ST. MAGNUS’ CATHEDRAL, Kirkwall, Orkney.

In approaching Kirkwall from the sea, the chief object which meets the view is the great mass of the cathedral. The town gradually comes into sight, with its harbour and quays; but attention is irresistibly fixed on the huge church, which overtops everything else.

When the quaint old streets, with the gables of the houses facing the narrow roadway, are traversed, and the open space round the cathedral is reached, the visitor’s admiration of the structure is by no means diminished. He enters by one of three splendid doorways in the west end, which recall the portals of the cathedrals of France rather than those of England.

The first view of the interior is striking and impressive. ([Fig. 224.]) The long perspective of the great round pillars and arches on each side of the nave, surmounted by the round arched triforium and clerestory, and the lofty roof covered with simple vaulting, give an impression of size and height which is larger than is borne out by after measurement. This appearance of great size has often been remarked of St. Magnus’, and, no doubt, arises from the height and length of the edifice as compared with its width, which between the piers is only 17 feet, while the length of the nave is 111 feet, and the height to the apex of the vault is about 50 feet. The cathedral is found to be complete in all its great divisions. ([Fig. 225]), Plan.)[166] The nave has side aisles, which are vaulted, and the side walls are arcaded with interlacing Norman arches. The choir is, unfortunately, excluded by a glass screen from the general view of the cathedral, owing to the east end being still used as the parish church. The choir is of considerable length, being 85 feet 6 inches long by 47 feet 6 inches wide, and has main piers, triforium, and clerestory, of about the same height as the nave. It is also vaulted, and has vaulted side aisles. The longitudinal section ([Fig. 226]) shows the comparative heights of the nave and choir.

The transept is 90 feet long by 17 feet wide, and has a great appearance of height, but is not vaulted. It has no aisles, but has a vaulted chapel projected to the east from each division of the transept. [Fig. 227] is a section through the transept from north to south.

The choir contains six bays, and the nave eight bays.

When the exterior is examined, it is found to present at a glance a general history of the structure, and the changes which have taken place in it. The layers and masses of the different coloured stones which have been used in the edifice at different times tell their own tale.

Fig. 224.—Kirkwall Cathedral. The Nave, looking West.

Fig. 225.—Kirkwall Cathedral. Ground Plan.

[Fig. 228] shows the north elevation of the whole cathedral.[167] The oldest work (which, however, comprises several periods) is constructed with dark slaty stone, having red freestone dressings. This masonry comprises the whole of the outer walls of the choir, the transept, and the greater part of the nave. It is evident, however, that this style of masonry includes not only much Norman work, with its round arches and flat buttresses, but also some later work, which has pointed windows and boldly-projected buttresses. The Norman work ([Figs. 228] and [229]) may be 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.

In the clerestory walls of the choir ([Fig. 230]) great changes are observable. The lower part of the wall, which contains the windows, is built with dark red freestone, while the upper part is of whitish freestone, clearly showing that the clerestory has been raised, together with the parapet. The old line of the eaves is further apparent from the row of Norman corbels which marks the original level before the wall was raised. These corbels are specially visible on the north side of the choir clerestory, but a few also remain on the south side. The new corbel table under the parapet consists of corbels of well-known first pointed form.

Turning to the nave, it will be observed (see [Fig. 228.]) that the whole of the clerestory wall (except the two westmost bays) is built with whitish freestone, while the windows are of small size and are pointed. The clerestory of the nave thus corresponds with the raised part of that of the choir in the stone used, but differs from it in the windows, which are narrow. The parapet and corbel table of this part of the building, and indeed throughout nearly the whole structure, are similar to those of the choir, and in the later work have evidently been copied from the earlier ones. In the transept the alterations are plainly seen in the heightened portions of the north and south gables (see Figs. 229 and 230), which are carried out with red freestone ashlar, and in the details of the upper window of the north transept and the rose window of the south transept, which are all of a later character than the Norman work of the lower parts of the transept. In the south transept there may also be noticed a pointed doorway ([Fig. 231]) built with party-coloured stones, which has been inserted by cutting into the old Norman arcade of the interior. This is distinctly seen in the elevation of the interior ([Fig. 232]). Probably, when this was done, the older doorway which existed at the east end of the nave south aisle, in the usual position for access to the cloister, was built up, the intention of having a cloister being abandoned. Some traces of the impost of the arch of the original doorway, carved with Norman enrichments, may still be seen.

