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 IVilliamson 
 
 Story of Llandaff cathedral
 
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 4
 
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 1 he Jtory or 
 
 LLANDAFF CATHEDRAL 
 
 E. W. Williamson 
 
 M.A., F.S.A. 
 
 Canon 
 
 Witk Illustrations 
 
 Sold for the benefit of the Fabric Fund 
 
 Designed, Printed and Published by 
 THE BRITISH PUBLISHING COMPANY LIMITED 
 
 AT 
 
 THE CRYPT HOUSE PRESS, GLOUCESTER AND LONDON 
 Copyright 21320450
 
 Contents 
 
 I. The Story of the Life and 
 Work of the Cathedral... 
 
 II. The Story of the Architecture 
 
 III. Monuments, Woodwork, Sculp- 
 ture, Pictures, Windows, 
 Organ, Bells, Plate, Regi- 
 mental Colours, Library, 
 
 Museum 
 
 Page 
 II 
 
 i8 
 
 24 
 
 Illustrations 
 
 The West Front ... 
 
 The Interior — Westward 
 
 The Chapter House 
 
 The Lady Chapel 
 
 The Presbytery ... 
 
 From the North-east, 1830 
 
 The Cathedral from the South 
 east ... 
 
 The Reredos 
 
 Key Plan of Cathedral 
 
 Facing Page 
 12 
 
 13 
 
 20 
 
 20 
 21 
 
 24 
 
 24 
 
 25 
 26 
 
 Without mentiorjng the numerous sources of this story the wnter desires 
 to express thanks to such living authors as the Bishop of Bangor, the Rev. Dr. 
 Bannister, the Rev. Dr. Hopkin-James, Mr. J. H. James, Mr. E. W. Lovegrove, 
 the Rev. Lawrence Thomas, Alderman H. M. Thompson, and Mr. E. C. M. 
 WiUmott. He would especially thank Mr. J. Llewellyn Morgan for the use of 
 his large collection of miscellaneous material. 
 
 10
 
 LLANDAFF^ 
 
 CATHEDRAL 
 
 -THE STORY OF THE LIFE 
 AND WORK OF THE 
 CATHEDRAL 
 
 CATHEDRAL is, in idea and origin, 
 a great church in which a bishop 
 -has his cathedra, his seat or "see," 
 and in which he and the clergy most closely attached to 
 him maintain the constant opus Dei, work of God or round of 
 divine service, and from which there should radiate Christian 
 influences within the neighbourhood or diocese in his care. 
 We cannot understand the cathedral unless we know something 
 of its ministers and of how they have carried on these tasks. In 
 this first chapter we must therefore piece together the story of the 
 men who have served God in the Church of LlandafF. That 
 story is neither so clear nor so splendid as the story of richer cathe- 
 drals, whether those of the " Old Foundation," like Salisbury or 
 Lincoln, which have always been served by canons, or those of the 
 " New Foundation," like Canterbury or Gloucester, which were 
 taken from monks and given to canons in Henry VIII's time. But 
 it is a story even more venerable than theirs ; it reaches back further 
 than that of any English cathedral, and it shows us, in many forms 
 and in many ages, an attempt, hampered often by poverty, sometimes 
 gallant, sometimes all too half-hearted, to maintain the " work of 
 God." The ministers of LlandafF Cathedral must be one of the 
 oldest fraternities on British soil. Their foundation is " older than 
 the oldest." Their church begins fourteen centuries ago with an 
 uncertain foothold amid the British people, recently driven by heathen 
 Saxons into Wales : it ends as the mother of a great dioce.-e contain- 
 ing well over a third of the population of the Welsh Principality. 
 
 The first bishop of whom we know anything at LlandafF is St. 
 Teilo. From at least the ninth century right down to the end of 
 the Middle Ages, and even beyond, the LlandafF clergy revered his 
 memory, and were proud to call themselves the " family of Teilo," 
 and to give his name to their cathedral and other possessions. Teilo 
 was a Pembrokeshire man, and a leader in that great movement of 
 revival and missionary work which took place among the British 
 
 11 
 
 872930 
 
 11 if
 
 Page 12 St. Teilo 
 
 people in Wales and beyond the seas during the sixth century. 
 He obtained some centres for work in West Wales, at one of which, 
 Llandilo Fawr, he died ; and he worked for a time among people 
 of his own stock in Brittany, where such place-names as Landeliau 
 preserve his memory. It is probable that he worked from 547 to 
 555 in Brittany. His work at Llandaff, and in this part of Wales, 
 may fall just before and after that time. The method was that of 
 a monastic camp and outposts ; the bishop made his chief monastery 
 where he could obtain a good site, a lann, estate or compound, and 
 he planted his men out at any spot — there were as yet no diocesan 
 boundaries — where lesser lanns might be given him. Commonly 
 the lann took its name from the leader to whom it was given. Teilo's 
 lann took its name from its river, the Taff ; its site had already been 
 used for pre-Christian burials of uncertain type, discovered some 
 years ago under the western part of the present church. Its influence 
 is reflected in ancient charters preserved in the twelfth-century " Book 
 of Llandaff." Of these charters some are clearly false, but parts of 
 them seem to be of great antiquity. In them we catch glimpses of 
 Teilo's men and their successors receiving willing gifts from their 
 converts or forcing barbarous chieftains to repent of vile crimes and 
 make handsome grants in reparation to the mother church. 
 
