Chapter XIV: Part 14

St. Albans, the ancient Verulam, is one of the most ancient towns in England, and is replete with historical associations. It was the home of the British chieftain Cassivellaunus before the Romans came. Boadicea killed many of the people for loving the Romans; and soon came Christianity, and then the record of the slaying of St. Alban, Britain's proto-martyr. It was during the Diocletian persecution that Alban sheltered a deacon named Amphibalus from the fury of the oppressors, and was himself converted to the Christian faith. Alban enabled his guest to escape, and was himself seized and slain, many miracles taking place at his execution. Offa founded a monastery here in 793, near his manor-house--of which the earthworks remain--and dedicated it to the saint, finding the remains of the martyr, which he placed in a reliquary and deposited in the church. The monks introduced here were Benedictine, of which order this was the chief house in the kingdom. The town increased, and Ulsi, the sixth abbot, founded the three churches of SS. Peter, Michael, and Stephen. We need not dwell on the records of Saxon abbots, many of whom were of Royal descent. When the Normans came, Paul of Caen, a relative of Lanfranc, was made abbot in 1077, and rebuilt the church, using the Roman town of Verulam as a quarry. He found much material collected by the last two Saxon abbots, who intended to build a new church, but were prevented by the troubles of the time. The large amount of Roman tiles used in the construction of the building is apparent. Much of his work remains in the eastern portion of the nave and in the tower and transepts. The church was dedicated during the rule of Abbot Richard D'Aubeny, in the presence of the king, Henry I., his court, and a goodly number of bishops, in 1115, and a little later we read of the relics of the saint being deposited in a beautiful shrine and conveyed to a place of honour in the minster. One Ralph de Gobion, seventeenth abbot, plundered the shrine in order to increase the territorial possessions of the Abbey, but his successor, Robert de Gorham (1151-1167), restored the shrine, and built anew some of the monastic buildings. This monastery had the high honour of producing the only English Pope, Nicholas Breakspeare, who was a monk here, and who, in the time of his prosperity, forgot not his early monastic home. The noble west front that once adorned this church, ruined by modern "restoration," was begun by Abbot John de Cella (1195-1214), but the troubles of John's reign prevented him from finishing it. His work was continued by William de Trumpington (1214-1235), who placed a lantern on the tower and rebuilt the west end of the nave. St. Alban's was fortunate in having a historian among its monks. Matthew Paris lived here, and died in 1259. He tells us much in his chronicles about the Abbey he loved so well, of royal visits, of dread plagues, and of the abbots who ruled here. Here came Edward I. on his way to Scotland, here his queen's body lay on its last sad journey, and here one of the Eleanor crosses was raised--alas! now destroyed. There was here a famous school of chroniclers, who did much for the history of England, and amongst them were Roger of Wendover, Matthew of Westminster, Thomas of Walsingham, and many others. A great work was begun in 1256 by Abbot John de Hertford (1235-1260), the successor of Trumpington, and this was the rebuilding and extension of the eastern arm. The apsidal termination was removed, the aisles lengthened two bays, a square-ended central chapel placed at the end, and the Lady Chapel begun. The work lasted until almost the end of the century, and is pronounced to be the most perfect example of the art of the age. A terrible disaster befell the Abbey in the rule of Hugh de Eversden (1308-1326). A great part of the south aisle gave way, two piers, with triforium and clerestory roof and south wall, being involved in a mighty ruin. The abbot set to work to restore the church; he built in the Decorated style, and finished also the Lady Chapel. The usual disputes between the monks and townsfolk raged at St. Albans, as in most places where there was a powerful abbot and a growing town. In Eversden's time the lordly abbot was compelled by the king to give way, but his successor regained all his power over the town. He was a wonderful man, this Richard de Wallingford (1326-1335), who made a marvellous astronomical clock, and could manage to tell the ways of the stars and the course of the sun as easily as he could manage the people of St. Albans. But all disputes did not cease for many a long year, and frequently the abbot's servants and the townsfolk came to blows. The work of restoring the south aisle progressed, and was finished by Abbot Mentmore (1335-1349), who also repaired the north walk of the cloister, damaged by the fall of the adjoining aisle. Abbot Thomas de la Mare (1349-1396) was the son of a noble house, and a favourite of Edward III. After Poictiers the French King John was brought here, and kept as an honourable prisoner, and afterwards expressed his gratitude to the courtly abbot for his care. Edward III. granted leave to the abbot to fortify his monastery, and walls and gates were much needed a few years later when Wat Tyler and his rebels besieged it and frightened the abbot and caused much damage. The rebels suffered here later when the king came, and some he hanged. Then was the Great Gate, with its prisons and vaults, constructed, which still stands, mightily convincing of the power of the abbot. Nor did he forget his church. He paved all the west part at great cost, and spent large sums on the services. The abbot, John de la Moote (1396-1401), took some part in dethroning Richard II., and it is said that the conspiracy was hatched at the abbot's dinner-table. Here they brought as a prisoner the Bishop of Carlisle, who stoutly defended Richard at Westminster. The rivalry of the Houses of York and Lancaster brought trouble to St. Albans. Here was fought the first battle, and here, in the house of a tanner, Henry VI. was found and conveyed to London. The second battle of St. Albans was fought here in 1461, when the king's party were victorious, and the Abbey was the scene of a great thanksgiving service. Great privileges were granted to the Abbey by Edward IV. Several alterations were made in Perpendicular times. The walls of the nave aisles were lowered and their roofs flattened, so that the backs of the Norman triforia were exposed, and their openings made into windows. Several Perpendicular windows were also inserted. St. Albans played a great part in the introduction of printing, and a press was set up in the Abbey. The earliest book printed here was in 1480, and many other incunabula came from this renowned press. The era of the Reformation is at hand. Cardinal Wolsey was abbot here in 1521. The fate of the monastery was doomed. In 1539 it was surrendered to the king by his creature Abbot Boreman, and the manors, goods and possessions were soon seized by the courtiers. Much damage was done in the church; of course, the beautiful shrines were destroyed. The Abbey church and buildings were granted to Sir Richard Lee, who soon began to uproot and destroy. The cloisters were levelled to the ground. Abbot Boreman did good service in buying the site of the monastery from Sir R. Lee. Then the townsfolk did nobly. They bought the church from the Crown, and made it the Parish Church of St. Andrew, and moreover established a Grammar School in the Lady Chapel. The eastern ante-chapel was walled up, and a public passage made across the church west of the Lady Chapel. The knives of the schoolboys improved not the ancient stone-work of this once beautiful building. Various attempts have been made in successive ages to keep this Abbey in repair. In 1832 and 1856 much was accomplished, and the story of the reparation of 1870 under Sir G. Scott tells of the triumphs of the skill of modern builders, and their bravery and resolution in saving the fall of the great tower. This mighty mass began to give way, and the architect discovered that some dastard attempt had been made to destroy it, after the dissolution of the monastery, by digging a great hole under one of the piers. The greatest credit is due to all concerned in the hazardous and most difficult task of saving the falling tower. The Grammar School was removed from the Lady Chapel, and much done to restore the building to its ancient beauty. In 1871 it was raised to the dignity of a Cathedral; and surely no church more worthily deserved this honour. In quite recent times injudicious "restoration" has wrought terrible mischief. The west front has been entirely modernised, and much else has been "restored" beyond all knowledge of English Gothic art; but, in spite of all this, St. Albans remains one of the most interesting buildings in the kingdom, and one can only regret that time has dealt so hardly with this venerable pile.

