The church was but another sanctuary in olden days where men could take refuge from sin or foe. The “llan,” which is the prefix to fully eight tenths of all the names of ancient churches in North Wales, means “enclosure.” Probably in these places were the earliest monastic settlements, at a time when the “llan,” as the Irish “rath,” enclosed habitation as well as sanctuary. But as the years brought about greater specification in the functions of church and state the term narrowed itself down and was applied solely to the church. The old churchyard walls are still more or less circular like British fort walls. Llangelynin has an enclosure that undoubtedly follows the old lines. The walls of the churchyard near Holyhead are extremely ancient, seventeen feet high and six feet thick. This masonry, from the presence of certain round towers and the particular plastering used, is known to be Roman. Set away from the world that is “too much with us,” these enclosures are charming old spaces, habitable in a sweet sense. The grass looks peace into tired eyes, and to eyes eager with plans rest here is merely an emphasis upon the joy of living. And here, as the stiles into the close show, the children play and have played from generation to generation. Here they climbed upon the roof, and here against the north and west walls, where burials are never made, they played ball and scratched upon the stone their scoring-marks.
At Llangelynin there are no yew trees; that windy height is too bleak for even the sturdy yew. Only white harebells and hardy grass blow about on its bare rock-strewn summit. But in most of the enclosures the yew still stands as the one enduring monument of a past whose very rocks have been covered by the silt of over a thousand years. Many of these trees date from a British period and remain emblematic to-day as they were then. Sometimes it is a single yew by the lychgate which one sees, or an alley of the deathless green, or perhaps yew branches completely veil a gable end of the little church. At Beddgelert, the oldest foundation in all Wales, the yew stands to-day as it stood some two thousand years ago; about its base have rushed the floods of wild mountain torrents, from its feet the graves of centuries have been washed away down to the all-embracing sea. Like children of yesterday are the mediæval lychgates through which one passes into the church enclosure and through which is often caught the first glimpse of the church bell-cot. At Caerhûn (the ancient Canovium), where the yew spreads over the gate is a double bell-cot, which, as it has the traditional straight ridge and gable in the middle, is amongst the oldest in Wales, of the fourteenth or fifteenth century, for the cots as well as the lychgates are “recent” in the life of these churches. The little crucifixes with their straight arms are also of this date. Before this time the local churches had nothing but hand-bells, which were held in great reverence. One of them may be seen in the stone coffin of Llewelyn the Great at Llanrwst. It is about ten inches high and cast on an oblong plan. Gildas gave such a bell to St. David. Six hundred years later, in the twelfth century, Giraldus Cambrensis tells the story of a portable bell called “Bangu” which, when a certain woman carried it to a castle where her husband was wrongfully imprisoned, caused the destruction of the whole town except the church walls. The campanology of North Wales is a romance in itself, a collection of odd, interesting, pathetic tales of past miracles, past friendships, past enmities.
The original buildings not only did not have lychgates and bell-cots, they also did not have porches, and some to-day do not have them. But they are being added from time to time, and fearful are some of them to behold. At St. Mary’s, Llanfwrog Church, just across the bridge from quaint Ruthin, where the Duchess of Westminster has lived and is of vastly more interest to the people than gable ends and oaken rafters and other such stuff, fit only for the attics of men’s minds, is a bit of “restoration” suitable for display in the windows of a carriage-shop. The chancel railing is bright green, red, and black, the pews black and red,—a foretaste possibly of the landscape into which some of their occupants will one day take a dip,—and the stained glass vies with a refracted solar ray in yellows and oranges and reds and blues and greens. From this “restored” edifice drops a long flight of steps past the windows and signboard of an ancient hostelry, “Ye Labour in Vain Inn.” One cannot help wishing that the white gentleman upon the signboard, who is scrubbing a black man in a tub of water, would take his scrubbing-brush up to the church. Often, after all else has been hopelessly restored and all vestiges of harmonious beauty have disappeared, the old doorway remains, witness of an instinctive reverence for a threshold. Many of the circular-headed doorways, now hooded with porches, date from the eleventh and twelfth centuries and even earlier, and through them one passes over a mere sill into the sacred enclosure.
