  A general description of the features which distinguish this style of architecture has been given in the Introduction,[147] together with a short summary of the Scottish structures in the Norman style.[148] The more minute features will be referred to in the descriptions of the various churches. It may, however, be pointed out that few structures survive in Scotland which exhibit elevations of faÇades, such as the east and west fronts of churches, or the north and south faÇades of transepts, which show the true Norman character. In all Norman churches of any importance in other countries the faÇades forming the end elevations in the above positions are composed of several stories, piled up one above the other. (See Fig. 17.) In the later styles, the design of the faÇade is generally composed of one predominating feature, such as a large traceried window, or a series of lofty lancets (like the Five Sisters of York), rising above a single lower story, which generally contains a doorway. But in Norman architecture the faÇades are usually divided up into a series of stories, one over the other—an arrangement which, to a certain extent, fails to give the impression of one large structure, such as is conveyed in the faÇades of the later Gothic styles. In Scotland proper there is only one building of magnitude in which this storied style is preserved—viz., the Abbey Church of Kelso. The same features may, however, be still observed in the faÇades of the transepts of Kirkwall Cathedral, Orkney. At St. Andrews Cathedral the original storied Norman east end was subsequently altered. In other large Norman churches, such as Dunfermline Abbey, the faÇades have been removed or altered. The smaller churches in the Norman style are not of sufficient height to give expression to this peculiarity. It has been shown in the preceding chapter that some of our early Celtic structures were transitional, and contained some signs of the approach of the Norman style; but after its introduction, in the twelfth century, that style at once became universal in the civilised parts of the country, and all the churches of that date of which any portions survive were erected in accordance with the Norman fashion. It has been often remarked that the twelfth century was the great church-building epoch in Scotland, as elsewhere, and the number of these Norman edifices still traceable in the south and east of the country is very large. The parish churches are generally small and aisleless, most of them being single oblong chambers, with an eastern chancel, sometimes with an eastern apse, and occasionally there was a western tower. St. Nicholas’, Aberdeen, was cruciform, and had a central tower. During the Norman period monasticism prevailed, and almost all the large churches were conventual. These churches were always designed on the cruciform plan, and contained choir, nave, and north and south transept, each portion having side aisles, and the transepts usually only an eastern aisle. The small churches and side aisles were frequently vaulted, but the large churches appear to have been designed for wooden roofs. The details and ornaments of the style are often very elaborate, and invariably correspond with those in use in England at, or rather earlier than, the corresponding period. In the early examples, the design was very simple, and ornament was sparingly used; but as time advanced the style was gradually enriched, until towards the close of the period the ornament became very elaborate, especially in the arched heads of doorways, as at Kelso, Jedburgh, and Dunfermline. A common feature in Norman buildings was an arcade running round the walls below the windows. Almost every Norman structure of importance in Scotland contains this arcade, either in the interior or exterior, or both, and the caps and arches are generally elaborately and richly carved with ornaments. Here, and generally throughout Norman structures, the chevron or zig-zag enrichment is a characteristic feature. The other enrichments of the period in other countries consist of the billet, the bird’s beak, faceted sinkings, grotesque heads, rosettes, &c., all of which are found in the Scottish examples. The doorways are generally the points where the carving is richest, and it naturally followed that the doorways are often preserved where the other parts of the buildings are altered or rebuilt. The windows are always single, and simple in details. Some of the towers above enumerated are amongst the earliest examples of Norman work which survive. They contain some reminiscences of the early defensive purpose of such structures. They are extremely simple in design, being square on plan, and carried up, without break or buttress, to the parapet, where they were finished with a gabled roof, forming the saddleback arrangement still preserved in the tower at Muthill. The only break in the height is formed by string courses, which mark the unequal stories. A small wheel stair usually leads to the top. The doorway in some instances is placed several feet above the ground. Amongst these towers are to be found most of the small fragments which still survive of the extensive building works encouraged by David I. in the first half of the twelfth century. In the following descriptions the churches are arranged, as far as possible, in the order of their probable dates, commencing with the oldest and simplest, and continuing with the later and more elaborate examples. MARKINCH TOWER, Fifeshire. The Church and Churchyard of Markinch stand on the top of a small hill, round the base of which lie the houses of the town. The church and its Norman tower are thus conspicuous objects as seen from the railway in approaching from Kirkcaldy, which is about seven miles distant to the southward. The inch, or island, is believed to have derived its name from having been formerly surrounded by a marsh. A church was consecrated here in 1243, and dedicated to Saints John Baptist and Modrest. There was at one time a Culdee cell in this locality, but afterwards the church belonged to the Priory of St. Andrews. The only part of the original structure which survives is the tower, which is undoubtedly an ancient Norman building. It is nearly square on plan (Fig. 159), being 16 feet from north to south by 17 feet from east to west. The tower rises (Fig. 160) without a break (except a string course at each floor) to the height of four stories, or 73 feet to the top of the parapet. The original entrance (Fig. 161) is by a door, two feet wide, at the north-west angle. The sill is now about two feet above the ground, but it doubtless stood several feet higher originally. From the doorway a wheel stair leads to the upper floors. The stair and upper floors were lighted by small windows, with round heads. These are now built up, except one in the south side, which has been changed into a trefoil head. The top story is lighted by a window in each face. Each of these windows (see Fig. 159.) consists of two openings, divided by a central shaft. On the exterior each opening is arched, with a small semi-circular arch, cut out of one stone; but in the interior both openings are spanned by one arch. The arrangement of the shafts is peculiar, the central shaft being placed so as to be in the centre of the abacus which carries the small arches, while the side shafts are wrought upon the angles of the jambs, and do not stand in the same plane as the central shaft. The caps are Norman, of the usual cushion form, with heavy abacus; but they and the bases are now much decayed. The original mode of finishing the tower is now matter of conjecture, but it was doubtless (as stated by Mr. Muir) finished with a saddleback or gabled roof. It is now terminated with a modern cornice, above which a heavy modern spire has been erected, the top story being domed in order to carry the spire. The top story is slightly diminished in size, and is set back over the string course. The lower string courses are of three-sided section, and have been carved with the ordinary Norman enrichment of the lozenge (see Fig. 161.). These are now nearly wasted away. The church attached to the tower is entirely modern, and a modern doorway of entrance has been cut through the tower. MUTHILL CHURCH, Perthshire. The parish of Muthill lies about three miles south of Crieff. The ancient church, with its venerable tower, remained entire and in use as the parish church till about the year 1818, when, unfortunately, it was abandoned for a new building erected about that time. We are enabled to give a view[149] of the old church (Fig. 162), made by John Claude Nattes about the year 1799, from which it will be seen how eminently picturesque the old structure was, and how deplorable is the ruin which has overtaken it in the last half-century.[150] The church (Fig. 163) consisted of the ancient square tower at the west end, with a nave having north and south aisles, and an aisleless choir. The tower is one of the best preserved of the Norman towers in Scotland. It is nearly square on plan, and measures about 15 feet 3 inches on each side, with walls about 3 feet 2 inches thick. It has two offsets (Fig. 164) on the outside of the two upper stories, and a string course above the lower stage. This string course is of the usual Norman section, and is ornamented with the lozenge pattern, except on the east face, where it is plain. The walls are built plumb inside, with neither corbels nor projecting courses to carry floors. The tower is about 51 feet 3 inches high from the ground to the eaves, and about 16 feet 6 inches more to the apex of the gables. The latter, with their crow-steps, doubtless belong to a late period; but they probably represent the original mode of termination of the tower. The roof must be at least some centuries old. It is constructed with timbers about seven inches square, in the manner shown on section (Fig. 165); they are fixed together with wooden pins. With slight repairs and attention, which it greatly
[Image unavailable.] Fig. 162.—Muthill Church. From South-East. (From Sketch by Nattes, about 1799.)