THE EXTERIOR

As we approach the Cathedral from the south we get a fine view and notice the great length of the building, its great central tower, and large amount of Roman tiles used in the construction. These tiles are 1-1/2 inches thick and measure 16 inches by 12. In addition much flint is used. The piers, arches, towers and staircases are mainly composed of tiles. Originally the building was covered with cement, which has almost entirely disappeared. Its plan is that of a Latin Cross, and originally there were no less than seven parallel apses, all of which have disappeared. The grand _Tower_ is Norman. Formerly there were turrets at the four angles, and in the thirteenth century an octagonal lantern was added; but these have disappeared, and the tower is very much the same as it was in Norman times. The embattled parapet is recent. The _West Front_ creates sad reflections, and words are powerless to convey a sufficiently strong protest against the evils which have been wrought by the injudicious though well-meaning efforts of modern restorers. The original Norman west front was removed by Abbot John de Cella (1195-1214), who began to erect a new one. It was a magnificent intention, but it was too ambitious for the resources of the monastery, and the levies of Richard I. for his crusading exploits, and the confiscations of John, were too much for the abbot, and put a stop to his enterprise. He intended to build two western towers, but got no further than the foundations. The front would have been 160 feet in width, 40 feet wider than Salisbury. Abbot William de Trumpington proceeded to finish the work, and rebuilt five bays on the south side of the nave and four on the north. John de Cella's three deep porches are left to us in some small fragments; the rest is modern, and owes its erection to Lord Grimthorpe. The _Nave_ shows three periods of architecture. The eastern portion is the work of Paul de Caen (1077-1097). On the south side the three easternmost bays are Norman and were constructed by him. The next five bays are Decorated. These were begun by Abbot Hugh de Eversden (1308-1326), in whose time during Divine service two great piers on the south fell, and all the roof and beams of the south part were ruined. The rebuilding was finished by Abbot Michael de Mentmore (1335-1349). The four remaining bays are the Early English work of William de Trumpington (1214-1235). In Perpendicular times the roof of the aisle was lowered and made flat, disclosing the triforium openings, but in the recent restoration the original pitch has been renewed. On this side stood the cloister court, and against the south wall of the church are seen the remains of the arches of the north cloister walk. Part of the east walk cloister left its marks on the west wall of the south transept, but recent restoration has obliterated them. The south transept is Norman, the work of Paul de Caen, except the south wall, which has been entirely rebuilt by Lord Grimthorpe. The tall lancets are an imitation of "the Five Sisters" of York Minster. Turrets crowned with small caps stand at each angle of the transept. Below the window are the remains of the slype, or passage from the cloister to the monks' burial-ground. The south wall is all that remains of the chapter-house. On the east side of the transept were formerly two apsidal chapels, but all traces of these have been removed. They were destroyed in the time of Edward II. to make room for a sacristy. On the south of the south chancel aisle is a fine Norman arch leading to these apsidal chapels. When they were removed the arch was contracted by the insertion of a pointed arch. A vestry was constructed here in 1846.

