THE ECCLESIASTICAL ARCHITECTURE
OF SCOTLAND
FROM THE EARLIEST CHRISTIAN TIMES TO THE SEVENTEENTH CENTURY.

THE
ECCLESIASTICAL
ARCHITECTURE
OF SCOTLAND
FROM THE EARLIEST CHRISTIAN TIMES TO THE
SEVENTEENTH CENTURY

BY
DAVID MACGIBBON AND THOMAS ROSS
AUTHORS OF “THE CASTELLATED AND DOMESTIC ARCHITECTURE OF SCOTLAND”
VOLUME THREE

EDINBURGH: DAVID DOUGLAS
MDCCCXCVII
All rights reserved.

PREFACE.

In issuing the concluding Volume of this work, we take the opportunity to notice some points in the previous portions which have given rise to discussion.

In Vol. I. p. 297 we express disagreement with Mr. W. Galloway’s opinion regarding the age of the chancel walls of St. Blane’s, Bute. Mr. Galloway having asked for an opportunity of defending his views, we have pleasure in publishing his observations in the Appendix to this Volume.

Reference is made in Vol. II. p. 172 to Mr. T. L. Watson’s theory regarding the vaulting of the lower church in St. Mungo’s Cathedral, Glasgow. Having recently had the privilege, on the invitation of Mr. P. Macgregor Chalmers, of attending a meeting on the spot, when the usually obscure edifice was well lit up, and when it was shown by Mr. Chalmers that the points on which Mr. Watson based his opinion were untenable, we see no reason to believe that the beautiful design of the vaulting and the plan of the shrine were ever intended to be carried out in a mode different from that in which they are executed.

When treating of Melrose Abbey (Vol. II. p. 378) we ventured to criticise the views expressed by Mr. Chalmers in his work, A Scots Mediæval Architect. As Mr. Chalmers has been kind enough to approach us directly, taking exception to our remarks, we are glad to afford him, in an Appendix to this Volume, the opportunity he desires of stating his defence of his views.

Mr. Chalmers has done good service in drawing attention to some examples of Scottish mediæval architecture of a late date, which show a remarkable revival in point of design when compared with the general architecture of the country at the time.

From the series of examples given in this Volume there can scarcely be any question as to the gradual deterioration of ecclesiastical architecture which occurred generally throughout Scotland during the latter half of the fifteenth and the first half of the sixteenth centuries, and it is certainly surprising to find some exceptionally good work in a few structures of that period. Amongst these is the aisle of Car Fergus, in Glasgow Cathedral, the vaulting of which building is of about the date of 1500, as is evident from its containing several specimens of Archbishop Blacader’s arms. The work is not all equal, but the vaulting has the groining (a rare kind of construction in Scotland at the period) well executed, and the bosses show a wonderful amount and variety of design. Some of the latter (such as that in the illustration kindly supplied by Mr. Chalmers in the Appendix) are admirable.

Mr. Chalmers has brought forward a considerable amount of evidence regarding the rood screen in St. Mungo’s, which point to its being an exceptionally fine specimen of late pointed work. The vaulting and some other portions of the presbytery of Melrose Abbey are also classed by Mr. Chalmers in the same category.

The subject is an interesting one, and all students of Scottish architecture must feel indebted to Mr. Chalmers for drawing special attention to it. We trust the point will be further investigated.

There is one consideration connected with this revival to which we would draw attention, viz., that mentioned in the text (Vol. III. pp. 6 and 7) that a certain excellence in the carving and the design of the smaller features of the architecture observable in the later work may have been due to the foreign artists introduced at the time. We might, in view of the above circumstances, have given this remark a wider scope, so as to apply to such works as those above referred to and similar examples.

There is abundant evidence in the Exchequer Rolls that French master-masons were employed by James IV. and V. Thus the Merliouns,[1] a distinguished family of French master-masons, were in the royal service at Stirling in 1496, and members of the family are found at Linlithgow, Dunbar, Ravenscraig, Perth Church, &c. Latterly the king’s French master-mason became a regular court appointment, and the office was held by several Frenchmen.[2]

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.

CHURCHES OF THE SIXTEENTH AND SEVENTEENTH CENTURIES.

The following churches of this period are arranged in alphabetical order:—

THE ECCLESIASTICAL ARCHITECTURE OF SCOTLAND
FROM THE EARLIEST CHRISTIAN TIMES TO THE
SEVENTEENTH CENTURY.
V O L U M E I I I.

THIRD OR LATE POINTED PERIOD.

In passing from the Middle Pointed to the Late Pointed periods in Scotland, we do not find any distinct break in the style of architecture such as exists between the First and Second Pointed periods. The middle pointed style passes by gentle gradation into the late pointed style, and there is some difficulty in fixing the period when the one ceases and the other begins. When buildings such as Melrose Abbey and Lincluden College are compared with Dunglass, Corstorphine, and other collegiate churches of the late period, the difference of style is very apparent, and it is at once seen that these edifices belong to different categories. But between such examples as Haddington Church and Paisley Abbey the distinction of style is not at first sight so striking. It is only when the whole character of the architecture is considered that it can be determined to which category each structure belongs. Although the line of division is thus to a certain extent arbitrary, there are some characteristics of the third pointed period which are peculiar to it, and render it a distinct and well marked epoch. This period, although inferior in many respects to those which preceded it, yet comprises more than any other certain elements which give it a claim to be considered peculiarly Scottish and national.

Many of the structures described in Vol II. as belonging (in part at least) to the decorated period bear some resemblance to those of the same style in England. These edifices are mostly of considerable size, and contain all the usual divisions of choir, nave, and transept, nearly always with aisles. They are also generally vaulted with groined vaults, having wooden roofs above the vaults. The details of the buildings are likewise of similar character in both localities.

As in the preceding period, the large churches of the third pointed period in Scotland are nearly all restorations. No new churches of great size were undertaken. Some of the older large churches which had been damaged were reconstructed, but the new churches erected were almost entirely confined to parish or collegiate structures. The largest new church is that of Trinity College in Edinburgh, founded by the widowed queen of James II. Only a few of the larger of these churches have aisles, and are roofed with groined vaulting.

Most of the new edifices of the late pointed style in Scotland differ from those in England in many particulars. The Scottish churches are, as already stated, usually smaller in size, and consist of single compartments without aisles. Although frequently designed as cross churches, with choir, nave, and transepts, they are rarely finished, the choir or the choir and transepts being often the only portions carried out. The east end frequently terminates with a three-sided apse. This feature is almost entirely characteristic of the late pointed period. It undoubtedly owes its origin to the Scottish alliance and intercourse with France. But the leading and distinguishing feature of our late pointed style is the vaulting, the pointed barrel vault being almost universally employed. We have seen that a pointed barrel vault was used at Lincluden and Bothwell collegiate churches. It was, however, in the later edifices, after the middle of the fifteenth century, that that form of vault came into general use. This kind of arch was of simple construction, and was much employed in the castles of the period, being found convenient—first, because it was of easy construction; and second, because it could conveniently carry a roof composed of overlapping stones. This style of roof had the double advantage of being fireproof, and in the case of the castles, where it was often kept flat, of forming a platform from which the defenders could operate.

It has already been pointed out[4] that many features of domestic architecture were at this time imported into ecclesiastical architecture, and the above feature of the pointed barrel vault carrying a stone roof is the first and most important.

In carrying out this kind of vaulting in churches, several difficulties were encountered and had to be overcome. The most serious of these difficulties was the junction of the transepts, or side chapels, with the choir and nave. In the earlier Gothic churches this was managed by running the vault of the transepts or chapels into that of the nave, and forming a groin at the intersection. But the peculiarity of the late Scottish churches is that they carefully avoid all groins and intersections of arches. The junction of the vaults at the above intersections is, therefore, managed by a special contrivance, viz., by keeping the barrel vaults of the transepts or chapels quite apart from those of the central nave, the side vaults being stopped on gables carried up on arches in the line of the main side walls to receive them. The main nave vault is thus carried throughout the whole length of the central nave without a break, and where the opening into the transepts or chapels occurs, the main vault rests on an arch thrown across the side openings in the line of the main walls, and at a level below the springing of the main vault. The outer stone roofs of the transepts are also kept independent of that of the central nave, and do not mitre into it.

The windows of these churches, which have nearly always pointed arch-heads, are necessarily placed at a low level, so as to allow the point of the arch-head to come beneath the spring of the main vault. This is done so as to avoid even a small groin, such as would be required if the window arch-head were carried up into the main vault. The object is two-fold—first, to escape the difficulty of the intersection of the vaults; and second, to avoid the small gablets over the windows and the small stone roofs and valleys which would be required at the junction of these with the main external stone roofs. The above features are all well exemplified at Ladykirk, Seton College, Corstorphine, and many other churches.

It should be borne in mind that the vaulting in England in the fifteenth and sixteenth centuries had also to some extent reverted to the plan of relying chiefly for strength on plain surface vaulting, and not on the ribs as in the earlier period. The example from Winchester Cathedral[5] helps to explain this. The intersection of the vaults is there very slight, and the numerous ribs introduced are almost all used ornamentally. This is also the case in the fan vaulting, so common in England in the fifteenth and sixteenth centuries, in which the ribs or tracery are applied as ornaments on the surface of the vaults.

