Scottish Cathedrals and Abbeys
Date: 2007-06-06T00:00:00+00:00
Keywords: Cathedrals -- Scotland; Abbeys -- Scotland; Church architecture -- Scotland

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Title: Scottish Cathedrals and Abbeys

Author: Dugald Butler

Author of introduction, etc.: Robert Herbert Story

Release date: June 6, 2007 [eBook #21688]

Language: English

Credits: Produced by Susan Skinner and the Online Distributed
Proofreading Team at http://www.pgdp.net

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SCOTTISH CATHEDRALS AND ABBEYS.
By Rev. D. Butler, M.A., Abernethy.
With Introduction by Very Rev. Principal Story, D.D., LL.D.

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SCOTTISH CATHEDRALS AND ABBEYS

From Photo by T. & R. Annan & Sons.
GLASGOW CATHEDRAL.

SCOTTISH CATHEDRALS AND ABBEYS

BY
REV. D. BUTLER, M.A.
ABERNETHY, PERTHSHIRE

AUTHOR OF 'THE ANCIENT CHURCH AND PARISH OF ABERNETHY,' 'JOHN WESLEY AND GEORGE WHITEFIELD IN SCOTLAND,' 'HENRY SCOUGAL AND THE OXFORD METHODISTS'

WITH INTRODUCTION BY THE
Very Rev. R. Herbert Story, D.D., LL.D.
PRINCIPAL OF THE UNIVERSITY OF GLASGOW

LONDON: A. & C. BLACK, SOHO SQUARE
EDINBURGH: R. & R. CLARK, LIMITED
Publication Agents for the Church of Scotland
1901

PREFACE

In preparation for this Guild Book I wrote an account of every pre-Reformation structure in Scotland of which any remains now survive, but the prescribed limits of the series necessitated a selection. The Scottish cathedrals are all here treated, with representative collegiate and monastic buildings. Reference is also made to parish churches that represent the architecture of the various periods indicated in Chapter II. A survey of Scottish mediæval architecture will be found in pp. 194-206 that may enable readers to take a comprehensive view of the whole. A study of those treated in particular will lead to a study of those treated of necessity in general, and illustrate the idea that the history of the Scottish Church is the history of the ideality and faith of the Scottish people, and that the one cannot be separated from the other. A healthy present must always be bound by a natural piety to the past that has made it, or at least helped it to be what it is, and this study may enable readers to realise more that the Church of Scotland has a great and glorious past that begins with the days of St. Ninian and St. Columba. The past has much to teach the present, and the narrative of historical facts is not without suggestiveness to the varied life and work that characterise the Church of Scotland to-day.

I desire to express my indebtedness to the investigations of many workers, which I have striven to recognise in the many references throughout the work, but most of all I am indebted to Messrs. MacGibbon and Ross in their colossal work, the Ecclesiastical Architecture of Scotland—a book of national importance.

D. B.

Manse of Abernethy,
Perthshire, 14th January 1901.

CONTENTS

Glasgow Cathedral | Frontispiece
| PAGE
Introduction | ix
CHAP.
1. | Relation of Celtic Church to Roman Catholic Church | 1
2. | Scottish Architecture | 4
| Norman Architecture | 7
| Transition Style | 8
| First Pointed Period | 9
| Middle Pointed Period | 10
| Late Pointed Period | 11
3. | Cathedrals—
| St. Andrews | 13
| Glasgow | 22
| Dunkeld | 35
| Aberdeen | 37
| Moray | 40
| Brechin | 44
| Dunblane | 47
| Ross | 52
| Caithness | 54
| Galloway | 56
| Lismore | 59
| Isles | 60
| (Kirkwall) Orkney | 69
4. | Collegiate Churches—
| Introduction | 76
| Biggar | 77
| Bothwell | 77
| St. Nicholas (New Aberdeen) | 78
| King's College (Old Aberdeen) | 80
| Roslin | 85
| Chapel Royal (Stirling) | 88
| St. Giles' (Edinburgh) | 89
| St. Mary's and St. Salvator's (St. Andrews) | 102
5. | Scottish Norman Parish Churches—
| Dalmeny | 102
| Leuchars | 104
| Middle Pointed—
| Linlithgow | 105
| Haddington | 107
| Late Pointed—
| St. John's (Perth) | 108
| Dundee | 113
| Stirling | 114
| St. Leonard (St. Andrews) | 116
| Holy Trinity | 117
6. | Scottish Monasticism | 119
| St. Andrew's Priory | (Augustinian) | 123
| Holyrood | Abbey | " | 124
| Jedburgh | " | " | 129
| Dryburgh | " | (Praemonstratensian) | 134
| Dunfermline | " | (Benedictine) | 139
| Paisley | " | (Cluniacensian) | 148
| Kelso | " | (Tyronensian) | 169
| Arbroath | " | " | 177
| | Melrose | " | (Cistercian) | 184
7. | General Survey of Scottish Mediæval Architecture—
| Norman | 194
| Transition Style | 197
| First Pointed Period | 198
| Middle Pointed Period | 201
| Late Pointed Period | 203
APPENDIX—
| Definition of Leading Architectural Terms | 209

INTRODUCTION

This book is designed to render to Scottish Churchmen the special service of presenting to them, in a brief but comprehensive survey, the record of their ecclesiastical history which is engraved in their ecclesiastical architecture. There is no record so authentic as that which is built in stone. There is none so sacred as that which attests and illustrates the religion of our forefathers. Much of that record has perished: enough remains to engage our reverent study and our dutiful care. Foreign war and rapine have wasted and destroyed our heritage of sacred places. Kelso, Jedburgh, Melrose, and Haddington fell before the English invader. Iona was ravaged by the Dane, while yet the island formed part of a Scandinavian diocese. Internal lawlessness and tribal fury have wrought like disasters. Elgin, once "the fair glory of the land," stands a forlorn monument of the savagery of a Highland chief. St. Andrews, Lindores, Perth, Paisley, and many others bear witness to the reckless outrage which cloaked its violence under the guise of religious zeal. Of all our spoilers this has been the most destructive. The pretence (for it often was nothing else) of "cleansing the sanctuary" not only robbed the Church of many a priceless possession, but begat, in the popular mind, a ruthless disregard of the sacred associations of places where generation after generation had worshipped God, and a coarse indifference to the solemnity of His ordinances, which made it easy for those who should have been the guardians of the churches to let them fall, unheeded, into decay.

It is not uncommon, even yet, to find people who ought to know, and perhaps do know, better, blaming Knox and his co-reformers for the dilapidation and desecration of our ancient fanes. The blame belongs to the "rascal multitude," and to the rapacious laymen who were served heirs to the properties of the despoiled Church. What is the Church the better for their enrichment? What has religion gained by it? The Reformed Faith could have flourished none the less graciously if its purified doctrine had been preached, and its reasonable worship offered, under the same roofs that had protected priest and people in the days of Romanist error. Is the cause of pure and undefiled religion stronger in the land because Melrose and Crossraguel and Pluscarden are desolate; St. Andrews a roofless ruin; Iona as yet open to the Atlantic winds? Is the voice of praise and prayer sweeter in the North because Mortlach is effaced and Fortrose shattered, and the bells are silent which men on the mainland used to hear when the north wind blew from Kirkwall? Granted that ignorant superstition may have tainted the veneration in which our fathers' holy and beautiful houses were held 400 years ago, the iconoclasm which devastated them was not the remedy for it. The revived interest in our old churches, which has asserted its influence in such restorations as those of St. Giles, Dunblane, Linlithgow, St. Vigeans, and Arbuthnott, is no revival of superstition. It is the outcome of a more reverent spirit; of a deeper sense of the honour due to God; of the conviction that we owe Him, in all that pertains to His worship, the offering of our very best; and of a deeper consciousness also of the supreme value of the Church's national position and character, and of the duty of piously conserving whatever helps to illustrate the historical continuity which binds its present to its past. As regards this, nothing is so full of helpful stimulus as an intelligent study of our ecclesiastical architecture. In it we can read the lessons of the gradual growth of the Scottish nation from the loosely connected tribal conditions of the ninth and tenth centuries onwards to its consolidation under a settled monarchy; the development of its commercial and industrial progress; its expanding relations to the peoples of the Continent; and the vital changes in its political life, and its religious system and belief, thence resulting. All these have left their mark in those records which neither time nor revolution, neglect nor violence, have been able wholly to destroy—the architecture of our cathedrals, abbeys, and monasteries.

The primitive buildings of the early Celtic period of the Church have long since disappeared. Their clay and wattles could not withstand the wear and tear of time; only in a distant glen or lonely island can we discover scattered traces of the beehive cell or simple shrine of the anchorite or missionary. Few relics of the more substantial structures of that time survive.

The Roman era of Church organisation superseded the Celtic; and with the Roman dominance came the architecture of the Anglo-Normans, whom the presence and policy of Margaret, saint and queen, attracted to Scotland. It developed itself, always with some national characteristics of its own, until the War of Independence broke off all friendly intercourse with England.

Later came, in place of alliance with England, the alliance with France, which lasted till the Reformation, and left its mark on many of the pages of "The Great Stone Book," which chronicle for us the vicissitudes of the past, the days of peace and prosperity, of war and penury, of reviving national health and energy, of new combinations and ideas in politics and statecraft, of spiritual decay and carnal pride and ostentation. These annals can be deciphered by the patient student of the walls and cloisters of the ancient churches and religious houses.

To the founders and the owners of the latter, and chiefly to the great orders of the Augustinians, the Benedictines, and the Cistercians, we owe many of our noblest remnants of the past—all of them unhappily ruined; for the popular violence of the sixteenth century raged more fiercely against the monasteries than against the cathedrals. To the Episcopal system of government, introduced under Margaret, we owe the bishops' churches or cathedrals.

The life and thought of the Church at the present day, move far enough apart from either prelacy or monasticism to allow us to look at each with an impartial eye, and to consider whether in its abolition we have parted with aught that it would have profited the Church to retain.

The monasteries, at first the homes and shelters of charity and learning, had, before the sixteenth century, waxed fat with unduly accumulated wealth, become enervated with luxury and corrupt through bad government. They were swept away, their possessions secularised, and their communities broken up. But with them disappeared two things which were of great price: a large and liberal provision for the poor, and a comprehensive scheme of Education. The monastery gate was never shut against the suffering and the needy. The monks were indulgent landlords and kind neighbours; the sick benefited by their medical skill; the indigent could always look to them for eleemosynary aid; the houseless wanderer was never sent empty away. Those great centres of friendly helpfulness and charity were planted all over the land. No doubt the gift of indiscriminate alms to every applicant would tend to abuse and lazy beggary; but a scheme of sympathetic and well directed aid thoughtfully administered would not. Abusus non tollit usum. The scandals of the monasteries did not justify the robbery of the destitute for the benefit of the secular supplanters of the monks. The Kirk-sessions of the Reformed Kirk did their best to take the place of the former guardians and kindly benefactors of the poor, but their funds were scanty; the old wealth had fallen into tenacious hands; and schism and sectarianism finally necessitated the transfer of the care of the poor from the Church to the State.

Could the ancient system have been reformed and not destroyed, the poverty of the country would have been less grievous than it is to-day; the Church's relation to the poor more intimate; and the method of relief pleasanter to the recipients than that which makes them familiar with the grim charity of the Poor's House, the Inspector, and the Parochial Board.

The monasteries were the seats of a general system of higher education. The burghs had their own independent seminaries; the "song schools" were more closely connected with the churches in town and in country; but the highest grade of education was found in the monasteries. Before the foundation of any of the universities they supplied the place both of secondary school and university, and trained the youth, especially of the higher ranks, until prepared to go out into the world, as they constantly did, speaking the "lingua-franca" of all scholars, and carrying Scottish energy, genius, and scholarship into the halls and cloisters of many a college and many a monastery, from Coimbra to Cracow, from Salerno to Upsala. These schools all perished with the downfall of the monasteries; and consequently we cannot, to this day, cope with the great public schools of England, or adequately supply the blank in our educational system created by their spoliation and abolition. Here, too, wise reform might have spared and remodelled what misguided zeal, allied with unprincipled greed, destroyed.

With the ruination and impoverishment of the cathedrals, an element in the Church's life inseparable from them, and most salutary and useful, ceased to be. The bishops' deprivation of an authority they had too often disgraced and misused, vested the government of the Church in the presbyterate; and the national sentiment approved of the change. But there was no necessity for upsetting the whole cathedral system, and rooting out the whole cathedral staff, because the bishop was turned adrift. Had the Canonries been spared, an immense boon would have been secured for the Reformed Church. Had the stipends attached to them not been alienated, the Church would have possessed, at all its most important centres, a staff of clergymen chosen for their ability and worth, for their learning and power of government and organisation, aiding the minister in his work, or enriching the theological literature of their time. With them might have been associated younger men, either under their supervision as candidates for the ministry, or as probationers acquiring practical knowledge of its duties and requirements. The cathedral would have stood out, in its city, great or small, as the Mother Church—holding forth the model of devout ritual, of earnest and learned teaching, of zealous work. How vastly superior its influence would have been, spiritually, intellectually, socially, to that of struggling quoad sacra churches, with their ill-paid clergy, or "missions" in charge of worse-paid probationers, it is, I think, needless to point out. But the possibility of such an institution passed away when the cathedrals were desecrated, and their revenues were "grippit"—to use Knox's phrase—by the ungodly robbers of the Church.

I have written these few pages to serve as an introduction to what follows, from the hand of my friend, Mr. Butler. The Committee of the Guild asked me to prepare a volume on the most notable of our ancient churches; and finding that other engagements stood in the way of my doing so, I recommended that the work should be entrusted to Mr. Butler, of whose ability to do it well I felt confident. Having read what he has written, I find my confidence was not misplaced, and that his treatment of the subject is most instructive, thorough, and exact. It will add to the reputation he has already gained by his history of his own parish of Abernethy on Tay, and his books on Wesley in Scotland, and on Henry Scougal; and will prove an invaluable guide to all students of our historic churches, cathedral, collegiate, and monastic.

R. H. S.

SCOTTISH CATHEDRALS AND ABBEYS

CHAPTER I

RELATION OF CELTIC CHURCH TO ROMAN CATHOLIC CHURCH

The period begun by the influence of Queen Margaret (1047-1093), continued by her sons and their successors on the Scottish throne, and culminating in the Scottish Reformation of 1560, is that with which this book deals.

The old Celtic Church of Scotland was brought to an end by two causes—internal decay and external change. Under the first head, notice must be taken of the encroachment upon the ecclesiastic element by the secular, and of the gradual absorption of the former by the latter. There was a vitality in the old ecclesiastical organisation, but it was weakened by the assimilation of the native Church to that of Rome in the seventh and eighth centuries, which introduced a secular element among the clergy; and the frequent Danish invasions, which may be described as the organised power of Paganism against Scottish Christianity, grievously undermined its native force. The Celtic churches and monasteries were repeatedly laid waste or destroyed, and the native clergy were compelled either to fly or take up arms in defence; the lands, unprotected by the strong arm of law, fell into the hands of laymen, who made them hereditary in their families, and ultimately nothing was left but the name of abbacy, applied to the lands, and that of abbot, borne by a secular lord. Under the second head—external change—may be noted the policy adopted towards the Celtic Church by the kings of the race of Queen Margaret. It consisted (1) in placing the Church upon a territorial in place of a tribal basis, in substituting the parochial system and a diocesan episcopacy for the old tribal churches with monastic jurisdiction and functional episcopacy; (2) in introducing the orders of the Church of Rome, and founding great monasteries as counter influences to the Celtic Church; (3) in absorbing the Culdees or Columban clergy into the Roman system, by first converting them from secular into regular canons, and afterwards by merging them in the latter order.[1] King David especially founded bishoprics and established cathedrals, equipped with the ordinary cathedral staff of deans, canons, and other functionaries, and monasteries equipped with representatives of the monastic orders. Thus the native Celtic Church, undermined by internal decay, was extinguished by external change and a course of aggression which rolled from St. Andrews until it reached the far-off shores of Iona. All that remained to speak of its vitality and beneficence to the people of Scotland consisted of the roofless walls of an early church, or an old churchyard with its Celtic cross; the names of the early pastors by whom the churches were founded, or the neighbouring wells at the old foundations, dedicated to their memory; the village fairs, stretching back to a remote antiquity, and held on the saint's day in the Scottish calendar; here and there a few lay families possessing the church lands as the custodiers of the pastoral staff or other relics of the founder of the church, and exercising a jurisdiction over the ancient "girth" or sanctuary boundary such as the early missionaries instituted in the days when might was right, and they nobly witnessed to the right against the might.

The new policy was connected with the introduction of the orders of the Roman Catholic Church, and with the building of cathedrals and abbeys. This movement commenced with the close of the eleventh century, and continued to the middle of the sixteenth; it embraced all the time when the Church of Scotland was guided by the regime of Rome, although it is to be recalled that the Scottish Church never ceased to maintain a native independence—its heirloom from the ancient Celtic Church. This independence, manifested on important historical occasions throughout mediæval times, at last found its national embodiment in the Reformed Church of 1560.

Scotland was divided into thirteen dioceses—St. Andrews, Glasgow, Dunkeld, Aberdeen, Moray, Brechin, Dunblane, Ross, Caithness, Galloway, Lismore or Argyll, the Isles, and Orkney; but before sketching the history and architecture of each of the thirteen cathedrals, it will be necessary to indicate the general features of the various periods of Scottish architecture itself, as it is of this movement the structures themselves are all an expression.

CHAPTER II

SKETCH OF SCOTTISH ARCHITECTURE

Architecture is a great stone book in which nations have recorded their annals, before the days of the printing-press: have written their thoughts, expressed their aspirations, and embodied their feelings as clearly and truly as by any other form of utterance. We know Egypt as vividly by its pyramids, the age of Pericles by the Parthenon of Athens, Imperial Rome by the Flavian Amphitheatre and the Baths of Caracalla, as from the pages of their respective literature. The mediæval cathedrals, monasteries, and churches are a living record of the faith and devotion of mediæval men, who have left besides them but little else whereby we can know their aspirations and civilisation; we find in them an expression of the deepest life that characterised the periods to which they belong, and a record which, though often mutilated, and sometimes nearly obliterated, never deceives. Wherever these architectural creations are found, there also a voice ought to be heard, telling what at that spot and at some previous time men thought and felt; what their civilisation enabled them to accomplish, and to what state they had attained in their conception of God. In a very true sense it can be said that the architecture of a country is the history of that country, and that the record of the architecture is the record of its civilisation.

"Mediæval architecture," said Sir Gilbert Scott, "is distinguished from all other styles as being the last link of the mighty chain which had stretched unbroken through nearly 4000 years—the glorious termination of the history of original and genuine architecture....[2] It has been more entirely developed under the influence of the Christian religion, and more thoroughly carried out its tone and sentiment, than any other style. It is par eminence Christian.... Its greatest glory is the solemnity of religious character which pervades the interior of its temples. To this all its other attributes must bend, as it is this which renders it so pre-eminently suited to the highest uses of the Christian Church. It was this, probably, which led Romney to exclaim, that if Grecian architecture was the work of glorious men, Gothic was the invention of gods."[3] This architecture was perfected by the mediæval builders—the round arch in the twelfth and the pointed arch in the two succeeding centuries. Its progress was the realisation of three great aims, towards which the Romanesque architects were ever striving—the perfecting of the arcuated and vaulted construction, the increase of the altitude of their proportion, and the general adding of refinement and delicacy to their details.[4]

Scotland, it has been maintained by those competent to judge, can show a continuous series of Christian structures, beginning with the primitive cells and oratories of the early anchorites, and extending through all the periods of mediæval art. It exemplifies two distinctive phases of artistic development—the first comprising the rise and decline of Celtic Art in early Christian times, and the second allied to the various stages of general European culture. The Celtic churches, round towers, and sculptured monuments similar to those found in Ireland, are followed by primitive examples of Norman work, pointing to the Saxon and Norman influence of the eleventh century, which produced a complete revolution in the artistic elements of the country and led to a full development of the Romanesque or Norman style of architecture—a style similar to the round arched architecture of other European countries in the twelfth century. This is manifested chiefly in small parish churches, but also in large, elaborate buildings, and one cathedral.[5]

The succeeding Gothic styles are also well represented in Scotland, and exhibit both certain local peculiarities and a general correspondence with the arts of the different periods in France and England. The First Pointed style is represented in Scotland during the thirteenth century, but owing to the disastrous situation of the country during the fourteenth century, the number of "decorated" buildings is pronounced to be comparatively small. On the other hand, it is maintained that during the fifteenth and sixteenth centuries, when the "Perpendicular" style prevailed in England and the "Flamboyant" in France, the architecture of Scotland was distinguished by a style peculiar to the country, in which many features derived from both the above styles may be detected.[6] "While the mediæval architecture of Scotland thus corresponds on the whole with that of the rest of Europe, there exists in the ecclesiology of the country an amount of native development sufficient to give it a special value as one of the exponents of the art of the Middle Ages. Its buildings further contribute largely to the illustration of the history of the country, by showing in their remains the condition and growth of its religious ideas and observances at different epochs, and the manner in which its civilisation advanced. We observe striking evidences of the Irish influence in the relics of the primitive Celtic Church. The Norman and English influences are clearly traceable up to the invasion of Edward I., and the political connection with France and the Netherlands is distinctly observable in the period of the Jameses."[7]

1. Norman Architecture

The Abernethy Round Tower, the Priory of Restennet, Forfarshire, and St. Regulus' or St. Rule's Church, St. Andrews, illustrate the transition from Celtic to Norman architecture.[8] The dates of the Irish round towers[9] extend from the ninth to the twelfth century, and the Abernethy Tower is regarded on historical grounds by Dr. Skene as belonging to the period about 870 A.D.; the upper windows and doorway are either additions of the twelfth century, or, as this was an early Irish house in Scotland, may illustrate what has been asserted, that in Ireland a form of Romanesque was introduced before the Anglo-Saxon Invasion.[10] At any rate, the tower is a combination of Celtic and Norman work. As to Restennet, the present choir is a First Pointed structure. David I. founded there an Augustinian Priory, which Malcolm IV. made a cell of the Abbey of Jedburgh. The tower is the only one of the square towers which has very marked features of a pre-Norman character.[11] The building above the second story is probably fifteenth-century work. St. Regulus' Church is treated pp. 17-19.

The twelfth century was in Scotland as elsewhere the great church-building period, and the number of churches in the south and east that reflect the Norman movement is very large. All the large ones were conventual. Parish churches of the period are generally small and aisleless—the most of them being single oblong chambers, with an eastern chancel, sometimes with an eastern apse, and occasionally with a western tower.[12] Towards the close of the period, the ornament became very elaborate, especially in the arched heads of doorways. A common feature was the arcade running round the walls below the windows, either in the exterior, interior, or both; the caps and arches are generally carved elaborately and richly with ornaments, the chevron or zig-zag enrichment being a characteristic feature. The windows are always single and simple in detail.[13]

Some of the towers connected with such churches are amongst the earliest instances of Norman work which survive; they are simple in design, square on plan, and are carried up, without break or buttress, to the parapet, where they are finished with a gable roof, forming the saddle-back arrangement still preserved in the Muthill Tower.[14] The break in the height is formed by string courses, which mark the unequal stories. A small wheel-stair usually leads to the top, and the doorway is occasionally several feet from the ground. Such are the leading features that can be traced in the buildings connected with the period.

2. Scottish Transition Style

The term "transition" is by general agreement reserved for the architecture of the end of the twelfth century, when the Norman style gradually gave place to the first pointed Gothic style. In England this period extends from about 1180 to 1200; in Scotland it extends considerably into the thirteenth century. The characteristics of the style are the gradual introduction of the pointed arch and its use along with some of the decorative features of the Norman style. "The pointed arch shows the advent of the new style, but the ornaments of the old style continue to linger for a time. The first pointed style was not complete till these old ornaments were abandoned, and the more vigorous enrichments of the new style were introduced. The other constructive features of the Norman style gradually changed at the same time as the arch. The buttresses by degrees assumed the projecting form of the first pointed style, and the pinnacles and spires of the latter style were in course of time introduced."[15]

3. Scottish First Pointed Period

"The pointed Gothic style which had its origin in the north of France about the middle of the twelfth century appeared in England about 1170, but can scarcely be said to have reached Scotland till after the close of the twelfth century.... The pointed arch, for example, although generally adopted, did not entirely displace, as it had done in the south, the round form of the Normans, a feature which, especially in doorways, continued to be employed not only in the thirteenth century, but throughout the whole course of Gothic art in Scotland. In other respects the thirteenth century style in this country corresponds very closely with that of England. Its features are however, generally speaking, plainer and the structures are smaller."[16]

"This new departure sprung from the necessity which arose for the invention of an elastic system of vaulting which should admit of all the arches, forming vaults over spaces of any form or plan, being carried to the same height at the ridge. This requirement led to the introduction of the pointed arch in the vaulting, and from that departure it soon spread to all the other arched features of the architecture."[17] Architecture, which had hitherto been confined to the monasteries, was now undertaken by laymen, and while the great monasteries were either rebuilt or founded, the cathedrals mostly belong to this period. To these attention was chiefly devoted, and the number of parish churches constructed was comparatively small. This partly arose from the large number of parish churches built during the Norman period. In Scotland the cathedrals of St. Andrews, Dunblane, Glasgow (the choir and crypt), Elgin, Brechin, Dunkeld, Caithness, the choir of St. Magnus in Orkney and Galloway belong in whole or in part to this epoch.[18]

4. Scottish Middle Pointed or Decorated Period

The period from 1214 to 1286 comprised the first pointed work in Scotland. The country was during the time prosperous, and is believed to have been more wealthy than at any time till after the Union with England.[19] The disputed succession after the death of Alexander III. gave Edward I. the opportunity of asserting his claims to the Scottish throne; war followed, and with it poverty and barbarism. "The first note of contest," says Dr. Joseph Robertson, "banished every English priest, monk, and friar from the northern realm. Its termination was followed by the departure of those great Anglo-Norman lords—the flower of the Scottish baronage—who, holding vast possessions in both countries, had so long maintained among the rude Scottish hills the generous example of English wealth and refinement. Then it was that De la Zouche and De Quincy, Ferrars and Talbot, Beaumont and Umfraville, Percy and Wake, Moubray and Fitz-Warine, Balliol and Cumyn, Hastings and De Coursi, ceased to be significant names beyond the Tweed—either perishing in that terrible revolution or withdrawing to their English domains, there to perpetuate in scutcheon and pedigree the memory of their rightful claims to many of the fairest lordships of Albany, and to much of the reddest blood of the north."[20] This had a twofold consequence to architecture. Comparatively few buildings arose in the north, and these were in a smaller scale. And England now becoming an hereditary enemy, no longer supplied models for the churches north of the Tweed, which received the impress of France. In England the First Pointed was succeeded about 1272 by the Middle Pointed or Decorated, which swayed for about a century, being succeeded by the Third Pointed or Perpendicular, whose reign, beginning about 1377, ended with the Reformation.[21] The Decorated style did not reach Scotland till it had passed away in England, and the Scottish representatives of the style are scanty in number and late in date.[22] When the country revived after the long struggle with England, and building began towards the close of the fourteenth or the beginning of the fifteenth century, few new works were undertaken, energy and resources were concentrated on the rebuilding or completion of the edifices that had been destroyed or left unfinished. This period, along with the Third Pointed in Scotland, is regarded as the work of native architects.[23]

5. Scottish Third or Late Pointed Period

The Middle Pointed passed by a gentle gradation into the Late Pointed style, and it is difficult to say when the one ceased and the other began. Yet there are some characteristics of the Third Pointed which are peculiar to it and render it a distinct epoch. The large churches are nearly all restorations, and no new churches of great size were undertaken. The Scottish churches are usually smaller in size than the English ones, and consist of single compartments without aisles. The east end frequently terminates with a three-sided apse—a feature which owes its origin to the Scottish alliance and intercourse with France. The leading and distinguishing feature is, however, the vaulting—the pointed barrel vault being almost universally employed. The windows of these churches are necessarily low, so as to allow the point of the arch-head to come beneath the spring of the main vault. The buttresses are generally somewhat stunted. The windows are almost always pointed, and contain simple tracery derived from the earlier styles. The doorways are generally of the old round-headed form, with late foliage and enrichments. Porches are occasionally introduced, and coats of arms are commonly carved on shields of the period, and are useful in determining the dates of portions of the buildings. Towers were generally erected or intended, and are somewhat stunted, finished with short spires, having small dormer windows inserted in them. Monuments are of frequent occurrence, and are frequently placed in arched and canopied recesses. Richly carved sacrament-houses are occasionally introduced, and perhaps some of the good carving may be due to the French masons who were numerous in Scotland during the reigns of James IV. and James V. The structures of the period were either parish or collegiate churches.[24]

CHAPTER III

1. Diocese of St. Andrews

The connection between St. Andrews and the neighbouring Pictish Church at Abernethy was, during the early period, very close. Dr. Skene thinks that the first church at Abernethy was built during the visit of St. Ninian to the Southern Picts, or the people living between the Forth and the territory south of the Grampians; it was endowed with lands by King Nectan in 460 A.D., and dedicated to St. Bride;[25] and between 584 and 596, during St. Columba's visit, and as a result of his mission, a church was rebuilt by Gartnaidh, King of the Picts.[26] St. Columba is distinctly stated to have preached among the tribes on the banks of the Tay,[27] and to have been assisted in this work by St. Cainnech, who founded a church in the east end of the province of Fife, near where the Eden pours its waters into the German Ocean, at a place called Rig-Monadh, or the royal mount, which afterwards became famous as the site on which the church of St. Andrews was founded, and as giving to that place the name of Kilrimont.[28] The earliest Celtic church at St. Andrews was probably, like that of Iona, constructed with wattles and turf and roofed with thatch. It was customary to have caves or places of retirement for the hermits; they were used, too, as oratories or places of penance, and one such there is at St. Andrews, known as St. Rule's cave:—

Where good Saint Rule his holy lay,
From midnight to the dawn of day,
Sang to the billows' sound.[29]

The connection of the place with St. Andrew has no historical basis till between 736 and 761, when a cathedral was dedicated to St. Andrew, and a portion of his relics was brought by Acca, Bishop of Northumbria, who was banished from that country in 732, and founded a church among the Picts. Dr. Skene points to the similarity of the events which succeeded one another in Northumbria and Southern Pictland in the eighth century. In the former country the Columban clergy were expelled, secular clergy were introduced, dedications were made to St. Peter, and afterwards Hexham was dedicated to St. Andrew and received the relics of the Apostle, brought there by one of its bishops; in the latter country, sixty years later, the Picts expelled the Columban monks, introduced the secular clergy, placed the kingdom under the patronage of St. Peter, and then receiving from some unknown quarter the relics of St. Andrew, founded the church in honour of that Apostle, who became the national patron-saint.[30] This "cathedral," dedicated to St. Andrew, was probably of stone, and was the church intervening between the early Celtic Church and that of St. Regulus. Angus, King of the Picts, endowed it with lands.

On the destruction of Iona by the Danes, the bishopric was first transferred to Dunkeld (850-864); then to Abernethy (865-908), when the Round Tower was probably built;[31] and in 908 it was transferred to St. Andrews, which retained it until the Reformation. St. Adrian was probably one of the three bishops of Alban[32] at Abernethy, as chapels and crosses in the district are all connected with his name; and Cellach appears as the first Bishop at St. Andrews, and he was succeeded by eight Culdee bishops, the last of whom was Fothad, who officiated at the marriage of Malcolm Canmore and Queen Margaret. The next three bishops all died before consecration, and for about sixteen years after the death of Malcolm the bishopric would appear to have been vacant. Turgot, Queen Margaret's friend and confessor, was the thirteenth bishop, and ruled from 1107-1115—the first bishop not of native birth.

Prior to 1107 the Culdee community had split up into two sections, dividing the spiritualities and temporalities between them, and Bishop Robert (1121-1159), with the object of superseding the Culdees, founded in 1144 a priory for the regular monks of St. Augustine, granting to them the Hospital of St. Andrews, with portions of the altarage. In the same year King David granted a charter to the prior and canons of St. Andrews, in which he provided that they shall receive the Keledei of Kilrimont into the canonry, with all their possessions and revenues, if they were willing to become canons-regular; but, if they refused, those who are now alive are to retain the property during their lives, and, after their death, as many canons-regular are to be instituted in the church of St. Andrews as there are now Keledei, and all their possessions are to be appropriated to the use of the canons. There were thus two rival ecclesiastical bodies in St. Andrews—the old corporation of secular priests and the new order of Austin-canons; the former enjoyed the greater part of the old endowments, and the latter recovered a considerable portion of the secularised property that had passed into lay hands. Popes, bishops, and kings endeavoured to end this rivalry, but their efforts were not crowned with success; although influence was on the side of the canons-regular, the Keledei clung to their prescriptive right to take part in the election of a bishop down to 1273, when they were excluded by protest; in 1332 they were absolutely excluded, and the formula of their exclusion from taking part in the election was repeated;[33] we hear of them afterwards not as Keledei, but as "the provostry of the Church of St. Mary of the city of St. Andrews," of "the Church of the Blessed Mary of the Rock," and of "the provostry of Kirkheugh"—the society consisting of a provost and ten prebendaries.[34]

In the reign of Malcolm IV. the bishopric of St. Andrews included the counties of Fife, Kinross, Clackmannan, the three Lothians, Berwickshire, Roxburghshire, parts of Perthshire, Forfarshire, and Kincardineshire; and, although the see was lessened by the creation of new bishoprics, the importance of St. Andrews was always great, for at the Reformation the primate's ecclesiastical jurisdiction included 2 archdeaconries, 9 rural deaneries, the patronage of 131 benefices, the administration of 245 parishes. In 1471 or 1472 the see was erected into an archbishopric by a bull of Pope Sixtus IV. and at this time the Archbishop of York surrendered his claim to have the Bishop of St. Andrews as his suffragan—a claim repeatedly made since the time of Turgot and as frequently resented. The office of bishop or archbishop involved great spiritual and temporal power; the primates were lords of regality and ultimate heirs of all confiscated property within their domains; they levied customs and at times had the power of coining money; they presided at synods, controlled the appointment of abbots and priors, were included with the King in the oath of allegiance, and took precedence next to the royal family, and before all the Scottish nobility. There were in all thirty-one bishops and six archbishops, who held the see in succession from 908 to 1560, and among the more famous of them may be mentioned Turgot, the friend and biographer of Queen Margaret (1107-1115); Robert, prior of Scone, who founded the Priory of St. Andrews, received the gift of the Culdee Monastery of Lochleven, and built the church and tower of St. Rule (1124-1158); Arnold, Abbot of Kelso, who started the building of the great cathedral (1158-1159); William Wishart of Pitarrow, who was lord-chancellor and bishop (1273-1279), and rebuilt, between 1272 and 1279, the west front, which was blown down by a tempest of wind; William Lamberton (1298-1328), who consecrated the cathedral in 1318, in the presence of King Robert the Bruce; Henry Wardlaw (1404-1440), who founded in 1411 the University of St. Andrews; James Kennedy (1440-1466)—the greatest of all the bishops—who founded St. Salvador's College; James Stewart (1497-1503), second son of James III., Duke of Ross and Marquis of Ormond, who was made primate at twenty-one; Alexander Stewart (1506-1513), who was the natural son of James IV., and fell with his father at Flodden; James Beaton (1522-1539), who founded St. Mary's College and burnt Patrick Hamilton; David Beaton, nephew of James Beaton (1539-1546), who burnt Wishart and was murdered; John Hamilton (1549-1571), who was the author of the Catechism of 1552.[35]

As to the buildings, St. Regulus' or St. Rule's, standing in the ancient churchyard at a distance of about 120 feet south-east of the east end of the Cathedral of St. Andrews, was unquestionably the earlier Cathedral Church, and occupies probably the site of the earlier Celtic church.

Bishop Robert (1121-1159) introduced the canons-regular of St. Augustine in 1144, and these gradually absorbed many of the Culdees into their community. It was during this time also that St. Rule's was built. Dr. Joseph Robertson says of it:—"The little Romanesque church and square tower at St. Andrews, which bear the name of St. Rule, have, so far as we know, no prototype in the south.... No one acquainted with the progress of architecture will have much difficulty in identifying the building with the small 'basilica' reared by Bishop Robert, an English canon-regular of the order of St. Augustine, between the years 1127 and 1144."[36] The Pictish Chronicle states that Robert was elected Bishop in the reign of Alexander I., but was not consecrated till the reign of David I. in 1138; that, after his consecration by Thurstan, Archbishop of York, he expended on this work one-seventh of the altar dues which fell to him, reserving them for his own use. "But inasmuch as the outlay was small, the building made correspondingly small progress, until, by the Divine favour, and the influence of the King, offerings flowed in, and the work went on apace. The basilica was thus founded and in great part constructed."[37]

What now remains of this building consists of a square tower, 112 feet high, and an oblong chamber. Discussion has arisen as to whether there ever was a nave, and in favour of the positive view it is urged that marks of three successive roofs may be seen on the tower-wall, and that the seals of the church, dated 1204 and 1214, show a nave and chancel. Eminent authorities take this view. Sir Gilbert Scott thinks that the large size of the western arch, and the mark of the roof on the tower, suggest a nave;[38] while later authorities, recalling that this church was once a cathedral, as well as the church of a monastery, and served the purpose of a parish church, hold it as more than probable that it must have been a larger building than the simple oblong chamber to the east of the tower which now survives.[39]

The architecture corresponds with the period of Bishop Robert,[40] so that there is more than probability in averring that St. Rule's was the cathedral built by this bishop, and took the place of an earlier Celtic church, founded by Bishop Acca. The square tower of St. Regulus was probably designed to fulfil the same purposes as the Round Towers of Abernethy and Brechin: (1) to serve as a belfry; (2) to be a keep or place of strength in which the sacred utensils, books, relics, and other valuables were deposited, and into which the ecclesiastics could retire for security in case of sudden predatory attack; (3) when occasion required, to be a beacon or watch-tower.[41]

Besides the Church of St. Regulus, there are still to be seen the ruins of the great Cathedral of St. Andrews, which consisted of a short aisleless presbytery, and choir of five bays with side aisles, with an eastern chapel in each aisle; north and south transepts, each of three bays with eastern aisles; nave of twelve bays with north and south aisles, and a large central tower over the crossing. The interior dimensions were—total length, 355 feet; width of nave, 63 feet; length of transepts, 167 feet 6 inches; width, 43 feet 2 inches. The older parts of the Cathedral exhibit traces of the transition from the Norman architecture, but the principal parts of the structure have been carried out in the First Pointed style.[42]

The Cathedral Church was also the Conventual Church of the Austin-canons, and the Bishop was ex officio prior of the monastery. Of the conventual buildings erected by Bishop Robert nothing remains.

The Cathedral was erected from east to west in about 115 years.[43] The work was commenced by Bishop Arnold in 1161, was continued by eleven successive bishops, and was consecrated by Bishop Lamberton in 1318. During its progress in 1276, the eastern end was greatly injured by a violent tempest, and in 1378 the Cathedral suffered from fire, which according to Wyntoun destroyed the south half of the nave from the west end, and eastward to and including the ninth pillar. The restoration was begun at once by Bishop Landel (1341-1385), and completed in the time of Bishop Wardlaw (1404-1440), who in 1430 improved the interior by the introduction of fine pavements in the choir, transept, and nave, and by filling the nave with stained glass and building a large window in the eastern gable. The south wall of the nave extends considerably westwards beyond the present west end, and contains the remains of a vaulting shaft, leading to the inference that the Cathedral was originally of greater length than it now is by at least 34 feet. The north wall of nave also projects westwards about 7 feet. There is a difficulty in connection with the west front, and it is regarded by competent authorities that this wall was not part of a western porch, but "indicates that there has been a change in the design, and that the original intention of having a wide porch extending along the whole of the west end has been departed from after the first story was built up to the level of the above string course, all above that point being of later design and execution."[44]

The early chapter-house was 26 feet square, and was vaulted with four central pillars. It opened to the cloisters, and the doorway is pronounced to be in the purest style of early pointed architecture.[45] Bishop Lamberton (1298-1328) erected a new chapter-house, and the old one was made a vestibule to the new. South of the early chapter-house was probably the fratery; on the upper floor of this building and the chapter-house was the dormitory—a wheel-stair leading to it from the south transept. On the west side of the cloister was the sub-prior's house, known also as Senzie House; south-east of the fratery is the prior's house or Hospitium Vetus, which was sometimes the residence of the bishop. West of the cathedral are the remains of the entrance gateway, called the "Pends," and in continuation of the "Pends" was the enclosing wall of the priory grounds, containing sixteen towers. The Guest-House was within the precinct of St. Leonard's College, and was built about the middle of the thirteenth century.[46] Within the precincts of the Priory-grounds were the various offices connected with the great ecclesiastical establishment.

The conventual and other buildings attached to the Cathedral have been recently excavated at the expense of the late Marquis of Bute, and considerable remains of the foundations disclosed to view. The ruins of the castle stand on a rocky promontory, overhanging the sea, N.N.W. of the Cathedral; and between the Cathedral-wall on the N.E. and the sea are the foundations of a chapel dedicated to the Virgin.

In 1559 the Cathedral was attacked by the mob and greatly destroyed. Time and weather helped to complete the work of destruction; the Protestant Archbishop Spottiswoode in 1635 strove to make provision for its restoration, but nothing appears to have been done to arrest the work of destruction. The Barons of Exchequer in 1826 took possession of the ruins, had the rubbish cleared away, and what remained of the great building strengthened. The pier-bases have been made visible, and the outline of the building marked on the turf. St. Andrews has been associated with most of the stirring events in Scottish Church history, and will always possess its two great voices of the Cathedral and the Sea.

2. Diocese of Glasgow

Towards the end of the fourth century, St. Ninian, a Christian missionary trained at Rome in the doctrine and discipline of the Western Church, is said to have established a religious cell on the banks of the Molendinar. How long he remained there is uncertain, but his labours are chiefly centred around the Candida Casa at Whithorn and among the southern Picts, whose district, according to Bede, he evangelised. With St. Ninian's departure, the district around the Molendinar relapsed into barbarism, and the only remaining monument of his work was a cemetery which he was reputed to have consecrated. The next historical reference to Glasgow is in connection with St. Kentigern, or, as he was popularly known, St. Mungo, about the middle of the sixth century. He was of royal descent, and was born in 518 or 527. His biographer, Joceline, states that he was adopted and educated by St. Servanus or St. Serf, who lived at Culross, and by him was named "Munghu," i.e. dearest friend. But this must be a mistake, for Servanus lived two centuries after Kentigern's time;[47] if it is correct, there must have been an earlier and a later St. Serf. On attaining his twenty-fifth year, according to Joceline, he proceeded to Carnock, where lived a holy man named Fergus. After he reached the abode of Fergus, the good man said his "nunc dimittis" and died; and Kentigern, placing his body on a wain drawn by two bulls, took his departure, praying to be guided to the place which might be appointed for burial. The place where the wain stopped was Cathures, afterwards called Glasgow, where St. Ninian had consecrated a cemetery, and here Fergus was buried. Such is Joceline's account of Kentigern's first connection with Glasgow. The king and people of the district pressed him to remain as their bishop, and he consented, establishing his see at Cathures and founding a lay society of the servants of God, and fixing his own abode on the banks of the Molendinar. After some years of austerity and beneficence there, he was driven from his work by the persecutions of an apostate prince and settled in the vale of Clwyd, North Wales, where he founded a monastery. After a time he returned to Glasgow, at the solicitation of the King of Cumbria, and appointed St. Asaph as his successor in Wales. In a martyrology ascribed to the year 875 Kentigern appears as "bishop of Glasgow and confessor."[48] While resident at Glasgow, St. Kentigern was visited by St. Columba, his distinguished contemporary and the apostle of the Picts, who presented him with a crozier, which, Fordun says, was afterwards preserved in St. Wilfrid's Church at Ripon. Bishop Forbes describes the meeting of the two great men "as one of those incidents which we wish to be true, and which we have no certainty for believing not to be so."[49] St. Kentigern died in 603 or 614, and was buried in Glasgow, which is still known as the city of St. Mungo—Mungo being his name of honour or affection. Everything connected with St. Mungo's early church, of wood and wattles or of stone, on the banks of the Molendinar, is shrouded in the mists of antiquity until the first quarter of the twelfth century, when David, Prince and Earl of Cumbria, the youngest son of Queen Margaret, took measures to reconstruct the see and recover its property. Of Glasgow during the Culdee period nothing can be definitely known. The result of Prince David's inquest is contained in the Register of the Bishopric,[50] and it sets forth that Prince David, from love to God and by the exhortation of the Bishop, having caused inquiry to be made concerning the lands belonging to the church in Cumbria, had ascertained that they belonged to the church of Glasgow, and restored them. These lands extended from the Clyde on the north to the Solway and English March on the south, from the western boundary of Lothian on the east to the river Urr on the west, including Teviotdale, and comprehended what afterwards formed the site of the city of Glasgow.[51] The building of the cathedral would appear to have been begun before David succeeded to the throne in 1124, and he appointed his tutor John (called Achaius) to the bishopric. In 1136 the church, which was probably chiefly of wood, was dedicated, and King David endowed it further with lands, tithes, and churches. The church of Achaius was destroyed by fire, but through the exertions of Bishop Joceline a society was founded to collect funds for its restoration, and the work was sufficiently advanced for its consecration on 6th July 1197.[52] Although built at different dates, the building has a very homogeneous appearance, and might be mistaken for a building of one period. Under competent guidance,[53] we now propose to give a short sketch of the cathedral itself.