This eastern part of the church beyond the third bay from the tower was built in the latter half of the thirteenth century under the rule of Abbot John de Hertford, and completed by Abbot Roger Norton (1260-1290). The Lady Chapel was mainly built under the rule of Abbot Hugh de Eversden (1308-1326), one Reginald of St. Albans being the master-mason. It is in the Decorated style, and was begun as early as 1280. Abbot Wheathampstead (1420-1464) embellished it with much decoration in the Perpendicular style. It was with the ambulatory long separated from the church by a wall, and used as a Grammar School. A public path passed through the building here. The north side of the chapel and presbytery resembles the south. The north door is much later. The most western part of the wall is Norman. The north transept is entirely Norman, the work of Abbot Paul. On the east side were two apsidal chapels, removed in the fifteenth century. The upper part of the north front was rebuilt by Lord Grimthorpe. The north side of the nave preserves its Norman character, both in the clerestory and aisle, except at the west end, where it has been reconstructed in the Early English style.

On the west of the Abbey is the _Great Gateway_, which is an unusually important building. The greater part of the present structure was built by Abbot Thomas de la Mare (1349-1396), but there seems to be some thirteenth century incorporated with it. Here the abbot held his court, and dealt out justice to the townsfolk and received his rents, and transacted other business; and here there were prisons for rebellious clerks and others. The gateway was stormed by Wat Tyler's rebels in 1381, who broke into the Abbey and terribly frightened the abbot and his monks. But vengeance was in store for the rioters, several of whom were imprisoned here and afterward hanged. After the dissolution it was used as the Assize Court, and subsequently as a prison. Then the Grammar School, evicted from the Lady Chapel, found a home here. All the other monastic buildings have been destroyed.

THE INTERIOR

We enter the church by the west door, and are at once struck by its immense length. It is the longest in England, and consists of thirteen bays. Originally the Norman style prevailed throughout the building, but in the course of ages numerous alterations have been made, and its architectural history is somewhat complicated. The five bays on the north and the three bays on the south are the work of Trumpington, who left the great piers standing, removed the Norman arches, triforium and clerestory, and began his reconstruction with all the gracefulness of the Early English style. He cased the piers with stone-work, which are octagonal and have attached shafts. The triforium has in each bay an arch enclosing two sub-arches with a quatrefoil in the head. The dog-tooth appears in the string-courses. The clerestory windows have two lights. The roof is modern. It was evidently intended to have a stone vault, but this was abandoned apparently for want of means. The work in the aisles corresponds to that in the nave as far as Trumpington's building extends. There is a remarkable juncture of this Early English work with the Norman on the north side of the nave. This Norman work is that of Paul de Caen. It is simple and plain, and not dissimilar from that at Caen, whence the abbot came. On the south side the five bays next to Trumpington's work were rebuilt by Abbots Hugh de Eversden (1308-1326) and Michael de Montmore (1335-1349), owing to the fall already alluded to. Here we see rich Decorated work, and though it differs in detail, it follows the lines of the earlier work on the west. Instead of dog-tooth, we have the ball-flower alternating with lilies. There is more sculpture, some of the heads being beautifully carved. The aisle here is similar in character to the nave. The cloister court having been on the south side of this wall, the windows here are high up. The next three bays on the south side are Norman, and also the nine eastern bays on the north side. The piers are very massive and are square-edged. The arches have three orders. The triforium arches are plain, but less lofty than those of the nave, and the clerestory arches are of the same character. We will now examine the mural paintings in the nave, which are of Norman date. Upon the west side of the six Norman piers are examples of the same subject, the Crucifixion, with St. John and the Virgin. Beginning with westernmost Norman pier we notice a representation of our Lord, and below is the Annunciation. On the south is St. Christopher, on the next pier is the same subject, and on the south the figure of St. Thomas of Canterbury. The figures of St. Syth, Edward the Confessor, Coronation of the Virgin, and the Virgin and Child also appear. The nave has been shorn of most of its monuments, but on the second pier on the north side is the monument of Sir John Mandeville, the great traveller, with this inscription:--

"_Siste gradum propcrans, requiescit Mandevil urnâ
Hic humili; norunt et monumenta mori._

"'Lo, in this Inn of Travellers doth lie
One rich in nothing but in memory;
His name was Sir John Mandeville; content,
Having seen much, with a final continent,
Toward which he travelled ever since his birth
And at last pawned his body for y^e earth,
Which by a statute must in morgage be
Till a Redeemer come to set it free.'"