 Teilo was succeeded by his nephew, St. Oudocui. Thereafter 
 much is dark, and the accepted list of bishops contains evident 
 mistakes. One clear glimpse we receive, about the beginning of 
 the ninth century, in deeds inscribed in the margins of the so-called 
 " Gospels of St. Chad," a precious volume written about 700 A.D. 
 The book has been at Lichfield since about 970, but about the year 
 800 it was bought for a " best horse " by one Gelhi, son of Arihtiud, 
 and given to Llandaff". Attestations made while it was at Llandaflf 
 suggest that Teilo's lann was now no longer a monastery, but had 
 something like the later chapters of secular canons ; we find " Nobis, 
 bishop of Teilo," " Saturnguid, priest of Teilo," and " Sulgen, the 
 scholasticus," who was the scribe, and who foreshadows the teaching 
 work of the later chancellors. About King Alfred's time we pick 
 up a fairly clear succession of bishops within the Llandaff diocese. 
 One of them, Cimeilliauc, was captured by Danes in 915, and 
 ransomed by King Edward the Elder. And now, as might be ex- 
 pected, they begin to be on friendly terms with England, and, it 
 appears, to seek consecration at Canterbury. Increasingly in the 
 
 Book of Llandaff " the cathedral chapter takes shape before our 
 eyes : charters are witnessed by clerics calling themselves " priest of 
 Teilo," " the reader " and " the writer," " theVeward "^frequently
 
 rholo— Sydney Pitcher F.It.P.S. Gloucester. 
 
 Copyright. 
 
 The West 
 Front.
 
 Norman Influence ^oge 13 
 
 and once even " the cook " ; and finally in the eleventh century the 
 title " canon " appears. Both bishops and clerks might be married 
 men, and some of their sons are recorded as holding office in the 
 church. The estates and property of the canons were not yet 
 separated from those of the bishop. 
 
 It was not until 11 20 that Norman ideas in building touched 
 LlandafF, and the tiny old church was superseded ; and Norman 
 ideas in cathedral organisation tarried even longer. Herwald, who 
 was bishop when the Normans came, continued for nearly fifty years, 
 and died at the age of a hundred, so it was said, in 1104. He was 
 untouched by new ideas ; his son was archdeacon of Gwent, the 
 eastern part of the diocese. Urban, the next bishop, declared that, 
 while in his own day the cathedral had but two canons, it had had 
 even in King William's time as many as twenty-four ; but this may 
 be doubted. Urban (1107-33) did indeed show much activity. 
 He began the present church, which was in building from 11 20 to 
 about 1280. He added St. Peter to its older name-saints, and St. 
 Paul was added in later centuries. He tried to increase its status by 
 bringing to it the bones of St. Dyfrig, " Dubric, the high saint," 
 as Tennyson calls him, who was soon to figure honourably in the 
 Arthurian legend, and who in fact did a good work on the eastern 
 edge of the diocese a generation earlier than Teilo or David ; thence- 
 forward Dyfrig was spoken of as the first bishop of LlandafF, but he 
 never displaced St. Teilo in LlandafF sentiment. Urban also made 
 a notable agreement with Earl Robert, the lord of Glamorgan, defin- 
 ing the rights of the men of his manor against those of Cardiff Castle. 
 But he did not follow the Norman custom of constituting the canons 
 as a chapter with estates separate from his own, though the fact 
 that there was a " dean of the church " (his own brother) in his day 
 may point to some such intention. His hands, indeed, were full 
 enough with suits and journeys to Rome, in a fruitless attempt to 
 claim for his diocese some parts of the dioceses of Hereford and St. 
 Davids, where the boundary had remained uncertain. On one of 
 these journeys Urban died at Pisa in 11 33. Henceforth the diocese 
 contained roughly the modern counties of Glamorgan and Mon- 
 mouth, without the Gower peninsula. 
 
 It was Bishop Henry of Abergavenny (1193-1218) who gave 
 to the canons separate estates from his own, and settled the chapter 
 upon what is roughly its present basis, with four dignitaries and nine 
 other prebendaries. But Henry's constitution retained peculiar 
 features. In the first place there was no dean ; and the bishop him- 
 self presided in chapter even when the domestic affairs of the church
 
 Page 14 The Chapter 
 
 and chapter were discussed. Secondly, Henry's model was not that 
 
 of the great Normanised cathedrals, Salisbury, York and Lincoln, 
 but rather those reformed before the Normans came ; at LlandafF, 
 as at Wells and London, the archdeacon stood first of the dignitaries, 
 and he presided in chapter in the bishop's absence ; and, as at Here- 
 ford and Wells, the treasurer took precedence of the chancellor. At 
 LlandafF too, the four chief dignitaries never took, as elsewhere, the 
 four corner seats in the choir ; they remained at its west end, grouped 
 together, as once the chief clergy had been in the apses of primitive 
 churches, and as they always were in chapter ; and there they remain 
 in the modern choir. In passing we may notice that it was just 
 before this bishop's time that Archbishop Baldwin, accompanied 
 by Giraldus Cambrensis, visited the Church in Wales, with a view 
 to demonstrating the supremacy of Canterbury. In 1 188 they came 
 to LlandafF, preached the crusade in public, the English standing on 
 one side and the Welsh on the other, and stayed the night with 
 Bishop William of Saltmarsh ; and the archbishop next morning 
 said Mass at the high altar. In 1205, in Bishop Henry's time. King 
 John granted to LlandafF an annual fair on four days in Whitsun 
 week. 
 