The first attempt to erect a cathedral was made by Bishop Achaius, whose episcopate extended from 1115 to 1147, and Mr. Honeyman regards the portion of the lower church at the south-west angle as the most ancient part of the structure. He holds that the church built by Achaius was restored by Bishop Joceline (1175-1199) at the end of the twelfth century, and that the above portion formed a chapel, and was part of that restoration. The strongest argument is its nearness to the tomb of the patron saint. If we assume that the old choir terminated in a semicircular apse, projecting eastward beyond the aisles, we shall find that the tomb would be enclosed in such a position as to admit of the high altar being placed immediately over it. Assuming that the choir was not apsidal but square, we get the same result. The probability is that the end of the church erected or altered by Joceline was square, and that it projected two bays beyond the aisles, as at St. Andrews and other churches of the same period.[54] The crypt, or, strictly speaking, "lower church," was evidently suggested by the sloping eastward character of the site, which would have placed St. Mungo's tomb at a depth below the level on which a large church could possibly be built; while Achaius, from his long residence in Italy, would be led to imitate some notable Italian examples.[55] Some similarities between Glasgow and Jedburgh (which was in the diocese of Glasgow) have suggested that there was in the olden times such a servant of the church as a diocesean architect.[56] "One thing is abundantly clear," says Mr. Honeyman, "to any one who intelligently studies the building, namely, that the whole design was carefully thought out and settled before a stone was laid. It is a skilful and homogeneous design, which could only be produced by a man of exceptional ability and great experience. Nothing has been left to chance, or to the sweet will of the co-operating craftsman, but the one master-mind has dictated every moulding and every combination, and has left the impress of his genius upon it all. The mark of the master may be discerned by the practised eye in every feature of the magnificent edifice; the marks of the craftsmen may be seen on the work they were told to do, and did so well."[57] To Bishop Joceline is due the credit of having formed a society to collect funds for the restoration of Bishop John's church, which was burnt by fire,[58] and he appears to have rebuilt the choir, and also to have designed, if he did not also partly build, the nave.[59] This part of his work was sufficiently advanced for consecration on 6th July 1197.[60] The work was probably continued by his successors, but the next great benefactor of the cathedral was Bishop William de Bondington (1233-1258), who perfected Joceline's work, and built both choir and lower church or "crypt," as they now are.[61] According to Mr. Honeyman, the foundations of the nave were laid and part of the walls was carried up before the building of the choir was begun.[62] Most of the nave appears, from its architecture, to have been erected at the end of the thirteenth, or the beginning of the fourteenth century, and is pronounced to form "one of the finest examples of the late First Pointed or Early Decorated style in Scotland."[63] "The spacing (of the piers) is that of the twelfth century (considerably less than that of the choir), while the height and the treatment, in other respects, is that of the latter portion of the thirteenth."[64]

Bishop Wishart during the war of Independence supported the Scottish party; he obtained permission from Edward I. to cut timber in Luss forest for erecting the spire of the cathedral, and it was one of the causes of accusation against him, which led to his imprisonment in England, that he had used the said timber not for building the spire but for making engines of war wherewith to attack Edward's army. In 1400 the wooden spire of the cathedral was destroyed by lightning, but a new tower of masonry was erected over the crossing by Bishop Lauder (1408-1425), who carried the work as high as the main parapet. "This bishop appears also to have begun the completion of the chapter-house, a detached structure lying to the north-east of the choir. The walls of this building were partly erected about the time of the construction of the choir, but were afterwards raised to two storeys in height, and vaulted by Bishop Cameron."[65] This latter prelate (1426-1446) was known as "the Magnificent," from the splendour of his retinue and court. He erected the stone spire above the tower of Bishop Lauder, and also completed the chapter-house wing containing the sacristy on the upper floor, and the chapter-house on the ground floor. His arms are still to be seen on the portions of the structure erected by him. The beautiful rood-screen was also probably constructed by him.[66] Bishop Cameron also increased the number of prebendaries from seven to thirty-two, and ordained that they should all have manses and reside near the cathedral. In his day the episcopal court was said to rival that of the King, and he built the great tower of the castle or episcopal palace, which was probably erected by Bishop Bondington and stood with the garden in the open space between the cathedral and the present Castle Street, now called Infirmary Square. The Bishop's palace was a Scottish baronial structure, and had an elaborate turreted gateway or port at the south-east angle of the wall nearly opposite the gate that now leads to the cathedral yard.[67] Bishop William Turnbull, who succeeded Bishop Cameron, held office from 1448 to 1454. He did not add much to the cathedral, but his memory ought to be gratefully remembered, for in response to his representation and that of the King, Pope Nicholas V. issued his bull, on 7th January 1450-1451, by which he erected the University, ordaining that it should flourish in all time to come, as well in theology and canon and civil law as in the arts and every lawful faculty, and that the doctors, masters, readers, and students might there enjoy all the liberties, honours, exemptions, and immunities granted by the Apostolic see to the doctors, masters, and students in the University of Bologna. He gave the power to confer degrees and make licentiates—an important recognition in those days, for it brought the influence of the Church on the side of schools of learning, and gave universal European validity to the degrees so conferred.[68] The Bishop of Glasgow was the patron and head of the University of Glasgow, which was thus founded forty years after that of St. Andrews, and forty years before that of Aberdeen. The next prelate, Bishop Andrew Muirhead (1455-1473) took an important part in the State affairs of the period, and as far as his work in the cathedral is concerned, built the hall of the choral vicars. It is situated between the two buttresses at the west end of the north aisle of the choir, and is a low building now roofed with flags. It was called the "aula vicariorum chori," and was built as an accommodation for the vicars choral, whose duties were to serve and sing in the choir. They were formed into a college by Bishop Muirhead, were originally twelve in number, but were afterwards increased to eighteen, and were aided by boy choristers. Archbishop Eyre thinks that this building on the north side of the cathedral was the early song-school of the church, which passed into the hands of the college of vicars choral, and was a hall for their business meetings and musical practice, the second storey being probably their reading-room, or the sleeping-place of the sacristan, who was required to sleep in the church.[69]

Robert Blacader (1484-1508) was high in favour with King James IV., and was one of the embassy sent to England to arrange the marriage of the Scottish monarch with the daughter of Henry VII. James had previously sought consolation under the Bishop's care, enrolled himself as a prebendary in the cathedral, and in person attended as a member of the cathedral-chapter. The King was always favourable to Glasgow, and did not desire the see to be subordinate to that of St. Andrews. He urged upon the Pope that the pallium should be granted to the Bishop of Glasgow, whose cathedral, he urged, "surpasses the other cathedral churches of my realm by its structure, its learned men, its foundation, its ornaments, and other very noble prerogatives." A bull was granted in 1491-1492 by Pope Innocent VIII. in which he declared the see to be metropolitan, and appointed the bishops of Dunkeld, Dunblane, Galloway, and Argyll to be its suffragans.[70] Blacader was the first Archbishop of Glasgow, and beautified his cathedral by building or adorning the fine rood-screen which separates the nave from the choir[71] by founding altarages and erecting two altars in front of the rood-screen, on both of which his arms and initials are carved.[72] He built also the decorated flights of steps from the aisles of the nave to the choir, and partly erected the building in continuation of the south transept, called Blacader's aisle, but it was never carried higher than the ground storey or crypt.[73] It is also known as Fergus's aisle.[74] Archbishop Blacader was the last to add to the cathedral, and there is reason to believe that his addition occupies the site of the cemetery consecrated by St. Ninian, and thus the earliest consecration and the latest building effort are identified with the same spot.[75]

Glasgow, like Elgin, Aberdeen, and Brechin, possessed originally two western towers, but at Glasgow, grievously and unfortunately, the south-west tower was removed in 1845, and the north-west one in 1848 by the Restoration Committee. They were venerable in their antiquity, and were probably built after the completion of the nave and aisles, if not at the same time. Evidence showed "that probably the north-west tower was part of the original design, or if not, that its erection was resolved on before the north aisle was completed, and it was built before the west window of the north aisle required to be glazed. The south-west tower was probably of the same date."[76] The latter was best known as the consistory house, and was the place where the bishops held their ecclesiastical courts and the diocesan records were kept. The only comfort amid the demolition of the towers is that the proposed new ones were not erected in their place; and better counsel ought to have prevailed, since Mr. Billings described the removal as an act of barbarism. "All who now see the grand old building, shorn of its cathedral features, and made like a large parish church, mock and laugh at the action of the local committee, saying, "These men had two towers, and they went and pulled them both down.""[77]

The higher church had twenty-four altars or chapels;[78] the lower church, commonly but incorrectly called the crypt, had six altars;[79] the high altar occupied the usual place, was dedicated to St. Kentigern, had a wooden canopy or tabernacle work over it, and in front of it, on the right-hand side, was the bishop's throne.[80] When it is recalled that the cathedral possessed these thirty altars or chapels (most of them beautiful works of art), thirty-two canons, college of choral vicars, with other assistants, one can well understand the great, almost dangerous power which the "Spiritual Dukedom" possessed, and the dread, felt even by its own chapter, when it was first proposed to make the bishopric into an archbishopric, for they regarded the movement as conferring too much power on the bishop.[81] A conception of the archbishop's power may be formed by recalling that the archdeaconry of Glasgow contained the following deaneries—Nycht, Nith, or Dumfries, with 31 parishes, besides 2 in Annandale and 8 in Galloway; Annandale, 28 parishes, besides 8 in Eskdale; Kyle, 17 parishes; Cunningham, 15; Carrick, 9; Lennox, 17; Rutherglen, 34; Lanark or Clydesdale, 25; Peebles or Stobo, 19; the archdeaconry of Teviotdale, 36 parishes.[82] Besides the prelates already mentioned there were, as the direct successors of Blacader, James Beaton (1508-1522), afterwards Archbishop of St. Andrews; Gavin Dunbar (1524-1547); James Beaton, the last Roman Catholic archbishop, who at the Reformation retired to France with the writs of the see, which were deposited, by his directions, partly in the archives of the Scots College, and partly in the Chartreuse of Paris, and have been since published by the Maitland Club.[83] Among the Protestant archbishops space will only permit us recording the names of John Spottiswood (1612-1615) and Robert Leighton (1671-1674).[84]

Glasgow has passed through the various stages of burgh, burgh of barony, burgh of regality, city, royal burgh, and county of a city.[85] But it grew under the protection of the Church, for as David I. granted to Bishop John of St. Andrews the site of the burgh of that name, so William the Lion granted to Bishop Joceline of Glasgow the right to have a burgh in Glasgow, with all the freedoms and customs which any royal burgh in Scotland possessed.[86] Glasgow thus owed its existence to the Church, under whose fostering care it developed for centuries, and the ruling ecclesiastic elected the provost, magistrates, and councillors. Its motto still is "Let Glasgow flourish by the preaching of the Word," and its seal emblems have been thus interpreted: "The employment of these four emblems (fish, bird, tree, bell) in connection with St. Kentigern was meant to convey that he was sent as a fisher of men, that his work from small beginnings grew to very large dimensions, 'like to a grain of mustard-seed, ... which is the least indeed of all seeds, but when it is grown up ... becometh a tree, so that the birds of the air come and dwell in the branches thereof'; and that his name and fame became so great that he was heard of everywhere. 'Verily their sound hath gone forth into all the earth, and their words unto the ends of the whole world.'"[87]

The most beautiful features of the exterior are pronounced to be the doorways, especially those of the lower church,[88] the vaulting of which was said by Sir Gilbert Scott to contain nowhere two compartments in juxtaposition which are alike.[89] It has been suggested that the motive of the architect was to reproduce, as nearly as circumstances permitted, the plan of Solomon's Temple, and the arrangement corresponds exactly.[90] The beauty of the lower church is much obscured by the dark stained glass in the windows, and it is matter for regret that this masterpiece of design and wonderful variety of effect[91] are not more visible.

"The plan of the cathedral," says Mr. Honeyman, "is remarkably compact, and the exterior is symmetrical and harmonious. The best points of view are from the north-east and the south-east. From either of these points the full height of the structure is seen, and that is sufficiently great to give the building a dignified and impressive effect, the height from the ground-level to the apex of the choir gable being 115 feet. The well-proportioned short transept breaks the monotony of the long clerestory, without unduly hiding it, as transepts with more projections do. The gable of the choir, with its four lancets, rises picturesquely over the double eastern aisles, while the sombre keep-like mass of the chapter-house adds a romantic element to the effect of the whole composition, which culminates gracefully in the lofty spire. The pervading characteristic is simplicity, and the effect solemnising. Sir Walter Scott, with his usual quick perception of character in buildings, as well as in man, puts an admirable reference to these salient points into the mouth of Andrew Fairservice, who exclaims, 'Ah! it's a brave kirk; nane o' yer whigmaleeries an' curliwurlies, an' open-steek hems about it.' It may, indeed, be called severe, but not tame."[92] Internally the cathedral has a nave of eight bays, with side aisles; transepts, not projecting beyond the aisles; a choir of five bays, with side aisles and an aisle at the east end, with chapels beyond it. At the north-east corner of the choir is the sacristy or vestiarium; below it is the chapter-house, with an entrance from the lower church; on the south side of the church, as a continuation of the transept, is another low church or crypt, called "Blacader's Aisle"; on the north side are the foundations of a large chapel. Over the crossing rise the tower and spire, 217 feet high. The church within is 283 feet long by 61 feet broad.[93]

The history of the cathedral is closely connected with many of the stirring events in Scottish history. King Edward prostrated himself before its altar; Robert the Bruce within it received absolution, "while the Red Cumyn's blood was scarce yet dry upon his dagger"; and within its walls was held the Glasgow Assembly of 1638, when the Episcopate was abolished, and the Presbyterian government was restored. Robert Leighton has preached within its choir, in his low, sweet voice, and with those angelic strains of eloquence and devotion which lingered in the memory of his hearers to their dying day.

3. Diocese of Dunkeld

Dunkeld is situated amid lovely scenery, and was from the earliest times a religious centre. The name means fort of the Culdees. After the destruction of Iona by the Norsemen in the beginning of the ninth century, Dunkeld became the seat of the Columban authority in Scotland, and part of the relics of St. Columba were brought here by King Kenneth Macalpine in 850. Its abbot was named Bishop of Fortreum, but in 865 the primacy was transferred to Abernethy, and thence to St. Andrews in 908. One of the lay abbots at Dunkeld married a daughter of Malcolm II., and through the influence of their descendants the religious order in Scotland was changed. Emerging as great secular chiefs, these lay abbots weakened, if they did not destroy, the ecclesiastical foundation. The bishopric was revived by Alexander I. in 1107, and prior to the thirteenth century was not confined to Atholl, but extended to the western sea, and included the districts stretching along its shores from the Firth of Clyde to Lochbroom, and forming the province of Argyll.[94] The western part was separated about 1200, and formed into a new bishopric, termed first that of Argyll, and afterward that of Lismore.[95] Cormac, the Culdee abbot, was the first bishop under the new order, and among his successors may be mentioned Bishop Sinclair (1312-1338), the friend of Bruce, and a "man of courage, the champion of the Church, and the brave defender of the constitution of the kingdom";[96] Bishop Lauder (1452-1476), who filled the see "with unfading honour,"[97] and built a bridge across the Tay, as well as adorned the cathedral; George Brown (1485-1514), who divided the see into four deaneries, procured Gaelic preachers,[98] promoted clerical efficiency, enlarged the palace at Dunkeld, and built the castle of Cluny;[99] Gavin Douglas (1516-1522), "a noble, learned, worthy bishop,"[100] who translated the Æneid into Scots verse, and thus

in a barbarous age,
Gave to rude Scotland Virgil's page.

The diocese had four deaneries: (1) Atholl and Drumalbane, with 47 parishes; (2) Angus, with 5; (3) Fife, Fotherick, and Stratherne, with 7; (4) South Forth, with 7.[101]

Canon Myln's quaint Lives of the Bishops of Dunkeld professes to give an account of the building of the cathedral, and it appears that the existing structure is chiefly of the fifteenth century.[102] It consists of an aisleless choir, a nave with two aisles, a north-west tower, and a chapter-house to the north of the choir. It appears that the different parts of the structure were begun at the dates given by Abbot Myln, but were not completed until some time afterwards.[103] All are Third Pointed in style except the choir, which retains some scanty portions of First Pointed work. The following are given as the approximate dates of the original construction: choir (1318-1400); nave (1406-1465); chapter-house (1457-1465); tower (1469-1501).

The episcopal palace was a little south-west of the cathedral, which contained many valuable ornaments and vessels, a painted reredos, and in its great tower two large bells, named St. George and St. Colm (Columba). At the Reformation in 1560, the cathedral suffered the common fate of most of such structures, although Argyll and Ruthven, in requiring the lairds of Airntully and Kinvaid "to purge the kirk of all kinds of monuments of idolatry," requested them also "to tak good heid that neither the desks, windocks, nor doors be onyways hurt or broken, either glassin work or iron work." The closing injunction was not observed, and the roofs were also demolished. In 1600 the choir was re-roofed, and is the present parish church. But the ruins still speak of the former grandeur of this old church-town, and perhaps a like day may yet dawn for Dunkeld, as has been seen at Dunblane.

4. Diocese of Aberdeen

The earliest ecclesiastical history of Aberdeen is connected with St. Machar (a disciple of St. Columba), who preached the Gospel among the Northern Picts and settled on the banks of the Don, founding there both a Christian colony and a church, which, from its situation, was called the Church of Aberdon. Another band of Columban missionaries established themselves in the sequestered vale of the Fiddich, at Morthlac, and in the beginning of the twelfth century the "Monastery of Morthlach" possessed five dependent churches.[104] The tradition that there was a bishopric at Murthlack or Morthlach is not founded on reliable evidence, and is discredited by Dr. Cosmo Innes[105] and Dr. Skene.[106] What David I. did was to graft on the Culdee monastery of St. Machar the chapter of a new diocese, and in this manner the bishopric was founded before 1150, and endowed with old Culdee possessions, among others with the "Monastery of Morthlach" and its five churches.[107] The third bishop, Matthew de Kininmond, began to build a cathedral between 1183 and 1199 to supersede the primitive church then existing,[108] "which (new building), because it was not glorious enough, Bishop Cheyne threw down."[109] The second edifice was begun by Bishop Cheyne about 1282, and the work was interrupted by the Scottish war with Edward I. during the bishop's absence in temporary banishment. "The king (Bruce) seeing the new cathedral he had begun, made the church to be built with the revenues of the bishopric."[110] The cathedral thus built was thrown down in turn by Bishop Alexander Kininmond, who succeeded in 1355 and began the present cathedral about 1366. "Of his operations there remain two large piers for the support of the central tower, which form the earliest portion of the structure of St. Machar's now remaining."[111] The dean and chapter (of which Barbour, the father of Scottish poetry, was a member) taxed themselves for the fabric in sixty pounds annually for ten years; the bishop surrendered revenues worth about twice that sum; the Pope in 1380 made a grant of indulgences to all who should help the work. All these appliances but availed to raise the foundations of the nave a few feet above ground.[112] Forty years elapsed before Bishop Leighton (1422-1440) completed the wall of the nave, founded the northern transept, and reared the two western towers.[113] Bishop Lindsay (1441-1459) paved and roofed the cathedral; it was glazed by Bishop Spens (1459-1480). Bishop Elphinstone (1487-1514), who founded King's College in 1500, and who was "the most distinguished of all who ever filled the episcopal chair," ... and possessed "manners and temperance in his own person, befitting the primitive ages of Christianity,"[114] adorned the cathedral. He built the great central tower and wooden spire, provided the great bells, and covered the roofs of nave, aisles, and transept with lead.[115] This central tower was four storey high, and square, and had two battlements and fourteen bells; it was a noted landmark to mariners at sea.[116] Bishop Gavin Dunbar (1519-1531) built the southern transept, added spires to Leighton's towers, and constructed at his own "pains and expenses" the flat ceiling of oak, which still remains with the heraldries of the Pope, the Emperor, St. Margaret, the kings and princes of Christendom, the bishops and the earls of Scotland. Bishop Elphinstone began to rebuild the choir, but it never seems to have been finished. Alluding to 1560, Orme says, "The glorious structure of said cathedral church, being near nine score years in building, did not remain twenty entire, when it was almost ruined by a crew of sacrilegious church robbers."[117] The ruins of the choir have been entirely removed; of the transepts only the foundations now remain, the architecture being destroyed by the fall of the central tower in 1688. The nave is nearly perfect, and is used as the parish church. The west front, except the spires, is entirely built with granite, and is regarded as one of the most impressive and imposing structures in Scotland,[118] and as stately in the severe symmetry of its simple design.[119] There is a remarkable entrance doorway, the jambs being mere rounds and hollows, with a flat stone laid along at the springing of the round arch. Above the doorway are seven lofty narrow windows, crowned each with a round and cusped arch, and forming a striking feature of the whole. The clerestory windows are narrow and round arched, without any moulding, while the aisle windows are filled with the simplest tracery. East of the cathedral was the bishop's palace (1470), "a large and fair court, having a high tower at each of its four corners";[120] to the south stood the deanery. Aberdeen was created a city or bishop's see by King David,[121] and the diocese contained five deaneries, with 94 parishes.

5. Diocese of Moray

Previously to Elgin, the see was successively at Birnay, Kinnedor, and Spyny, but without a proper cathedral.[122] Alexander I., shortly after his accession in 1107, founded the bishopric, but it was not till the time of Bricius, the sixth Bishop of Moray, who filled that position from 1203 to 1222, that the bishops had any fixed residence in the diocese.[123] When Bricius became bishop in 1203, he fixed his cathedral at Spyny, founded a chapter of eight secular canons, and gave to his church a constitution founded on the usage of Lincoln, which he ascertained by a mission to England.[124] Andrew de Moravia succeeded him in 1222, and in his time (1224) the transference of the episcopal see and the cathedral of the diocese to Elgin was effected, which had probably been designed and solicited by his predecessor.[125] This bishop probably built the cathedral church, munificently endowed it, increased the number of prebends to twenty-three, of which he held one, and sat as a canon in the chapter.[126] The Cathedral of the Holy Trinity was founded in 1224, on the site of an older church with the same dedication, and the work proceeded under Bishop Andrew's supervision during the eighteen remaining years of his life.[127] The Register of the see shows us "Master Gregory the mason and Richard the glazier" at work in autumn 1237.[128] Of the building itself probably now little is left, for it is recorded by Fordun under the year 1270 that the Cathedral of Elgin and the houses of the canons were burnt, but whether by accident or design he does not add. The ruins now standing probably date from a subsequent period, when there was raised the stately building, of which Bishop Alexander Bur wrote to the king that it was "the pride of the land, the glory of the realm, the delight of wayfarers and strangers, a praise and boast among foreign nations, lofty in its towers without, splendid in its appointments within, its countless jewels and rich vestments, and the multitude of its priests, serving God in righteousness."[129] This description is taken from a letter addressed to King Robert III., complaining that on the feast of St. Botolph, in 1390, the king's own brother, the Earl of Buchan, popularly known as the "Wolf of Badenoch," had descended from the hills with a band of wild Scots, and burned a considerable part of the town of Elgin, St. Giles Church, the Maison Dieu, the manses of the clergy, and the cathedral itself. The bishop appealed for aid and reparation, and the "Wolf of Badenoch" was compelled to yield, but, on condition that he should make satisfaction to the bishop and church of Moray and obtain absolution from the Pope, he was absolved by the Bishop of St. Andrews in the Blackfriars Church at Perth. Notwithstanding his age and feebleness, Bishop Bur energetically pressed on the restoration of the cathedral, and it was continued by Bishops Spynie (1397-1406) and Innes (1406-1421), and even then it was not completed. It thus occupied many years, even though it was promoted by grants of the royal favour, by a third part of the whole revenues of the see being devoted to it for a time, and by yearly subsidies being levied on every benefice in a diocese stretching "from the Ness to the Deveron, from the sea to the passes of Lochaber and the central mountains that divide Badenoch and Athol."[130] Early in the sixteenth century the central tower showed signs of weakness, and had to be rebuilt in 1538. It fell in 1711, destroying the nave and transepts.[131]

The Cathedral of Elgin was complete in all arrangements, and had a large nave with double aisles, an extended choir and presbytery, north and south transepts, a lady chapel, and a detached octagonal chapter-house. It had a great tower and spire over the crossing, two beautiful turrets at the east end, and two noble towers at the west end. Most of the existing portions are pronounced to belong to the period when Scottish architecture was at its best.[132] The existing ruins testify to the former splendour of the completed structure, which was said to be a building of Gothic architecture inferior to few in Europe. "Elgin alone," says Dr. Joseph Robertson, "among the Scottish cathedrals of the thirteenth century, had two western towers. They are now shorn of their just height, but still they may be seen from far, lifting their bulk above the pleasant plain of Murray, and suggesting what the pile must have been when the amiable and learned Florence Wilson loved to look upon its magnificence as he meditated his De Animi Tranquillitate on the banks of the Lossie, and when the great central spire soared to twice the altitude of the loftiest pinnacle of ruin that now grieves the eye."[133] The destruction of the cathedral was hastened by the alienation of Church lands by Bishop Patrick Hepburn, among the worst of the bishops; by the Privy Council in 1568 ordering the removal of lead from the roofs; by wind and weather; by Cromwell's troops; by an irrational zeal, which in 1630 broke down the carved screen and lovely wood-work; and lastly by the falling of the central tower, which destroyed the whole nave and part of the transepts. The passing away of such a colossal work of beauty is grievous, and not less so when it is recalled that the cathedral expressed the devoted labour of centuries. According to the latest authorities, the following are the probable dates. The transept was erected about 1224, and may possibly have formed part of the original Church of the Trinity. The western towers followed soon after; the western portal somewhat later. The west part of the north wall of the choir may have been part of the original church, but the general work of choir, nave, and early chapter-house would appear to have been carried out during the thirteenth century, and before the Scottish War of Independence. The cathedral, thus completed, remained for about a century, when the "Wolf of Badenoch" deformed or destroyed nave and chapter-house. The west front above the portal and the whole of the nave were reconstructed about the time of Bishop Dunbar (1422-1435), and the chapter-house by Bishop David Stewart (1482-1501). The architecture corresponds with their respective periods, and bears their coats of arms, engraved on each department.[134]

Dr. Thomas Chalmers considered the ruins of Elgin to be the finest remains of antiquity in Scotland, and as picturesque in their variety.[135]

6. Diocese of Brechin

The two bishoprics of Brechin and Dunblane were formed from the old Pictish bishopric of Abernethy, in so far as its churches were not yet absorbed by the growing bishopric of St. Andrews, which immediately succeeded it.[136] Abernethy was the last of the bishoprics which existed while the kingdom ruled over by the Scottish dynasty was called the kingdom of the Picts; St. Andrews was associated with that of the Scots.[137] Abernethy was from the earliest days dedicated to St. Bride, and Panbride in the diocese of Brechin, and Kilbride in that of Dunblane, indicate, in Dr. Skene's view, that the veneration of the patroness of Abernethy had extended to other churches included in these dioceses.[138] From this old Pictish diocese the bishopric of Brechin was formed, towards the end of King David's reign, about 1150.[139] The Church of Brechin has no claim to represent an old Columban monastery:[140] its origin as a church is clearly recorded in the Pictish Chronicle, which states that King Kenneth, son of Malcolm, who reigned from 971 to 995, gave "the great city of Brechin to the Lord," founding a church to the Holy Trinity, a monastery apparently after the Irish model, combined with a Culdee college. We hear of it next in two charters of David I. to the Church of Deer, and in the second of these the "abbot" of the first appears as "Bishop of Brechin" (about 1150). The abbacy passed to lay hereditary bishops, and the Culdees were first conjoined with, next distinguished from, and at last superseded by, the cathedral chapter.[141]

The early Church of Brechin emanated from the Irish Church, and was assimilated in its character to the Irish monastery. Of the early connection, there still survives at Brechin the famous Round Tower, which now occupies the place of a spire at the south-west angle of the present church. This, with the older one at Abernethy, and the ruined one at Egilshay in Orkney, are the only surviving types in Scotland. There were said to have been four others, which are no longer existing, viz. Deerness in Orkney; West Burray, Tingwall, and Ireland Head, in Shetland.[142] Dr. Skene gives the date of the Abernethy one as about 870, or between that year and the close of the century, and asserts that the date of the Brechin tower can be placed with some degree of certainty late in the succeeding century.[143] Probably it was erected in the reign of Kenneth (971-995), or about 1012, when Brechin was destroyed by the Danes.[144] Egilshay probably dates about 1098.[145] The Brechin tower is capped by a conical stone roof. Dr. Joseph Anderson shows that those round towers are outliers of a group of which Ireland is the home;[146] and they were erected during the time when the Celtic Church was much perplexed by the pillaging attacks of the Danes, that the ecclesiastics might protect their valuable illuminated manuscripts, and other costly possessions. The Brechin one corresponds with the Irish ones, and is built in sixty irregular courses, of blocks of reddish-grey sandstone, dressed to the curve, but squared at neither top nor bottom; within, string-courses divide it into seven storeys, the topmost lighted by four largish apertures facing the cardinal points. A western doorway, 6^2/3 feet from the ground, has inclined jambs and a semicircular head, all three hewn from single blocks, and the arch being rudely sculptured with a crucifix, each jamb with a bishop bearing a pastoral staff, and each corner of the sill with a nondescript crouching animal.[147] The sculpture on the graceful Tower of Brechin was, there as elsewhere, the repetition in stone of the illuminated page of the Celtic scribe, who in turn repeated many of the graceful and varied designs of the pre-Christian worker in bronze and gold,[148] adding to them Christian symbols. Dr. Joseph Anderson finds in the figures of the crouching beast and winged griffin at Brechin a close affinity to the figures of nondescript creatures carved on the early sculptured memorial stones.[149]

The cathedral, founded about 1150, and added to at various periods, was originally a cruciform structure, consisting of a five-bayed nave with two aisles, late First Pointed mixed with Second Pointed; a transept formed by an extension of these aisles to the north and south; an aisleless choir (with lancet windows), the ruins of which are a fine example of First Pointed work,[150] and which when complete must have been a very pure and beautiful piece of architecture. The north-west tower was being constructed in the time of Bishop Patrick (1351-1373), but must have been a long time in erection. The western doorway presents the oldest feature of the existing building,[151] and is simple and massive. The tower and spire are pronounced to be the completest and best remaining example of their kind in Scotland.[152]

By the alteration of 1806 the choir was reduced, the transepts demolished, new and wider aisles built on each side of the nave, while the outer walls of the aisles were carried to such a height that the whole nave could be covered with a roof of one span, "thus totally eclipsing the beautiful windows in the nave, and covering up the handsome carved cornice of the nail-head quatrefoil description which ran under the eaves of the nave."[153] The cathedral was thus sadly deformed, but plans of restoration have been recently adopted, funds are being raised, and the noble minster will before long be restored to its former grandeur.

The diocese contained thirty parishes, and the bishop sat in the chapter as Rector of Brechin, that being his prebend.[154]

The Maison Dieu formed part of a hospital, and is an interesting part of First Pointed work. The rector of the Grammar School is still "Praeceptor Domus Dei."

7. Diocese of Dunblane

Dunblane was an early ecclesiastical centre. Its first church dates back to the seventh century, and seems to have been an offshoot of the Church of Kingarth in Bute, the founder of which was St. Blane, whose name is perpetuated in that of the cathedral town.[155] St. Blane was of the race of the Irish Picts, and "bishop" of the Church of Kingarth which Cathan his uncle had founded. The church at Dunblane seems to have had a chequered history, for the ancient town was burned (844-860) by the Britons of Strathclyde, and in 912 was again ravished by Danish pirates. Bishop Keith thinks there was a college of Culdees at Dunblane,[156] but we do not hear anything about it in history, and the important college was at Muthill, where the Dean of Dunblane afterwards had his seat. Centres of the Celtic Church were also at the neighbouring Blackford, Strageath, and Dunning, and they all served their day, until the new order, inaugurated by Queen Margaret and continued by her successors on the Scottish throne, was established in the district. About 1150, King David I. established the bishopric of Dunblane, and about 1198 Earl Gilbert and his countess introduced canons-regular by the foundation of the Priory of Inchaffray. Under the growing importance of these centres, the possession of the Keledei fell into lay hands, and after 1214 the prior and Keledei of Muthill disappear from the records.[157]

The square tower of Dunblane, which still survives, is a relic of the structure erected in the twelfth century,[158] and is one of the group, centred in early Pictavia, revealing characteristics of Norman work, and all connected with the sites of early Culdee establishments. Those north of the Tay are at Brechin and Restennet; those south of it, at St. Andrews (Regulus), Markinch, and Dunblane; Abernethy, Muthill, and Dunning.[159] The lower four storeys of the Dunblane tower form part of the original structure; the two highest are evidently of a late date;[160] the walls are not parallel with those of the nave, and the tower projects into the south aisle from 6 to 7 feet, and may have been associated with an earlier church.

The see seems to have fallen into a forlorn condition, for when the learned Dominican, Clement, was bishop (1233-1258), he made a pilgrimage to Rome, and represented to the Pope among other things that "its rents were barely sufficient to maintain him for six months; there was no place in the cathedral wherein he could lay his head; there was no collegiate establishment, and that in this unroofed church, the divine offices were celebrated by a certain rural chaplain."[161] Evidently the fourth part of the tithes of all the parishes within the diocese were given for the support of the bishop and the building of the cathedral, and he left it "a stately sanctuary, rich in land and heritage, served by prebendary and canon." Bishop Clement built the nave, the most beautiful part of the structure, but later in its architecture than the north aisle of the choir or lady chapel, which was originally separated from the choir by a solid wall, in which there never was any opening into the aisle except the small doorway near the east end, which is of First Pointed date.[162] Above the vault there is an upper storey with small two-lighted windows, which may possibly have been used as a scriptorium.[163] The cathedral consists of a nave of eight bays, with north and south aisles, an aisleless choir of six bays, an eastern aisle unconnected with the choir except by a doorway, and the tower attached to the south aisle of nave. The following is a narrative of the building of the cathedral as given by the most recent authorities. "The greater part of the structure is of First Pointed date. The lady chapel may be the oldest part (after the tower), and next to it is the east portion of the nave. The western half of the nave seems to have followed soon after the eastern portion, and is carried out nearly after the same design. The transition tracery in the arcade of the clerestory and west end is very interesting, as showing bar tracery in the act of being formed. This could scarcely have occurred in Scotland before the end of the thirteenth century. The style of the choir is further advanced than the nave, and exhibits some transitional features between First Pointed and Decorated work. The great east window and the large side windows of the choir probably contained tracery more advanced than that of the west end, and may probably date from the fourteenth century. The pinnacles and parapet are of about 1500."[164] The west end, with its doorway, deeply recessed with shafts and mouldings of First Pointed work, with an acutely pointed blind arch on each side with trefoiled head within it; with three lofty pointed windows, each divided into two lights by a central mullion, and with arch-heads filled with cinquefoil and quatrefoils; with north buttress so large as to contain a wheel stair—is the finest part of the cathedral. Above the western window is a vesica, set within a bevilled fringe of bay-leaves arranged zigzagwise, with their points in contact. Of this Ruskin said in his lecture,[165] "Do you recollect the west window of your own Dunblane Cathedral? It is acknowledged to be beautiful by the most careless observer. And why beautiful? Simply because in its great contours it has the form of a forest leaf, and because in its decoration it has used nothing but forest leaves. He was no common man who designed that cathedral of Dunblane. I know nothing so perfect in its simplicity, and so beautiful, so far as it reaches, in all the Gothic with which I am acquainted. And just in proportion to his power of mind, that man was content to work under Nature's teaching, and, instead of putting a merely formal dog-tooth, as everybody else did at that time, he went down to the woody bank of the sweet river beneath the rocks on which he was building, and he took up a few of the fallen leaves that lay by it, and he set them in his arch, side by side for ever."

Six of the stalls with, and several others without, canopies still survive, and on one of the misereres are the arms of the Chisholm family, surmounted by a mitre. Three bishops of this name presided in Dunblane,[166] and the stalls were probably provided by the first, Bishop James Chisholm, dating between 1486 and 1534. The stalls were probably brought from Flanders, and the carving is spirited and full of grotesque figures.[167] Other bishops, who ought gratefully to be remembered for building done, are Bishop Dermoch (1400-1419) and Bishop Ochiltree (1429-1447). Maurice, Abbot of Inchaffray and Bishop of Dunblane (1320-1347), is described as a man of fervent spirit, who gave great encouragement at the battle of Bannockburn, and was chosen by King Robert the Bruce as his chaplain and confessor.[168] There are some vestiges of the bishop's palace still left to the south-west of the cathedral; and the Bishop's Walk, leading southward not far from the river, and overshadowed by venerable beech trees, will always be associated with Leighton, of whom Burnet wrote, "He had the most heavenly disposition that I ever yet saw in mortal ... and I never once saw him in any other temper but that which I wished to be in, in the last moments of my life."[169] Leighton was Bishop of Dunblane from 1661 to 1670, and chose it as the poorest and smallest of Scotland's sees. At his death he bequeathed to it his library, which is still preserved. Those who wish to understand his devotion and inner life may be directed to Dr. Walter Smith's beautiful poem The Bishop's Walk.

Until recently, only the choir was used as the parish church, but in 1893 the cathedral was reopened after a complete restoration costing £28,000. The restoration was largely due to the munificent generosity of Mrs. Wallace of Glassingall. The town bears witness to the influence of the cathedral—

A quaint old place—a minster grey,
And grey old town that winds away
Through gardens, down the sloping ridge
To river's brim and ancient bridge,
Where the still waters flow
To the deep pool below.[170]

8. Diocese of Ross

David I. followed the foundation of the great bishoprics by dividing the country north of the great range of the Mounth into separate sees, and the first of such appears to have been the diocese of Rosemarky or Ross. Makbeth, the first Bishop of Ross, appears as the witness to a charter between 1128 and 1130.[171] The church was founded as a Columban monastery by Lugadius or Moluoc of Lismore before 577, and Bonifacius refounded it in the eighth century, and dedicated the church to St. Peter. The Culdees disappear in the course of history, and instead there emerges a regular cathedral body of canons under a dean.[172] The Bishop of Ross had this peculiarity, that he took his title from the province, and not from the town, where he held his see. When the see was founded by David I., Rosmarkie continued as the cathedral centre, but after the chapter was enlarged by Gregory IX. in 1235, the cathedral site was changed to Fortrose or Chanonry, and the church was dedicated to SS. Peter and Bonifacius. Chanonry is half a mile south-westward from Rosemarkie, and was united with it in 1455 by James II. as a free burgh under the common name of Fortrose. The presence of an educated clergy made the place a centre of culture, and famous schools of divinity and law flourished under the shadow of the cathedral.

The undercroft of the sacristy (afterwards enlarged) seems to indicate that the work must have been begun before 1250,[173] but the architecture of the aisle presents a beautiful specimen of the Middle Pointed or Decorated period, and dates before or about the beginning of the fifteenth century.[174] The cathedral, when entire, was a handsome red sandstone building, comprising a nave of four bays, with aisles 14 feet wide and round-headed windows; a choir, with aisles, lady chapel, west tower, quasi-transept, rood-turret, and to the north-east a vaulted chapter-house over a crypt. It stood on level ground, and commanded a fine view of the Moray Firth. When complete it must have been an architectural gem, and its mouldings have been said to show that in whatever other respects these remote parts of Scotland were barbarous, in ecclesiology at least they were on a par with any other branch of the mediæval Church.[175] All that now remains of the cathedral consists of the south aisle of the nave, and the sacristy or undercroft of the chapter-house. No vestige remains of the various manses of the chapter that were within the cathedral precincts. The cathedral suffered at the Reformation, but was repaired by Bishop Lindsay in 1615, and in 1649 was not very ruinous. It would appear that the tradition is correct which says that the masonry of the walls was removed by Cromwell, like that of Kinloss Abbey, to provide material for the construction of his fort at Inverness.

In the south wall there is a beautiful piscina, and in the north wall an ambry with a small stone penthouse; an octagonal baptismal font of remarkable design stands against the east wall of the aisle. There is a range of canopied monuments, which stand between the pillars on the north side. The east end had a large traceried window of five lights, and when complete it must have been very beautiful.

The most famous of the bishops was John Leslie (1527-1596), who studied at King's College, Aberdeen, at Paris, and at Poitiers. He held offices both in the Aberdeen University and in the State, and in 1566 Queen Mary bestowed on him the Abbey of Lindores in commendam, and subsequently appointed him Bishop of Ross. He was a zealous supporter of Queen Mary, and, after her flight to England, followed her, and never afterwards returned to reside in Scotland. He was imprisoned in the Tower,[176] where he wrote two small books for her spiritual profit, which Queen Mary liked and endeavoured to turn into French verse. After his release he retired to France, where he wrote his History of Scotland. On the day before her execution, Queen Mary wrote to Philip of Spain, beseeching him to show kindness to the Bishop of Ross for his faithful and devoted services to her. The request was complied with, and he was able to end his days tranquilly in a monastery near Brussels. It is said that the bishop persuaded the Queen in 1565 to grant to all men a liberty of conscience.[177]

9. Diocese of Caithness

The early history of the Church in Caithness points to a time before the Northmen had any footing there, and connects it with the missionaries of Ireland and Scotland. The legend of St. Finbar or St. Barr marks the settlement of some Irish colonists, who brought with them the veneration they had rendered in their old country to the patron saint of their tribe or province.[178] SS. Duthac and Fergus are also associated with the church of the district during the Celtic period, and during the time of the former Keledei they may have been introduced here. The early church of Dornoch was dedicated to St. Bar or Finbar, and before 1196 the Culdees had disappeared, and the clerical element was reduced to a single priest.[179] The deed establishing a cathedral chapter of ten canons, with dean, precentor, chancellor, treasurer, and archdeacon, proceeds on the narrative "that in the times of his (Bishop Gilbert's) predecessors there was but a single priest ministering in the cathedral, both on account of the poverty of the place and by reason of frequent hostilities; and that he desired to extend the worship of God in that church, and resolved to build a cathedral church at his own expense, to dedicate it to the Virgin Mary, and, in proportion to his limited means, to make it conventual."[180] This benefactor of Dornoch was Bishop Gilbert de Moravia (1222-1245), who organised the chapter after the pattern of Elgin, which again had Lincoln for its model; and although the see of Caithness is first heard of about 1130, to him is due the credit of rebuilding the cathedral, which consisted of an aisled nave, transept, choir, and massive central tower, with dwarfish spire. The old cathedral town, with its society of learned churchmen, maintaining a high position by their influence and example, cultivating letters, preaching peace and practising it, must have been a centre of good in the north, and Bishop Gilbert's name deserves to be honourably remembered for his statesmanship, beneficence, and Christian character. "He rests," says the breviary of Aberdeen, "in the church which he built with his own hands"; even the glass was manufactured at Cyderhall under his personal supervision.[181]

The tower is all that remains of Bishop Gilbert's work, for the cathedral was burnt in 1570; the tower escaped with some fine Gothic arches which fell before the terrific gale of 5th November 1605—the day on which the Gunpowder Plot was discovered. In 1614 the 13th Earl of Sutherland partially repaired the cathedral, to make it available for the parish church, and in 1835-1837 it was rebuilt by the Duchess of Sutherland at a cost of £6000. It had thus the misfortune to be restored at a time when church restoration in Scotland was at its lowest ebb. "The blame really attaches to those whom she entrusted with the execution of her design."[182] The structure is now used as the parish church of Dornoch. The square tower of the bishop's palace still survives.

10. Diocese of Galloway

The name of Whithorn is a venerable one in Scottish Church history. It is mentioned by Ptolemy, the Alexandrian geographer, in the second century as Leukopibia, a town of the Novantae. The Greek name is synonymous with the Latin Candida Casa or "White House," under which designation it was latterly known. It is associated with the first known apostle of Christianity in Scotland, St. Ninian, who was probably born here about the middle of the fourth century. Of studious and ascetic habits, he visited Rome, and on his homeward journey visited St. Martin of Tours, who died in 397. After his arrival in Scotland, he founded the Candida Casa or Church of Whithorn, dedicated it to St. Martin, and, although Christianity was probably known in Scotland before his time, his work is the first distinct fact in the history of the Scottish Church. After preaching the Gospel among the Southern Picts, he died in 432, and was buried within his church at Whithorn. It is a matter of dispute, whether this first Christian oratory was built, after the custom of the early Scottish Church, on a small island or peninsula at the point of the promontory which lies between the bays of Luce and Wigtown, about three miles south from Whithorn, or on the spot where the monastery afterwards arose. There are the ruins of a small chapel on "The Isle," and although belonging to a later date, it is more than probable that it was the successor of St. Ninian's first church. Whithorn was famous also for its early schools and monastery, and exercised no small influence in Christianising both the surrounding district and Northumbria, or what is now known as the northerly parts of England. A bishopric of Whithorn was founded by the Angles in 727, was held by five successive bishops, and came to an end about 796, when the disorganisation of the Northumbrian kingdom enabled the native population to eject the strangers and assert their own independence. During the reign of David I. (1124-1153), Fergus, Lord of Galloway, re-established the see of Galloway, and founded at Whithorn a Premonstratensian priory, whose church became the cathedral, and contained the shrine of St. Ninian. The see included the whole of Wigtownshire and the greater part of Kirkcudbrightshire; the bishop remained under the jurisdiction of the Archbishop of York till at least the fourteenth century, and in 1472 became suffragan of St. Andrews. In 1491, when Glasgow became a metropolitan see, the Bishop of Galloway became a Vicar-General of it during vacancies. The canons of Whithorn Priory formed the chapter of the see of Galloway, and the prior ranked next to the bishop; the diocese was divided into three rural deaneries. The shrine of St. Ninian became a place of pilgrimage for people from all parts of Scotland, and was visited by Scottish queens and kings—James IV. visited it generally once and frequently twice a year throughout his whole reign. The priory became wealthy, and the church and other buildings were of great extent. Among its priors may be mentioned Gavin Dunbar (1514), who was tutor to James V. and afterwards Archbishop of Glasgow; and James Beaton, who was prior and afterwards Bishop of Galloway, was advanced to the archbishopric of Glasgow in 1509, and of St. Andrews in 1522.

The buildings of the priory are now reduced to the nave—an aisleless structure—and to some underground vaulted buildings, which no doubt formerly supported the choir and other erections above.[183] The west tower fell in the beginning of last century; the cloister lay to the north of the nave; the chapter-house, slype, and site of domestic buildings extended to the north of the transept. The north wall of the nave interior contains two pointed recesses for monuments, which are of excellent design. At the south-west angle of the nave is a doorway which is undoubtedly Norman,[184] and the sculptures on the right and left of the projecting wall point to a close affinity between the sculptured figures on the ancient stones and the architecture of the twelfth century in Scotland.[185] The ancient font, probably of Norman date, bowl-shaped, and of simple design, has been preserved in the church, and St. Ninian's Cave—probably a place of religious retirement—about three miles south-east of the village, contains some very old stone crosses, and on its east wall some very old inscriptions, a number of which are partly unintelligible by being covered with more recent ones.

