Part 33

The _Nave_ consists of five bays, and is of Early English design. There is no triforium. The clerestory windows are lancets, and a passage runs in front of them. We notice the graceful foliage on the pier capitals, of Late Early English design, when the stiff-leaved foliage was giving way to the more natural foliage of the Decorated period. The aisles were rebuilt in the Late Decorated period, but two Norman doorways on the north and south sides were preserved. The choir is of the same character as the nave, but in the presbytery we see some of the Norman work of Urban's church, mixed with that of the Decorated period. Here stood the Italian temple, until happily this monstrosity was removed. The clerestory was destroyed when the temple was erected, but in the restoration of Sir Gilbert Scott it was rebuilt. On the south side we notice the curious blending of the Norman with the Decorated work. One of the most striking features of this Cathedral is the Late Norman arch at the east end. It is very richly ornamented, and has four orders, being adorned with zigzag, roll, and a curious row of flower-like circles. The reredos is modern, and has some fine paintings by Rosetti. The sedilia are modern.

The _Lady Chapel_ has a stone vault, the ribs rising from Purbeck marble shafts. The windows are of good design, having two lights with a circle in the head. The east window is modern. The chapter-house is Early English, and is almost unique in having a square plan with a central pier.

Few of the monuments possess much interest. We notice that of St. Dubricius; a brass memorial of Bishop Copleston (1849); Bishop William de Bruce (1287); Bishop St. Teilo; Bishop Bromfield (1393); Bishop Marshall (1496), a skeleton figure of the _memento mori_ type; Sir David Matthew, standard-bearer to Edward IV. (1461); Sir William Matthew; Lady Audley. The old reredos discovered during the restoration has been placed in the north aisle of the choir.

ST. DAVID'S CATHEDRAL

Far away on the most western point of Southern Wales stands the ancient Cathedral of St. David's, the most inaccessible, but the most interesting of the four Welsh Episcopal churches. The see was founded in the sixth century, and was known by the name Menevia. St. David was the reputed founder of the see, concerning whom there are many legends. He founded a monastery at Glyn Rhosyn, which became a fruitful school of saints and Celtic worthies, wrought divers miracles, and through him the Welsh Church extended its influence to Ireland, and also to Scotland and Northumbria. After his death troubles befell the monastery. It was plundered in 645, but recovered from the disaster. Here Asser, the biographer of Alfred the Great, acquired his wisdom. Then the Norse pirates frequently attacked the place, and on one occasion, in 1011, Eadric of Mercia wrought havoc here. But the see survived all these misfortunes, and here came William the Conqueror, who made an offering at St. David's shrine. For a time Welsh prelates continued to hold the see, but in 1115 Bernard, the first Norman prelate, chaplain of the queen of Henry I., was appointed to the see. Although he altered the constitution of the chapter, he made no alterations in the old church. The rebuilding was begun by Bishop Peter de Leia (1177-1198), but it is doubtful whether he personally did much to forward the work, as on account of his unpopularity he spent most of his time in England. However, the work progressed rapidly during his episcopacy, and was finished in the early years of the thirteenth century. After the fashion of cathedral towers, the tower of St. David's fell in 1220, and was immediately rebuilt. But it showed signs of again collapsing, and for centuries was a cause of anxiety, until it was made secure by Sir G. Scott in the restoration of 1866.

The greater part of the present building is Transitional Norman, but there was much architectural activity in later periods. Owing to the fall of the tower and the action of an earthquake in 1248, much rebuilding was found necessary. The thirteenth century witnessed the reconstruction of the north transept, together with the building of the east chapels, which incline at so great an angle, much reparation of the choir, and the commencement of the Lady Chapel and eastern portion of the presbytery. During the Decorated period much work was accomplished. Bishop Martyn (1290-1328) finished the Lady Chapel, and Bishop Gower (1328-1347) did much for the fabric of the Cathedral, and built the noble Palace, which is still beautiful in decay. His work is seen in the upper portion of the walls of the nave and eastern part of the choir and presbytery, the inserted Decorated windows, the eastern chapel of the south transept, the alterations in the corresponding chapel of the north transept, the south porch, the second stage of the tower, and the famous rood-screen. During the fifteenth century and the latter years of the fourteenth century, new roofs were added, the south window in the south transept constructed, heavy buttresses placed against the north wall of the nave, which had shown signs of giving way, and during the early years of the sixteenth century the tower was raised, and a stone vault erected over the Lady Chapel and the chapels behind the high altar.