 Statutes made by later bishops and chapter show us how Henry's 
 system worked down to the Reformation. Each canon possessed 
 an individual prebend or income, of which prebends most were 
 derived from the estates of certain parishes, served by the prebendary's 
 deputy or vicar, but four seem to have been " cursal " or, " cursory," 
 derived from a fourth share in the greater tithes of certain estates in 
 LlandafF itself. Further, the chapter had a common fund, the bulk 
 of which was divided between those canons who in a given year kept 
 residence. In order to keep residence a canon must reside continu- 
 ously for thirteen weeks in the first year, and afterwards for twelve 
 weeks severally or continuously in each year. It is plain that the 
 number in residence at any one time must always have been small ; 
 we know of many prebends given to pluralist royal clerks or papal 
 nominees, who can seldom have seen LlandafF; and in 1284 Arch- 
 bishop Peckham wrote to complain of the poor service done to Llan- 
 dafF by its canons. Things probably did not mend ; for the 
 bishops themselves, from 1300 onward, were men with less and less 
 of local sympathy, and must have lived away for much of their time 
 on their several manors, or, after 1281, in their London house close 
 to St. Mary's in the Strand. It is perhaps a sign of weakness that 
 in 1 3 16 Edward II wrote to complain of disorders in the adminis- 
 tration of sanctuary at LlandafF, outlaws and malefactors protected
 
 The Reformation 
 
 Page 15 
 
 by the cathedral not being detained but allowed to break out and harm 
 the neighbourhood. 
 
 The services, however, did not depend entirely upon the canons. 
 Each canon was expected to provide a vicar-choral or choir deputy, 
 some being priests, some deacons and some sub-deacons, to represent 
 him at service when absent. The full complement of vicars does not 
 appear to have been kept up ; but further there were, as time wore 
 on, several priests of chantries in the cathedral who were bound to 
 take part in the choir services both by day and night. They were : 
 the chaplain of the Lady Mass, two of Bishop William of Radnor 
 (1257-65), one of Bishop William de Braose (1266-87, see pp. 20, 24), 
 two of Humphrey VII de Bohun, earl of Hereford (1291), two of 
 Bishop John of Monmouth (1295-1323), King Edward I, benefactor, 
 and their predecessors and successors, one of Bishop Marshall 
 (1478-98, see pp. 21, 22), and one of Sir David Mathew (c. 1480, 
 see p. 24). Between them these clerks must have maintained the 
 round of worship ; for at the Reformation we read that the church 
 had formerly had Morrow Mass, Lady Mass, and High Mass daily, 
 and there is a record of many vestments and ornaments taken by 
 Edward VI's commissioners. The chapter, with these clergy, also 
 cared for the inhabitants of the old manor and parish of Llandaff, and 
 for their four chapels of ease. Sir David Mathew's chanter was 
 bound to teach twenty children. In practice 
 there appear to have been about ten clerks, ^<5^iJ 
 
 either vicars or chanters. They lived together /^^. ^ i 
 
 in a college to the east of the church. 
 
 At the Reformation what splendour the 
 cathedral had was largely squandered. Hear- 
 ing, about 1539, of the royal destruction of 
 such shrines as that of St. Thomas at Canter- 
 bury the canons broke down the great silver- 
 gilt shrine of St. Teilo which stood in the 
 Lady Chapel, and concealed it, and also the 
 head-reliquaries of the three Llandaff saints 
 and some valuable images. Their enemies 
 said that they had done so for their own 
 profit, but they may well have meant to save 
 the gear for better days. Bishop Holgate, afterwards of York, 
 sent his chancellor to enquire, and part, the plate of the shrine, 
 was delivered to the bishop, who appears to have sold it for his own 
 benefit, giving some vestments and an organ in return to the cathedral. 
 
 r^Ki 
 
 
 \(^\ 
 
 

 
 Page 1 6 Decline 
 
 The remainder was handed to Thomas Cromwell in London by one 
 of the canons, whose nerve seems to have failed him. 
 
 When the mist clears again in the more settled days of Elizabeth, 
 we find the old foundation adapted to new uses. One canon only 
 was resident. The minor clergy had given place to two priest-vicars 
 and six lay vicars, or singing men, who with four boys maintained 
 the choir service. We meet other lay officers, such as a school- 
 master, a seneschal, a proctor, a baihff, a registrar, sexton, clock- 
 keeper and glasier. 
 
 Already decay had begun, and the story of the next two centuries 
 is sad indeed. The bishopric and canonries alike had been impov- 
 erished by bad management. In 1575 there was anxiety for the 
 safety of the fabric of the church, and Bishop Blethin proposed to 
 decrease the personnel in order to save it. Blethin, with due post- 
 Reformation care, provided for a steady rota of preaching by the 
 canons on Sundays and saints' days ; but within fifty years there was 
 but one sermon a month, and deputies were allowed. During the 
 Commonwealth the church was desecrated, and some of the revenue 
 was used to pay itinerant preachers. In 1660 the previous order 
 was restored, and the sung services struggled on, accompanied by 
 a new organ given by Lady Kemysh of Cefn Mabley, which stood 
 in a gallery north of the choir. In 1691 the choir of singers, never 
 very satisfactory, was put down, partly for the benefit of the fabric 
 fund ; the organ was a wreck by 171 8. At that time daily prayers 
 were still said. The two vicars-choral saw to the services in the 
 cathedral and two outlying chapels and to the spiritual needs of the 
 parish. The schoolmaster " gave out the psalms " and appears to 
 have accompanied his boys on the fiddle when there was singing. 
 Some time during the eighteenth century daily prayers stopped 
 entirely. The chapter met annually at Petertide for business : 
 they engaged in the second quarter of the eighteenth century in a 
 grand scheme for the remodelling of the fabric, now rapidly 
 falling into ruin, and they saw to their own estates, which appear 
 in 1 71 7 to have brought in about £20 a head, and in 1835 about 
 ;^45 ; but almost their only connexion with the worship of the 
 church appears to be that one of the vicars commonly also held a 
 canonry. As for the bishops : from the time of Elizabeth to that 
 of Anne they were men of local sympathy and resided generally at 
 the manor house of Mathern, near Chepstow, having lost both their 
 LlandafF home and their London house in Elizabeth's time ; one of 
 them, William Morgan (1595-1601), had already earned an undying
 