Fig. 226.—Kirkwall Cathedral. Longitudinal Section from West to East.

The two westmost bays of the nave (see [Fig. 228.]) are built almost entirely from top to bottom with red freestone, having a slight admixture of white stone. This indicates a considerable alteration, and it will be found that these two bays were rebuilt at a late period, when a new west

Fig. 227.—Kirkwall Cathedral. Section through Transept from North to South.

Fig. 228.—Kirkwall Cathedral. North Elevation.

front was erected and the cathedral was extended westwards. It may be mentioned that the cathedral stands alone in the middle of a large churchyard. There are no other ecclesiastical structures connected with it, such as cloisters or chapter house. The Bishop’s Palace,[168] however, is not far off. It has been a fine stately edifice, but is now greatly ruined.

Before considering more minutely the order of construction of the cathedral, it is desirable to glance at the conditions under which it was designed and carried out.

Under the rule of the Norsemen, in the ninth and tenth centuries, any early symptoms of Christian influence which may have previously existed in Orkney had died out. But after the conversion of the inhabitants of Orkney to Christianity, about the year 1000, traces of Christian worship became observable. The first actual Bishop of Orkney was William the Old, who held the bishopric for sixty-six years, and died in 1168. He must, therefore, have been consecrated in 1102. His see was first at Birsay (see [p. 135]), but was removed to Kirkwall on the erection of the cathedral in 1137-52. The Bishop of Orkney was one of the suffragans of the metropolitan see of Throndhjeim, which was erected in 1154. It was not till 1472 that the see was placed under the metropolitan Bishop of St. Andrews.

The possession of the Orkneys was sometimes divided between two relatives. In the beginning of the twelfth century two cousins, Hacon and Magnus, shared the government; but in 1115 the latter was treacherously slain in the island of Egilsay by Hacon, who thus obtained the whole earldom.

Some time after, however, a new claimant for Magnus’ share arose in Rognvald, the son of Magnus’ sister, who made a vow that if he succeeded in establishing his claim he would erect a “stone minster” in honour of his predecessor, St. Magnus, the latter having been canonised. Rognvald was successful in his project, and immediately proceeded to fulfil 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, who had the principal oversight of the whole work. The relics of St. Magnus were brought from Christ’s Kirk, in Birsay, to be deposited in the cathedral as soon as it was ready to receive them; but in the meantime they rested in the Church of St. Olaf, an older edifice which then existed at Kirkwall.[169]

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

Fig. 229.—Kirkwall Cathedral. View of North Transept and Choir.

Fig. 230.—Kirkwall Cathedral. View from South-East.

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

Fig. 231.—Kirkwall Cathedral. Doorway in South Transept.

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.

Fig. 232.—Kirkwall Cathedral. Interior of Doorway in South Transept. The shaded voussoirs are of yellow and the remainder of red freestone.

There can be little doubt that the Romanesque architecture which prevailed in the North of Europe found its way at a comparatively late

Fig. 233.—Kirkwall Cathedral. View of the Crossing from the Nave.

date into Scandinavia. The Norman form of that style would naturally follow the same course amongst the kindred races in Norway

Fig. 234.—Kirkwall Cathedral. Choir, looking East.

and Denmark, just as it did in England and Scotland, and from Norway it would be transplanted into Orkney. We find that the “transition” style and pointed styles follow here a similar course to that observed in other countries, although, no doubt, with certain modifications, such as might be looked for at so great a distance from the centre of origin.

Sir Henry Dryden, who has given a great deal of study to Kirkwall Cathedral, finds the differences of the architecture there as compared with that of England so great that the usual terms in England are not applicable; but we believe that, with some allowances, the same general stages of progress can be observed at St. Magnus’ as in the South.

It is well known that French architects were sent for to carry out the Cathedral of Upsala, while the architecture of the Cathedral of Throndhjeim is English in character. A certain mixture of design is traceable in the details of these northern structures, but the general scope of the architecture follows that of the rest of Europe.