A few points, simple and easy to remember as well as easy to discover, give an added intelligent pleasure in the study of these churches. The oldest churches are generally from twelve feet six inches to fourteen feet wide; the early walls from three feet to three feet six inches thick. Sixteenth-century walls rarely exceed two feet and a half in thickness. The old wattle buildings were daubed with a mixture of clay and cow dung; these church walls are built with earth and rendered on the face with lime and mortar. Buttresses are sometimes found, but they do not belong to early local work. The roofs are easy to examine and often of an enchanting beauty. At Llangelynin is a roof which is probably the original twelfth-century covering. The roof at Llanrhychwyn is also of the close couple type; here the struts are straight, but carved, and there are two ties across the nave. In some of these roofs are intermediary rafters, added when the thatch was replaced by slate.
The earliest mention of a chancel of which I know is that in the poems of Cynddelw, who lived in the twelfth century, in his ode to Tysilio, when he speaks of a certain church as the “light or shining church” with a chancel for mass. We cannot assume that even in the twelfth century chancels were by any means common in North Wales. At Mallwyd Church there was, not so long ago, a communion table in the centre of the building, and there is no question but that holy ceremonies were performed originally, instead of at a chancel end, in the midst of this rectangular Holy of Holies. At Bardsey, Pennant found an insulated stone altar rather nearer the east end than the centre. The rough, uneven slate paving in these churches is comparatively modern, and it might be added comparatively luxurious. The first paving was mud and sometimes flat stones. Formerly the windows were covered by wooden shutters or lattices; that was the usage in all conventual buildings. Now the windows are either well or illy filled with coloured glass. In many of the churches falling into great dilapidation the windows have been stuffed with stone and mortar, or rudely boarded over. Some of the stained glass is genuinely ugly and some of it genuinely and anciently lovely. That at Llanrhychwyn, coloured in brown line and yellow stain and representing the Virgin and Child and the Holy Trinity, is of the fifteenth century and still beautiful. Probably the use of glass was not introduced into Wales till the thirteenth century. West windows were unknown in local Welsh work. Where a window with such an exposure is found, the opening did not belong to the early church. There are windows of great antiquity in these churches. Look at the lintelled window in the passageway into St. Beuno’s Chapel. Courage hesitates at assigning a date to this bit of work. There are windows far more elaborate of a comparatively early date, but they are the work of Latin monks and do not follow the straight lines of the native British architecture. An exquisite example of early Latin work is that of the Gilbertine monks upon the Beddgelert triplet.
The barrel vaults in these churches are curious concave coverings over the chancel end, ark-like in form and supposed type of the ancient church. These oaken canopies have been elaborately painted in the past; now they are to be seen in every stage of dilapidation, provoking the eye by their interrupted pictures or faint lines of red and blue. They are approximately of the same date, although not in the same condition, for their destruction is due to leaky roofs and not to age. The ground colour was the green-blue the Middle Ages loved so well, and the other colours red, yellow, and white. At Llandanwg, where the sea would flow into the western door were it not for a big embankment, there is a barrel vault with faint traces of painting upon it. An old man whose father and mother were the last people to be married there told us he took an interest in it, it was the only church in Harlech Parish fifty years ago, and “the only service held there then was when the parson and the clerk used to go over and enjoy drinking their beer on the gravestones.” English came stiff to his tongue, but he described the fearful condition of the church, and the way the people took off the seats for firewood and the children made a playhouse of the abandoned structure. In one corner of the barrel vault was a picture of the Devil prodding people down into hell. The children threw things at these paintings, mud and other articles, till the pictures were completely destroyed. Whatever the subject, it is pleasant to recall the colouring of the barrel vaults, for, executed five or six hundred years ago, they