Ornamental ribs are not uncommon in Scottish roofs. An early example, somewhat similar to that at Winchester, still exists over the presbytery of Melrose Abbey, where the intersection of the vaults is almost entirely abandoned, and numerous ornamental surface ribs are introduced. In later examples, however, the intersection of the vaults is completely given up, and any ribs employed are useless except as ornaments. Such are the roofs of St. Mirren’s Chapel, Paisley, and the choir of Seton College.

An example of the shifts the builders were put to in order to escape intersecting vaults may be seen in the apse of Stirling Church. In other examples, such as Dunglass and Queensferry, the nave, choir, and transepts have walls carried up on the four sides of the crossing, against which the pointed barrel vaults are stopped, and access is furnished to the various arms of the church by small archways like doorways in the walls. At Whitekirk the crossing is exceptional, having a groined vault; but the choir, &c., have pointed barrel vaults, which stop upon walls at the crossing.

In the case of the apse of Linlithgow Church the difficulty of the intersection of the apse with the choir vault was avoided by sticking on the apse against the east end wall, like a large bow window. This enabled the apse windows to be carried to a good height. Generally speaking the windows in the apse are very low, being kept down below the main arch, and admit little light, thus rendering the vault extremely dark, as, for instance, at Seton Church.

In most of the collegiate churches the barrel vaults supported a roof composed of carefully wrought flag-stones. These stones are arranged in courses, running from the eaves to the ridge, and every alternate course is higher than, and rests on, the edges of the intermediate courses. Each stone also overlaps the course which is below it in the slope of the roof. There is thus a considerable amount of cutting and fitting required, which is usually carefully executed. Sometimes each stone is hollowed in the centre, so as to carry the water away from the joints. The gutters are also wrought in stone on the same principle. Roofs of this description might evidently be made almost level, and in the case of many of the castles (as on the keep of Craigmillar Castle) that is done, and a platform for defence is thus created. In the churches, however, the stone roofs are usually pretty steep.

It is remarkable that this form of roof was a reproduction in Scotland, in the fifteenth century, of a fireproof form of construction which was much used in Provence in the eleventh and twelfth centuries. But in this country it was to all appearance an independent invention, as Provence in the fifteenth century was, architecturally speaking, very remote, and was cut off from Scotland by the intermediate styles of England and France.

It should be noted that the pointed barrel vault, although very general, was not universally employed in Scotland during the third period. One or two notable examples of well constructed groined vaults are to be found, such as the vaulting of Trinity College Church and that of “Blackader’s Aisle” in Glasgow Cathedral. But these are exceptions to the general rule.

In Rosslyn College we have the finest example of the late Scottish forms of vaulting carried out to their fullest extent, together with some exceptional designs. This church differs from most of the other collegiate churches in having side aisles, and also in having groined vaults in the east end. The plan of the latter portion of the building, being copied from the arrangement at the east end of Glasgow Cathedral, has been carried out with groining, in imitation of the original; but in the other parts of the structure the vaulting conforms to that of the third pointed period in Scotland. The main central roof is covered with a continuous pointed barrel vault without a break, except an ornamental rib over each division of the bays. The soffits of each panel of the arch thus formed are carved with stars, fleur-de-lys, and other enrichments. The side aisles are also covered with a series of pointed barrel vaults. Each of these aisle vaults forms an extension of the main pier arch of the choir, carried across the aisle at right angles to the main choir. The Scottish plan of avoiding groins is thus adhered to. The above arrangement of the aisle vaults also enables the aisle windows to be carried up to a good height. The barrel vaults across the aisles rest on flat arches (made to resemble straight lintels), which run between the caps of the main piers and the responds against the walls. The whole construction recalls that of a castle with a large central hall roofed with a barrel vault, and having a series of side chambers entering off it, each covered with its separate barrel vault running at right angles to the main building. If the partitions between these side chambers were removed, and plain arches or lintels substituted, the construction would be exactly that of Rosslyn Church. Such a series of chambers, with barrel vaults running at right angles to a passage, is of common occurrence in the ground floors of the Scottish castles. An exceptional feature connected with the main vault of Rosslyn Church is that the same stones which form the interior arch also form the outside roof—the usual overlapping stone covering being omitted, possibly to avoid the extra weight. The exterior of the roof is thus curved like the interior.

During the late pointed period many varieties of details were indulged in. The buttresses are generally somewhat stunted. They are plain and solid, and have often rather elaborate canopies and corbels for statues placed on the front of the buttresses, without recessed niches. The buttresses have frequently numerous set-offs, and are generally finished with stunted square pinnacles having crocketed finials. The windows are almost always pointed, and contain simple tracery derived from the earlier styles. The copying of the forms of the older styles is specially noticeable in the windows and traceries.

At Ladykirk, the unusual form of elliptical windows is introduced, probably in order to admit as much light as possible at the haunches. As above explained, there are generally no aisles, and the windows, being kept down below the springing of the main arch, are, as usual, low, and here leave on the exterior a high space of blank wall above them.

The above form of construction does not require or admit of a triforium and clerestory. At Rosslyn, where there are side aisles, the side walls of the choir are carried up so as to permit of clerestory windows. The tracery is almost always set in the centre of the wall, and the same mouldings, usually double chamfers, are repeated in the reveal both on the inside and outside.

Where the choir, nave, and transepts have square ends, there is generally a large traceried window carried up in the gable under the barrel vault of the roof, by which the principal light in the church is obtained.

The details of the late pointed churches in Scotland have comparatively little connection with the late work either in England or France, but some signs exist of importations from both these countries.

At Melrose Abbey, Linlithgow Church and Palace, and a few other places, there are distinct indications of the influence of the perpendicular style of England; while the French influence is traceable in the apsidal terminations of the choir and occasionally of the transepts, and in some approaches to Flamboyant tracery. The latter influence may probably have also led to the crown-like terminations of some of the church towers. On the whole, however, it will be found that the details of the Scottish late pointed period are peculiar to itself, and are principally founded on survivals and revivals of details of the earlier styles.

The doorways, for instance, are generally of the old, round-headed form, with late foliage and enrichments. The common English perpendicular doorway, with four-centred arch enclosed in a square frame, is never met with; and although elliptical or three-centred arches occur over doorways and windows, the four-centred arch-head is never used. Fan tracery vaulting is also entirely absent in Scotland.

Porches to doorways are occasionally introduced, as at Aberdeen Cathedral and Whitekirk; and smaller porches are formed by arches thrown between buttresses, as at Rosslyn and Trinity College Churches.

Coats of arms are very commonly carved on shields at this period, and are often useful in determining the dates of portions of the buildings, monuments, &c.

A tower is generally erected, or intended, over the crossing, and is carried on the four walls, which, as we have seen, were generally built in this position, in order to stop the four barrel vaults of the different divisions of the church. The towers are somewhat stunted, and they are usually finished with short, stunted spires, having a number of lucarnes, or small dormer windows, inserted in them. The latter feature was probably imported from France or the Low Countries, where similar dormers abound in late work.

Monuments are of more common occurrence than in the earlier periods. They are frequently placed in arched and canopied recesses, which are ornamented with crocketed labels and finials. The carving of the crockets and other foliage is, doubtless, founded on the conventional perpendicular foliage of England. This, however, is mixed with a considerable revival of carving, copied from older work.

The introduction of numerous small figures of men and animals is a peculiarity of the period generally, and is found both at home and abroad. Much of the carving of Rosslyn Church is of this description, and similar carving may be seen at Melrose Abbey and Stirling Castle, and on the rood screens in Glasgow Cathedral and Lincluden College. Elaborate figure carving is common in other countries at this period, as at Henry VII.’s Chapel, Westminster, and in the churches of France and Spain.

Richly carved sacrament houses, such as are occasionally introduced, are a further indication of the taste for minute sculpture which prevailed at this time. It is not unusual to find in late buildings that some of the smaller features, such as sedilias, piscinas, and heraldic work, are well designed and carved with much spirit. Perhaps some of this good carving may be due to the French masons who, we know, were numerous in Scotland during the reigns of James IV. and especially of James V.[6]

During the period now under consideration, the structures chiefly erected were, as already mentioned, either parish or collegiate churches. A considerable number of the latter were built and endowed by private founders during the fifteenth and sixteenth centuries. A list of the collegiate churches existing in Scotland at the Reformation is given by Dr. David Laing in his preface to The Collegiate Churches of Mid-Lothian.[7] They amounted, according to that list, to thirty-eight in number, and were spread over nearly every county in Scotland. Only two of these had been founded in the fourteenth century, the remaining thirty-six being all founded during the fifteenth century and the first half of the sixteenth century.

The structures connected with a considerable number of these college churches are more or less perfectly preserved, and these, as well as several others not mentioned by Dr. Laing, are described in the following pages.

Many of these establishments had previously existed as parish churches or chapels before they were enlarged and made collegiate, and endowed by the munificence of the founders.