requires, the roof would last for generations to come. We may remark that several cracks in the masonry, which were very conspicuous when we sketched the tower about fifteen years ago, have now been filled up. The belfry stage has an opening in each face. Those on the west and north sides (see Fig. 164.) consist of large arches, each containing two smaller ones. They are alike, and measure about 3 feet 5 inches wide on the inside by about 5 feet 10 inches high to top of large arch, and about 4 feet 2 inches of daylight. They are divided with a central octagonal shaft, with round responds set well back in the wall. The shafts have all cushion capitals, those of the responds being slightly higher than those of the central shafts. The arches springing from these caps are very rudely formed. Each of these two windows is wider at the springing of the arch than at the base by about 2½ inches, and the responds taper even more. The latter have no bases, while the centre shafts have only the merest fillet. The south window (Fig. 166) has a square lintel. It is about 3 feet 8½ inches wide by 4 feet 1½ inch high, and has no taper. The opening is divided by a mullion, placed flush with the outer face of the wall. The east window is a single light, about 1 foot 7 inches wide inside, increasing by 2 inches to the outside. It is 3 feet 11 inches high, and is 2 inches wider at the lintel than at the base. We have minutely described these windows, as they are peculiar in their differences, and are undoubtedly original. We know of no reason why the north and west ones should be so much more ornamental than the other two. This tower appears to have stood quite isolated, like that of Dunblane Cathedral. There is nothing to indicate that it was attached to any building. There are no roof ragglets, but only the faintest mark caused by the pointing where the roof of the present ruin joined the walls. What position the tower occupied in regard to the early church, which doubtless stood here, cannot now be ascertained. There seems to have been a doorway on the west face of the ground floor (see Fig. 164.), about 4 feet wide, formed with a flat arch about 7 feet 6 inches above the present level of the ground; but it is doubtful if the door came to the level of the ground, which seems to have been raised in the course of centuries. A door opened into the church on the east side of the tower. It is about 3 feet wide by 6 feet 2 inches high, and has also a flat arch; but it is not easy to say whether these doors are original or are insertions. In the basement floor on the north and south sides there is a square-headed window, about 7 or 8 feet above the floor. The one on the north side is 12 inches wide by about 1 foot 10 inches high, and is divided by a mullion placed similarly to that in the south belfry window. From the foregoing description, it seems not unlikely that the same ideas which prevailed with the builders of the round towers actuated the men who built this one. It probably contained the bells, and was used as a place of safety detached from the church. The tower is enclosed on three sides by the church. From the east face of the tower the nave measures 46 feet 1 inch in length, and, including the tower, the central aisle of the nave measures 58 feet 10 inches in length by 20 feet 6 inches in width, and the total width inside, including the aisles, is 45 feet 5 inches. The total length of the church inside, including the chancel, is 105 feet 5 inches, and the width of the chancel is 16 feet. The walls of the main nave are wider than the tower. The south aisle (see Fig. 166.) is divided into three bays, and the north aisle into two bays. The piers are octagonal, with corresponding responds. There are no capitals on the piers, and the bases have simple splays; the splayed arches of the arcade die against the piers (Fig. 167). From the floor to the springing of the arches is 6 feet 7½ inches, and to the soffit of the arch at the apex is 17 feet 4½ inches. The chancel arch, which is 13 feet 11 inches wide, is treated in a similar manner to the other arches, and is a few feet higher. The roof of the church is shown on the sketch by Nattes as being in one span; so that there does not appear to have been a clerestory over the nave arcade. Now only the foundation of the north aisle wall remains, and the chancel walls are reduced to a few feet in height; while at the west end they have almost disappeared, showing how badly used the place has been during this century. The entrance to the church was by a square-lintelled doorway in the centre of the south wall of the nave, and there appears to have been a priests’ doorway in the south side of the
chancel. There is a door through the east wall of the north aisle, which possibly led into what may have been a sacristy or vestry. At the west end of the north aisle there seems to have been a chapel, lighted with a west window. The windows of the church, of which three remain entire in the south
aisle (Fig. 168), contain three lights in each. They are of good design, and resemble windows in the north side of Dunblane Cathedral. The east window in the south aisle of the nave is completely demolished, and only one jamb remains of the west window of the north-west chapel. Over each of the end windows of the south aisle there are small pointed windows, widely splayed towards the inside. One of these is shown in Fig. 164. An ambry at the east end of the south aisle, and a roughly-formed recess or ambry on the north side of the chancel, with the remains of a sedilia, complete the ecclesiastical appurtenances of the church, so far as they have been spared, if, indeed, the latter can be said to have been spared. It is situated in the usual place, near the east end of the chancel; but only a portion of the west corner remains. (Fig. 169). It is moulded, having a hollow set in a splay, with a stop chamfer above the seat level. How it was finished along the top nothing remains to indicate. There were three seats, graduated in height—an unusual feature in Scotland. The lowest seat, which is 1 foot 11 inches wide, is the narrowest; the centre one is 2 feet 3 inches; and the east one appears to have been the widest, but, the wall being broken down, the exact dimensions cannot be given. Opposite the sedilia are the mutilated remains of two figures. (Fig. 170). They are life-size, and are cut out of one stone. They have recently been protected by a strong iron hearse, and the following inscription on the wall behind tells who they were, viz.:—“In memory of Ada, daughter of Henry, Seneschal of Strathearn, and of Sir Muriel Drummond, first Knight of Concraig, who died 1362, whose effigies beneath have wasted by the long Lapse of Time. This Tablet has been placed by their Descendants, the Drummonds of Megginch, late of Lennoch, in Strathearn. A.D., 1880.” The edifice, now in ruins, was built by Michael Ochiltree, who was first Dean, then Bishop of Dunblane. Keith (Catalogue) says:—“It is to be supposed that he built the Church of Muthill while he was Dean only, that church belonging to the deanery.” He was Dean in 1425, and Bishop in 1430. When he died is not known, but he was Bishop in 1445, and his successor, Robert Lauder, was Bishop in 1449. Spottiswood says that Ochiltree was “a wealthy prelate, and well esteemed; and so purchased to his see a great part of the forfeited lands of Strathearn, adorned the Cathedral of Dunblane, built the bridge of Knaik and Machant, with the Church of Muthill, and did in his time divers other good works.” He crowned James II. in Holyrood in 1437, and his effigy is shown in the nave of Dunblane Cathedral. ST. SERF’S, DUNNING,[151] Perthshire. The village of Dunning is situated in Lower Strathearn, about 1¾ mile south-east of the railway station of the same name. The following historical facts connected with the church and district are from a scarce “History of Dunning,” by the late Rev. John Wilson, minister of the parish. “Dunning,” Mr. Wilson says, “when first heard of in authentic history, formed part of the ancient Stewartry or Earldom of Strathearn, and dates back to a remote antiquity,” the Earls or Courts Palatine of Strathearn dating from before the Norman Conquest. When the foreign immigrants arrived in Scotland, in the twelfth century, under David I., “there were families of the ancient Scottish or Celtic blood who held their own, and maintained their native customs amid the new-fangled innovations of the Saxon and Norman chivalry. One of the most famous of these native magnates was Malis, Earl of Strathearn, who acted a prominent part in the disastrous Battle of the Standard.” In the course of time this reserve on the part of the native nobles wore away, and we find that Gilbert, the grandson of Malis, “took charters from the king for the lands which his fathers had held by their swords. He connected himself by marriage with the new-comers, and rivalled the most zealous of the followers of King David in his munificence to the Church.” He “richly endowed the neighbouring Abbey of Canons Regular at Inchaffray, annexing to it the tithes of many of the surrounding parishes,” as is shown by the foundation charter of the Abbey in the library of the Earl of Kinnoull, “dated in the year 1200 from the incarnation of our Lord, in the thirty-fifth year of the reign of King William.”
