The name or dedication of the church.
This identifies the church type. Most churches are parish churches which means they serve a specific parish or area. Other types such as chapel, daughter and mission are mostly historic designations as many are now also parish churches. Please note that former churches are no longer used for worhsip and may be in private ownership.
A unique identification number given to every church.
The name of the diocese in which the church is located.
The name of the archdeaconry in which the church is located.
This is the legal name of the parish as given by the Church Commissioners.
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There are 3 levels of listing: Grade I, II* & II. The majority of buildings which are of special interest are Grade II. A much smaller number of particularly important buildings are listed as Grade II*. Buildings of exceptional interest (approx 2% of the total number of listed buildings) are Grade I.
Ancient monuments and archaeological remains of national importance are protected by law. Cadw, the Welsh Government’s historic environment service is responsible for compiling a schedule (list) of these ancient monuments, some of which can be found in churches and churchyards. Examples can include churchyard crosses and the archaeological remains of previous churches or buildings on the site.
There are three National Parks in Wales: Snowdonia, Pembrokeshire Coast and Brecon Beacons. These protect 20 percent of the land in Wales, including precious landscapes, habitats, villages and heritage sites.
There are over 500 conservation areas in Wales. They are designated by local planning authorities for their special architectural and historic interest.
The Buildings at Risk register is managed by Cadw (the Welsh Government’s historic environment service) in order to identify the number and type of listed buildings at risk in Wales.
It is often extremely difficult to determine a precise date of construction for a church as many have been extensively altered over time. Church Heritage Cymru therefore shows a date range within which a church is believed to have been constructed. The dates are as follows: Early Medieval (pre 1066), Medieval (post 1066 to 1540), Post Medieval (1540 to 1837), Victorian/Pre WWI (1837 to 1914) and Modern (post 1914).
This is a very brief summary of the church's main features. More detailed nformation can be found in the other fields and pages (tabs) in this database.
Useful information is displayed here for people wishing to visit the church. This may include things like opening hours, catering & toilet facilities, parking, etc.
If the church has its own website the details will be displayed here.
Any further sources of information for the church will be listed here (eg. links to other historic databases).
This is the Ordnance Survey (OS) reference for the location of the church. Some locations will be approximate as this data is continuously being refined and updated.
This is the name of the Local Authoirity within which the church is located.
This describes how the church relates to its immediate and wider environment, sometimes called its setting. It describes how the church contributes to its landscape or townscape and how these things collectively contribute to the character of the area.
St David’s is situated on the St David’s Peninsula 73km was of Carmarthen via Haverfordwest and 55km southwest of cardigan via Fishguard. The cathedral is to be found in the sheltered valley of the river Alun, to the west and blow the city. It is best approached on foot from the main car park and then walking through the city.
Reference OS Map. 157 AA Route Planner Cadw Listing Notice Buildings of Wales –Pembrokeshire 2004
This is a description of the ground plan of the church.
If known, the dimensions (measurements) of the church ground plan will be displayed here.
If the footrprint (area) of the church is known, it will be displayed here.
A description of the history and archaeology of the church and its site.
Founded on the site, or close by, the monastery founded by St David. The building is largely medieval dating from building by Bishop Peter de Leia (1176-98). The further development of the building can be traced through the use of tree ring dating: the tower, felling date ranges: 1248-1278, 1273-1303, 1286-1316, 1287-1317, and 1303-1333; the bell frame, felling date Spring 1386; the nave roof ceiling boards, felling date ranges: 1434-1474, 1445-1475; and the nave roof trusses, felling date ranges: 1501-1531 and 1544-1574. The awkward site is such that the cathedral slopes up almost 2m from the back of the nave to the high altar. The cathedral building developed as fresh buildings were added and it was not until John Nash 1791-3 restored the façade which had been neglected for over two centuries. William Butterfield carried out repairs in line with the sentiments of the ‘Ecclesiologists’ of the time. Then in a programme which lasted almost half a century George Gilbert Scott and his son John Oldrid Scott engaged in major restoration and repair including the neo-Romanesque façade, acceptable to the Victorian purists. By 1910 all areas of the ancient cathedral had been brough back into use. Since the death of J O Scott, the repair and restoration has been in the hands of the firm founded W D Caröe – the cloister was recreated in 2006-8 with oak-framed buildings by Peter Bird of that firm.
Reference Buildings of Wales –Pembrokeshire 2004 Cadw Listings Notice Welsh Stone Forum Newsletter 15
A description of the exterior of the church and the main features of the churchyard.
The building is a conglomerate of buildings and roofs all fitting together to make a coherently whole cathedral. Much of the building made use of the local stone, particularly the sandstone west front which was quarried at Caerbwdy Bay (about 1km south east of the Cathedral). This is a tough grey or green sandstone – sometimes a more vehement purple which was what G. G. Scott used. Used in the ashlars it has suffered degradation caused perhaps by a. salt, b. natural faults, or c. mechanical disturbance in the sawing process. The quarry had been reopened for the repairs for the recent repairs late (C20/early C21). While the c13 work on the cathedral had been using this local stone, it was also supplemented by Dundry stone from Bristol which was used for the transepts, tower and east chapels
Reference Buildings of Wales –Pembrokeshire 2004 Cadw Listings Notice Coflein Record 912 Welsh Stone Forum Newsletter 12
Information about any noteable architects, artists, people, or events associated with the church.