PAISLEY ABBEY, Renfrewshire.

Paisley Abbey is fortunate in having found in the Very Rev. J. Cameron Lees, D.D., formerly one of the ministers of the parish, so able a historian. We are largely indebted to his work, The Abbey of Paisley, 1163-1878, for the following historical notices.

The Abbey was founded by Walter, son of Alan, the High Steward of Scotland, who had accompanied David I. from Shropshire, and received lands from him in Renfrewshire. Having resolved to follow the example of his patron, and found a monastery on his estate, Alan entered into an agreement with Humbold, prior of Wenlock Abbey, in the native county of his family, to establish at “Passelay” a house of the Cluniac Order of Benedictines, being the same order as the house at Wenlock. Humbold therefore, in 1169, brought thirteen monks from the parent house, and, having settled them in Renfrewshire on an island of the Clyde called the King’s Inch, returned to Wenlock. There would at that time appear to have been a very ancient church in existence at Paisley, dedicated to St. Mirinus, an Irish saint of the sixth century, who had been a disciple of the great school of St. Comgal at Bangor. A new monastery was now to supersede the establishment of St. Mirin, but the name of the ancient saint was preserved in the dedication of the abbey.

It was dedicated to the Blessed Virgin; to St. James, the patron saint of the Stewarts; to St. Milburga, the patron of the monks of Wenlock; and to St. Mirinus, the Celtic missionary of the locality. The monastery was at first established as a priory; but, in 1245, it was raised to the rank of an abbey by Pope Honorius III.

The establishment was well endowed, and during the first half of the thirteenth century it was thoroughly consolidated under Abbot William, who presided from 1225 to 1248. During the prosperous reigns of Kings Alexander II. and III. the church was erected, but of the work of that period (the thirteenth century) there remain only a portion of the west front and part of the south wall of the nave, including the south-east doorway to the cloister, and three windows. The structure appears to have suffered severely during the War of Independence. It stood in the vicinity of Elderslie, the lands of Sir William Wallace, and doubtless met with a similar savage treatment to that allotted to the patriot leader. It is stated to have been burnt by the English in 1307, and the burning would appear to have led to a very complete destruction of the edifice, as the portions of the original work which survive are very small.

The connection of the Stewart family with the abbey continued till, through the marriage of Walter with Margery, daughter of Robert the Bruce, the Stewarts succeeded to the throne. The earlier Stewarts were all buried in the abbey, which also contains the tomb of Robert III.

In consequence of the destruction of the monastery, caused by the wars with England, the buildings long remained, like other structures in Scotland at that period, in a dismantled condition; but gifts having been received from the Bishops of Argyle and Glasgow to aid the monks in their distress, and to assist in restoring the fabric, operations were begun. Part of this work was apparently carried out by Bishop Lithgow (1384-1433), who was buried, by his own desire, in the north porch, where the inscription to his memory is still preserved. The chief part, however, of the rebuilding of the Abbey Church was carried out under Abbot Thomas de Tervas (1445-1459). This abbot obtained the privilege of having a tavern and selling wine within the gates of the monastery, and is believed to have raised money thereby for the reconstruction of the church. According to the ancient chronicle of Auchenleck, he found the place in ruin and the “kirk unbiggit.” He carried up the triforium and clerestory, and finished the roof. He also erected a great portion of the steeple, and built a stately gatehouse. Having completed the building of the church, he proceeded to Rome, in order there to procure suitable furnishings, and brought back adornments of sumptuous character—jewels, cloths of gold and silver, precious books, the “statliest Tabernkle in al Scotland,” and “ane lettren of brass.”

During the fifteenth century many altars were erected and endowed by the burgesses, and the Chapel of St. Mirin, which occupies part of the site of the south transept, was erected in 1499, and endowed by James Crawford of Kylwynet, a burgess of Paisley, and his wife.

At the decease of Abbot Tervas, Pope Pius II. decreed that the disposition of the office of abbot and of the whole revenues of the monastery should fall to the Pope. A commendator thus came to be appointed, and the rights of the abbey began to be invaded. However, Abbot George Shaw (1472-1498) endeavoured to guard the possessions of the monastery from encroachments. He also succeeded in having the village of the abbey erected into a burgh, with the usual privileges. Abbot Shaw likewise improved the buildings of the abbey. He erected a refectory and other structures, and reared a lofty tower over the principal gate, and enclosed the grounds and gardens of the convent with a wall of ashlar, about one mile in circuit, and adorned it with statues and shields.

Abbot Shaw placed his arms on several parts of this wall, and in the middle of the north portion he inserted three shields—the central one bearing the royal arms; that on the right the Stewart arms, for the founder; and that on the left the abbot’s own arms. He also erected a tablet on the north-west angle, containing his name and the date of erection. Only a small portion of this wall remains, but the panels containing the royal arms and the inscription are preserved in the Coates Museum. The latter is as follows:—

“Ya callit ye Abbot Georg of Schawe
About yis Abbay gart make yis wav
A thousande four hundereth zheyr
Auchty ande fywe the date but veir
[Pray for his saulis salvacioun]
Yat made thys nobil fundacioun.”[8]

Mr. Chalmers[9] is of opinion that this inscription was designed by John Morow, whose name appears on a tablet at Melrose Abbey.[10] “The character of the lettering in design and workmanship is the same as at Melrose. The references to the building operations, the poetical form of the compositions, the manner in which the names are introduced—‘Callit was I,’ and ‘ye Callit’—and the devout expressions with which they close, make it clear that the inscriptions are the work of the same author.” Whether that is so, or whether the inscriptions simply reflect the style, both literary and artistic, of the period is questionable. In any case, the idea is ingenious. Mr. Chalmers points out that the fifth line, which is erased, was probably cut out by the Reformers, as being out of keeping with their religious views, while the remainder indicates the care with which the historically valuable part was preserved.

The days of Abbot John Hamilton (1525-1544), who became Bishop of Dunkeld, and was afterwards promoted to be Archbishop of St. Andrews, were evil for the monastery of Paisley, as for all other similar institutions in the country. When driven from St. Andrews, the archbishop sought safety at Paisley; but that house being sacked and burnt by the Reformers, he had to take refuge at Dumbarton Castle, where he was made prisoner, and afterwards executed at Stirling.

The Master of Sempill had been appointed bailie of the monastery, and, at the dissolution, the whole of the church property was handed over to Lord Sempill. The property finally came into the possession of Lord Claud Hamilton, nephew of the archbishop, and the monastic buildings were converted into the “Place of Paisley,” the residence of the Abercorn family.[11]

Before the Reformation the monastery consisted of the church, the cloister, and the conventual buildings. The church (Fig. [953]) comprised a long aisleless choir, a nave with aisles, a north transept, a south transept, with St. Mirin’s Chapel attached to the south of it, and a tower and spire over the crossing.

The choir can still be traced, as the walls remain standing to the height of 9 feet, and contain an elegant sedilia and piscina. The choir measures, internally, about 124 feet in length by 22 feet in width. It may be questioned whether the choir was ever finished during the restoration. The walls present rather the appearance of having been abandoned at a certain stage in the progress of their erection than of a building which had fallen into ruin. They stand at a uniform level, marked by a string course all round, and have not the irregular heights generally found in ruins. The building is of fifteenth century work, and doubtless occupies the place of an earlier choir, which had been demolished.

The wall at the east end of the nave, which separates it from the transept, is of a substantial kind, and may have been erected when the structure was restored in the fifteenth century, with the intention of rendering the nave a complete church, until the transept and choir were restored. The latter seems never to have been carried into effect, but to have been in progress when all work was interrupted by the Reformation.

There are no indications at the junction of the choir and transept of the large piers which would naturally be built so as to correspond with those at the west side of the crossing (Fig. [954]). The fine sedilia, although greatly mutilated (Fig. [955]), is the principal feature in the eastern part of the edifice. It is 11 feet 2 inches long, and contains four seats, contrary to the usual practice, which is to have three seats. The design is elegant, and resembles that of the sedilia at St. Monan’s, Fifeshire. Adjoining the sedilia is the piscina, the basin of which is broken, but the aperture is still visible. The recess, which has an angled head, slopes backwards.

Fig. 953.—Paisley Abbey. Plan.[12]

In this respect it resembles one at Auchterarder. On each side are two small recesses, about 12 inches wide, for holding the sacred vessels.

The north transept (see Fig. [954]) is in ruins, but the north wall, with the remains of a fine traceried window (Fig. [956]), still exists, as well as a traceried window in the west wall. These traceries were restored a few years ago. The mode in which the turrets at the angles above the buttresses are corbelled out recalls similar features at Dunkeld Cathedral. These turrets resemble the roofed bartizans of castellated structures.

Fig. 954.—Paisley Abbey. Junction of Nave with North Transept.

The south transept is also in ruins, and the tower and spire have disappeared. The Chapel of St. Mirin, however, is still well preserved, but the openings connecting it with the south transept have been built up.

The nave is the only part of the main divisions of the church which survives as a whole. It measures, internally, 92 feet in length by 60 feet in width, and contains six bays, divided by massive piers, all surmounted by a triforium and clerestory. There is a porch on the north side and two doorways from the cloister on the south side.