There is another monument which records the undying fame of one John Jones, who wrote a poem on "the Shrine of St. Albans." But time has been unkind to the poet, and his poem no longer exists. The massive stone pulpit was designed by Lord Grimthorpe. An inscription at the west end informs us that in the time of Henry VIII. and Elizabeth, on account of the Plague in London, the Courts of Justice were held in this nave. Dividing the choir from the nave is the fine Decorated screen commonly but erroneously called that of St. Cuthbert, erected about 1350 by Abbot de la Mare. It is not the rood-screen as it is commonly described. That with its great, high, towering rood stood a little further east. This is excellent Decorated work. It has suffered from iconoclastic reformers. Over the screen is the modern organ. The extensions of the screen over the aisles are the work of Lord Grimthorpe. Notice the rich tabernacle work of the screen.

The _South Aisle of the Choir_ beyond the screen is all Norman, except the modern vault. Here on the south is the tomb of two famous hermits--Roger and Sigar--who lived in the time of King Stephen, though the tomb is later. Roger lived near Dunstable, and Sigar in the wood of Northaw, of whom it is said that he banished all nightingales from his retreat, as their sweet song prevented him from saying his prayers. Next we notice the Abbot's Door, which is rich Decorated work, built by the fashioner of the screen, Abbot de la Mare (1349-1396). The _Transepts_ and _Central Tower_ are plain Norman, the work of Paul de Caen. The south wall of the south transept, however, with its Five Sisters' Window, copied from York Minster, was entirely rebuilt by Lord Grimthorpe. The eastern triforium arches are extremely interesting, as they have curious baluster shafts which are recognised as Saxon work. These doubtless are the sole remaining relics of the ancient church built by Offa in 793, and were inserted here by Abbot Paul. The capitals are, however, Norman. The small window on the opposite side was an opening into a watching chamber, whence a monk could keep guard over the treasures in the transept. This chamber was not a reclusorium as the legends tell. On the east side were two apsidal chapels, destroyed in order to make room for a sacristy, which has now shared their fate. The altars of SS. Stephen and John the Evangelist stood here. On the west side are three ancient Jacobean cupboards, fashioned for the distribution of bread to the poor on Sundays. On the south is a fine Norman doorway, brought here from the slype, which is now entered through it. The south wall of this passage is all that remains of the old chapter-house. Here are some Norman arcading, and as the modern verses tell us, "fragments brought together from all sides." We enter the _Choir_, which occupies the three eastern bays of the nave and the space under the tower. The stalls are modern. The ceiling is extremely interesting and dates from the time of Edward III., the painted panels being adorned with the sacred monogram, numerous shields with royal arms supported by angels, the _Te Deum_, and invocations to the Virgin. The Roses of York and Lancaster appear on the lofty ceiling of the tower. The choir pulpit here was given by the English Freemasons. The _North Transept_ resembles the south, and is mainly Norman. Here is another Saxon baluster-shafted arch in the triforium, a relic of Offa's church. The old painted ceiling has been replaced by a modern roof. The upper part of the north wall was rebuilt by Lord Grimthorpe, who inserted here a huge rose window which has received some very severe criticism. He has also placed beneath it an inscription which records the fact that he ("Edmund") has built anew the work of Abbot "John" Wheathampstead which had perished while that of Abbot Paul remains. On the east were formerly apsidal chapels, which have been removed, and altars dedicated to the Holy Trinity, St. Osyth, and the Holy Cross of Pity. Near the last is a painting on the wall, the subject being the Incredulity of St. Thomas. On the floor are some remarkable ancient tiles. On the splay of one of the Norman windows a vine is represented, and there is a small Norman door. Bishop Claughton's fine monument is here (1892) and Bishop Blomfield of Colchester (1894).

