with the pier arcade in a manner I do not recollect in any other Pointed church, though it is seen on a round-arched form at Oxford, and in the early portion of Jedburgh Abbey. The piers are beautifully clustered, as is suggested by the multifarious destinations of their parts, one portion being to carry the vaulting of the aisles; a second, the lower tier of pier-arches; a third, the upper tier; and a fourth, the higher vaulting. It is distressing to think how little of this most glorious church remains. It was probably unequalled by any transitional church in England, but has actually--even up to our own day--been used as a stone quarry! I should have mentioned that in the chapel the pointed vaulting is used in its fully-developed form--both main arches and side cells being pointed. Of the same age is a great part of the Cathedral of St. David’s, of which I give an internal bay (Fig. 76). It was commenced in 1182, just after William of Sens relinquished his work at Canterbury. Its character is decidedly more Romanesque than that of Glastonbury. The arches are generally round, and the vaulting seems to have reversed the early custom, being round in the main arch, and pointed in its side cells. The ornaments of the chevron type are used, as at Glastonbury; there is the same refined and studious detail, and the same class of capital is occasionally used, though the majority are formed on the Norman cushion capital. This form of capital had undergone a long series of changes; at first the cushions were single on each face and the profile convex; then they became gradually multiplied, but still convex below; then the outline became concave; subsequently the cushions from semicircles became a much greater portion of a circle, appearing like a series of rolls bent into a concave outline, with deep hollows between them. This occurs frequently at St. David’s. The next step is to decorate the circular ends of these rolls. This is done at St. David’s, sometimes with foliage, sometimes with little figures, as in medallions, and, as a last step, before the final rejection of the type, the whole roll is converted into foliage together. At St. David’s all these later steps are exhibited in a very curious and interesting manner. Some of them may be seen in the choir of Lichfield Cathedral, and at Hereford in the eastern chapel. [Illustration: Figs. 77, 78.--St. David’s.] At St. David’s the triforium is united with the clerestory, something as at St. Germain des Pres.[27] The clerestory has two bays to one arch below, and has had sexpartite vaulting; not, as usual, embracing two bays, but two of these semi-bays. It is interesting to find in this most remote of the cathedrals of South Britain, and only just verging out of the Romanesque, a degree of originality and of refinement equal to what is met with in our best examples. The circular portion of the Temple Church in [Illustration: Fig. 79.--Temple Church. View of Circular Aisle.]