The oldest portion of the building is, undoubtedly, the eastern part of the south wall of the south aisle of the nave, where it adjoins the transept. This portion of wall consists of three bays (Fig. [957]), containing the south-east doorway from the cloister to the nave, and three pointed windows in the upper part. The doorway is of the transition style, having a round arch-head, with numerous bold mouldings springing from carved and foliaged

Fig. 955.—Paisley Abbey. Sedilia in Choir.

caps with square abaci (Fig. [958]). The windows above are very simple in style, and are apparently early first pointed work. This part of the building probably dates from the first half of the thirteenth century. The western portion of the south aisle of the nave (Fig. [959]) and the whole of the south clerestory (see Figs. [957] and [959])) are evidently portions of the restored church of the fifteenth century. The south aisle wall contains the south-west and south-east doors from the nave to the cloister. The windows of the south wall have the sills placed at a high level, so as to admit of the roof of the cloister walk being placed against it. The corbels which supported the roof still exist, and are shown in the sketches.

Fig. 956.—Paisley Abbey. Windows in North Transept.

Fig. 957.—Paisley Abbey. East Part of South Side of Nave.

The west end of the nave (Fig. [960]) is also in part amongst the ancient portions of the structure. The western entrance doorway is clearly, from the style of its architecture, a work of the thirteenth century. The doorpiece

Fig. 958.—Paisley Abbey.

South-East Doorway in Cloister.

A. Door Jamb.
B. Arch Moulding.

projects, and has a nook shaft on the projecting angles. The doorway is a single pointed opening, deeply recessed, with a series of free shafts in the jambs, having rounded and moulded caps, and the arch mouldings are arranged in square orders. The outer order contains a dog-tooth ornament. A sharply pointed arch flanks the doorway on each side, and has similar shafts and mouldings to those of the central opening. The aisle windows of the west front also belong to the first pointed period. The thin nook shafts, with moulded caps having round abaci and central bands, are all in the style of the thirteenth century.

The upper portion of the west front above the two large windows is undoubtedly of considerably later date. The design of the west front, which contains above the doorpiece two large windows, with pointed niches and small circles inserted between the arch-heads, is probably original, but the upper portion and gable, including the large traceried window, are doubtless part of the restoration of the fifteenth century. The tracery of the two central windows is peculiar, and may possibly be of the fourteenth century, but that of the large upper window is later, probably of the same period as the restoration of the interior of the nave. The tracery of the large upper window is a specimen of the late kind of design employed in Scotland in the fifteenth century. The change of style caused by the restoration of the fifteenth century is well marked in the interior at the west end of the nave. The first or western bay of the main arcade is original (Figs. [961] and [962]), including the first arches (one on each side), the first pillars and the arches between them, and the aisle responds. These pillars and arches are of large dimensions and first pointed section (Fig. [963]), and appear to have been designed to carry western towers, but a part of their thickness has been cut off next the choir. A portion of the triforium wall, a piece of the string course over the main arcade, and the corbelled vaulting shaft in the angle as high as the top of the triforium, are also parts of the original structure. The later work has been joined to the above old parts in a very awkward manner. The wall over the large pillars has been thinned on the side next the nave, and the different width and sections of the mouldings have not been properly adjusted, the result being that part of the older moulding is left at the springing of the second arch on the north side, and the mouldings of the later section are butted against it (see Fig. [961]).

Fig. 959.—Paisley Abbey. West Part of South Side of Nave.

Fig. 960.—Paisley Abbey. West End of Nave: Exterior.

Fig. 961.—Paisley Abbey. West End of Nave and Part of North Side.

Fig. 962.—Paisley Abbey. West End of Nave and Part of South Side.

There are signs of further alteration above the west arch. A clumsy new string course is introduced, which slightly changes its section after passing along half a bay. A second vaulting shaft is carried up in the

Fig. 963.—Paisley Abbey.

West Piers and Respond in Nave.

angle beside the original one as high as the triforium arch and there stops. The first triforium arch, which is pointed (all the others being round), abuts against the wall in an awkward manner (see Fig. [961]), the original design being changed.

The cap of the west pier on the north side belongs to the first pointed work, while the corresponding cap on the south side (see Fig. [962]) and all the other caps belong to the restoration of the fifteenth century. The above cap and all the later caps in the nave have the upper mouldings run in a straight line without any break, while the lower mouldings break round the section of the piers (Fig. [964]).[13] A moulded shaft, considerably off the perpendicular, rises from the top of the above cap to the string course at the junction of the old and the restored wall.

The piers of the nave, except the west piers, are of a clustered form not uncommon in late work in Scotland. The caps and main arches have good mouldings, and might be about the date of the restoration of St. Giles’, Edinburgh (which they resemble), in the early part of the fifteenth century.

The design of the triforium is very remarkable (see Figs. [961] and [962])), consisting of large segmental arches the same width as the main arches, springing from short clustered piers introduced between them. Each arch is filled in with two pointed arches resting on a smaller central shaft. These arches and the spandril between them are treated with bold cusping.

The triforium of the nave of Dunkeld Cathedral somewhat resembles that at Paisley Abbey. It contains a series of semicircular openings filled with similar pointed arches and cusping, but the work at Paisley is superior, and would appear to be the earlier of the two. In neither church is there any vaulting shaft to divide the bays.

The clerestory is probably designed in imitation of that of Glasgow Cathedral. It is divided into two pointed arches in each bay. These spring from a series of clustered shafts with round moulded caps, which have an early character, but are evidently late imitations of early work. The exterior views (see Figs. [957] and [959])) show that each clerestory window contains a central shaft, with two cusped arches and quatrefoil in the arch-head.

The parapets of the nave and nave aisles are evidently, from the style of the mouldings and ornaments, of late date.

There seems to be no reason to doubt that, as above stated, the upper portions of the nave were carried out about the time of Bishop Tervas, in the middle of the fifteenth century. The earlier part of the restoration, including the main piers and arches, and perhaps the tracery of the two lower windows of the west front, were possibly executed by Bishop

Fig. 964.—Paisley Abbey. Pier of Nave.

Lithgow, who built the north porch, and the completion of the nave was carried out by Bishop Tervas. A striking peculiarity of the interior of the nave is a series of large corbels (see Figs. [961] and [962])), which project from the spandrils of the triforium arcade. The object of these corbels appears to have been to enable a passage, which is formed in the interior of the clerestory windows, but does not run through the wall in a straight line from end to end as is usual, to be carried round the solid piers introduced between the windows. These projections recall, by the small corbels arranged in rows into which they are divided, the corbels generally used for the support of the bartizans of castles. Each of the large corbels springs at its lowest point from the sculptured grotesque figure of a man or animal. Dr. Lees states (p. 209) that these figures “were mostly the work of Thomas Hector, a sculptor who lived at Crossflat, and whom the abbot retained for his skill in his art.” One of the corbels on the south side (near the west end) represents a man wearing the garb of Old Gaul. It may be mentioned that a somewhat similar gallery exists in Rouen Cathedral. It is carried round the piers of the nave on the side next the aisles, and is supported on shafts springing from corbels. This gallery has a light stone parapet resting on it. The design is of the thirteenth century, and is elegantly carried out; but it has, notwithstanding, a rather heavy appearance. It must be admitted that the projecting corbels at Paisley are clumsy, and considerably mar the effect of the interior. There appears to have been a parapet in front of the clerestory passage opposite the windows, and a similar parapet may have been carried round the large corbels, otherwise walking round them would have been dangerous. This would add still more to the heaviness of their appearance. Vaulting shafts are carried up between the windows of the clerestory, but the buttresses being very light, a vaulted roof has apparently not been contemplated. The present plaster vaulting is modern. The north wall of the nave aisle, except the doorway of the north porch, which is of first pointed work, has been rebuilt in the fifteenth century. The ingoing of the window jambs and arches consists, both on the inside and outside of the wall, of a great hollow, with the tracery set in the centre of the wall. The large north porch (shown in Billings’ work) was taken down in 1863, in order to be erected anew, in what was considered a finer style. The porch contains the tomb of Bishop Lithgow, who selected this porch as his burial-place, and was interred there in 1433. Some of the tracery in the aisle windows is good for the period, like that in some of the windows of Dunkeld Cathedral, which building (as above mentioned) has considerable affinity with Paisley Abbey Church.