The presbytery occupies the space between the tower and the Wallingford screen, and retains its Norman walls as far as the third bay. The rest is the work of Abbot John de Hertford (1235-1260). The style is Early English. Before us is the famous Wallingford screen or reredos, erected by Abbot William Wallingford (1476-1484), which resembles that at Winchester. It was much mutilated, and has very recently been thoroughly restored, and the niches filled with statuary. There is a fine figure of our Lord in the centre, with the Virgin and St. John on either side, surrounded by angels. Below are the twelve Apostles with our Lord in the midst. On either side are figures of saints and kings connected with the history of the Abbey. On the north is the Chantry of Abbot Ramryge (1521), which has some rich Perpendicular work; the abbot's rebus--_rams_ with _ryge_ on the necks--may be discovered. Notice the representation of the martyrdom of St. Alban over the door. On the south is the Chantry of Abbot Wheathampstead (1464), which has a fine brass (that of Abbot Thomas de la Mare), and bears his arms (three ears of corn with the motto _Valles habundabunt_). Some attribute this tomb to Abbot Wallingford, but the details seem to point to Wheathampstead. This abbot caused the ceiling to be painted whereon are depicted the _Agnus Dei_ and the Eagle of St. John. There are numerous tombs and brasses of other abbots here. The south door has some fine Early English tabernacle work. The architecture of the adjoining _North Aisle_ corresponds with that of the presbytery, and through it we pass to the _Saints' Chapel_, which is the work of Abbot John de Hertford and his successors, and may well be described by Sir G. Scott as being "among the finest productions of that period." On the east side of the reredos are some fine modern statues of the Virgin and other saints. Here is the famous _Shrine of St. Alban_, broken and destroyed at the Reformation, and now happily built up again, the fragments having been collected by careful hands from many parts of the building. It was first erected by Abbot John de Marynis (1302-1308), and is of Decorated style. Gorgeous must have been its original appearance; but though shorn of all its jewels, gold and silver, it remains a noble piece of work. The holes in the panels of the base were intended for the insertion of diseased limbs, in order that they might be healed by the merits of the saint. The carved leafage in the tympana of the canopied niches is admirable. Only two carved figures remain, those of Offa and St. Oswin. On the west we see a representation of the martyrdom of the saint, and at the east his scourging. On the north side of the chapel is the _Watching Tower_, a wooden structure, probably erected by Abbot John de Wheathampstead. This and a similar one at Christ Church, Oxford, are the only watching towers remaining. A monk was stationed here to guard the treasures of the shrine. There are some curious carvings on the frieze. Treasures were preserved in aumbreys which now contain some curios. The famous Humphrey, Duke of Gloucester, son of Henry IV., murdered by order of Queen Margaret (1446), lies buried here in a tomb on the south. The sculpture of the numerous figures is very bold and vigorous. Some painting is observed on the piers, and there is a figure of St. William of York. In the _North Aisle_ is part of the _Shrine of St. Amphibalus_, which shares the history of its neighbour, and has been now partially recovered. It belongs to the last half of the fourteenth century. On the sides are the initials of Ralph Whitechurch, sacrist of the Abbey.

The _Ante-Chapel_ and _Lady Chapel_ have been extensively restored. Indeed, their condition was deplorable. A public path ran through the former, and the latter was used as a Grammar School, and suffered in consequence. The story of the architecture is rather complex. The ante-chapel was begun by De Hertford and finished by his successor, Roger Norton (1260-1290), who continued to build the Lady Chapel, which was finished by Hugh de Eversden (1308-1326). The style is Decorated. The whole of the chapel has been most completely restored by Lord Grimthorpe. The modern carving is exquisite. We now pass to the _South Aisle_, which follows the architecture of the rest of the east end. Here we see an iron trellis screen of thirteenth-century work. There is here some good arcading, and an interesting panel taken from the old ceiling of the north transept representing the martyrdom of St. Alban. At the east end of this aisle was the Altar of St. Mary of the Four Tapers, and numerous other altars existed in the aisles and ante-chapel. In the wall above the old poor box is a curious figure of a pensioner carved by a sexton about 100 years ago.

An ascent of the tower reveals many interesting features of that ancient structure, and helps one to realise the formidable nature of the task which the skilful architect and builders of 1870 accomplished when they saved this massive pile from destruction.

DIMENSIONS

Total length 550 ft.
Length of nave to tower 284 ft.
Length of nave to screen 215 ft.
Width of transepts 189 ft.
Width of tower 144 ft.
Total area 40,000 sq. ft.

PRINCIPAL BUILDING DATES

Saxon--Baluster shafts of windows in triforium of transepts.
Norman (1077-1115)--Nine bays on north of nave, and three bays
on south, transept, and three bays of presbytery.
Early English (1195-1260)--Western end of nave, presbytery,
Saints' Chapel with aisles.
Transition (1260-1290)--Foundations of Lady Chapel and
ante-chapel.
Decorated--Lady Chapel and five bays of nave.
Perpendicular--South buttresses of choir; windows inserted
which have since been removed.

The city possesses many objects of interest:--

The Roman city of Verulamium.

The Churches of St. Michael, St. Peter, St. Stephen.

Sopwell Nunnery.

The old Moot Hall.