In a charter of confirmation, nineteen years later, Gilbert, in addition to his former liberality, grants to Inchaffray, “Ecclesiam sancti servani de Dunnyne,” the “church dedicated to St. Servanus, or Serf, at Dunning;” so that we have here proof of the existence of a church at Dunning in the year 1219, and it may be inferred that it did not exist in the year 1200, from its not being mentioned in the charters of that year. The date, therefore, of the erection of this church is narrowed to the early years of the thirteenth century, and there need be no hesitation in assigning to that time the present tower and certain other portions of the structure. This tower, although similar in general form to those at Muthill and Dunblane, is considerably later in date. It is an example of Norman work continuing to be used in Scotland for some years after 1200, the pointed form of the arch being the only indication of the coming change of style. The tower (Fig. 171), which is of Norman architecture, is placed at the west end of the church (Fig. 172). It is built in three unequal tapering stages, and without buttresses, to a height of about 75 feet to the ridge. The two stories above the church roof have small square-lintelled windows, but in the belfry stage double windows are introduced (Fig. 173). Both lights are contained within a plain square-edged round arch, without imposts, and the two lights, which have plain round arches, are separated by a central shaft with cushion cap. The crow-stepped gablets of the saddle-backed roof are probably of later date, but they, no doubt, indicate the original style of finishing the tower. The turret stair, shown on plan (see Fig. 172.) stops about half-way up, access above being obtained by wooden ladders. The elaborately-carved and pointed archway (Fig. 174), opening from the tower into the church, is a most noteworthy
feature, and was quite concealed from view till disclosed during the course of some recent repairs. Figs. 175, 176, and 177 show the details of this archway. Considerable portions of the old church still remain. The building, as it now stands, is 68 feet long by 25 feet wide on the outside at the east end, and 26 feet 9 inches at the west end. The total length, including the tower, is 82 feet, the height of which to the ridge is 75 feet. The church has been greatly altered at various times; an aisle has been added on the north side, and the ancient north doorway (Fig. 178) has been disfigured and almost concealed by an outside staircase being built across it. The west gable wall of the church, however, and a good part of the north wall and the east wall are original. The ancient corbels at the north parapet still survive (see Fig. 178.), and the raggle of the original roof is seen against the east side of the tower (see Fig. 173.). It is thus quite evident that the existing building is in great part on the site of the Ecclesia sancti servani de Dunnyne. There appears to have been a chancel, as Mr. Thomson informs us that during alterations about twenty-five years ago the bases of the pillars were found in situ. CRUGGLETON CHURCH, Wigtonshire. The parish of Cruggleton now forms part of the parish of Sorbie, with which it was united in the seventeenth century. The old church of Cruggleton is situated near the coast about three miles from Garleston,
and about the same distance from Whithorn, to the priory at which it belonged before the Reformation. The church of Cruggleton, being abandoned, fell into decay. The view (Fig. 179), for which we have to thank Mr. Galloway, shows its condition before it was recently restored by the Marquis of Bute, under Mr. Galloway’s careful superintendence. The building is still surrounded by its burial-ground. The plan (Fig. 181) shows a simple oblong church, 34 feet in length by 20 feet in width, with an oblong chancel 20 feet 3 inches long by 16 feet wide. The side walls were considerably damaged, but enough of them remained to enable the outline to be distinctly traced. The best preserved and most important feature was the chancel arch, which was 8 feet in width. Its architecture, which was extremely simple, was of the early Norman style. It had three orders on the side next the nave (see Fig. 179.), each side having two nook shafts, built in courses and provided with cushion caps. The inner jambs were plain, and the aperture in the wall was simply faced with a square ingoing of ashlar, and enclosed on the side next the chancel (Fig. 180) with a single square-edged arch springing from a very plain impost. Mr. Muir points out that when he visited the church the walls, “except the west one, which wants the gable, are at about their full height; but most of the dressed stones have been torn from the corners of both compartments, the chancel arch and other parts easily got at.” He could not discern traces of there having ever been more than two windows, “that on the east a small and very plain round headed one, widely splayed within, and the west one of the same shape, but much broader, and set square in the wall.” In the restoration carried out by Mr. Galloway great care has been taken to restore every part (so far as precedent could be obtained) to its original condition. As an example of Mr. Galloway’s patient research we may quote his account of the steps by which the original design of the south doorway was ascertained. “To begin with, a stone or two of the internal sconsions remained in situ. This gave the position and size internally of the long demolished doorway. Part of the paving and massive rubble steps at the outside also remained. Of the external features there seemed at first to be no trace. The discovery of one stone threw a flood of light on it. This was the base of a column which had never been shifted out of its position, but simply lifted and laid on its side, with the bottom bed outwards, so as to look like an ordinary courser. I also found about the same place several plain arch stones, also a capital of simple form, and from these materials, and especially the base found in situ, there could be no doubt that the external features were a plain ring like that of the chancel arch carried on engaged columns. In taking down some of a dry stone dyke a large rybat and an arch stone checked and chamfered were found, which could only be part of the actual doorway. The only uncertainty is the height; the original may have been lower, but we cannot be certain. I adhered to the proportions usual in other examples.” Fig. 182 shows the restored doorway, “a recovery out of the long forgotten past.” MONYMUSK CHURCH, Aberdeenshire. A few remains of the ancient church of Monymusk still survive and are incorporated with the modern church now erected on the old site. The village is situated in the valley of the Don, about one mile from the station of the branch railway to Alford, and is about seven miles up the valley from Kintore Junction. Monymusk is a place of great antiquity, being one of the oldest seats of the Culdees in the North of Scotland. A church is said to have been founded here by Malcolm Canmore, who vowed it to St. Andrew, and marked off the tower with his spear before engaging in battle against the Mormaer of Moray. Dr. Skene[152] points out that the community of Keledei at Monimusc were connected with St. Andrews, having probably been founded by the Bishop of St. Andrews. The church here, like that at St. Andrews, was dedicated to St. Mary. The Culdees first appear at Monymusk in 1170, and it is said that Gilchrist, Earl of Mar (1199-1207), built them a convent on condition that they should subject themselves to canonical rule. Disputes having arisen between the Culdees and the Bishop of St. Andrews, an arrangement was finally come to, by which the Keledei were allowed to retain their lands and dues, they promising to do nothing to the prejudice of the church of St. Andrews or the parish church of Monymusk. They were thus brought under the more direct control of the Bishop who is called the
