The Gate Tower. St. Davids.
The stone wall that encompasses the cathedral close upon its eastern side terminates in the massive octagonal tower, with Gothic doorway and windows, seen in the adjoining sketch. This is flanked again by the old gateway through which we have just entered.
We now descend the broad flight of steps that, from their number, have been dubbed the 'Thirty-nine Articles.' Passing through the great south porch our eyes are greeted by a beautiful Decorated doorway, the work of Bishop Gower, which is adorned with exquisitely-carved figures and foliage encrusting arch and pillar. Here enclosed amidst intersecting branches we discern quaintly sculptured representations of the Root of Jesse, the Crucifixion, St. David with his harp, and various other saintly personages; yonder the artist tells the history of Adam and the birth of Eve; while overhead presides the Holy Trinity, flanked by angels with swinging censers—a veritable gem of mediæval sculpture.
Proceeding onward we now enter the nave, whose rich yet massive architecture forms a unique and enduring memorial of the first Norman bishop, Peter de Leia. The general effect is of breadth rather than height, the solid cylindrical pillars supporting semicircular arches of unusual width, wrought with the varied and elaborate ornamentation of the Transitional Norman period.
Above this rises a series of lofty arches enclosing both clerestory and triforium—a rather unusual arrangement—while a singular appearance is produced by the upward slope of the floor, and the outward lean of walls and nave pillars, the latter being the result of an earthquake that occurred in the thirteenth century.
The roof which spans the broad nave is one of the most notable features of the cathedral. It was built of gray Irish oak about the end of the fifteenth century, and is a veritable masterpiece of construction and design. The sculptured foliage of the capitals is worthy of close examination, and one of the nave pillars bears a faded fresco, generally supposed to represent King Henry IV. Beneath an adjacent arch reposes the effigy of Bishop Morgan—a goodly figure habited in priestly robes that are admirably rendered by the sculptor's chisel. The base of this monument is enriched with an unusually fine Resurrection, carved in marble.
Fronting the full width of the nave, the beautiful Decorated rood screen of Bishop Gower now claims our attention. This exquisite structure is perhaps unrivalled in the picturesque variety of its several parts, and the charming effects of light and shade that enhance the mellow tones of its ancient stonework. Panelled buttresses divide the screen into five bays, the middle compartment forming a wide archway adorned with flowers and vine-leaves. To the left is the older portion, subdivided by Gothic arches borne by detached pillars, with grotesque heads and figures clad in thirteenth-century armour. A narrow stair winds up to the ancient rood-loft above.
Turning to the southern side of the rood-screen, we are confronted by the rich and sumptuous fabric erected by Bishop Gower, a view of which forms the Frontispiece of the present volume. Yonder the noble founder sleeps his last sleep beneath a richly-groined canopy, whose traceried arches sparkle with cusps and crockets—a dignified, reposeful figure, worthy the Wykeham of the West, as Gower has been fitly styled. In memory of his greatest work Gower's tomb once bore the legend, 'Henricus Gower, Episcopalis Palatio Constructor.'
After gazing our fill upon this beautiful structure, unquestionably the chef d'œuvre of the whole cathedral, we pass through the central archway beneath a vaulted roof, whose stony ribs, disdaining the customary support, spring clear of the circumjacent masonry. Here venerable tombs cluster beneath fretted ceilings that retain much of their ancient coloured fresco work, depicting figures, foliage, and fantastic forms which in nowise transgress the Scriptural commandment, for they bear little or no resemblance to any created thing.