The neighbourhood will always be associated with St. Ninian, the apostle of the Britons and of the Southern Picts, and may be called the historical fountain-head of the Scottish Church.

11. Diocese of Lismore or Argyll

Lismore is an ancient settlement, and is the Epidium of Ptolemy, one of his five Ebudae.[186] The island lies near the south end of Loch Linnhe, and at a short distance from the mainland of Argyllshire.

The bishopric was formed about 1200 by the separation of the districts, belonging to the bishopric of Dunkeld, which lay to the west of the great range of Drumalban. Eraldus was the first Bishop of Argyll, and had his seat at Muckairn, while his church bore the name of Killespeckerill, or the church of Bishop Erailt.[187] It is possible that some of the Keledei from Dunkeld may have accompanied the new bishop and been established there. In 1236 the see was transferred from Muckairn, on the south side of Loch Etive, to Lismore, where, long before, a Columban monastery had been founded by St. Lughadh or Moluoc. The see was afterwards known as the bishopric of Lismore, and contained the following deaneries: Kintyre, with twelve parishes; Glassary or Glasrod, with thirteen; Lorn, with fourteen; and Morvern, with eight.[188] The cathedral was perhaps the humblest in Britain, and was probably erected soon after the transference of the see in the thirteenth century. It is said to have been a structure 137 feet long by 29^1/3 wide, but of this there only now survives an aisleless choir, with traces of a chapter-house and sacristy; and, as re-roofed in 1749, this choir now serves as a parish church. It has four buttresses of simple form against the south wall, and two at each of the north and south angles of the east wall. In the south wall, and in the usual position near the east end, there are remains of a triple sedilia; there is a piscina in a pointed recess, having a trefoil-headed niche in the wall behind.[189]

One of the deans of Lismore, Sir James MacGregor, between 1512 and 1540, compiled a commonplace book, filled chiefly with Gaelic heroic ballads, several of which are ascribed to the authorship of Ossian.

12. Diocese of the Isles

The history of Iona is associated with St. Columba, and, although its church did not attain full cathedral status until 1506, the island was one of the earliest centres of Christianity in Scotland.

St. Columba (Columcille or Colm) was born at Gartan, County Donegal, 7th December 521, and was the son of a chief related to several of the princes then reigning in Ireland and the west of Scotland. He studied under St. Finnian at Moville, and under another of the same name at Clonard. In 546 he founded the monastery of Derry, and in 553 that of Durrow. The belief that he had caused the bloody battle of Culdremhne led to his excommunication and exile from his native land, and, accompanied by twelve disciples, he left Ireland and sailed for the Western Islands, settling ultimately at Iona, where he and his companions began their work among the heathen Picts. The legend of his perpetual exile seems to be a fable, and Dr. Skene adds, "His real motive for undertaking this mission seems therefore to have been partly religious and partly political. He was one of the twelve apostles of Ireland who had emerged from the school of Finnian of Clonard, and he no doubt shared the missionary spirit which so deeply characterised the monastic Church of Ireland at that period. He was also closely connected through his grandmother with the line of the Dalriadic kings, and, as an Irishman, must have been interested in the maintenance of the Irish colony in the west of Scotland. Separated from him by the Irish Channel was the great pagan nation of the Northern Picts, who, under a powerful king, had just inflicted a crushing defeat upon the Scots of Dalriada, and threatened their expulsion from the country; and, while his missionary zeal impelled him to attempt the conversion of the Picts, he must have felt that, if he succeeded in winning a pagan people to the religion of Christ, he would at the same time rescue the Irish colony of Dalriada from a great danger, and render them an important service by establishing peaceable relations between them and their greatly more numerous and powerful neighbours, and replacing them in the more secure possession of the western districts they had colonised."[190] It was in 563, and at the age of forty-two, that he settled at Iona and commenced his mission-work by founding his monastery[191] there. He met there "two bishops," who came to receive his submission from him, but "God now revealed to Columcille that they were not true bishops, whereupon they left the island to him, when he told of them their history." They were, thinks Dr. Skene, the remains of that anomalous church of seven bishops which here, as elsewhere, preceded the monastic church, while Columba appears to have refused to recognise them as such, and the island was abandoned to him. Possessed as he was with the soul of a poet, and susceptible to the impressive in nature, Columba could not have chosen a finer spot than Iona for his work, or one where he could better combine with missionary activity a life of purity and self-denial. Tradition says he landed at the bay now known as Port-a-churaich, and proceeded to found the monastery and establish the church which was ultimately to embrace in its jurisdiction the whole of Scotland north of the Firths of Forth and Clyde, to be for a century and a half the national church of Scotland, and to give to the Angles of Northumbria the same form of Christianity for a period of thirty years. The buildings that now remain are of much later date, but it may be inferred that in its constitution, spirit, and work the Columban Church was not isolated, but was in reality a mission from the Irish Church, formed an integral part of it, and never lost its connection with it. The principal buildings were constructed of wood and wattles, and were originally (1) a monastery with a small court, on one side of which was the church, with a small side chamber, on a second side the guest-chamber, on the third a refectory, and on the fourth dwellings of the monks; a little way off on the highest part of the ground were (2) the cell of St. Columba, where he sat and read or wrote during the day, and slept at night on the bare ground with a stone for his pillow; and (3) various subsidiary buildings, including a kiln, a mill, a barn, all surrounded by a rampart or rath. Not far off was a sequestered hollow (Cabhan cuildeach) to which Columba retired for solitary prayer. The mill has left its traces in the small stream to the north of the present cathedral ruins, and remains of old causeways may be traced from the landing places of Port-na-martir, Port-Ronan, and Port-na-muintir. All the early buildings, except the kiln, were of wood; the guest-chamber was wattled, Columba's cell was made of planks, and the church was of oak. The members of the community were termed brethren, and were addressed by Columba as familia or chosen monks. They consisted of three classes: (1) the older brethren, who devoted themselves to the religious services of the church, and to reading and transcribing the Scriptures; (2) the younger and stronger working brothers, who devoted themselves to agriculture and the service of the monastery; (3) the alumni or youth, who were under instruction. The dress of the monks consisted of a white tunica or undergarment, over which they wore a camilla, consisting of a body and hood made of wool, and of the natural colour of the material. When working or travelling their feet were shod with sandals; they took a solemn monastic vow on bended knees in the oratorium, were tonsured from ear to ear—the fore part of the head being made bare, and the hair allowed to grow only on the back part of the head. The church of Iona was monastic, and in it we find neither a territorial episcopacy nor a presbyterian parity. The bishops were under the monastic rule, and were, in respect of jurisdiction, subject to the abbot, even though a presbyter, as the head of the monastery; the privilege of the episcopate was not interfered with.[192] The monastery was described as a "gloriosum caenobium."

Columba made Iona his centre of activity, but his labours were not confined to it. He travelled with his companions and preached the Gospel as far north as Inverness, where King Brude was converted. He also preached among the Southern Picts, and a church was built at Abernethy by King Gartnaidh, as an outcome of his mission and as a memorial of his labours. He was also a far-seeing statesman, and succeeded in reconciling the feuds of the Northern and Southern Picts, and in making the two kingdoms one. His life was spent in missionary activity and beneficent service, and he died at Iona. The day before his death he "ascended the hill that overlooketh the monastery, and stood for some little time on its summit, and as he stood there with both hands uplifted, he blessed his monastery, saying, 'Small and mean though this place is, yet it shall be held in great and unusual honour, not only by Scotic kings and people, but also by the rulers of foreign and barbarous nations, and by their subjects; the saints also, even of other churches, shall regard it with no common reverence.'" On the following day, at nocturnal vigils, he went into the church, and knelt down in prayer beside the altar, and "his attendant Diormit, who more slowly followed him, saw from a distance that the whole interior of the church was filled with a heavenly light in the direction of the saint," which, as he drew near, quickly disappeared. "Feeling his way in the darkness, as the brethren had not yet brought in the lights, he found the saint lying before the altar," and all the monks coming in, Columba moved his hand to give them his benediction, and died 9th June 597, while "the whole church resounded with loud lamentations of grief." He left behind him an imperishable memory in the hearts of the people converted by him to the Christian faith, and in the national church which he so splendidly helped to build up. He wrote an Altus, and is said to have copied 300 books with his own hand. He was buried at Iona.

After Columba's death, the monastery of Iona appears to have been the acknowledged head of all the monasteries and churches which his mission had founded in Scotland, as well as of those previously founded by him in Ireland. It was a centre of light and life, but the monks were not permitted to pursue their work unmolested. The monastery was burned and plundered by the sea-pirates in 795, 798, and 802; in 806 sixty-eight of the community were ruthlessly slain. The monks remaining were filled with fear, and before 807 the relics of St. Columba were carried away to Ireland, and enshrined at Kells. In 818 they were brought back, and the monastery at Iona was rebuilt with stone. The Danes, however, granted little respite, and in 878 the relics were again removed, and were probably placed first at Dunkeld and afterwards at Abernethy,[193] where the primacy was successively established, and a memorial of which exists in the Abernethy round tower. The plundering continued at intervals, and the buildings were more or less ruinous till about 1074, when Queen Margaret "restored the monastery, ... rebuilt it, and furnished it with monks, with an endowment for performing the Lord's work." "One of the present buildings," said the late Duke of Argyll—"the least and the most inconspicuous, but the most venerable of them all—St. Odhrain's Chapel, may possibly be the same building which Queen Margaret of Scotland is known to have erected in memory of the saint, and dedicated to one of the most famous of his companions. But Queen Margaret died in A.D. 1092, and therefore any building which she erected must date very nearly five hundred years after Columba's death; that is to say, the most ancient building which exists upon Iona must be separated in age from Columba's time by as many centuries as those which now separate us from Edward III. But St. Odhrain's Chapel has this great interest—that in all probability it marks the site of the still humbler church of wood and wattles in which Columba worshipped."[194] Shortly afterwards the island passed into the possession of Magnus Barefoot, King of Norway, and in 1099 the old order culminated in the death of Abbot Duncan, the last of the old abbots. Under the bishopric of Man and the Isles, the monastery became subject to the Bishop of Drontheim till 1156, when Somerled won it, and once more restored the connection between Iona and Ireland by placing the monastery under the care of the Abbot of Derry. In 1164 the community was represented by the priest, the lector, the head of the Culdees, and the Disertach or the head of the disert for the reception of pilgrims.[195] Somerled appears to have rebuilt the ruined monastery on a larger scale, and about 1203 the Lord of the Isles (Reginald) adopted the policy of the Scottish kings, and founded at Iona a monastery of Benedictine monks (Tyronenses), and at the same time a nunnery for Benedictine nuns, of which Beatrice, sister of Reginald, was first prioress. It is of this Benedictine monastery and nunnery that the present ruins are the remains, and they were formerly connected by a causeway which extended from the nunnery to the monastery. After a struggle, the Culdees seem to have conformed to the new order of Benedictines, and the head of the Culdees was represented by the Prior of Iona, whom we afterwards find in the monastery. Iona was suffragan to the Bishop of Man and the Isles till 1431, when the Abbot of Iona made obedience to the Bishop of Dunkeld. In 1498, the Isles were made suffragan to St. Andrews; in 1506 they passed back to the care of the Bishop of the Isles; and from that date till the Reformation the abbey church became the cathedral church of the diocese. In 1648 Charles I. granted the island to Archibald, Marquis of Argyll,[196] and it still belongs to his descendant, the Duke of Argyll. The diocese contained forty-four parishes.

Surrounding the Chapel of St. Oran is a very ancient churchyard, containing beautiful specimens of Highland carved tombstones, and near which reposes the dust of Scotch, Irish, and Norwegian kings and ecclesiastics. The late Duke of Argyll both preserved and restored, and the foundations of the chapels and cloisters have been plainly marked out, and give a clear idea of the original plan of the abbey. The abbey or cathedral, although begun in the twelfth century, took a long time in building, was altered and added to, and is classed with the buildings of the Third Pointed period, as the greater part of the work connected with it belongs to a late date.[197] It is cruciform in shape, consisting of nave, transepts, and choir, with sacristy on the north side of the choir, and aisle on the south. Near the west entrance was a small chamber called St. Columba's tomb. Over the crossing is a square tower, 70 feet high, and supported by arches resting on four pillars. It is lighted on one side by a window formed by a slab with quatrefoil openings, and on the other by a marigold or Catherine-wheel window with spiral mullions. The capitals of the pillars are carved with beautiful ornamentation and grotesque figures, which are still sharp and well defined.[198] There are three sedilia, and the high altar seems to have been of marble. North of the nave is the cloister-garth; to the north and east of the cloisters are the refectory and chapter-house; the building over the chapter-house was the library, which was large and valuable. There were said to be many crosses in Iona; the entire ones are St. Martin's Cross, opposite the west door of the abbey church, and Maclean's Cross, on the wayside between the nunnery and the cathedral. There are the ruins of a small detached chapel to the north-east of the chapter-house, and of another to the west of the cloister: to the north-east of the cloister lie the total ruins of what is called the abbot's house.[199] A short distance north-east of the abbey church, at Cladh-an-diseart, there was found in 1872 a heart-shaped stone, with an incised cross on it, which Dr. Skene is disposed to think was the stone used by St. Columba as a pillow.[200]

The ruins of the nunnery, of which Beatrice, sister of Reginald, was the first abbess, and which was apparently erected soon after 1203, consist of a quadrangle about 68 feet square, having the church on the north side, foundations of the chapter-house and other apartments on the east side, and the refectory on the south side. There may have been other buildings on the west side, as the walls are broken at the ends; but if so, they are now removed.[201] The church was an oblong structure, divided into nave and choir, and had a northern aisle extending along both. At a distance of about 30 feet north of the convent church stand the ruins of another building, said to have been the parish church. It was a simple oblong chamber, and was dedicated to St. Ronan.[202] Lovely carved work has been found around the buildings, and these are carefully preserved and have been reproduced in illustration.[203] These designs were probably carved on stone from the beautiful illuminated tracery which the Celtic monks executed in their scriptorium.

No ruthless destruction about the Reformation period could deprive Iona of its three great voices of the mountain, the sky, and the sea. That St. Columba's poetic nature and susceptible heart were impressed by them is beyond doubt, for they survive in his poem—

Delightful would it be to me to be in Uchd Ailiun
On the pinnacle of a rock,
That I might often see
The face of the ocean:
That I might see its heaving waves
Over the wide ocean,
When they chant music to their Father
Upon the world's course:

That I might see its level sparkling strand,
It would be no cause of sorrow:
That I might hear the song of the wonderful birds,
Source of happiness:
That I might hear the thunder of the crowding waves
Upon the rocks:
That I might hear the roar by the side of the church
Of the surrounding sea:

. . . . .

That I might bless the Lord
Who conserves all,
Heaven with its countless bright orders,
Land, strand, and flood:

. . . . .

At times kneeling to beloved heaven:
At times at psalm singing:
At times contemplating the King of Heaven,
Holy the chief:
At times at work without compulsion;
This would be delightful.[204]

Thus Iona, the isle of the saints, the lamp lit amid the darkness of the western sea, impressed the founder as he heard its voices. May there soon be added another, the voice of the restored cathedral, connecting the present with a glorious past, carrying us away in thought by its architecture to earlier days, and by its situation to the hour when the great apostle of the Picts first landed on its shores. This may at no distant future be realised, since the late Duke of Argyll gifted the ruined cathedral to the Church of Scotland, which hopes to do for it what has already been done for Dunblane.

13. Diocese of Orkney

Christianity reached the Orkneys through the labours of the Columban clergy, and there are many traces in the islands that speak of their work. Under the rule of the Norse, in the ninth and tenth centuries any Christian influence that survived from the labours of such early pioneers of the Christian faith must have died out. The first actual Bishop of Orkney was William the Old, who was consecrated in 1102, held the bishopric for sixty-six years, and died in 1168. His see was first at Birsay, and was removed to Kirkwall on the erection of the cathedral in 1137-1152. The Bishop of Orkney was one of the suffragans of the metropolitan see at Throndhjeim, erected in 1154. In 1472 the see of Orkney was placed under the metropolitan Bishop of St. Andrews.

The story of the foundation at Kirkwall is as follows. The possession of the Orkneys was divided between two relatives, and about the beginning of the twelfth century two cousins, Hacon and Magnus, shared the government. In 1115 Magnus was treacherously slain at Egilsay by Hacon, who thus obtained the whole earldom. Rognvald, son of Magnus' sister, became a claimant for Magnus' share of the earldom, and vowed that if he succeeded he would erect a "stone minster" in honour of his predecessor St. Magnus, who had been canonised. Rognvald was successful, and fulfilled his vow by founding at Kirkwall a cathedral dedicated to St. Magnus. The building was designed and superintended by the Norwegian Kol, the father of Rognvald; the relics of St. Magnus were brought from Christ's Kirk in Birsay, to be deposited in the cathedral as soon as it was prepared to receive them, and until the work was finished they rested in the Church of St. Olaf, an older edifice which then existed in Kirkwall.[205]

"The Cathedral of St. Magnus was thus designed and erected by a Norwegian earl, while the bishopric was under the authority of the Norwegian Metropolitan of Throndhjeim. It is thus practically a Norwegian edifice, and is by far the grandest monument of the rule of the Norsemen in Orkney. In these circumstances, it is not to be expected that the architecture should in every detail follow the contemporary styles which prevailed in Britain, but it is astonishing to find how closely the earlier parts correspond with the architecture of Normandy, which was developed by a kindred race,—the successors of Rollo and his rovers, who settled in that country at an earlier date. There can be little doubt that the Romanesque architecture which prevailed in the north of Europe found its way at a comparatively late date into Scandinavia. The Norman form of that style would naturally follow the same course amongst the kindred races in Norway and Denmark, just as it did in England and Scotland, and from Norway it would be transplanted into Scotland."[206] Kirkwall Cathedral, begun in 1137, was carried on with great expedition, unlike Glasgow Cathedral, which took so long in completion that it gave rise to a proverb, "Like St. Mungo's work, it will never be finished." The Orcadians did their work nobly, and when a difficulty arose as to funds, it was overcome by allowing the proprietors of land in Orkney to redeem their property by a single payment of a sum per acre, paid at once, instead of according to the usual practice, on each succession.[207] Help was received from far and wide, and the building was so liberally sped by the oblations of a past age, that all Christendom was popularly said to have paid tribute for its erection;[208] but the spirit of religion must have been fervid in the islands themselves. The earl who founded the cathedral died after a pilgrimage to Rome and Jerusalem. "He had begun his High Church on no mean scale, and it was afterwards greatly enlarged in length. To this circumstance, together with its severe simplicity, its narrowness, its height, and the multiplicity of its parts, must be ascribed the most striking characteristic of the pile—its apparent vastness."[209] It has been doubted if either York or Lincoln gives the idea of greater internal length, though Kirkwall measures less by half than the smaller of these minsters. As pointed out by the latest authorities on the cathedral, its western doorways recall the portals of the cathedrals of France rather than those of England; its interior gives the impression of great size, arising from the height and length of the building as compared with its width; the exterior presents at a glance the changes which have taken place in it, and the layers and masses of different coloured stones tell their own tale; the oldest work (comprising several periods) is constructed with dark slaty stone, having red freestone dressings; the Norman work is observed in the transept and several bays of the nave and choir nearest the transept, while the pointed work is specially noticeable in the eastern half of the choir.[210] The first parts of the cathedral built were the three westmost or Norman bays of the choir, with their aisles, both the transepts, the crossing (afterwards altered) intended to receive a tower over it, and two bays of the nave, which served to form an abutment for the crossing. These portions, where unaltered, are said to be in the earliest style of Norman work in the edifice. The round piers and responds of the choir, the two south piers and one north pier of the nave (with their cushion caps), the main arches (with their label mouldings in the choir and transept), the round arched and labelled windows in choir, transept, and nave, and the interlaced arcades in the nave, all point to a somewhat advanced period of Norman work. The choir originally terminated with a central apse beyond the third pier. The Norman windows of the choir aisle have three external orders, with a label ornament in the outer order; the single shafts have cushion caps; the windows are largely splayed internally.[211] An interlacing arcade of round arches, with single shafts and cushion caps (some with volutes) runs round the north, south, and west sides of the transept. The large arches leading into the east chapels are part of the original structure, but the chapels were built later. The lower string-course of the transept is enriched with a four-leaved flower.[212]

After the completion of these portions, attention was given to the continuation of the nave westwards for several bays. The north aisle wall opposite the three bays, west from the crossing, would appear to have been built early.[213] The buttresses are of flat Norman form. The north aisle doorway is pronounced to be Norman in detail, but has been restored at a later date; the south aisle doorway retains its old Norman arch and shafts in the interior, but has been altered externally. The nave piers were probably continued as far as the above doors about this time, with the triforium, but the upper part of the nave walls and the vaulting are later.[214] The transition style is prominently seen in the piers and arches of the crossing, and the windows in the choir nearest the main arches of the crossing, and the triforium openings into the transept, appear to have been altered and rebuilt at the time of this operation. The upper part of the north transept was probably raised and its windows inserted at this time; the raising of the south transept and the introduction of the rose windows is of somewhat later date.[215] This circular window is very similar to that in the east window of the choir. The chapels on the east side of the transept are of the advanced transition period, which, in Orkney, was probably the middle of the thirteenth century.[216] The completion of the nave would be next undertaken.[217] The apse was taken down, and the choir, with its aisles, was extended by three bays eastwards,[218] the style having a resemblance to advanced First Pointed work, with some peculiarities of detail, exhibiting probable French influence from Upsala.[219] The triforium consists of plain, chamfered, semicircular arches and jambs in three orders; the clerestory has simple pointed windows, moulded on sconsion, but without cusps. A vaulting shaft is carried up between the piers.[220] The east end of the cathedral is of First Pointed period, and the great east window fills the whole space available.[221] The three western doorways and the pointed doorway in the south transept are later than the choir;[222] they present the finest examples in Great Britain of the use of coloured stones in the construction.[223] The north doorway and the central doorway of the west front have the colours arranged in concentric rings in the arches, red and yellow alternating. In the south doorway the same colours radiate and alternate, and in the doorway of the south transept the red and yellow stones are arranged chequerwise.[224] They are among the most charming portions of the edifice, and are unique in Scotland. The upper part of the gablet over the centre doorway is of the seventeenth century, and bears the shield of Sir George Hay of Kinfauns, who rented the lands of the bishopric about the beginning of the seventeenth century, the crozier being added to the shield in connection with the lands of the see.[225] The tower has been considerably operated upon in modern times; the old wooden spire was destroyed by lightning in 1671. The parapet and pinnacles are modern, as also the pointed and slated roof—the lower part being of considerable age. The part within the roof of the church is apparently of transition date; the upper part, with the large pointed windows, is probably of fifteenth-century work.[226] There were originally beautiful specimens of wood-work; the canopy over the bishop's throne has disappeared.[227] The tower contains four bells, three of which were given by Bishop Maxwell (1526-1540). The cathedral does not appear to have suffered during the Reformation period, but an attempt made by the Earl of Caithness to destroy it in 1606, during the rebellion of Earl Patrick Stewart and his son, was prevented by the intervention of Bishop Law (sacred be his memory!).

The bishop's palace was founded about the beginning of the thirteenth century. Twenty bishops held the see in succession. The diocese contained the archdeaconries of Orkney, with thirty-five parishes, and of Tingwall (Shetland) with thirteen. The church suffered from vandalism in 1701 and 1855, and the east end is used as the parish church. May the northern minster soon be restored and made worthy of its glorious past. Lord Tennyson's son's diary contains the following entry on the Cathedral of St. Magnus: "Gladstone and my father admired the noble simplicity of the church, and its massive stone pillars, but we all shuddered at the liberal whitewash and the high pews."[228]

A catalogue of the Bishops of Orkney, by Professor Munch of Christiania, will be found in the Bannatyne Miscellany.[229]

CHAPTER IV

SCOTTISH COLLEGIATE CHURCHES

The creation of collegiate churches was a practical endeavour toward ecclesiastical reform in the fifteenth century, when the foundation of monastic establishments ceased. They had no parishes attached to them, and were regulated very much as the cathedrals. They arose with the purpose of counteracting the evils incidental to the monastic system, and were formed by grouping the clergy of neighbouring parishes into a college, or by consolidating independent chaplainries. They were called præposituræ, were presided over by a dean or provost, and the prebendaries were generally the clergy holding adjacent cures. In Scotland, during more recent times, the term "collegiate" was applied to a church where two ministers (as at St. Cuthbert's, Edinburgh) served the cure as colleagues, but in the fifteenth century the term had a different and wider significance. Collegiate churches were then an expression of the zeal and munificence that were displayed in the enlargement and decoration of buildings, when all classes vied with each other in the endowment of chaplainries for the maintenance of daily stated service, always including prayers and singing of masses for the souls of their founders, their relations, and benefactors. The collegiate churches were also an evidence from within the Church itself of the need for reform in the great Benedictine and Augustinian abbeys that were then in the ascendant throughout the country.

Scotland possessed forty-one collegiate churches, but space will only permit us here to deal with nine of them: Biggar, Bothwell, St. Nicholas (Aberdeen), King's College (Aberdeen), Roslin, Stirling (Chapel Royal), St. Giles (Edinburgh), St. Mary's and St. Salvator's (St. Andrews).

Biggar (Lanarkshire).—The collegiate parish church of St. Mary was founded in 1545 by Malcolm, third Lord Fleming, for a provost, eight prebendaries, four singing boys, and six bedesmen. It is interesting as being among the latest, if not indeed the last, of the Scottish pre-Reformation churches. It belongs to the Late Pointed period, is cruciform in plan, consists of chancel with apsidal east end, transept, and nave, with square tower and north-east belfry turret over the crossing. There are no aisles. Formerly a chapter-house existed on the north side of the chancel, but it has been removed. The ancient roof was of oak, and the timbers in the chancel were gilt and emblazoned.

St. Bride's Collegiate Church, Bothwell, was founded by Archibald "the Grim," Earl of Douglas, in 1398, for a provost and eight prebendaries. He endowed and added a choir to the existing parish church. The present church is a fine Gothic building, erected in 1833, with a massive square tower to the height of 120 feet. East of this tower is the choir of the old collegiate church, of the Middle Pointed or Decorated period; it is a simple oblong chamber with a sacristy on the north side. The church, externally divided by buttresses, has four bays with a series of pointed windows in the south wall, and three windows in the north wall. The arch of the entrance doorway in the south wall is elliptic in form. The roof of the church is covered with overlapping stone slabs, which rest on a pointed barrel vault—one of the earliest examples met with. In the sacristy there are a piscina and a locker, and in the south wall of the choir the remains of a triple beautifully carved sedilia and a piscina. The sacristy is roofed with overlapping stone flags supported on a vault. Monuments to the two Archibald Douglases, Earls of Forfar, are in the church. In this church David, the hapless Earl of Rothesay, wedded Marjory, the founder's daughter, in 1400, and one of its provosts was Thomas Barry, who celebrated the victory of Otterburn in Latin verse. It has been recently restored and made worthy of its great past.

New Aberdeen.—The Parish Church of St. Nicholas, said to be the largest mediæval parish church in Scotland, was made collegiate about 1456 by Bishop Ingeram de Lyndesay (1441-1459), and is said to have possessed, besides the vicar, "chaplains to the number of thirty."[230] Its clergy were named the "College of the Chaplains" of St. Nicholas, and after, as before, the institution of this new order the church remained the parish church. Only two portions of the ancient building now remain—the transepts and the crypt at the east end below the choir.[231] The present nave was rebuilt about 1750; the choir was taken down in 1835 and rebuilt in the most tasteless fashion; the walls of the crypt and transepts were all refaced except the north front of the transept, which was altered considerably in the seventeenth century; the central tower was burned in 1874, and the existing central spire was thereafter erected. A carillon of thirty-seven bells has been placed within it.

After the Reformation the rood-screen gave place to a wall, and St. Nicholas was divided into two churches, the West consisting of the former nave, the East of the choir, and the Romanesque transept between (known as Drum's and Collison's aisles) serving as vestibule. For the early architecture attention must be confined to the interior of the transept and crypt. The transepts are of the transitional style of the end of the twelfth century; the piers which carry the central tower are of the usual transitional type, having graceful capitals and square abaci supporting round arches; on each side of the north transept there are two original clerestory windows, and one of them has angle shafts, with carved caps and mouldings. The present large north window has remains of its original features, but its tracery is of late work. There is a transition attached shaft with carved cap and square abacus in the low pointed recess. There is only a shaft on one side of the recess, and the pointed arch of this recess, as well as the tomb alongside, below the large window, are of later work.[232] On the west side of the north wall there has been a round arched doorway, and traces of it are yet visible. The crypt is at the east end of the choir, but is on a lower level, and was approached by two stairs, one from the north and another from the south aisle of the choir. Only their round arched openings remain as recesses in the walls of the crypt. The present stairs are modern. The crypt consists of one central and two side aisles, with an eastern apse; it is pronounced to be a very picturesque and interesting structure, and it fortunately escaped being rebuilt, like the rest of the church. It has a groined roof, and the three compartments in the length are separated by pointed arches that spring from moulded caps on octagonal responds. "The opening into the apse has a stunted round arch, and is a prominent example of the love of the Scottish builders for this form of arch all through the Gothic period."[233] Each compartment of the apse has a central boss, and there is a considerable amount of carved woodwork in the crypt—some of the fifteenth or sixteenth century, and some later. The choir that was recently taken down superseded an older one, and it is probably to this former choir that references are contained in the Council Register for about a century from 1442.

Old Aberdeen, King's College.—Of Bishop Elphinstone of Aberdeen (1488-1514) it is said: "With no private fortune, and without dilapidating his benefice, he provided for the buildings requisite for his University and Collegiate Church, and for the suitable maintenance of its forty-two members; and the Cathedral Choir, the King's College, and the old gray bridge spanning the valley of the Dee are monuments to his memory that command the respect of those who have no sympathy with his Breviary, rich in legends of Scottish Saints, and who would scarcely approve of his reformed Gregorian chant."[234] The college was dedicated to the Holy Trinity and the Virgin Mary, and being placed under the immediate protection of the King, came to be known as King's College. King James IV. and Bishop Elphinstone endowed it with large revenues. It was a faithful copy of the University of Paris. The Collegiate Church of St. Mary, on the north side of the quadrangle, was consecrated by Edward, Bishop of Orkney, and had eight priests or vicars choral belonging to it, and six singing boys.[235] It was begun in 1500 and finished in 1506, and it was said that all its stones and beams proclaim Bishop Elphinstone their founder, who also presented the chapter with many valuable vestments, vessels, etc. The chapel is a long, narrow building, with a three-sided apsidal east end. It is divided into six bays by projecting buttresses, and has a large window filled with mullions and tracery in each bay on the north side, except the second one from the west, which contains a doorway. Similar large windows are continued in the apse, and there is also one in the east bay of the south side. Over the west doorway there is a large west window of four lights, with solid built mullions and loop tracery enclosed within a round arch.[236] The tower at the south-west corner has massive corner buttresses. It is finished with one of the few crown steeples remaining in Scotland, forming,

"with that of St. Giles, Edinburgh, and the Tolbooth, Glasgow, the only three surviving of those which we could at one time boast. The general style of the structure is very similar to that of St. Giles, but in this case there are only four arches thrown from the angles of the tower to the central lantern, while in the case of St. Giles there are eight, which produce a fuller and richer effect.... The part blown down (by a violent storm in 1633) was probably only the lantern on the top of the four arches, the details of this part having a decidedly Renaissance character, and being different from the other parts of the tower. Doubtless the arches themselves would suffer in the crash, and would require repairing and rebuilding in part, which was evidently done, as the date 1634 is carved on the soffit of the crossing. This difference of detail is interesting as showing how persistently these old designers wrought in the style of their time. Although it is evident that the present lantern is not quite the same as the original one, it must be admitted to be an extremely happy and picturesque composition."[237]

The chapel suffered both externally and internally in the course of the centuries, but, thanks to the enlightened liberality of Aberdeen citizens and alumni, it has been recently restored under the direction of Dr. Rowand Anderson. In 1823 the choir end was fitted up for worship on the Sundays, and the nave was occupied by the library, which was not removed and located in a building of its own until 1873. The choir screen was then shifted westward from its original position, where its west front formerly bisected the chapel.

"In the ideas of Bishop Elphinstone," said the late Principal Sir William Geddes, "and his age, the choir-screen was intended to partition off the sacred clerus from the non-clerus or laity, and, by the predominance of anthems and songs in the choir-service, to image forth the conception of the blest society in heaven, where there is only praise; but the 'Collegium' which he constituted has, through historical causes, given way to the wider society of the 'Congregation,' in which preaching is as prominent as praise, and hence came the removal of the choir-screen westward, so as to accommodate a larger audience than the Collegium proper. This removal the Restoration Committee of 1891 acquiesced in and accepted, but the change is one for which they are not responsible."[238] It will be interesting to give here a brief resumé of what has been stated by the Principal regarding shields and symbolism in the restored chapel. (1) As to the treatment of the floor: no shield has been admitted into the floor but such as represent persons in close relation to the King's College, of a date antecedent to the Scottish Reformation of 1560. When the series is completed, they will be found to represent:—

Royal Shields

1. James IV., the Royal Founder. | Motto, | Leo Magnanimus.
2. Margaret Tudor, his Queen. | " | Rosa sine spina.
3. St. Margaret, Queen of Malcolm III. (Canmore). | " | Crux columbis lex.

Episcopal

4. | Bishop | Elphinston. | Motto, | Non confundar.
5. | " | Gavin Dunbar. | " | Sub spe.
6. | " | William Stewart. | " | Virescit vulnere virtus.
7. | " | John Leslie. | " | Memento.

Literary

8. Principal Hector Boece. | Motto, | Silva frequens trabibus.
9. Dean Robert Maitland. | " | Consilio et animis.

In Ante-Chapel

1. (North side) Domine, dilexi decorem domus tuae (Lord, I have loved the beauty of Thy House), Psalm xxvi. 8.

2. (East side) Initium sapientiae timor Domini (The fear of the Lord is the beginning of wisdom), Motto of the University.

3. (South side) Te Deum laudamus, te Dominum confitemur (We praise Thee, O Lord, we acknowledge Thee to be the Lord).

4. (West side) In te Domine speravi: non confundar (In Thee, O Lord, have I trusted: let me never be confounded).

The roof has a continuous system of decoration in colour and floral ornament, except in the four compartments at the extreme east end over the apse, where structural necessities imposed a variation. The central space of the roof is filled with scrolls containing the words, Laus, Potestas, Honor, Gloria, in ecclesiastical letter, varied by insertions of the monogram of the Saviour, I.H.S., at intervals recurring. "Below these, and towards the junction of the roof with walls, appears what may be called a flying scroll of inscriptions, being a series of Latin texts and chants, chiefly from the Vulgate, capable of being read continuously, round the roof, and interrupted only by the apse, which, as explained, has a separate treatment." "In the apse, which, like Scottish apses of that period, is not semicircular, but has three facets, being semi-hexagonal, the frieze inscriptions are the University motto in its two clauses, with Sursum Corda in the centre. These occupy severally the three divisions into which the apse frieze falls, while in the compartments above are the symbolical figures in gold usually associated with the four Evangelists, viz. the Angel of S. Matthew, the Lion of S. Mark, the Ox of S. Luke, and the Eagle of S. John. The flying scroll attached to these figures is the text in Revelation (iv. 8). The band at the springing of the arched roof is variegated by a series of shields or disks, in which the sacred monogram alternates with the emblems of the Passion. The order in which the emblems have been placed is as follows:

West End

South side ends. | North side begins.
15. Moon. | 1. Sun.
14. Ladder. | 2. Bag of Judas.
13. Spear and Sponge. | 3. Lantern.
12. Dice. | 4. Cock.
11. Seamless Coat. | 5. Scourges.
10. Hammer and Pincers. | 6. Pillar and Cords.
9. Three Nails. | 7. Crown of Thorns.
8. Cross, I.N.R.I.

East or Apse End

"The figures of the sun or moon, which are usually represented in the Crucifixion scene, on either side of, and close to, the cross, have here by a certain liberty been made to commence and close the series." ... "Fortunately the fretwork, when reversed, was found, though fragile, to be fairly sound; and, although not all entirely on a uniform pattern, a large section of it, when turned upward, presented the appearance of a series of Pots of Lilies, side by side, a discovery which largely reconciled one to the alteration, inasmuch as this emblem of the Virgin is known to have been not only familiar to, but also a favourite with, the Founder of the College. The King's College, besides, was originally the College of S. Mary."

Chancel and Apse

The Professorial stalls have for the cresting the emblems of the Seven Virtues, viz. the four cardinal virtues of the Philosophers, and the three celestial virtues, or Graces of the Theologians. The sequence is:—

{1. Justice, | symbolised | by the | Scales and Balance.
{2. Courage | " | " | Thistle.
{3. Temperance | " | " | Bridle.
{4. Prudence | " | " | Compasses (Mariner's and Carpenter's).
{5. Faith | " | " | Pillar with Wreath of Victory.
{6. Hope | " | " | Anchor.
{7. Love | " | " | Flaming Heart.

They are repeated in such order on both sides, and the four Cardinal Virtues are towards the west or exterior; the three Theological Virtues toward the east or interior of the apse. On the stall forming the eighth on the south side, there is the monogram of the Alpha and Omega. On the panels of the stalls, "the leading idea sought to be maintained was the representation in sequence of the various emblems of Christ and the Christian life, as drawn from the cornu copiæ of Nature, in the fruits and flowers of the vegetable world, that unfallen portion of creation which the Divine Teacher honoured by drawing from it, and from it alone, His similes and parables. They are severally as follows, commencing from the west:—

1. The Lily. | }
2. The Palm. | }
3. The Rose. | }
4. The Trefoil.
5. The Vine and Grapes. | }
6. The Olive. | }
7. The Wheat-ears." | }

At the eighth panel on the south side, under the Α and Ω of the cresting, stands the Pot of Lilies as a symbol of the Virgin.

We have given an account of the late learned Principal's paper as appropriate to this history. It shows how art can both express the spirit of the place and become a servant of religion. It illustrates Professor Flint's declaration:—"God as the perfectly good is not only Absolute Truth and Absolute Holiness, but also Absolute Beauty. He is the source, the author, the giver of all beautiful things and qualities. All the beauties of earth and sea and sky, of life and mind and spirit, are rays from His beauty. The powers by which they are perceived are conferred by Him. The light in which they are seen is His light."[239]

Roslin (Mid-Lothian).—The church was founded in 1450 by Sir William St. Clair, Baron of Roslin and third Earl of Orkney. It was dedicated to St. Matthew, and founded for a provost, six prebendaries, and two choristers. In the quaint language of Father Hay:—

"His adge creeping on him, to the end that he might not seem altogither unthankfull to God for the benefices he receaved from Him, it came in his mind to build a house for God's service, of most curious worke: the which that it might be done with greater glory and splendor, he caused artificers to be brought from other regions and forraigne kingdomes, and caused dayly to be abundance of all kinde of workmen present: as masons, carpenters, smiths, barrowmen, and quarriers, with others. The foundation of this rare worke he caused to be laid in the year of our Lord 1446: and to the end the worke might be the more rare: first he caused the draughts to be drawn upon Eastland boords, and made the carpenters to carve them according to the draughts thereon, and then gave them for patterns to the masons that they might thereby cut the like in stone."

He was probably himself the source of the design, and his enlightened liberality attracted to the place the best workmen in Scotland, as well as from parts of the Continent. It has been said by the most recent authorities:—

"The church, so far as erected, is in perfect preservation, and is a charming portion of an incomplete design. It is, in some respects, the most remarkable piece of architecture in Scotland; and had the church been finished in the same spirit as that in which it has been so far carried out, it would have gone far to have realised a poet's dream in stone. When looked at from a strictly architectural point of view, the design may be considered faulty in many respects, much of the detail being extremely rude and debased, while as regards construction many of the principles wrought out during the development of Gothic architecture are ignored. But notwithstanding these faults, the profusion of design so abundantly shown everywhere, and the exuberant fancy of the architect, strike the visitor who sees Rosslyn for the first time with an astonishment which no familiarity ever effaces."[240]

The original intention was to complete the building as a cross church, with choir, nave, and transepts, but the choir only has been completed. The transepts have been partly erected, the east wall being carried up to a considerable height, but the nave has not been erected. The church consists of a choir, with north and south aisles, connected by an aisle which runs across the east end, giving access to a series of four chapels beyond it to the east. Beyond the east end of the church, and on a lower level, to suit the slope of the ground, a chapel has been erected that is reached from the south aisle by a stair. It is barrel-vaulted and is lighted by an eastern window. There are ambries in the walls and an eastern altar with a piscina. There are also a fireplace and a small closet on the north side. On the south a door leads to what has been an open court, where there are indications of other buildings having existed or being intended. In all probability there was a residence here, and the chapel may have served both as sacristy and private chapel. This chapel was probably built by the liberality of Lady Douglas, Sir William St. Clair's first wife.

The church is profusely adorned with sculpture which generally represents Scripture scenes, and one of the most curious examples in the remarkable decoration of the edifice is the ornamentation of the south pillar of the east aisle, known as the "Prentice Pillar"—named by Slezer (1693) as the "Prince's Pillar" and by Defoe (1723) the "Princess's Pillar." It consists of a series of wreaths twisted round the shaft, each wreath curving from base to capital round one quarter of the pillar. The ornamentation of the wreaths corresponds in character with the other carving of the church, and the grotesque animals on the base find a counterpart in those of the chapter-house pillar at Glasgow Cathedral.

At the Reformation the lands and revenue of the church were virtually taken away, and in 1572 they were relinquished by a formal deed of resignation. The chapel does not seem to have suffered much violence till 1688, when a mob did much mischief. It remained uncared for, and gradually became ruinous till the middle of the eighteenth century, when General St. Clair glazed the windows, relaid the floor, renewed the roof, and built the wall round about. Further repairs were executed by the first Earl of Rosslyn, and again by the third Earl, who spent £3000 principally in renewing and retouching the carvings of the Lady Chapel—a work said to have been suggested by the Queen, who visited the church in 1842. Since 1862, services in connection with the Scottish Episcopal Church have been held within it. At the west end a vestry and organ-chamber were erected a few years ago.

Stirling (Chapel Royal, St. Mary's, and St. Michael's).—On the north side of the Castle Square is the building erected by King James VI. as a chapel, and generally called now the armoury. There seems to have been a chapel in the castle founded by Alexander I., and it was connected with the monastery at Dunfermline. The original dedication is unknown, but in the fourteenth century there is mention of the chapel of St. Michael, which may possibly date from the time when an Irish ecclesiastic—St. Malachi or Michael—visited David I. at Stirling Castle, and healed his son, Prince Henry. The chapel was rebuilt in the early part of the fifteenth century, and in the time of James III. became an important church. It was constituted both as a royal chapel and as a musical college, and endowed with the rich temporalities of Coldingham Abbey. This chapel was the scene of the penitence of James IV., who, after the victory at Sauchie, "daily passed to the Chapel Royal, and heard matins and evening song: in the which every day the chaplains prayed for the King's grace, deploring and lamenting the death of his father: which moved the King, in Stirling, to repentance, that he happened to be counselled to come against his father in battle, wherethrough he was wounded and slain. To that effect he was moved to pass to the dean of the said Chapel Royal, and to have his counsel how he might be satisfied, in his own conscience, of the art and part of the cruel deed which was done to his father. The dean, being a godly man, gave the King a good comfort: and seeing him in repentance, was very glad thereof." James IV. endowed the chapel with large revenues, and in 1501 erected it into a collegiate church for dean, subdean, chanter, sacristan, treasurer, chancellor, archpriests, sixteen chaplains, six singing boys and a choir master. It was the richest of the provostries, and held many churches. The deans of the chapel, who were first the provosts of Kirkheugh at St. Andrews, afterwards the bishops of Galloway, and eventually the bishops of Dunblane, possessed in their capacity as deans an episcopal jurisdiction. The chapel, erected by James III., fell evidently into a ruinous condition, and in 1594 James VI. pulled the old structure down and erected on its site the present building. It was the scene of the baptism of Prince Henry.

St. Giles, Edinburgh

"In the centre of the old town of Edinburgh," writes Dr. Cameron Lees, "stands the great church of St. Giles. From whatever point of view the city is looked at, the picturesque crown of the steeple is seen sharply outlined against the sky. Soaring aloft unlike every other spire in its neighbourhood, it seems like the spirit of old Scottish history, keeping watch over the city that has grown up through the long years beneath its shadow. Edinburgh would not be Edinburgh without it. The exterior of the church itself is plain and unadorned, and it is evident that unsympathetic hands have been laid upon it and modernised it; but when one enters the building, a vast and venerable interior is presented to him, and every stone seems to speak of the past. St. Giles is a church whose history is closely interwoven with the history of Scotland from the very earliest ages, and it has been the scene of many remarkable events which have left their impress upon our national character."[241]

Dr. David Laing thinks that a parish church of small dimensions may have existed nearly coeval with the castle and town,[242] and the present St. Giles occupies the site of the original parish church of Edinburgh. Symeon of Durham, who flourished in the early part of the thirteenth century, includes Edinburgh under the year 854 in reckoning the churches and towns belonging to the Bishopric of Lindisfarne or Holy Island, in the district of Northumbria, a see which, previous to the Scoto-Saxon period, extended over the range of Lothian and the more southern districts of North Britain.[243] The name "Edwinesburch" is taken as having a special reference to the castle and town.[244] When David I. founded the abbey in honour of the Holy Cross, the Virgin Mary, and all the saints, he conferred upon the canons (among other churches) the church of the castle, the Church of St. Cuthbert under the castle wall, and at the period there were lands lying to the south of Edinburgh which bore the name of St. Giles' Grange—so called from being the grange of the vicar of St. Giles' Church. These lands were gifted by King David I. to the English abbey of Holm Cultram or Harehope in Cumberland, and probably the church went along with them; at all events, it continued to belong to some monastery. In 1393 it belonged to the Crown, and King Robert III. granted it to the Abbey of Scone; to that house it belonged for some time, remaining still an humble vicarage.[245]

It is the most reasonable conjecture that the parish church, dedicated in honour of St. Ægidius or St. Giles, and which has ever since retained the name of that patron saint, was erected during the reign of Alexander I. (1107-1124), the founder also of the Abbey of Scone and other religious houses.[246] Some fragments of this church remained till the end of last century, the richly ornamented Norman porch, which had formed the entrance to the nave on the north side of the church, being removed about 1797.[247] Dr. Lees thinks that possibly some of the pillars of the choir, and also the door at the entry to the royal pew, belonged to the first church of St. Giles.[248] The edifice appears to have been rebuilt about the time of David II.[249]

In the frequent wars with England, Edinburgh suffered much, notably so in 1322 and 1335. This latter raid, having occurred in February, was afterwards known as the "burnt Candlemas." A reconstruction of the church was probably required after these repeated conflagrations, and this appears to have been carried out during the fourteenth century. But shortly afterwards a devastation of the town and its buildings was occasioned by Richard II. in 1385, when, during his occupation of five days, he left the town and parish church in ashes. The citizens, with the help of the Crown, made a great effort to repair the disaster to their church, and from this period the history of the present structure may be said to date.

