Of the former period abundant illustrations exist in the almost prehistoric examples of Celtic structures of early Christian recluses, together with specimens of round towers and innumerable sculptured memorials and crosses, somewhat similar to those found in Ireland. These indicate the intimate connection which formerly existed with that country, whence Scotland derived her name, as well as her early instruction in religion.
The round towers and sculptured monuments are followed by primitive examples of Norman work, pointing to the direction from which the later phases of religious and artistic development in the country took their origin. The Saxon and Norman influence of the eleventh century 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 countries of Europe in the twelfth century. Of this new departure the signs are still visible in the numerous remains of Norman structures which are spread over the country. These consist chiefly of small parish churches, but they also include some large and elaborate buildings, almost entirely monastic, and one cathedral.
The succeeding Gothic styles are also well represented in Scotland, and include a great variety of churches, monasteries, and cathedrals. These exhibit many fine examples of the various styles of Gothic art, and, although comprising certain local peculiarities, show a general correspondence with the arts of the different periods in France and England.
The “first pointed” style is fully 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 comparatively small.
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.
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 Early English influences are clearly traceable up to the invasion of Edward I., and the political and commercial connection with France and the Netherlands is distinctly observable in the period of the Jameses.
Till comparatively modern times the early history of Scotland was involved in obscurity, but much light has within recent years been thrown upon it by the works of Robertson, Skene, and others. The religious and political conditions of the country have now been placed upon a reliable historical basis, while its archæology has been expounded in the works of the late Sir Daniel Wilson, and those of Dr. Joseph Anderson and Mr. J. Romilly Allen. The numerous prehistoric monuments of Scotland have been collected by the late Dr. John Stuart, in his great work on the Sculptured Stories, and the Sepulchral Slabs of the West Highlands have been beautifully illustrated by the late James Drummond, R.S.A.
A wide field has been explored through the patient and devoted labours of the late T. S. Muir, by his searching out the architectural fragments scattered over the land, and especially by bringing to light many unknown examples of the retreats and primitive oratories of the early Anchorites which still exist in the remote and in many cases uninhabited islands of the West. Similar explorations have been accomplished by Sir Henry Dryden in Orkney and Shetland, and by Captain White and Captain Thomas in Kintyre and the Hebrides. To all these authors we are indebted for much valuable information and guidance, as will appear in the following pages.
The structures and monuments of the early Celtic inhabitants of Scotland have formed the special subject of careful investigation by Dr. Joseph Anderson, and the exposition of the history of the remarkable and previously mysterious Sculptured Stones has been successfully accomplished by him in his lectures on Scotland in early Christian times. In these lectures he has not only clearly explained the origin and significance of these monuments and their order of succession, but he has extended his view over the whole field of Celtic culture, both in this country and in Ireland, and has explained the relations of its different phases to one another, thus disclosing the unity and beauty of that remarkable and independent development of art culture which existed in these countries from the sixth to the twelfth centuries.
We have also the benefit of Dr. Reeves’ and Dr. Petrie’s well-known works on Irish History and Archæology, and the magnificent volumes of Lord Dunraven on Early Irish Architecture, so ably edited by Miss Stokes. In the following introductory sketch of the Early History and Artistic Development of Scotland, free use has been made of the above and other works, in order to place before the reader a continuous account of the religious and artistic progress of the country from the earliest dawn of Christianity till the great Revolution of the sixteenth century, which severed the connection between mediæval and modern times.