And the old inn called the "Fighting Cocks," said to be one of
the oldest inns, and the oldest inhabited house in England, but
this reputation is somewhat legendary.

NOTE

The Welsh Cathedrals of Llandaff and St. David's should be approached from Gloucester; and Chester is the most convenient starting-point for St. Asaph and Bangor.

ST. ASAPH'S CATHEDRAL

This Cathedral, like that of Bangor, is small, but its history is not unimportant. It owed its origin to Kentigern, otherwise called St. Mungo, the founder and Bishop of Glasgow, who, being driven from his northern see in the sixth century, found a refuge here, and enjoyed the protection of Prince Cadwallon. This prince aided him in building a church and founding a monastery here, and fabulous records tell of the amazing number of the monks. His biographer assures us that there was no less than 965 dwellers in this monastery, which number must be an extraordinary exaggeration. When Kentigern returned to Scotland, he left one of his followers, St. Asaph, to act as bishop of the diocese. The chroniclers are silent about the names of the subsequent bishops, until they record the doings of Norman times. In 1143 one Gilbert was consecrated bishop. The church in existence during his rule was burnt down in 1283, during the fierce wars between Edward I. and the Welsh. Anian II. was bishop during that time, and contemplated the transferring of the seat of the bishopric to Rhuddlan; but, on the advice of the Archbishop of Canterbury, he determined to rebuild the ruined church, and most of the present building is his work, or that of his two successors, Leoline and David. The work extended from 1284 to 1350. Owen Glendower, after his fashion, set fire to the church and burned the roof in 1404, and for a century the church remained in a roofless ruined state. Bishop Redman, in 1490, began to rebuild and restore the ruined church. He raised walls, erected a new roof, added the east window, and placed in the choir the stalls and a throne. Bishop Owen Jones, in 1631, made some further alterations, and repaired the steeple and belfry. Then came the disasters of the Civil War, when terrible desecration ensued, principally caused by a wretch named Miller, who turned the Palace into a wine-shop, and the church into a stable and cow-house, and the font into a hog-trough. Since the Restoration there have been several learned and devout prelates, amongst others, Isaac Barrow, William Beveridge, Thomas Tanner, author of _Notitia Monastica_; Samuel Horsley; but they were more learned in theology and their books than in the study of the correct principles of architecture. Hence they disfigured the church, and destroyed many of its most interesting features. In 1780 the choir was remodelled, a plaster ceiling erected, and much further damage done. "Oh, _Restoration!_ what evils have been wrought in your name."

The church is cruciform. At the west end is a large Decorated window, and a deeply-recessed doorway of six orders, with buttresses on either side, which have crocketed pinnacles; a wooden cross surmounts the gable. It will be noticed that the shafts supporting the arch of the doorway have no capitals, the wave moulding making a complete sweep round the arch, with no capitals intervening. This arrangement we shall notice in the church. The great central tower was the latest addition to the mediæval church, and was constructed late in the fourteenth century. The embattled parapets were added in 1714. It is 93 feet high. The nave consists of five bays, and at once we notice the same peculiarity observable in the west doorway. The mouldings are carried up the piers and round the arches without any break. They are very plain, and of two orders, and are of the Early Decorated style, the work of Bishop Anian. Formerly there was a clerestory, but during one of the tasteless restorations a ceiling was erected, which shuts it out from view. The windows of the clerestory were in the Perpendicular style, and exist still in the south. Grotesque carvings appear on the brackets supporting the roof. The windows of the aisles have been much restored, and are in the style of the Early Decorated. The south transept was once the Lady Chapel, the consistory court and chapter-house. The windows are of five lights, and were finished about 1336. Here is a much mutilated effigy of a bishop, which is of great beauty, especially the figures of censing angels. It is supposed to represent Bishop Anian.

The north transept has the monument of Bishop Luxmore (1830). In the south aisle are some monuments of the relatives of Mrs. Hemans, the poetess, and a tablet has been erected to the memory of that lady, who died in 1835. Under the central tower stand the old finely-canopied stalls. The throne is modern.

The style of the old choir was almost entirely changed at the eighteenth-century "restoration." It was of Early English design, and Sir G. Scott wisely resolved to restore it to its primitive form. This proceeding was somewhat drastic, but such was the condition of the choir, and so severe was the treatment it received in 1780, that perhaps no other course could with advantage have been taken. He discovered the old sedilia, and the door leading to the old chapter-house. The east window has entirely modern tracery, and the reredos is modern. Bishop Barrow's tomb outside the west door is worthy of notice.

The Bishop's Palace is a large modern building. At the foot of the hill is the parish church. From the summit of the tower of the Cathedral a fine view can be obtained of the Vale of Clwyd, with the Castles of Denbigh and Rhuddlan, and a long line of sea coast. Robert Montgomery sang sweetly of this wondrous view:--

"Thy heart might beat
In thrilling answer to the strain I sing,
Hadst thou beside me, from the sacred tower,
Beheld this beauteous vale."