St. Mirin’s Aisle (Fig. [965]), as already pointed out, occupies the south end of the south transept, and was erected in 1499. It is a chapel 48 feet 3 inches long by 23 feet wide, having a vaulted roof about 32 feet 6 inches high. The main vault, like that of so many structures of the latter part of the fifteenth century, consists of a pointed barrel vault, the curve of which is drawn from a point lower than the springing of the arch, and thus forms an angle at the junction with the side walls. The surface of the vault is strengthened with a series of ribs, most of which spring from corbels in the side walls. The ribs are arranged so as to cross one another at the ridge, as if the roof were

Fig. 965.—Paisley Abbey. St. Mirin’s Chapel, looking East.

groined; but they are almost entirely ornamental. The mouldings of the corbels are well designed, and show an imitation of first pointed work. The corbels being at a lower level than the top of the wall, the ribs project considerably in passing that point. The ridge has a bold rib enriched with carved bosses, and one of the transverse ribs is divided into two branches, so as to avoid descending on the top of the large arch in the north wall. There is a large pointed window in the east end, having jambs with single shafts (like the clerestory of the church). It has mullions dividing it into four lights, and the arch-head is filled with good simple tracery. Beneath this window runs a frieze 1 foot 8 inches broad, partly carved, with groups of figures showing, as discovered by Dr. Lees,[14] events in the life of St. Mirin. The east end of the chapel, where the altar stood, is raised four steps above the western part. The west wall contains an outer doorway from the cloister court, and there is a window with simple tracery above it; a curious large ambry adjoins the door in the outer wall. The chapel was connected with the south transept by two wide archways, now built up. There is a piscina near the east end (Fig. [966]), with three-sided head, like that in the choir.

Above the vaulting of St. Mirin’s Chapel, and in the angle formed by the sloping roof, there is introduced a chamber, with a pointed barrel vault, about 12 feet wide and nearly 10 feet high, to the apex of its sharply pointed vault. The three sides of this chamber thus nearly form an equilateral triangle. Like the chapel below, it is 48 feet in length. It is lighted by trefoil headed windows in the gables. Access to this chamber, which may have been occupied by one or more priests, is obtained from the adjoining buildings. It is to be regretted that the south and south-east sides of St. Mirin’s Chapel are concealed from view by buildings of a poor description. It will be observed that the construction of the roof of St. Mirin’s bears considerable analogy with that of Lincluden Abbey, although later in its features. There is a similar double vault over both these buildings, with a small chamber between them. At Lincluden the lower vault was (if it ever was completed) of a genuine groined construction, while at St. Mirin’s the ribs were only imitative. The roof of St. Mirin’s Chapel was clearly intended to be formed of stone slabs, resting on the pointed arch, but has never been carried out, the present roof being slated.

On the floor of this chapel there now stands an ornamental altar tomb (see Fig. [965]), which was found lying in fragments near the abbey by Dr. Boog, one of the ministers of the parish, who, in 1817, had it brought here and put together again. It supports a recumbent female figure, believed to be the effigy of Margery, daughter of King Robert I., and mother of Robert II. The head of the figure is surmounted by a large cusped canopy, placed in n horizontal position, on the end of which is carved a crucifixion. The pedestal is covered with a series of Gothic compartments, in each of which there is carved a shield, enriched with heraldic blazons and figures of ecclesiastics. The panels at the west end (Fig. [967]) contain—the first the fess chequé of the Stewarts between three roses; the third the fess chequé, surmounted of a lion rampant, and the central one, two keys saltierwise, between two crosiers in pale.

Mr. Semple[15] is of opinion that the monument is made up of fragments from various quarters. On each side there are nine full compartments of

Fig. 966.—Paisley Abbey.

Piscina in St. Mirin’s Chapel.

an oblong or oval form, and one half compartment at each end. At the foot the compartments are empty. On the right side the 1st compartment contains a bishop with crosier; the 4th, a bishop at prayer, and, on a scroll, the name Robert Wyshart (Bishop of Glasgow). On the left, the 1st compartment contains a bishop celebrating, with the name Johes D. Lychtgow (Abbot of Paisley); the 4th, an abbot at prayer, with the name of Abbot Lythgow repeated. Several compartments contain monks at prayer, and others are blank. Mr. Semple thinks that the left side may be part of Abbot Lithgow’s monument, and the right side part of that of Bishop Wishart.

Of the cloisters and conventual buildings few traces remain; but the outline of the cloister court is preserved. It is surrounded (see Fig. [953]) with post-Reformation structures, occupying the site of the chapter house, refectory, &c. These were converted into the “place of Paisley,” as the residence of the Abercorn family, which has been already fully described.[16] These buildings probably contain portions of the walls of the refectory and other conventual structures erected by Abbot Shaw at the end of the fifteenth century. The western side of the cloister buildings was removed about twenty years ago, in order to widen the adjoining street. The wall, gatehouse, &c., erected by Abbot Shaw, have now almost entirely disappeared.

The cloistral buildings were much altered and added to in 1675 by the Earl of Dundonald, and fitted up as a mansion house, and they still bear traces of considerable splendour in panelled walls, with stone fireplaces and ornamental ceilings. One of the latter on the upper floor is a fine example of the plaster and painted decoration of the period.

Turning to the ground Plan, it seems highly probable that the walls are, in part at least, of pre-Reformation date, and that we have here

Fig. 967.—Paisley Abbey. End of Altar Tomb in St. Mirin’s Chapel.

part of the work of Abbot Shaw, who erected a refectory and other buildings at the end of the fifteenth century. It will be observed that the main wall of the south range, running east and west, is very thick (4 feet to 5 feet), while the outside wall, forming the south side of the cloister, is only about 2 feet thick. The latter was probably erected when the place became a mansion house, in order to form a passage, and thus obviate the necessity of passing through the rooms, while the thick wall was the original outside wall of the refectory or of cellars below it. The south wall of this building also probably consists in part of the south wall of the refectory, but the large windows in it are, doubtless, insertions.

The building marked as chapter house on the Plan occupies the position in which that chamber would likely be. It is now divided into two, and has lost all traces of its ecclesiastical purpose—one side being used as a bottling store and the other as a stable. There is a large fireplace in the north wall, of distinctly Gothic design. That is not a usual feature in a chapter house; but in the sacristy over the chapter house of Glasgow Cathedral there is a large fireplace. At Paisley, the arrangement may have been reversed. The vestry may have been on the ground floor and the chapter house above. This building is at present some five stories in height, the upper floors being reached by the wheel stair shown on the Plan. It is from this high building that the chamber over St. Mirin’s is reached, which is a fair indication that this chapter house tower, as it may be called, is as old as St. Mirin’s. The same stair also accommodates the refectory range of buildings on the south side of the cloister, which are three stories in height, and have another stair at the west end.

It is thought by some that the first central tower erected over the crossing was of inferior workmanship and gave way. Another central tower is believed to have been erected by Abbot Tervas. This tower probably fell during the siege by Lennox and Glencairn, no doubt destroying much of the choir and transept in its fall. It has been mentioned above that western towers appear to have been contemplated. Possibly it may be one of these to which Martine, when speaking of John Hamilton, Archbishop of St. Andrews, refers when he says, “At which church [Paisley] he built a prettie handsome steeple, which fell before it was well finished.”[17]

It is thought that the body of Archbishop Hamilton was buried in the abbey, and a tablet in the church looks as if it marked his grave. It contains his arms and initials, J. H., and “the motto he assumed, which contrasts strangely with his troubled life, ‘Misericordia et pax.’”

Several monuments with inscriptions of sixteenth century date exist in the building. On the west buttress of the north transept, at 21 feet in height, is the shield of the Stewarts, with a pastoral staff and the word “Stewart.”

One of the south piers of the nave is called the Cathcart pillar, having carved upon it a shield with the Cathcart arms (see Fig. [964]). This is believed to be a memorial of Sir Allan Cathcart, one of the knights who sailed for the Holy Land with Bruce’s heart. The heart was brought back by Sir Allan, and buried at Melrose.

DUNKELD CATHEDRAL, Perthshire.

Situated in the beautiful, though rugged, glen which forms the pass to the Highlands from the fertile lowlands of Perthshire, this grey and venerable ruin adds an unexpected and charming interest to the lovely scenery of the locality. The mountain range through which the pass penetrates long formed a barrier to the access of the Scottish kings to the Celtic provinces further north, and the nearness of the Highland clans was a constant source of menace to the Church. For that reason the bishop’s palace had to be constructed as a fortified stronghold; hence, perhaps, the name of Dunkeld, the fort of the Keledei or Culdees.

After the destruction of Iona by the Norsemen in the beginning of the ninth century, Dunkeld was selected by the King of the Picts as a secure place, remote from the sea, and comparatively safe from the attacks of the Vikings, in which a mother church in lieu of Iona might be established. To this retreat a portion of the relics of Columba were brought by King Kenneth Macalpine in 850, and here he resolved to place the abbot of his new monastery as bishop over the Church in the territories of the Southern Picts, with a view to the ready reorganisation of the Scottish monasteries, so that they should form one diocese under one bishop.[18]

But the primacy of the Pictish Church did not remain long at Dunkeld, being transferred in the end of the ninth century to Abernethy, on the south side of the Frith of Tay.

The abbots in those days had become great lay proprietors, having lawful wives, and succeeding to the benefices of their abbacies by hereditary descent. One of these lay abbots of Dunkeld married a daughter of Malcolm II., and it is remarkable that it was by their descendants that the religious order in Scotland was changed. The new order of things, which had been initiated by St. Margaret, was continued by her son, Alexander I., who, in 1107, created two new bishoprics in the more remote and Celtic portion of his kingdom, the first being that of Moray, and the second that of Dunkeld. Alexander I. also brought, in 1115, a body of canons regular to Scone Abbey, and a few years later he established the same order in the diocese of Dunkeld. He also, in 1122, introduced canons regular to a monastery he had built on an island in Loch Tay, and, in 1123, founded the monastery of Inchcolm, and introduced the same order there.[19]

The Cathedral of Dunkeld has been the see of several distinguished bishops. Bruce’s friend and supporter, Bishop Sinclair, held this see; and Gavin Douglas, the well-known scholar and translator of the Æneid of Virgil, was Bishop of Dunkeld.

