear whether the jupon, which falls in a fringe round the hips, is meant to have sleeves, or whether the figure has a hauberk with short sleeves, those of the tunic appearing beneath them. The hands are clasped; there is a richly decorated belt and sword; the legs have complete plate armour, with genouillères; the feet have spurs, and rest on a lion.”

In a corresponding position in the north choir aisle is another very similar tomb (No. 11), evidently of a member of the same family, probably by the same designer. The head lies on a double cushion, and the heraldic bearings on the jupon have a label of three points.[85] The general conclusion seems to be that these monuments are to Lord Rhys ap Tewdwr and his son Rhys Gryg. Before the restoration they stood under the same arches in the presbytery, not, as now, in the aisles.

Under the easternmost arch of the presbytery on the south side is a mutilated figure of a priest (No. 20) in the eucharistic vestments of Bishop Gower’s time, which is commonly attributed to Giraldus Cambriensis,[86] but on slight authority. The head rests on a double cushion supported by angels, the hands are clasped (holding the Host) and the feet lie on a dog. Opposite in the south choir aisle is a fine slab (No. 22), with a cross floriated with branches in relief. The chamfered edge bears the following inscription in Lombardic letters:

[Silvester the physician lies here, and his dissolution proves that
medicine withstands not Death.]

Under the easternmost window in this aisle is the effigy of a vested priest with raised hands. The recess is Decorated, and has a foliated canopy which is remarkable as being the only instance of ball-flower in the church except that in the Decorated stage of the tower. In the westernmost bay (No. 21) is a much worn tomb of an ecclesiastic holding a book in his right hand.

The easternmost bay of the north side of the presbytery (No. 13) is occupied by the monument to Thomas Lloyd, Treasurer (d. 1613). The inscription states that it was here placed by his son Marmaduke: Counsel-at-law of the Middle Temple. It is shown on page 45. At its back is a Decorated recess, but the effigy has gone. The inscription is:[87]

In the north transept are the tomb of St. Caradoc (see p. 55), and the effigy of a priest beneath a Decorated canopy.

In the south transept, near the nave, is an incised slab with a floriated cross having the head of a priest appearing above it through an opening in the stone.

In the east wall of this transept are two fragments of very ancient Celtic slabs. The more important of the two is to Bishop Abraham, and was found in 1891 in the east wall of the ante-chapel.[88] It is inscribed with curious characters:

A very fine interlacing Celtic cross springing from a root is the principal attraction of the stone. The uncarven outer circle terminates at the head with a neat little Maltese cross having an incised border and a slight depression at the end of each arm. The Greek alpha and omega appear in the corners, and below are the sacred monograms. Bishop Abraham (1076-78) was killed when the Northmen pillaged St. David’s in 1078, but it is not known in what way his sons were especially gifted that so fine a memorial should have been erected to their memory.

Near by is another stone of a similar character of which nothing is known. In the new Chapter House the back can be seen, but the large Latin cross with which it is ornamented seems later.

CHAPTER IV

THE PRECINCTS—THE CLOISTERS AND ST. MARY’S COLLEGE

To the north of the cloisters was the square occupied by the college; on the north side of which, again, was the principal entrance. And on the south side of the square stood the chapel of which we now see the remains, showing that it must have been a very fine building of its kind. The elegance of the proportions and subtlety of the detail betray the hand of a very skilful architect. The dimensions of the chapel are 69 ft. × 23 ft. 9 in. × 45 ft. high. It was lit by three windows in each side 24 ft. × 9 ft. broad each, and the east window must have been a grand affair, as it occupies the whole of the east wall. The tower is 70 ft. high, to the north of which are the remains of the Infirmary.[89]

The cathedral cloisters, unlike most English cathedrals, never had an alley next the church, and it is most probable that no cloister existed before the time of Bishop Houghton.

But so fragmentary are the remains of the cloister and so complete its destruction that we will only give a brief outline of its state as inferred by Freeman, that the visitor may understand the ruins.

A reference to the plan will best locate the cloister, but it will be noticed that the massive western buttresses, which take the thrust of the nave, show traces of the cloister wall. Also the wall-arcade and vaulting-springers are visible on the south wall of the chapel of St. Mary’s. The sacristy to the chapel, which has a piscina, was over the eastern alley, and under this can be seen the lines of four bays of the cloister and part of a fifth. Apparently the east side of the cloister was never completed, as the buttresses show no sign of additions; therefore, although a covered way was obtained between the cathedral and college, the north door remained as a separate entrance from the prebendal and other houses.

The crypt[90] on which the chapel stands is roofed with a simple elliptical barrel-vault and rear arches of small lights cut into it on the northern side. Below the tower was the cloister entrance, but the steps up to the chapel have quite disappeared. The landing at the top of these steps and two bays to the north formed an ante-chamber to the chapel, and a turret-stair on the northern or garden side led down to the domestic buildings as well as to a room over the vestibule. This room had two windows, one of which looked into the chapel, as at St. Cross. It will thus be seen that there could not have been a west window.