BANGOR CATHEDRAL

The early Bishops of Bangor are shadowy beings. We read of Bishop Daniel in the sixth century, concerning whom the records are misty, although he was canonised. Godwin says that there were no bishops here before the Norman Conquest. At any rate Hervey, or Harvé, was consecrated bishop in 1092, but he was so rigid in his discipline, and so severe upon the Welsh, that they rebelled, murdered his brother, and threatened him with a like fate. So he fled for refuge to the court of Henry I., and was ultimately appointed to the See of Ely. The early Celtic church was destroyed by the Normans in 1071. A second church was at once built, and here, in 1188, Archbishop Baldwin preached the Crusades, and so moved the heart of the Bishop of Bangor that he joined the army of Crusaders to rescue the Holy City from the Saracens. This church was destroyed in 1211 by a great fire. It was, however, partly restored, and again fell a prey to destruction in the wars of Edward I. and the Welsh. Bishop Anian, however, seemed to have been a favourite of the king, who helped him to rebuild his church. This bishop baptised the first Prince of Wales, born at Carnarvon Castle. He also drew up the Bangor Use, or Service Book, which ranked highly among the Cathedral uses of the mediæval church.

During the wars of Owen Glendower in 1402 the church was completely gutted, and for nearly a century it lay in ruins. A new church was begun by Henry Deane in 1496, who finished the choir, and the Cathedral was completed by Bishop Skeffington, Abbot of Beaulieu, Hants, who was appointed to the See of Bangor in 1509. The style of the architecture was therefore entirely Perpendicular. Though the body of this benefactor was buried in his Hampshire Abbey, his heart was conveyed for sepulchre to the church he loved so well. The church suffered at the Reformation, when the see was held by Bishop Bulkely, who cared not for his church, and sold its store of vestments, plate, ornaments, and the bells given by his predecessor. Bishop Rowlands, in 1598, put a new roof on the church, and gave four new bells. In the Civil War it suffered much; the soldiers destroyed all the woodwork and broke the glass. At the Restoration the church was renovated and beautified, and Brown Willis gives a good account of "its lightsome" appearance. In the early nineteenth century some terrible "restorations" took place, and the church was divided into two portions, one for the Welsh and the other for the English service. The general appearance of the church was stunted and low, and was much inferior to many parish churches, possessing neither dignity nor beauty. In 1866 a very thorough restoration was undertaken by Sir G. Scott, which practically amounted to a rebuilding. He, however, carefully collected all the old materials found built up in the wall, and from these he endeavoured to reconstruct the church as it originally stood.

The plan of the church consists of a west tower, a nave with aisles, a central tower, transepts and choir, and on the north a muniment room, and above it the chapter-house. The _West Tower_ was built by Bishop Skeffington (1509-1533), and is a good example of Late Perpendicular work. It has three stages, and is 60 feet high. The door is of the usual character of the style, and above it is the inscription:-- "_Thomas Skevynton, episcopus Bangorie hoc campanele et ecclesiam fieri fecit, A^o Partus Virginei, 1532._" In each of the other stages there is a window of three lights. The _Nave_ has six bays, and the Perpendicular style is evident in the arches, octagonal piers and characteristic bases. The windows in the south aisle are Decorated, and those in the north Perpendicular. The masonry of the walls seems to have survived the various fires and other accidents which befell this ill-fated Cathedral, and probably are the remains of Bishop Anian's work. The font was probably erected by Skeffington, and is good Perpendicular. The _Transepts_ have been almost entirely rebuilt, and the Perpendicular work, which was much decayed, was replaced by Decorated, authority for which was discovered by Sir G. Scott in the fragments of old stone-work built up in the walls. Some very fine thirteenth-century piers stood at the crossing until an unfortunate restoration in 1824, when they were replaced by imitation Perpendicular. These have now been removed, and new piers and arches constructed in accordance with the conjectured design of the originals. There was no central tower in the Perpendicular church, but the relics of earlier work prove that the original church had such a tower. Hence Scott added this to his design, and when completed it will enhance the dignity of the building.

The _Choir_ has had a chequered history, which, as Sir G. Scott states, is of a threefold nature. The Norman choir had an apsidal termination. This apse was removed, and the length of the choir or presbytery greatly increased in Early Decorated times. After the destruction wrought by Owen Glendower, Bishop Deane (1496-1500) restored it, and the main object of Scott's restoration was to make the present choir conform to the condition in which Bishop Deane left it. The Civil War brought much destruction to this excellent work of the Perpendicular period, and decay had also left its marks upon it; but during the recent restorations all has been again renewed, and all that we see conforms as nearly as possible to that produced in the days of Henry VII. Cromwell's soldiers left none of the fittings untouched. The stalls were destroyed. Now all has been restored, and most of the fittings are new. The modern tiles of the floor are worthy of notice. Some mural paintings have been added at the east end. The tombs on either side are probably those of Bishop Anian (1328), the rebuilder of the church, and one Tudor ap Tudor (1365). In the south transept is recorded the burial of Owen Gwynedh (1169), the son of the last King of Wales, Gryffydh ap Gynan, who also was buried here. A rude representation of our Lord upon the Cross appears over the supposed Royal tomb. In the north transept is a memorial to a Welsh bard, Gronovil Owen (1722).

