Poor Gelert’s dying yell!
ART STORIES.
Art has parallel stories of a tragic nature. In the
Chapel proud
Where Roslin’s chiefs uncoffined lie,
Each baron, for a sable shroud,
Sheathed in his iron panoply,
stands an exquisite example of Gothic tracery-work, known as the Apprentice’s Pillar, neighbored by corbels carved with grim, grotesque human faces. How it came by its name may best be told as the old dame who acted as cicerone at the beginning of the present century used to tell it.
“There ye see it, gentlemen, with the lace-bands winding sae beautifully roond aboot it. The maister had gane awa to Rome to get a plan for it, and while he was awa, his ’prentice made a plan himsel, and finished it. And when the maister cam back and fand the pillar finished, he was sae enraged that he took a hammer and killed the ’prentice. There you see the ’prentice’s face—up there in ae corner wi’ a red gash in the brow, and his mother greetin’ for him in the corner opposite. And there, in another corner, is the maister, as he lookit just before he was hanged; it’s him wi’ a kind o’ ruff roond his face.”
In the same century that the Prince of Orkney founded the chapel at Roslin, the good people of Stendal employed an architect of repute to build them one new gate, and entrusted the erection of a second to his principal pupil. In this case, too, the aspiring youth proved the better craftsman, and paid the same penalty; the spot whereon he fell beneath his master’s hammer being marked to this day by a stone commemorating the event; and the story goes that yet, upon moonlight nights, the ghost of the murdered youth may be seen contemplating the work that brought him to an untimely end, while a weird skeleton beats with a hammer at the stone he wrought into beauty.