The buildings which now exist are of much more recent date than the days of Queen Margaret’s sons. Alexander Myln, a canon of Dunkeld in 1505, and afterwards Abbot of Cambuskenneth and first President of the College of Justice, has fortunately left a history of the lives of the Bishops of Dunkeld, which professes to give a more minute account of the

Fig. 968.—Dunkeld Cathedral. Plan.

dates of the different parts of the structure of the cathedral than we have of any similar building in the country. From this account it would appear that the existing structure is chiefly of the fifteenth century.

The edifice (Fig. [968]) consists of an aisleless choir, a nave with two aisles, a north-west tower, and a chapter house to the north of the choir. The choir measures 103 feet long by 29 feet wide internally, and the rectangular chapter house attached to the north side is 27 feet long and 20 feet wide. Some portions of the choir indicate the style of the thirteenth

Fig. 969.—Dunkeld Cathedral. Wall Arcade at North-West Angle of Choir.

century; but this part of the structure was almost entirely rebuilt in the beginning of the present century. An original fragment may, however, still be observed in damaged portions of a first pointed arcade (Fig. [969]) in the interior of the north wall near the west end. The arcade is below the level of the window sill, and extends to six arches of trefoil form, springing from the carved caps of single shafts. All the details (Fig. [970]) are pure and good. A post to support a modern gallery cuts into the arcade, as shown in Fig. [969]. From the floor to the top of the caps measures 5 feet 9 inches. The choir is now fitted up and used as the parish church.

The chapter house, on the north side of the choir, is now converted into a mausoleum for the families of the Dukes of Atholl, and contains several Renaissance monuments. It is two stories high (Fig. [971]), the

Fig. 970.—Dunkeld Cathedral. Details of Wall Arcade in North-West Angle of Choir.

lower story being vaulted and of considerable height (Fig. [972]), and is lighted by tall lancet windows cusped at the arch head. The buttresses are simple, and the whole character of the work is early, but it has been altered. The vaulting (Fig. [972]) is round arched, but the wall ribs are pointed; the roof has thus a flat appearance, and there are no horizontal ridge ribs. The chapter house structure has been added after the erection of the choir, as is evident from the portion of the original exterior base of the choir which still exists in the south-west angle of the interior of the chapter house adjoining the door (see Fig. [972]). From the style of the design, this structure was probably an early addition. The upper

Fig. 971.—Dunkeld Cathedral. Chapter House from North-West.

chamber over the chapter house is doubtless later. The staircase leading to the upper floor is inserted in the south-west angle and projects into the chamber,[20] and cuts through the groined ceiling (see Fig. [972]).

The heightening of the chapter house was apparently carried out by Bishop Lauder, whose arms, a griffin segreant (Fig. [973]), are carved near the top on the face of the north buttress on the east side. The upper

Fig. 972.—Dunkeld Cathedral. Interior of Chapter House.

chamber has been lighted by small windows, which are now partly built up. The windows of the lower story have been fitted with wooden shutters on the inside, some of which are still in position (see Fig. [972]). At the doorway leading into the choir there is a curious small stoup cut on the base (see Fig. [972]).

Against the centre of the north wall there is a recessed tomb (Fig. [974]), which exhibits that peculiar kind of design, having mixed Gothic and Renaissance features, frequently found in the seventeenth century. It contains in the pediment a shield bearing—1st and 4th, a fess chequé for Stewart; 2nd and 3rd, three pallets for Athole, a pelican at top, and

Fig. 973.—Dunkeld Cathedral. Section of Jamb of West Doorway, and Arms of Bishop Lauder on Chapter House.

the motto, Furth Fortoun et fil ye Feteris. The recess for the figure is 4 feet 11 inches wide by 3 feet 11 inches high, but it contains no effigy.

On the south wall there is a large eighteenth century monument with inscription (see Fig. [972]), and, at the sides, thirty-two coats of arms, arranged in two rows of eight on each side, besides other arms.

Resting on the floor, and against the walls of the chapter house, there are numerous carved stones, several having arms, which appear to have come from some sixteenth or seventeenth century buildings; and in the room over the chapter house the remains of a rich Renaissance monument, carved in oak, lie scattered on the floor.

Fig. 974.—Dunkeld Cathedral. Monument in Chapter House.

Abbot Myln relates[21] that in 1312 Bishop William de St. Clare (Bruce’s “own bishop”) brought Magistrum Robertum Cementarium to the work of the choir and church, which he built from the foundation. This clearly refers to a restoration, as part of the thirteenth century walls is still in existence. Bishop Sinclair died in 1337, and was buried in the choir built by him, having filled the see for twenty-five years.

To the west of the choir is the nave, which measures, internally, 120 feet in length by 60 feet wide, and consists of a central compartment of seven bays, separated from the side aisles by arcades, which rest on plain round pillars. We are informed by Abbot Mylne that this part of the cathedral was founded by Bishop Cardeny on the 27th day of April 1406, and that he carried it up to the second arches, “vulgariter le blynd storijs.” This bishop conferred great benefits on the see by acquiring lands for it and otherwise. He also founded and adorned the altar of St. Ninian in Dunkeld, and decorated all the windows of the choir with glass. Having on one occasion made a narrow escape during an attack on his house, he constructed a strong tower for the bishop’s residence. He died in 1436,[22] and his fine monument (Fig. [975]) is still preserved in the south wall of the nave.

In 1447 the king’s secretary, John of Ralstoun, was made bishop, but he lived for only three years after his appointment.[23] He made provision of hewn stones from the quarry of Burnbane for continuing the building of the nave begun by Bishop Cardeny. Bishop Ralston died in 1450, and was succeeded by Bishop Lauder, who completed the nave and decorated all the windows with glass, and finished the roof. He also constructed a handsome portico to the church before the southern doorway, and placed figures of sculptured art therein. With his own hands Bishop Lauder dedicated the church in 1464. But still untired of his sacred work, he founded the campanile (Fig. [976]) on 5th March 1469, and continued the building on high. The chapter house was also founded by him in 1457. This, no doubt, refers to the erection of the upper floor of the two story building on the north side of the choir above described. Perhaps this edifice contained the sacristy on the ground floor, on the level of the choir, and the upper story added by Bishop Lauder may have been the chapter house. At Glasgow Cathedral, the similar two story building contained the sacristy on the upper floor, on the level of the choir, and the chapter house on the lower story. This “Great and worthy High Priest” likewise, in 1461, constructed a bridge over the Tay, near his own palace, partly of stone and partly of wood. He likewise presented the church with numerous splendid vestments and silver vessels, including a silver cross containing part of the true Cross. He also had paintings executed at the high altar, representing the twenty-four miracles of St. Columba, and he constructed the bishop’s throne and stalls in the choir.

In 1481 this prelate died full of years and of good works. By Bishop Lauder’s influence the cathedral lands north of the Forth were raised into

Fig. 975.—Dunkeld Cathedral. Monument of Bishop Cardeny in Nave.[24]

Fig. 976.—Dunkeld Cathedral. View from South-West.

the barony of Dunkeld, and those south of the Forth into the barony of Aberlathy.[25]

The bishops of Dunkeld, in addition to their palace or tower at Dunkeld, had also a country seat at Loch Cluny (where their house still exists on an island in the loch) and a residence at Cramond, in Mid-Lothian.[26]

The successors of Bishop Lauder are not stated to have added any buildings to the cathedral; but it is mentioned that some of them, especially Bishop Brown, adorned the interior with images and paintings, and added to the store of rich vestments and ornaments.

The Reformation came not long after the completion of the internal decorations and fittings. In 1560 two of the neighbouring lairds were commissioned to take down the images and burn them in the churchyard, and also to cast down the altars and purge the church of all kinds of monuments of idolatry. They were enjoined to see that the desks, windows, and doors were unharmed, nor the glass or iron work broken. But the spirit of destruction once let loose was not easily restrained, and the church was completely destroyed and the roof burnt.

The architectural style of the different portions of the edifice corresponds generally with the above dates fixed by Abbot Myln. The massive round pillars of the nave, 4 feet 6 inches in diameter (Fig. [977]), and the heavy semicircular arches of the triforium have been supposed to indicate Norman work; but the details prove that here, as frequently occurs in Scotland, the ancient forms are repeated in later times. The caps and bases of the piers show that they belong to an advanced period, while the mouldings of the triforium arches and the trefoiled filling in clearly indicate work of the latter half of the fifteenth century. These features are, undoubtedly, peculiar; but other examples show that they are not singular. Thus at Aberdour Church[27] and Aberdeen Cathedral (late works), the pillars of the piers are circular, and have similar caps to those at Dunkeld; and at Paisley the triforium arches are segmental, and are divided with cusped arches somewhat similar in style to those of Dunkeld Cathedral. The clerestory is very plain, and the windows are small. From the number of holes in the wall, used for the support of rafters and other woodwork, it seems likely that this portion of the wall was partly concealed by the timbers of the open wooden roof, and perhaps partly covered with panelling.