Sir G. Scott entirely rebuilt the old chapter-house and muniment room on the north side of the choir in the Early Decorated style.

The Bishop's Palace is a large mansion, but has no great architectural merits. The Deanery and some old almshouses and an Elizabethan school are all near the Cathedral.

LLANDAFF CATHEDRAL

The history of the Welsh sees carries us back to the early days of British Christianity. When the Saxon tribes swept over the land they destroyed the churches and monasteries, and drove the British west-ward, who found a refuge in the hills of Wales, in Devon, Cornwall and Somerset, and in the regions north of the Mersey, and there the British Church continued to exist and flourish, though the rest of England was submerged in the flood of Paganism. When Augustine came he found in these parts of England a church governed by its bishops, who did not recognise the authority of the Pope, and whose customs differed somewhat from those of Rome. He summoned them to a conference, which was held at a place called "Augustine's oak," where by his haughty demeanour he offended the representatives of the ancient native church, who refused to abandon their accustomed usages, especially in the matter of the time for observing Easter and the forms of the tonsure.

In Roman times Caerleon was a see, which seems to have embraced the whole of Wales. Then there were five principalities, each of which had a bishop. These were Bangor, Llanelwy (St. Asaph's), St. David's, Llandaff and Llanbadarn, afterwards incorporated with St. David's. Judging from the number of the names of saints which occur in Welsh nomenclature, we may conclude that the Welsh Church was famous for its zeal and activity and for the holiness of its members. It sent preachers and missionaries to Ireland, to Brittany, and Cornwall and Devon. It founded colleges and schools, and the great Celtic Church assisted in the conversion of the Northern Saxons of England, and even sent missionaries to the Continent. By degrees the British Church became merged in the English, founded by Augustine, and with the appointment of Norman prelates in the time of the Conqueror, any lingering survivals of ancient customs and usages were lost, and the unity of the church fully established.

The earliest bishop of the See of Llandaff whose name is recorded was St. Dubricius. He is reputed to have founded the see in 612 A.D., but his successor, St. Teilo, seems to have had the chief credit of accomplishing the work. Of course the mythical King Lucius is dragged in as the earliest founder, but we have always neglected the legends connected with him. Of the early Welsh bishops we have no sure information, though there is the famous _Book of Llandaff_, which does not afford much certain knowledge, and is full of inaccuracies. Bishop Urban was consecrated in 1107, conveyed here the relics of Dubricius, and began to rebuild his Cathedral, for which an indulgence was granted by the Archbishop of Canterbury to all who should assist him in the work. Possibly it was finished in his time, but we have no certain information, and the stones of the church can alone tell the story of its building. During the thirteenth century the western part of the nave was erected, and also the chapter-house, which is of Early English design. During the Decorated period the Lady Chapel was added and the presbytery rebuilt, and the walls of the aisles also renewed. The north-west tower was erected in the Perpendicular period by the Earl of Pembroke, uncle of Henry VII. Thus the church was completed. It was not a very beautiful structure, and time has dealt hardly with it. The spoilers at the Reformation plundered it; decay and desolation reigned in the deserted "long-drawn aisle." Some bishops seem to have attempted to do something, but the whole condition of the church was deplorable. Then the troubles of the Civil War period fell upon this Job-like structure, and in spite of some attempts to improve its condition at the Restoration, and at subsequent periods, it still remained in a ruinous state. Then in 1723, when the taste for Italian models was rampant, the authorities erected an Italian temple-like building at the east end. This happily has been entirely removed during the restorations, which commenced in the middle of the last century, when the church was completely renovated, and all the old portions which had escaped the action of time, or the barbarous efforts of the followers of Christopher Wren, restored to their original state. The work was finished in 1869. Although much of the church is new, on close inspection we can discover some ancient work that lacks not interest.

The _West Front_ is very beautiful. The doorway is a fine example of Early English work. It consists of a round arch, with two sub-arches, and in the tympanum there is an episcopal figure, probably that of St. Dubricius. The shafts at the sides of the doorway are Early English. Above them are lancet windows, and in the gable a figure of our Lord in glory. The cross above the gable is modern. The front is flanked on each side by two towers. The north-west tower is Perpendicular, the work of Jasper Tudor, Earl of Pembroke, uncle of Henry VII.; the south-west tower is modern.

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