The chapel is in four bays, but as the eastern bays were utilised, on the north by the existing recess for the founder’s tomb and on the south by the sacristy, there are only three windows. The great east window—as well as others—was denuded of much ashlar-work and tracery to help in Nash’s extraordinary concoction the west window of the cathedral.[91] This great east window filled up almost the whole of the wall, and must have been a fine example of the best sort of Perpendicular. Indeed, it would not be impossible to reconstruct it even now.

There is a legend (found by Browne Willis in an Elizabeth manuscript) that Houghton was excommunicated by the Pope Clement, and that he retaliated by returning the compliment, and further pictorially displayed the event in stained glass.[92] Clement died, however, in 1352, before Houghton was made bishop, but was succeeded by Innocent VI. The names may thus have got confounded, or the Pope may have been the Anti-Pope, Robert of Geneva, known at Avignon as Clement VII. Although the story is of doubtful authenticity it is quite in accord with Houghton’s vigorous character, being as he was the friend of Chaucer and John of Gaunt. He also established several ordinances for the diocese, which shows that he was no mere figure-head. He held the office of chancellor for two years.[93]

The tower of the chapel—the only part yet undescribed—was evidently designed for a broached spire, as is shown by the squinches within. But a settlement, owing to the close proximity of the river, evidently not only prevented further weights being imposed, but caused the south-west angle buttress to be added which is so prominent (vide p. 82).

Of the collegiate domestic buildings there only remain a few vaults, except a single entrance, with a four-centred arch, to the north.

THE BISHOP’S PALACE.

After crossing a bridge to the north-west of the cathedral we pursue a most picturesque alley, whence a good view of the tower and north side is obtained, and shortly, on the left-hand side, we come to the entrance to the Bishop’s Palace.[94]

In the times before Gower (1328-47), who built the whole of this once magnificent palace, there undoubtedly was some

sort of episcopal residence or guest-house, as Kings Henry II. and Edward I. were here entertained. However, not only is there no trace of a pre-existent building, but this of Gower is a superb ruin. It is said that we have to thank the scandalous Bishop Barlow (1536-49) for initiating the work of destruction, removing, as he did, the lead from the roofs to provide marriage portions for his daughters who married five bishops. He also attempted to remove the see to Carmarthen. “Barlow’s letter to Cromwell on this subject strongly urges the removal, partly on account of the inconvenient situation and partly because the hopes of Protestantism rested on getting rid of the religio loci.”[95]

“It is hardly necessary to say that many churches, even of inferior ecclesiastical rank, greatly surpass St. David’s Cathedral in extent and in positive beauty, though certainly there is none which could so well occupy its peculiar position; of the Palace, on the other hand, it is hardly too much to affirm that it is altogether unsurpassed by any existing English edifice of its own kind. One can hardly conceive any structure that more completely proclaims its peculiar purpose. It is essentially a palace and not a castle; we have not here the moat, the tower, the frowning gateway, or any feature proclaiming, if not an intention of hostility, at all events a state of things involving the necessity of defence. The prominent parts are the superb rose-window of the hall and the graceful spire of the chapel, importing an abode, not of warfare, but of hospitality and religion.”[96]

With all due deference to Messrs. Jones and Freeman, however, the great arcaded parapet, which is certainly the most noticeable feature of the building, gives at least a hint that Bishop Gower had an arrière pensée against defence. As the close was fortified, it was not necessary to make any elaborate preparations against attack; but it will be noted that, although there is no moat, the river Alan—then much larger than now—runs past one side, and that on the others there were very few windows, and those small; in fact, most of the remainder opens on to the great quadrangle, which was self-contained. Let us look at it again from another point of view. Eliminate the parapet, and what do we find? Truly, except for an excellent plan and mere bulk, nothing at all extraordinary from an architectural point of view.

A particular description must be given to the Parapet. It consists of a series of arches, with a hollow ornamented by Gower’s four-leaved flower, carried down on octagonal shafts, which rest on corbels of considerable variety about two feet down the wall. Above the arcade is a corbel-table carrying a projecting battlemented cornice. The battlements have extremely narrow embrasures and loopholes. The sills of the arcade are steeply slanted outwards, and the jambs show the old shape of the roof and finish with a neat weathered projection. Great richness is obtained above the arcade from the various coloured stones employed. They are set in squares, alternately purple and grey, in the voussoirs of the arches and the spandrils above them, and make a mellow and harmonious chequer-work which greatly adds to the character of the whole building.

A similar parapet is only known to occur in two other buildings (also attributed to Gower), viz., Swansea Castle and Lamphey Palace, near Pembroke.