[Image unavailable.] Fig. 184.—Monymusk Church. View from South-West. founder of their house, and they were thus assimilated to the state into which the Keledei of St. Andrews had been brought. Like them, they consisted of a prior or head, with twelve members, and, like them, were excluded from all parochial functions. In 1245 the Keledei of Monymusk had entirely disappeared, and instead we have a confirmation by Pope Innocent II. to the “prior and convent of Monymusk of the Order of St. Augustine.” The remains of the ancient Norman church establish the antiquity of the foundation. These consist of the lower part of the tower and the chancel arch. The church, as it now stands (Fig. 183), is a plain oblong modern structure 45 feet in length by 20 feet 3 inches in width internally, with a north wing or aisle, and galleries in the north, west, and east divisions entered from outside stairs. The ancient tower at the west end and the ancient chancel arch at the east end clearly fix the length of the original structure, and the modern side walls probably mark the position of the original side walls. To the east of the chancel arch there is an apartment about 15 feet square, used as a vestry, and in continuation of this structure to the eastward are the roofless walls of a building 34 feet in length. This enclosure is used as a burial-place. It has a modern doorway in the north wall, and all the walls are so covered with ivy that no traces of ancient work, if such exist, can be discovered. The west tower (Fig. 184) is 22 feet by 23 feet externally. It appears to have been almost entirely rebuilt, except the doorway in the west wall, which seems to be ancient. It has plain square jambs and round arch head, with hood mould enclosing the arch stones. The opening in the west wall of the tower leading into the church has been by a round archway 9 feet in width, now built up. This wall has been much altered, but there appear to have been Norman imposts to the arch. The chancel arch (Fig. 185) is 8 feet 6 inches wide. It has had a large attached centre shaft and two smaller side shafts in each jamb. The north centre shaft has been removed and a wooden substitute introduced. The shafts have all had Norman caps of the cushion pattern (see enlarged sketch in Fig. 185.), but they are now so battered as to be scarcely distinguishable. The arch is much concealed under the east gallery. To the right of it is a monumental tablet of the seventeenth century, which bears the arms of Leslie and Forbes impaled. From the style of the architecture of the Norman remains, it seems most probable that they form part of the convent erected by the Earl of Mar in the beginning of the thirteenth century. ST. BRANDON’S, Birnie, Morayshire. Birnie is believed to have been the original seat of the Bishop of Moray before he migrated, in the first place, to Kineddar, then to Spynie, and finally to Elgin. Simeon, the fourth Bishop, was buried here in 1184. The church is situated about three miles south from Elgin, near the river Lossie, and the road to it from Elgin passes through a pleasant, well cultivated country, diversified with numerous undulations and woods. The church, which is dedicated to St. Brandon, stands on the top of a small alluvial hill and is conspicuous from a distance. It is evidently ancient, and, although perfectly plain externally, impresses one at sight, from the nature of its masonry, as being of Norman workmanship. The stone work is all of square dressed freestone ashlar, both externally and internally. The west wall was rebuilt in 1734 (the date on the belfry), when the church was shortened by a few feet, and although the old materials were reused, the inferiority of the new workmanship to the old is very apparent. As it now stands, the edifice (Fig. 186) consists of nave and chancel, without aisles. The former measures 42 feet long by 18 feet 6 inches wide internally, and the latter is 16 feet long by 13 feet wide. The nave has a doorway in the south wall, and another immediately opposite it in the north wall. The chancel has a small round-headed window in each of the north and south walls, and it is remarkable that there is no window in the east wall. There is also a doorway in the south wall of the chancel, which has evidently been added or enlarged at a comparatively late period. Every part of the building, both externally and internally, is perfectly plain. The only portion which presents the smallest approach to ornament is the chancel arch (Fig. 187). The opening is 7 feet 6 inches in width, and is flanked at each side by a substantial semi-circular attached shaft, which has a moulded base and a heavy Norman cap of the pattern founded on the cushion, with numerous subdivisions. The upper part of the cap has also a small stepped ornament, similar to what exists at Jedburgh and elsewhere. The square abacus of the caps carries an arch which forms one square order, and the angles of the jambs support another square order on each side of the first. The architecture, though simple, is good, and, together with the chancel arch, indicates a rather advanced date in the Norman period, probably towards the end of the twelfth century. Within the chancel arch there stands a very interesting relic of Norman design, probably of older date than the church. This is the stone font, the upper part of which consists of a semi-hemispherical stone basin, with portions cut off vertically, like a cushion cap, while the top plinth has small portions at the angles cut off, thus making it an irregular octagon. The pedestal on which the basin rests is circular, and is fluted with small spirals passing round it. This, we understand, was supplied recently. The church also contains a very rare and interesting specimen of the ancient square shaped Celtic bell, which may possibly indicate that the present church was preceded by a Celtic monastery, of which this is a relic, but of which no record remains. ST. ORAN’S CHAPEL, Iona, Argyllshire. St. Oran’s Chapel is the name given to a small edifice which stands in the ancient burial-ground situated a short distance south-west from the cathedral. The name of the churchyard is “Relig Oran,” being so called from Oran, one of St. Columba’s companions, who was probably the first of his followers who died on the island. As stated in the Introduction,[153] this chapel is supposed by Dr. Reeves to have been built by Queen Margaret about 1074. The chapel (Fig. 188) is a plain oblong, 30 feet long by 16 feet wide internally. As often happens in West Highland chapels, there is no window in the east wall. The only light was obtained from two narrow windows near the east end, one in the north and the other in the south wall, immediately opposite one another. The entrance doorway (Fig. 189) is in the west wall. It is more elaborate than most of the West Highland chapels, having (Fig. 190) two nook shafts on each side with plain cushion caps, surmounted by a semi-circular arch in two orders with a label, all of which have been elaborately carved with Norman enrichments. Those of the label consist of a series of round and rather pointed knobs. The outer order seems to have been carved with a bird’s head ornament, and the inner order with a kind of chevron. All the carved work, however, is greatly decayed by exposure to the weather. The building has a gable at each end, and has had a wooden roof. In the interior of the south wall a somewhat elaborate monument (Fig. 191) has been inserted, which, from its style, is evidently of late date. The canopy consists of two orders, one of an ogee form, with weather table, which has been ornamented with crockets, and has a crucifixion introduced in the pinnacle at the top of the arch. The label terminations at each side consist of animals like lions of an exaggerated size. The inner arch has a large cusp which has been filled with Celtic carved scroll work, but it is now much decayed. A broken piscina stands at the west side of the monument. A number of very interesting and finely carved Celtic monumental slabs are preserved in the chapel, and a great many more, some of
them said to be the monuments of Scottish, Irish, and Norwegian kings, lie exposed in the churchyard, and are gradually wasting away. They are all elaborately carved with the floral ornament peculiar to this part of the country, while some also contain the dog-tooth ornament, which was revived here at a late date. This will be further referred to in connection with Iona Cathedral. Mr. Romilly Allen has shown that the Norman carved work in England was executed between 1135 and 1190, and that hardly any carving exists on churches of an earlier date. It could, therefore, not be looked for here till towards the end of the twelfth century. The carved work in the west doorway of the chapel, being of a somewhat advanced character of ornament, can, therefore, scarcely be earlier than about the beginning of the thirteenth century. THE CHAPEL IN EDINBURGH CASTLE, KNOWN AS “ST. MARGARET’S CHAPEL.” When treating of Edinburgh Castle in the Castellated and Domestic Architecture of Scotland,[154] this chapel was briefly described and illustrated; but it has been thought of sufficient importance to be included in this volume, with additional illustrations[155] and descriptive matter.