 Recovery P^i^ I 7 
 
 name as the translator of the Welsh Bible. Then, in the Georgian 
 days, the poor little bishopric was given, rather as an ornament of 
 merit than as a call to service, to English ecclesiastics, who appear 
 to have lived right away, in Shropshire for example or even in the 
 Lake District. 
 
 New life came in the nineteenth century with bishops who resided 
 within the diocese. In 1840 the cathedral began to revive. It 
 received a head of its own, the bishop giving up the south-west stall 
 in choir and the domestic headship of the chapter to a dean. Soon, 
 by Act of Parliament, an arrangement was made by which four 
 canons, with sufficient emolument, divided between them the duty 
 of being always in residence, and the others were disendowed. Be- 
 tween 1843 and 1869 the church itself was restored, through the 
 efforts of Bishop OUivant (1849-82) and the deans and chapter, with 
 enthusiastic help from the public, to something like its original 
 beauty. The old Bishop's Court, with the ruins of the castle and a 
 good eighteenth-century residence, was bought back by the Ecclesi- 
 astical Commission. And the cathedral once more took its place in 
 the life of the diocese. Choral festivals and other great services were 
 held ; the pulpit began to be respected in the now growing town of 
 Cardiff: the library was much improved ; and in 1864 the chapter 
 instituted a popular Sunday evening service. In 1875, by Order 
 in Council, the pastoral care of Llandaff was taken from the chapter 
 and given to a parochial vicar, to whom was entrusted the Sunday 
 evening service, with other rights and duties in the cathedral. Dean 
 Vaughan, scholar, schoolmaster and preacher, founded in 1880 a 
 good preparatory school in connexion with the cathedral, and a daily 
 choral evening service of cathedral type became possible. 
 
 Since Disestablishment, in 192 1, the Monmouthshire half of 
 the diocese has received a bishop of its own, and St. Woolos, Newport, 
 has become its temporary cathedral. The school, the choir and the 
 daily singing, have been maintained in face of great difficulties. 
 There is, indeed, in Wales now no money to maintain in the cathe- 
 drals such homes of learning, devotion and sacred art as both ancient 
 and modern ideals require. The fabric itself is once more a big 
 anxiety to its custodians. Though the dean is now bound to resi- 
 dence, the canons are called up for but four Sundays a year apiece. 
 Several of them, however, have given, and do give, more, both to its 
 services and to its other life. May Heaven prosper their, and all 
 other, efforts for the welfare of this ancient mother church I
 
 II.— THE STORY OF THE ARCHITECTURE 
 
 WHEN Bishop Urban, in 1120, translated St. Dyfrig's bones 
 to Llandaff (see p. 13), they were laid, on 23 May, before the 
 altar of the Blessed Virgin, on the north side of the little old 
 pre-Conquest church. The " Book of Llandaff " tells us that this 
 church was 28 feet long, 15 feet wide, and 20 feet high, with little 
 aisles and a round porticus, or apse, 12 feet long. We do not know 
 where it stood. 
 
 Already, on 14 April in the same year, fortified by a letter of 
 Archbishop Ralph of Sees, Urban had begun the building of a 
 grander church, which has grown, in ways not entirely clear to us, 
 into the building which we see to-day. Urban would probably 
 aim first at completing a habitable choir ; and his work may well 
 have extended one bay or so further west than the present choir. 
 This would explain why the pointed work westward from this spot 
 is a little earlier than that east of it. We have now Norman work 
 remaining in the east wall of the presbytery, and in the south wall 
 which adjoins it as far as to the middle of the choir. At the east 
 end is a rich arch, the true proportion of which, hidden by the raised 
 pavement, resembles that of the similar but earlier feature at Here- 
 ford ; at Hereford there was an apse to the east, but we do not know 
 the exact shape of the eastern member at Llandaff. Two early seals 
 of the chapter suggest that it may have had flanking turrets. West- 
 ward from the arch for some 17 feet the presbytery had no aisles ; 
 the remains of its two south windows can be seen. The openings 
 are undoubtedly windows, for they were adorned on the outside with a 
 rich medallion ornament, like that of the arch, a rare design found 
 somewhat later at Malmesbury and elsewhere. Westward again 
 the church was broadened, at least on the south, by the addition of 
 an aisle, chamber or chapel, separated from the centre by a fairly 
 solid wall, still partially preserved to half the length of the present 
 choir. Whether at this point a central tower was begun (as ancient 
 seals suggest), whether at the same point there was a plan to broaden 
 still further into transepts (as a stone plinth below ground suggests), 
 we cannot now tell. Certainly there was once an upper range of 
 Norman windows in the present presbytery and the eastern bay of the 
 choir. We are told too that in the nineteenth century there still 
 remained portions of a big Norman arch spanning the church, 
 where the big modern Gothic arch now stands, and a little Norman 
 doorway immediately to the east of it in the south wall. 
 
