JEDBURGH ABBEY, Roxburghshire.
The town of Jedburgh occupies a site about ten miles south from Kelso, in the narrow valley of the river Jed, a tributary of the Teviot. The main street rises gradually on the west side of the valley till a wider point is reached, on which stood the monastery, above a bend of the river. On a still higher point, at a short distance south of the abbey, stood the Castle of Jedburgh, the subject of constant contention in Border warfare.
The position of the abbey on the height above the river as seen from the level “haugh” on the opposite side, with a broad expanse of water in the foreground, is commanding, and forms a very attractive landscape.
A Priory of Canons Regular from Beauvais was established here by David I. while Prince of Cumbria, in 1118. In 1147 the priory was raised to the dignity of an abbey, and it was probably after this distinction that the oldest portions of the existing structure were erected.
The abbey was dedicated to the Virgin, and was amply endowed by David I. and the nobles of the district. Little is recorded of its history, but the abbots were occasionally men of distinction.
In 1285, when John Morel was abbot, King Alexander III. was married in the abbey with much ceremony to Iolanda, daughter of the Count de Dreux.
Jedburgh formed a strong Border outpost, and was often attacked and damaged in the wars with England. Under Edward I. the roof of the abbey was stripped of its lead, and the conventual buildings were so damaged that, in the year 1300, the monks had to seek refuge in other houses of their order. During the fifteenth century the abbey frequently
Fig. 363.—Jedburgh Abbey. Plan.
suffered from hostile invasion, and in consequence had to undergo considerable repairs, as will be pointed out in connection with the crossing and tower.
Fig. 364.—Jedburgh Abbey. South Side of Choir.
Notwithstanding the frequent harrying and damage it sustained, the fabric of the Abbey Church is still in a wonderful state of completeness, but the monastic buildings which stood on the south side of the church have been entirely swept away.
The church ([Fig. 363]), Plan) consists of a choir, with side aisles extending eastwards 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 (now greatly destroyed); a central crossing, with a square tower above; a north transept, well preserved; and a south transept, of which the south end is destroyed.
The choir and presbytery, as already mentioned, have been greatly damaged, and the east end is destroyed. It has been suggested that the choir may have terminated with an eastern apse, but of this there is no proof. What survives ([Fig. 364]) consists of the two bays next the crossing, the lower portions of which are in the Norman style. The main piers have the peculiarity of being carried up as massive cylindrical columns to the height of the arch over the triforium. This arrangement is unique in Scotland, but is not unknown in England. A somewhat similar design is carried out at Gloucester Cathedral, where the massive cylindrical piers are of great height, but they are not divided into two stories. At Romsey Church, Hampshire, however, the same arrangement occurs as at Jedburgh ([Fig. 365]), the tall round piers being divided by an intermediate arch, which supports the upper gallery or triforium.
Fig. 365.—From Romsey Church, Hampshire.
At Jedburgh the lower story has the round arch and vaulting ribs supported on corbels ([Fig. 366]), projected from the round face of the piers.
Fig. 366.—Jedburgh Abbey. South Aisle of Choir, looking West.
A similar plan is adopted at Romsey and also at Oxford Cathedral. The upper or triforium arch at Jedburgh is round and moulded, and contains 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.
The clerestory is of Transition work, having one lofty stilted and pointed arch and two smaller pointed arches in each bay. These spring from clustered shafts, consisting of four smaller shafts grouped into one. They have plain bell caps and foliaged caps alternately, all with square abaci. The arches have bold mouldings and a label.
At the time when the transitional clerestory was erected, the eastern part of the choir appears to have been built, as the remains of two lofty pointed windows are preserved to the east of the cylindrical piers ([Fig. 367]). These lofty arches have sprung from shafts with Transition caps at the level of the triforium floor, and a pointed arcade beneath seems to have been continued round the east end of the choir and presbytery.
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.
Whether the Norman nave had only been projected, but never completed—only the west wall with its doorway and windows and the south doorway being erected—or whether the nave had been finished and afterwards destroyed, it is impossible to say. It is, however, evident that the Norman work in the choir and in the western and south doorways must have preceded the Transition work in the choir and nave by a considerable amount of time. The styles in both cases are quite distinct, and there is evidently a considerable hiatus between them. They do not follow one another by gradual development.
The nave is 129 feet in length and 27½ feet in breadth in the central aisle, and measures about 57 feet in width internally over the aisles.
It is divided into nine bays, each of which ([Fig. 368]) 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 ([Fig. 369]) 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
Fig. 367.—Jedburgh Abbey. South Side of Choir and Crossing.
Fig. 368.—Jedburgh Abbey. The Nave, looking West.
form ([Fig. 370]), 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. (See [Fig. 369.])
Fig. 369.—Jedburgh Abbey. Details.