The exterior walls of the chapel (Fig. 192) form an oblong, measuring 31 feet 7 inches from east to west, by 16 feet in width at the east end and 14 feet 4 inches at the west end. The angles of the structure are thus not right angles. Although the building is extremely simple in its external aspect, it is more ornamental and of a more developed form of plan in the interior. The plan comprises a nave with a chancel arch, and a chancel which has a round apse formed within the square east end of the exterior. The nave is 15 feet 10 inches long by 10 feet 4 inches and 9 feet 9 inches wide at the east and west ends respectively. The chancel is 9 feet 7½ inches long, and the same width at the west end. The total interior length is 27 feet 4½ inches. The nave is waggon vaulted, without ribs; and the apse is roofed with a vault forming the quadrant of a dome. The nave vault is about 10 feet 8 inches high. (See sections, Fig. 192.) The chapel stands on the extreme summit of the Castle rock, and the rock which is seen rising against it on all sides, except the north (on which side the level outside is nearly the same as that of the floor), has, it is understood, in recent years been partially cut away on the south, east, and west sides. (Fig. 193.) This operation has to be kept in view in considering the masonry of the exterior walls, for on those three sides there has necessarily been a certain amount of underbuilding, which is consequently of a much more modern character than Norman masonry. The genuine surviving Norman masonry begins below the line of the south windows (see Fig. 194.). The first two or three courses, which extend up to the sills of the south windows, are built of reddish stone, above which are five courses of a bluish grey stone, the upper course being above the windows. All the masonry above that level on the south and north sides is later work. The masonry of the north and east sides has been greatly interfered with, as has also that of the west end, where, however, there are several consecutive Norman courses. The east wall appears to have been carried to a greater height than the other walls (Fig. 194), as if some higher building had been attached to the chapel. The alterations above referred to show that the side and end walls have been raised, and we have no doubt that the upper part of the west gable above the window, with the ridge course, is modern, or at least of a date long subsequent to the original building. The present porch in front of the entrance door on the north side, near the west end, is quite modern, although the doorway itself is ancient. A square-headed doorway, with splayed opening, has, possibly in the sixteenth or seventeenth centuries, been cut through the west wall (see Fig. 194.). There are indications of a narrow doorway having formerly opened into the chancel on the north side. It is now built up, and forms an ambry on the inside. (See Fig. 192.) There are three windows in the south wall, one of them being in the chancel. There is also a window in each of the end walls, the one in the west end being at a considerably higher level than the other (see Fig. 194.). All the windows are splayed widely on the inside, and slightly so on the outside, and they are round arched. They are all about 8 inches wide by about 2 feet high. The two westmost windows in the south wall, and the high window in the west gable, give light to the nave; the east window in the south wall, and that in the east wall, light the chancel, the former being in the south side, and the latter in the centre of the circular apse. There is a locker on the north side of the chancel, and a piscina projects, without any recess in the wall, from the south side. This piscina has a very new look, as if it had been rewrought or renewed; but we have no reason to doubt but that it faithfully represents the original piscina. It has the usual drain. The chancel arch (Fig. 195), while quite in proportion to the chapel, is little larger than an ordinary doorway. Its opening measures 5 feet 1 inch wide by 6 feet 4 inches to the springing of the arch, and 9 feet in height, measuring from the nave floor to the soffit of the arch, and there is a step up to the chancel. Each jamb (Fig. 196) has two monolithic shafts, set in nooks, with cushion cups. The arch, which is in two corresponding orders, is decorated with the ordinary chevron design. (Fig. 197.) Enclosing the arch is a label moulding, enriched with a lozenge pattern. The arch on the chancel side is quite plain. The arched roof of the nave, which is built with carefully-dressed stones, seems to be of a later date than the walls, the masonry being finer, and of a different and lighter coloured stone. The existence of this chapel was long lost sight of, till the late Sir Daniel Wilson, in the course of his explorations in Old Edinburgh, discovered the true nature of the building. He thinks that it is in all probability the chapel used by Queen Margaret during her residence in the Castle before her death in 1093, and that it is probably the most ancient chapel in Scotland. It does not, however, appear to be a very early specimen of Norman work, but rather a fairly-advanced example of the style, both in plan and decoration. Had the chapel been erected in the eleventh century, it would certainly have been of a much ruder style of architecture. No Norman building of that period can be shown to exist in Scotland. Sir Daniel supposes it to be earlier than the Norman part of Holyrood, which was founded in 1128; though probably no part was erected till a considerable time thereafter. Now, the doorway on the south side of Holyrood (the only Norman portion of that building remaining) is not unlike the chancel arch here. The caps of the shafts, the chevron decoration of the arches, and the enriched label are all similar in design, and there is no reason whatever for supposing the one to be older than the other. After the chapel was discovered, it was intended to be used for its original purpose; a font was gifted to it, and the windows were filled with stained glass. It has now, however, degenerated into a shop for the sale of nicknacks to tourists. DUNFERMLINE ABBEY, Fifeshire. Situated north of the Forth, or “Scots Water,” in the heart of the old Pictish kingdom, Dunfermline was from an early period occupied as a secure and pleasant site by the kings of Scotland. Here Malcolm Canmore had his tower (of which a few crumbling remains still survive), and here he entertained the royal fugitives from England, and married the Princess Margaret, one of these refugees, in 1070. The King and Queen ended their lives in 1093, within a few days of each other—the first at the siege of Alnwick, and the other in Edinburgh Castle. According to Turgot, her confessor and biographer, Queen Margaret, immediately after her marriage, founded a church “in that place where the nuptials were celebrated.” This church was dedicated to the Holy Trinity in 1074. It became the place of royal sepulture, and Queen Margaret was buried there a few days after her death. From that time onwards there are continuous references to grants to the Church of the Holy Trinity, and to interments of royal personages therein. As no notice has been preserved of the erection of any new church till the building of the choir in the first quarter of the thirteenth century, it has been supposed that the nave of the existing structure (which is in the Norman style) may have been the church founded and erected by Queen Margaret. But the style of the building forbids this supposition. None of the English cathedrals were founded till the end of the eleventh century, and few were carried out till the expiry of the first quarter of the twelfth century. Scotland would certainly not be in advance of England in its style of architecture, and we know that little, if any, Norman work was executed in this country till the days of David I. Professor Innes is, therefore, no doubt right when he says—“The original church of Canmore, perhaps not of stone, must have been replaced by a new edifice when it was dedicated in the reign of David I.”[156] The style of the structure is early Norman, and would naturally follow the erection of Durham Cathedral, which took place about twenty-five years earlier. Probably the original church of Malcolm stood where the new choir was afterwards erected, and David I. added the Norman nave to it. The nature of the site seems to favour this view, as the ground to the west slopes rapidly away, and scarcely allows room for the west end of the nave; while the conventual buildings, for want of suitable space, have had to be carried with an archway over a public street. It is believed that Alexander I. contemplated the erection of the church into an abbey, and had possibly made arrangements for the introduction of monks. At any rate, in the year of the accession of his successor, David I. (1124), canons of the Order of St. Augustine were brought from Canterbury and established at Dunfermline. It was, no doubt, soon after that event that David I. carried out extensive works at the new monastery, and probably added the Norman nave to the then existing church of his parents, Margaret and Malcolm. The monastery continued to flourish, and was largely endowed. The early church was soon found to be too small, and it was resolved to rebuild it, so as to form a new choir and transept worthy of the dignity and importance of the convent. This was accordingly carried out between 1216 and 1226, when the choir, with its aisles, the transept, and the presbytery were erected. Abbot Patrick, who had formerly been Dean and Prior of Canterbury, presided at Dunfermline during the whole of the above time. After him came Abbot William (II.), whom we find appealing to Pope Honorius III. for certain patronages and presentations on account of the great expense incurred during the last ten years in carrying on the extended fabric, whereby the monastery had been greatly impoverished. Again, in 1231, a similar appeal was made to Pope Gregory IX., both on account of the expenses of the church, and also because the number of canons had been increased from thirty to fifty. In 1249 a dispute arose regarding the consecration of the new choir, but Honorius IV. decided that a new consecration was not necessary, as the consecrated walls of the older part (the nave) continued in use. In the same year Queen Margaret was canonised, and in 1250 her body was transferred from the old church to the new Lady Chapel, in presence of all the chief men in the kingdom. “The translation of the saintly foundress was probably arranged,” says Professor Innes, “to give solemnity to the opening of the new church.”