chapels, if any such formerly existed on the east side of the transept (which, however, does not seem to have been the case), have now entirely disappeared. The south wall of the south transept (see [Fig. 547]) is especially interesting from its containing the oldest architecture in the cathedral. The various features all show that it belongs to the period of transition from Norman to first pointed, which in Scotland occurred about the beginning of the thirteenth century. The forms of the buttresses and the introduction of the pointed lancet windows below the circular arches on the upper floor show that the first pointed style was making rapid progress, while the circular arches of the upper windows and the Norman ornaments inserted in the pointed doorway of the south transept show some lingering remains of the earlier style. Perhaps the transition in this northern region may have taken place at a later period than in the south; and, to judge from the transition style here employed, which in a more southern situation would indicate a date about 1200, this part of the structure may have been erected immediately after the foundation of the cathedral in 1224; or the transept may have formed part of the original Church of the Holy Trinity, which was superseded by the cathedral. The transept would be of great size for an ordinary church, but would accord well with the dimensions of an edifice intended for a cathedral.
The style of the western towers (see [Fig. 544]) indicates an early date, being all of early first pointed work in every detail. The great western portal ([Fig. 549]), with its surmounting gablets and side niches, is also in the first pointed style. The nine circular shafts of the ingoing, with their round moulded caps and bases and simple cavetto between, and the mouldings of the deep bay of the principal arch, are of fine first pointed character. The arch head comprises amongst the boldly cut mouldings four rows of dog-tooth ornament, and one order formerly enriched with a finely undercut and foliaged ornament, now almost obliterated. This doorway is evidently in a later style than the towers, although still belonging to the first pointed period.
An elegant first pointed gallery ([Fig. 550]) likewise runs round the interior of the west wall over the doorway. The inner portions of the western portal, i.e., the two smaller arches and tympanum within the great arch, are of later date. This is quite apparent from the nature of the enrichments, which indicate the fifteenth century. The ornaments are numerous and consist of imitations of natural foliage, the jambs and arches are continuous and without caps, and the arches are surmounted by crockets, all signs of decorated work. The vesica over the central mullion has, doubtless, contained an image of the blessed Virgin, and on either side is an angel kneeling and throwing the censer.
The great west window over the portal (see [Fig. 544]), which was formerly filled with tracery, is also of later date than the portal, every feature being of a decorated character. The tracery has apparently contained a large circle or rose form in its design, and has corresponded in style with the tracery which latterly filled the eastern circular light. This part of the building was probably erected in the earlier part of
Fig. 550.—Elgin Cathedral. Interior of West End.
the fifteenth century. The arms of Dunbar and the royal arms are observable on shields above the arch, and the former may stand for Bishop Columba Dunbar, under whom it may have been erected (1422-35). During the fifteenth century great additions and alterations were, doubtless, carried out in consequence of the restoration required after the destruction caused by the “Wolf of Badenoch” in 1390. These extended chiefly to the nave and chapter house, which were both to a large extent rebuilt. A contribution towards this restoration appears to have been made by Robert III. in 1390, in the form of an annuity during the king’s pleasure; and in 1408 the revenues of the see, while vacant, were granted to the work.[51]
The nave appears, from the plan of the main piers (see [Fig. 543]) and the style of the responds against the west towers (see [Fig. 550]), to have been originally of first pointed work, and to have corresponded with the style of the choir, having no triforium, but a lofty clerestory with passage in the wall similar to that of the choir. Slezer’s view, taken before the destruction of the tower and nave in 1711, shows the clerestory of the nave complete, as above described. The arches of the windows are drawn as if circular, but this is evidently a mistake, those of the choir, which still survive and are pointed, being also drawn as if of circular form. The smaller piers of the outer aisles are evidently much later in style. The outer aisles would appear to have been the result of an alteration made apparently at an early date. Some fragments of the south aisle wall and south porch are apparently of first pointed style, but the outer aisles were undoubtedly restored in the fifteenth century. This is apparent not only from the style of the piers, but also from other indications. Thus, from the water table of the aisle roof against the north-west tower, it is evident that the roof has originally been of the simple shed form usually employed to cover a single aisle; while a second water table or groove has been formed to receive the span roof of the outer aisle. The small portion of the south wall of the nave which survives also confirms this view, as the form and ornament of the traceried windows ([Fig. 551]) assign them to the middle pointed period. The mode of junction of the outer aisles with the western towers also shows that the former were afterthoughts, as they project beyond the outer face of the tower wall in an awkward manner (see Plan). The junction of the south wall with the transept further indicates that the position of the former has been altered, as the lower part of a buttress has had to be cut away to make room for it, and the upper part of the buttress is left unsupported in mid-air (see [Fig. 551]).