During the Civil War sad havoc was wrought; lead was torn from the roof, and this caused the eastern chapels and the Lady Chapel to fall into decay. The once noble Cathedral, in consequence of the treatment which it received during the strife of King and Parliament, and of subsequent neglect, was shorn of its ancient glory, and ruin and desolation reigned. At the beginning of the nineteenth century some efforts were made to improve this state of things, and the west front was rebuilt in a debased and miserable style, and during the course of the century sundry alterations were made, and at length, in 1862, Sir G. Scott commenced a thorough restoration. Vast sums have been expended upon the fabric of the Cathedral, and though the eastern chapels remain in their ruined state, the rest of the building has been repaired and renewed, and preserved from destruction. "It remains," wrote Sir G. Scott, "a wonderfully interesting and valuable landmark in architectural history, taking in the extreme west a position parallel to that held by Canterbury in the extreme east of the island."

THE EXTERIOR

The _West Front_ is entirely modern, the work of Sir G. Scott, but it is designed after the fashion of the ancient front which existed before the hideous construction of the early eighteenth-century architect. As we walk around the Cathedral we must remember that nearly all the work is Transitional Norman, although its character is much disguised by later alterations and the insertion of Decorated windows. The _North Doorway_, with its curious ornamentation, is Transitional Norman, but time and weather have destroyed much of its beauty. The walls of the aisles were raised in the time of Bishop Gower (1328-1347), who inserted Decorated windows. The massive flying buttresses were added about 1500 A.D. On this side was the cloister court of the College of St. Mary, the ruined walls of which appear on the north. This college was founded by John of Gaunt in 1377 for the maintenance of a master and seven priests. The _North Transept_ has been much altered. During the recent restoration the low Perpendicular roof has been removed, and one with a high pitch erected. The north window was inserted by Butterfield in 1846 in place of one which had been blocked up. A curious building is seen on the east side of this transept, which has three storeys, and is higher than the roof of the main building. It contains the Chapel of St. Thomas the Martyr, built mainly by Sir Richard Symonds in 1329, and above it the old chapter-house, and in the highest storey the treasury. The east end of the church was extensively restored by Scott. The Perpendicular roof was retained, but finding amongst the _débris_ the evidence of lancet windows at the east end, Scott reproduced these with excellent effect. The _Lady Chapel_, built by Bishop Martyn (1296-1328), is still in ruins. The south transept has a Transitional Norman west wall, and the rest was built about 1220, after the fall of the tower. Large Perpendicular windows were inserted in the south wall. The old vestry is on the east side. On the south side is the beautiful _Porch_, built by Bishop Gower (1328-1347) in the Decorated style. There is a parvise chamber above. The doorway is remarkable; the sculptures represent the Root of Jesse, with Adam and Eve on the west side and the Patriarch Jesse on the other; above it a representation of the Holy Trinity, with censing angels.

The _Tower_ was erected originally by Bishop de Leia, and fell in 1220. It was then rebuilt. Bishop Gower added a second storey in the Decorated style, and above this a Perpendicular storey was raised in Perpendicular times. The wonder is that all this extra weight did not cause the tower to collapse again. It certainly caused continual anxiety, and produced bulges in the neighbouring walls. However, the restoration of Sir G. Scott has secured safety and removed anxiety. The Perpendicular parapet is curious and not very beautiful.

Only one gateway remains, though there were four in the great wall which surrounded the precincts. The _Tower Gate_ is a fine structure, flanked by two towers, one of which is octagonal and the other semi-circular. The ruins of the _Bishop's Palace_, a magnificent structure, should be visited. It was built by Bishop Gower, and must have been one of the finest residences in the whole kingdom.

THE INTERIOR

The _Nave_ is the work of Peter de Leia (1176-1198), and is Transitional Norman. The elaborate carving and the richness of the ornamentation are remarkable, and the colour of the stone adds a wonderful effect. St. David's has many peculiar features, and is unlike any other church in the kingdom. The arches are round, the triforium and clerestory are blended together under one arch. The piers are round and octagonal, with attached shafts. It was evidently intended to vault the nave, but this was abandoned. A Perpendicular roof of intricate and unusual design was constructed about 1500. The capitals afford an interesting study. The west end is modern, the work of Scott. Traces of coloured decoration may be seen on some of the piers of the nave; among the designs are figures of the Virgin, our Lord, and some monarch. The font in the south aisle is, with the exception of the shaft, of the same date as the nave. It is octagonal, and is carved with an arcade of pointed arches. The aisles do not possess any special features of interest. The architectural changes which have taken place there have already been mentioned. In the north aisle is the Transitional Norman doorway, and in the south the Decorated door of Bishop Gower.

The _Rood-Screen_ is very remarkable, the work of Bishop Gower in the Decorated style. It is very massive and elaborate, and contains several tombs and monuments, has a groined roof, and is a very unusual and noble structure. The organ, which is modern, stands above this screen. The iron gates leading to the choir are also modern. Before entering the choir we will visit the _Transepts_, which are entered through Late Norman doorways from the nave. The western walls are Late Norman, built by De Leia, the rest were erected after the fall of the tower in 1220. In the _North Transept_ the large north window was erected in 1846 in the Decorated style. This transept was dedicated to St. Andrew. On the east side is the Chapel of St. Thomas the Martyr, begun in 1220, refounded by Sir R. Symonds in 1329, and used for a variety of purposes. We notice a fine Early English piscina in the south wall. Above is the library and the old treasury. The _South Transept_, formerly known as the "Chanter's Chapel," had altars dedicated to the Holy Innocents and St. David, and was once used as a parish church. The east side of this transept has passed through several vicissitudes, and has now been restored to its original form.