We can place the date of the building about 1340, as an ordinance by Bishop Gower, dated May 27, 1342, orders that only certain buildings belonging to the bishop be kept in repair,[97] which includes the palace. Architecturally, the arrangements are excellent. The leading idea is a great quadrangle, but so skilfully broken up with projections that the monotonous rectangular effect of the square gives place to a most pleasing and picturesque variety, and although the main portion is kept about the same height throughout, yet the most dignified chambers are given due prominence and the parts of lesser importance treated with a fit reticence.

The building is raised on crypts, which, however, were evidently used for domestic offices from the windows (once glazed) and the divisions. The vaults are of the plain barrel description, without ribs, although there are some which rather suggest ribs. These vaults do not run longitudinally, as under St. Mary’s Chapel or, indeed, the chapel in the palace; the reason being that divisions, for living purposes, were necessary on both floors.

On entering the quadrangle, which is about 170 feet square, we find a small building immediately to the left which many call the East Chapel. The West Chapel (K)[98] was probably not built till later, and then probably this little one became the Bishop’s private chapel. There are indications of a way through to the ante-room adjoining in the south-west wall, and a passage also leads to the lower floor.

The Bishop’s Hall (I, about 60 ft. by 23 ft.) is approached from the quadrangle by seven modern steps and a porch with a semi-octagonal arch. The point of the octagon is at the centre of the opening, and resembles that leading to the rood-loft in the cathedral. The small window in the porch has two five-foil lights.

The Hall was lit by two windows to the north-west and four to the south-east. Possibly the recess, which cuts into the window at the south angle, may have contained the refectory pulpit, and behind it was a passage and stair leading to the minstrels’ gallery.

There was a diagonal entrance (just above the head of the I on plan) leading from the Bishop’s Hall to his Study or private apartment. Just by this entrance there is also a way down. There are two fireplaces and chimneys, and as there are indications of a divisional wall there were probably two rooms, the further of which has a blocked doorway and may have been utilised before the main entrance was built. H is the Kitchen (about 26 ft. by 23 ft.), to the west end of the Bishop’s Hall. This room is very interesting, as it was evidently domed, and later a wall had to be built to support it. The chimney, which was standing in 1857 when Messrs. Jones and Freeman published their book, is now lying in a mass on the floor. As this is a good object lesson to the modern flimsy designers of to-day, the dimensions will not be without interest: flues, 1 ft. 11 in.; outer walls, 1 ft. 3 in., inner, 1 ft.

On the northern side of the kitchen was an aisle leading behind the Great Hall, and so out to the garden.

The Great Hall is approached from the quadrangle by a fine porch, richly adorned and of the whole height of the building. The entrance is an unusual one at so early a period.

It is about 9 ft. wide by 11 ft. 6 in. high, and has an ogee six-centred arch, but the flight of steps are somewhat inconvenient, as the tread is about fourteen inches and the rise about eleven and a half. Above were two niches containing statues of King Edward III. and Queen Philippa. Fragments of one remain now, but where is the other? It seems sad that this should have disappeared within the last few years.

The Hall itself is a magnificent stately apartment, even unroofed as it is. It measures 116 feet by 31 feet, but this includes a smaller chamber of about 30 feet which was originally a withdrawing room. At the south corner is a staircase (down and up), and another at the east leading to the turret. A doorway from the kitchen aisle is now blocked. In the south-east wall is an exceptionally beautiful rose-window. The centre is an upright quatrefoil, and at the cardinal points radiate four strong mullions, and in between each of these are three lesser ones. The heads are of the trefoil kind. The inner circle is not concentric with that enclosing the tracery, but is dropped a little to create, as was often done in these circular windows, an optical delusion. Thus the splay at the top is considerably less than at the bottom, but looks about the same. Gower’s four-leaved flower is again in evidence in the hollow at the outside edge of the splay. Bedrooms in two floors occupied the western end of the hall.

The West Chapel is entered from the northern corner of the hall, and projects from the main building. There must have been a fine window to the east judging by its proportions, and it has niches with canopies outside. A large arched piscina can be seen on the south wall inside, and at the east corner a double-bodied grotesque. In the north-east angle is the belfry turret, which terminates in a very pleasing broached spire; but the porch, which occupied the angle between the chapel and the domestic buildings, is all destroyed.

Of the Domestic Buildings to the north-west less remains than of any other part. The well of the palace is to be seen in a crypt, and a fine example of a stone chimney-place with brackets, like the one in the library of the cathedral, is also worthy of notice. The northern side was probably used for stables, and the foundations for the enclosing wall on the north-east side can still be traced.

In conclusion, it must be remembered that the very high regard in which St. David’s was held as a pilgrims’ haven, particularly in the fourteenth and fifteenth centuries, and that the Bishop was bound to entertain all who came, necessitated a very large guest-house, and here, indeed, was one which was deemed worthy of the attention even of royalty on many occasions.

APPENDIX I.

BISHOPS OF ST. DAVID’S.[99]

PRECENTORS[100] (DEANS FROM 1840).

ORGANISTS OF ST. DAVID’S CATHEDRAL.[101]