In the triforium ([Fig. 370]) the principal arches are round, being an example of the round arch placed above the pointed arch. Each round arch is divided into two openings by smaller pointed arches, which contain first pointed mouldings ([Fig. 371]). The larger arches spring from clustered
Fig. 370.—Jedburgh Abbey. Details.
shafts with bell caps and square abaci. The central pillars of the smaller arches vary in section. Those in the east part of the nave consist of four shafts united into one (being the same section as those of the clerestory of the choir), while those in the portion of the nave to the west of the centre are composed of two shafts. The shield between the smaller arches is perforated with a small circle. The simple constructional main arches of the triforium are seen on the exterior ([Fig. 372]), where also the corbels to carry the timbers of the roof of the triforium gallery are visible.
Fig. 371.—Jedburgh Abbey. Plan of one half Bay of Clerestory.
The clerestory shafts are of trefoil section both on the exterior and interior ([Fig. 373]), and have foliaged caps of first pointed design. In the interior the caps have the angles of the abaci cut off so as to make them octagonal. The arches are all pointed, and contain first pointed mouldings. A corbel table supports the cornice on the exterior, and there are two small ornamental arches between every two corbels ([Fig. 374]). Over each main pier a small buttress is introduced in the exterior of the clerestory,
Fig. 372.—Jedburgh Abbey. View from North-West.
and a plain standard in the interior. These buttresses are projected on small corbels, and do not rise above the arches. It is thus evident that it was never intended that the central aisle of the nave should be vaulted, there being no suitable buttresses provided to resist the thrust of a vault. The side aisles, however, were vaulted, but the vaults are now demolished, only some fragments of the ribs being left, as shown in Fig. 372.
As already mentioned, the west end of the nave (see [Fig. 374.]), and especially the western doorway, are quite Norman in character. The west doorway ([Fig. 375]) is a noble specimen of its period. The ingoing
Fig. 373.—Jedburgh Abbey. Clerestory Details.
is deeply recessed, and has contained five free nook shafts on each side, besides the door jamb, with intermediate shafts and elaborate enrichments. The caps are foliaged, and of late Norman character. In the arch there is an order over each shaft, and intermediate enrichments and mouldings. The ornaments consist of the chevron, both solid and under cut, and other greatly relieved enrichments and rosettes.
The jambs of the doorway and the arch over it contain heads and other ornaments in panels, now much decayed. The doorpiece projects some feet, and on the north side of the projection a small round arch (see [Fig. 374.]) can be traced.
The doorpiece is surmounted by three little gablets. The central one
Fig. 374.—Jedburgh Abbey. West End and part of North Side.
contains a trefoiled arch, and those at the sides seem to have contained a similar arch, but they are now much decayed.
The west wall has flat buttresses of Norman character (see [Fig. 374.]) at each side of the central aisle, 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 enrichment. The west front has been finished with an octagonal turret at 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 south doorway ([Fig. 376]), leading from the cloister into the nave above referred to, is of late Norman design. It is extremely rich in its decoration, though somewhat decayed. It contains the remains of several shafts and enrichments in the jambs, and the caps have been very elaborate in their carving. The round arch head contains four orders of mouldings. The inner order and the door jambs are both carved with the same chevron ornament; the next order consists of plain mouldings; the third order is enriched with figures comprised in small semicircles; and the outer order contains a deep series of zig-zags. The whole is enclosed with a small label. The doorpiece projects, the outer angle having a bold bead, and a small cornice runs along the top.
The above description of the nave and its Norman west end and doorways will make clearer what has already been indicated with regard to the completion or restoration of the edifice in the Transition period. The suggestion is that 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, as already mentioned, 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 (see [Fig. 364.]) 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 ([Fig. 367]), 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
Fig. 375.—Jedburgh Abbey. West Doorway.
shafts (see [Fig. 366.]), 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 (see [Fig. 367.]) 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 (see [Fig. 364.]) may be seen projecting to the west. Abbot Hall has 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 (see [Fig. 372.]), 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 (see [Fig. 364.]).
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 (see [Fig. 372.]) 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.
Soon after the abbey had been restored as above described it was again attacked, pillaged, and burnt by Surrey in 1523. The damage then caused was once more repaired in 1544. The abbey is 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.”
These generals of Henry VIII. had evidently cast their eyes on it as
Fig. 376.—Jedburgh Abbey. South Doorway of Nave.
an obstacle in their path, and resolved to get rid of it. The abbey was pillaged and burnt by both (by the first in 1544 and the last in 1545), and never recovered from the devastation it then suffered.
In 1559 the monastery was suppressed, and the revenues went to the Crown. In 1574-5 the roof of the refectory was removed, and the timber used for repairing the tower. The Abbey Church stood in a ruinous state till the nave was partly roofed in at the triforium level to form a presbyterian place of worship. It remained in this condition till 1875, when a new church was erected, and the old abbey was cleared out.
The crown arch of the tower fell in 1743. The groined arches of the aisles continued in existence till the end of last century. In 1793 the south aisle was removed, and a wall built between the pillars to make the church more comfortable.
The ruins of the abbey are now well cared for and protected.