"It is said that during the restoration, which took place in 1870-80, traces of fire were observed on the pillars of the choir, and it is inferred that these pillars must have existed before the burning caused by Richard II. This view is confirmed by the fact that, after 1387, when, doubtless, the town authorities were doing all they could to complete the restoration of St. Giles', they entered into a contract with certain masons to erect five chapels along the south side of the nave, having pillars and vaulted roofs, covered with dressed stone slabs. These chapels still exist, and the wall rib of the vaulting is yet visible on the south side of the arcade, next the south aisle; but the vault and stone roof have been removed, and a plaster ceiling of imitation vaulting substituted. The above contract indicates that the walls of the nave then existed. We must, therefore, assume that the church had been rebuilt previous to the destruction of 1385, and that the above contract was an addition to the building connected with its restoration two years after the fire. Although, doubtless, much injured by the conflagration, the walls and pillars of the church seem to have escaped total destruction. The style of the architecture would lead to the same view; the octagonal pillars of the choir, with their moulded caps, being most probably of the fourteenth century."[250]

The church, as restored and added to after 1387, is regarded as consisting of a choir of four bays, with side aisles; a nave of five bays, also with side aisles; a central crossing, north and south transepts, and the five chapels just added south of the nave.[251] An open porch, to the south of these chapels, was also erected along with them, with a finely groined vault in the roof, and over it a small chamber, lighted by a picturesque oriel window, supported on a corbel, carved with an angel displaying the city arms.[252] The whole of the main divisions of the structure were vaulted, and the massive octagonal piers of the crossing were probably raised about this period.[253] The vaulting of the crossing, with its central opening, was executed about 1400.[254] The ancient Norman porch, forming the north entrance to the nave, was the only part of the twelfth century structure then preserved. The restoration seems to have continued from 1385 to 1416.

Shortly after the erection of the five south chapels, another chapel, called the Albany Aisle, was built on the north side of the nave to the west of the old doorway. It opens from the nave with two arches, resting on a central pillar, and the roof is covered with groined vaulting in two bays.[255] On the pillar are sculptured the arms of the Duke of Albany and also those of the Earl of Douglas. Their names are often ominously found together in the history of the times, and both were accused of the murder of the Duke of Rothesay, heir to the throne. They were justly accused, and, although acquitted of the deed, the stain continues to rest on their memory. The chapels were either built to expiate their crime, or more probably to get a reputation for piety and obtain the favour of the Church.[256]

Two other chapels were probably added to the north side of the nave about the same period; they were on the east side of the Norman doorway, and between it and the transept. One of them has disappeared, and the eastern one was dedicated to St. Eloi. The vaulting of the north aisle of the nave was necessarily rebuilt at the time when the north chapels were erected.[257]

About fifty years later, great extensions and improvements were carried out under the auspices of Queen Mary of Gueldres, by whom Trinity College Church was also founded in 1462. The Town Council and merchants of Edinburgh also endowed it. The extensions of St. Giles consisted of (1) the lengthening of the choir by one bay; (2) the heightening of the central aisle of the choir and vaulting it anew, together with the introduction of a new clerestory; and (3) the lengthening of the transepts.[258] The church is thus the work of many generations, and is the outcome of public and private contributions. That the choir was enlarged at this period is chiefly made evident by the heraldic devices and armorial bearings still existing. While the pillars nearest to the centre are plain octagons, with arches corresponding in simplicity, those at the east end have decorated capitals, supporting moulded arches. The King's pillar, as it is called, is the first from the window on the north side, and is near the spot where stood the High Altar. On the foliated capital are four coats of arms, and the first has the lion within the double tressure, and the armorial bearings are usually supposed to be those of King James II. (1436-1460); the second, impaled, of his Queen, Mary of Gueldres (1449-1463); the third has also the lion within the double tressure and a label of three points, which is held to denote a prince or heir, if not a younger son. The fourth shield has three fleurs-de-lys for France.[259] These shields clearly connect the pillar with Mary of Gueldres, and her husband, James II., and their son, James III., who was born in 1453. The work was probably executed between 1453 and 1463.[260] On the opposite pillar, on the south side of the high altar, are also four coats of arms, viz. those of the town of Edinburgh and of the families of Kennedy, Otterburn, and Preston. To commemorate other benefactors, on the demi-pillar, on the north side of the eastern window, we have the arms (three cranes gorged) of Thomas Cranstoun, chief magistrate of Edinburgh in 1439 and 1454; on the south side, those of Napier of Merchiston, Provost of Edinburgh in 1457—a saltier engrailed, cantoned with four rosettes.[261] (2) The heightening of the choir and the introduction of a new clerestory were also carried out shortly after the middle of the fifteenth century, the height of the former choir being shown by the vault of the crossing, which it doubtless resembled, and which was not altered at that time. The outline of the old roof may also be observed against the east and west walls of the tower—the raglet and a stepped string-course above it being yet preserved, and being specially visible on the east side next the choir. The beauty of the vaulting of the central choir aisle is noticeable when contrasted with that of the side aisles.[262] The central crossing, with its vault, was left unaltered, and still remains in the same position, with its vaulting at the level it was raised to about 1400. It forms a break between the nave and the choir, in both of which the vault has been raised.[263] (3) The transepts were extended, their original length being marked by breaks in the roof, where the vaulting terminates.

In a charter dated 11th January 1454-1455,[264] it is narrated that William Preston of Gourtoun, after much trouble and expense abroad, and aided by "a high and mighty prince, the King of France, and many other Lords of France," had succeeded in obtaining an arm bone of the patron saint, which he generously bequeathed to the church. The Town Council were so gratified with the gift that they resolved to add an aisle to the choir in commemoration of the event, and to place therein a tablet of brass recording the bounty of the donor. This aisle was to be built within six or seven years "furth frae our Lady isle, quhair the said William lyis." It thus appears that the south aisle of the nave was known as the lady chapel, and that Sir William was buried there. The resolution was carried into effect, and a new aisle called the Preston Aisle was constructed, south of the lady chapel. The Preston Aisle was afterwards known as the Assembly Aisle. In carrying out the work the south wall opposite the three westmost bays of the choir was removed, and three arches carried on two piers substituted. These piers and arches correspond with the work of the same period at the east end of the choir. One of the caps contains a shield bearing the three unicorns' heads of the Prestons. The structure extends into the choir the great width of the four aisles of the church previously formed in the nave, and adds greatly both to spaciousness and grandeur. The church was now complete in all its parts, as, internally, it still remains, with a few exceptions, to the present day.[265]

Several additional chapels were afterwards thrown out. In 1513 an aisle of two arches was formed by Alexander Lauder of Blyth, Provost of the city; in 1518 the altar of the Holy Blood was erected in this aisle, which lay on the south of the nave, and to the east of the south porch, immediately adjoining the south transept. It opened into the south chapels of the nave with two arches, and had two windows to the south. There was within it a handsome monument containing a recumbent statue, or forming, as some suppose, part of the altar canopy. The monument is still preserved, but one half of the chapel was obliterated in 1829.

In 1466 the parish church of St. Giles was erected by charter of James III. into a collegiate establishment, but it is not called collegiate till 1475. The chapter consisted of a provost or dean, sixteen prebendaries, a master of the choir, four choristers, a sacristan, and a beadle with chaplains. The revenues of the altars and chaplainries in the church were appropriated for the support of the several officers in the new establishment. The King reserved the nomination of the dean or provost, who enjoyed the tithes and other revenues of St. Giles' Church, with the adjacent manse; the provost had the right of choosing a curate, who had a yearly allowance of 25 marks with a house adjoining.[266] In subsequent charters the church is called the College Kirk of St. Geill of Edinburgh.

About this period a few additions were made. A small chapel, called the Chapman Aisle, was thrown out from the Preston Aisle close to the south transept. It was dedicated to St. John the Evangelist by Walter Chapman, called the Scottish Caxton, from his having introduced into Scotland in 1507 the art of printing. The chapel was dedicated within a month of King James' death at Flodden. The south transept seems to have been extended southward during the erection. The chapel to the east of the north transept contained several storeys and a staircase. It is said to have been erected after the Reformation. Used as the Town Clerk's office, and later as a vestry, it has been recently set apart to contain the monument of Dr. William Chambers, by whose liberality the cathedral has been recently restored.

In 1829 the church was entirely renewed as regards the exterior, and two chapels to the south of those built in 1389 and the south porch were removed. The round arched doorway of the south porch was again erected between the north pillars of the crossing as the entrance to the central division of the church. It has now been transferred to the entrance doorway to the royal pew at the east end of the Preston Aisle.[267] The only portions of the exterior which escaped the unfortunate renewal of 1829 were the tower and steeple. Fortunately the well-known crown of St. Giles was not interfered with. It was probably erected about 1500.[268]

"This crown," say the same authorities, "seems to have been a favourite feature with Scottish architects. The crown of the tower of King's College, Aberdeen, was built after 1505, and similar crowns formerly existed on the towers of Linlithgow and Haddington churches. The crown of St. Nicholas' Church, Newcastle, which is probably the only other steeple of this kind in Great Britain, is also of a late date. There is a crown of the same description on the tower of the Town Hall at Oudenarde, in Belgium, which is also of late Gothic work.... Some of the above crown steeples have an arch thrown from each angle to a central pinnacle, an arrangement which renders them rather thin and empty looking; but that of St. Giles' has, in addition to the arches from the angles, another arch cast from the centre of each side to the centre pinnacle. This produces an octagonal appearance, which, together with the numerous crocketed pinnacles with which the arches are ornamented, gives a richness and fulness of effect which is wanting in some of the other steeples of this description. The steeple of St. Giles' was partly rebuilt in 1648."[269]

In the tower was placed the great bell of St. Giles, which must have been heard far and near on special occasions, as when, after the news of the disastrous field of Flodden, the inhabitants were ordered at the tolling of the common bell to assemble in military array for the defence of the city. The bell was cast in Flanders.[270] About 1500 several of the guilds had chapels assigned to them, and for these they contributed to the church funds. Many famous Scotsmen were buried within St. Giles, and amongst them were the Napiers of Merchiston, although it is doubtful whether Baron Napier rests there or not.[271] The Regent Murray, assassinated at Linlithgow in 1569, was buried in the south aisle; his monument was destroyed, but the brass plate, with the inscription written in his honour by George Buchanan, was rescued, and is inserted in a new monument erected in the Murray Aisle. The scattered members of the body of the great Montrose were collected and buried in the Chapman Aisle, in the south part of St. Giles, in 1661, but all trace of his remains has now been lost, and no monument until recently indicated his grave.

The last day on which mass was said in St. Giles was probably the 31st of March 1560;[272] the disturbances connected with the Reformation broke out in Edinburgh at an early date, and St. Giles' Church was one of the first to suffer.

All things have their end.
Churches and cities, which have diseases like to men,
Must have like death that we have.

The images were stolen from the church; that of St. Giles was carried off by the mob, drowned in the North Loch, and then burned; his arm bone, so precious before, is supposed to have been thrown into the adjacent churchyard; the church was pillaged and the altars and images cast down; the valuables were taken by the authorities and sold, while the proceeds were spent in the repairs of the church.

"Irreverence," writes Dr. Lees, "had long been common. It was not to be expected that with the change of religion would come any additional reverence for the things and places which the old religion had proclaimed sacred. We read without much surprise, therefore, of weavers being allowed to set up their looms and exercise their craft 'in ane volt prepared for them in the rufe of Sanct Gellis Kirk,' of the vestry of the church being turned into an office for the town clerk.... It is almost inconceivable that old associations should so thoroughly and quickly have died out."[273]

The church suffered from the over-zeal of the early reformers and also from the effects of civil contention when Sir William Kirkaldy of Grange and Queen Mary's adherents retained possession of the castle. Kirkaldy took forcible possession of St. Giles' Church, and placed some of his men in the steeple to keep the citizens in awe.

They made "holes in the vaute of the Great Kirk of Edinburgh, which they made like a riddell, to shoot thorough at suche as they pleased within the kirk, or at such as would prease to breake down the pillars."[274]

In 1560 St. Giles' again became the parish church, with John Knox for its minister. It was afterwards considered too large for Protestant worship, and in Knox's time the Magistrates began to cut it up into sections and formed several churches. Other alterations were made at different times, so that besides the High Church in the choir and the Tolbooth Church in the nave there were under the same roof a grammar school, courts of justice, the Town Clerk's office, a weaver's workshop, and a place for the Maiden, or instruments of public executions! In 1633, on the introduction of Laud's form of worship, the church became the seat of a bishop, and the choir was used as a cathedral. Between 1637 and 1661 it was again Presbyterian; from 1661 to 1690 it was once more Episcopalian; at the Revolution the Presbyterian worship was again restored, and the cathedral was divided with walls and filled with galleries. The Tolbooth Church occupied the south-west angle, and Haddow's Hole Church the north-west angle. The Old Church comprised the south transept and portions adjoining; the Preston Aisle was used as a place of meeting for the General Assembly and other purposes. The dark portions under the crossing and north transept were occupied as the police office. The alterations and rebuilding of 1829 left the cathedral still divided into three separate churches, and "the ancient architecture of the exterior of St. Giles was entirely obliterated by the reconstruction."[275] As to this "restoration," Dr. Lees writes, "What ensued was deplorable, and can scarcely be conceived by those who have not themselves seen what was done."[276] On the other hand, advantage was obtained by the removal of the small houses and booths that had been built against the structure and between the buttresses. All must at least be grateful that the steeple "was left alone."

The position of affairs remained thus until Dr. William Chambers, the Lord Provost of Edinburgh, conceived the idea of removing the partitions and opening up the whole building. By his exertions, and largely by his own personal munificence, the restoration was effected between 1870 and 1883.

"The Cathedral," says Dr. Cameron Lees, "restored from end to end, was opened with a public service on the 23rd May 1883. Her Majesty the Queen was represented by a Scottish nobleman (the Earl of Aberdeen), and representatives of all the chief corporations in Scotland attended. The ceremonial was fitting the occasion, and three thousand persons filled the immense building. The whole scene recalled the brilliant pageants of an earlier day. But there was sadness in the hearts of all present, for three days previous to the ceremonial Dr. William Chambers had passed away. The words of the preacher[277] received, and still receive a response from many. 'So long as these stones remain one upon another, will men remember the deed which William Chambers hath done, and tell of it to their children.' Two days after the reopening of the church, the funeral service of the restorer was conducted within the building his patriotism had beautified and adorned, and amid a vast and solemn crowd his body was borne forth from the place he loved so well, and for which he had done so much, to his burial."[278] "What a strange story its old gray crown, as it towers high above the city, tells out day by day to all who have ears to hear. It is the story of Scotland's poetry, romance, religion—the story of her progress through cloud and sunshine, the story of her advance from barbarism to the culture and civilisation of the present day."[279]

St. Andrews—St. Mary's, or Kirkheugh.—A very old chapel, known as St. Mary's on the Rock, is said to have stood on the Lady's Craig, but no trace of it now remains. Another chapel, also dedicated to St. Mary, stood on the Kirk Heugh, and was known as the Chapel of the King of Scotland on the Hill. All traces of it were for a long time lost, but in 1860 the foundations were discovered, and they show it to have been a cruciform structure. It is between the cathedral wall on the north-east and the sea. It had a provost and ten prebendaries.[280]

St. Salvator's, St. Andrews.—The College of St. Salvator was founded and endowed by Bishop Kennedy in 1456 for a provost and prebendaries. This bishop was distinguished for his liberality to the Church. The Church of St. Salvator is the only portion of the college buildings which still survives. It is now attached to the united colleges of St. Leonard's and St. Salvator, which form the existing University of St. Andrews, and the other buildings of which are modern.

The church bears the mark of the period when it was erected, the latter half of the fifteenth century.[281] It consists of a single oblong chamber, with a three-sided apse at the east end, a tower, with octagonal spire, at the south-west angle of the church. In the interior of the north wall, close to the apse, there is the splendid monument erected to Bishop Kennedy, the founder of the college. The south wall is divided by buttresses into seven bays.

CHAPTER V

PARISH CHURCHES ILLUSTRATING THE ARCHITECTURE OF THE NORMAN PERIOD

Dalmeny Church (Linlithgowshire).—"Two nearly perfect churches of the Romanesque age," says Dr. Joseph Robertson, "survive at Dalmeny and Leuchars—the former apparently in the twelfth century a manor of the Anglo-Norman house of Avenel, the latter a Scottish fief of one of the Magna Charter barons, Saier de Quincy, Earl of Winchester. Neither building need fear comparison with the common standard of English examples. Both are late in style: Leuchars is the richer, Dalmeny the more entire of the two. Both have semicircular apses—a feature found also in the parish churches of St. Kentigern at Borthwick, and St. Andrew at Gulane, and in the chapel bearing the name of St. Margaret within the walls of Edinburgh Castle."[282]

Dalmeny Church is the most complete of Scottish Norman churches, and consists of a chancel with eastern apse, and a nave separated from the chancel by an elaborate chancel arch. The arch has three orders, decorated with elaborate chevron ornaments, enclosed with a hood moulding carved with an enrichment somewhat resembling the dog-tooth. The soffit contains a similar faceted enrichment. The arch is carried on three attached shafts on each side, built in ashlar, and provided with subdivided cushion caps and plain bases. The chancel has one small window on the south side, and is vaulted with bold diagonal groin-ribs, enriched with chevron ornaments and springing from grotesque corbels. The apse is semicircular, and is entered from the chancel by an enriched arch with shafts and caps similar to those of the chancel arch. It is lighted by three plain window openings, the central one being enlarged. In the exterior a string-course runs round the building immediately below the windows, of which it forms the sills, and is enriched with a carved floral pattern. The chief feature is the main entrance door in a porch, projecting to the south, the archway of which is supported on two plain pillars with Norman capitals. There are over this door the remains of a line, concentric with the arch, of sculptured figures and animals, very similar to those found on the ancient sculptured monuments of Scotland. Associated with the Agnus Dei, Leo, Sagittarius, serpents, birds, dragons, and human figures, we have one perhaps bearing a pastoral staff. From the rough nature of the masonry at the west end of the nave it is probable that a tower was intended to be built there.[283] On the north side projecting wings have been added to the church, but the south front and east end are almost untouched and show twelfth century work, uninjured save by weather and natural decay. The church is believed to have been dedicated to St. Adamnan, and this is rendered very probable by the fact that the neighbouring church of Cramond was dedicated to St. Columba.

Leuchars Church, Fifeshire.—We hear of a church here in 1187, and it was given to the canons of St. Andrews (1171-1199). The church now consists of a choir with a circular apse; there are traces of an arch at the west end of the choir which opened into the nave, that has been rebuilt. In the seventeenth century a turret was built, which is incongruous and out of place; and to support the belfry a plain arch has been introduced in the interior amongst the Norman work of the apse. The exterior of the semicircular apse shows an arcade of two storeys,

"the shafts of the upper tier resting on the arches of the lower one, and all the shafts bearing cushion caps. Those of the lower story are double shafts, and those of the upper story are double shafts, with a broad fillet between them. All the arches are enriched with chevron and billet mouldings, and the upper tier has an extra order of elaborate billet-work. The string-course between the two arcades is carved with zigzags. The cornice is supported on a series of boldly-carved grotesque heads, all varying in design.... The design of the exterior of the choir is similar to that of the apse, there being two arcades, one above the other, surmounted by a cornice, with corbels carved as grotesque heads. The lower arcade, however, has interlacing arches, which indicate a late period of the style. The two arcades are separated by a string-course, enriched with scroll floral ornament. In the interior ... the chancel arch (which has elaborate carving) is carried on a central attached shaft and two plain nook shafts, built in courses, with simple cushion caps and plain bases. The chancel is vaulted with heavy moulded groins, springing from the cushion caps of short single shafts resting on grotesque heads. A small window is introduced in each of the divisions formed by the shafts, and each window has a pair of nook shafts in the interior and enriched arch above. The lower part of the apse is plain, and is separated from the upper part by a string-course, enriched with faceted ornaments."[284]

Parish Churches Illustrating Middle Pointed or Decorated Period

St. Michael's Parish Church, Linlithgow, was the scene of the apparition that is said to have warned King James IV. against the battle of Flodden, and is one of the largest parish churches in Scotland. A church dedicated to St. Michael existed here as early as the time of David I. A new church is said to have been erected in 1242, and probably some parts of this are incorporated in the present edifice. In 1384 Robert II. contributed to the erection or repair of the church tower, and in 1424 the church was injured and considerably destroyed by the fire that reduced the town to ashes. The reconstruction of the edifice probably progressed, under the Jameses, simultaneously with that of the palace adjoining.

St. Michael's consists of a choir, including two aisles and a three-sided apse at the east end; a nave, including two aisles; two chapels inserted, north and south, in the place usually occupied by the transept; a square tower at the west end, and a south porch giving access to the nave. The nave is the oldest part of the building, and appears to have been erected before the middle of the fifteenth century. The choir is of somewhat later date.[285] A broad stone bench or seat is carried round the nave, and the bases of the triple wall shafts of the vaulting rest upon it. Those of the choir, different in design, rest on the floor. In the nave there are triforium openings in each bay, and clerestory windows above them. The windows throughout the church are of large size, and filled with varied geometric tracery. The windows of the apse are large, and the tracery of two of the windows is perpendicular in character. The transepts (or north and south chapels) and the south porch have crow-stepped gables both on their outer walls and also over the inner or aisle wall which separates them from the church. Each of these contains an apartment over the vault, that over the south porch being probably a place for preserving documents. The buttresses of the nave have a simpler character than those of the apse and north transept. The canopies of the niches are ornamented somewhat similarly to those of Rosslyn. The buttress of the south-west angle of the nave, crowned with the sculptured figure of St. Michael, is a striking feature on approaching the church. The western tower was originally terminated with a crown of open stone-work, similar to that of St. Giles, Edinburgh. About 1821 it was found to be in a dangerous condition, and had to be taken down. The tower is of late design and contains a doorway, continental in style, which may possibly be the work of Thomas French, the King's master-mason, and above which there is a large perpendicular window. The upper part of the tower would contrast well with the crown on the top. The tower opens into the nave with a wide and lofty arch, carried up to the clerestory level, and the groined vault with large window below produces a good effect. In each side wall of the tower is a richly canopied recess, intended for monuments or sculpture. A portion of what seems to have been a carved altar-piece is preserved in the church and represents scenes in our Lord's Passion.[286] The steeple contains three bells with inscriptions.

The south transept contained an altar dedicated to St. Katherine, and was the place where James IV. is reported to have seen the apparition that warned him against the fatal expedition to England—an incident chronicled by Pitscottie, and forming the basis of Sir David Lyndsay's tale in Marmion. The church contained twenty-four altarages, which were removed in 1559 by the Lords of the Congregation in their march from Perth to Edinburgh; and probably still further damage was done by Cromwell's dragoons, who used it as a stable. The church belonged to St. Andrew's priory, and was long served by perpetual vicars. It has been recently restored, and made worthy of its great past.

The west doorway is pronounced to be a pleasing specimen of the half continental manner in which that feature was usually treated in Scotland.[287]

Haddington Parish Church (East Lothian) is one of the ecclesiastical structures belonging to the ancient royal burgh of Haddington. Besides it there were the monasteries of the Franciscans and Dominicans, the Cistercian nunnery, and the chapels of St. Martin, St. Ann, St. Katherine, St. John, and St. Ninian. Of these establishments the only two that now survive are St. Martin's (a very ancient chapel) and the parish church, which deserves the name now applied to it (although originally it seems to have been given to the vanished church of the Franciscan monastery) on account both of its beauty and the distance at which its lights were visible—Lucerna Laudoniæ, or Lamp of Lothian. The ancient church of Haddington was founded by David I., dedicated to the Virgin, and by him granted in 1134 to the priory of St. Andrew. The present structure is of later date, and from the style of the architecture, was probably rebuilt in the first half of the fifteenth century.[288] The church is cruciform, having choir and nave, both with side aisles, and north and south transepts without aisles. Over the crossing is the central tower. The choir and transepts are ruinous, and the restored nave is used as the parish church. The tower was originally crowned with a canopy or spire of open work similar to that of St. Giles, Edinburgh, and King's College, Aberdeen; and large picturesque gargoyles still break the line of the cornice on the top. Although the edifice has been so sadly damaged, it does not appear to have suffered at the Reformation. The town was under siege in 1548, when it was held by the English after the battle of Pinkie, and was attacked and taken by the Scots and their French allies. It is not unlikely that the church suffered at that time.

Parish Churches of Third or Late Pointed Period

Parish Church of St. John the Baptist, Perth.—The ancient city of Perth possessed many endowed religious establishments, but the only one that survives is the church of St. John the Baptist, from which the city derived its title of "St. John's Town." This church, divided by walls so as to form three separate places of worship, is still the parish church of the town. The first church of Perth was probably connected with the neighbouring Pictish monastery at Abernethy, and was erected by the monks there during the Celtic period. The register of Dunfermline contains the earliest historical mention of the church under the years 1124-1127, when it was granted by David I., with its property and tithes, to that abbey. The church was consecrated by David de Bernham, Bishop of St. Andrews, in 1242, and it is stated that the heart of Alexander III. was buried in the church of St. John.[289] The abbots of Dunfermline allowed the building to become ruinous, and tried to place upon the citizens of Perth the burden of upholding the fabric. The interest of the citizens seems to have been diverted from the church, and directed, probably at the beginning of the thirteenth century, to the building of the Dominican monastery, and about the middle of the century to the erection of the Carmelite or Whitefriars' monastery. It is probable that in connection with repairs necessary for the church, King Robert the Bruce in 1328 granted that stones might be taken from quarries belonging to the Abbey of Scone, "for the edification of the Church of Perth." Of the twelfth century church of St. John nothing now remains to indicate its architecture, although it may have been both magnificent and extensive. After the death of Robert the Bruce in 1329 the restoration begun by him probably ceased, and during the unrest of the fourteenth century the church probably suffered further damage. In 1335 King Edward III. was in Perth, and slew his brother, John of Eltham, Earl of Cornwall, before the high altar of the Church of St. John for his excesses and ravages in the western districts of Scotland. In 1393-1394, after a parliament at Scone, Walter Trail, Bishop of St. Andrews, conducted divine service in St. John's Church. From 1401 till 1553-1556 there is a continuous record of the foundation of altars in the church, and of endowment of already existing ones. The chapel in which St. James' altar was situated stood on the south side of the church, and the foundation charter of the altar of St. John the Evangelist, founded in 1448 by Sir John de Bute, states that the altar was situated "in the new choir of the Parish Church." The church consists of a choir and nave, with north and south aisles, and north and south transepts without aisles. The nave and choir are of almost equal length; there was a chapel on the west side of the north transept that no longer exists, but the wide arch of the opening into it is partly visible in the transept. It was two storeys in height.

It is pronounced[290] as evident from the style of the architecture that the choir and crossing beneath the central tower belong to the period about 1448. The transepts may be later, and both are of the same period. The two eastern bays of the main arcade of the choir are more elaborately moulded than the others, and round the eastmost pillar on the south side there is cut an inscription containing the names of John Fullar and his wife.[291] It has been remarked that the tithes and fees received by the magistrates probably did not suffice for the work laid on them by the monks of Dunfermline, and that John Fullar and his wife volunteered to pay for a part, certainly for the pillar on which their names are inscribed. In the second bay of the choir from the east on the north side there is a round arched doorway, now built up, and it led to the sacristy, afterwards used as a session-house; it was taken down about 1800, and the meetings were held in a building on the south side of the nave near the west end, which has also been removed. The present north and south doorways in the choir are modern, although the south one is in the position of the old doorway. The choir has no triforium, but good plain masonry instead, undivided by wall shafts; the clerestory windows are small and round arched, are divided into two lights by a central mullion, and have plain tracery in the arch-head. The nave is divided, like the choir, into five bays, and has no triforium nor clerestory; there is a deep blank wall above the arcade arches. "This wall is of rough masonry compared to that in the choir, and the whole of this part of the church is of a much coarser and ruder description, betokening a later age. The capitals of the piers are of the very rudest kind, and are a perfect contrast to the delicate work of the choir. In the meagre description of St. John's to be found in the books on Perth, this rudeness is pointed to as a sign of great antiquity, but the reverse is unquestionably the case. This nave is undoubtedly 'the New Kirk of Perth' referred to in the Chronicle, in which 'ane Synodall assemblie' was held in April 1606."[292] Early in the nineteenth century it was contemplated to raise the nave wall and erect a clerestory; two of the windows adjoining the tower on the north side were actually built, and still remain with massive buttresses, surmounted by high finials; the work was never finished, and could not be carried farther west, as there is no proper support for such a massive building. Tradition says that at one time the church extended farther west, and it seems not improbable that a western tower in the centre of the front may have been contemplated, and even begun. "This tower, like those at Stirling, Linlithgow, and Dundee, may have been intended to open towards the church with a wide arch, of which the jambs still remain; but this idea having been abandoned, and any part of the tower which then had been built having been taken down, the present makeshift gable was put up instead to fill up the gap, which, in these circumstances, would be left for the supposed opening into the church."[293] On the north side of the nave there is a large porch called Halkerston's Tower. It was a two-storied building, the upper storey being of great height and vaulted as well as the lower one. The erection of the west end of the church is referable to about 1489,[294] when payments were made "to the kirk werk of Pertht." The central tower was erected after the adjoining part of the nave, and has one window in each face. The parapet and corbelling were renewed about forty years ago.[295] The exterior of the church has been altered at various times, and an open parapet carried along the top of the choir wall over the clerestory windows as well as along the aisle walls and up the sloping gables of the east end. Dormer windows to light the galleries break in on this aisle-wall parapet, as well as on the roof of the nave.

It was in the Church of St. John, Perth, that John Knox denounced the Mass in 1559, and the multitude afterwards demolished the ornaments, images, and altarpieces as well as the monasteries and religious houses in Perth—an example quickly followed by others throughout the country. In Scott's novel, The Fair Maid of Perth, the church is the scene of the trial by bier-right to discover the slayer of Proudfute.

The East Church (or choir) has been recently restored, and many look forward to the day when, the present partition walls being removed, St. John's Church will once more reveal the full splendour of its striking and grand interior. Perth awaits a generous restorer, and St. John's affords a grand opportunity for patriotism and beneficence.

Dundee Church Tower

About 1198 the church of Dundee was bestowed on Lindores Abbey, and the church then existing is stated to have been erected by David, Earl of Huntingdon, as a thank-offering for his escape from a storm at sea. About 1442 an agreement was formed between the abbot of Lindores and the provost and burgesses of Dundee, by which the latter undertook the construction and maintenance of the choir of Dundee Church. The only part of the ancient church which now remains is the western tower, and it was erected about 1450.[296] Three parish churches in connection with the tower were developed from the original chapel—St. Mary's or the East Church, St. Paul's or the South Church, St. Clement's or the West Church. The church was damaged by the English before the Union, and St. Clement's had to be rebuilt in 1789. The three churches were almost totally destroyed by fire in 1841, and the choir and transepts were thereafter rebuilt. The church tower survived, and has resisted for over four centuries storm and tempest, fire and siege. Its massive strength and height are features that strike the eye from far. It is square, and 165 feet high. The western entrance consists of two round arched doorways, comprised within a larger circular or elliptical arch, which is again enclosed by a square moulding. The arch mouldings are enriched with foliage, while the jambs and central pillar are moulded with alternate rounds and hollows. In the spandril over the centre shaft there is a circular panel with a Virgin and Child; below are the arms of the diocese of Brechin on a shield. Above the doorway is a lofty traceried window, and above this window the tower is vaulted. The height from the floor to the groined ceiling is about 47 feet. At each of the four corners there is a large circular shaft, and each shaft is fitted into its position in a manner different from the others. The sedilia or stone seats still remain entire, and extend along the north, south, and west walls. The tower is divided into two principal stages by an enriched parapet and outside passage. The parapet is pierced with quatrefoils and ornamented with crocketed pinnacles. The roof is of the saddle-back kind, with gables towards the east and west. It was evidently meant to have an open crown termination, and the preparations exist for the springing of the angle arches.[297]

The tower was restored by the eminent Sir Gilbert Scott in 1871-1873.

Stirling Parish Church.—Two churches in Stirling are spoken of in the reign of David I. One of them was the chapel royal, which was dedicated by Alexander I.; and the "vicar" of the "Kirk of Stirling" is mentioned in 1315 and in the time of David II. There are also notices of it in the reigns of Robert II. and Robert III., when it is designated as the Church of the Holy Cross of Stirling. Of this earlier church, which was burnt, nothing now remains. The present edifice consists of two divisions, the nave and the choir, which were built at two different periods. The nave, which is the oldest part, is referred to in the Chamberlain's Accounts from July 1413 to June 1414, and the date of the choir is known to be between 1507 and 1520.

The church contains a central nave with north and south aisles (the aisles being vaulted in stone), an eastern apse, and a western tower. The nave has five bays, the choir three bays, and they are separated by a wide bay which may be termed the crossing. The crossing now serves as an entrance hall to the two churches, into which the building is now divided. Walls are built across each side of the crossing, so as to enclose the choir as one church and the nave as the other. The west tower, which is vaulted, opens into the nave through a lofty pointed arch, springing from moulded responds. The original entrance to the church was through the western tower, but the western doorway was destroyed in 1818, and part of a window now occupies its place. The tower is pronounced to be one of the best specimens of the Scottish architecture of the sixteenth century, as applied to ecclesiastical structures,[298] and the situation of the church on the Castle Hill gives it an imposing and picturesque effect.

The piers of the nave (with the exception of two) are round and massive cylinders, and the east and west responds are semi-cylinders. The general appearance of these pillars has been taken to illustrate what is so often found in Scotland (both in ecclesiastic and domestic work) during the fifteenth century and onwards—viz. a tendency to imitate Norman and Early Pointed details.

"This tendency is also seen in the nave piers of Dunkeld Cathedral, in the piers and arches of the naves of Aberdour Church and Dysart Church, in the imitation of First Pointed work in the late cloisters of Melrose, and many other examples which might be cited. But the later counterfeit is never perfect, there being always some touch of contemporary design which reveals the imitation.[299]"

Over the crossing was an upper room, known as the King's room, from which the service could be seen, but it was destroyed about the middle of this century. At the north-west corner of the church was a chapel (now removed) with a wide opening into the church. It was called Queen Margaret's, and is supposed to have been built by James IV. in honour of his queen. Another chapel was dedicated to St. Andrew at the north-east end of the nave, and is still entire. It was erected by Duncan Forrester of Garden, Knight, who was a liberal benefactor of the church.

The church is associated with many historical events. It was here that the Regent Arran publicly renounced Protestantism in 1543, and here in the following year also the Convention met that appointed Mary of Guise regent. The church, although "purged" in 1559, was not injured, and was used in 1567 for the coronation of James VI., then but thirteen months old. When General Monk in 1651 was besieging the castle, the church tower was one of the points of vantage seized by his soldiers, and the little bullet pits all over it indicate how hot must have been the fire directed against them. It was held by the Highlanders in 1746, and its bells pealed in honour of the victory at Falkirk. John Knox has preached within its venerable walls.

It was divided into two buildings in 1656, and comprises still the east and west parish churches, the east being renovated in 1869. Since then a large number of stained-glass windows have been introduced.

Church of St. Leonard's College, St. Andrews.—The Hospitium or Guest Hall of St. Leonard's was founded by Prior John White in the middle of the thirteenth century for the reception of pilgrims and visitors to St. Andrews. Some remains of the guest hall have been excavated, from which it seems to have been a hall with central nave and two side aisles. The building was afterwards used as a nunnery, and in 1512 was appropriated as a college. It was then founded by Prior John Hepburn in conjunction with Archbishop Alexander Stewart. As a college, it was under the superintendence of the prior and chapter, and was for the education of twenty-four poor students. It became famous, however, and was attended by sons of noblemen. George Buchanan was at one time principal, and the college helped to spread a knowledge of sacred music throughout the country. A long range of buildings on the south side of the church was used as the students' residence. The church was long used for public worship, but after the college of St. Leonard's was united to that of St. Salvator in 1747, St. Leonard's was abandoned in 1759. Within recent times several alterations have been made on it, the steeple being taken down and the west end "set back" to give more room for access to a private house.

The chapel is an oblong, and is without division between nave and chancel. The church appears to have been extended 24 feet at the east end, when it was converted into a college.[300] The design of windows and buttresses (perpendicular) is pronounced to accord well with the date of erection in the sixteenth century, and is similar to that of English colleges. On the north side is a room with a round barrel vault, probably the sacristy.[301] There is a piscina in the east window sill.

Church of The Holy Trinity, St. Andrews.—This church, usually named the Town Church, is of ancient foundation, but was almost entirely rebuilt at the end of the eighteenth century. An early church is said to have been built here in 1112 by Bishop Turgot, and subsequently dedicated by Bishop de Bernham to the Holy Trinity. It had in its palmy days thirty altarages, each with a separate priest and fifteen choristers, and it was from the pulpit here that John Knox preached his famous sermon on the purifying of the temple. The church demolished at the close of last century is believed to have been erected in 1412.[302] The north-west tower is the only part of the old structure which survives.[303]

"Like the north-west tower at Cupar, it rises from the north and west walls of the north aisle, without buttresses to mark its outline or break the upright form of the walls. The square outline, however, is partly relieved by a square projection at north-west angle, which contains the staircase. The east and south walls are carried by arches, which formerly allowed the lower story of the tower to be included within the church, and the round pier at the south-east angle is made of extra thickness, so as to bear the weight of the tower."[304]

The parapet is plain and rests on simple corbels. Above it rises a short and stunted octagonal spire with lucarnes, like most of the late Scottish examples. There is over the staircase a small turret with pointed roof. It is carried up within the parapet, and groups picturesquely with the main spire. The tower resembles the one at Wester Crail, and both are of fifteenth century date. It is of this tower or steeple[305] that we hear in John Knox's History of the Reformation in Scotland. When a captive on a French galley lying between Dundee and St. Andrews the second time that the ship returned to Scotland (probably June 1548),

"The said Johne (Knox), being so extreamlye seak that few hoped his lyeff, the said Maister James (Balfour) willed him to look to the land, and asked if he knew it? Who answered, "Yes, I know it weall: for I see the stepill of that place whare God first in publict opened my mouth to His glorie, and I am fullie persuaded, how weak that ever I now appear, that I shall nott departe this lyif till that my toung shall glorifie his godlie name in the same place."[306] His hope, as we have just seen, was not disappointed."

CHAPTER VI

SCOTTISH MONASTICISM

The old Celtic monastic system, with Iona as its centre, was superseded by the monastic system of the Roman Church in the eleventh century, and the old Culdee monks were either driven from their ancient settlements or compelled to become Augustinian canons or Benedictine monks. The life of Queen Margaret marks the period of transition in Scotland from the old system to that of the Church of Rome both in building and in every other department, and what Queen Margaret began, her sons, Edgar, Alexander and David completed. St. Margaret had a monk of Durham for her chaplain; Lanfranc, Archbishop of Canterbury, was her chosen counsellor. She introduced Benedictines from Canterbury into her foundation at Dunfermline. Edgar and Alexander took for their adviser St. Anselm—Lanfranc's successor, preferred English priests, and peopled the monasteries with English monks. David was even more earnest in the pursuit of this policy, and the kings who followed him found little to "Anglicise." Saxon refugees were followed into Scotland by Norman knights; these were received by David and presented with lands, and the extent of their possessions is apparent in the names of the proprietors settled in every part of the country. The policy is apparent: their settlement helped to keep the country in order, and defend it from the attacks of the unsubdued tribes in the north and west. It also helped to facilitate the spread of the Roman Catholic system throughout the country. "The new colonists," says Dr. Cosmo Innes, "were of the 'upper classes' of Anglican families long settled in Northumbria, and Normans of the highest blood and name. They were men of the sword, above all service and mechanical employment. They were fit for the society of court, and many became the chosen companions of our princes. The old native people gave way before them, or took service under the strong-handed strangers, who held lands by the written gift of the sovereign."[307] ... "The new settlers were of the progressive party, friends of civilisation and the Church. They had found churches on their manors, or if not already there, had founded them. To each of these manorial churches the lord of the manor now made a grant of the tithes of his estate; his right to do so does not seem to have been questioned, and forthwith the manor—tithed to its church—became what we now call a parish."[308] Examples of these parish churches have already been considered, and the two-fold movement of a cathedral system with parochial benefices was continued for a time. It was the most effective way of superseding the old Celtic church, and the policy was throughout inspired by the aim of substituting the parochial system with a diocesan episcopacy for the old tribal churches with monastic jurisdiction and functional episcopacy. But this was accompanied by a third movement, which to a very great extent paralysed it, and became a source of weakness to religion. The parochial system was shipwrecked when scarcely formed by the introduction of monasticism, which was then in the ascendant throughout Europe. "The new monks," says Dr. Cosmo Innes, "of the reformed rule of St. Benedict or canons of St. Augustine, pushing aside the poor lapsarian Culdees, won the veneration of the people by their zealous teaching and asceticism.... The church, too, with all its dues and pertinents, was bestowed on the monastery and its patron saint for ever, reserving only a pittance for a poor priest to serve the cure, or sometimes allowing the monks to serve it by one of their own brethren. William the Lion gave thirty-three parishes to the new monastery of Arbroath, dedicated to the latest and most fashionable High Church saint, Thomas à Becket."[309]

The Church thus became territorial instead of tribal; episcopal instead of abbatial, and the new abbeys began to acquire large territory in the country. By the end of the thirteenth century the old line of Celtic kings closed in Alexander, and the movement was complete; the Church had ceased to be Celtic in usage and character, and had become Roman. This stream of tendency came from the south, and cathedrals with abbeys were constituted after English models. "Of the Scottish sees, all," says Dr. Joseph Robertson, "save three or four, were founded or restored by St. David, and their cathedral constitutions were formally copied from English models. Thus the chapter of Glasgow took that of Salisbury for its guide. Dunkeld copied from the same type, venerable in its associations with the name of St. Osmund, whose "Use of Sarum" obtained generally throughout Scotland. Elgin or Moray sent to Lincoln for its pattern, and transmitted it, with certain modifications, to Aberdeen and to Caithness. So it was also with the monasteries. Canterbury was the mother of Dunfermline; Durham, of Coldingham; St. Oswald's at Nosthill, near Pontefract, was the parent of Scone, and through that house, of St. Andrews and Holyrood. Melrose and Dundrennan were daughters of Rievaux, in the North Riding. Dryburgh was the offspring of Alnwick; Paisley, of Wenlock."[310]

Roman monasticism thus became an important factor in Scottish life, and it is true to say that for a very considerable period the history both of piety and civilisation in Scotland was the history of its monasticism. It was a stage in the national development, a movement in religious progress, and it was only abolished when the salt had lost its savour, when monasticism had ceased to be spiritual and had become worldly and corrupt. The system had served its day in helping to educate the nation, and when its purpose was achieved it passed away.

Mediæval architecture was, too, the outcome of the leisure in the cloister, and the men who designed and built those venerable temples must have been men to whom their work was their religion, and who regarded it as the way of honouring God. One cannot look at their architecture without realising how true are Ruskin's definitions of Art:—"Art has for its business to praise God."[311] "Great Art is the expression of a God-made great man."[312] "Art is the expression of delight in God's work."[313] "All great art is praise." "Art is the exponent of ethical life."[314] One cannot look at their ruins and not recall that by their destruction a beauty has passed away from the earth; one cannot read of the rude forces that destroyed them, and not see that the judgment on things is always on character, and that the last testing principle is, "See—not what manner of stones, but what manner of men." While we deplore the forces that destroyed, we have also to deplore the indefensible lives of the monks which at their last stage stirred such forces to their depths.

There were four principal rules, under which might be classed all the religious orders. (1) That of St. Basil, which prevailed by degrees over all the others in the East, and which is retained by all the Oriental monks; (2) That of St. Augustine, which was adopted by the regular canons, the order of Premontré, the order of the Preaching Brothers or Dominicans, and several military orders. (3) That of St. Benedict, which, adopted successively by all the monks of the West, still remained the common rule of the monastic order, properly so called, up to the thirteenth century; the orders of the Camaldules of Vallombrosa, of the Carthusians, and of Citeaux recognised this rule as the basis of their special constitutions, although the name of monk of St. Benedict or Benedictine monk may still be specially assigned to others. (4) The Rule of St. Francis signalised the advent of the Mendicant orders in the thirteenth century. It is to be noted that the denomination of monks is not generally attributed to the religious who follow the rule of St. Augustine, nor to the Mendicant orders.[315]

The canonical hours at which the monastic bell regularly summoned the monks were seven in number:—(1) Prime, about 6 A.M.; (2) Tierce, about 9 A.M.; (3) Sext, about noon; (4) Nones, from 2 to 3 P.M.; (5) Vespers, about 4 P.M. or later; (6) Compline, 7 P.M.; (7) Matins and Lauds, about midnight.