The _Choir_ is entered through the gates of the rood-screen, and occupies the space beneath the tower and half a bay beyond. The presbytery occupies the rest of the space beyond the parclose screen to the east wall behind the altar. All this is the work of Bishop de Leia, or that of his immediate successors, who rebuilt the tower after its fall in 1220. First, we examine the tower itself, and wonder at the marvellous skill of our modern architects and masons who could rebuild from their foundation two out of the four piers, each sustaining a weight of 1150 tons. Rich ornamentation is observed on the east and west arches, one of which is round, the rest pointed. Scott raised the wooden ceiling, and greatly improved the appearance of the interior of the tower. The _Stalls_ were erected at the end of the fifteenth century, and are the work of Bishop Tully. There are a number of curious _misereres_ with strange grotesques, amongst others--three men in a boat with a fourth rowing, one of the passengers being very sea-sick; a cowled fox offering a wafer to a goose with a human head; a carpenter building a boat, etc. The fox is doubtless a satire on the monks, and possibly also the sea-sick passenger. The _Bishop's Throne_ is an elaborate structure erected by Bishop Morgan (1496-1505), and is of great height. It is a blend of the Perpendicular and Decorated styles; probably Bishop Morgan used some older materials in its construction. The _Parclose Screen_, separating the choir from the presbytery, is a peculiar feature of this Cathedral. It is of Decorated design. Passing through it we enter the _Presbytery_. At the east end above the altar are two rows of lancets, the lower lights being blocked, and filled with rich mosaics. The glass in the upper lights is modern, of good design and execution, erected by the Rev. John Lucy in memory of his ancestor, Bishop Lucy (1660-1677). The subjects of the mosaics are the Crucifixion, and figures representing the Christian and Jewish Churches. The type of our Lord upon the Cross, the brazen serpent, appears below the central figure. Scenes from the life of St. David also are represented. The roof of the presbytery dates from about 1500, and on the bosses and in the panels are heraldic shields. The altar is modern. The floor is paved with old tiles, and the five crosses cut on some of the slabs in the sanctuary show that these stones were formerly altars. On the north of the presbytery is the famous _Shrine of St. David_, to which pilgrims flocked from all parts of Great Britain and Ireland. Kings and queens, nobles and princes came to pay their devotions at this shrine of the great Welsh saint, and bestowed many offerings on St. David's Church. Only the base of the shrine remains, and above this once stood the _feretrum_, which was doubtless covered with gold and jewels. The base is of Late Early English design, and was probably constructed in 1275 by Bishop Richard de Carew. The lowest part consists of three pointed arches with quatrefoils in the spandrels. The two inner quatrefoils communicate with lockers at the back, and were evidently intended for offerings. The upper portion consists of three arches with Early English capitals to the shafts, and under the arches were paintings of SS. David, Patrick, and probably Denis, but these have disappeared.

Another shrine is in the Cathedral, that of _St. Caradoc_, on the south side of the north transept. He was a Welsh saint, who was ordained and ministered in the Cathedral of St. David, and dying in 1124 was canonised by Innocent III. Here too are seen two quatrefoil openings for the reception of offerings.

We need not linger in the choir aisles except to observe the monuments, and will at once pass to the part of the east end behind the altar. This part consists of Bishop Vaughan's Chantry on the east of the presbytery, the ante-chapel, with two chapel aisles, and the Lady Chapel. This part of the church awaits restoration, for which funds are needed. With the exception of Vaughan's Chantry and the ante-chapel, all the building is roofless, exposed to the storms and rains of this exposed headland, and pitifully beseeches a new roof and shelter. Several architectural puzzles are presented by this portion of the Cathedral, which have not yet been entirely satisfactorily solved. Examining first Vaughan's Chantry or Trinity Chapel, we find a very beautiful example of Perpendicular work. The roof is a fine example of fan-tracery, and the whole structure rivals King's College Chapel, Cambridge, or Henry VII.'s Chapel at Westminster. Before the construction of this chapel the space occupied by it was left waste, and was described by Vaughan as _Vilissimus sive sordidissimus locus in totâ ecclesiâ_. A curious recess of Late Norman work has been discovered behind the high altar with beautifully-carved crosses. Above the recess is the figure of an angel, and some relics were found in the cill embedded in mortar, where they had doubtless been placed for the purpose of preservation at the Reformation. Recent discovery has revealed at the east end a beautifully-carved niche and two fine windows. Here are preserved some interesting Celtic crosses. On the south is the Chapel of King Edward the Conqueror, and on the north the Chapel of St. Nicholas. The _Ante-Chapel_ has Early English arches with a Perpendicular roof. The _Lady Chapel_ in its present form belongs to the transition from Early English to Decorated. Bishop Gower added the sedilia, founded a chantry here, and made sundry other alterations of a Decorated character.