The Cathedral of St. Magnus was, as above mentioned, begun by Earl Rognvald in 1137, and was, doubtless, carried on with as great expedition as possible. It was a gigantic work to be undertaken in this situation at the time, and difficulty arose with regard to funds. This, however, was overcome by allowing the proprietors of lands 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.

The first parts of the cathedral built (shown by black tint on Plan) 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 are all (where unaltered) 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) ([Fig. 233]), the main arches (with their label mouldings in the choir and transept) (see Figs. 227 and 234), the round arched and labelled windows in choir, transept, and nave (see [Fig. 228.]), and the interlaced arcades in the latter ([Fig. 235]), all point to a somewhat advanced period of Norman work.

The choir originally terminated with a central apse beyond the third pier (as shown by dotted line), but it is impossible to say whether the side aisles also had apses, or whether the aisle was continued round the apse.

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, and the windows are largely splayed internally.

An interlacing arcade of round arches, with single shafts and cushion caps (some with volutes), runs round the north, south, and west sides of

Fig. 235.—Kirkwall Cathedral. The Crossing and South Transept.

the transept. (See [Fig. 235.]). The large arches leading into the east chapels were formed originally, but the chapels were built later. The lower string course of the transept is enriched with a four-leaved flower. (See [Fig. 232.])

Fig. 236.—Kirkwall Cathedral. Doorway in the North Aisle of Nave, &c.

It seems likely that soon after the completion of the above portions attention was given to the continuation of the nave westwards for several bays. The piers have the same round form as the original ones, but the caps are no longer octagonal, but round (see Figs. 224 and 233), and instead of the cushion form, the caps are moulded. The north

Fig. 237.—Kirkwall Cathedral. South Aisle of Nave.

aisle wall opposite the three bays, west from the crossing, would appear to have been built early (see Figs. 228 and 229). The buttresses are of the flat Norman form, the three eastmost windows are moulded in three orders, with a label enrichment like the choir aisle windows, while the two windows to the west of above, although round, have mouldings of a first pointed character, and were, doubtless, finished at a later time (see aisle window in [Fig. 236.]). In the south aisle of the nave the east window is similar to those of the north side, but the others, extending as far as the south doorway, have, in the interior, mouldings indicating a more advanced date. ([Fig. 237.]) Externally, these windows have been restored. There would appear to have been a good deal of time spent over these aisle walls extending as far as the north and south doorways, and the main piers and arches within them were probably erected at the same period. Both of the above aisle walls have a Norman interlacing arcade (see [Fig. 237.]) running along the interior below the windows. In these arcades, and those of the transepts, various varieties of chevron ornament occur. The north aisle doorway (see [Fig. 236.]) is Norman in detail, but seems to have been restored at a late date. The interior mouldings are similar to those of the three west doorways. The doorway in the south aisle retains its old Norman arch and shafts in the interior, but has been altered externally ([Fig. 238]). The nave piers may have been continued as far as the above doors about this time, together with the triforium, but the upper part of the nave walls and the vaulting are later.

After the Norman period above described, a distinct change of style is observable. This is prominently seen in the piers and arches of the crossing (see Figs. 233 and 235), which are of an advanced transition style, and appear to have been introduced in lieu of the old Norman piers. Possibly, however, the older piers are preserved and encased in the new. The latter ([Fig. 239]) are arranged in the form of clustered shafts, approaching first pointed in plan. The bases and caps of the shafts are of transition character, being very like those of Jedburgh Abbey, a good transition example. Some, however, have a tendency to foliage, but all are much damaged. The arches are in distinct orders, like first pointed work, and the inner order of those next the nave and choir is enriched with a large boldly relieved chevron ornament (see [Fig. 233.]). 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, as they are of transition character; but the raising of the south transept and introduction of the rose window in it is of a somewhat later date. This circular window (see [Fig. 235.]) is very similar to that in the east window of the choir. The chapels on the east side of the transept are also of the transition period. Both internally, including the vaulting, and externally, including the pointed windows (see Figs. 229 and 230), the work of these chapels is very advanced transition in style. Of course, it must be understood that the style is referred to, not the date. The transition style may not have penetrated to Orkney till a long time after it had been abandoned further south, possibly not till the middle of the thirteenth century. The space between the south chapel and the choir aisle has been built up and formed into a small vaulted chamber, which has no