Scottish monasticism exhibited the expansion of the two main streams—the Augustinian and the Benedictine, and each subsequent order is to be regarded as an endeavour towards reform. Space will only permit us to deal with the Augustinian establishments at St. Andrews, Holyrood, and Jedburgh; with the Premonstratensian abbey of Dryburgh; with the Benedictine abbey of Dunfermline; with the Cluniacensian abbey of Paisley; with the Tyronensian abbeys of Kelso and Arbroath; with the Cistercian abbey of Melrose. The Premonstratensian order was a reform on the Augustinian, and the Cluniacensian, Tyronensian, and Cistercian orders, reforms on the Benedictine order. A study of their history and architecture in representative forms will introduce us to the piety and beauty of former days, as well as to an order of things very different from our own.[316]

St. Andrew's Priory.—The priory or Augustinian monastery was situated to the south of the cathedral (q.v.), and was founded by Bishop Robert in 1144. The structure has now almost disappeared. It comprised about twenty acres, and was enclosed about 1516 by Prior John Hepburn with a magnificent wall, which, starting at the north-east corner of the cathedral, passed round by the harbour and along behind the houses, till it joined the walls of St. Leonard's College on the south-west.

This, about a mile in extent, is all that now remains, but it is thought at one time to have passed back from the college to the cathedral. The wall has thirteen turrets, and each has a canopied niche for an image. The portion towards the shore has a parapet on each side, as if designed for a walk. There were three gateways, the chief of which, on the S.W., is known as the Pends, and of which considerable ruins still remain. Another gateway is near the harbour, and the third was on the S. side. Martine in his Reliquiæ Divi Andreæ mentions that in his time fourteen buildings were discernible besides the cathedral and St. Rule's Chapel. Among these were the Prior's House or the old inn to the S.E. of the cathedral, of which only a few vaults now remain; the cloisters, W. of this house, and now the garden of a private house, in the quadrangle of which the Senzie Fair used to be held, beginning in the second week of Easter, and continuing for fifteen days; the Senzie House, or house of the sub-prior, subsequently used as an inn, but now pulled down and the site occupied by a private house. The refectory was on the S. side of the cloister, and has now disappeared, as well as the dormitory between the Prior's House and the cloister, and from which Edward I. carried off all the lead to supply his battering machines at the siege of Stirling. The Guests' Hall was within the precincts of St. Leonard's College, S.W. of Pend's Lane; the Teinds' Barn, Abbey Mill, and Granary were all to the S.W. The new inn, the latest of all the buildings, was erected for the reception of Magdalene, the first wife of James V. The young queen, of delicate constitution, was advised by her physicians to reside here; she did not live to occupy the house, as she died on 7th July 1537, six weeks after her arrival in Scotland. It was for a short time the residence of Mary of Guise when she first arrived in Scotland, and after the priory was annexed to the archbishopric in 1635 the building became the residence of the later archbishops. Several of its canons had sympathies with the Scottish Reformation. The prior of St. Andrews had superiority over the priories of Pittenweem, Lochleven, Monymusk, and the Isle of May, and was also a lord of regality. In Parliament he took precedence of all priors, and he, his sub-prior, and canons formed the cathedral chapter. The priory possessed in all thirty-two churches or their great tithes. From 1144 to 1535 there were twenty-five priors; from 1535 to 1586 the lands were in the possession of the Earl of Murray and Robert Stewart, as lay commendators; from 1586 to 1606 they were held by the Crown; from 1606 to 1635 by the Duke of Lennox; from 1635 to 1639 by the Archbishop of St. Andrews; from 1639 to 1661 by the University; from 1661 to 1688 by the archbishop again; from 1688 by the Crown. The part within the abbey wall was sold by the Commissioners of Woods and Forests to the United Colleges.[317]

Holyrood Abbey (Midlothian).—The abbey of Holyrood was founded by King David I. in 1128 for the canons regular of the order of St. Augustine, and was dedicated in honour of the holy cross or rood brought to Scotland by his mother, Queen Margaret. This cross, called the Black Rood of Scotland, fell into the hands of the English at the battle of Neville's Cross in 1346. The abbey was several times burned by the English, and the nave on the last of these occasions, 1547, was repaired with the ruins of the choir and transepts. This was used as the parish church till 1672, when it was converted into the chapel royal. In 1687 it was set apart by King James VII. for the service of the Roman Catholic Church, but was plundered and again burned at the Revolution in the following year. It remained neglected until 1758, when it was repaired and roofed; the new roof, proving too heavy for the walls, fell with a crash in 1768, destroying all the new work. It suffered neglect again till 1816, when it was repaired, and in 1857 it was still further improved.

The abbey early became the occasional abode of the kings of Scotland, and James II. was born, crowned, married, and buried in it. The foundations of a palace apart from the abbey were laid in the time of James IV., Edinburgh having then become the acknowledged capital of the country. Holyrood Palace was henceforth the chief seat of the Scottish sovereigns. In it the nuptials of James IV. were celebrated; here also Mary Queen of Scots took up her abode in 1561 on her return from France, and here James VI. dwelt much before his accession to the throne of England in 1603.

The abbey church was beautiful in its architecture and of great size. It consisted of nave, choir, transepts with aisles, and probably lady chapel to the east, two western towers, and a tower over the crossing; but of all that splendid structure there now only remain the ruins of the nave and one western tower.

The surviving nave is in a ruinous state and consists of eight bays, the main piers of which are complete on the south side, but only represented by two fragments on the north side.[318] The vaulting of the south aisle still survives, but that of the north aisle is gone. The north wall of the aisle still stands, and the east and west ends of the nave are restored. The N.W. tower is still preserved, but the companion tower at the S.W. angle was demolished when the palace was rebuilt in the seventeenth century. Some remains of the cloister are still observable on the S. side of the nave.

The chief part of the architecture is pronounced to be first pointed, but the doorway at the S.E. angle, which led from the cloister into the nave is pronounced to be of genuine though late Norman architecture. There was a nook shaft on either side, the divided cushion caps of which survive. The arch is round and contains two orders, both ornamented with zigzags. These orders are enclosed with a label, containing a double row of square facets and sinkings.

Some alterations have taken place adjoining the doorway, and two of the windows, that over the doorway and that to the west of it, are circular-headed and have a Norman character in their nook shafts and cushion caps. These windows were probably constructed in imitation of Norman windows which existed there originally. It is not improbable that the choir was built before the nave, and was of Norman work, and this supposition is regarded as accounting for the Norman work found at the first bay of the nave, and which may have been erected in connection with the choir and crossing.

The oldest part of the nave after the S.E. doorway is the wall of the north aisle. The windows above the arcade are single lancets, one in each bay. The south wall of the south aisle is similarly designed, but the details are different and of a rather later character. The lower story contains a wall arcade having single pointed arches, with first pointed mouldings. The windows over the arcade correspond generally to those in the north wall, and are all pointed except the two east bays already mentioned. The lower part of the exterior of the south wall, running westward from the Norman doorway, is arcaded with a series of large pointed arches, each enclosing five smaller pointed arches, and with a plain wall space between the large and small arches. The above large arches were the wall arches for a groined roof over the cloister walk, but whether that vault was ever built it is now regarded as impossible to say. The vaulting of both aisles has apparently been similar, but the south aisle alone retains it, which is of a simple character, consisting of transverse and diagonal ribs.

The main arcade of the nave has consisted of eight bays; the triforium is divided into two arches in each bay by a single central shaft, springing from a corbel over the apex of each arch of the main arcade, and running up to the string-course beneath the clerestory. This would suggest the view that the vaulting was sex-partite. Each arch of the triforium is acutely pointed, and contains two smaller pointed arches within it, each of which has an inner trefoiled arch. The tympanum of the large arch is pierced with a quatrefoil or trefoil. To counteract the weakening tendency of the triforium passage, saving arches, as may be seen from the south, have been introduced to carry the chief pressure across from main pier to main pier. A similar strengthening arch exists in the outer wall of the triforium gallery at Amiens. The west end is pronounced to have contained the finest work of the building, and the west door with the two towers must have presented a lovely and imposing front. The S.W. tower was removed to make way for the palace being erected, and even the W. doorway is encroached on by the palace wall. A portion of the S.W. tower is still visible in the interior, and contains a doorway. The upper part of the W. end was reconstructed by Charles I. in 1633, and contains two nondescript windows of seventeenth century Gothic with an inscription between them. The tympanum of the doorway has also been altered at this time, and an oaken lintel introduced containing a shield with the initials of Charles I. The western doorway has been a beautiful specimen of first pointed work, and the W. side of the N.W. tower is ornamented with two tiers of arcades. "The lower arcade contains five pointed arches, with a trefoiled arch within each. These rest on triple shafts, with carved caps and rounded abaci. Over each shaft and between the arches there is a circle containing a boldly carved Norman head. The feature is unique and its effect is fine. The upper arcade consists of three larger arches, each containing two smaller arches, and all resting on shafts with carved and rounded caps. The shields in the larger arches are pierced with bold quatrefoils. Two circles occur in the spandrils over the arches, but they do not now contain heads."[319] The same design is continued round the S. side of the tower, and along the W. wall of the nave as far as the main doorway, but the N. and E. sides of the tower are plain. Above the two arcades the tower contains a large two-light window on the N.E. and W. sides. Each window is divided into two openings by a single central shaft, having a carved cap and broad square abacus, on which rest the two plain pointed arches of the inner openings. The shield above is pierced with a bold quatre-foil. The two western piers of the crossing are still standing, and within the arch there has been erected in modern times a large traceried window. The spaces below the window and across the side aisles have been built up with fragments of the demolished structure, and a window is thus formed at the east end of each aisle.

The church has evidently undergone a thorough repair during the fifteenth century, probably during the period when Crawford was abbot (1460-1483). "The work executed at this time consisted of the addition of seven buttresses on the north side and several buttresses on the south side of the aisles. Those on the north side are large, and may either enclose the old buttresses or have been substituted for them. They have a set-off near the centre, above which each contains an elaborately ornamented and canopied niche. Beneath and above the niche there are carved panels, which have contained angels and shields, with coats of arms. The arms of Abbot Crawford are said to have been carved on the panels, but they are now too much decayed to be distinguishable. Above the upper panels the buttresses are continued with several set-offs, and finished with a small square pinnacle. The pinnacles have been crocheted and terminated with a carved finial, but they are now greatly wasted away. There were, doubtless, flying arches from the above buttresses to the clerestory, but they must have fallen with the roof. A somewhat elaborate north doorway has been introduced, in a style similar to that of the buttresses, in the second bay from the west tower. The arch is semicircular, and has an ogee canopy. There are small niches above the arch on each side which contained statues, now demolished. This doorway was probably constructed by Abbot Crawford at the same date as the buttresses."[320]

"A series of buttresses was also erected about the same time on the south side of the fabric. It is believed, however, that these buttresses are partly old or are on old foundations. In order not to interfere with the cloister walk, which ran along next the south wall, and where it would have been inconvenient to have any projections, the buttresses were carried in the form of flying arches over the top of the cloister roof. At the clerestory level flying arches, similar to those on the north side, rested against the upper portions of buttresses and pinnacles introduced between the windows. On the outside of the cloister walk the flying arch abutted upon oblong masses of masonry, which probably at one time were finished with pinnacles, but these no longer exist."[321]

Robert Bellenden, the twenty-fifth abbot of Holyrood, and successor to Abbot Crawford,[322] presented the abbey with bells, a great brass font, and a chalice of gold. He was also beneficent to the poor, and completed the restoration of the fabric by covering the roof with lead. This happened about 1528, and in 1539 the office of commendator was given to Robert, natural son of James V., while still an infant. The brass font was carried off by Sir Richard Lee, an officer in Hertford's army, in 1544, and was removed to St. Alban's Abbey. It was afterwards sold for old metal. The brass lectern of the abbey was also taken by Sir Richard Lee, and presented to the Parish Church of St. Stephen's at St. Alban's, where it still is. It is in the form of an eagle with outstretched wing, and contains a shield with a lion rampant and a crozier, with the inscription, "Georgius Crichton, Episcopus Dunkeldensis."[323] Before becoming bishop, Crichton was abbot of Holyrood, 1515-22.

Jedburgh Abbey (Roxburghshire).—In 1118 David I., while Prince of Cumbria, founded a priory on the banks of the Jed, and placed it in possession of canons regular from the Abbey of St. Quentin at Beauvais in France. In 1147 the priory was raised to the dignity of an abbey and dedicated to the Virgin Mary, while the smaller buildings of the priory served as a nucleus for the larger buildings of the abbey. Its abbots were sometimes men of distinction, and in 1285, when John Morel was abbot, Alexander III. was married in the abbey with much ceremony to Iolanda, daughter of the Count de Dreux. In the wars between England and Scotland (1297-1300) the abbey suffered so severely that the monks were unable to inhabit it, and were billeted on other religious houses. Jedburgh had to bear the brunt of many English onslaughts, and in 1410, 1416, 1464 it was damaged by repeated attacks of the English. In 1523 both town and abbey fell before the forces of the Earl of Surrey. The abbey was stripped of everything valuable and set on fire. In 1544-1545 the process of destruction was twice repeated under Sir Ralph Eure and the Earl of Hertford respectively. In 1559 the abbey was suppressed, and its resources went to the Crown. For some years it was left a roofless ruin, and a building designed for the parish church was afterwards erected within the nave, roofed over at the level of the triforium, and used as a place of worship till 1875, when a new church built in excambion by the Earl of Lothian was opened for worship, and the abbey ruin can now be viewed "clear of that incubus upon its lovely proportions."

Like most ancient buildings that have been added to from time to time, the abbey shows different styles of architecture, and the choir, which is early Norman, is undoubtedly the oldest part. The church consists of a choir with side aisles extending eastward for two bays, beyond which was an aisleless presbytery, the east end of which is demolished; a nave of nine bays, which had vaulted side aisles; a central crossing with square tower above; a north transept well preserved, and a south transept, of which the south end is destroyed.[324]

It has been suggested that the choir may have terminated with an eastern apse, but of this there is no proof. What survives consists of two bays next the crossing, the lower portions of which are in the Norman style. A unique arrangement is visible here, as far as Scotland is concerned, and resembles a somewhat similar design at Gloucester Cathedral and Romsey Church, Hampshire. The main piers have the peculiarity of being carried up as massive cylindrical columns to the arch over the triforium. The lower story has the round arch and vaulting ribs supported on corbels, projected from the round face of the piers. The triforium arch is round and moulded, and has a well-wrought chevron ornament. "It rests on large caps of the divided cushion pattern. The main arch is formed into two openings by a central round shaft and two half round responds, with massive cushion caps carrying plain arches."[325]

The clerestory is of Transition work, having one lofty stilted and pointed arch, and two smaller pointed arches in each bay. When the Transitional clerestory was erected, the eastern part of the choir is thought to have been built, and the remains of two lofty pointed windows are preserved to the east of the cylindrical piers. The same Norman style of architecture as in the choir is continued in the south and north transepts, and appears to have originally also extended into the nave. "This is apparent from the mode in which the string-course over the triforium runs along on the north side from the choir to the nave, where it is broken off. That the Norman nave has probably extended westwards from the crossing is further evidenced by the existence of the west end wall, with its great doorway and windows, and the south doorway to the cloister, which portions are all of characteristic Norman design." The Norman work must have preceded the Transition work in choir and nave by a considerable portion of time. There is no gradual development visible.

The nave (129 feet in length and 27½ feet in breadth) "is divided into nine bays, each of which comprises a main arch resting on clustered piers, a triforium with one round arch containing two pointed arches, and a clerestory forming a continuous arcade, with four pointed arches in each bay. The main clustered piers contain four principal shafts at the angles, and four intermediate shafts between them. The former are brought to a point on the face, the latter are flatter. The caps are simple and of an ordinary transitional form, each with a square abacus. The bases are also simple, and stand on a massive square plinth, a feature not uncommon in Norman work. The arches of the main arcade are somewhat acutely pointed, and the mouldings are bold, and resemble first pointed work."

The clerestory shafts are of trefoil section; the arches are all pointed, and contain first pointed mouldings. The west end of the nave and doorway are Norman in character, and Sir Gilbert Scott declared the great western doorway and south doorway to be "perfect gems of refined Norman of the highest class and most artistic finish." The doorpiece is surrounded by three gablets, the central one still retaining a trefoiled arch. The west wall has flat buttresses of Norman character, and "the upper portion of the wall has a central round-headed window, flanked on each side by three small pointed arch heads, the caps carrying which rested on long single free shafts, now gone. The central window has deep mouldings, but no enrichments. The west front has been finished with an octagonal turret on each side, as at Kelso Abbey, and the gable contains a central circular window, which has been filled with tracery at a late date. The west end walls of the aisles have each contained a circular-headed window of Norman design, with a chevron ornament in the arch and a nook shaft at each side."

"The lower part of the walls of the choir and the western wall and doorway and south doorway being all of Norman work, it seems probable that the whole building was set out and partially executed in Norman times, and that the work was either stopped for a considerable period and then resumed, or that the structure, after being completed, was destroyed, and had to be restored in the late Transition style. The Transition work is well advanced in style, and may be regarded as being of the date of the end of the twelfth century or beginning of the thirteenth century."

"The Norman north transept is fairly well preserved, but both the north and south transepts have undergone great repairs about the end of the fifteenth century. The crossing appears to have been so greatly damaged by the assaults of the fifteenth century that it was found necessary to rebuild it. The restoration is distinctly visible in the south-east pier of the crossing, the style of which is quite different from that of the Norman work adjoining in the choir and south transept, and the junction of the new work with the old is very apparent. This pier has clearly been rebuilt. It is plain next the crossing, but next the aisle it consists of a series of shafts with a moulded cap of late date. The upper mouldings of the cap form a continuous straight line, while the bells of the caps are broken round the shafts—a style of cap common in Scotland at the end of the fifteenth century."

"This pier and the south aisle of the choir beside it appear to have been restored by Abbot John Hall (appointed 1478), whose name occurs on the pier and on one of the bosses. The south-west pier of the crossing has also been rebuilt. This work was carried out by Abbot Thomas Cranston (appointed 1482). On a shield on this pier are carved the arms and initials of Abbot Cranston—three cranes and two pastoral staves—saltierwise. The same abbot's initials are placed on the north side of the west arch of the crossing, where the chamfer begins, and on the lower part of the north-west pier. The south-west pier, the north-west pier, and the arch between them would thus appear to have been rebuilt by Abbot Cranston. The base inserted by him is different from the old Norman base.

"About half-way up the south-east pier, rebuilt by Abbot Hall, the springer of an arch may be seen projecting to the west. Abbot Hall had evidently intended to throw an arch across the transept at this point, but Abbot Cranston changed his plan and the arch was not carried out. The mouldings of the portions executed by the two abbots differ in their respective parts of the structure.

"To the north of the original Norman north transept an addition to the transept has been erected. It is cut off from the old transept by a wall, and thus forms a separate chapel, measuring 27 feet in length by 22 feet in width internally. This chapel is vaulted with the pointed barrel vault usual in Scotland in the fifteenth century, and, consequently, the side windows are low, their pointed arch being kept below the springing of the vault. The window in the north end wall, however, is of large dimensions. The windows are all filled with good fifteenth century tracery, similar to that in the restored south aisle of the choir. This part of the edifice is now used as a mortuary chapel for the family of the Marquess of Lothian. The tower over the crossing is 33 feet square and 86 feet in height. It contains three pointed and cusped lancets on each side, and is without buttresses. It appears to have been erected about 1500. At the top, near the north-west corner, are engraved the arms and initials of Abbot Robert Blackadder, who was afterwards promoted to the offices of Bishop and Archbishop of Glasgow. He was appointed to that see in 1484, and died 1508. His arms are a chevron between three roses."

The abbey thus completed was not permitted to remain unmolested. Described by Sir Ralph Eure as "the strength of Teviotdale," and by Hertford as "a house of some strength which might be made a good fortress," it was, as already mentioned, the frequent object of attacks by the English. It was pillaged and burnt in 1544 and 1545, and never recovered from the damage done. In 1559 the monastery was suppressed. In 1587 the bailery of the abbey was continued or restored by a grant of King James VI. to Sir Andrew Ker, and in 1622 the entire property of the lands and baronies which had belonged to the canons of Jedburgh was erected into a temporal lordship, and granted to him with the title of Lord Jedburgh. Sir Alexander Kerr of Fernieherst was ancestor to the Marquess of Lothian.[326]

Dryburgh Abbey (Berwickshire).—The name Dryburgh has been derived by some from the Celtic darach-bruach, "bank of the grove of oaks," and vestiges of pagan worship have been found in the Bass Hill, a neighbouring eminence. St. Modan, a champion of the Roman party, is said to have come hither from Ireland in the eighth century, and a monastery on very scanty evidence has been attributed to him. St. Mary's Abbey was founded by Hugh de Morville, Lord of Lauderdale and Constable of Scotland, in 1150. According to the Chronicle of Melrose, Beatrix de Beauchamp, wife of de Morville, obtained a charter of confirmation for the new foundation from David I.; the cemetery was said to have been consecrated on St. Martin's Day 1150, "that no demons might haunt it"; the community, however, did not come into residence till 13th December 1152.

The monks were Premonstratenses or White Friars; called by the latter name because their garb was a coarse black cassock, covered by a white woollen cape, "in imitation of the angels in heaven, who are clothed with white garments." The monks introduced were from Alnwick. "A large part of the domestic buildings seems to have been erected within fifty or sixty years of the date of the foundation, as they are built in the transition style of the beginning of the thirteenth century. The church appears to have been in progress during the thirteenth century, as in 1242 the Bishop of St. Andrews, owing to the debts incurred in building the monastery and other expenses, gave the canons permission to enjoy the revenues of the churches under their patronage, one of their number performing the office of vicar in each parish. The canons took the oath of fidelity to Edward I. in 1296, upon which their property was restored to them. Their possessions were widely spread, and extended into several counties, as appears from letters addressed by Edward regarding them to the sheriffs in the counties of Fife, Berwick, Roxburgh, and Edinburgh."[327]

Tradition states that the English under Edward II., in their retreat in 1322, provoked by the imprudent triumph of the monks in ringing the church bells at their departure, returned and burned the abbey in revenge. Dr. Hill Burton remarks that Bower cannot be quite correct in saying that Dryburgh was entirely reduced to powder, since part of the building yet remaining is of older date than the invasion. King Robert the Bruce contributed to its repair, but it has been doubted whether it ever was fully restored to its former magnificence. Certain disorders among the monks in the latter part of the fourteenth century brought the censure of Pope Gregory XI. upon its inmates. Being within twenty miles of the border, the abbey was frequently exposed to hostile English attacks, and we hear of its burning by Richard II. in 1385, by Sir Robert Bowes and Sir Bryan Latoun in 1544, and again by the Earl of Hertford in 1545—James Stewart, the abbot commendator, having with others crossed the Tweed into Northumberland and burned the village of Horncliffe. It was annexed to the Crown in 1587, and the lands were erected into a temporal barony, with the title of Lord Cardross, in favour of the Earl of Mar, from whom they have passed by purchase through the hands of several proprietors.

Chaucer was held to have visited the abbey, but the claim has been demolished by Dr. Hill Burton in Billings' Antiquities. Among the distinguished men, however, connected with the abbey was Ralph Strode, "the Philosophicall Strode," to whom and the "moral Gower" Chaucer inscribed his Troilus and Cresseide. He was a friend both of Chaucer and John Wiclif.[328] Andrew Forman was superior of Dryburgh, and was much occupied with affairs of Church and State under James IV. and James V. He was appointed in 1501 to the bishopric of Moray, holding at the same time the priories of Coldingham and Pittenweem, with the commendatorship of Dryburgh. He became afterwards Archbishop of Brouges, and finally Archbishop of St. Andrews. He is said to have written (1) Contra Lutherum, (2) De Stoica Philosophia, (3) Collectanea Decretalium.[329]

The monastery had the usual buildings around the cloister; the church was on the north side, and stood about ten steps above the level of the cloister garth. The sacristy, chapter-house, fratery, and other apartments stretch from the transept southwards along the east side; above these, on the upper floor, were the dormitories, entering by an open staircase from the south transept. Along the south side of the cloisters lay the refectory, which, on account of the slope of the ground, was raised on a basement floor of vaulted cellars. On the west side of the cloister garth are now only a few vaulted cellars. A small stream runs along the S.W. side of the monastic buildings, and beyond the stream are the remains of what seems to have been a detached chapel.

The oldest portions of the structure are those forming the eastern range; they are of Transitional date or about the beginning of the thirteenth century.[330] The sacristy has a stone bench round the walls and three steps in the floor. It has a door from the transept and an outer semicircular-headed doorway of Transition character from the cloister. Access is also obtained by a small door in the north side to a wheel-stair leading to the upper floors, and visible as a projecting turret at the S.E. angle of the transept. The east window of the sacristy is pronounced remarkable, having two round-headed windows surmounted by a visica-formed aperture. It has a piscina in the south wall near the east end. The apartment next the sacristy may originally have been a parlour, but is now appropriated as a mausoleum. There is an ambry in the south wall near the east end, and the doorway is semicircular and of Norman character. The floor of the chapter-house is several feet below the level of the cloister walk; the ordinary central doorway and side windows opening from the cloister are placed in their usual position on the level of the cloister walk. The side openings were unglazed, and were used for seeing and hearing what was proceeding in the chapter-house below. The doorway is large and deeply recessed; the outer arches of the windows on each side of the doorway are plain semicircles, filled in with two pointed lights having a central shaft.

The chapter-house retains its round barrel vault, and has three pointed windows in the east end and two similar ones in the side walls, where the chapter-house projects beyond the general line of the buildings. In the interior a round arched arcade runs along the east side, supported on single shafts, and there are traces of a similar arcade running round the side walls. There is an entrance doorway in the south wall; the east gable wall over the chapter-house still exists, possessing flat buttresses of a Norman type at the angles and between the windows, but the pointed arches indicate Transition work. There is a lovely fragment of carved work still preserved in the chapter-house, representing the pascal lamb slain and surrounded by a wreath of foliage, above which are the letters I.H.S. The vine leaves flowing from the lamb may symbolise the branches springing from the true vine.

South of the chapter-house was probably the fratery or monks' day room. It has been vaulted at a late period—probably third pointed. There is a fire-place in the centre of the west wall, and an outer doorway at the south end of the same wall. The apartment was lighted by three plain round arched windows in the east wall, one of which has had tracery inserted in after times. At the N.W. angle, opening from the level of the cloister, is a round-headed doorway, and traces of a staircase which served as the day access to the dormitory. South of the fratery is the slype or passage, with arched openings to the east and west. It has also a doorway to the fratery, and another to the apartment on the south side, the latter of which now only exists in part, the south end of the range having been destroyed. The range of these buildings still retains its eastern wall to the full height of two stories—the upper story being doubtless the dormitory.

On the south side of the cloister, where the refectory once stood, there are now only the ruins of the vaulted basement on which it stood. At the east end of this range there is a doorway from the cloister giving access to a staircase which led down to the lower level of the fratery, and the remainder of the south side was probably all occupied by the refectory. The west wall is almost all that survives; it is now ivy-clad, and contains a picturesque circular window, with radiating tracery. Adjoining this wall in the S.W. angle of the cloister there is an arched recess, apparently intended for a tomb and monument, but now empty. Over the doorway in this angle is a large shield, containing the arms of John Stewart, who was commendator in 1555. On the shield are the initials J.S., with the crozier in the centre. He was brother to the Earl of Lennox, and uncle to Lord Darnley, who married Queen Mary. The arms are those of the Stewarts of Lennox.

The cloister occupies a space of 93 feet by 91 feet, and was surrounded by a vaulted walk which has entirely disappeared. It is evident that the cloister walk was at least partly vaulted, from the small remains of the springing of the vaults which are visible in the eastern wall on each side of the doorway to the chapter-house. The south wall of the nave of the church extends along the north side of the cloister, and at the N.E. angle is the doorway which led from the cloister into the nave—a handsome specimen of the Transition style. The nave of the church is entered through this handsome doorway by ten steps up from the cloister, and presents a scene of terrible destruction. The west end wall partly remains, "and shows by the responds attached to it the form of the nave piers, with their caps and bases. The position of the piers along the nave is now roughly indicated by a collection of fragments arranged as nearly as possible in the original position and form. The mouldings indicate a late date, and were, doubtless, restorations; but the responds, which were not so liable to destruction, are of first pointed date. The responds which form part of the west wall show that there was a central nave 28 feet wide and side aisles, each about 13 feet 6 inches wide, making a total width of 55 feet. There have been side chapels in the nave, apparently divided by walls, some portions of which remain, with ambries in the chapels. The western doorway has a round arched head, but its details show that it is of late design. This part of the edifice has apparently been restored in the fifteenth century, after the destruction of the abbey by Richard II. in the end of the fourteenth century."[331]

The transept has a slight projection to the north and south; this part of the building and all to the east of it are evidently of thirteenth century work, but only a few detached portions remain. The south transept gable has a large window filled with simple pointed tracery, rising in steps above the roof of the dormitory. The arch through which the stair to the dormitory passed is visible in this wall. To the east of the transept is a choir of two bays, with aisles, and beyond which is an aisleless presbytery. The portions left are pronounced to be of a very beautiful design, both internally and externally. The exterior is simple but elegant, and of first pointed work; the interior shows evidence of more advanced design. The clerestory is of beautiful design; "each bay contains an arcade of three arches, the central one, which is opposite the window, being larger than the side arches. The arches are supported on detached piers, behind which runs a gallery. These piers each consist of two shafts, with central fillet. They have first pointed round caps, over which a round block receives the arch mouldings as they descend. A small portion of the north end of the transept adjoins the above, which shows that the structure has been carried up in two stories of richly moulded windows, all in the same style as the adjoining portions of the choir. The remaining portion of the aisle is vaulted with moulded ribs springing from responds and corbels corresponding in style with the choir."[332]

Here rests the dust of Sir Walter Scott and his kinsfolk, and of it Alexander Smith wrote that "when the swollen Tweed raves as it sweeps, red and broad, round the ruins of Dryburgh, you think of him who rests there—the magician asleep in the lap of legends old, the sorcerer buried in the heart of the land he has made enchanted."

Dunfermline Abbey (Fife).—Dunfermline was from a very early period the residence of the kings of Scotland and here Malcolm Canmore had his tower; here he entertained the royal fugitives from England, and married the Princess Margaret in 1068. The Glen of Pittencrieff contains the remains of the Tower of Malcolm Canmore, and of a subsequent royal palace, and they were in 1871 pronounced by the House of Lords to be Crown property. Malcolm's Tower is believed to have been built between 1057 and 1070, and the royal palace may have been founded as early as 1100, although more likely it was not built till after the departure of Edward I. of England, in February 1304. The kings of Scotland, from Robert Bruce onward, appear to have frequently resided in the palace.

According to Turgot, Queen Margaret, after her marriage, founded a church "in that place where her nuptials were celebrated," and it was dedicated to the Holy Trinity in 1074. It became the place of royal sepulture, and Queen Margaret was buried within it. There are frequent references from this time onwards of grants to the church of the Holy Trinity, and to interments of royal personages therein. "The original church of Canmore," says Professor Innes, "perhaps not of stone, must have been replaced by a new edifice when it was dedicated in the reign of David I.,"[333] and Messrs. MacGibbon and Ross add

"As no notice has been preserved of the erection of any new church till the building of the choir in the first quarter of the thirteenth century, it has been supposed that the nave of the existing structure (which is in the Norman style) may have been the church founded and erected by Queen Margaret. But the style of the building forbids this supposition. None of the English cathedrals were founded till the end of the eleventh century, and few were carried out till the expiry of the first quarter of the twelfth century. Scotland would certainly not be in advance of England in its style of architecture, and we know that little, if any, Norman work was executed in this country till the days of David I.... The style of the structure is early Norman, and would naturally follow the erection of Durham Cathedral, which took place about twenty-five years earlier."[334]

The same authorities think that the original church of Malcolm stood where the new choir was afterwards erected, and that David I. added the Norman nave to it.

"The nature of the site seems to favour this view, as the ground to the west slopes rapidly away, and scarcely allows room for the west end of the nave; while the conventual buildings, for want of suitable space, have had to be carried with an archway over a public street."[335]

Alexander I. seems to have contemplated its erection into an abbey, and in the year of his succession David I. remodelled it as a Benedictine Abbey, and placed in it an abbot and twelve brethren brought from Canterbury. By the close of the thirteenth century it had become one of the most magnificent institutions in Scotland.

David I., after introducing the Benedictine order, probably added the Norman nave to the then existing church erected by his royal parents, and it was evidently resolved at no distant time from this to rebuild the early church and form a new choir and transept worthy of the new settlement. This was done, and between 1216 and 1226 the choir, aisles, transept, and presbytery were erected, and Abbot Patrick, formerly Dean and Prior of Canterbury, presided at Dunfermline during the whole of the above time. Appeals were made to the Popes Honorius III. and Gregory IX. on account of the expenses incurred by church erection and the increase of the number of canons from thirty to fifty.

In the dispute of 1249 regarding the consecration of the new choir, Pope Honorious IV. decided that a new consecration was not necessary, as the consecrated walls of the oldest part (the nave) continued in use. In that year Queen Margaret was canonised, and in 1250 her body was transferred from the old church to the new lady chapel in presence of all the chief men of the kingdom. "The translation of the saintly foundress," says Professor Innes, "was probably arranged to give solemnity to the opening of the new church."[336] This is known in history as the "Translation of S. Margaret," and the "grate companie" of king, nobles, bishops, abbots, and dignitaries in procession kept time "to the sound of the organ and the melodious notes of the choir singing in parts." Soon after this, describing what it had become towards the close of the thirteenth century, Matthew of Westminster wrote: "Its boundaries were so ample, containing within its precincts three carrucates of land, and having so many princely buildings, that three potent sovereigns, with their retinues, might have been accommodated with lodgings here at the same time without incommoding one another." In 1244 it had become a mitred abbey, Pope Innocent IV. having, at the request of Alexander II., empowered and authorised the abbot to assume the mitre, the ring, and other pontifical ornaments; and in the same year, in consideration of the excessive coldness of the climate, he granted to the monks the privilege of wearing caps suitable to their order; but they were, notwithstanding, enjoined to show proper reverence at the Elevation of the Host and other ceremonies.[337]

"This sumptuous pile," says Professor Innes, "was destroyed and levelled with the ground by the soldiers of Edward in 1303, excepting only the church and a few dwellings for the monks[338]—Edward I. of England having occupied it from 6th November 1303 to 10th February 1304. It was restored, probably in much less than its former magnificence, after Bruce was settled on the Scottish throne, and it evidently remained in that condition until 28th March 1560, when the choir, transepts, and belfry were, with the monastic buildings, "cast down.""

It was a very wealthy abbey, and the greater part of the lands in the western, southern, and eastern districts of Fife, as well as in other counties, belonged to it. The abbey also possessed many rights, and the abbot was Superior of lands—the property of others—and received the resignation of his vassals sitting on their bended knees, and testifying all due humility. The abbot and convent were invested with the power of enforcing their rights by excommunication, and they exercised it on several occasions. The abbey possessed the right of a free regality, with civil jurisdiction equivalent to that of a sheriff over the occupiers of the lands belonging to it, and with a criminal jurisdiction equivalent to that of the Crown, wielding the power of life and death. A bailie of regality, appointed by the abbot, and officiating in his name, resided in an edifice called the Bailie House, near the Queen's House, and presided in the regality courts.

The abbey church succeeded Iona as a place of royal sepulture, and kings, queens, and princes were buried within it. Gordon gives the list of eight kings, five queens, seven princes, and two princesses, besides other notable persons,[339] so that it may well be called the "Scottish Westminster."

The abbey church, when complete, was cruciform, and comprised a seven-bayed nave, with side aisles, a transept, a choir with a lady chapel, and three towers, two western ones terminating the aisles and flanking the gable of the nave, and the great central tower rising from the crossing. The monastic buildings were also on a magnificent scale, but of the church and monastic structures there only now remain the Norman nave, the base of the Lady Chapel, and part of the refectory and kitchen.

The nave is well preserved and the piers are circular. The plan of these with that of the wall responds shows that the original intention was to groin the aisles. The two eastern bays between the eastern pillars are built up with solid masonry, and only a portion of the arches is visible. The two western bays and the triforium arches above them have also been filled up with solid building to strengthen the western towers.[340] "The pillars which support the west towers are of greater size than the others, and are of a different section. One of the pillars and the corresponding arch of the north arcade are of late Gothic work, and may be part of the repairs ordered by the Privy Council in 1563, or of the work done in 1594 under the direction of William Schaw, Master of Works, who at that time built the north-west tower and steeple, as well as the porch on the north side of the nave. At the same time, also, certain great buttresses were built against the outer walls, which are now conspicuous features of the structure."[341]

The great western doorway, a good example of Norman work, remains unaltered, and consists of five orders, having alternately round and octagonal shafts, chiefly with cushion caps, but some are ornamented with scrolls. The abacus is heavy, and is carved with sunk diapers. The orders are continued round the arches, and contain chevron ornaments (much decayed), rosettes, and diapers.[342] The outer order contains large heads and geometric figures in the alternate voussoirs—an arrangement similar to that of Whithorn and Dalmeny, where the geometric figures also resemble those adopted here.[343] The original north doorway, partly concealed by Schaw's porch, is similar in design, with the addition of an arcade above the arch, resembling but still plainer than that over the doorway of Dalmeny Church. The south doorway of the church is of late work, and there appears to have been another south doorway at the east end of the nave, but it is now built up.[344] The whole of the aisle walls are arcaded in the interior up to the height of the window sills, but the arcade has been partly cut away for monuments. The general design of the nave recalls that of Durham Cathedral, and Dr. Joseph Robertson remarks, "Though not of great size, the sombre masses of the (nave) interior are impressive. The English visitor will remark more than one point of resemblance to Durham and Lindisfarne; and there is no violence in the conjecture that the same head may have planned, or the same hands have hewn, part of all the three. We know that when the foundations of Durham were laid in 1093 by the confessor and biographer of St. Margaret, her husband Malcolm was present; and when the new church received the relics of St. Cuthbert in 1104, her son Alexander witnessed the rites.[345] Both at Durham and Dunfermline there are the same circular piers with zig-zag ornaments, and massive cushion caps and clustered piers occur in each. The small circular bases, resting on great square plinths, are also common to both. The triforium and clerestory are simple in design, and the aisles are vaulted and groined. The windows of the aisles are single round-headed lights, having plain sconsions, with one recessed shaft on each side, and the arch enriched with chevron mouldings.[346] Internally and externally they are of similar design.

From the existence of the large west end pillars, it was evidently intended from the first to have two western towers. The northern one, along with the upper part of the adjoining gable, was destroyed to a considerable extent at the Reformation, and in its present state it was designed and built up by William Schaw. The bold corbelling at the top recalls the similar treatment of the towers of St. Machar's, Aberdeen, and other examples derived from domestic architecture.[347] The south-west tower seems to have remained intact, although in a ruinous condition, till 1807, when it fell, having been struck with lightning. Three years later the present top was put on the old walls.[348] The Lady Chapel at the east end was built to receive Queen Margaret's shrine, and is now reduced to a small fragment, consisting of part of the south and east walls, which remain to the height of about 2 or 3 feet. "It has been a small structure of about 26 feet 9 inches by 22 feet, of delicate and refined pointed work, as is apparent from the bases of the wall arcading and the edge of the surrounding seat, enriched with nail-head ornaments, which still exist. The Lady Chapel appears from an old view to have been a low structure, reaching only to the sill of the great east window of the choir, and it was evidently vaulted in two compartments."[349]

No stones now remain of the thirteenth century choir, as they were all removed to make room for the modern church, begun in 1818; before this, however, considerable remains of the choir and the whole of the foundations were standing.[350] The choir was a prolongation of the present nave, having transepts and a great aisle on the north side. There was a lofty central tower of two stories, with three windows in each storey facing the four sides, and it was this part of the structure which suffered on the 28th March 1560, when "the wholl lordis and barnis that were on thys syde of Forth passed to Stirling, and be the way kest doun the Abbey of Dunfermling."[351] The nave was used as a parish church till 1821, when the new choir was opened. In the south transept of it are three much-admired white marble monuments: General Bruce's by Foley (1868), the Hon. Dashwood Preston Bruce's by Noble (1870), and Lady Augusta Stanley's by Miss Grant of Kilgraston (1876). The remains of King Robert the Bruce were discovered in 1818 at the digging for the foundation of the new parish church. They were found wrapped in a pall of cloth of gold, thrown apparently over two coverings of sheet lead, in which the body was encased, all being enclosed in a stone coffin. "There was strong internal evidence of the remains being those of Robert Bruce, and after a cast of the skull had been taken, they were replaced in the coffin, immersed in melted pitch, and reinterred under mason work in front of the pulpit of the new parish church. An inlaid monumental brass was in 1889 inserted in the floor over his tomb." Near the east end of the church is a square tower, with terminals showing an open hewn stone-work, in place of a Gothic balustrade, having in capitals on the four sides of the tower's summit the words "King Robert the Bruce," and at each corner of the tower there is a lofty pinnacle.

The church occupies a commanding situation, from which the ground falls away on the west and south sides. The monastic buildings were on the south side of the nave, but on a lower level. Of these structures considerable remains still exist. "The ground between the dark walls and the church has, in recent years, been levelled up, the outer portions of the monastic buildings serving as retaining walls. With the exception of these outer walls, the site of the monastery is thus buried."[352]

The refectory stood on the south side of the cloister, and the whole length and height of its south and west walls still exist. The south wall was divided into seven bays, and in six of them there are lofty two-light windows. The eastern bay has a reading desk, from which one of the monks read aloud during meals. It is lighted from the outside by two windows. On the side next the hall there are two lofty openings.[353]

Adjoining the refectory on the south-west is a large tower, beneath which runs St. Catherine's Wynd, through a "pend" or archway, whence it is called the "Pend Tower." "The outside of the refectory and 'Pend Tower' is very imposing, with a simple row of lofty buttresses and windows along the top. The west gable wall of the refectory is still entire, and has a large window of seven lights. The tracery of this window is in good preservation, and is one of the most favourable examples of a kind of tracery developed in Scotland during the fifteenth century. At the north-west corner of the refectory is the staircase tower, which leads down to the offices below, and upwards to the refectory roof, over which access was obtained to the upper story of the 'Pend Tower.' In the north wall of the refectory, near the west end, are the remains of a flue, which may have belonged to a fire-place. The 'Pend Tower' is still entire, wanting only the cape house and roof. It served as a connecting passage between the abbey buildings and the royal palace beyond. A door led from the refectory by a passage into a groined chamber, and from thence into a room in the palace situated over the kitchen. The kitchen is a lofty room, now roofless, having remains of large fire-places and some curious recesses. Below the kitchen, but entering from another part of the palace, there is a large vaulted apartment with central pillars. These pillars were continued up through the kitchen, and probably to the room, now gone, which stood over the kitchen. Another arched passage led from this apartment through below St. Catherine's Wynd and up to the monastery. The building known as the palace was doubtless intimately connected with the monastery, and the kitchen may have been used in connection with both."[354] Within the "Pend Tower" on the first floor is a five-sided room with a fire-place, and it appears to have been a sort of guard room. It is vaulted and has irregularly placed ribs. Over this, and entering from the circular stair adjoining, is another groin-vaulted room, which had a fire-place of good design.

The passage and staircase are additions made at the time when the tower was built, and the arches were thrown between the already existing buttresses of the refectory, and in the second bay the arch is at a low level to permit of the descending stair, while the builders have just managed to save a very beautiful doorway belonging to the earlier building, and now hardly seen in the shadow of the overhanging addition.[355] To the east of the refectory is a narrow chamber with the remains of a two-light window in the south wall, and projecting southwards from this is the lower part of the wall of the fratery, reaching as high as the floor of the refectory. On the east side of the fratery extends the south wall of a building called the Baillery Prison.[356] These fragmentary structures exhaust the remains of the monastic buildings. The chapter-house was on the east side of the cloister garth. The monastery was burned by Edward I. in 1303-4, but Tytler says the church escaped.[357] Froissart states that in 1385 Richard II. burned the abbey and town, and it is doubted if any of the existing monastic buildings belong to an earlier date than that last mentioned.[358] "William Schaw, Master of Works, besides the buildings already referred to,[359] erected in 1594 certain of the immense buttresses which form such conspicuous features in all the views of the abbey. He likewise built, and doubtless designed, the Queen's House and the Bailie and Constabulary House. In connection with the latter houses there are considerable remains of buildings still existing to the north-west of the abbey, and there seems every probability that they formed part of the structures of the abbey and of the Queen's House. They are extremely picturesque as seen from the low ground to the west. The lofty house on the right hand dates probably from the end of the seventeenth century, and is a fine example of the period. The adjoining buildings are considerably earlier, and in the lower parts, where they are buttressed, they are probably of pre-Reformation times. The upper portions are somewhat later, and are very likely part of the work of Schaw. The porch to the latter buildings is on the other side, and is quaint and well known from being seen from the church. William Schaw died in 1602, and was buried in the nave, when the monument to his memory was erected by order of Queen Anne."[360]

Paisley Abbey (Renfrewshire).—In his history of this great abbey, the Very Rev. Dr. Cameron Lees thus describes its situation:—

"In the heart of the busy town of Paisley stands the Abbey, its venerable appearance contrasting most strangely with its surroundings. Many chimneys—so many that it seems impossible to count them—pour forth their smoke on every side of it; crowds of operatives jostle past it; heavily laden carts cause its old walls to tremble; the whirr of machinery and the whistle of the railway engine break in upon its repose; while within a stone's throw of it flows the River Cart, the manifold defilements of which have passed into a proverb. But it is not difficult, even without being imaginative, to see how beautiful for situation was once the spot where the Abbey rose in all its unimpaired and stately grace. It stood on a fertile and perfectly level piece of ground, close by the Cart, then a pure mountain stream, which, after falling over some bold and picturesque rocks in the middle of its channel, moved quietly by the Abbey walls on its course to the Clyde. Divided from the Abbey by this stream, rose wooded slopes, undulating like waves of the sea till they reached the lofty ridge called the Braes of Gleniffer, from the summit of which the lay brother, as he herded his cattle or swine, could get views of the Argyleshire hills, the sharp peaks of Arran, and the huge form of Ben Lomond. To the north, on the other side of the Clyde, were the fertile glades of Kilpatrick, and beyond, the Campsie range. Gardens and deer parks girdled the Abbey round; few houses were near except the little village of dependants on the other side of the stream; and no sound beyond the precincts broke the solitude, save the wind as it roared through the beech forest, the bell of a distant chapel, or, on a calm evening, the chimes of the Cathedral of Saint Mungo, seven miles away. It was a well-chosen spot, answering in every way the requirements of the Benedictines, who, we are told, "preferred to build in an open position at the back of a wooded chain of hills.""[361]

Paisley illustrates what was said by Dr. Cosmo Innes regarding the country as a whole.