The Cathedral is rich in monuments. The most important are:--

Bishop Gower, south of rood-screen. Bishop Morgan (1564), south of nave. Edmund Tudor, Earl of Richmond, father of Henry VII. (1456), presbytery. Bishop Anselm le Gras (1247), presbytery. Two tombs of Knights, on each side of presbytery. A Priest (Decorated period), in presbytery.

Two ancient Celtic slabs, one of which records the name of Bishop Abraham (1078), and is in memory of his two sons.

In the ruined eastern chapels are the monuments of Bishop Vaughan, Sir J. Wogan (_temp._ Edward I.), Archdeacon Hoit (1319), an unknown knight, Bishop Martyn, and the fine tomb of a priest under a beautifully-carved canopy.

SCOTTISH CATHEDRALS

Although the Church of Scotland is Presbyterian, it was not until the stirring events of the Revolution of 1688 that this form of church government was adopted. From that day forward the Church of Scotland knew no bishops, and hence the application of the term cathedral to a church belonging to that communion is a misnomer. The Episcopal Church of Scotland has its cathedrals, but these for the most part are modern. But Scotland still possesses many of its ancient fanes, which are usually preserved with much care and solicitude, and retain much of the splendour of their Gothic architecture, and are rich with historical associations and tradition.

GLASGOW CATHEDRAL

The Cathedral of St. Mungo in this city has vast treasures of architectural beauty. Its Patron Saint was the contemporary of St. Columba, a devout, miracle-working apostle, who converted the King of the Strathclyde Britons to Christianity and gained a victory for the Cross of Christ over the wild people who inhabited these parts. A cathedral was built here in Norman times. It was begun in 1124 and consecrated in 1192 in the presence of King David of Scotland. Before the century had closed fire destroyed this ancient church. But a new one was immediately begun, and five years later a portion of the building was so far finished that it was fit for consecration. About 1258 the fine Early English choir was completed. It is one of the best works of the thirteenth century in Scotland. The style of architecture followed closely the Early English of the northern type. The windows are deeply moulded on both sides, and the piers are strong and massive without clustering shafts. But Scotland at an early date developed peculiarities in her architecture which differed from English art. We see this in the use of the double lancet and simple tracery, whereas in England the lancets were widened. The influence of French architecture was not yet felt, though there was a distinct difference from the English usage. We see also that the choir has two storeys, the lower or crypt being entirely above the ground. Mr. Watson has recently published a learned work on this double choir, and gives excellent reasons for assuming that the vault of the "lower church" was built at five different periods, extending over half a century. His first period (_circa_ 1220) includes only the south-east compartment. Then followed the north and south aisles with the springers of the south middle portion. The lower church was then left unfinished until the upper church had been built. The central portion of the lower church was then vaulted (_circa_ 1260), and later still the eastern aisle and chapel. Mr. Watson's conclusions have not been universally accepted, but they are certainly worthy of credence. A few years later the tower and transepts were finished. Bishop Wishart took the part of Bruce as a loyal Scot against Edward I. and his attempted conquest, and suffered a long imprisonment. A disaster happened to the steeple in 1400, when it was struck by lightning. Bishop Lauder erected a stone one. The chapter-house was built by Bishop Cameron in the Perpendicular style. The rood-screen, with its curious sculpture, was the work of Bishop Blackadder, and also the great staircase leading to the crypt or lower church. At the close of the fifteenth century Glasgow became the seat of an archbishopric. Beaton, the nephew of the more famous Cardinal, finding that he lived in times dangerous for prelates, fortified his Palace and stored therein all the plate and precious things he could find, and then carried them off to Paris. The Cathedral happily was spared when the storm of contending forces at the Reformation raged, though it was long disused. The archbishop was in France, and Episcopacy was not in favour. With the advent of James VI. of Scotland to the throne of England Episcopacy was restored, and Spottiswood became Bishop of Glasgow. Then during the civil war Cromwell came here during the Presbyterian rule, but Episcopacy was restored with the monarchy, until it vanished again with the coming of Dutch William.

Much has been done during the past century in the way of "restoration." Two western towers have been bodily removed. The glass is modern and is almost entirely the work of foreign artists. The great east window was the gift of Queen Victoria. From the close we gain a fine view of the necropolis, which abounds in the sculptured tombs and monuments so dear to Scotland's sons.

IONA CATHEDRAL