 After a pause, about 1 1 70, the outer walls of the present nave were 
 built, continuing westward from Urban's outer walls. The main 
 
 18
 
 The Nave P^g^ ^9 
 
 north and south doorways are of rich late Norman or Transitional 
 work. Then, after another pause, the six western arches of the nave 
 were erected, working westward no doubt from Urban's choir 
 building. These very dignified arches are in a style typical of early 
 Gothic work in the West of England, a style which begins at Worces- 
 ter and at Wells about 1 170 and is gradually merged some fifty years 
 later in the ordinary early Gothic work of England. In this work 
 we often find piers of octagon shape enriched by triplets of round 
 shafts, the central shaft of the three being drawn to a point, or nib, 
 like a ship's keel ; at LlandafF all three have the nib. The capitals 
 often break into graceful stiff foliage, commonly with very tall 
 stalks and frequently rising without any band or neckmold, as if 
 growing out of the shaft. Good figures and heads appear also. 
 The plinths of the bases, hke the abaci (the top members of the capitals) 
 are of half-octagon plan. These features, all seen at Llandaff, 
 suggest that masons may have been brought here from the west of 
 England about 1190. But we do not here see such rich work as 
 we see at Wells. Thus in the arches themselves the effect of light and 
 shade is sought by simple angular chamfering, continued round 
 from the piers, not by elaborate curved mouldings ; and some of 
 the capitals at the west end were left half-cut. Almost similar 
 arches were next carried eastward, cut in part through Urban's 
 choir walls. The western piers are thick, and have vaulting shafts ; 
 these eastern ones are thinner. It is just possible that at first it was 
 intended to vault the nave and aisles. This was never done ; but 
 one bay on the south, the little chamber by the chapter-house, re- 
 ceived a low vault very typical of this style and time. The bulk of 
 the west front came next, about 1220. The peculiarities of the local 
 manner now largely disappear, though in the exterior the rosettes of 
 foliage, the continuous framing of the windows, and the neckless 
 foliage recall it ; but the round bases and abaci, and the shafts, some 
 detached and some with the broad fillet instead of the nib, are ordinary 
 work of the early years of Henry III — ordinary, but combined in a 
 composition of singular grace which deserves careful study. The 
 inside is a rich, but simple, design, in which the framing of the three 
 great windows is carried from floor to ceiling (the upper window, 
 it should be noticed, was meant to be hidden above the flat wooden 
 ceiling). The outside, a design in four stages, is once more very 
 plain if compared with the sister work at Wells ; it has but two 
 statues, our Lord seated in the gable, and a bishop, probably St. 
 Teilo, in the curious pendant of the doorway. The nave was 
 completed with a clerestory, which perished almost entirely in the
 
 Page 20 Completion 
 
 eighteenth century, but of which the present modern work is a fairly 
 faithful copy ; and a wooden ceiling closed it in. Be it noted that 
 most of this work must fall in the time of Bishop Henry of Aber- 
 gavenny (see pp. 13, 24). 
 
 The two easternmost arches of the work just described are each 
 filled in with a curious sub-arch, which is not central. Similar 
 sub-arches were used at Glastonbury to buttress the central tower. 
 The fact suggests that the intention was next to clear away all Urban's 
 presbytery, build a tower where it stands, flanked by transepts, and 
 then continue the church eastwards in a new choir. Thus all the 
 present nave and choir would have formed a very dignified nave. 
 But if it was so the plan was too ambitious and had to be given up. 
 The choir and altar have remained where they were. For ceremonial 
 reasons, however, a way of taking processions round behind the high 
 altar was desirable ; and very soon an aisle was carried round the 
 outside of Urban's presbytery, cutting through or destroying his 
 eastern ending ; as at Dore there were probably chapels in its eastern 
 walk. 
 
 Works of the middle of the thirteenth century include the old south 
 tower (of which probable fragments are in the Museum), the detached 
 belfry (now a ruin) at the top of the hill, where it struck the eye, as 
 the church itself nestling on Teilo's lowly site could never do, and 
 the chapter-house and the room above, probably a treasury. The 
 chapter-house is almost square, vaulted from a central pillar ; it is 
 a rare shape, seen also at Glasgow and in the much later chapter- 
 house at Senlis, admirably suited to so small a building. The door- 
 way is not central, being simply cut through the entrance to an older 
 staircase, which is prettily chamfered back in the corner. The vault- 
 ing shafts are stopped some seven feet above the ground ; the chapter 
 seats below may have been of wood, as they are known to have been 
 in the sixteenth century. 
 
 The church being thus fairly well completed and equipped, a 
 dedication service was held on 23 November, 1266. On the same 
 day Bishop William de Braose was enthroned. When he died, in 
 1287, he was buried in the Lady Chapel, where his effigy remains. 
 This chapel must have been built in his time. Though spoilt by 
 its present furniture, it is a fine example of the grace and proportion 
 of the late thirteenth century. The tracery in the east window is 
 modern. 
 
 In the fourteenth century the walls of the aisles (which on the north, 
 like the arches, seem to have begun to lean outwards), were repaired, 
 and two small doorways were cut in them (the buttresses, however,
 
 Improvement 
 
 Pa 
 
 ze 21 
 
 are all modem). At the same time the lighting of the church wa« 
 improved by the insertion of big windows with ogee heads ; these 
 windows, like the older doorways, are not central with the arches, 
 and may follow the spacing of the older Norman ones. A high 
 light was given to the presbytery by cutting arches through Urban's 
 walls and windows. On the north side this cutting was completed. 
 On the south, where a vtr\ big window (now represented by a modem 
 reproduction) was placed in the aisle, we can see how the cutting was 
 done, stone by stone, for the work on the western bay was abruptly 
 abandoned. (The clerestory above is modem.) About the same 
 time the arches leading r i j^..i'.| i 
 
 from the procession path j V~-^^^\ ■- 
 
 to the Lady Chapel were /aV 
 raised, and given curious - ^^ 
 capitals which look like 
 an attempt to copy the 
 neckless capitals of the 
 earlier age. 
 