Fig. 238.—Kirkwall Cathedral. South Doorway of Nave.

opening communicating with the chamber in the south chapel. It enters from a window in the aisle changed into a door. The use of this chamber is unknown. The large windows in the triforium of the transept, adjoining the crossing, are cut across by the aisle roofs. This arises from the aisle roofs having been raised at a late period. The vaulting of the original choir, and the vaulting shafts, with their corbels (see Section, [Fig. 226.]), probably also belong to the transition period.

The completion of the nave, as far as the original west wall, was probably next undertaken. The piers (as above mentioned), although round on plan like the original ones, have round moulded caps like those further east. The arches over the piers were, no doubt, executed at the

Fig. 239.—Kirkwall Cathedral.

same time, and the triforium carried up. The latter consists of three orders of plain arches, with chamfer on edge, except some on the north side, which have a bead and fillet on edge, thus indicating a somewhat advanced date.

It is not easy to say when the clerestory and vaulting of the nave were executed; but, from the circumstance that the clerestory is built with whitish stone, similar to the raised part of the clerestory of the choir, we are inclined to believe that it was carried out about the same period as the heightening and vaulting of the choir, to be afterwards referred to.

Steps are introduced at the bottom of the nave triforium arches, which, however, can scarcely be seen from below. Their object is to raise the floor of the triforium, so as to give height for the aisle vaults.

The next alteration of the cathedral effected a complete revolution in the eastern portion of the edifice. The apse was taken down, and the choir, with its aisles, was extended by three bays to the eastward. (See [Fig. 234.]) The junction of the extended work with the old is quite apparent in the large pier on the left.

The style of this extension of the choir has in many points a strong resemblance to advanced first pointed work, but it exhibits some peculiarities of detail. The piers of the new bays consist of clustered shafts, but the arrangement of the shafts is peculiar, having rounds and hollows passing into one another, and with fillets on edge, more like decorated work than first pointed. The bases are of early form, and the caps, which generally resemble first pointed work, have also features which recall the French “Crochet caps” of the period.

Possibly some of the Frenchmen engaged at Upsala or Throndhjeim may have been brought over to the work at St. Magnus’, and have here left the mark of their French extraction. Some of the caps, which have a square abacus, have small leaves introduced at the junction of the circle with the square—an arrangement common in bases, but very unusual in capitals. (See Main Pier, Fig. 240.)

The main arches over the piers (see [Fig. 234.]) are not pointed, but semi-circular (a form of common occurrence in Scotland). Otherwise the sections of the mouldings, and the arrangement of the orders in distinct divisions, are quite first pointed in style.

The triforium consists of plain chamfered semi-circular arches and jambs in three orders, with plain impost mouldings, being a continuation of the design of the triforium of the earlier part of the choir.

The clerestory has simple pointed windows, moulded on sconsion, but without cusps, at the same level as the Norman windows in the western part of the choir.

A vaulting shaft is carried up between the piers. It springs from the pier caps, and is very small up to the triforium, where it thickens and runs up to the triforium caps, and above that point is carried up as a triple shaft to the cap which receives the springing of the vault.

The clerestory windows appear to have been built before the vaulting was arranged, seeing that they are placed very low in the red part of the wall. But when the vaulting was designed, it was found desirable to raise the walls so as to get proper height for the arches. This was done in whitish stone, and shows distinctly on the exterior, as above stated. A row of Norman corbels on the north side marks the original height of the clerestory wall. These corbels appear to have been moved from the Norman part of the choir, and inserted in their present position when the choir

Fig. 240.—Kirkwall Cathedral. East End of South Aisle of Choir.

was lengthened. A few corbels remain in their original position on the south side of the choir. The vaulting of the old part of the choir was also altered at the time when the new vaulting was built. The design of the extended choir aisles corresponds with that of the choir, and is very beautiful, though somewhat foreign in character. (See [Fig. 240.]) The ribs of the choir and aisle vaults have all bold sections of first pointed form.