"Scotland of the twelfth century had no cause to regret the endowment of a church.... Repose was the one thing most wanted, and people found it under the protection of the crozier."[362]

The Church became the great factor in the development of civilisation throughout the district. Had not the monastic system been good, it would not have lasted so long; had it not had within it the elements of weakness, it would not have come to such an untimely end. And even while we criticise it is well to recall the words of Newman: "Not a man in Europe who talks bravely against the Church, but owes it to the Church that he can talk at all."[363]

The great abbey of Paisley was much to its neighbourhood, and its history is the history of its district. It is a memorial of the coming to Scotland of the great family of Stewart, which has left such a deep impress on Scottish history. Walter, son of Alan of Shropshire, joined David I. at the siege of Winchester, and the king showed to him great favour, taking him into his household, and conferring on him the title of Lord High Steward of Scotland. King Malcolm was even more generous, ratified the title to Walter and his heirs, and bestowed on him a wide territory, chiefly in Renfrewshire.[364] The Steward soon colonised after the fashion of the time, built a castle for himself in the neighbourhood of Renfrew, and gave holdings to his followers throughout the wide territory of Strathgyff, as his Renfrewshire property was called. But in those days no colonisation was complete without a monastery, and this the Lord High Steward proceeded to found, entering into an agreement with Humbold, Prior of Wenlock Abbey in the native county of his family, to establish at "Passelay" a house of the Cluniac Order of Benedictines, being the same order as the house at Wenlock. Humbold in 1169 brought thirteen monks from the parent house, and, having settled them at Renfrewshire in an island of the Clyde called the King's Inch, returned to Wenlock. There was at this time in Paisley an early church, dedicated to St. Mirinus, an Irish saint of the sixth century, and a disciple of the great school of St. Congal at Bangor. St. Mirin was a contemporary of St. Columba, and must have been a friend of the great apostle of Scotland. He was probably the founder of the early Celtic church at Paisley, and seems to have been an itinerant preacher round the district, regarding Paisley as his centre, where at last, "full of miracles and holiness, he slept in the Lord." It matters little whether these legends regarding miracles are historically correct, for the value lies in the moral of them. "The falsehood would not have been invented unless it had started in a truth, and in all these legends there is set forth the victory of a good and beneficent man over evil, whether it be of matter or of spirit."[365]

When the monks had founded their church at Paisley they dedicated it to the Virgin Mary, to St. James, St. Milburga, and St. Mirinus. St. James was the patron saint of the Stewarts, and to him the church on the Inch of Renfrew, where the monks first took up their abode, was dedicated. St. Milburga was the patron saint of Wenlock, and it was natural that the Shropshire monks should place their new home at Paisley under the patronage of a saint whom they held in reverence, and who was a link between Paisley and the scene of former days. St. Mirinus was the Celtic saint of the neighbourhood, and by calling the new monastery after his name they reconciled the sympathies of the people to themselves, and connected their church with the old historic church of Scotland. The monastery was at first in the second rank of religious houses, and was ruled by a prior. The abbey of Clugny was very jealous of raising any of its subordinate houses to the rank of an abbey, but it was very inconvenient for the monastery of Paisley to be in subjection to one so far away as the French abbot, and commissioners appointed by a papal bull in 1219 decreed that the monks of Paisley might proceed to the canonical election of an abbot, the patron of Paisley, the Lord High Stewart, also giving his permission. Twenty-six years later, the abbot of Clugny surrendered his rights, which had been reserved by the papal bull,—the monks, through the Bishop of Glasgow, promising prompt payment of the two marks for the future, and undertaking that the abbot of Paisley should personally or by proxy visit Clugny every seven years to make obeisance and render an account to his superior.[366]

William was probably the first abbot of Paisley, and he presided from 1225 to 1248. He established and consolidated the prosperity of the convent, and obtained from the Popes several bulls conferring privileges on the monastery.[367]

The following picture, drawn by a master-hand, has been applied by Dr. Lees to the monastic life at Paisley during the prosperous reigns of Alexander II. and III.

"In black tunics, the mementoes of death, and in leathern girdles, the emblems of chastity, might then be seen carters silently yoking their bullocks to the team, and driving them in silence to the field, or shepherds interchanging some inevitable whispers while they watched their flocks; or wheelwrights, carpenters, and masons plying their trades like the inmates of some dumb asylum, and all pausing from their labours as the convent bell, sounding the hours of prime, nones, or vespers, summoned them to join in spirit where they could not repair in person, to those sacred offices. Around the monastic buildings might be seen the belt of cultivated land continually encroaching on the adjoining forest, and the passer-by might trace to the toil of these mute workmen the opening of roads, the draining of marshes, the herds grazing, and the harvests waving in security under the shelter of ecclesiastical privileges which even the Estergoth and Vandal regarded with respect. If we exchange for the 'Estergoth and Vandal' the marauding baron and Highland chief, the picture is a true one of the surroundings of Paisley Abbey in those peaceful years."[368]

"During the prosperous reigns of Kings Alexander II. and III. the church was erected, but of the work of that period (the thirteenth century) there remain only a portion of the west front and part of the south wall of the nave, including the south-east doorway to the cloister and three windows. The structure appears to have suffered severely during the War of Independence. It stood in the vicinity of Elderslie, the land of Sir William Wallace, and doubtless met with a similar savage treatment to that allotted to the patriot leader. It is stated to have been burnt by the English in 1307, and the burning would appear to have led to a very complete destruction of the edifice, as the portions of the original work which survive are very small."[369]

The abbey church was a parish church, within the territory of which the house of Elderslie was situated, and the connection of the family of Elderslie with the monks of Paisley would naturally be very close. Wallace himself was probably educated at the school of the Paisley Clunaics,[370] and the influence of the abbey may have helped to mould within him the character which Fordun thus describes:—

"He (Wallace) venerated the church and respected the clergy; his greatest abhorrence was for falsehood and lying; his uttermost loathing for treason, and therefore the Lord was with him, through whom he was a man whose every work prospered in his hand."[371]

The monks of Paisley during the times of Wallace and Bruce were on the patriotic side. After Bruce had murdered the Red Comyn before the altar of the Franciscan friars at Dumfries, the deed lay heavy on his conscience, and the Steward used his influence with the Pope to procure absolution. A commission was issued to the abbot of Paisley by Berengarius, the penitentiary of the Pope, to absolve the Bruce and appoint him proper penance for his crime.

"How the duty committed to him was discharged by the Abbot or what penance he enjoined, we do not know. It may have been to fulfil the penance imposed at Paisley that Bruce desired so ardently to visit the Holy Sepulchre. He was excommunicated again soon afterwards, and years elapsed before he was finally restored to the favour of the Church; but his absolution at Paisley was a gleam of sunshine in the midst of his stormy life, and one of the most interesting pictures in the history of our abbey is that of the monarch kneeling before its altar and amidst its fire-stained walls."[372]

James, the Steward, died on 16th July 1309, and, like the earlier Stewarts, was probably buried in the ruined abbey. He was succeeded by his son Walter, who married Marjory, the daughter of Robert the Bruce. Their married life was short, and the untimely death of Marjory took place within a year. Walter died at Bathgate in 1326, and, like his wife, was buried in the abbey.

"When long time their dule had made
The corps to Paslay have they had,
And there with great solemnity
And with great dule eirded was he."

Robert, the son of Walter and Marjory, was but a boy of ten or eleven years of age at his father's death, but he was a boy with great expectations. Failing the death of the king's son without heirs, the Scottish Parliament had solemnly ratified his succession to the Scottish throne. King Robert the Bruce died in 1329, and his only son, David II., succeeded him. By neither of his marriages had he any issue, and he was succeeded by his sister's son, Robert II., who became the founder of the Stewart dynasty.

"The abbey was now under royal patronage, and Walter, the son of Alan, its founder—the Shropshire colonist—the progenitor of a race of kings."[373]

Under royal favour and patronage the abbey entered on a course of prosperity, unbroken till the time of the Reformation. Robert II. died in 1390, and was buried at Scone.

"If this be true, he was the first of the Stewarts who were laid elsewhere than in the precincts of the abbey, and the circumstance is all the more strange because Elizabeth More, the much-loved wife of his youth, and Euphan Ross, his queen, are buried there."[374]

Robert III. had two sons, the elder of whom was David, Duke of Rothesay (1378-1402). He was under the guardianship of Albany, who after a short time starved him to death at Falkland. Robert, anxious for the safety of his younger son, James, resolved to send him to France, but on his way thither he was captured by an English vessel, and thereafter imprisoned in the Tower of London. There is good reason for believing that Albany and the Douglases had to do with the imprisonment of the Prince, and they did everything to prevent his release. When the news was brought to the king in the castle of Rothesay, he succumbed to paroxysms of grief, and died 4th April 1406.

"Touched by grief," says Fordun, "his bodily strength vanished, his countenance paled, and, borne down by sorrow, he refused all food, until at last he breathed forth his spirit to his Creator."

He was buried in the abbey of Paisley before the high altar, and was the last of the Stewarts who was laid there.[375]

After the destruction of the abbey, caused by the wars with England, the edifice seems to have remained for long in a dismantled condition, but gifts having been received from the Bishops of Argyle and Glasgow to aid the restoration of the building, the work was begun. Besides, the abbey was from 1388 to 1408 under the ban of excommunication, and this must have powerfully added to the delay in the building operations. Part of this work was carried out under Abbot Lithgow (1384-1433), who was buried by his own desire in the north porch, where his memory is still preserved. The chief part of the rebuilding of the abbey church was carried out under Abbot Thomas de Tervas (1445-1459). The Chronicle of Auchinleck says of this abbot:—

"The quhilk wes ane richt gud man, and helplyk to the place of ony that ever wes, for he did mony notabil thingis, and held ane nobil hous, and wes ay wele purvait. He fand the place al out of gud reule, and destitute of leving, and al the kirkis in lordis handis, and the kirk unbiggit. The bodie of the kirk fra the bucht stair up he biggit, and put on the ruf, and theekit it with sclats and riggit it with stane, and biggit ane great porcioun of the steple, and ane staitlie yet-hous: and brocht hame mony gude jowellis, and clathis of gold, silver, and silk, and mony gud bukis, and made statelie stallis, and glassynnit mekle of al the kirk, and brocht hame the staitliest tabernakle that wes in al Skotland, and the maist costlie: and schortlie he brocht al the place to fredome and fra nocht till ane michty place, and left it out of al kind of det, and al fredome, till dispone as them lykit, and left ane of the best myteris that wes in Skotland, and chandillaris of silver, and ane lettren of brass, with mony uther gud jowellis."[376]

Abbot Thomas is said to have obtained the privilege of having a tavern and selling wine within the gates of the monastery, and is believed to have raised money thereby for the reconstruction of his church.[377] The quaint language of the ancient Chronicle of Auchinleck, translated into ordinary English, means that besides journeying to Rome and procuring the articles mentioned, he carried up the triforium and clerestory, finished the roof, erected a great part of the steeple, and built a stately gate-house.

At the death of Abbot Tervas, Pope Pius II. decreed that the disposition of the office and of the whole revenues of the monastery should fall to the Pope, and he appointed Henry Crichton, a monk of Dunfermline, to be commendator of the abbey, and assigned a pension of 300 florins out of the revenues to Pietro Barlo, Cardinal of St. Mark's in Venice, to be paid to him by Henry and his successors at the Feast of St. John the Baptist, under pain of excommunication, in case of his failing to make payment within thirty days after the appointed term, and total deprivation if he persisted in his opposition six months after his excommunication. When he got himself fairly installed as abbot he declined to pay the stipulated pension to the Cardinal of St. Mark's, and made some legal quibble the ground of his neglect. Trouble followed, and since this, the appointment of its first commendator, the rights of the abbey began to be invaded. Abbot George Shaw (1472-1498) endeavoured to guard the monastery against encroachments; he built a refectory and other structures, reared a lofty tower over the principal gate, enclosed the church, the precincts of the convent, the gardens, and a little park for deer within a wall about a mile in circuit.[378] Of this once magnificent wall, with its four-sided beautiful stones and lofty statues, very few fragments now remain, but there are still two tablets that belonged to it. The central shield bears the royal arms, the shields to the right and left of it the Stewart arms and the abbot's own; and there is an inscription by the pious builder himself, which is as follows:—

Ye call it ye Abbot Georg of Schawe
About yis Abbey gart make yis waw
A thousande four hundereth zheyr
Auchty ande fywe the date but veir
[Pray for his saulis salvacioun]
That made thys nobil fundacioun.

It has been thought that this inscription was designed by John Morow, whose name appears on a tablet in Melrose Abbey.[379]

"The character of the lettering in design and workmanship is the same as at Melrose. The references to the building operations, the poetical form of the composition, the manner in which the names are introduced, 'Callit was I,' and 'Ye callit,' and the devout expressions with which they close, make it clear that the inscriptions are the work of the same author."

The fifth line is chiselled away, and was possibly deleted because it did not harmonise with the theology of the Reformed Church.

Abbot George Shaw was succeeded by his nephew, Robert Shaw, vicar of Munkton, and a son of the Governor of Stirling. He was canonically elected, and his election was approved by the Crown,—the Pope also gave his consent on condition that Robert Shaw should take the monastic habit within six months, and decreed that the old abbot should enjoy as his pension a third part of the fruits of the monastery, and might return to his former position when he thought proper. Robert Shaw took office in 1498, and his uncle lived for some years after, "the pensioner of the abbey" as he is called in charters. George Shaw died probably in 1505, and Dr. Lees says of him:—

"He filled his place well, and the visitor to Paisley who sees his shield of three covered cups with the pastoral crook behind them upon the wall of one of the outhouses, which has been ruthlessly transformed by modern iconoclasts, or reads the defaced inscription which tells of the 'nobil fundacioun' he reared, will do well to remember that they are the memorials of a good man, one of the best of his time, to whose wisdom and benevolence the town of Paisley owes its existence."[380]

This refers to the creation of Paisley as a burgh by Abbot Shaw, who obtained in 1488 a charter creating the village of Paisley into a free burgh of barony, and thereby raising the status of the people both socially and politically. The burgher was no longer in the condition of a serf or slave, who could be transferred from one master to another, and he escaped from all the severities and exactions of the feudal system. The burghs had power of self-government, and were able to develop commercial and industrial operations. The burgh of Paisley was endowed with the usual privileges, and a right to hold a market every Monday, and two yearly fairs—one on the day of St. Mirren, and the other on the day of St. Marnock. In 1490 the abbot and chapter granted to the magistrates of the burgh in feu-farm the ground on which the old town stands and certain other privileges.

After an examination of the Rental Book, Dr. Lees regards it as "corroborating all that historians tell us regarding the lands of those ecclesiastics being the best cultivated and the best managed in Scotland.... The neighbourhood of a convent was always recognisable by the well-cultivated land and the happy tenantry which surrounded it, and those of the Abbey of Paisley were no exception to the general rule prevailing throughout the rest of Scotland.[381]

"The monks were kind masters. No cases of eviction or deprivation are recorded. The same lands descended without rise of rent from father to son. Children are held bound to maintain their parents in their old age, and widows are specially cared for, and are occasionally provided with another husband!"[382]

During the fifteenth century many altars were erected and endowed by the burgesses, and the Chapel of St. Mirin, which occupies part of the site of the south transept, was erected in 1499, and endowed by James Crawford of Kylwynet, a burgess of Paisley, and his wife.

Abbot Robert (1498-1525) was received on 19th October 1525 as Bishop of Moray in the cathedral of his northern diocese, and the next abbot was John Hamilton, a natural son of the Earl of Arran, who had entered the church as a monk of Kilwinning, and whom Magnus speaks of with contempt as a "yonge thing." The earl was high in favour with the queen, who had at the time the disposal of the church benefices, and he wished the bishopric for his son. The queen, however, appointed Abbot Robert to the see of Moray, and Hamilton to the abbey of Paisley. It was one of the deeds of shame enacted in the Scottish Church which ultimately brought its severe judgment.

Abbot John Hamilton (1525-1547) rebuilt at immense cost the first tower that appears to have had insecure foundation, and fell. It seems to have had an untimely end, falling, according to one account, with its own weight, and with it the choir of the church, or, according to an another account, being struck with lightning. In 1559, with Kilwinning and Dunfermline, the abbey of Paisley was suppressed, and what that meant can best be expressed in the words of Sir Walter Scott:—

"They fumigated the church with burnt wool and feathers instead of incense, put foul water into the holy-water basins; they sung ludicrous and indecent parodies to the tunes of church hymns; they violated whatever vestments belonging to the abbey they could lay their hands upon; and playing every freak which the whim of the moment could suggest to their wild caprice. At length they fell to more lasting deeds of demolition, pulled down and destroyed carved woodwork, dashed out the painted windows, and in their vigorous search after sculpture dedicated to idolatry, began to destroy what ornaments yet remained entire upon the tombs and around the cornices of the pillars."

Although the monks were expelled, the people of Paisley still continued firm in adhering to the old faith, and the doors of the abbey were "steyked" against the reformed preachers. The abbot and his friends were accused as

"in the toun of Paslay, Kirkyard and Abbey place thereof, openlie, publicklie, and plainlie taking auricular confession in the said kirk, toun, kirkyaird, chalmeris, barns, middens, and killogies thereof, and thus makand an alteration and innovation in the state of religion, which our Soverane Lady found publicklie standing and professit within this realm, ministrand, and alswa irreverently and indecentlie the Sacramentis of Holy Kirk, namely, the Sacramentis of the Body and Blood of our Lord Jesus Christ."

It was a serious charge, and if proven was punishable by death. Hamilton had a powerful friend in Queen Mary, who interfered in his behalf, and he and his companions were committed to ward.

Besides retaining the office of abbot at Paisley, Hamilton was appointed Bishop of Dunkeld in 1543-44 by his brother, acting for the Queen, and after the murder of Cardinal Beaton, on 29th May 1546, was raised to the position of Archbishop of St. Andrews and Primate of Scotland. Probably he never returned to Paisley until, in the adversities of his later years, and the monastery being sacked and burnt by the Reformers, he was forced to take refuge at Dumbarton Castle, where he was made prisoner, and afterwards executed at Stirling. The Master of Sempill had been appointed bailie of the monastery, and, at the dissolution, the whole of the church property was handed over to Lord Sempill. The property finally came into the possession of Lord Claud Hamilton, nephew of the archbishop, and the monastic buildings were converted into the "Place of Paisley," the residence of the Abercorn family.

After the archbishop's execution his body was quartered, and afterwards buried, probably in Paisley. Dr. Lees says:—

"There is in the church a tablet, which looks as if it had marked his grave. It has upon it the archbishop's coat of arms, the letters J. H., the initials of his name, and the motto he assumed, and which contrasts strangely with his troubled life and tragic end—'Misericordia et Pax.'"[383]

Amid all that is said against the last archbishop of the old Church of Scotland, and the last abbot of Paisley, it is well to recall that the "Catechisme," which usually passes under his name, from having been printed at his expense at St. Andrews in 1552, exhibits a solitary instance of an attempt on the part of the old Roman Catholic clergy to convey spiritual instruction to the people, and is creditable to Archbishop Hamilton's memory.[384]

Referring to the disposal of the abbey property, Dr. Lees says:—

"The manner in which the Church property was gifted away forms a scandalous episode in the history of Scotland. Men like Claud Hamilton, who never had done anything for their country, became enriched and ennobled through the spoliation. It is vain to picture regretfully what might have been; but any one can see how much better it would have been for Scotland if the whole community, instead of a few unworthy individuals, had got the benefit of the Church's wealth. Those who did get it have in too many instances made a very miserable use of their ill-gotten gain."[385]

Prior to the Reformation the monastery consisted of a church, the cloister and conventual buildings. The church comprised a long aisleless choir, a nave with aisles, a north transept, a south transept, with St. Mirin's Chapel attached to the south of it, and a tower and spire over the crossing.[386]

The choir walls, containing an elegant sedilia and piscina, remain standing to the height of 9 feet, and it is questioned whether the choir was ever finished during the restoration. There is a string-course all round; the building is of fifteenth century work, and occupies the place of an earlier choir, which has been demolished. The wall at the east end of the nave, which separates it from the transept, may have been erected during the restoration of the fifteenth century, with the intention of rendering the nave a complete church until the transept and choir were restored. This seems to have been in progress when the Reformation interrupted the work. The design of the sedilia resembles that at St. Monans, Fife, and adjoining the sedilia is the piscina, the aperture of which is still visible.

The north transept is in ruins, but the north wall, with the remains of a fine traceried window, still exists, as well as a traceried window in the west wall. The south transept is also in ruins, while the tower and spire have disappeared. St. Mirin's Chapel is well preserved, but the openings connecting it with the south transept are built up.

The nave survives as a whole, and contains six bays, divided by massive piers, and surmounted by a triforium and clerestory. There is a north porch, and two doorways from the cloister on the south side.

The oldest portion of the building is pronounced to be the eastern part of the south wall of the south aisle of the nave, where it adjoins the transept. This portion of the wall consists of three bays, containing the S.E. doorway from the cloister to the nave, and three pointed windows in the upper part. The doorway is of the transition style, and the windows above are simple in style, and are early pointed work—this part of the building probably dating from the first half of the thirteenth century.[387] The western portion of the south aisle of the nave and the whole of the south clerestory are evidently portions of the restored church of the fifteenth century.[388] The south aisle wall contains the S.W. and S.E. doors from the nave to the cloister.

The west end of the nave is in part amongst the ancient portions of the structure, and the western entrance doorway is thirteenth century work.[389] The aisle windows of the west front belong to the first pointed period. The upper portion of the west front above the two large windows is of considerably later date.[390] "The design of the west front, which contains above the door-piece two large windows, with pointed niches and small circles inserted between the arch-heads, is probably original, but the upper portion and gable, including the large traceried window, are doubtless part of the restoration of the fifteenth century. The tracery of the two central windows is peculiar, and may possibly be of the fourteenth century, but that of the large upper window is later, probably of the same period as the restoration of the interior of the nave. The tracery of the large upper window is a specimen of the late kind of design employed in Scotland in the fifteenth century."[391]

The interior of the west end of the nave exhibits the change of style caused by the restoration of the fifteenth century. The first or western bay of the main arcade is original, including the first arches (one on each side), the first pillars, and the arches between them, and the aisle responds. "These pillars and arches are of large dimensions and first pointed section, and appear to have been designed to carry western towers, but a part of their thickness has been cut off next the choir. A portion of the triforium wall, a piece of the string-course over the main arcade, and the corbelled vaulting shaft in the angle as high as the top of the triforium, are also parts of the original structure. The later work has been joined to the above old parts in a very awkward manner."[392] The cap of the west pier on the north side belongs to the first pointed work, while the corresponding cap on the south side and all the other caps belong to the fifteenth century restoration.[393] Except the west piers, the piers of the nave are of the clustered form, common in late Scottish work, and might be about the same date as the restoration of St. Giles, Edinburgh (which they resemble), in the early part of the fifteenth century.[394]

The triforium design consists of large segmental arches, the same width as the main arches, springing from short clustered piers introduced between them. It somewhat resembles the triforium of the nave at Dunkeld Cathedral. The clerestory is probably designed in imitation of that of Glasgow Cathedral, and is divided into two pointed arches in each bay. They spring from a series of clustered shafts with round moulded caps that are late imitations of early work.[395] The earlier part of the nave restoration, including the main piers and arches, and perhaps the tracery of the two lower windows of the west front, were possibly executed by Bishop Lithgow, who built the north porch, and the completion of the nave (the upper portions) was carried out in the time of Abbot Tervas—the middle of the fifteenth century. A peculiarity of the nave interior is a series of large corbels, which project from the spandrils of the triforium arcade, and the object of which was to enable a passage to be carried round the solid piers introduced between the windows. Each of the large corbels springs at its lowest point from the sculptured grotesque figure of a man or animal. They were mostly the work of Thomas Hector, a sculptor, who lived at Crossflat,[396] and whom the abbot retained for his skill in the art.[397] The employment of such grotesque figures was very much affected by the monks of Clugny, and was the occasion of a rebuke from St. Bernard. "What business had these devils and monstrosities in Christian churches, taking off the attention of the monks from their prayers." One of these figures near the west gable represents a man in a kilt, and Dr. Lees thinks that many worshippers in the Abbey in more modern times have in the midst of long sermons found relief in the contemplation of those curious carvings which the saint thus vigorously denounced.[398]

St. Mirin's Aisle was erected in 1499, and there is a large pointed window in the east end, having jambs with single shafts. It is divided into four lights, and the arch-head is filled with good simple tracery. Beneath the eastern window is a frieze of one foot eight inches deep between two cornices of eight inches deep, which were intended for sculpture. Three compartments, measuring four feet, at the north or right side, and seven compartments, measuring ten feet, at the south or left side, are carved and filled with sculpture. Dr. Lees says the reference of them to Mirin is clear beyond all doubt: "In the one on the extreme left we see Mirin's mother bringing him to St. Congal. In the next St. Congal putting the religious habit on Mirin. In the next Mirin taking oversight of the monastery of Banchor. There is after this a blank, and then we have certain sculptures relating to Mirin's encounter with the Irish king, who wears a crown on his head. In the first we have the servant of the King driving Mirin away from the door of the palace. In the next the King roaring with pain and held by his servants. In the next the Queen lying in bed with a picture of the Virgin on the wall, it being the custom to hang such before women during confinement. Then we have the King on his knees before Mirin, and afterwards Mirin received by him with joy. The next two sculptures represent the last two acts of the Saint—the brother looking through the keyhole and seeing Mirin illuminated by a celestial light, and the Saint restoring to life the dead man in the Valley of Colpdasch.... As they are evidently earlier than the date of the erection of the chapel, they have probably been transferred with the relics of the Saint from an older shrine. They look like twelfth-century work, but it is possible they may be even earlier."[399] The ceiling of the chapel is beautifully groined, and the east end, where the altar stood, is raised four steps above the western part. The west wall contains an outer doorway from the cloister court, and there is a traceried window above it. A large ambry adjoins the door in the outer wall. The chapel was connected with the south transept by two wide archways, now built up, and near the east end is a piscina, with three-sided head, like that in the choir.

There is a dormitory above the chapel, arched by stone, and the entrance is by a doorway in the middle of the south side of the arch. The apartment is lighted by two windows—one in the east gable, and the other in the west. In the west gable there is a private stair leading from the dormitory to the chapel, and the priest, who was bound by the charter to live at the chapel, doubtless occupied the sleeping-place above it.[400] The chapel at the Reformation was converted into a family burying-place by Claud Hamilton, the commendator, and various members of the Abercorn family lie buried in the vault below, the chapel belonging to the present Duke, and being under his control.

On the floor of this chapel there now stands an ornamental altar tomb, which was found lying in fragments near the Abbey by the Rev. Dr. Boog, one of the Abbey ministers, and who in 1817 had it brought within the chapel and erected again. It supports a recumbent figure, believed to be the effigy of Marjory Bruce, the daughter of Robert I. and the mother of Robert II. "The head of the figure is surmounted by a large cusped canopy, placed in a horizontal position, on the end of which is carved a crucifixion. The pedestal is carved with a series of Gothic compartments, in each of which there is carved a shield, enriched with heraldic blazons and figures of ecclesiastics. The panels at the west end contain—the first the fess chequé of the Stewarts between three roses; the third the fess chequé, surmounted of a lion rampant, and the central one, two keys saltierwise, between two crosiers in pale."[401] The chapel is famed for an echo, described by Pennant in his Tour Through Scotland,[402] but Dr. Lees regards the description of the far-famed traveller as either much exaggerated, or the strength of the echo has become diminished since his time. "When any number of persons are within the building, an echo is scarcely audible at all. It is amusing sometimes to see a group of people expending the strength of their lungs in vain by attempting to evoke it."[403]

Crosses seem to have been placed at intervals on the roads leading to the church. One of the south piers of the nave is called the Cathcart pillar, and has carved upon it a shield bearing the Cathcart arms. This is believed to be a memorial of Sir Allan Cathcart, who has thus been described by Barbour:—

A knycht, that their wis in hys rout,
Worthy and wycht, stalwart and stout,
Curtaiss and fayr, and off gud fame,
Schyr Allane of Catkert by name.

King Robert the Bruce died in 1329, and Sir Allan of Cathcart and Sir James of Douglass sailed in 1330 for the Holy Land with the King's heart. Sir James was killed in Spain in conflict with the Moors, and Sir Allan came back with the heart of the King, which was buried in Melrose Abbey. The pillar commemorates his safe return.

On the west buttress of the north transept, at 21 feet in height, is the shield of the Stewarts, with a pastoral staff, and the word "Stewart."

The first central tower erected over the crossing seems to have been of inferior workmanship and to have given way. Another is believed to have been erected by Abbot Tervas, which probably fell during the siege by Lennox and Glencairn, and may have destroyed much of the choir and transept in its fall. Western towers appear to have been contemplated.

"We are only able," says Dr. Cameron Lees, "to conjecture what was the position of the conventual buildings. But after comparing the plan of Wenlock, from which the monks originally came, with that of Crosraguel, which they afterwards erected, we think it is probable that the chapter-house, with Saint Mirin's Chapel, occupied the east side of the cloister court, the refectory the south side, and the dormitory the west. The Abbot's house probably stood at the south end of what is called Cotton Street. There were buildings also between the Abbey and the river Cart attached to the monastery, portions of the foundations of which are occasionally uncovered."[404] "The shape of the cloister court has been partially retained. The conventual buildings were almost all converted after the Reformation into dwelling-houses, and though fragments of the old houses, such as an occasional pillar or arch, are to be found, there is little to remind one of dormitory, parlour, or refectory."[405]

The nave is still used as the parish church. About 1782 it was in a dreadful condition. The roof was full of holes, through which the birds obtained free access, "distracting the attention of the worshippers in time of sermon." They built their nests and reared their young under the arches of the clerestory. A few of the gentry had "lofts" or galleries, but the bulk of the worshippers brought their seats to church with them, while the poorest sat upon stones on the earthen floor.[406] Things had become so bad that the heritors thought of pulling down the abbey, and building a "commodious kirk" with the stones.[407] This insane proposal was averted from execution by the energy and wisdom of the Rev. Dr. Boog, minister of the First Charge in 1782, and to him the country owes the credit of preserving all that now remains. "He received much assistance from the Dowager Countess of Glasgow, who resided at Hawkhead, and through their joint exertions the Abbey was not only saved from destruction, but was repaired in a way which, considering the ignorance of that time on the subject of restoration, was highly creditable."[408] Dr. Lees describes the condition of the building at his induction in 1859 as dreadful: "The interior was like a vault in a churchyard."[409] But thanks to the exertions of the Rev. Mr. Wilson and Dr. Lees himself, several thousand pounds were collected and spent in remedying this state of affairs. The church was made seemly as a venerable temple for prayer ought to be. "The unsightly galleries were taken down, the floor cleared of the accumulated rubbish of centuries, the body of the church re-seated, the clerestory windows opened up, the transept walls and windows restored, and the turrets rebuilt. Men of all creeds contributed to the work, and when the Abbey, on the 27th April 1862, was re-opened for public worship, it could scarcely be recognised, so changed was it from its former condition."[410] In closing his splendid volume Dr. Lees adds, "We trust the time is not far distant when the Abbey of the first Stewart will stand forth again in all its pristine beauty—with transept, and choir, and tower, as in the days of the founder." That hope will soon pass into a reality, and Scotland will have a completely restored abbey church used as a parish church.

Kelso Abbey (Roxburghshire).—In 1113 David, Earl of Huntingdon, and heir-presumptive to the Scottish throne, introduced a colony of thirteen Reformed Benedictine monks from the newly founded abbey of Tiron in Picardy, and planted it near his forest castle of Selkirk. He endowed it with large possessions in Scotland, and a valuable territory in his southern earldom of Huntingdon, but the French monks were dissatisfied with their position on the banks of the Ettrick, and on David's accession to the throne of his brother he removed them from Selkirk—"a place unsuitable for an abbey"—and established the monastery "at the Church of the Blessed Virgin on the bank of the Tweed, beside Roxburgh, in the place called Calkow."[411] The abbey was dedicated to the Virgin and St. John the Baptist. Its first abbot was Ralph, one of the French monks, and the Scotch chronicles state that he succeeded St. Bernard, the reformer of the order, in his abbacy at Tiron, on his death in 1116, but Dr. Cosmo Innes thinks this can scarcely be reconciled with the succession of abbots as given by the French writers.[412] The monastery soon became the richest and most powerful in Scotland, and in 1165 the Pope granted permission to the abbot to wear the mitre, and the abbot claimed precedence of all the superiors of monasteries in Scotland. In 1420 this precedence was decided by James I. in favour of the prior of St. Andrews.[413] Many of the abbots were distinguished men, who were employed in the affairs of the kingdom, and several were promoted to bishoprics.[414] Foremost in rank and power, the monks of Kelso also vindicated their place by the practice of the monastic virtues, and a copy of Wyntoun's Chronicle is supposed to have been written at Kelso.[415] They seem to have recalled the saying, claustrum sine lîteratura vivi hominis est sepultura ("the cloister without literature is the grave of a living man"), and Dr. Cosmo Innes remarks

"That the arts were cultivated within the Abbey walls we may conclude without much extrinsic evidence. The beautiful and somewhat singular architecture of the ruined church itself still gives proof of taste and skill and some science in the builders, at a period which the confidence of modern times has proclaimed dark and degraded; and if we could call up to the fancy the magnificent Abbey and its interior decorations, to correspond with what remains of that ruined pile, we should find works of art that might well exercise the talents of high masters. The erection of such a structure often extended over several hundred years. Kelso bears mark of having been a full century in building; and during all that time at least, perhaps for long afterwards, the carver of wood, the sculptor in stone and marble, the tile-maker and the lead and iron-worker, the painter, whether of scripture stories or of heraldic blazonings, the designer and the worker in stained glass for those gorgeous windows which we now vainly try to imitate—must each have been in requisition, and each, in the exercise of his art, contributed to raise the taste and cultivate the minds of the inmates of the cloister. Of many of these works the monks themselves were the artists and artisans, and it would be a grievous mistake to suppose that the effect was merely that of living and working in an artist's shop. The interest and honour of the convent, the honest rivalry with neighbouring houses and other orders; above all, the zeal for religion which was honoured by their efforts, the strong desire to render its rites magnificent, and to set forth in a worthy manner the worship of the Deity—all these gave to the works of the old monks a principle and a feeling above what modern art must ever hope to reach."[416]

Situated as it was near the Border, the abbey suffered severely during the War of Independence. The monastery was laid waste and the monks were supported by contributions from the other houses of their own order. In 1344 the abbey buildings were destroyed by fire, and David II. granted permission to the monks to cut wood in Selkirk and Jedwart Forest to enable them to carry out the necessary repairs.

In 1511 the Bishop of Caithness was appointed commendator, and decline of the abbey soon followed. After the battle of Flodden in 1513, David Ker of Cessford took possession of the abbey, and his brother was appointed abbot. In 1522 and 1523 invasion and havoc spread over Teviotdale; Lords Ross and Dacre pillaged the town, sparing the abbey; but in 1523 Lord Dacre sacked and burned it. The abbot's house and buildings surrounding it, the chapel of the Virgin, and the cells of the dormitory were all reduced to ashes; the lead was stripped from the roof, and the abbey rendered uninhabitable. All religious services were stopped, and the monks had to retire in want and poverty to a village near. From 1536 to 1538 James Stewart, natural son of James V., was abbot, and drew the revenues. In 1542 the Duke of Norfolk, and in 1545 the Earl of Hertford, again attacked and further destroyed the abbey. On the latter occasion the garrison of the abbey—numbering 100, of whom 12 were monks—refused the summons of the Herald to surrender, and succeeded in repulsing the Spanish mercenaries, who were the first to attack the building. It was then bombarded and the monastery captured; but the garrison still held out in the strong square tower of the church, whence some of them, though strictly watched, escaped by means of ropes during the night. The next day the assault was resumed, the tower carried, and the defenders were put to the sword. The buildings were then sacked and destroyed, the order being given to "breik them" and "thake of the leied, and outer myen the towres and strong places, and to owaier trowe all." By the following Sunday this had been strictly carried out; the abbey was razed, and "all put to royen, howsses, and towres, and stypeles." The removal of the lead to Wark alone occupied the carts of the army for several days. After this the abbeys of Melrose, Dryburgh, and Jedburgh shared in the fate of Kelso,[417] but, unlike it, they did not resist. Kelso Abbey was still further reduced by Lord Eure in 1546; and finally in 1560, when a few monks still remained, the buildings were attacked by the mob, and all the remaining fittings and furnishings destroyed. In 1559 the revenues and property of the abbey were taken possession of by the Lords of the Congregation in the name of the Crown. The temporalities were afterwards distributed amongst the favourites of James VI., and were finally conferred on Sir Robert Ker of Cessford, who was created Lord Roxburgh in 1599. The abbey still belongs to his successor, the Duke of Roxburgh, and the remains of the late duke are buried in the south transept.[418] In 1649 a vault was thrown over the transept so as to convert it into a parish church, and above this another vault served as a prison! This is seen in Grose's view, made about a century ago.

"During service on a Sunday in 1771 a panic was caused by the fall of a fragment of cement, and the church was thereafter abandoned. The ruins were partly disencumbered by the Duke of Roxburgh, 1805-16, and in 1823 the buildings were repaired by the noblemen and gentlemen of the county."[419]

Referring to the modern town, Dr. Cosmo Innes says:—

"Reposing on the sunny bank of its own beautiful river, the modern town of Kelso looks a fitting rural capital for 'pleasant Teviotdale.' It has little of the air of an old monastic burgh, and still less calls up any recollection of the heaps of ruins that impeded the plans of the English engineers. There is not much knowledge or tradition of its former state, and but few memorials of its old inhabitants. Last year (1845) a worthy burgher, who had dug up in his garden under the abbey walls what seemed to him a rare coin of a Scotch king, was scarcely well pleased to learn that it was a leaden bulla of Pope Alexander III., bronzed with the oxidising of seven centuries.

In the midst of the modern town the abbey church stands alone, like some antique Titan predominating over the dwarfs of a later world."[420]

Considering all the dangers and neglect of the centuries, it is astonishing that so many of the ruins still exist.

The building has consisted of choir or chancel of considerable length, with north and south aisles, and of a transept and nave without aisles. The north and south divisions of the transept and nave form three arms of equal length round the three sides of the crossing, above which rises the massive square tower.[421] The church was originally constructed in the late Norman style of about the end of the twelfth century, passing into the transition style—the upper part of the tower having been rebuilt at a later period.[422] Of the chancel only a fragment remains—two of the south main piers with arches and two stories of arcades above, which represent the triforium and clerestory. The chancel only had aisles.

The main piers consist of a circular column, five feet in diameter, with smaller attached half-columns on three sides to carry the moulded arches between the main piers and the arches between the latter and the aisles.[423] "The piers have caps of the usual Norman modified cushion pattern, and the arches were moulded and arranged in several orders. The arcade immediately over the main arches has a row of single round shafts, with spreading Norman caps, which carry a series of moulded arches, occupying the position of the triforium. The upper arcade, which takes the place of the clerestory, has shafts of triple form, with wide spreading bases and caps of Norman and transition design. On the latter rest the round boldly-moulded arches. The arches opposite the windows in the outer wall are slightly larger than the others. It will be observed that there is no main vaulting shaft carried up over the main piers, as is almost invariably the case, for the purpose of strengthening the wall. On the contrary, the triforium arcade is continuous, and no provision is made to support the side wall, except the single shafts of the running arcade, which have a very weak effect. In the usual arrangement, the triforium arches are separated by a substantial piece of wall, including a vaulting shaft, and the triforium arch, which is generally subdivided into several subordinate arches, is introduced between the vaulting shafts. That is a much more substantial form of construction, and also more satisfactory to the eye, than the plan adopted here of a simple continuous arcade." In the exterior of this portion of the choir the outside of the clerestory windows is visible, being simple round-headed openings, with flat buttresses between them. The remainder of the wall is plain, but, judging from the level of the triforium window, the vaulting of the aisle, which was very high and partly covered the windows, seems to have been added at a later date. The crossing is square; the piers are about nine feet square—that at the south-east angle standing detached in consequence of the opening into the south aisle, while those at the north-west and south-west angles are incorporated with the walls. The piers are designed as a series of shafts, set in square nooks (four on each of the complete sides), with a large semicircular shaft at each angle. The shafts are all built in courses with the piers, and have transition bases and caps. From the latter spring large pointed arches, with plain chamfered orders. The pointed arch indicates the transitional character of this part of the building, and was probably introduced in this position to give strength to sustain the tower. The three arms of the cross branching to the north, south, and west from the crossing are of equal size—an unusual arrangement, as the nave is generally the longest division of the church. This was part of the original design, as the western doorway is one of the most prominently Norman portions of the edifice, and no satisfactory explanation has yet been given of the shortness of the Kelso nave. The upper portion of the west front has been in the transitional style, and the Norman arcading, which runs round the interior of the nave, was continued across the west end.

The nave, north and south transepts, contain each four stories in height, consisting of an interlacing arcade of Norman work in the interior of the ground level, and three stories of windows above. The upper arcades of the choir do not extend round the nave and transepts, except in a portion of the south transept. The windows in the different stories have all round arches, both inside and outside, and the exterior is marked at each angle by broad and shallow Norman buttresses, with nook shafts in the angles, and an interlacing arcade round the lower story, both internally and externally. In the façades of the west end and north transept the windows of the different stories have been grouped so as to form distinct designs. "In the west end, over the great west doorway, there has been an arrangement of tall windows of apparently lancet form, having on either side an interlacing arcade of round arches, supported on tall, bended shafts. This is now, unfortunately, greatly destroyed. Above the arcade there runs a horizontal flat cornice, enriched with several rows of carved ornaments, and this was surmounted by a large opening of quatrefoil shape, surrounded with numerous mouldings and enrichments. The angle buttresses have been crowned with octagonal turrets."[424]

The north wall of the north transept has a fine transitional door-piece, occupying the two lower stories. The next two stories have each two windows, separated by a small buttress, and the upper story has three arches in the interior. "Above these stories is a small circular window with a curious saving arch over it, and the whole is crowned with a top story, containing three round-headed openings, and a gable with a small circular aperture. The buttresses at the angles are crowned with circular turrets, which have been finished with a projecting parapet, the corbels for carrying which still survive. The upper part of the gable shows signs of having been altered."[425]

The west doorway and the north door-piece are interesting; the former, the south half of which has perished, and which was finished with a sloping gable and stone roof, is regarded as a rich specimen of the elaborate carved work that characterised the late Norman period. "The jambs contained five detached shafts set in nooks, and having Norman bases and carved caps. Over each of these shafts there springs a circular order, carved with rich Norman ornament, now, however, very much decayed. The jambs of the doorway also formed moulded shafts, supporting their order in the arch."[426] The door-piece of the north transept wall is a prominent feature, projects 4 feet 6 inches from the main wall, has two stories, and is roofed with a sloping stone roof. The shafts have the usual Norman caps and bases, and the mouldings of the arch are pronounced to be peculiar in their profile. The outer one is enriched with small medallions, the central with the billet, and the inner one with rosettes. Above the archway there is an arcade of interlacing round shafts—the shafts, which were destroyed, having Norman caps. "The tympanum of the gable is covered with a reticulation of round beads or rolls."[427] The south and west sides and a small portion of the north and east sides of the tower remain. It is 35 feet square over the walls, and "is carried up with plain masonry externally, but the interior has immediately over the great arches of the crossing an arcade of round moulded arches, supported on triple shafts similar to those of the choir. Above this arcade is another story containing simple round arched openings, which are lighted on the exterior by circular windows containing quatrefoils. Over this tier is the upper story, which contains three pointed and deeply-recessed windows on each side of the tower. Broad, flat buttresses are placed at each angle of the tower, similar to those of the main building, and these were, no doubt, originally finished with turrets like those of the transepts.... The upper part of the tower is later than the lower part. This is apparent from the pointed windows of the top story and the quatrefoiled circular windows of the story beneath. The lower story immediately over the great arches is, without doubt, of about the same date as the choir."[428] There were probably similar staircases in other parts of the structure now removed, but the approach to the upper floors is now by one staircase in the N.W. angle of the transept. Passages between the arcades and the outer walls went round the building on every floor, and in the angles of the tower there are small wheel stairs leading to every floor, and passages running round the tower on every story. These arcades and passages have tended to weaken the structure, and it has been found necessary to strengthen it with numerous iron tie-rods, iron beams, etc.[429]

There was an outer door in the S.W. angle of the transept, and another in the north wall of the nave adjoining the crossing. A tomb recess is in the south transept wall, and in the recess beneath are two ambries or lockers and a piscina, the only one remaining in the building. To the south of the transept there is a vaulted chamber that may have been the sacristy.[430]

Arbroath Abbey (Forfarshire).—This abbey was founded in 1178 by William the Lion, and dedicated to S.S. Mary and Thomas à Becket. Becket had been martyred at the high altar of Canterbury Cathedral only seven years before, and William the Lion had recently suffered defeat and capture by the English at Alnwick. William had been personally acquainted with Becket, and is supposed to have regarded him as a private friend.

"Was this the cause," asks Dr. Cosmo Innes, "or was it the natural propensity to extol him who, living and dead, had humbled the crown of England, that led William to take St. Thomas as his patron saint, and to entreat his intercession when he was in greatest trouble? Or may we consider the dedication of his new abbey, and his invocation of the martyr of Canterbury, as nothing more than the signs of the rapid spreading of the veneration for the new saint of the high church party, from which his old opponent himself, Henry of England, was not exempt?"