 About 1350, when 
 " Decorated " work was 
 passing into " Perpen- 
 dicular," a new stone 
 reredos was made. It 
 now stands in the north- 
 east chapel. Its two doors gave access to a vestry, the back 
 wall of which has left its mark on the floor of the Lady Chapel. 
 A rather similar reredos was placed in the Lady Chapel ; expelled 
 some years ago, it has been preser^-ed and awaits its return. The main 
 reredos was later surmounted by two rows of niches, after the fashion 
 of Winchester and Southwark, which completely hid Urban's 
 eastern arch ; they disappeared in the eighteenth century-. The 
 good niches in the Lady Chapel and in the north-east chapel are of 
 the fifteenth century. Bishop Marshall (1478-96, see pp. 24, 25), 
 built a new throne, and perhaps stalls. The little choir, which occupied 
 the same space as at present, was closed in at its west end, behind the 
 returned stalls, with a wooden screen which ran right across the 
 church from wall to wall. 
 
 The last medieval work is the north tower, called the Jasper Tower, 
 after Jasper Tudor, Duke of Bedford, Henry VII's uncle, who is 
 said to have given it. It is one of four or five towers of Somerset 
 tj-pe in this part of Glamorganshire. The crown of it, though 
 modem, fairly represents the old. The delicate filHng in of the 

 
 Page 11 Transformation and Ruin 
 
 windows is old. Bishop Marshall bequeathed money " for the new 
 tower or for the fabric of the church." 
 
 A century later, ruin had begun ; in 1 594 we read of the " ruined 
 and decayed " state of the church. Money indeed was spent on 
 repairs, but it was insufficient. In November, 1703, the famous 
 storm spoken of in Addison's " Campaign " and Evelyn's Diary 
 brought pinnacles of the north tower tumbling through the aisle 
 roof ; and the south tower suffered likewise in 1722-3, after which the 
 services were moved from the leaky choir into the Lady Chapel. 
 The chapter then bestirred themselves, raised funds (partly by a 
 " Brief"), and sent, in 1734, for John Wood, the architect. Wood 
 is honoured to-day as the creator of the classic beauty of Bath, the 
 town of his adopted home. He was a convinced classicist, and 
 had written a book to prove that the Orders of classical architecture, 
 far from being an invention of the Greeks and Romans, were involved 
 in the Divine instructions given to the Jews. At Llandaff he recast 
 the six eastern bays of the church in his own style ; the decrepit 
 walls were lowered, a new roof, concealed by plaster vaulting, was 
 placed upon them, the Gothic work in the choir was hidden behind 
 classical work, mainly Ionic, in plaster, new stalls and screen were 
 erected on the traditional lines, and a large portico surmounted the 
 elevated Communion table. In itself the choir was not unpleasing, 
 and was pronounced " exceeding fine." Some of the old windows 
 were replaced by wide classical openings ; others were left, as were 
 the pointed arches in the two bays which now formed the nave. 
 The intention was to place a domed tower in the next bay westward, 
 and a portico in the next, and then to pull down the two last bays, 
 with the west front and what remained of the towers. The west 
 end of the new work was boarded up from 1736 to 1751 in the hope 
 that this might be done. Mercifully funds failed, and a stone front 
 was built at the point where stone paving now cuts across the tiled 
 floor of the nave. The Gothic ruins were left, and the north tower 
 was kept in repair for the sake of the bells ; but the south tower 
 and most of the clerestory perished. 
 
 Ninety years later, when the great revival of religion began 
 in the diocese, ecclesiastical taste had changed. Wood's work 
 was very properly undone, and obloquy beyond his desert was 
 heaped on his name. The new work as a whole was placed in the 
 hands of a local architect, who made it the chief interest of his life. 
 This architect was John Prichard, son of a vicar-choral of the cathe- 
 dral, with whom he lies buried under a characteristic gravestone 
 near his south-east door. The work was at first supervised by T. H.
 
 Restoration 
 
 Page 23 
 
 Wyatt ; and later Prichard was joined by a partner, J. P. Seddon, 
 whose influence brought in some admirable works of art by members 
 of the Pre-Raphaelite school. Good support was given by a family 
 of sculptors and builders settled in the neighbourhood, who for 
 three generations have had the cathedral in their care ; to Edward 
 Clarke, the founder of the family, and his son William are due the 
 excellence of the modern carving and the individuality of such heads 
 as we see in the corbels against the nave walls, all of which are modern. 
 Some of Prichard's work seems clumsy to modern eyes, notably the 
 raising of the altar, the too high choir-stalls, the protruding throne, 
 the over-large arch of triumph, and the heavy pews, all of which 
 mar the proportion. Nevertheless Prichard cared for the indivi- 
 duality of the building, and he was a true artist, making skilful use 
 of fresh ideas, whether drawn from afar or from his own invention ; 
 and he blended all into a harmonious whole, at once modern and 
 ancient. His originality is seen in such features as the eastern- 
 most gable, with its curious pinnacles and touching crucifix ; and 
 such adornments as the row of sovereigns' heads outside the south aisle, 
 cut by William Clarke, are a joy to visitors. The spire, with which 
 in 1869 Prichard replaced the ruined south tower, is a bold but 
 successful piece of work. It resembles somewhat the spires of south 
 Normandy ; its symbolism, in which figures representing the nations 
 are watched over by the heads of great missionaries, is original. Yet 
 it harmonises with the old work ; the colour of its Campden and 
 Dundry stone is mellow in all weathers and at all seasons ; and from 
 any point of view it gives to the west end of Llandaflf an unusual and 
 unforgettable charm. 
 