The east end of the cathedral is of this period. The great east window (see [Fig. 234.]) fills the whole space available. This window, including its mouldings, measures (according to Sir H. Dryden) 37 feet 2½ inches by 16 feet 7½ inches. It is well designed, and has side shafts of first pointed form, while the tracery is perhaps a little more advanced. The great rose in the arch, which expands over the whole of the mullions and arches of the tracery, is (as pointed out by Sir H. Dryden) quite peculiar and unique. The three-arched recesses under the east window indicate that the altar stood free from the wall. On the exterior, the junction of the new buttresses with the old Norman ones is distinctly seen. (See [Fig. 230.]) The former are of red freestone, and project with water tables in stages, while the latter are flat and shallow. The side windows have plain splays in the jambs, and have no caps, one round-headed window on the south side has two lights, and a doorway is formed beneath it. A large base course goes round the choir and marks the new work. It is also continued round the transept chapels at a lower level. Besides the raising of the clerestory walls, above referred to, the aisle walls of the choir have also been raised. On the north side (see [Fig. 229.]) this is effected by leaving the old parapet and building a second parapet above it, while on the south side (see [Fig. 230.]) the old parapet has been removed and the wall heightened with red ashlar, and a new parapet placed at the higher level. Several square windows have been cut in the lower part of the north choir wall. These are modern, and are not shown in the sketch. Their object is to admit light under a gallery which has been inserted in the north aisle. The floor of the choir has been raised, and is now reached by several steps from the transept; but the steps to the sanctuary are believed to have been where shown on the plan. As already mentioned, the clerestory and vaulting of the six eastmost bays of the nave was probably executed soon after the choir was finished, the outer wall of the clerestory being built with the same whitish stone as the heightened part of the choir. The windows are small and of plain-pointed form, like those of the choir. Some of them have the appearance of having been cut up into the vaulting, as if they had been inserted or heightened after the vaulting was built. It is to be remarked that while the parapets of the nave and choir are on the same level on the exterior, the vaulting of the nave is several feet lower than that of the choir.

The three western doorways ([Fig. 241]) and the pointed doorway in the south transept (see [Fig. 231.]) must be assigned to a period rather later than the choir. The wall containing the three west doorways is built out

Fig. 241.—Kirkwall Cathedral. West Doorways.

of the square with the nave walls. It is supposed to have been erected outside the church, with the view of lengthening it, while the original west front stood at a point distant one bay from it. The new west wall seems to have been left unfinished for a considerable time, the upper part of the west front having, from its style, evidently been built at a much later period than the doorways. When the new west wall was completed, the old west front would be removed. This necessitated the building of the westmost pair of piers. While this operation was in progress, the next pair of piers and arch above have yielded, and the piers remain much inclined to the west.

Fig. 242.—Kirkwall Cathedral. Interior of West Doorways.

The three west doorways and that in the south transept are specially remarkable from their presenting probably the finest examples in Great Britain of the use of coloured stones in the construction. This is chiefly observable in the exterior, but is also carried out in the interior of these doorways ([Fig. 242]). The north doorway ([Fig. 245]) and central doorway ([Fig. 244]) of the west front have the colours arranged in concentric rings in the arches, red and yellow alternating. In the south doorway ([Fig. 243]) the same colours radiate and alternate, and in the doorway of the south transept the red and yellow stones are arranged chequerwise. (See [Fig. 231.]) [Fig. 246] shows the plan of the central doorway.

Fig. 243.—Kirkwall Cathedral. Plan and Elevation of South Doorway of West End.

Fig. 244.—Kirkwall Cathedral. Elevation at Central Doorway of West End.

Fig. 245.—Kirkwall Cathedral. Plan and Elevation of North Doorway of West End.

The shafts have all been detached, as shown in the plans. They have been renewed; but, as Sir H. Dryden suggests, no doubt correctly, they were probably at first in red and yellow stone alternately.