Information about any important features and building fabric.
If known, a list of the church's major building material/s will be displayed here.
Any renewable energy systems the church is using will be listed here.
This section gives a general description of the interior of the church. Further details of any important internal fixtures and fittings will be listed below.
The interior makes use of the Caerbwdy stone which together with limestone provides a polycromatic interior. On the subject of rock, the tombs and memorials enjoy a wide range of rocks type. One is a ‘Snowdrop marble’ possible acquired from either Llangyndern or Marros both of which have this limestone containing small brachiopods. The ‘coal-measures’ sandstone was used as decoration round the tomb niches in the walls and it has been badly damaged when the Parliamentary army damaged the roof so leaving them exposed to wine and rain.
The nave is a coherent and highly ornate piece of Romanesque from the end of the C13. The piers, which allow six bays for the roof, have highly carved capitals, alternating between a circle and an octagon. Each sub bay is enclosed by a high arch embellished with chevrons in a variety of patterns, however, the chief glory of the nave is the pendant ceiling created in Tudor times – four panels per bay and six across the width of the cathedral. Where they were created is a problem yet to be solved.
In the transepts are three moulded arches along the east wall built with Dundry stone mixed with the local sandstone grey.
The crossing is occupied by the choir stalls and is separated from the nave by a pulpitum - a massive screen. The arches on the north, south and west sides are pointed and spring from a lower level that the round arch to the west. This is due to the fact that when the tower collapsed in 1220 it was the west arch which survived. Higher up (the tower) the difference between the pre - and post-collapse work is more noticeable. One the west side there is a blind arcade with pointed arches supported on engaged shafts, the centre one terminating in a corbel in the shape of a fox’s head.
The choir itself is much narrower than the nave and was modified after the tower collapse and again (?) after the earthquake of 1247/8. Beyond is the Retrochoir and the Lady chapel, which come as a surprise that the cathedral extends so far beyond.
The fittings include, in the lady chapel a wooden image of the Virgin Mary holding the Christ child in a C14 style, it was made in Oberammergau in the 1950s. In the chapel of St Nicholas – a sculpture of the Crucifixion with Mary and St John, dating from the C15. A reredos to be found in the chapel of St John – stone panels with the Crucified Christ flanked by St John and the Virgin Mary and the apostles James, Andrew, Peter and Paul. In a niche in the east wall are figures from the 1920 of St David and Gerald of Wales (has a mitre which he desired but which he never got!). In the choir is the Bishop’s Throne – the cathedra – a magnificent structure with a spire 29 feet tall (about 9m) which is to be found above the canopy, flying buttresses support the lower section. It is probably the finest in Britain. The choir stalls date from about 1500, there are mirsericords on 21 of the original 28 with the underside showing: oak leaves, an owl, a green man, shipbuilders and seasickness. To their front the stalls are furnished with poppy heads and curvilinear tracery perhaps similar to those to be found in Fairford church in Gloucestershire. On the floor of the sanctuary are C16 tiles copied by G G Scott to create more by Godwins for tiles elsewhere in the choir.
The stained glass: ‘Crossing the Red Sea’, William Morris & Co Westminster (designer Frederick W Cole), 1956; ‘Symbols from Revelation’, William Morris & Co Westminster (designer Frederick W Cole), 1956; ‘The Risen Christ with St David and St George’, C E Kempe & Co Ltd, 1923; ‘ Three Angels’, C E Kempe & Co Ltd, 1924 ‘Virgin and child with Musical Angels and the Four Evangelists’, C E Kempe & Co Ltd, 1924; ‘Scenes from the Life of Christ’, John Hardiman & Co (designer John Hardiman Powell) 1870; ‘St Thomas Becket’, carl J Edwards, 1958; ‘St David and St Asaph’, Shrigley & Hunt, 1909; ‘ St Nicholas’, James Powell & Sons, 1904; ‘A window with medieval fragments of glass’. There are ten bells in the tower, 8 by Stainbank and Mears cast in 1928 and two by the Whitechapel bell foundry in 2001
Reference Buildings of Wales –Pembrokeshire 2004 Welsh Stone Forum National Museum of Wales numbers 12 and 15 A National Bell Register - George Dawson's Website - Homestead Cadw Listings Notice Stained Glass in Wales
Information about the church's important internal fixtures and fittings.
Information about the church's important moveable items and artworks.
A description of the ecology of the churchyard.
Information about the presence of bats in the church building or churchyard.
Records whether the church has been consecrated.
Records whether there have been burials in the churchyard.
Records whether the churchyard is still being used for burials.
Records whether there are any war graves in the churchyard.
Any important churchyard structures will be listed here.
Signifiance levels are set at high, medium and low.
Significance defines what is special about a church. This could be architectural, archaeological, historical or liturgical. Here, it describes the relationship of the church to its surrounding area and helps place it within its wider landscape context.
Significance defines what is special about a church. This could be architectural, archaeological, historical or liturgical. Here, it describes the significance of the historic building fabric of the church.
Significance defines what is special about a church. This could be architectural, archaeological, historical or liturgical. Here, it describes the historic significance of the interior of the church.
Significance defines what is special about a church. This could be architectural, archaeological, historical or liturgical. Here, it describes the relationship between the church and its community.