must have been brightly beautiful like the margins of an illuminated book, radiant with something of the blue and gold of very heaven itself. Of the rood screens and lofts that veiled the chancel space, there are but few left intact; of the sacred rood itself, no vestige except the socket on the candlebeam into which its pedestal slipped. Fanaticism has swept this feature away. In Beddgelert their rood-screen carving was converted into chairs for household use or fuel for warmth. Strangely enough, Queen Elizabeth was the last defender of the screen’s mystical beauty of carven wood and the silent admonishing figure stretched upon its façade. At Llanengan there is a screen of rare delicacy, stolen, together with some elbow stalls and silver bells, from Bardsey, that resting-place of saints which seems to have been to the ecclesiastical world what Fuseli said Blake was to the art world, “good to steal from.” Chests, worm-eaten and with rusty bolts, are often among the church treasures. St. Beuno’s chest at Clynnog is as old as the saint himself. And at Clynnog, too, are dog tongs, or lazy tongs as they were sometimes called, in each paddle four sharpened nails which must have seemed bitter to any doggie’s sides, lean or fat, as he was lifted ignominiously out of the sanctuary. And, oh, woe if it caught him by the tail or foot! There are different types of fonts in these churches: small square fonts like the earliest of Palestine, Asia Minor, Egypt; extremely small fonts of various shapes dating from the eleventh to the fourteenth century; large fonts used for immersion, and belonging to the fifteenth and sixteenth centuries. At Llanderfel near Corwen is a wooden image, never, I imagine, satisfactorily accounted for. It is a horse, though curiously like a deer in appearance. This figure was the standard for the image that rested upon it and which went, several hundred years ago, to help in the burning of poor Friar Forest at Smithfield, to whom, while the fire crackled about his feet, Latimer preached a sermon. Now even the brass tablet on the standard has been sent to the British Museum, and the standard itself, till within the last few years, used for a pig-trough.
Apparently London thought a Welshman who denied the supremacy of the king worth burning, difficult to be rid of. Well might Englishmen consider such a man’s forebears in saintship. The Latins tried to rid the Western world of these anomalies in spiritual heritage—in vain! The Reformation burnt them. In vain, too, for the Welshman to-day, nonconformist and conformist alike, is as tenacious of the lists of his hagiology as ever he was a thousand years ago. To the ancient Celt there were three free dignitaries: church, land, and poet. To-day these remain the revered dignitaries to the Welshman. In the past these offices had been closely united, for to a Welshman saintship came by birth, celebrity depended afterwards upon how he acted. There is an odd title to a Welsh catalogue of saints: “Bonedd Saint ynys Prydain,”—the Gentility of the Saints of the Isle of Britain. An old Irish song says of St. Patrick that he “was a gentleman and came of decent people,” a fact which to us does not seem prerequisite for saintdom. Not so to the Celt; and it is best to keep this essential difference in mind, or one might be puzzled by running across the annals, some day, of a saint in so cheery a state that he fell into his own holy well and escaped drowning only because of the good luck universally known to attend people in a similar condition. The object of the Celtic saint, till he became Latinized, was to serve his tribe by increasing its riches and enlarging its boundaries. It was not necessary for him, as it was for his brother Latin, to receive any papal sanction for his sainthood or to work any miracles. His carte to sanctity was membership in a certain family or monastery. The Latin Christian world, establishing its supremacy by degrees, could not fail to scoff at the temporal emphasis of Welsh saintdom. Even Giraldus, a Welshman, comments mildly upon the vindictiveness of certain saints, of whom he often knew more than he cared to tell. Gradually, by ridicule chiefly, the lists of Celtic holy men were closed. Even Bardsey, the Insula Sanctorum of the Welsh, does not escape a laugh from many critics, one of whom observes that “It would be more facile to find graves in Bardsey for so many saints than saints for so many graves”; a remark grudging and ungracious, for the world has condescended to steal everything from Bardsey and might leave it at least the glory of claiming as many dead saints as it pleases.
THE EAGLE TOWER OF CARNARVON CASTLE
From an engraving by Cuitt