The caps have been very elaborately carved with foliage, which is now much decayed. It looks later than the enrichments of the arches, which consist of early ornaments, such as the dog-tooth and chevron, much undercut. These enrichments, and the foliage which ran up the jambs of the doorway, are now greatly decayed, especially the portions carved in the yellow stone. In the case of the south transept doorway, the stonework, which is much wasted, has been roughly repaired with cement. The central doorway has five orders of mouldings, and the north and south doorways four orders. The south transept doorway has also four orders.

Fig. 246.—Kirkwall Cathedral. Plan of Central Doorway of West End.

Notwithstanding the damage they have sustained, these doorways are still amongst the most charming portions of the edifice; and, as regards the coloured decoration of their masonry, they stand almost alone in this country.

In the interior the west doorways and responds of piers ([Fig. 242]) are constructed with alternate bands of red and yellow stone, and the sconsion moulding is enriched with a ball ornament. The sconsion of the doorway of the north nave aisle has a similar enrichment, showing that it must have been restored at a late date, as already mentioned.

The buttresses between the west doorways are, so far as original, also carried up in alternate red and yellow courses. (See [Fig. 241.]) 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 in the beginning of the seventeenth century. A crozier is added to the shield in connection with the lands of the see. (See enlarged sketch in Fig. 244.)

The upper part of the west front is of late construction, having probably been carried out when the two west bays of the nave were built. These bays, as above mentioned, were added to the cathedral at a late period, and are almost entirely built with red freestone. The piers are designed in imitation of the old nave piers, but the caps and bases have different mouldings, and the plinth of the base is round, while that of the older bases is square. (See [Fig. 242.])

The triforium and clerestory are also constructed in imitation of the older parts of the nave. The three west bays of the nave and two bays of the aisles remained without vaulting till they were covered with the present wooden vaults, when the building was repaired by the Government in 1848.

The aisle windows in these bays are narrow, and have trefoiled cusped heads, being the only cusping in the cathedral (see [Fig. 236.]), except those in the large round windows.

The parapet of the north side of the nave is evidently a very late piece of work. It is supported on large trefoil ornaments, or inverted fleurs-de-lys, cut square into the wall, without chamfer or moulding. (See [Fig. 236.])

This ornament extends along the six eastmost bays of the nave, the two westmost bays having a plain parapet on the same level. On the south side of the nave the aisle wall has been raised with red ashlar (like the choir south wall), and an ordinary parapet placed above it.

The buttresses in the west part of the north side of the nave are of a late pattern, with two set-offs, and those on the south side of the nave have been repaired and altered.

In the south side of the nave a new exterior doorway (see [Fig. 238.]) has been substituted for the old Norman doorway, the shafts and arch of the latter remaining in the interior. The new doorway is said to have been inserted by Bishop Reid in the sixteenth century. This is the same Bishop whom we meet with as Prior of Beauly and Abbot of Kinloss (q.v.)

The doorway has the late form of a three-sided arch, and the mouldings are those common at the period (sixteenth century). In the centre of the lintel is the shield for a coat of arms, now obliterated, but a mitre is still traceable. A benitier adjoins the doorway, and there seems to have been a wooden porch or awning over it.

The tower over the crossing (see [Fig. 230.]) has been considerably operated upon in modern times. The old wooden spire was destroyed by lightning in 1671, and the tower consequently required repairs. The parapet and pinnacles are modern, as also the pointed and slated roof; but the lower part seems to be of considerable age (see Section, [Fig. 227.]). The part within the roof of the church is apparently of transition date, and the upper part, with the large pointed windows, is probably of fifteenth century work.

An unusually wide wheel stair leads from the north-west and south-west angles of the transept to the upper parts of the edifice. These stairs are connected with passages which circulate all round the clerestory and triforium in the thickness of the walls ([Fig. 247]), and give access to every part of the building. They also pass round the tower at each story, and are connected with small wheel stairs in the angles, by one of which access is obtained to the roof.

There would appear to have been, at one time, numerous fine monuments in the cathedral, but they have all disappeared.

An arched recess, with a gablet over it, in the south nave aisle (see [Fig. 237.]) is now empty, but is supposed, by Sir H. Dryden, to have been erected for some member of the family of the Strathernes, Earls of Orkney.

