This importation of foreign artists may perhaps account for some of the exceptionally good examples, especially in connection with places favoured by royalty; but a good deal of time would necessarily elapse before such work could become general. Hence the revival was limited, while the architecture generally gradually deteriorated or changed to Renaissance.

The monument of Bishop Kennedy, in St. Salvator’s, St. Andrews (a design undoubtedly superior to the general Scottish work of the period), is probably a French example, both in design and execution.[3]

Mr. Chalmers lays stress on the influence of Queen Margaret’s marriage to James IV. as probably having produced some of the imitations of English perpendicular work found at Melrose and Linlithgow, and this may possibly have been the case.

In a review of Vol. II. in the Glasgow Herald attention was drawn to an error in the description of St. Andrews Cathedral (p. 31), where the restored illustration (Fig. 453) shows a single central shaft in the windows of the chapter house, instead of two coupled shafts. The shafts are gone, but the two bases are still traceable.

We have to thank the numerous clergymen, proprietors, custodians, and others, to whom it has been necessary to apply for permission to visit the various churches, for their assistance, which was always freely given. Our acknowledgments are also due to those gentlemen who have kindly continued their contributions to our work in the form of drawings and descriptions of churches, especially to Mr. T. S. Robertson, Dundee, and Mr. William Galloway, Whithorn. Mr. R. Weir Schultz, London; Mr. John W. Small, Stirling; Mr. F. R. Coles, Edinburgh, and others have also been good enough to furnish us with several drawings and descriptions for this Volume, as is noted in the text.

To the Librarians of the Advocates’ Library and the University Library of Edinburgh, and the Keeper of the National Museum of the Antiquaries of Scotland, we are greatly indebted for their valuable assistance.

We desire, further, to express our obligation to Mr. Alexander Ross, architect, Inverness, and Mr. R. Bruce Armstrong, for permission to use illustrations from their published works; and to Mr. W. Rae Macdonald, Edinburgh, and Mr. R. C. Walker, Dundee, for their aid in connection with the heraldry of the buildings and monuments.

Edinburgh, October 1897.

CONTENTS.

PAGE
Third or Late Pointed Period—Gradual transition from Middle Pointed Style—Inferior, but peculiarly Scottish—Middle Pointed buildings large and complete—Large Late Pointed examples, chiefly restorations and collegiate, and designed as single chambers without aisles—Some designed as cross churches, but often unfinished—Characteristic features—Eastern three-sided apse and pointed barrel vault, with stone roof—Groins avoided, and contrivances in lieu thereof—Windows low—Surface vaulting instead of ribs generally used, but ribs sometimes applied to surface—Examples—Stone roofs carefully wrought—Independent invention—Examples of groined vaults—Decorated barrel vault, and straight arches at Rosslyn—Forms of buttresses, pinnacles, windows, tracery, &c.—Influences of Late English and French Gothic—Doorways, porches, arms, central towers—Monuments—Figure carving—Sacrament houses and smaller features well executed, perhaps the work of French artists—Collegiate churches spread over the whole country—Parish churches converted into collegiate churches,[1-7]