The great window in the western gable (see Fig. [976]) is evidently a late feature, and seems to have been added sometime after the west wall had been erected. This is apparent not only from the style and the peculiar unsymmetrical position of the window, but also from the construction of the exterior (Fig. [978]), where it will be observed that the original west door has had a portion of wall somewhat rudely added in front of the original wall, in order to support a balcony or gallery carried across at the base of the window. The older moulded doorway (the jamb of which is shown in

Fig. 977.—Dunkeld Cathedral. Nave, looking West.

(Fig. [973]) is thus overlapped and buried by two square piers, carrying plain arches above, stuck on in front of the original wall; while in a similar opening or recess, between the south pier and the tower at the

Fig. 978.—Dunkeld Cathedral. West End.

south side, the space is lintelled over between the square pier and the stair turret. As the stair turret probably existed (at least for part of its height) before this alteration, the large window, which occupies the full available width, had to be squeezed in as best it could, and thus came to stand in the unsymmetrical position it occupies (see Fig. [977]). This supposed alteration may also, perhaps, explain the peculiar way in which the ogee canopy of the window is twisted to one side at the top (see Fig. [976]), which Mr. Billings has difficulty in accounting for. The small circle in the gable being right over the entrance door (as the original window in the west end doubtless also was), it was found, when the window came to be enlarged, that there was no room to carry the canopy and its fleur-de-lys finial straight up without removing the small circular opening, and so the canopy and finial had to be pushed to one side.

The side aisles are 12 feet in width, and the south one has been vaulted. The tracery in many of the windows still survives, and is varied and generally good in design. A restoration of the tracery in the west window may be seen in Mr. Billings’ work. The tracery is of the kind common in the Scottish architecture of the fifteenth century.

Attention has already been drawn to the peculiar flat-headed windows at the west end of the north aisle of Dunblane Cathedral. At Dunkeld, the corresponding window is flat arched (Fig. [979]), and at St. John’s Church, in Perth, the window in the same position is either flat arched or has a lintel. It is singular and interesting to find this similarity of treatment, as regards the north-west window, in these three churches, which are all situated in one part of the country. Over the north-west window at Dunkeld are the arms of Bishop Brown (a chevron between three fleur-de-lys), surmounted by a mitre. There is an inscription on a ribbon round the arms, but it would require a very minute inspection to make it out. George Brown was consecrated Bishop of Dunkeld by Pope Sixtus IV. in 1484, and died 14th January 1514-1515, aged seventy-six years.

The ruins of a large porch still exist on the south side of the nave (see Fig. [976]). From the forms of the finials and other details it has evidently been a somewhat late addition. This was, doubtless, the portico which Canon Myln states was erected by Bishop Lauder at the south entrance to the church.

The upper part of the stair turret of the west front, the broken angle pinnacle at the base of the gable, and the corbelled octagonal finial on the south-west angle of the south aisle are all late additions. The corbelled turret at the angle resembles the angle turrets of the castles. A similar turret exists at the angle of the north transept of Paisley Abbey.

The north-west tower is simple and good in design. According to Abbot Myln’s account, it was not founded till 1469, and in style is good for the period. The windows of the ground floor and top story are well designed, and quite equal to the rest of the church. The ground floor is vaulted, and has been painted in a handsome manner, part of the painting being still preserved.

The monument of Bishop Cardeny in the south aisle of the nave, with

Fig. 979.—Dunkeld Cathedral. North-West Angle of Nave and Tower.

its recumbent statue (see Fig. [975]), its carved sarcophagus and arched canopy, is a good example of Scottish work of the fifteenth century. It is now much damaged, but the fine carving of the crockets and ornaments, and the sculptured figures of the angels bearing shields, are still fairly preserved. The arms on the shields are now so far decayed as to be with difficulty legible.[28]

A very fine altar tomb (Fig. [980]) still remains in the south side of the eastern part of the choir, now used as a vestibule to the parish church. This is the monument of the famous “Wolf of Badenoch,” son of Robert II., at one time a great enemy to the Church, and the destroyer of Elgin Cathedral. Having been compelled by the king to do penance, he received absolution at the hands of the Archbishop of St. Andrews, in the

Fig. 980.—Dunkeld Cathedral. Monument of the “Wolf of Badenoch.”

Blackfriars Church, at Perth. The monument dates from about 1394. It contains a massive figure of the “Wolf” in complete armour, with his feet resting on a lion. On the sarcophagus are carved a number of figures in armour, in different attitudes.[29] There is a mutilated headless figure, supposed to represent Bishop Sinclair, lying beside the “Wolf of Badenoch’s” monument; and other memorials of him are the engrailed crosses on the east and west gables. These are cut out of the solid stone, and have probably been renewed.

Nearly opposite Bishop Cardeny’s monument, against the north wall of the nave, there is one of those grave slabs (Fig. [981]) of which several

Fig. 981.—Dunkeld Cathedral. Grave Slab.

examples have been illustrated, and unfortunately, like most others, it is in a very wasted condition from exposure to the weather. It is also broken, as shown on the sketch. The slab is of red sandstone, and measures 5 ft. 8 in. long by 3 ft. 4 in. wide. It is divided into four sunk panels, with a three-quarter size figure in each panel, and the figures are flush with the general surface. It cannot be determined what the costumes of the figures are. No. 2 has, on the dexter side, a bishop’s crozier, and, on the sinister side, what may have been a shield. No. 1 was probably distinguished in the same way, there being something visible on the sinister side. No. 3 has, on dexter side, a shield with a lion rampant; on sinister side, a square with initials only, the last of which (S) is legible. No. 4 is certainly the figure of a woman, with large epaulets and a necklace; on her dexter side is a shield with three innescutcheons, probably for Hay, and, on the sinister side, the initials B. H. Beneath each pair of figures there has been an inscription—the upper one, as far as legible, being, “This is the honorabille Bv ... Spovs of Arnetvllie.” Of the other marginal inscriptions nothing legible can be made out. Along the base of the stone there are sculptured seven small figures.

The dates of the different parts of the cathedral, as given by Abbot Myln, would, if thoroughly reliable, be invaluable in connection with the history of Scottish architecture. Few, if any, of our ecclesiastical edifices have the periods of their erection so distinctly recorded. The peculiarity of the design, however, renders it somewhat difficult to make any general application of the above dates to the architecture of other buildings. It seems likely that the different parts of the structure were begun at the dates given by Abbot Myln, but not completed for some time thereafter. From the analogy with other Scottish structures, especially with Paisley Abbey, which it in some respects closely resembles, the nave of Dunkeld Cathedral must undoubtedly be classed as belonging to the third pointed period.

IONA CATHEDRAL, Arglyeshire.

The original settlement of St. Columba in Iona took place A.D. 563.[30] Dr Skene has shown[31] that the place where the monastery was first situated lay a short distance to the north of the existing ruins. The vallum which enclosed the establishment can still be traced, as well as the burying-ground, the site of the mill, and other features; but the principal erections, being constructed of wood and wattle, have necessarily disappeared. Owing to the destruction of the buildings by fire in 802 and the slaughter of the monks, it was thought desirable, in 818, to rebuild the monastery in stone for greater security, and also to remove it to the present site, which is better protected by nature. But the buildings were again destroyed by the Northmen, and seem to have remained in a ruinous state till 1074, when some attempt to restore the monastery was made by Queen Margaret.

In 1099 the last of the old order of abbots died, and for more than fifty years there is an unbroken silence regarding Iona. All the Western Islands had at this time passed under the rule of the Norwegian King of the Isles, by whom nothing was done to maintain the religious establishments, and Iona fell into a state of decay. The rule of the Norwegian Kings of the Isles having become oppressive, Somerled, King of Argyll, was applied to for protection, and after a great naval battle, fought between him and Godred, King of the Isles, in 1156, all the islands south of Ardnamurchan Point were ceded to Somerled. Amongst these was Iona, where Reginald, the son of Somerled, undertook the rebuilding of the monastery on a larger scale. He adopted the policy of the Scottish kings, and introduced one of the religious orders of the Roman Church.

“Macvurich tells us that ‘three monasteries were formed by him—the monastery of Black Monks in I or Iona, in honour of God and Saint Columchelle; a monastery of Black Nuns in the same place; and a monastery of Gray friars in Sagadul, or Saddle, in Kintyre;’ and he appears to have established the Benedictines or Black Monks in Iona in the year 1203.”