 35£J?^
 
 III.— MONUMENTS, ORNAMENTS, ETC. 
 
 MONUMENTS. There are six ancient effigies of bishops, 
 some of which have, however, been moved so many times dur- 
 ing restorations that they cannot be assigned with certainty. 
 The first, of the thirteenth century, lies over St. Teilo's tomb, south 
 of the presbytery, and appears to have been made to cover his relics 
 there. In the north wall opposite is another of about the same age, 
 possibly that made for St. Dyfrig's tomb, which was north of the 
 high altar. The niche in which it lies is much later, and is believed 
 to be that of Bishop Bromfield (1389-93) ; it has a figure of the 
 Rising Lord sculptured in the soffit of the arch, where the eyes of 
 the sleeping figure would, as it were, be gladdened by it on waking. 
 North of the Lady altar remains the blue lias effigy of Bishop 
 William de Braose (p. 15), with inscription. The latest, under the 
 arch opposite St. Teilo, is Bishop Marshall (pp. 15, 21). There were 
 also in 1718 effigies of Bishop Henry of Abergavenny (pp. 13, 20), 
 and Bishop William of Radnor (p. 15) ; possibly the former is that in 
 the south wall of the nave, in an old niche moved from the dwarf 
 wall behind the choir -stalls, and the latter that in the north wall of 
 the nave. 
 
 There are two fine modern effigies of bishops ; Bishop Ollivant, 
 re-builder and historian of the cathedral (1849-82), has a recumbent 
 effigy, by H. Armistead, R.A., north of the high altar, in St. Dyfrig's 
 old place ; and Bishop Richard Lewis (1883-1905) is shown, erect 
 and blessing, above the presbytery doorway, in a bronze figure by 
 Sir William Goscombe John, R.A. Sir Goscombe also made the much- 
 admired marble figure of Dean Vaughan in the north choir-aisle. 
 
 There is a fine gravestone of the thirteenth century in the boys' 
 vestry in the south aisle ; it is of a layman " and his wife also," 
 their defaced heads being seen above its cross, but the name is un- 
 decipherable. There are four good alabaster tombs of knights and 
 ladies dating from the fifteenth century. That of Sir David Mathew 
 now lies close to Bishop Ollivant, having been moved from the north- 
 east corner of the neighbouring chapel, known as the Mathew 
 Chapel. It measures 6 ft. 4 in. from head to heels. Sir David 
 (p. 15), a very tall man, was Edward IV's standard-bearer at the 
 Battle of Towton, and was murdered in an affray at Neath. Sir 
 Christopher Mathew (d. 1500), and his lady lie in a coloured arch, 
 with weepers around the base, south of the Mathew Chapel. This 
 arch has a squint through to the Lady altar. Sir William Mathew 
 (d. 1526) and his lady lie on a rich base north of the nave. The 
 remains of the Mathew crest, a heathcock, can be seen. In the 
 
 24
 
 From an Old Print. 
 
 ,'tirigkl. 
 
 From the 
 North-east 1830. 
 
 Photo — Sydney Pitcher, F.U.P.S., (Jluuc,...tL. 
 
 Copyright . 
 
 From the South-east, 
 present day.
 
 Sculpture and Pictures P^S^ 25 
 
 south-east chapel, which is arranged as the Consistory Court, lies a 
 figure said to be a Lady Audley. A skeleton figure, like that often 
 seen below the figure of the living in late tombs, lies in the north wall. 
 
 Other Stone-work. The most ancient stone object in LlandaflF 
 is a cross of strapwork design, dating from before the Conquest, 
 found at the back of an ancient well at Bishop's Court. Two 
 incised stones built into the west front may date also from this era. 
 
 The Pulpit has interesting figures of Moses, David, St. John 
 the Baptist and St. Paul, designed by the pre-Raphaelite poet and 
 sculptor, Thomas Woolner, R.A. Formerly there was a pulpit 
 in the nave by the second pillar on the south from the screen ; and 
 there was another, in 171 8, in the chapter-house. 
 
 The only old Woodwork is two chests, one with medieval iron- 
 work, now behind the organ, one of the seventeenth century in the 
 chapter-house. The teak choir-stalls and throne are Victorian. 
 The statuettes in them deserve notice. The prophets above, and the 
 minstrels in the sub-stalls, were modelled by Milo Griffith, A. R.A. 
 The oak stalls in the chapter-house were placed there in 193 1, as a 
 memorial to Archdeacon David Davies ; the design, which preserves 
 the old arrangement, is by Sir Charles Nicholson. 
 
 The main reredos has three Pictures by Dante Gabriel Rossetti, 
 painted between 1856 and 1864. The side panels depict David, 
 the shepherd, about to smite Goliath, and David, the king, showing 
 his dark speech upon the harp. In the centre the Christ Child, 
 the Son of David, is adored by a shepherd and a king ; the king 
 kisses his foot, but the shepherd his hand. The models for David 
 the king and the Blessed Virgin were William Morris and his wife. 
 The work is beyond praise. Rossetti also designed 
 the pelican sculptured in the sedilia. 
 