[157] Soon after this the abbey is described by Matthew of Westminster, who probably saw it, as of vast extent, and containing such magnificent palaces that three kings, with their trains, might be accommodated within its walls. “This sumptuous pile was destroyed and levelled with the ground by the soldiers of Edward in 1303, excepting only the church and a few dwellings for the monks.”[158] The Exchequer Rolls inform us of the great expense sometimes incurred in connection with the tombs of the illustrious persons buried in the abbey.[159] The monastic buildings were, as we have seen, on a very magnificent scale; but of the church, and all the splendid structures connected with the abbey, there now only remain (Fig. 198) the Norman nave, the base of the Lady Chapel, and part of the refectory and kitchen. The nave (Fig. 199), which is wonderfully well preserved, measures about 106 feet long inside, by about 55 feet wide between the aisle walls. The piers are circular, and measure 4 feet 4½ inches in diameter. The plan of these, with that of the wall responds (Fig. 200), indicates that the original intention (which was carried out) was to groin the aisles. The two eastern bays between the eastern pillars are built up with solid masonry, and only a portion of the arches is seen. The original respond at the east gable wall, against which these arches rested, has long since disappeared, in connection with the erection of the later church. The two western bays, and the triforium arches above them (one on each side), have also been filled up with solid building in order to strengthen the western towers. The southern of these arches is shown in Fig. 201. The pillars which support the west towers are of greater size than the others, and are of a different section. One of the pillars and the corresponding arch of the north arcade are of late Gothic work, and may be part of the repairs ordered by the Privy Council in 1563,[160] or of the work done in 1594, under the direction of William Schaw, Master of Works, who at that time built the north-west tower and steeple
(Fig. 202), as well as the porch on the north side of the nave (Fig. 203). At the same time, also, certain great buttresses (Fig. 204) were built against the outer walls, which are now conspicuous features of the structure. The great western doorway of the church (Fig. 205) remains unaltered, and is a good example of Norman work. It consists of five orders, having round and octagonal shafts alternately, chiefly with cushion caps, but some are ornamented with scrolls (Fig. 206). The abacus is heavy, and is carved with sunk diapers. The orders are continued round the arches, and contain chevron ornaments (much decayed), rosettes, and diapers. The outer order contains large heads and geometric figures in the alternate voussoirs, an arrangement similar to that at Dalmeny and Whithorn, where also the geometric figures resemble those adopted here. The original north doorway (Fig. 207), which is partly concealed by Schaw’s porch, is similar in design, with the addition of an arcade above the arch (see Fig. 203.), somewhat resembling, but plainer than that over the doorway of Dalmeny Church, on the south side of the Forth. The south doorway of the church on the opposite side from the porch is a late work. There appears to have been another south doorway at the east end of the nave, but it is now built up. The whole of the aisle walls are arcaded in the interior (Fig. 208) up to the height of the window sills, but the arcade has been partly cut away for monuments. The general design of the nave recalls that of Durham Cathedral, at the founding of which King Malcolm Canmore was present. The same circular piers, with zig-zag ornaments and massive cushion caps, and also clustered piers, occur in each (Fig. 209), and the small circular bases, resting on great square plinths, are common to both (see also p. 37, Fig. 18.). The arches between the main piers (Fig. 210) consist of bold mouldings, with the label ornament running round the outer moulding. The triforium at Dunfermline is extremely simple (Fig. 211), consisting of a single opening with plain jambs and round arch, with a large roll and fillet in the centre of the thickness of the wall, supported on single attached shafts with cushion caps. The clerestory is also very simple. It contains one window in each bay, with plain recessed arch, supported on single shafts with cushion caps. The aisles (Fig. 212) are vaulted and groined. The transverse arches are flat, with a roll on each side, and the diagonal groins spring from the detached shafts of the responds (see Fig. 208.). The windows of the aisles (see Fig. 209.) are single round-headed lights, having plain sconsions with one recessed shaft on each side, and the arch enriched with chevron mouldings. Externally (Fig. 213) they are of similar design. Fig. 208 shows the wall shafting and springing of the ribs in the aisles, and the mouldings of the nave arcade, with the arcading beneath the
windows. It also shows the original aisle windows on the inside, while Fig. 213 shows their appearance on the exterior. It will be observed in the latter that there is the same sunk or label ornament on the drip-stone as there is over the arches of the main arcade. Above the aisle window (see the same Fig.) are the lights of the triforium gallery. These have triangular heads, formed by two stones. They appear to have been rounded or moulded on the edge, and spring from sunk shafts having carved capitals. They are now very much decayed, and have all been restored except two on the north side. Judging from the existence of the large west end pillars already referred to, it was evidently intended from the beginning to have two western towers. The northern one was destroyed to a considerable extent at the Reformation,[161] along with the upper part of the adjoining gable. In its present state it was designed and built by William Schaw, and is a very effective example of the architecture of his time (see Figs. 202 and 204). The bold corbelling at the top of the tower recalls the somewhat similar treatment of the towers of St. Machar’s, Aberdeen, and other examples derived from domestic architecture. The south-west tower appears to have escaped the fury of the Reformers, and to have remained intact, although in a ruinous state, till 1807, when it fell, having been struck by lightning. Three years later the present top was put on the old walls. The Lady Chapel at the east end, built to receive Queen Margaret’s shrine, is now reduced to a small fragment (see Plan), consisting of part of the south and east walls, which remain to the height of about 2 or 3 feet. It has been a small structure of about 26 feet 9 inches by 22 feet, of delicate and refined first pointed work, as is apparent from the bases of the wall arcading and the edge of the surrounding seat, enriched with nail-head ornaments, which still exist (Fig. 214). The Lady Chapel appears from an old view[162] to have been a low structure, reaching only to the sill of the great east window of the choir, and it was evidently vaulted in two compartments. Of the choir of the thirteenth century (shown on the Ground Plan, see Fig. 198.) not a single stone exists, having been removed to make room for a modern church; but before the latter was built (begun in 1818), considerable remains of the choir and apparently the whole of the foundations were standing. These ruins were measured and drawn by Mr. J. Baine, C.E., Edinburgh, in 1790, and by the Rev. Mr. Syme in 1805. From their
labours the author of the Annals (Mr. E. Henderson) made a complete plan of the church in 1827, and from it the ground plan of the choir now given has been filled in.[163] The choir was a prolongation of the present nave, having transepts, and also a great aisle on the north side, the walls of which latter remained till this century. There was a lofty central tower
of two stories, with three windows in each story facing the four sides. Altogether this church must have been a magnificent structure, and was adorned with many altars and shrines. It was to that part of the church specially that the zeal of the Reforming party was directed, when upon the 28th March 1560, “the wholl lordis and barnis that were on thys syde of Forth, passed to Stirling, and be the way kest doun the Abbey of Dunfermling.”—(Lindsay, Chronicle of Scotland, Vol. II. p. 555.) The interior length of the whole church from the west doorway to the Lady Chapel at the east end is 268 feet 6 inches, and the length of the exterior is 280 feet. The edifice occupies a lofty and commanding situation, from which the ground falls away on the west and south sides. The monastic buildings stood on the south side of the nave at a considerably lower level than the church. Of these structures, as is shown by the dark walls on the Plan, considerable remains still exist. The ground between the dark walls and the church has, in recent years, been levelled up, the outer portions of the monastic buildings serving as retaining walls. With the exception of these outer walls, the site of the monastery is thus buried. The refectory stood on the south side of the cloister, and the whole length and height of its south and west walls still exist. There is also a small portion of the return of its north wall, adjoining the west gable wall. Indications of its east wall also exist, thus enabling its dimensions to be fixed at 103 feet in length by 34 feet in width. The south wall (Fig. 215) was divided into seven bays, and in six of these there are lofty two-light windows (Fig. 216). The eastern bay is occupied by the pulpit or reading-place, from which one of the brethren read aloud during meals. This place, which occupies the whole of one bay, is about 15 feet long, and is corbelled outwards on a cusped arch (see Fig. 215.) about 4 feet 6 inches wide. It is lighted from the outside by two windows, which have mullions and tracery, still entire, flush with the face of the wall. On the side next the hall there are two lofty openings. Adjoining the refectory on the south-west is a large tower, beneath which runs a public road, called St. Catherine’s Wynd, through a “pend” or archway, whence the building is called the “Pend Tower.” The outside of the refectory and “Pend Tower” (see Fig. 216.) is very
[Image unavailable.] Fig. 211.—Dunfermline Abbey. Triforium and Clerestory.