The altar tomb of Bishop Tulloch, who died soon after 1455, stood between the two eastmost pillars of the choir. It was a handsome erection, and appears to have had a canopy, but not a fragment now exists. A stone cist was discovered between the two east piers of the choir (north side) during the repairs in 1848. It contained a skeleton doubled up, and an ivory crozier and a plate of lead inscribed, “Hic requiescit Wilialmus senex felicis memorie,” and on the back “primus episcopus.” Bishop William the old died in 1168. The cist and bones were carted away with the rubbish in 1856, but the ivory staff handle and the lead plate are preserved in the Museum of the Society of Antiquaries at Edinburgh.

Numerous slabs, with inscriptions of the seventeenth century, have been erected against the nave walls.

At one time the cathedral possessed some fine specimens of woodwork. The canopy over the Bishop’s throne (shown by Billings) has now disappeared.

The alms dishes, which are of brass, 2 feet 5 inches diameter, are of Dutch workmanship of the seventeenth century. They are large and fine of their kind.

The tower contains four bells. Three of these were given by Bishop Maxwell. The great bell (3 feet 5½ inches diameter and 2 feet 9 inches high) has, on a raised shield, the Bishop’s arms, a saltier, with annulet in centre, and under it “NLTAS.” Also the following inscription:—“Made by Master Robbert Maxvell, Bischop of Orkney the yaer of God MDXXVIII the year of the reign of King James the V., Robert Borthwik made mein the castel of Edinbrugh.” There is also in a medallion, containing in seven lines, the following:—“Taken et brought againe heir by Alexander Geddus marchant in Kirkwa and recasten at Amsterdam Jully 1682 years by Claudius Fremy city bell caster. It weighs 1450 P.” On a medallion, a figure with a sword, and, under it SCT MAGNVS. The latter inscription shows that this bell was sent to Amsterdam

Fig. 247.—Kirkwall Cathedral. Plan at Level of Clerestory.

to be recast, which was required, in consequence of a crack or rift having occurred in it.

The second bell (3 feet 1 inch diameter and 2 feet 5 inches high) bears the following inscription in black letters:—“Maid be maister robert maxvell bischop of Orknay in ye secund yier of his consecration in the zier of god Im Vc XXVIII zeiris ye XV zier of ye reign of King James V.” On a medallion is a figure with a sword, and, under it, “Sanctus Magnus.” Below, “robert borthvik.” Also, on a medallion, the arms of Scotland, and on another, the arms of Maxwell, and on another part, “Ihs.”

The first bell is 2 feet 9 inches diameter and 2 feet 5 inches high. The inscription, in black letters, raised in three lines, is, “Maid be maister robert maxvel byschop of Orknay, ye secund zeir of his consecration ye zeir of gode Im Vc XXVIII zeirs ye XV zeir of Kyng James y V. be robert borthvik maid al thre in ye castel of Edynbrugh.” There are also, on a medallion, a figure of St. Magnus, on a shield the arms of Maxwell, as before, and on another part, “Ihs.” Robert Borthwick, above mentioned, was master gunner to King James IV.

The fourth bell is small (1 foot 8 inches diameter and 1 foot 4 inches high), and is not hung. (See description of St. Magnus by Sir Henry E. L. Dryden, Bart.)

The fabric of the cathedral does not appear to have suffered at the time of the Reformation, but in 1606 an attempt was made by the Earl of Caithness to destroy it. This happened during the rebellion of E. Patrick Stewart, who had taken possession of the Tower, and used it as a place of strength. The demolition was, however, prevented by the intervention of Bishop Law.

The building would appear, in 1701, to have received very improper usage at the hands of the Town Guard, who occupied it as a public place, shooting guns and “drinking, fiddling, piping, swearing and cursing night and day” within the church, and so rendering it unfit for public worship. Great repairs were required in the early part of this century, and the Government, under the belief that the cathedral was Crown property, expended a good deal of money in putting it in good condition in 1848. It was afterwards discovered that the building belonged to the town, when the local authorities took possession of it and replaced in the choir the galleries which had been removed. The choir still continues to be used as the parish church.