As showing the eagerness with which King William pushed on the buildings, Hollinshed mentions that

"The King came by the Abbey of Aberbrothoc to view the work of that house, how it went forward, commanding them that were overseers and masters of the works to spare for no cost, but to bring it up to perfection, and that with magnificence."[431]

The abbey received great endowments from King William and from many subsequent princes and barons; acquired in 1204 a charter of privileges from King John of England and was one of the foremost and richest in Scotland. Its monks were Tyronenses, and the first were brought from Kelso Abbey.

"By the year 1178 part of the church was ready for dedication. William the Lion died in 1214, and was buried in the east end of the edifice, which was then finished. Shortly afterwards the south transept was sufficiently well advanced to admit of the burial within it, before the altar of St. Catherine, of Gilchrist, Earl of Angus. On the 18th of March 1233, during the time of Abbot Ralph de Lamley, the church was dedicated. The time occupied in the erection and completion of the structure was thus a little over fifty-five years, and when its dimensions are considered, it will be found in comparison with other churches to have been carried on with great rapidity."[432]

The abbots had several special privileges; they were exempted from assisting at the yearly synods; they had the custody of the Brecbennach, or consecrated banner of St. Columba; they acquired from Pope Benedict, by Bull, dated at Avignon, the right to wear a mitre, and were in some instances the foremost churchmen of the Kingdom. The abbey was toll-free, i.e. protected against the local impositions which of old beset all merchandise.

"But," says Dr. Cosmo Innes, "the privilege the abbot most valued (and intrinsically the most valuable) was the tenure of all his lands, 'in free regality,' i.e. with sovereign power over his people, and the unlimited emoluments of criminal jurisdiction.... Even after the Reformation had passed over abbot and monk, the lord of regality had still the same power, and the Commendator of Arbroath was able to rescue from the King's Justiciar and to 'repledge' into his own court four men accused of the slaughter of William Sibbald of Cair—as dwelling within his bounds (quasi infra bondas ejusdem commorantes). The officer who administered this formidable jurisdiction was the Bailie of the Regality, or 'Justiciar Chamberlain and Bailie'—the Bailiary had become virtually hereditary in the family of Airlie.[433] ... The mair and the coroner of the abbey were the executors of the law within the bounds of the regality, and the best thought it no degradation to hold their lands as vassals of the great abbey."[434]

The monks made a harbour and fixed a bell on the Inchcape Rock as a warning to sailors; the abbey was burnt in 1272 and 1380.

Referring to its chartulary as a record of the names of the old Scottish families Dr. Cosmo Innes says:—

"Many of our ancient families went down in the War of Independence, and few of our present aristocracy trace back beyond the revolution of families and property which took place under Bruce. The Earls of Angus, Fife, and Strathearn are little more than mythological personages to the modern genealogist.... It is the common case all over Scotland."[435]

In connection with the monks he has the following interesting note:—

"It is to be remarked that in Scotland, as in other countries, while the secular or parochial clergy were often the younger sons of good families, the convents of monk and friars were recruited wholly from the lower classes; and yet—not to speak of the daily bread, the freedom from daily care, all the vulgar temptations of such a life in hard times—the career of a monk opened no mean path to the ambitious spirit. The offices of the monastery alone might well seem prizes to be contended for by the son of the peasant or burgess, and the highest of these placed its holder on a level with the greatest of the nobility."[436]

The last abbot was Cardinal Beaton, at the same time Archbishop of St. Andrews. The abbey suffered after the Reformation from the revenues having become the property of the Hamiltons, and as they were appropriated to the private use of that family, there were no funds to keep up the buildings, which fell gradually into decay, and were freely used by the magistrates and townspeople as a quarry. The property was converted into a temporal lordship in favour of Lord Claude Hamilton, third son of the Duke of Chatelherault.

In sketching the history of this famous abbey, the "Aberbrothock Manifesto" of 1320 must be recalled, in which it becomes manifest that the Scottish Church was never a complaisant vassal of Rome.[437] There breathes in it a spirit of freedom and natural independence, and a refusal to accept the interference of Rome in the affairs of the State. The Scottish nobles protest against the papal countenance given to the English aggressions, and distinctly tell Pope John XXII. that "not for glory, riches, or honour we fight, but for liberty alone, which no good man loses but with his life."[438]

The abbey church consisted of a choir of three bays, with side aisles and an aisleless presbytery; a nave of nine bays, with aisles and north and south transepts with eastern aisles; two western towers and one large central tower. Considerable portions of these divisions still remain, but the greater part of the north side of the choir, the north transept and nave, and almost all the piers and pillars have been swept away. Beginning at the east end, the eastern wall is entire for nearly half its height, having an arcade below and three lancet windows above, with the lower portions of an upper row of similar windows. Somewhat less of the return wall of the south side of the presbytery, comprising two bays, remains, and adjoining it is the sacristy, a late building fairly well preserved. The end wall of the south transept is almost complete, along with a considerable portion of the west wall of the transept, which gives a good idea of the grandeur of the church. The whole of the nave south wall remains, showing a row of windows and indications of the groining of the aisle. The central aisle was not vaulted, but covered with a wooden roof. Most of the bases of the nave pillars are in position, as are also the foundations of the north transept. The west end fragment and the two towers left standing, are striking and impressive in their vigorous work.[439] Bold, vigorous work, with refinement of detail, is seen in the western doorway. It is round arched, and its outer order, if it may be so called, extends inwards for about five feet, unadorned as a bold and plain tunnel arch, having a pointed arch in each ingoing. It then becomes shafted and richly moulded, after the transition manner. This arrangement, while it gives a fine shadow under the arch, has a feeling of rudeness, which, to a considerable extent, characterises the whole west front. "There is a remarkable resemblance in the decoration of this doorway to that of the doorway in the porch of Lerida Cathedral, Spain, supposing the tunnel arch of Arbroath away, and the moulded part brought forward to the face of the wall, as is the case at Lerida.... A similar ring ornament, on a large scale, is also to be seen in a doorway at Lamington, Lanarkshire, where it is likewise used along with the zig-zag, but there the ringed order is the outer enrichment."[440]

The removal of the outer part of a gallery, which existed over this doorway, has increased the rude appearance of the west front, but the inner part of this gallery still remains. Within the great thickness of the wall a chamber of considerable size was obtained, and it opens into the nave by six pointed arches, and to the outside over the doorway by three arches. It is regarded as obvious that three gablets projected outwards from the wall for a distance of about four feet, supported on two intermediate shafts, and that the gallery was closed in at each end with walls or haffits, both of which still remain in part. We now see the west front robbed of its most unique features; the gallery was reached by a long passage at each end from stairs in the angle-buttresses. It probably was a gallery for an orchestra, and may have also been used as a pulpit to address an open-air audience.[441]

Above this gallery was an immense circular window, a portion of which still survives. "It is probable that this part of the building was erected at two different times, the west doorway and some of the pillars of the gallery being in the early transition style, while the triple windows to the front and the six-light arcade towards the interior are in the first pointed style. When the gallery was completed in the first pointed period, the floor space was enlarged by extending it to the front, hence the necessity for the deep tunnel arch over the west doorway. The pointed arches in the ingoing also indicate this first pointed period."[442]

The western towers opened with arches into the north, south, and central aisles, but only the north tower retains its massive pier and arches, while of the south tower nothing but the foundation of the pier exists. The south wall of the transept is externally plain, the upper part being visible above the dormitory roof. The façade has two plain lancet windows, one shorter than the other, and above them is a large wheel window. The interior of the transept is a very grand design in the early pointed style.[443] Beneath the splayed lancets there is a round arched open arcade, with a passage behind it, and beneath this, two tiers of wall arcades with pointed arches, the central arcade being very acutely pointed, the lower one not so decidedly, and with trefoil cusps in the arches. A staircase in the S.E. angle of the transept gave access to the dormitory by the door, seen built up on the outside.[444] This staircase also leads to the various passages in the thickness of the walls, and the church doorway leading to this stair is round arched and ranges with the lower pointed arcade. The lower arcade of the south end is continued along the west wall, and above this rise two widely-splayed windows. All the lofty south transept windows have passages on two floors, and the transepts had chapels on the east side. "The respond of the great arcade against the south wall is beautiful in detail. Above this there exist fragments of the responds of the triforium story and the clerestory. All the above features of this part of the abbey point plainly to its having some lingering remains of transition style, retaining, as it does, some round arches along with the general features of the design."[445]

The vestry or sacristy was built by Abbot Walter Painter between 1411 and 1433, and is a two-storied building, the ground floor having a groined ceiling, still entire, and the upper room being roofless. Its features are of fifteenth-century work, and the building is in good preservation.

Only fragments of the conventual buildings remain. "An octagonal turret marks the south-east corner of the chapter-house with the south and east return walls, and adjoining the south transept is the slype, the walls of which determine the other walls of the chapter-house. On the wall of the south transept is clearly seen the mark of the dormitory roof, with the door between the church and dormitory now built up."[446] The north wall and a portion of the west wall proceeding southward from it are all that remain of the extensive enclosure of the abbey. The enclosure was said to have been of great height and to have extended 1150 feet on the east and west, 760 feet on the north, and 480 feet on the south. There were great towers at the angles and entrance gateways on the north and at the south-east angle. In the centre of the north wall is the portcullis entrance gatehouse. The front wall is almost entire, and the upper floor window is crossed by the corbels which carried the movable wooden hoarding that was erected over the gateway when required for its defence.[447] At the western extremity of the north enclosing wall there is a large square tower, three stories in height in the inside, and four stories on the outside, owing to the fall of the ground. The two lower floors are round-vaulted, and the cape-house on top is said to have been removed during this century.[448] The building adjoining the tower to the east was called the Regality Court-house, and had a groined ceiling. The abbot's house is on the south side of the cloister, and is the best preserved abbot's house in Scotland. It is three stories high, and the two upper floors have been converted into a modern private dwelling-house. It has been altered externally and spoiled of its ancient internal fittings, with the exception of two fine carved panels, one representing the Virgin, and the other a large Scotch thistle. The kitchen has central pillars supporting a groined roof,[449] and the other offices connected with the kitchen are all vaulted. The abbey suffered from fire in 1272 and in 1380, while in 1350 it was injured "from the frequent assaults of the English ships."[450] Service was up to 1590 conducted in the lady chapel "stripped of its altars and images."

Melrose Abbey (Roxburghshire).—The editor of the Liber de Melros has said in reference to this abbey:—

"The incidental mention of the condition of the abbey itself at different times strongly illustrates the history of the district and the age. At one time powerful and prosperous, accumulating property, procuring privileges, commanding the support of the most powerful, and proudly contending against the slightest encroachment; at another, impoverished and ruined by continual wars, obliged to seek protection from the foreign invader: in either situation it reflects back faithfully the political condition of the country.

But the political events of a country of so narrow bounds and small resources as Scotland are insignificant unless they are associated with the development of principles and feelings that know no limits of place or power. How rich Scotland has been in such associations is testified by the general sympathy which attends her history and her literature, and gives a pride to her children that forms not the weakest safeguard of their virtue. It is in recalling freshly the memory of times in which the proud and virtuous character of her people was formed, and which it is their delight and their duty to look back upon, that such studies as the present are most useful. Every local association, every faint illustration of antiquity, each indication of the bygone manners of a simple age, are in this view to be treasured, not only as filling a page of a meagre history, but as so many moral ties to bind us closer in affection to the country of our fathers."[451]

This abbey has a charming site in the hill-girt hollow known as the vale of Melrose, occupying one of those peaceful situations near a river which the Cistercians delighted to choose and colonise. An ancient monastery of Melrose had existed since the seventh century, on a broad meadow nearly surrounded by a "loop" of the Tweed, about 2½ miles lower down the river. It was established about 650 by St. Aidan, the missionary from Iona, who preached in Northumbria, and founded the abbey of Lindisfarne. Eata was the first abbot we hear of, and he was a disciple of St. Aidan. St. Cuthbert spent much of his early life at this monastery of old Melrose, and afterwards chose as the scene of his labours Hexham and Lindisfarne. The monks of Lindisfarne, when expelled by the Danes, took refuge at Melrose, and brought with them St. Cuthbert's body, which afterwards found its resting-place at Durham. In the eleventh century this old monastery of Melrose had become a ruined and desolate place. It afterwards became the retreat of a few monks, amongst whom was the celebrated Turgot, the confessor of Queen Margaret. A chapel was erected and dedicated to St. Cuthbert, which at first belonged to Coldingham, but was gifted finally by David I. to the new abbey of Melrose.

This abbey was founded in 1136 at a place then called Fordell, and was endowed by David I. and his nobles with extensive lands. The monks were of the Cistercian order, and were brought from Rievalle in Yorkshire. The original buildings were not finished till 1146, and on the 28th of July in that year the church was solemnly consecrated and dedicated to the Virgin Mary. It is thought that such buildings with an oratory were probably the residence of the monks, and their period would suggest the Norman style, like that of the abbeys of Kelso, Jedburgh, and Dryburgh. Every trace of these early buildings has disappeared, and, situated as it was on the border-country, Melrose Abbey was exposed to danger, and frequently suffered in the wars between the two countries. It was in the chapter-house at Melrose that the Yorkshire barons united against King John and swore fealty to Alexander II. in 1215. In 1295 Edward I. gave formal protection to its monks, and in 1296 he issued a writ ordering a restitution to them of all the property they had lost in the preceding struggle. In 1321 or 1322 the original structure was destroyed by the English under Edward II., and the abbot, with a number of the monks, was killed. In 1326 Robert I. gave a grant of £2000 to be applied to the rebuilding of the church, and in 1329, a few months before his death, he wrote a letter to his son David, requesting that his heart should be buried at Melrose and commending the monastery and the church to his successor's favour. His wish was granted, and so late as 1369 we hear of King David II. renewing his father's gift, and it is to this grant we owe a considerable part of the present building. In 1328 Edward III. ordered the restoration to the abbey of pensions and lands which it had held in England, and which had been seized by Edward II. In 1334 the same king granted a protection to Melrose in common with the other Border abbeys, and in 1341 he came to Melrose to spend Christmas. In 1385 Richard II., exasperated by his fruitless expedition into Scotland, spent a night in the abbey and caused it to be burned. Notwithstanding these disasters, the abbey increased in wealth and architectural splendour, and it was not till more severe damage and dilapidations befell it during the reigns of Henry VIII., Edward VI. and Elizabeth, that ruin began finally to impend. The approach of the Reformation influenced its downfall, and though donations for rebuilding were given by various individuals, the abbey never recovered the damage then suffered. In 1541 James V. obtained from the Pope the abbeys of Melrose and Kelso, to be held in commendam by his illegitimate son James, who died in 1558. In 1560 all the "abbacie" was annexed to the Crown, and in 1566 Mary granted the lands to James, Earl of Bothwell, with the title of Commendator. After passing through the hands of Douglas of Lochleven and Sir John Ramsay, the estates were ultimately acquired by the Scotts of Buccleuch. The abbey gradually fell into decay through neglect. The materials were used for the erection of other structures, and Douglas built from the ruins a house which still stands to the north of the cloisters and bears the date 1590. The masonry also formed a quarry for the neighbourhood, and in 1618 the remaining portion of the structure was fitted up as the parish church, "and in order to render it secure, a plain pointed barrel vault was thrown across the nave, and was supported by plain square piers built against the old piers on the north side. The original vaulting seems to have been previously demolished."[452] A great number of the stone images of saints which filled the numerous wall niches were left untouched till 1649, when they were almost all cast down and destroyed, but by whose order is unknown. Of the abbey there now only remain the ruins of the church, and of it the most competent authorities say:—

"No building in Scotland affords such an extensive and almost inexhaustible field for minute investigation and enjoyment of detail such as this. Whether we consider the great variety of the beautifully sculptured figures of monks and angels playing on musical instruments, or displaying 'the scrolls which teach us to live and die,' or turn to the elaborate canopies and beautiful pinnacles of the buttresses, or examine the rich variety of foliage and other sculptures on the capitals of the nave and the doorway and arches of the cloisters; or if, again, we take a more general view of the different parts of the edifice from the numerous fine standpoints from which it can be so advantageously contemplated, we know of no Scottish building which surpasses Melrose either in the picturesqueness of its general aspect or in the profusion or value of its details. It occupies an important position also historically, and it in part supplies an admirable example of that decorated architecture, the existence of which in this country has been so often denied, but of which, we trust, a sufficient number of examples are now provided to render that reproach to Scottish architecture no longer justifiable. We have to thank the fine red sandstone of the district, of which the church is built, for the perfect preservation of all the details of the structure. These remain, even in the minutest carving, as perfect and complete as the day they were executed."[453]

The cloister and domestic buildings, including the hall of Abbot Matthew, were situated on the north side of the church. They have now entirely disappeared, leaving only a portion of the cloister which indicates their position. The church is cruciform, and the choir is unusually short and the nave unusually long. The aisled choir extends only two bays eastwards from the crossing, beyond which point the presbytery is carried one bay farther, without aisles, and is lighted by large north and south windows as well as by the great eastern window.

The shortness of the choir rendered it necessary that part of the nave should be appropriated for the monks, and the enclosing screen wall of this portion of the "choir" extended to the fourth pier west from the crossing, where it was carried across the nave and formed the rood screen. The screen was wide and contained a gallery, on the top of which stood the rood.[454] The nave extends to eight bays, but it has been intended to be longer—the west end being incomplete. Extending southwards, beyond the south aisle, is a series of eight chapels, which produced externally, along with the south aisle, the appearance of a double aisle.[455] The north aisle is narrower than the south aisle, and the position of the cloister may have hampered the design.

This difference may have arisen from the plan of the original abbey of the twelfth century being adhered to in the later construction.[456]

The transepts contain the usual eastern aisle only, in which are situated four chapels.

The superstructure of the church has severely suffered and the western part is greatly demolished. The portion eastwards from the rood screen is in better preservation. The vaulting of the aisles is well-preserved, but that of the centre aisle is demolished—a pointed tunnel vault having been constructed in 1618. The eight chapels are well preserved, but some parts of the three furthest west ones are damaged and have lost their vaulting. The tracery in the chapel windows is lovely; the vaulting of the nave, south aisle and chapels, is supported by a series of flying buttresses, "which form one of the most prominent and beautiful elements of the building. No church in Scotland retains such a striking example of that important feature of Gothic architecture."[457]

The eastern piers of the crossing were demolished probably in Henry VIII.'s time, and their destruction entailed that of the central tower, of which the western wall only remains. The transepts have suffered by the fall of the tower, but fortunately the south wall of the transept with its finely decorated window is still preserved. From the south transept access is obtained to the roof of the nave aisle and to the uppermost parts of the structure by a turnpike stair, which also forms the only mode of approach to the tower.[458] "The choir, so far as the east is concerned, is well preserved, the buttresses and gable, the celebrated eastern window, and the remarkable vaulting of the presbytery being all in good order. The remainder of the choir, however, has been greatly wrecked by the fall of the central tower; but many of the windows of the choir and transept with their perpendicular tracery have escaped destruction, and afford the best example in Scotland of that form of design."[459]

The building, as it now stands, is, generally speaking,[460] of a date subsequent to Bruce's time, and much of it is later than the destruction which occurred under Richard II. in 1385.[461] "The nave, from the crossing to the rood loft, and part of the transepts are, undoubtedly, the oldest portions of the existing edifice. The work in these is, for the most part, of the Scottish decorated period. The nave piers, with their beautifully carved caps, and the mouldings of the arches are distinctly decorated work; and the flying buttresses and pinnacles on the south side of the nave are, without doubt, of the same period. So also is the south wall of the transept, with its magnificent window and tracery and its buttresses, enriched with fine canopies and quaint figures carved as corbels.

"All these features bear a close affinity to the decorated work of the nave of York Minster, erected about 1400. The flying buttresses, with pinnacles enriched with crockets and foliaged finials; the niches, with their elaborate canopies and corbels composed of figures of monks and angels; the statues which formerly filled the niches, of which very few now remain; the decorated tracery of the south transept window, and the whole character of the work, both in its general scope and in its details, is of fine decorated design, and vividly recalls that of York, Beverley, and other English examples. It is not improbable that some parts of the nave and transept were erected during the period between the death of King Robert Bruce and the invasion of Richard II. It should be mentioned that Bruce's bequest was not all received till 1399, and the operations also probably proceeded slowly. The doorway in the south wall of the south transept is apparently an insertion in older work."[462] The south chapels of the nave have apparently been added during the repairs in the earlier part of the fifteenth century; the buttresses were probably executed towards the middle of that century, and the east one contains the arms of Abbot Hunter.[463] There is a distinct change in the transept's design from that of the nave, as if the former had been added to the latter at a later period.[464] The east wall and the other eastern parts of the choir are more recent than the nave, and probably this portion of the church had been more damaged by Richard II. than the nave, and required to be almost wholly rebuilt. The style here corresponds closely with the "perpendicular" of England which prevailed in the fifteenth century.[465] The great eastern window is exceptional and unique, and has more of the character of perpendicular than any other style. Scott, referring to it, has described the moon as shining

Through slender shafts of shapely stone,
By foliaged tracery combined;
Thou would'st have thought some fairy's hand,
Twixt poplars straight, the osier wand,
In many a freakish knot, had twined;
Then framed a spell, when the work was done,
And changed the willow-wreaths to stone.

The design of the west wall of the north transept is different from that of the other parts of the building, but the clerestory windows are of the same design as the rest of the older church. "The wall ribs of the vaulting include two windows in each; and the space between the windows is occupied by two niches, each carried up from a shaft—with late canopies, containing statues of St. Peter and St. Paul, the former having the keys and the latter holding his sword. These are the best preserved statues in the church, but they are not of very remarkable workmanship."[466] The building or restoration of the eastern part of the edifice is regarded as indicating, from its style, work of the middle of the fifteenth century, and the vaulting of the south transept appears to have been erected by Abbot Hunter about the same time,[467] probably from 1450 to 1460. More of the vaulting in the eastern part of the nave may have been carried out at that epoch. The vaults all contain, besides the main and ridge ribs, subsidiary ribs, or tiercerons, indicating a similarity to English examples.[468]

The vaulting of the presbytery is peculiar, and points to a somewhat later time; examples of vaulting similar to that of the presbytery of Melrose may be seen at Winchester Cathedral, and other English examples of the fifteenth century.[469]

The south chapels to the west of the fifth buttress west from the transept, on which buttress another specimen of Abbot Hunter's arms is engraved, are of comparatively late date.[470] "This buttress belongs to the earlier part of the nave, and the chapel seems to have been repaired when the additional chapels to the west were erected. Besides the three hunting horns in the shield of Abbot Hunter in the examples above mentioned, the arms engraved on the fifth buttress contain two crosiers, saltierwise, and the initials A. H. on the right and left; also, in chief a rose, and in base a mason's mell for Melrose. The work in the chapels to the west is inferior to that of those to the eastward, although copied from them. The chapels each contain an enriched piscina, and these are so inferior in style of workmanship as to lead to the belief that they were inserted after the chapels were built. One of them contains the initials of Abbot William Turnbull, whose date is the beginning of the sixteenth century. A late piscina has also been inserted in the south transept.

"Work in the nave and in the south chapels was apparently in progress during the reign of James IV., as the royal arms, with the letters I. Q. (Jacobus Quartus) and the date 1505 on the westmost buttress testify."[471] On the south side of the cloister is a very lovely doorway that leads into the church. To the right of this and along the east wall of the cloister, are arched recesses of a late style, and in the south wall is an arcade of trefoil form, with nail-head enrichments. The latter is an example of the late revival of early forms which prevailed towards the close of the Gothic epoch.[472]

It has been stated that the arcade of the cloister formerly extended 150 feet each way. The cloister wall is now reduced to the portions which abut against the nave and transept—50 feet on the east side and 80 feet on the south side. "The former side contains a wall arcade of seven arches. These are of the form called drop arches, with crocketed ogee hood moulding, and have plain spandrils above, over which there runs a straight cornice, enriched with flowers and shells of all descriptions very beautifully carved."[473] Of these Sir Walter Scott said:—

Nor herb nor floweret glistened there
But was carved in the cloister arches as fair.

The tower was doubtless erected about the same time as the transept.[474] In the south transept are two inscriptions that have given rise to much speculation and continue to exercise Border antiquaries. One of these is carved over the doorway in the west wall which gives access to the wheel stair, and part of the inscription is carried down one side for want of room. It is the following:—

Sa gays the cumpas evyn about,
Sa trouth and laute. do but duite.
Behald to ye hende q. Johne Morvo.[475]

The other inscription is carved on a tablet in the wall on the south side of the same door:—

John Morow sum tym callit was I
And born in Parysse certanly
And had in kepyng al masoun werk
Of Santandroys ye hye kyrk
Of Glasgw Melros and Paslay
Of Nyddysdayll and of Galway
I pray to God and Mari bath
And sweet S. John kep this haly kirk frae skaith.

In the centre of the former inscription is a sunk panel containing a shield with two masons' compasses, arranged somewhat like a saltier, and beneath a figure resembling a fleur-de-lys.

The late Dr. John Smith, in the Proceedings of the Antiquarian Society of Scotland, considers these inscriptions as applying to one man, who may have been the master mason of the building. But Mr. Pinches, in his account of the abbey, mentions that John Murdo, or Morow, was engaged in building a church in Galloway in 1508. It thus seems likely that these inscriptions are not earlier than that date, and have been added to the building after its completion.[476]

An interesting view regarding John Morow will be found in A Mediæval Architect, by Mr. P. MacGregor Chalmers. He believes that the south chapel of the transept was that of St. John, and as John Morrow's tablet is opposite this chapel, his prayer to "sweet St. John" is most appropriate. Mr. Chalmers also points out that the chapels at the east end of Glasgow Cathedral are dedicated to the same saints and in the same order as those in the east aisle of the transept at Melrose.[477]

Immediately beneath the site of the high altar at Melrose is the resting-place of the heart of Robert Bruce, and to the south of it is a dark-coloured polished slab of encrinital limestone said to mark the grave of Alexander II., who was buried near the high altar in 1249. Others maintain, however, that it marks the burial-place of St. Waltheof or Waldeve, who was the second abbot of the monastery founded by King David, and that it is the slab placed here by Ingram, Bishop of Glasgow (1164-1174).

The chancel was also the burial-place of the Douglases. The Douglas tombs were all defaced by Sir Ralph Evers in 1544. At the northern end of the north transept a small doorway leads into the sacristy, in which is the tombstone of Johanna, Queen of Alexander II., with the inscription "Hic jacet Johanna d. Ross." Melrose is the Kennaquhair of the Abbot and the Monastery.

CHAPTER VII

GENERAL SURVEY OF SCOTTISH MEDIÆVAL ARCHITECTURE

Mediæval architecture of Scotland arranged according to the periods stated in Chapter II.:[478]—

Transition from Celtic to Norman Architecture:—Abernethy Round Tower, Perthshire (p. 7). Restennet Priory, Forfarshire (p. 7). St. Regulus, St. Andrews, Fifeshire (p. 18).

Norman Architecture:—Markinch Tower (Fifeshire). Present church modern, early church consecrated 1243; the tower is an ancient Norman building. Muthill Church (Perthshire), has Norman tower at the west end, with nave having north and south aisles and an aisleless choir. The church is now in ruins, and was built by Michael Ochiltree, who was Dean of Dunblane (1425) and Bishop (1430). St. Serf's, Dunning (Perthshire), has Norman tower, with elaborately carved and pointed archway opening from the tower into the church, which has been greatly altered. The W. gable wall of the church and part of the N. and E. wall are original. There appears to have been a chancel; the ancient corbels at N. parapet survive, and the raggle of the original roof is seen against the E. side of the tower. Church mentioned here in 1219 (ecclesia sancti servani de Dunnyne). Cruggleton Church (Wigtownshire), in ruins; has early Norman chancel arch and north doorway recently restored; the plan shows a simple oblong with chancel arch. Monymusk Church (Aberdeenshire), founded by Malcolm Canmore; remains of ancient Norman church in lower part of the tower and chancel arch, incorporated in modern church on old site. Ancient Celtic centre. St. Brandon's, Birnie (Morayshire), has nave and chancel without aisles; chancel has no window in E. wall, but round-headed windows in N. and S. walls; chancel arch has semicircular attached shaft with moulded base and heavy Norman cap, with numerous sub-divisions. Advanced date. Stone font of Norman design, and Celtic bell. St. Oran's Chapel, Iona (p. 65). St. Margaret's Chapel, Edinburgh Castle, comprises a nave with chancel arch and chancel, which has a round apse, formed within the square E. end of the exterior. The genuine surviving Norman masonry begins below the line of the S. windows; rest later work. Chancel has locker and piscina, chancel arch decorated with chevron design, nave arched roof is later than the walls. Chapel is a fairly advanced example of Norman work in plan and decoration. Dunfermline Abbey (p. 139). Kirkwall Cathedral (p. 69). St. Blane's Church (Bute) has oblong nave and chancel separated by lofty wall with chancel arch. Norman masonry in nave and chancel arch. Dalmeny Church (p. 102). Leuchars Church (p. 104). Bunkle Church (Berwickshire) has Norman work in ruined semicircular apse, with arch leading into it, and may be earlier than 12th century. Edrom Church (Berwickshire) has still surviving a Norman doorway of beautiful design, now an entrance to a burial vault. An aisle is attached to the church, and was founded by Archbishop Blackadder in 1499; two angle buttresses are of interest. Legerwood (Berwickshire) has attached to the parish church (old, but frequently repaired), and cut off by a wall, the roofless ruins of the original Norman chancel. A Celtic interlaced stone is built into the S. wall near the W. end. Chirnside (Berwickshire) has Norman work in the doorway of the ruined church, and at the sides there are remains of a projection, probably a porch. A western tower, vaulted in stone, was removed in 1750. St. Helen's Church (Berwickshire), near Cockburnspath, now in ruins, was a Norman structure, with the exception of the W. gable wall (14th or 15th century). It was barrel-vaulted throughout, and the N. chancel wall is entire. There is a narrow E. window. Tyninghame Church (Haddingtonshire) was one of the churches dedicated to St. Baldred; the structural remains exhibit elaborate ornamental work of the Norman style. Stobo Church (Peeblesshire) is a Norman structure, to which alterations and additions have been made in the 16th and 17th centuries. It was the church of a plebania, with subordinate churches. Duddingston (Mid-Lothian) is a Norman edifice, used since 12th century as the parish church. It has been much altered, originally consisting of nave, chancel, and perhaps tower, and the chancel arch is the only Norman feature now remaining in the interior. St. Andrew's Church, Gullane (Haddingtonshire), is now a roofless ruin, and was made collegiate in 1446. The semicircular chancel arch is almost the only part of the 12th century work now surviving. Uphall Church and St. Nicholas Church (Linlithgowshire). Uphall Church, consisting of nave, chancel, western tower, is a Norman structure throughout, much altered. When this became the parish church in the 16th century, St. Nicholas (one mile east) was abandoned. Two relics of it remain—the font, of which the basin is old, and the bell, now used in Uphall Church, and dated 1441. Abercorn (Linlithgowshire). A church was founded here in 675 under St. Wilfrid, and became the see of the earliest bishopric in Scotland from 681 to 685. The monks were forced to retire to Whitby, but the site was occupied by a church, and part of the existing structure (the round-headed doorway in S. wall) is of Norman date. The tympanum is filled with stones arranged in zig-zag patterns. The church has been altered in modern times; there are good specimens in the churchyard of hog-backed tombstones, with figures of fish scale pattern arranged in rows, and scales of a squarer shape. Kelso Abbey (p. 169).

St. Martin's Church (Haddington) is a very ancient chapel; a simple oblong; portion of barrel vault still exists; choir formerly existed; the arch is late Norman in design. Kirkliston Church, Linlithgowshire, has ancient tower and Norman doorways (S. and N.E.), and belonged originally to the Knights Hospitallers of St. John. St. Mary's, Ratho, Mid-Lothian, has Norman work preserved in doorway in S.W. wall. St. Peter's, Peterhead, Aberdeenshire, has chancel of Norman period. St. Mary's, Rutherglen, Lanarkshire, had a nave with side aisles and a chancel, but of the ancient church only a fragment now remains in the E. wall with eastern tower attached to it. The E. wall masonry indicates the Norman period, and the eastern tower, although built against, had no connection with the church, while it is of later erection by two or three centuries. Lamington Church (Lanarkshire) has the old N. doorway still preserved. St. Boswell's Church, Roxburghshire, has been entirely rebuilt, but has some relics of carved corbels and other fragments of Norman date. Smailholm Church, Roxburghshire, is distinctly a Norman structure throughout its entire length, although greatly altered in the 17th century. Linton Church, Roxburghshire, is old, but has been restored and renewed. There is a Norman font, and a sculpture in the tympanum of the ancient church doorway may possibly represent St. George and the Dragon, or Faith overcoming Evil. It was placed in 1858 over the entrance to a new porch then erected. Duns Church, Berwickshire, had the chancel of the ancient structure existing until 1874, when it was removed, and not a stone now remains. Its masonry, judged from a photograph, looks very like Norman work. St. Lawrence Church, Lundie, Forfarshire, was a Norman structure, of which little remains except the ashlar walls, a narrow window, and outside check for a shutter. The chancel arch was built up in 1786, when the apse appears to have been taken down; the top of a sacrament house of late date survives. Kirkmaiden Church, Wigtownshire, has a nave that appears to be of Norman date, and there is an apparent chancel at the east end, but its dimensions and origin are not distinct. Herdmanston Font, Haddingtonshire, is a relic of the Norman period, and stands in the burial vault of the Sinclairs of Herdmanston.

The Transition Style.—Dundrennan Abbey (Cistercian), Kirkcudbrightshire, was founded by David I. about 1142. Portions of N. and S. transepts, choir, chapter-house, some cellar walls and other walls, with a few carved caps now remain. Queen Mary was welcomed at the abbey after her flight from Langside, and embarked for England from Port Mary, at the mouth of the Abbey Burn. Jedburgh Abbey (p. 129). Kinloss Abbey (Cistercian), Morayshire, was founded by David I. in 1150, and colonised from Melrose. The enlightened Robert Reid, founder of the College of Edinburgh, was its abbot in 1528. Till 1650 the buildings were tolerably entire, and were then used to construct Cromwell's citadel at Inverness. The remains are now mere fragments. The Nunnery, Iona (p. 68). St. Nicholas Church, Aberdeen (p. 78). Coldingham Priory (Benedictine), Berwickshire, was founded or refounded in 1098 by Edgar, son of Queen Margaret, and dedicated to St. Cuthbert, S.S. Mary and Ebba. The canons of Durham controlled it until 1504, and in 1509 it was placed under the rule of Dunfermline. It suffered both from fire and its nearness to the Border; it was also damaged by Cromwell, and was afterwards used as a quarry. Little of the monastery now remains, and of the church only the N. and E. walls of the choir and fragments of the S. transept. In 1662 the W. and S. walls of the choir were rebuilt to make that part of the edifice suitable for worship, and in 1854-55 the choir was restored, its W. and S. walls being again partly rebuilt, S. porch added, and the corner turrets carried up to their present height. Stones are preserved of an earlier church than the existing one. Dryburgh Abbey (p. 134). Airth Church (Stirlingshire) dates from the period about the beginning of the 13th century, but only a small part of the early structure remains—a bay of what has been a nave arcade, opening into a north aisle. Lasswade Church, Mid-Lothian, had an old church, consisting of oblong chamber and tower. The S. wall doorway and tower reveal Transition work about first half of 13th century. Bathgate Church, Linlithgowshire, is now a ruin, being abandoned in 1739 for a new church. The doorway is almost the only feature of its architecture left, and its details are of transitional period. In the church is a recumbent statue.

First Pointed Period.—St. Andrews Cathedral and Priory (pp. 13, 123); St. Mary's, Kirkheugh, St. Andrews (p. 102); Arbroath Abbey (p. 177); Holyrood Abbey (p. 124). Kilwinning Abbey (Tironensian), Ayrshire, was erected on a site occupied in the 8th century by an Irish monk called St. Winnan, who is believed to be the same as St. Finnan of Moville. On the spot sanctified by his cell the monastery was erected in the 12th century by Richard or Hugh Moville, who came from England, was created by the Scottish king Great Constable of the Kingdom and presented with the lordships of Cuninghame, Largs, and Lauderdale. The church was erected early in 13th century. The buildings were destroyed shortly after the Reformation, and the parish church was erected on the site of the choir about 1775. The ruins consist of S. wall and gable of S. transept, one pier with respond and arch between S. transept and E. aisle; handsome door which led from nave to cloisters; entrance to the chapter-house from cloisters; long ancient wall which formed the wall of S. aisle of nave; some portions of W. end of nave and S.W. tower. The N. tower remained complete till this century, and a new tower has in recent times been erected on its site. Dunblane Cathedral (p. 47). Inchmahome Priory (Augustinian), Stirlingshire, was founded and endowed by Walter Comyn, fourth Earl of Menteith, and the church, which has striking resemblances in detail to the neighbouring cathedral of Dunblane, evidently dates about 1250. Inchmahome means Isle of Rest, and the church is fairly well preserved. In 1543 Queen Mary, as a child, found refuge here along with her mother after the battle of Pinkie, and stayed for some months. Dr. John Brown has charmingly written about the young queen's miniature or child's garden—a small flower plot, the boxwood edging of which has grown up into a thick shrubbery. Elgin Cathedral (p. 40). Pluscarden Priory (Valliscaulian), Morayshire, was, along with Beauly and Ardchattan, founded by Alexander II. for the Order of Vallis Caulium. Pluscarden is situated in a long, well-sheltered valley. About 1460, when the monks had become corrupt, they were superseded by the Black Benedictine monks from Dunfermline, and the priory became dependent on that house. The last prior was Alexander Dunbar, and the first lay prior Lord Seton. The existing buildings consist chiefly of the remains of the church—an aisleless choir N. and S. transepts with eastern aisles, and square tower. There is no nave. The monastic buildings consist of the sacristy, or St. Mary's aisle, the chapter-house, the slype, and monks' hall—the whole forming the E. side of the cloisters. To the S.E. of cloister garth is probably the prior's house. The oldest parts are transepts with eastern aisles, built doubtless soon after the foundation. Glasgow Cathedral (p. 22). Brechin Cathedral (p. 44). Lindores Abbey (Tironensian), Fifeshire, was founded in 1178 by David, Earl of Huntingdon, grandson of David I., and brother of King William the Lion. The church of Dundee belonged to the monks of Lindores, and the name Lindores is believed to mean "church by the water." Alexander III., Wallace, Edward I., David II. visited the abbey, and the Duke of Rothesay was buried in the church. James, Earl of Douglas, passed the last years of his life here. Two small coffins, found buried in the choir, are believed to have contained the remains of two children of Earl David, the founder. The buildings, entering from the E. side of the cloister, are the best preserved, and of the church little but the foundations and some portions of the wall survive. Adjoining S. transept is the vaulted slype, and the room over it may have been the scriptorium or library. The night passage of the monks led through that apartment, as the stair was in S.W. angle of transept, and could only be thus reached. Cambuskenneth Abbey (Augustinian), Stirlingshire, was founded by David I. about 1147. James III. and his queen, Margaret of Denmark, were interred before the high altar, and a stone altar monument has been erected over their remains by Queen Victoria. The detached tower at the W. is almost the only part remaining in a completed state; the W. doorway is nearly entire, as is also portion of gable wall and side walls at S.E. corner of the buildings. Culross Abbey (Cistercian) and Parish Church, Perthshire. The abbey was founded in 1217 by Malcolm, Earl of Fife, and considerable remains of that period, and some walls of what might be of earlier date, still survive, but principal parts of existing church are of later date. A few fragments of the monastic structure survive. The tower divides the E. from the W. church. The aisleless choir serves as parish church. The old parish church is a ruinous structure, about one mile N.W. from the abbey; plain oblong; in 1633 the abbey became the parish church. Beauly Priory (Valliscaulian), Inverness-shire, was founded in 1230 and endowed by Sir John Bisset of Lovat. The ruined church survives, but has been sadly abused. Monastic buildings have nearly disappeared. First Pointed was later here than elsewhere. Newbattle or Newbotle Abbey (Cistercian), Mid-Lothian, was founded by David I. in 1140 for monks brought from Melrose. It was a great house, and about 1350 its annual income could maintain eighty monks and seventy lay brethren, with the corresponding establishment. The last abbot was Mark Ker, and the lordship of Newbotle was conferred on his son. The abbey appears to have been almost abolished shortly after the Reformation, the only parts of the monastic buildings allowed to remain being the fratery and portions of the chapter-house, which were incorporated with the mansion-house. The nave of the church contained 10 bays; the choir and presbytery comprised 1½ bay. The piers supported a tower over the crossing, and the architecture of the transepts was massive. Lismore Cathedral (p. 59). St. Kentigern's, Lanark, was ancient parish church; abandoned for new one about 1777. It consisted of two six-bayed aisles, each with a chancel, but without a nave; there remain the lofty pointed arches dividing the two aisles, the wall of the S. one, and a fragment of the chancels. In the S. wall is a beautiful doorway. Burntisland Church, Fifeshire, Prestonkirk, Haddingtonshire, Cowie, Aberdeenshire, also illustrate in whole or part this period. Deer Abbey (Cistercian), Aberdeenshire, was founded in 1218, and succeeded a church founded in 580 by St. Columba and his nephew Drostan. The conventual buildings now existing are subsequent in date to the founding of the abbey church (completed first), and this may account for the abbot demitting office in 1267, "choosing rather to live in the sweet converse of his brethren at Melrose than to govern an unworthy flock under the lowly roofs of Deir." Luffness Monastery, Redfriars, Haddingtonshire, was founded by Patrick, Earl of Dunbar, in 1286. The church consisted of nave and choir, without aisles; the choir has arched recess and much-worn effigy. The remains consist mostly of foundations. Tungland Abbey (Premonstratensian), Kirkcudbrightshire, was founded by Fergus, first lord of Galloway, in 12th century, and is now represented by only one doorway. Inchcolm Abbey (Augustinian), Fifeshire, was founded in 1123 by Alexander I., who had been driven ashore on the island by a storm, and was maintained with his followers for three days by a hermit who made Inchcolm his retreat. There is still a small cell covered with a pointed barrel vault, which may have been his abode. The island was the cradle of religion in E. Scotland, and may have been visited by St. Columba himself. Like Inchkeith, the Bass, Isle of May, and Fidra, it possesses early ecclesiastical remains. The island, like Iona, was celebrated as a place of burial. The monastic buildings date from 1216 chiefly; Walter Bower continued the Scotichronicon in the abbey. The ruins consist of the cloister court with church on N. side, and chapter-house beyond E. range. To the N. of the church was possibly the infirmary. The S.E. has cellars, stores, and offices. First Pointed work is also found at the churches of Deer; Auchindoir; St. Cuthbert's, Monkton; St. Nicholas, Prestwick; Altyre; St. Mary's, Rattray; Abdie; St. Ninian's on the Isle; St. Colmanel's, Buittle; Cockpen; Pencaitland; Gogar Font.

Middle Pointed or Decorated Architecture.—New Abbey or Sweetheart Abbey (Cistercian), Kirkcudbrightshire, was dedicated to the Virgin. It was called New Abbey because it was founded a considerable time after Dundrennan, which was regarded as the old abbey. The founder was Devorgilla, daughter of Allan, Lord of Galloway, wife of John Baliol of Castle Barnard in Yorkshire, and mother of King John Baliol. When her husband died in 1269, Devorgilla had his heart embalmed and placed in an ivory coffin, which she carried about with her; at her death it was buried with her in a grave in front of the abbey high altar, hence the touching name of Sweetheart Abbey. She endowed the abbey, founded Balliol College, Oxford, and built the bridge over the Nith at Dumfries, portions of which still survive. The abbey suffered much last century, but it has since been well cared for, and is in good preservation. Few of our ancient churches are so well preserved, and the ruins represent a period of Scottish Gothic of which not many examples survive. The conventual buildings have been almost entirely demolished, but the church is complete, although the roof is gone, and the walls are much damaged. It comprises a nave with two side aisles, a choir without aisles, N. and S. transepts (with eastern chapels opening off them), and a square tower over the crossing. The precinct—a level field of about 20 acres—surrounds the abbey, and is still partly enclosed with a strong wall, built with large blocks of granite. Melrose Abbey (p. 184). Lincluden College, Kirkcudbrightshire, was founded anew about the end of the 14th century by Archibald, the Grim, who expelled the nuns. It was a frequent residence of the Earls of Douglas, and consisted of choir separated from nave and transept by stone screen with wide doorway. The choir is aisleless, consisting of three bays; the nave had three bays with a window in each, and aisle on S. side. The architecture is of great beauty. Fortrose Cathedral (p. 52). Crossraguel Abbey (Cluniac), Ayrshire, was founded by the Earl of Carrick and dedicated to St. Mary. The last abbot, Quentin Kennedy, in 1562 held a famous dispute with John Knox at Maybole. The abbey was much associated with the Bruces. In 1570 occurred the cruel "roasting of the abbot." George Buchanan received a pension out of the abbey revenues, and King James intended to restore it as a residence for his son Henry. The abbey ruins comprise, with the remains of the church, cloisters, and usual buildings, an outer court to the S.W. with picturesque gate-house, pigeon-house, and domestic buildings. The church is a simple oblong with choir and nave, without aisles and transepts. St. Giles', Edinburgh (p. 89). St. Michael's, Linlithgow (p. 105). St. Monans, Fifeshire, derives its name from St. Monanus, a missionary of the 8th century, who suffered martyrdom by the Danes on the Isle of May. The original chapel was replaced about 1362 by the present edifice, which suffered much at the hands of the English, and has been altered. It consists of chancel, N. and S. transepts, with tower and spire over the crossing, and is still used as the parish church. It is picturesque and interesting. Whithorn Priory (p. 56). St. Mary's, Haddington (p. 107). Fearn Abbey (Premonstratensian), Ross-shire, was founded during the reign of Alexander II. Of it there now only remain a part of the church, and the ruins of some structures attached to it. The church is a simple oblong, and part of it is still used as the parish church. Balmerino Abbey (Cistercian), Fifeshire, was founded in 1229 by Ermengard, widow of William the Lion, and her son Alexander II. Ermengard was buried in the church before the high altar; she was a liberal benefactress, and her son was a frequent visitor at Balmerino. Bishop Leslie ascribes the demolition of the abbey in 1559 to "certain most worthless men of the common people," for the damage of 1547, when Admiral Wyndham "bornt the abbey with all thyngs that were in it," seems to have been much repaired. The abbey buildings are now in a ruinous state, only the chapter-house, with the erections adjoining it, being at all well preserved. To the E. of the chapter-house are the ruins of the abbot's house. The church is situated, as the mother church at Melrose, on the S. of the cloister, and consisted of nave with S. aisle, transepts with the usual eastern aisle, and short presbytery without aisles. St. Bride's College, Bothwell (p. 77). Temple Church, Mid-Lothian; the Chapel in Rothesay Castle; St. Bride's, Douglas, Lanarkshire; St. Duthus', Tain, Ross-shire; St. Peter's, Inverkeithing, Fife; St. Devenic's, Creich, Fife; Faslane Church, Argyleshire; the Monument of Sir W. Olifurd, Aberdalgie, Perthshire, also embody architecture of this period.