imposing, with the simple row of lofty buttresses and windows along the top. The west gable wall of the refectory (Fig. 217) is still entire, and has a large window of seven lights. The tracery of this
window is in good preservation (Fig. 218), and is one of the most favourable examples of a kind of tracery developed in Scotland during the fifteenth century. At the north-west corner of the refectory is the staircase tower (see Fig. 217.), which leads down to the offices below, and upwards to the refectory roof, over which access was obtained to the upper story of the “Pend Tower.” In the north wall of the refectory, near the west end, are the remains of a flue, which may have belonged to a fireplace. The “Pend Tower” is still entire, wanting only the cape house and roof. It served as a connecting passage between the abbey buildings and the royal palace beyond. A door led from the refectory (see Plan, Fig. 219.) by a passage into a groined chamber, and from thence into a room in the palace situated over the kitchen. The kitchen is a lofty room, now roofless, having remains of large fireplaces and some curious recesses. Below the kitchen, but entering from another part of the palace, there is a large vaulted apartment with central pillars. (Fig. 220.) These pillars were continued up through the kitchen, and probably to the room, now gone, which stood over the kitchen. Another arched passage led from this apartment through below St. Catherine’s Wynd and up to the monastery. The building known as the palace was, doubtless, intimately connected with the monastery, and the kitchen shown on the plan may have been used in connection with both. Returning to the vaulted chamber in the “Pend Tower,” a long narrow vaulted passage leads from it along the refectory wall for the length of two bays. It is vaulted across from side to side for the length of the first bay, and then in the second bay one half-arch springs at right angles to the first arch from the end of the passage to meet the cross vault. This probably indicates that steps lead down in the passage to the level of the rooms below the refectory. But the place cannot be properly seen, being chocked full with the grass and rubbish thrown in from the churchyard. This passage is a very effective feature, as seen from the outside. It is supported on arches thrown from buttress to buttress, and is covered with a stone roof above (see Fig. 216.). Within the “Pend Tower,” on the first floor, there is a five-sided room with a fireplace, which appears to have been a sort of guard room. It is vaulted, and has ribs irregularly placed, as shown on plan. This part of the ruins is now a receptacle for rubbish, and is almost blocked up. Over this, and entering from the circular stair adjoining, is the room shown in Fig. 221. It is groin vaulted, and had a fireplace of good design. To save this “Pend Tower,” with its fine vaulted apartments,
a proper roof ought to be placed over it. Beneath the tower is the “Pend” or archway uniting St. Catherine’s Wynd and Monastery Street. The above passage and staircase are additions made, without doubt, at the time when the tower was built. This is clearly seen in Fig. 216. From this drawing it is obvious that the arches were thrown between the already existing buttresses of the refectory, and in the second bay the arch is at a low level to permit of the descending stair already referred to. The builders have just managed to save a very beautiful doorway belonging to the earlier building, now hardly seen in the shadow of the overhanging addition. To the east of the refectory there is a narrow chamber with the remains of a two-light window in the south wall, and projecting southwards from this is the lower part of the wall of the fratery reaching as high as the floor of the refectory. On the east side of the fratery extends
the south wall of a building called, on the plan, the Bailery Prison. These fragmentary structures exhaust the remains of the monastic buildings. The chapterhouse, and the buildings on the east side of the cloister (shown in outline on the plan), are taken from the old plan already referred to, but their accuracy cannot be guaranteed. As already mentioned, the monastery was burned by Edward I. in 1303-4; but, according to Tytler,[164] the church escaped. Froissart, however, narrates that in 1385 Richard II. burned the abbey and town. It is impossible to say to what extent these devastations were carried, but we doubt if any of the existing monastic buildings belong to an earlier date than that last mentioned. Perhaps the south wall may be older, and has been restored. The tracery of the refectory west window belongs to the end of the fifteenth century. The “Pend Tower” was built after the refectory was finished, as it abuts against the westmost buttress (as seen in Fig. 216.) in a way it would not have done had the whole been of one construction; also, the corner buttress has been cut away, as may be seen at the right-hand side of Fig. 221. William Schaw, Master of Works, besides the buildings already referred to, erected, in 1594, certain of the immense buttresses which form such conspicuous features in all the views of the abbey. He likewise built, and doubtless designed, the Queen’s House, and the Bailie and Constabulary House, shown in the plan. In connection with the latter houses, there are considerable remains of buildings still existing (as shown on Plan) to the north-west of the abbey, and there seems every probability that they formed part of the structures of the abbey and of the Queen’s House. They are extremely picturesque as seen from the low ground to the west. (Fig. 222.) The lofty house on the right hand dates probably from the end of the seventeenth century, and is a fine example of its period. The adjoining buildings are considerably earlier, and in the lower parts, where they are buttressed, they are probably of pre-Reformation times. The upper portions are somewhat later, and are very likely part of the work of Schaw. The porch to the latter buildings is on the other side, and is quaint and well known from being seen from the church. William Schaw died in 1602, and was buried in the nave, where the monument to his memory (Fig. 223) was erected by order of Queen Anne. The palace, which was intimately connected with the abbey, has been described elsewhere.[165]
ST. MAGNUS’ CATHEDRAL, Kirkwall, Orkney. In approaching Kirkwall from the sea, the chief object which meets the view is the great mass of the cathedral. The town gradually comes into sight, with its harbour and quays; but attention is irresistibly fixed on the huge church, which overtops everything else. When the quaint old streets, with the gables of the houses facing the narrow roadway, are traversed, and the open space round the cathedral is reached, the visitor’s admiration of the structure is by no means diminished. He enters by one of three splendid doorways in the west end, which recall the portals of the cathedrals of France rather than those of England. The first view of the interior is striking and impressive. (Fig. 224.) The long perspective of the great round pillars and arches on each side of the nave, surmounted by the round arched triforium and clerestory, and the lofty roof covered with simple vaulting, give an impression of size and height which is larger than is borne out by after measurement. This appearance of great size has often been remarked of St. Magnus’, and, no doubt, arises from the height and length of the edifice as compared with its width, which between the piers is only 17 feet, while the length of the nave is 111 feet, and the height to the apex of the vault is about 50 feet. The cathedral is found to be complete in all its great divisions. (Fig. 225), Plan.)[166] The nave has side aisles, which are vaulted, and the side walls are arcaded with interlacing Norman arches. The choir is, unfortunately, excluded by a glass screen from the general view of the cathedral, owing to the east end being still used as the parish church. The choir is of considerable length, being 85 feet 6 inches long by 47 feet 6 inches wide, and has main piers, triforium, and clerestory, of about the same height as the nave. It is also vaulted, and has vaulted side aisles. The longitudinal section (Fig. 226) shows the comparative heights of the nave and choir. The transept is 90 feet long by 17 feet wide, and has a great appearance of height, but is not vaulted. It has no aisles, but has a vaulted chapel projected to the east from each division of the transept. Fig. 227 is a section through the transept from north to south. The choir contains six bays, and the nave eight bays. When the exterior is examined, it is found to present at a glance a general history of the structure, and the changes which have taken place in it. The layers and masses of the different coloured stones which have been used in the edifice at different times tell their own tale.