“The deed of confirmation of the Benedictine Monastery still exists in the Vatican. It is dated the 9th December 1203, and is addressed to Celestinus, abbot of Saint Columba, of the island of Hy, and his brethren professing a religious life; and the pope takes the monastery of Saint Columba under the protection of Saint Peter and the pope, in order that the monastic order which has been instituted in that place, according to the rule of Saint Benedict, may be preserved inviolate in all time to come; and he confirms to them the place itself in which the said monastery is situated, with its pertinents, consisting of churches, islands, and lands in the Western Isles.”[32]

Celestine, the abbot of this monastery, appears to have attempted to thrust out the prior Celtic community; but the latter, with the support of the clergy of the north of Ireland, resisted and vindicated their right to remain in the monastery. The Celtic community, however, appear to have ultimately adopted the Benedictine rule, “while the functionary formerly known as the Head of the Culdees was represented by the prior of Iona, whom we afterwards find in the monastery.”

About 1200 the districts to the west of the great range of Drumalban, which formerly belonged to the diocese of Dunkeld, were separated from it and formed into a new bishopric, first called of Argyle and afterwards of Lismore.

During the fourteenth and fifteenth centuries Iona was under the Bishop of Dunkeld, but in 1507 John, Bishop of the Isles, obtained the annexation of Iona to his see, and the Abbey Church became the cathedral of the diocese, and so continued till the Reformation.

In 1561 the abbey suffered from the Act anent “demolishing all the abbeys of monks and friars, and for suppressing whatsoever monuments of idolatrie were remaining in the realm.” The carrying out of this Act was remitted to Argyll and Glencairn, and much has been written with regard to the great damage caused by the mob to the buildings and monuments and the valuable library.

The island passed into the hands of M‘Lean of Duart, but from 1567 onwards the Protestant bishops of the Isles seem to have had the abbey in their possession. The buildings, however, appear to have been neglected, and Charles I., in 1635, directed £400 to be spent in repairing them. But that does not appear to have been done, and by the end of the seventeenth century the edifices had fallen into ruin. In 1693 the island came into the hands of the House of Argyll, and within recent years the ancient buildings have been put in a good state of preservation by the present Duke.

The edifices which still survive in the island, although ruinous, exhibit probably the completest and most interesting group of ancient ecclesiastical structures in Scotland.

There is first the Chapel of St. Oran, a small twelfth century structure, surrounded by the very ancient churchyard, which contains so many beautiful specimens of Highland carved tombstones,[33] admirably illustrated by the late James Drummond, R.S.A., in his work on Highland monuments. Then there are the remains of the Benedictine Monastery, and those of the Benedictine Nunnery, at a short distance on each side of St. Oran’s, both of which, though sadly mutilated, still show the general plan of the church and domestic edifices of these monastic establishments more completely than any other Scottish examples.

The Church of St. Oran has already been described.[34]

The nunnery is also described among the Norman structures.[35]

The abbey or cathedral, which is now to be described, is classed along with the buildings of the third pointed period, as the greater part of the work connected with it belongs to a late date.

When the great distance of the Island of Iona from the centre of operations of mediæval architecture is considered, it is not unnatural to find those deviations from the rules and practice of the art which are so frequent in Scottish architecture even more accentuated here than is usual. The connection of the locality with the Celtic art of Ireland and the west of Scotland has also had considerable influence in moulding the style of the carving and decoration of the Cathedral of the Isles.[36]

These facts, although rendering the building somewhat difficult to class along with the general architecture of the recognised periods of Gothic in Scotland, yet add much to the interest of this isolated and unique structure.

It should also be noticed that the cathedral shows signs in all directions of having been much altered and added to; but as the style of the masonry of the walls is much the same throughout, whatever its date, it is somewhat difficult to trace the points of junction of the work of the various periods. This masonry of all dates consists of large blocks of red granite of irregular shape, set with flat untooled face to the outside, and with filling-in of smaller pieces of granite and slaty stones between the larger blocks.

The monastery (Fig. [982]) consists of the church, which contains a

Fig. 982.—Iona Cathedral. Plan.

choir, 62 feet 6 inches long by 23 feet wide, with a south aisle; a nave, 60 feet 9 inches long by 22 feet 6 inches wide; north and south transepts,

Fig. 983.—Iona Cathedral. The Choir, looking East.

and a tower over the crossing. The eastern part of the choir (Fig. [983]) forms the presbytery, which, like that of most Scottish churches, is without aisles, and is lighted by a large central and two side windows, all containing late tracery. On the south side of the choir, west of the presbytery, is an aisle, separated from it by two circular piers and three arches. From above the caps of the piers two bold arches are thrown across the south aisle, after the manner of flying buttresses (Fig. [984]). It will be observed from this view that there is a peculiarity of construction in the upper part of the choir walls, the clerestory windows being placed over the piers and not over the arches, as is usual. This arrangement has had the effect of preventing the flying arches or buttresses from being carried as high as they might have been (Fig. [985]) had the windows been placed over the arches in the ordinary manner. The flying arches or buttresses are thus very low, and interfere with the space in the aisle (see Plan). There are a sedilia, with three divisions, and a piscina (Fig. [986]) near the east end of the south wall of the choir. Part of the pavement there still exists, and two steps are observable in the floor.

On the north side of the choir is the sacristy, which occupies the place of the north aisle. The door to the sacristy (Fig. [987]) is of fine design, and the ornament of the caps of the shafts (Fig. [988]), together with the caps of the piers between the choir and the south aisle and the arches of the crossing (Figs. [989] and [990]), exhibit fine examples of Celtic carving, mixed with grotesque figures. Carving of an identical description is shown in Figs. [991] and [992] on slabs in St. Oran’s Chapel, one of which, dated 1489, also exhibits late Gothic ornaments on the edge. This stone bears the following inscription, from which it would appear to be in memory of the father of Abbot Macfingone, and of the abbot himself (whose tomb and monument are preserved in the choir, as will be pointed out further on):—“Hec: est: Crux: Laeclanni: Meic: fingone: et: ejus: fil—Ohannis: Abbatis: de: Hy: facta: Anno: domini: Mº. CCCCLXXX: IXº. Numerous examples of carving of a very similar description occur throughout the West Highlands, and, where dated, are all of about the above period. The undated specimens are also distinctly in the same style and of the same epoch. There can, therefore, be no hesitation in assigning the sculpture in the cathedral, which is of a similar character (such as the caps in Figs. 988 and 990), to about the same date. The dog-tooth ornaments in Fig. [993] and other similar examples, which are not rare at Iona and throughout the Western Islands, are thus clearly a revival, at a late date, of ancient forms.

Close to the sacristy door, but raised to a considerable height above the choir floor, stands a round column (see Fig. [983]), which supports two pointed arches. These arches appear to have opened into an upper aisle or chapel. They are carved with rows of dog-tooth or nail-head ornaments, which have the appearance of thirteenth century work; but as they are

Fig. 984.—Iona Cathedral. View from South-East.

much decayed, they are probably of the late date to which, as we have seen, many examples of imitation dog-tooth enrichments at Iona and elsewhere belong.

The parapet of the choir (see Fig. [984]) is simple, and is supported on massive corbels, like those common in the castles of Scotland. The water of the gutters escapes by small apertures through the parapet.

Fig. 985.—Iona Cathedral. Choir Pier and Arch of South Aisle.

The nave contains a good western doorway of late design (Fig. [994]), with three orders of mouldings in the jambs, which have no caps, but have the jamb mouldings carried round the pointed arch. The nave and transepts have no aisles. The windows of the nave (Fig. [995]) are much damaged. At each end of the south wall is a small single pointed light,

Fig. 986.—Iona Cathedral. Sedilia and Piscina in Choir.

and there has been a triple light window, with tracery, in the centre. The single light window at the east end of the nave has a carved head, with a water table over it, inserted above the window. Part of the north

Fig. 987.—Iona Cathedral. Door to Sacristy.

wall of the nave is demolished (see Fig. [994]), and a door to the cloister near the west end has been built up (see Plan).

The north transept has two deeply-arched recesses in the east wall, containing small windows and a central arched recess, which seems to have contained a statue. This is apparently the oldest part of the whole edifice, the arches, shafts, and caps in the east wall (Fig. [996]) having very much the character of transition work. A small window in the west wall, raised so as to be above the cloister roof (see Fig. [994]), throws light on the point where the altar stood.

Fig. 988.—Iona Cathedral. Caps of Doorway to Sacristy.

The south transept is 22 feet by 17 feet, and is lighted by a three light traceried window in the south gable wall (see Fig. [984]), and a small window placed at a considerable height in the west wall (see Fig. [995]). The parapet and corbel table are the same as those of the choir.

The crossing has four arches opening into the choir, nave, and transepts, which carry a tower, 29 feet by 25 feet, over the walls, rising to two stories in height above the eaves, and crowned with a plain parapet, supported on simple corbels (see Figs. [984] and [994])). The upper story has rectangular windows on each face, three of them filled with tracery of late patterns, and the one on the north with a window containing simple tracery

Fig. 989.—Iona Cathedral. Caps of Piers of Choir and Crossing.

(Fig. [997]). The lintels are composed of straight arches, supported by a remarkable shaft on the inside, which recalls the turned shafts of pre-Norman work. The access to the tower is by a small wheel staircase at the south-west angle of the crossing. The original doorway of the staircase entered from the nave, but, after the Reformation, the adjoining

Fig. 990.—Iona Cathedral. Caps of Crossing, &c.