Third or Late Pointed Period.—Paisley Abbey (p. 148). Dunkeld Cathedral (p. 35). Iona Cathedral (p. 60). St. Machar's Cathedral (p. 37). Trinity College Church, Edinburgh, was situated on the W. side of Leith Wynd, and founded by Mary of Gueldres, Queen of James II., in 1462. It was a very fine specimen of Scottish Gothic architecture of the 15th century, and consisted of a choir with N. and S. aisles, a five-sided apse, N. and S. transepts, with the commencement of a tower over the crossing and N. sacristy. The nave was never erected—the arch having a circular window inserted in it. It was the church of Trinity College Parish till 1848, when it was removed to make way for the railway station. The new church is in many details an exact reproduction of the corresponding features of the original building. St. John's, Perth (p. 108). Dundee Church (p. 113). Glenluce Abbey (Cistercian), Wigtownshire, was founded in 1190 by Roland, Lord of Galloway; the chapter-house is the only portion of the abbey in good preservation. Torphichen Church, Linlithgowshire, represents the hospital or preceptory of Torphichen, from 1153 the principal Scottish residence of the Knights of St. John of Jerusalem. Of the cruciform church, the chancel and nave are entirely gone, and there is only left a portion of the transept or "quier." The modern church is on the site of the nave. St. Anthony's Chapel, Edinburgh—"Sanct Antonis in the crag"—stands conspicuous from the Firth of Forth, and was perhaps chosen with the intention of attracting the notice of seamen coming up the Firth, who, in cases of danger, might be induced to make vows to its tutelary saint. There is a fine spring of clear water close to the site, which may have led to the establishment of the hermitage there. Wall remains survive. Rosslyn Church (p. 85). Dunglass Collegiate Church, Haddingtonshire, is cruciform, and a deserted but complete edifice. The choir and tower may have been built in 1403, the nave after 1450. It was founded by Sir Alexander Home of Home. Foulis-Easter Church, Perthshire, is a simple, oblong structure without buttresses or projections of any kind; is well preserved and most interesting. It was built by Andrew, second Lord Gray. St. Salvador's, St. Andrews (p. 102). Dalkeith Church (Mid-Lothian) was constituted collegiate in the 15th century, and consists of a nave of three bays with aisles, N. and S. transepts, a W. tower, and aisleless choir of three bays with E. apse. Part is used as the parish church. St. Mungo's, Borthwick (Mid-Lothian) has been rebuilt, with the exception of the S. aisle or chapel, and the structure has originally been a Norman one, with aisleless nave, choir, and round E. apse. Ladykirk, Berwickshire, is very complete and almost unaltered. It is situated on the high N. bank of the Tweed, and is said to have been built in 1500, and dedicated to St. Mary by James IV. in gratitude for his delivery from drowning by a sudden flood of the Tweed. It is a triapsidal cross church, without aisles, with an apsidal termination at the E. end of the chancel and at the N. and S. ends of the transept. The body of the church and transepts are covered with pointed barrel vaults, with ribs at intervals springing from small corbels, and the whole is roofed with overlapping stone flags. The upper part of the tower has been rebuilt, the lower part being of the same date as the church, which is still the parish church. Seton Collegiate Church, Haddingtonshire, probably rebuilt about the close of the 15th century, was added to by the second Lord Seton when he made the church collegiate in 1493, and was completed by the third Lord Seton. The transepts, tower, and spire would appear to have been erected by the Dowager Lady Seton in the 16th century, after her husband's death at Flodden. Arbuthnott Church, Kincardineshire, is an interesting and picturesque structure, containing work of three distinct periods. The chancel was dedicated in 1242, and the nave may be in part of the same period. The S. wing or aisle was built by Sir Robert Arbuthnott in the end of the 15th century. The quaint W. end represents a combination of the ecclesiastical and domestic architecture of Scotland. The church has been well restored; the Arbuthnott Missal with the Psalter and office were written for the use of this church by the vicar, James Sybbald, about 1491. King's College, Aberdeen (p. 80). Church of the Holy Rood, Stirling (p. 114). St. Mary's Parish Church, Whitekirk, Haddingtonshire, was a great place of pilgrimage, and was visited among others by Pope Pius II. (Æneas Sylvius), who came to render thanks to the Virgin for his safe landing in Scotland. The church is on the plan of a cross without aisles; the choir is vaulted with a pointed barrel vault, and the roof is slated. Over the crossing is a square tower, finished with a plain parapet; the E. end is square, and there is a fine porch at the S.W. angle. The S.W. porch is one of the most striking features of the structure, and its interior is roofed with pointed barrel vaulting, having ribs springing from carved corbels. Third or late Pointed architecture is also found at Crichton Collegiate Church, Mid-Lothian; Corstorphine Collegiate Church, Mid-Lothian; Crail Collegiate Church, Fife; Mid-Calder Church, Mid-Lothian; St. Mary's Church of the Carmelite Friars, South Queensferry, Linlithgowshire; Yester Collegiate Church, Haddingtonshire; Tullibardine Collegiate Church, Perthshire; Maybole Collegiate Church, Ayrshire; Biggar Collegiate Church (p. 77); Carnwath Collegiate Church, Lanarkshire; St. Mary's Collegiate Church, Castle Semple, Renfrewshire; Church of the Franciscans or Greyfriars, Elgin, Morayshire, and at Aberdeen; Rowdil Priory (Augustinian), Harri, Inverness-shire; Oronsay Priory (Augustinian), Argyleshire.

Examples of Scottish mediæval architecture are also to be found in the following churches, arranged alphabetically by counties. Aberdeenshire:—Kinkell, Kintore, Leask. Argyleshire:—Ardchattan and St. Mund's Collegiate Church, Kilmun. Ayrshire:—Alloway, Old Dailly, and Straiton. Banffshire:—Cullen Collegiate Church, Deskford, and Mortlach. Berwickshire:—Church of Abbey St. Bathans (Cistercian Nuns), Bassendean, Cockburnspath (an ancient structure), Preston. Buteshire:—Church of St. Mary's Abbey, Rothesay. Dumbartonshire:—Dumbarton Collegiate Church and Chapel at Kirkton of Kilmahew. Dumfriesshire:—Canonby Priory (Augustinian), Kirkbryde, St. Cuthbert's, Moffat; Sanquhar. Fifeshire:—Carnock, Dysart, Kilconquhar, Kilrenny, Rosyth, Dominican Church, St. Leonard's (p. 116), Holy Trinity (p. 117), St. Andrews. Forfarshire:—Airlie, Invergowrie, Mains, Maryton, Pert, St. Vigean's. Haddingtonshire:—Church of Trinity Friars, Dunbar, and Keith. Kincardineshire:—St. Palladius' Church, Fordoun. Kirkcudbrightshire:—Old Girthon. Lanarkshire:—Blantyre Priory (Augustinian), and Covington. Linlithgowshire:—Auldcathie. Mid-Lothian:—St. Triduan's Collegiate Church, Restalrig. Peeblesshire:—Newlands, Churches of Holy Cross and St. Andrew, Peebles. Perthshire:—Aberuthven; St. Moloc, Alyth; St. Mechessoc, Auchterarder; Cambusmichael; Abbey of Coupar (Cistercian); Dron Church, Longforgan; Ecclesiamagirdle or Exmagirdle, Glenearn; Forgandenny; Abbey of Inchaffray (Augustinian); Innerpeffray (Collegiate); Kinfauns; Methven (Collegiate); Moncrieff Chapel; Wast-town (near Errol). Renfrewshire:—Houston, St. Fillan's, and Kilmalcolm. Selkirkshire:—Selkirk. Wigtownshire:—St. Machutus' Church, Wigtown.

Mediæval architecture terminated with the Reformation in 1560. In closing this necessarily brief record of our ancient Scottish churches, a word must be added on the Scottish Reformation. It was the aim of Knox to cleanse, not to destroy the temple, and the iconoclasm that followed was the work of the "rascal multitude," while many of the churches and abbeys were ruined by the attacks of the English before the Reformation, as the previous pages indicate. The old builders, too, did a great deal of what is now known as "scamped work," although it was partly counteracted by the excellence of their lime and the thickness of their walls. The real cause of the subsequent destruction was neglect, not violence, while the secularising of the old endowments alienated into other channels the means that were necessary to undo the effects of wind and weather. As Carlyle said, "Knox wanted no pulling down of stone edifices; he wanted leprosy and darkness to be thrown out of the lives of men," and it is known that he exerted himself to save the Abbey of Scone from destruction. In the case of Dunkeld Cathedral, the order makes it quite clear that neither desks, windows, nor doors, glass work nor iron work, was to be destroyed (pp. 36, 37). The aim of the reformers was at heart an endeavour to make the old temples fit symbols of the reformed faith, and the iconoclasm of the multitude is not to be attributed to them, but to the ignorance and savagery of the time, for which the Church of Rome was primarily to blame. It was this that lessened church feeling and separated the power of truth from the beauty of holiness. It is our privilege to-day to seek the unity of truth and goodness with beauty, to maintain the faith of the Reformation along with that beauty of church architecture which, in its brighter days, the old church witnessed to. It is a one-sided view which sees in Gothic nothing but the development of utility or the endeavour to attain greater height; it is the true view which beholds in it the ideality, piety, and faith that possessed the hearts of our forefathers. The architect's design could never have been realised apart from their offerings of devotion to the Christian religion. When Emerson visited Carlyle at Craigenputtock, the latter, pointing to the parish church, said to his American friend, "Christ's death built Dunscore Church yonder." It is a deep, true utterance, for Christ's death has built every church in Christendom, and these embodiments of beauty not least of all. In this light we see what is at the heart of these ancient Scottish churches, and what has created the affection that treasures them. The ruined walls of so many of them ought to have been the home of the reformed faith, life, and work, linking the present to the past by natural piety, and visibly reminding the worshippers of the church that endureth throughout all generations. The present revival of interest in them is like a new-discovered sense, and is undoing the spoliation and neglect of an age subsequent to the Reformation, and for which the Scottish Reformers are not to blame. Theirs was no easy work, and history has vindicated its results in the progressive genius of the Scottish people. The Reformation saved religion, but the alienation of the religious endowments to secular purposes, often by unworthy hands, is the chief cause of the ruins which tell of a beauty that has left the earth, and it has deprived the Church of so many of its venerable heirlooms. Otherwise there might have been said of the Scottish as was said of the English Reformation that but for it there would have been little Norman or Early English left in the cathedrals, for it just came at a time when the early styles were being pulled fast down to make room for the later.[479] It was the Scottish Reformers' aim to make all the churches parish churches, and each church the centre of the life and work of each parish. Their grievance against monasticism arose from the corrupt lives of the monks and from its intrusion on the parochial system with the alienation of the parish teinds to the use of the monastery. But the idea of a church in the centre of a residence, is one not without suggestiveness to the life of to-day, with its many activities, as a training home for workers; as a temporary retreat for rest, meditation, and prayer to the hard-wrought ministers in the city parishes; as a place for conference on the religious problems; as a theological hall and settlement for divinity students, like that at Loccum near Hanover, where a reformed mediæval monastery, free from vows, and in the full vigour of its life, is used as a college and residence for the students of the Reformed Church, and where the old monastic church is used as the parish church for the people around. To visit Loccum and see it presided over by the venerable Protestant theologian, Dr. Ullhorn, with its garden, grounds, and farm, its church and cloisters, its great library and residence for professors and students, is to be persuaded of the rich possibilities that lie within the reach of the Scottish Church in the restoration of some of its ruined abbeys. The saintly Leighton felt the need of this, and thought "the great and fatal error of the Reformation was, that more of these houses and of that course of life, free from the entanglements of vows and other mixtures, was not preserved; so that the Protestant churches had neither places of education nor retreat for men of mortified tempers."[480] The Reformed Church would thereby purify a great idea, and if it be true, as the late Master of Balliol asserted, that it is the great misfortune of Protestantism never to have had an art or architecture,[481] it can restore and adopt the old architecture that was the creation of the Christian spirit, amid the leisure of the cloister and in times more restful than our own.

APPENDIX

DEFINITION OF LEADING ARCHITECTURAL TERMS[482]

Abacus—the flat member at the top of a capital. Apse—the semicircular space at the end of a building. Arcade—a series of arches; is usually applied to the small ornamental arches only. Barrel vault—resembling the inside of a barrel. Bead—a small round moulding. Boss—a projecting ornament in a vault at the intersection of the ribs. Canopy—the head of a niche over an image; also the ornamental moulding over a door or window or tomb. Capital, cap—the head of a column, pilaster, etc. Chamfer—a sloping surface forming the bevelled edge of a square pier, moulding, or buttress, when the angle is said to be chamfered off. Chevron—an inflected moulding, also called zigzag, characteristic of Norman architecture. Clere-story or clear-story—the upper story of a church, as distinguished from the triforium or blind story below it, in which the openings, though resembling windows, are usually blank or blind, not glazed. Corbel—a projecting stone to carry a weight, usually carved. Crocket—an ornament usually resembling a leaf half opened, and projecting from the upper edge of a canopy or pyramidal covering. The term is supposed to be derived from the resemblance to a shepherd's crook. Crypt—a vault beneath a church, generally beneath the chancel only, and sometimes used for the exhibition of relics. Cusp—an ornament used in the tracery of windows, screens, etc., to form foliation. Dormer—an upright window placed on a sloping roof, giving light to the chambers next the roof. Fillet—a small square band used on the face of mouldings. Finial—the ornament which finishes the top of a pinnacle, a canopy, or a spire, usually carved into a bunch of foliage. Flying buttress—an arch carried over the roof of an aisle from the external buttress to the wall of the clerestory, to support the vault. Gargoyle—a projected water-spout, often ornamented with grotesque figures. Jambs—the sides of a window opening or doorway. Mullion—the vertical bar dividing the lights of a window. Ogee—a moulding formed by the combination of a round and hollow. Pier arches—the main arches of the nave or choir resting on piers. Pinnacle—a sort of small spire usually terminating a buttress. Piscina—a water-drain in a church placed on the right-hand side of an altar for the use of the priest. Plinth—the projecting member forming the lower part of a base or of a wall. Shaft—a small, slender pillar usually attached to a larger one, or in the sides of a doorway or window. Slype—a passage leading from the transept to the chapter-house. String-course—a horizontal moulding or course of masonry, usually applied to the one carried under the windows of the chancel, both externally and internally. Tooth ornament—an ornament resembling a row of teeth, sometimes called dog's tooth and shark's tooth. Transept—the portion of a building crossing the nave and producing a cruciform plan. Transition—the period of a change of style, during which there is frequently an overlapping of the styles. Transom—the transverse horizontal piece across the mullions of a window. Triforium or blind story—the middle story of a large church, over the pier arches and under the clerestory windows; it is usually ornamented by an arcade, and fills the space formed by the necessary slope of the aisle roofs. Tympanum—the space between the flat lintel of a doorway and the arch over it, usually filled with sculpture.

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FOOTNOTES:

[1] Skene's Celtic Scotland, vol. ii. pp. 365, 366.

[2] Mediæval Architecture, vol. i. p. 8.

[3] Ibid. pp. 8, 9, 26.

[4] Ibid. p. 145.

[5] Ecclesiastical Architecture of Scotland, vol. i. pp. 1, 2.

[6] Ibid.

[7] Eccles. Arch. of Scot. vol. i. pp. 1, 2.

[8] Ibid. pp. 175-190.

[9] Ibid. p. 28.

[10] Ibid. p. 28.

[11] Ibid. p. 178.

[12] Eccles. Arch. of Scot. vol. i. p. 191.

[13] Ibid. p. 192.

[14] Ibid.

[15] Eccles. Arch, of Scot. vol. i. pp. 387, 388.

[16] Ibid. pp. 46, 47.

[17] Ecclesiastical Architecture of Scotland, vol. ii. p. 1.

[18] Ibid. p. 3.

[19] Ibid. vol. i. p. 50.

[20] Scottish Abbeys and Cathedrals, pp. 68, 69.

[21] Ibid. p. 70.

[22] Eccles. Arch. of Scot. vol. ii. p. 332.

[23] Ibid. vol. i. p. 57.

[24] Ecclesiastical Architecture of Scotland, vol. iii. pp. 1-7.

[25] Ancient Church and Parish of Abernethy, p. 95.

[26] Pictish Chronicle, p. 201.

[27] Amra Columcille, pp. 29, 63.

[28] Celtic Scotland, vol. ii. pp. 136, 137.

[29] Scott's Marmion.

[30] Celtic Scotland, vol. ii. p. 274.

[31] Celtic Scotland, vol. ii. pp. 309, 310.

[32] Scotichronicon, bk. iv. c. 12.

[33] Reg. Pri. S. And. App. p. xxxi.

[34] Reeves's British Culdees, p. 41.

[35] Church of Scotland: Past and Present, vol. ii. pp. 309, 310.

[36] Scottish Abbeys and Cathedrals, p. 34.

[37] Chronicle of the Picts and Scots, p. 191.

[38] Lecture II. p. 24.

[39] Ecclesiastical Architecture of Scotland, vol. i. p. 190.

[40] Ibid. p. 186.

[41] Petrie's Round Towers and Ecclesiastical Architecture of Ireland.

[42] Ecclesiastical Architecture of Scotland, vol. ii. pp. 6-8.

[43] Ibid. p. 6

[44] Ecclesiastical Architecture of Scotland, vol. ii. p. 16.

[45] Ibid. p. 19.

[46] Ibid. p. 26.

[47] Celtic Scotland, vol. ii. pp. 184, 185.

[48] Celtic Scotland, ii. p. 186.

[49] Historians of Scotland, v. p. lxxxix.

[50] Vol. i. pp. 3-5.

[51] Sir James Marwick's Charters and Documents relating to the City of Glasgow, part i. p. dxxiii.

[52] Preface to Register, p. xxiv.

[53] Messrs. MacGibbon and Ross and Honeyman, architects.

[54] The Book of Glasgow Cathedral, p. 229.

[55] Ibid.

[56] The Book of Glasgow Cathedral, p. 231.

[57] Ibid. p. 274.

[58] Ecclesiastical Architecture of Scotland, ii. p. 160.

[59] Book of Glasgow Cathedral, p. 232.

[60] Registrum Epis. Glas. p. xxiv.

[61] Ecclesiastical Architecture of Scotland, ii. p. 161.

[62] Ibid.

[63] Ecclesiastical Architecture of Scotland, ii. p. 161.

[64] Book of Glasgow Cathedral, p. 267.

[65] Eccles. Arch. of Scotland, ii. p. 161.

[66] Ibid. pp. 161, 162.

[67] The Book of Glasgow Cathedral, p. 324.

[68] See Professor Laurie's Lectures, pp. 136, 137.

[69] Book of Glasgow Cathedral, pp. 292-302.

[70] Theiner, p. 505; Reg. Epis. Glasg. ii. 470-473, 543, 544.

[71] Book of Glasgow Cathedral, p. 265.

[72] MacGibbon and Ross, vol. ii. p. 162.

[73] Ibid.

[74] See p. 23.

[75] Book of Glasgow Cathedral, p. 108.

[76] Ibid. p. 277.

[77] Book of Glasgow Cathedral, p. 291.

[78] Ibid. p. 305.

[79] Ibid. p. 317.

[80] Ibid. p. 304.

[81] Sir James Marwick's Charters and Documents of Glasgow, part i. p. xli.

[82] Dr. Rankin, vol. ii. p. 315.

[83] Registrum Episcopatus Glasguensis.

[84] Complete list in Book of Glasgow Cathedral, pp. 190-197.

[85] Sir James Marwick's Charters, part. i. p. dxxiv.

[86] Ibid. p. v.

[87] Book of Glasgow Cathedral, pp. 375, 376.

[88] Ibid. p. 244.

[89] Mediæval Architecture, vol. ii. p. 200.

[90] Book of Glasgow Cathedral, p. 252.

[91] MacGibbon and Ross, vol. ii. p. 172.

[92] Book of Glasgow Cathedral, pp. 239, 240.

[93] Ecclesiastical Architecture of Scotland, vol. ii. p. 165.

[94] Celtic Scotland, vol. ii. p. 405.

[95] Ibid. p. 408.

[96] Myln's Lives of the Bishops of Dunkeld, p. 38.

[97] Ibid. p. 44.

[98] Myln's Lives of the Bishops of Dunkeld, p. 46.

[99] Ibid. p. 56.

[100] Ibid. p. 66.

[101] Scoti-Monasticon, pp. 216, 217.

[102] Ecclesiastical Architecture of Scotland, vol. iii. p. 31.

[103] Ibid. p. 47.

[104] Registrum Episcopatus Aberdonensis, p. x.

[105] Ibid.

[106] Celtic Scotland, vol. ii. p. 379.

[107] Reg. p. xi.

[108] Ecclesiastical Architecture of Scotland, vol. iii. p. 75.

[109] View of the Diocese of Aberdeen, p. 148.

[110] Ibid. p. 163.

[111] Ecclesiastical Architecture, vol. iii. p. 75.

[112] Scottish Abbeys and Cathedrals, p. 75.

[113] Ibid.

[114] Preface to Register, pp. xlii., xliii.

[115] Scottish Abbeys and Cathedrals, p. 75.

[116] Collections of the Shires of Aberdeen and Banff, p. 150.

[117] P. 104.

[118] Ecclesiastical Architecture of Scotland, p. 77.

[119] Scottish Abbeys and Cathedrals, p. 76.

[120] View of the Diocese of Aberdeen, p. 151.

[121] Ibid. p. 152.

[122] Registrum Episcopatus Moraviensis, p. xii.

[123] Celtic Scotland, vol. ii. p. 369.

[124] Registrum, pp. xiii and 40.

[125] Ibid. p. xiii.

[126] Ibid.

[127] Ecclesiastical Architecture of Scotland, vol. ii. p. 121.

[128] P. xiii., No. 26.

[129] Register, No. 173, p. 204.

[130] Scottish Abbeys and Cathedrals, p. 52.

[131] Ecclesiastical Architecture, vol. ii. pp. 122, 123.

[132] Ibid. p. 125.

[133] Scottish Abbeys and Cathedrals, p. 50.

[134] Ecclesiastical Architecture of Scotland, vol. ii. p. 145.

[135] Life, vol. ii. p. 437.

[136] Celtic Scotland, vol. ii. p. 397.

[137] Ibid.

[138] Ibid.

[139] Preface to the Brechin Register, p. vi.

[140] Celtic Scotland, vol. ii. p. 400.

[141] Ibid. pp. 400, 401.

[142] Dr. Rankin's History, vol. ii. p. 328.

[143] Celtic Scotland, vol. ii. p. 309.

[144] Ecclesiastical Architecture of Scotland, vol. ii. p. 209.

[145] Miss Stokes, Early Christian Architecture, p. 73.

[146] Scotland in Early Christian Times, p. 45.

[147] Ordnance Gazetteer, vol. i. p. 187.

[148] Early Christian Architecture in Ireland, p. 5.

[149] Scotland in Early Christian Times, p. 41.

[150] Ecclesiastical Architecture of Scotland, vol. ii. p. 213.

[151] Ibid. p. 212.

[152] Ibid.

[153] Black's Brechin, pp. 253, 254.

[154] Preface to Register, p. xvii.

[155] Celtic Scotland, vol. ii. p. 402.

[156] Catalogue of the Scottish Bishops, p. 174.

[157] Reeves' British Culdees, p. 141.

[158] MacGibbon and Ross, vol. ii. p. 86.

[159] Ibid. vol. i. p. 174.

[160] Ibid. vol. ii. p. 89.

[161] Lib. Ins. Missarum, preface, p. xxix.

[162] Ecclesiastical Architecture of Scotland, vol. ii. p. 92.

[163] Ibid.

[164] Ecclesiastical Architecture of Scotland, vol. ii. p. 102.

[165] Edinburgh Lectures.

[166] Keith's Scottish Bishops, pp. 177-180.

[167] MacGibbon and Ross, vol. ii. p. 107.

[168] Keith's Scottish Bishops, p. 175.

[169] History of His Own Times, vol. ii. p. 243.

[170] The Bishop's Walk, p. 7.

[171] Regist. de Dunf., p. 3.

[172] Reeves' Culdees, p. 46.

[173] The Ecclesiastical Architecture of Scotland, vol. ii. p. 395.

[174] Ibid. p. 399.

[175] Mr. Neale.

[176] His diary for 1571 is published in the Bannatyne Miscellany, vol. iii. pp. 113-156.

[177] Keith's Scottish Bishops, p. 198.

[178] Cosmo Innes's "Records of the Bishopric of Caithness," Bannatyne Miscellany, vol. iii. p. 3.

[179] Celtic Scotland, vol. ii. p. 383.

[180] Orig. Par. vol. ii. part ii. p. 601.

[181] Transactions of the Aberdeen Ecclesiological Society (1892), p. 36.

[182] Transactions of the Aberdeen Ecclesiological Society (1892), p. 40.

[183] Ecclesiastical Architecture of Scotland, vol. ii. p. 482.

[184] Ibid. p. 485.

[185] Ibid. p. 486.

[186] Celtic Scotland, vol. i. p. 69.

[187] Ibid. vol. ii. p. 408.

[188] Dr. Rankin, vol. ii. p. 350.

[189] Ecclesiastical Architecture of Scotland, vol. ii. p. 265.

[190] Celtic Scotland, vol. ii. pp. 83, 84.

[191] Ibid. p. 85.

[192] Celtic Scotland, vol. ii. pp. 85-102.

[193] They were thence taken to Ireland.

[194] Iona, pp. 84, 85.

[195] Celtic Scotland, vol. ii. p. 414.

[196] Register of the Great Seal (1634-1651), p. 708, No. 1903; Origines Parochiales, vol. ii. part i. p. 294.

[197] Ecclesiastical Architecture of Scotland, vol. iii. p. 49.

[198] Ibid. pp. 57-59.

[199] Ibid. p. 74.

[200] Transactions.

[201] Ecclesiastical Architecture of Scotland, vol. i. p. 421.

[202] Ibid. p. 426.

[203] Cf. Drummond's West Highland Monuments.

[204] Celtic Scotland, vol. ii. p. 92.

[205] Ecclesiastical Architecture of Scotland, vol. i. p. 266.

[206] Ecclesiastical Architecture of Scotland, vol. i. pp. 266-273.

[207] Ibid. p. 273.

[208] Dr. Joseph Robertson's Scottish Abbeys and Cathedrals, p. 39.

[209] Dr. Joseph Robertson's Scottish Abbeys and Cathedrals, p. 40.

[210] MacGibbon and Ross's Ecclesiastical Architecture of Scotland, vol. i. pp. 259-262.

[211] Ecclesiastical Architecture of Scotland, vol. i. p. 273.

[212] Ibid. pp. 273-275.

[213] Ibid. p. 276.

[214] Ibid. p. 277.

[215] Ibid.

[216] Ecclesiastical Architecture of Scotland, vol. i. p. 278.

[217] Ibid. p. 279.

[218] Ibid. p. 280.

[219] Ibid.

[220] Ibid.

[221] Ibid. p. 282.

[222] Ibid.

[223] Ibid. p. 284.

[224] Ibid.

[225] Ecclesiastical Architecture of Scotland, vol. i. p. 288.

[226] Ibid. p. 289.

[227] Ibid. p. 290.

[228] Tennyson: A Memoir, vol. ii. p. 280.

[229] Vol. iii. pp. 181-196.

[230] Dr. Cooper's Introduction to Chartulary, pp. xxv.-xxvi.

[231] Ecclesiastical Architecture of Scotland, vol. i. p. 426.

[232] Ecclesiastical Architecture of Scotland, vol. i. pp. 427, 428.

[233] Ecclesiastical Architecture of Scotland, vol. i. p. 431.

[234] Records of the University and King's College, Aberdeen, p. xv.

[235] Collections of the Shires of Aberdeen and Banff, p. 210.

[236] Ecclesiastical Architecture of Scotland, vol. iii. pp. 287-289.

[237] Ibid. p. 295.

[238] Transactions of the Aberdeen Ecclesiological Society, sixth year (1891), p. 63 et seq. to p. 76.

[239] Sermons and Addresses, p. 29.

[240] Ecclesiastical Architecture of Scotland, vol. iii. p. 151, also to p. 179.

[241] St. Giles, Edinburgh, Church, College, and Cathedral, p. 1.

[242] Of the early church, which stood on the site of the present St. Cuthbert's, Edinburgh, Dr. Skene has declared that "there is no doubt the church was founded by S. Cuthbert himself," and so there has been Christian worship there for over 1200 years (Rev. Dr. A. Wallace Williamson's paper in Aberdeen Ecclesiological Transactions, ninth year, p. 114).

[243] Charters of the Collegiate Church of St. Giles, p. iv.

[244] Ibid.

[245] Dr. Lees' St. Giles, Edinburgh, p. 3.

[246] Introduction to Charters, p. v.

[247] Ibid. p. vi.

[248] St. Giles, p. 4.

[249] Ecclesiastical Architecture of Scotland, vol. ii. p. 419.

[250] Ecclesiastical Architecture of Scotland, vol. ii. p. 420.

[251] Ibid.

[252] Ibid. p. 422.

[253] Ibid.

[254] Ibid.

[255] Ecclesiastical Architecture of Scotland, vol. ii. p. 425.

[256] Dr Lees' St. Giles, p. 23.

[257] Ecclesiastical Architecture of Scotland, vol. ii. p. 426.

[258] Ibid.

[259] Introduction to Charters, p. xiv.

[260] Ecclesiastical Architecture of Scotland, vol. ii. p. 430.

[261] Introduction to Charters, p. xv.

[262] Ecclesiastical Architecture of Scotland, vol. ii. p. 434.

[263] Ibid. p. 436.

[264] No. 77, p. 106.

[265] Ecclesiastical Architecture of Scotland, vol. ii. p. 441.

[266] Dr. Laing's Introduction to Charters, p. xxx.

[267] Ecclesiastical Architecture of Scotland, vol. ii. p. 445.

[268] Ib. p. 446

[269] Ecclesiastical Architecture of Scotland, pp. 445-449.

[270] Intro. to Charters, p. xix.

[271] Dr. Lees' St. Giles, p. 273.

[272] Dr. Lees' St. Giles, p. 117.

[273] Ibid. pp. 124, 125.

[274] Calderwood's History, vol. iii. pp. 73, 257.

[275] Ecclesiastical Architecture of Scotland, vol. ii. p. 454.

[276] St. Giles, p. 262.

[277] Very Rev. Dr. Cameron Lees.

[278] St. Giles, p. 270.

[279] Ibid. p. 214.

[280] Rankin, vol. ii. p. 361.

[281] Ecclesiastical Architecture of Scotland, vol. iii. p. 199.

[282] Scottish Abbeys and Cathedrals, p. 36.

[283] Ecclesiastical Architecture of Scotland, vol. i. pp. 298-309.

[284] Ecclesiastical Architecture of Scotland, vol. i. pp. 313, 314.

[285] Ecclesiastical Architecture of Scotland, vol. ii. p. 455.

[286] Ecclesiastical Architecture of Scotland, pp. 455-470.

[287] Fergusson's History of Architecture, vol. ii. p. 222.

[288] Ecclesiastical Architecture of Scotland, vol. ii. p. 493.

[289] Hay's Sacra Scotia, p. 323.

[290] Ecclesiastical Architecture of Scotland, vol. iii. p. 109.

[291] Rev. John Fergusson of Aberdalgie in Scottish Antiquary, January 1897, p. 137.

[292] Ecclesiastical Architecture of Scotland, vol. iii. p. 116.

[293] Ecclesiastical Architecture of Scotland, vol. iii. p. 116.

[294] Ibid. p. 121, and Lord High Treasurer's Accounts.

[295] Ibid. p. 122.

[296] Ecclesiastical Architecture of Scotland, vol. iii. p. 125.

[297] Ecclesiastical Architecture of Scotland, vol. iii. p. 132.

[298] Ecclesiastical Architecture of Scotland, vol. iii. p. 330.

[299] Ibid. p. 138.

[300] Ecclesiastical Architecture of Scotland, vol. iii. p. 450.

[301] Ibid. p. 450

[302] Ecclesiastical Architecture of Scotland, vol. iii. p. 451.

[303] Ibid.

[304] Ibid.

[305] Professor Mitchell's Scottish Reformation, p. 96.

[306] The Works of John Knox, vol. i. p. 228.

[307] Sketches of Early Scotch History, p. 10.

[308] Ibid. p. 11.

[309] Ibid. p. 18.

[310] Scottish Abbeys and Cathedrals, p. 27.

[311] Modern Painters, vol. i. p. 23.

[312] Ibid. vol. iii. p. 44.

[313] Ibid. vol. v. p. 206.

[314] Oxford Lectures, p. 27.

[315] Montalembert's Monks of the West, vol. ii. pp. 40, 41.

[316] The Augustinian order had also monasteries at Scone, Inchcolm, Lochleven, Isle of May, and Pittenweem, Blantyre, Cambuskenneth, Restennet, Canonby, and Inchaffray, as well as smaller houses at Loch Tay, Portmoak, Monymusk, St. Mary's Isle Priory at Trail, Rowadil, Oronsay, Colonsay, Inchmahome, Rosneath, Strathfillan, Scarinche, Abernethy (Perthshire); the Premonstratensian order had also abbeys at Saulseat, Holywood, Whithorn, Tongland, Fearn; the Benedictine order had also abbeys at Coldingham and Urquhart; the Cluniacensian order had also abbeys at Crossraguel, Fail, and Dalmulin; the Tyronensian order had also abbeys at Lesmahagow, Kilwinning, Lindores, Iona, and smaller houses at Dull, Fyvie, Inchkenneth, Rothesay (St. Mary's); the Cistercian order had also abbeys at Newbattle, Dundrennan, Kinloss, Deir, Cupar, Glenluce, Culross, Balmerino, Sweetheart, and smaller houses at Saddel, Friars Carse (near Dumfries), Hassendean, Mauchline, Cadvan (in Dunbog), and Holm Cultram; the order of Vallis Caulium had priories at Pluscardine, Beauly, and Ardchattan; the Carthusians had houses at Perth and Makerstone (Roxburghshire). There were 14 religious houses belonging to the Trinity Friars, 12 to the Carmelites, 18 to the Dominicans, 7 to the Franciscans, 13 to the Observantines, 6 to the Knights of Malta, 16 to the Knights Templars.

[317] Scottish Ordnance Gazetteer, vol. vi. p. 300.

[318] Ecclesiastical Architecture of Scotland, vol. ii. p. 54 et seq. to p. 72.

[319] Ecclesiastical Architecture of Scotland, vol. ii. p. 68.

[320] Ecclesiastical Architecture of Scotland, vol. ii. p. 71.

[321] Ibid. pp. 71, 72.

[322] Gordon's Monasticon, p. 156.

[323] Gordon's Monasticon, p. 158.

[324] Ecclesiastical Architecture of Scotland, vol. i. p. 401 et seq. to p. 414.

[325] Ibid. p. 403.

[326] Gordon's Monasticon, p. 254.

[327] Ecclesiastical Architecture of Scotland, vol. i. p. 448.

[328] Monasticon, p. 324.

[329] Ibid. p. 340.

[330] Ecclesiastical Architecture of Scotland, vol. i. p. 451 et seq. to p. 464.

[331] Ecclesiastical Architecture of Scotland, vol. i. p. 462.

[332] Ecclesiastical Architecture of Scotland, vol. i. p. 464.

[333] Introduction to Registrum de Dunfermlyn, p. 25.

[334] Ecclesiastical Architecture of Scotland, vol. i. p. 231.

[335] Ecclesiastical Architecture of Scotland, vol. i. p. 231.

[336] Introduction to Registrum, p. 25.

[337] Monasticon, p. 404.

[338] Registrum, p. 25.

[339] Monasticon, pp. 411, 412.

[340] The Ecclesiastical Architecture of Scotland, vol. i. p. 234.

[341] Ibid. pp. 234, 238.

[342] Ibid. p. 238.

[343] Ibid.

[344] Ibid.

[345] Scottish Abbeys and Cathedrals, pp. 33, 34.

[346] Ecclesiastical Architecture of Scotland, vol. i. p. 238.

[347] Ibid. p. 241.

[348] Ibid.

[349] Ibid.

[350] Ibid. p. 242.

[351] Lindsay's Chronicle of Scotland, vol. ii. p. 555.

[352] Ecclesiastical Architecture of Scotland, vol. i. p. 245.

[353] Ibid.

[354] Ecclesiastical Architecture of Scotland, vol. i. pp. 246-249.

[355] Ibid. pp. 251, 252.

[356] Ecclesiastical Architecture of Scotland, vol. i. pp. 252-254.

[357] History, vol. i., year 1303-1304.

[358] Ecclesiastical Architecture of Scotland, vol. i. p. 254.

[359] See p. 144.

[360] Ecc. Arch. of Scot. vol. i. pp. 254-256.

[361] The Abbey of Paisley, pp. 1, 2.

[362] Scotland in the Middle Ages, p. 114.

[363] Historical Sketches, p. 109.

[364] The Abbey of Paisley, pp. 26, 27.

[365] Kingsley's Roman and Teuton, pp. 204-206.

[366] The Abbey of Paisley, pp. 58, 59.

[367] Ibid. p. 63.

[368] Ibid. p. 65.

[369] Ecclesiastical Architecture of Scotland, vol. iii. p. 8.

[370] The Abbey of Paisley, p. 91.

[371] Ibid. p. 91.

[372] The Abbey of Paisley, p. 96.

[373] Ibid. p. 109.

[374] The Abbey of Paisley, p. 117.

[375] Ibid. p. 120.

[376] Page 19.

[377] Ecclesiastical Architecture of Scotland, vol. iii. p. 8.

[378] The Abbey of Paisley, p. 142.

[379] A Scots Mediæval Architect, by P. MacGregor Chalmers, pp. 14, 15 (Scots Lore).

[380] The Abbey of Paisley, pp. 144, 145.

[381] The Abbey of Paisley, pp. 159, 160.

[382] Ibid. p. 165.

[383] The Abbey of Paisley, p. 205.

[384] See Laing's Knox.

[385] The Abbey of Paisley, pp. 228, 229.

[386] Ecclesiastical Architecture of Scotland, vol. iii. pp. 10-26.

[387] Ibid. p. 13.

[388] Ibid.

[389] Ecclesiastical Architecture of Scotland, vol. iii. p. 16.

[390] Ibid.

[391] Ibid.

[392] Ibid.

[393] Ibid. p. 21.

[394] Ibid.

[395] Ecclesiastical Architecture of Scotland, vol. iii. p. 21.

[396] The Abbey of Paisley, p. 166.

[397] Ibid. p. 209.

[398] Ibid.

[399] The Abbey of Paisley, pp. 211, 212.

[400] Ibid. p. 212.

[401] Ecclesiastical Architecture of Scotland, vol. iii. pp. 25, 26.

[402] Ibid. p. 168.

[403] The Abbey of Paisley, p. 214.

[404] The Abbey of Paisley, p. 215.

[405] Ibid. p. 206.

[406] Ibid. p. 337.

[407] Ibid. p. 338.

[408] Ibid.

[409] The Abbey of Paisley, p. 339.

[410] Ibid. p. 340.

[411] Introduction to Reg. Cart. de Kelso, i. p. viii.

[412] Ibid.

[413] Ibid. p. xli.

[414] Ibid. pp. viii-xvi.

[415] Ibid. p. xliv.

[416] Introduction to Reg. Cart. de Kelso, pp. xliii, xliv.

[417] Roxburgh, Selkirk, and Peebles, by Sir George Douglas, Bart., pp. 284, 285.

[418] Ecclesiastical Architecture of Scotland, vol. i. pp. 350-352.

[419] Ibid. p. 352.

[420] Introduction to Chartulary, p. xlix.

[421] Ecclesiastical Architecture of Scotland, vol. i. pp. 353-361.

[422] Ibid.

[423] Ibid.

[424] Ecclesiastical Architecture of Scotland, vol. i. pp. 356, 357.

[425] Ecclesiastical Architecture of Scotland, vol. i. pp. 357, 358.

[426] Ibid. p. 359.

[427] Ibid. p. 360.

[428] Ecclesiastical Architecture of Scotland, vol. i. pp. 360, 361.

[429] Ibid. p. 361.

[430] Ibid.

[431] Hay's History of Arbroath, p. 27.

[432] Ecclesiastical Architecture of Scotland, vol. ii. p. 31.

[433] Sketches of Early Scotch History, p. 161.

[434] Ibid.

[435] Ibid. p. 171.

[436] Sketches of Early Scotch History, p. 159.

[437] National Manuscripts, part ii.

[438] See Principal Story's Apostolic Ministry in the Scottish Church, p. 197.

[439] Ecclesiastical Architecture of Scotland, vol. ii. pp. 31-35.

[440] Ibid. pp. 35-37.

[441] Ecclesiastical Architecture of Scotland, vol. ii. p. 39.

[442] Ibid. pp. 39-41.

[443] Ibid. p. 41.

[444] Ibid.

[445] Ecclesiastical Architecture of Scotland, vol. ii. pp. 43-45.

[446] Ibid. p. 45.

[447] Ibid. pp. 46, 48.

[448] Ibid. p. 48.

[449] Ecclesiastical Architecture of Scotland, vol. ii. p. 50.

[450] Millar's Arbroath and its Abbey, p. 103.

[451] Pp. xxxi, xxxii.

[452] Ecclesiastical Architecture of Scotland, vol. ii. p. 347.

[453] Ecclesiastical Architecture of Scotland, vol. ii. p. 377.

[454] Ibid. p. 349.

[455] Ibid. p. 351.

[456] Ibid.

[457] Ecclesiastical Architecture of Scotland, vol. ii. pp. 353, 356.

[458] Ibid. p. 356.

[459] Ibid. pp. 356, 357.

[460] Messrs. MacGibbon and Ross consider it probable that a fragment of the original north wall may have been preserved as the core of the present wall, and faced up on both sides with newer work (Ecclesiastical Architecture of Scotland, vol. ii. pp. 360, 361).

[461] Ecclesiastical Architecture of Scotland, vol. ii. p. 361.

[462] Ecclesiastical Architecture of Scotland, vol. ii. p. 362, 363.

[463] Ibid. p. 366.

[464] Ibid.

[465] Ibid.

[466] Ecclesiastical Architecture of Scotland, vol. ii. p. 372.

[467] Ibid. p. 373.

[468] Ibid.

[469] Ibid.

[470] Ibid. p. 374.

[471] Ecclesiastical Architecture of Scotland, vol. ii. pp. 373, 374.

[472] Ibid. p. 375.

[473] Ibid.

[474] Ibid. p. 377.

[475] As given in Monteith's Theater of Mortality (1713)—earliest and most accurate reference.

[476] Ecclesiastical Architecture of Scotland, vol. ii. p. 378.

[477] See Scots Lore, Nos. 1-7.

[478] In this summary I am specially indebted to the Ecclesiastical Architecture of Scotland, vol. i. pp. 175-477, vol. ii. pp. 5-559, vol. iii. pp. 7-533. The statements are much compressed on account of the limitations of the space at my disposal.

[479] Life and Letters of Benjamin Jowett, vol. ii. pp. 72, 73.

[480] Burnet's History of my Own Time (Clarendon edition), vol. i. p. 246.

[481] Life and Letters, vol. ii. p. 71.

[482] Cf. Parker's Introduction to Gothic Architecture, 321-331; also Glossary of Architecture, vol. i.

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Table of Contents

- SCOTTISH CATHEDRALS AND ABBEYS

- SCOTTISH CATHEDRALS AND ABBEYS

- PREFACE
- CONTENTS
- INTRODUCTION

- SCOTTISH CATHEDRALS AND ABBEYS

- CHAPTER I RELATION OF CELTIC CHURCH TO ROMAN CATHOLIC CHURCH

- CHAPTER II SKETCH OF SCOTTISH ARCHITECTURE

- 1. Norman Architecture
- 2. Scottish Transition Style
- 3. Scottish First Pointed Period

- 4. Scottish Middle Pointed or Decorated Period

- 5. Scottish Third or Late Pointed Period

- CHAPTER III

- 1. Diocese of St. Andrews
- 2. Diocese of Glasgow
- 3. Diocese of Dunkeld
- 4. Diocese of Aberdeen
- 5. Diocese of Moray
- 6. Diocese of Brechin
- 7. Diocese of Dunblane
- 8. Diocese of Ross
- 9. Diocese of Caithness
- 10. Diocese of Galloway
- 11. Diocese of Lismore or Argyll
- 12. Diocese of the Isles
- 13. Diocese of Orkney

- CHAPTER IV SCOTTISH COLLEGIATE CHURCHES

- Royal Shields
- Episcopal
- Literary
- In Ante-Chapel
- West End
- East or Apse End
- Chancel and Apse
- St. Giles, Edinburgh

- CHAPTER V PARISH CHURCHES ILLUSTRATING THE ARCHITECTURE OF THE NORMAN PERIOD

- Parish Churches Illustrating Middle Pointed or Decorated Period

- Parish Churches of Third or Late Pointed Period

- Dundee Church Tower

- CHAPTER VI SCOTTISH MONASTICISM

- CHAPTER VII GENERAL SURVEY OF SCOTTISH MEDIÆVAL ARCHITECTURE

- APPENDIX DEFINITION OF LEADING ARCHITECTURAL TERMS[482]

- FOOTNOTES:

- THE FULL PROJECT GUTENBERG LICENSE