 Close by on the south wall hangs a Madonna of a 
 very different type, a fine work ascribed to MuriUo. 
 In the chapter-house hangs yet another type, in a 
 medieval picture on boards which formed the back of 
 Bishop Marshall's throne, built about 1490. It shows 
 the Assumption of the Virgin. She is borne up by 
 angels, while other angels make music above, their red 
 wings forming a rich pattern against the cloud-flecked 
 sky ; the bishop and his arms are seen at the base. 
 In the Lady Chapel hangs a Nativity of the Baptist, 
 part of which is ascribed to the school of Raphael. There 
 is an old wall-painting on the south wall of this chapel. \
 
 Page lb Glass, Organ, &c. 
 
 Painted Glass. There is no old glass. The most notable 
 modern windows are by Morris and Marshall, in the south choir 
 aisle and in the eastern part of the nave. The centre light at the west 
 end is by Powell ; the Crucifixion behind the dean's stall by Sparrow. 
 The Lady Chapel is gradually being filled with windows by Mr. 
 Geoffrey Webb. 
 
 The Organ is by Norman and Beard (1900). Its predecessor 
 (Gray and Davison, 1861), is now at Usk Parish Church. (See 
 also pp. 15, 16 for earlier organs.) 
 
 In the seventeenth century there were five Bells. The tenor, 
 re-cast in 1730 and 1782, remains. The next seven date from 
 1879, and are one of several memorials to Dean Thomas Williams, 
 a great restorer ; the two topmost of the ten were added in 1920 by 
 a conspicuous benefactor of the cathedral. A LlandafF tradition, 
 as old as the seventeenth century, says that the great bell, Peter, of 
 Exeter, once hung at Llandaff, but was taken in exchange for five 
 smaller bells by Bishop Peter Courtenay of Exeter (1477-86). 
 
 The Plate includes two Elizabethan chalices, with a paten of 
 1576, and two flagons of 1639. The verger's wand is of 1828. 
 
 Several Welsh Regimental Colours are laid up in the cathedral. 
 South of the west door are those of the Forty-first Foot, carried in 
 Canada in 1812-13, ^^^ north of it their Crimean colours. Near 
 by on the south wall are the colours of the Welch Regiment in the 
 South African War. The original colours of the Welsh Guards 
 hang above the presbytery and remind us of the Great War. 
 
 The old Library was dispersed and burnt during the Common- 
 wealth. A new beginning was made in the audit house, now the 
 " Prebendal House," in the churchyard, by Bishop Francis Davies 
 (1667-74). The present library dates mostly from Victorian times, 
 and owes much to Bishop Ollivant's bequests and to some quite 
 recent gifts. It was housed in the chapter-house and the room above ; 
 but has been transferred to the Prebendal House, which has been 
 recently enlarged through a bequest of the late J. E.OUivant, chancellor 
 of the diocese, the bishop's son. The chancellor of the church is 
 bringing it into order for use by the chapter and their brethren. 
 
 The room above the chapter-house (its octagonal form dates 
 from the restoration) has been quite recently made into a small 
 Museum for objects of cathedral interest. History has left us 
 few treasures ; but the collection of stones, prints, drawings, and 
 facsimiles of episcopal and capitular seals, and of the two great 
 LlandafT books (pp. 12, 18), has some interest as illustrating our 
 long story.
 
 I® 
 
 I® 
 
 KEY 
 
 A. Presbytery, pp. i8, 21. 
 
 B. Nave, p. 19. 
 
 C. Chapter-house, pp. 20, 25. 
 
 D. Lady Chapel, p. 20. 
 
 E. Jasper Tower, p. 21. 
 
 F. Prichard's Tower, p. 23. 
 
 1. St. Teilo, pp. II, 24. 
 
 2. Bp. William de Braose, pp. 
 15, 20. 
 
 3. Bp. John Marshall, pp. 15; 
 21, 25. 
 
 4. ? St. Dyfrig, pp. 13, 24- 
 
 5. ? Bp. Henry of Aber- 
 gavenny, pp. 13) 20. 
 
 6. ? Bp. William of Radnor, 
 pp. 15, 24. 
 
 7. Bp. Alfred Olhvant, p. 17. 
 24. 
 
 8. Bp. Richard Lewis, p. 24. 
 
 9. Dean Vaughan, pp. 17; 24. 
 
 10. Mathew Tombs, p. 24. 
 
 11. Lady Audley. 
 
 12. Skeleton figure. 
 
 13. Old Reredos, p. 21. 
 
 14. Rossetti's Pictures, p. 25. 
 
 15. Bp. Marshall's Picture, p. 
 
 25- 
 
 16. Stalls, p. 25. 
 
 17. Pulpit, p. 25. 
 
 18. Windows by Morns and 
 Marshall. 
 
 19. Regimental Colours, p. 26. 
 
 20. Sovereigns' Heads, p. 23. 
 External Length 260 ft. 
 Height of Spire 195 ft- 
 
 Key Plan of 
 Llandaff Cathedral. 
 
 27
 
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 I 
 
 i KovER Car Distributors FOR Glamorgan j 
 
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 / ^^LES~SERVICE-SATISFACTION 
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 \ Rover Service Station for above territory 
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 OWEN JENKINS 
 
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 I I Chemist 
 
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 I ::' Telephone 3384 
 
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 f "~ " " I II - « 11 » 11 ^ 111 » , j n_, _ 
 
 372 Cowbfidgc Road 
 CARDIFF 
 
 >~*a 1$ ^•CL
 
 Los Angeles 
 This book is DUE on the last date stamped below. 
 
 Form L9-50to-7,'54(5990)444 
 
 CARDIFF 
 
 Tel. 
 
 5925-5926
 
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