This is the smallest of the Welsh cathedrals, and consists of an aisled nave of five bays, an aisleless transept, a central tower, and a chancel. The chancel was built by Sir G. G. Scott in 1868; the rest between 1284 and 1352. The arcade and clerestory of the nave are exceptional in character. The piers have no capitals; so that the mouldings run uninterruptedly round the arch; they consist simply of chamfers with a wave moulding. These continuous mouldings are not uncommon in late work—_e.g._, in Antwerp cathedral; but are seldom found in early Gothic, though a thirteenth-century example occurs in the vestibule of Chester chapter house. The clerestory windows are square, but cusped. The central tower is massive and effective. The cathedral is finely situated, on elevated ground, above the beautiful valley of the Clwyd; and may be seen from the London and Holyhead railway. There are good stalls (1471-1495), and an interesting effigy of a bishop (_c._ 1300). St. David’s. Far away in the extreme west of Pembrokeshire, sixteen miles from the nearest railway station, Haverfordwest, is one of the most interesting cathedrals in the British Isles. Dedicated to the great patron saint of Wales, it is as complex in plan as Winchester or St. Alban’s, and abounds in lovely detail of the Transitional and Curvilinear periods. The earliest work belongs to the episcopate of Peter de Leia (1176-1198), and comprises parts of the presbytery, the western walls of the transept, the western piers of the tower, and the whole of the nave except the outer portion of the west front (Sir G. G. Scott), and the south porch and the exterior of the south aisle (1328-1347). Though built quite late in the twelfth century, when Gothic architecture had got good hold in Ripon, Canterbury, and Wells, St. David’s—partly perhaps from its remote situation—is still sternly Romanesque. The pier-arcade is low, the piers massive and squat; their arches are semicircular, as also the windows of the clerestory; there is a profusion of Norman zigzag ornament. On the other hand, pointed arches appear in the triforium, the bases have the water-holding hollow, and there are all sorts of beautiful varieties of Transitional capitals—from the early cushion-capitals, much subdivided, in the pier-arcade of the choir, to the later foliated capitals, of great beauty and diversity of design, which abound in the nave. The triforium and clerestory, formed into a single member by a containing-arch of zigzag, are a charming anticipation of the design of Southwell choir.