Fig. 228 shows the north elevation of the whole cathedral.[167] The oldest work (which, however, comprises several periods) is constructed with dark slaty stone, having red freestone dressings. This masonry comprises the whole of the outer walls of the choir, the transept, and the greater part of the nave. It is evident, however, that this style of masonry includes not only much Norman work, with its round arches and flat buttresses, but also some later work, which has pointed windows and boldly-projected buttresses. The Norman work (Figs. 228 and 229) may be observed in the transept, and several bays of the nave and choir nearest the transept, while the pointed work is specially noticeable in the eastern half of the choir. In the clerestory walls of the choir (Fig. 230) great changes are observable. The lower part of the wall, which contains the windows, is built with dark red freestone, while the upper part is of whitish freestone, clearly showing that the clerestory has been raised, together with the parapet. The old line of the eaves is further apparent from the row of Norman corbels which marks the original level before the wall was raised. These corbels are specially visible on the north side of the choir clerestory, but a few also remain on the south side. The new corbel table under the parapet consists of corbels of well-known first pointed form. Turning to the nave, it will be observed (see Fig. 228.) that the whole of the clerestory wall (except the two westmost bays) is built with whitish freestone, while the windows are of small size and are pointed. The clerestory of the nave thus corresponds with the raised part of that of the choir in the stone used, but differs from it in the windows, which are narrow. The parapet and corbel table of this part of the building, and indeed throughout nearly the whole structure, are similar to those of the choir, and in the later work have evidently been copied from the earlier ones. In the transept the alterations are plainly seen in the heightened portions of the north and south gables (see Figs. 229 and 230), which are carried out with red freestone ashlar, and in the details of the upper window of the north transept and the rose window of the south transept, which are all of a later character than the Norman work of the lower parts of the transept. In the south transept there may also be noticed a pointed doorway (Fig. 231) built with party-coloured stones, which has been inserted by cutting into the old Norman arcade of the interior. This is distinctly seen in the elevation of the interior (Fig. 232). Probably, when this was done, the older doorway which existed at the east end of the nave south aisle, in the usual position for access to the cloister, was built up, the intention of having a cloister being abandoned. Some traces of the impost of the arch of the original doorway, carved with Norman enrichments, may still be seen.
The two westmost bays of the nave (see Fig. 228.) are built almost entirely from top to bottom with red freestone, having a slight admixture of white stone. This indicates a considerable alteration, and it will be found that these two bays were rebuilt at a late period, when a new west
front was erected and the cathedral was extended westwards. It may be mentioned that the cathedral stands alone in the middle of a large churchyard. There are no other ecclesiastical structures connected with it, such as cloisters or chapter house. The Bishop’s Palace,[168] however, is not far off. It has been a fine stately edifice, but is now greatly ruined. Before considering more minutely the order of construction of the cathedral, it is desirable to glance at the conditions under which it was designed and carried out. Under the rule of the Norsemen, in the ninth and tenth centuries, any early symptoms of Christian influence which may have previously existed in Orkney had died out. But after the conversion of the inhabitants of Orkney to Christianity, about the year 1000, traces of Christian worship became observable. The first actual Bishop of Orkney was William the Old, who held the bishopric for sixty-six years, and died in 1168. He must, therefore, have been consecrated in 1102. His see was first at Birsay (see p. 135), but was removed to Kirkwall on the erection of the cathedral in 1137-52. The Bishop of Orkney was one of the suffragans of the metropolitan see of Throndhjeim, which was erected in 1154. It was not till 1472 that the see was placed under the metropolitan Bishop of St. Andrews. The possession of the Orkneys was sometimes divided between two relatives. In the beginning of the twelfth century two cousins, Hacon and Magnus, shared the government; but in 1115 the latter was treacherously slain in the island of Egilsay by Hacon, who thus obtained the whole earldom. Some time after, however, a new claimant for Magnus’ share arose in Rognvald, the son of Magnus’ sister, who made a vow that if he succeeded in establishing his claim he would erect a “stone minster” in honour of his predecessor, St. Magnus, the latter having been canonised. Rognvald was successful in his project, and immediately proceeded to fulfil his vow by founding at Kirkwall a cathedral dedicated to St. Magnus. The building was designed and superintended by the Norwegian Kol, the father of Rognvald, who had the principal oversight of the whole work. The relics of St. Magnus were brought from Christ’s Kirk, in Birsay, to be deposited in the cathedral as soon as it was ready to receive them; but in the meantime they rested in the Church of St. Olaf, an older edifice which then existed at Kirkwall.[169] The Cathedral of St. Magnus was thus designed and erected by a Norwegian earl, while the bishopric was under the authority of the Norwegian Metropolitan of Throndhjeim. It is thus practically a
Norwegian edifice, and is by far the grandest monument of the rule of the Norsemen in Orkney. In these circumstances, it is not to be expected that the architecture should in every detail follow the contemporary styles which prevailed in Britain; but it is astonishing to find how closely the earlier parts correspond with the architecture of Normandy, which was developed by a kindred race—the successors of Rollo and his rovers, who settled in that country at an earlier date.
[Image unavailable.] Fig. 232.—Kirkwall Cathedral. Interior of Doorway in South Transept. The shaded voussoirs are of yellow and the remainder of red freestone.
There can be little doubt that the Romanesque architecture which prevailed in the North of Europe found its way at a comparatively late date into Scandinavia. The Norman form of that style would naturally follow the same course amongst the kindred races in Norway
and Denmark, just as it did in England and Scotland, and from Norway it would be transplanted into Orkney. We find that the “transition” style and pointed styles follow here a similar course to that observed in other countries, although, no doubt, with certain modifications, such as might be looked for at so great a distance from the centre of origin. Sir Henry Dryden, who has given a great deal of study to Kirkwall Cathedral, finds the differences of the architecture there as compared with that of England so great that the usual terms in England are not applicable; but we believe that, with some allowances, the same general stages of progress can be observed at St. Magnus’ as in the South. It is well known that French architects were sent for to carry out the Cathedral of Upsala, while the architecture of the Cathedral of Throndhjeim is English in character. A certain mixture of design is traceable in the details of these northern structures, but the general scope of the architecture follows that of the rest of Europe. The Cathedral of St. Magnus was, as above mentioned, begun by Earl Rognvald in 1137, and was, doubtless, carried on with as great expedition as possible. It was a gigantic work to be undertaken in this situation at the time, and difficulty arose with regard to funds. This, however, was overcome by allowing the proprietors of lands in Orkney to redeem their property by a single payment of a sum per acre, paid at once, instead of according to the usual practice, on each succession. The first parts of the cathedral built (shown by black tint on Plan) were the three westmost or Norman bays of the choir, with their aisles, both the transepts, the crossing (afterwards altered), intended to receive a tower over it, and two bays of the nave, which served to form an abutment for the crossing. These portions are all (where unaltered) in the earliest style of Norman work in the edifice. The round piers and responds of the choir, the two south piers and one north pier of the nave (with their cushion caps) (Fig. 233), the main arches (with their label mouldings in the choir and transept) (see Figs. 227 and 234), the round arched and labelled windows in choir, transept, and nave (see Fig. 228.), and the interlaced arcades in the latter (Fig. 235), all point to a somewhat advanced period of Norman work. The choir originally terminated with a central apse beyond the third pier (as shown by dotted line), but it is impossible to say whether the side aisles also had apses, or whether the aisle was continued round the apse. The Norman windows of the choir aisle have three external orders, with a label ornament in the outer order. The single shafts have cushion caps, and the windows are largely splayed internally. An interlacing arcade of round arches, with single shafts and cushion caps (some with volutes), runs round the north, south, and west sides of
the transept. (See Fig. 235.). The large arches leading into the east chapels were formed originally, but the chapels were built later. The lower string course of the transept is enriched with a four-leaved flower. (See Fig. 232.)
It seems likely that soon after the completion of the above portions attention was given to the continuation of the nave westwards for several bays. The piers have the same round form as the original ones, but the caps are no longer octagonal, but round (see Figs. 224 and 233), and instead of the cushion form, the caps are moulded. The north aisle wall opposite the three bays, west from the crossing, would appear to have been built early (see Figs. 228 and 229). The buttresses are of the flat Norman form, the three eastmost windows are moulded in three orders, with a label enrichment like the choir aisle windows, while the two windows to the west of above, although round, have mouldings of a first pointed character, and were, doubtless, finished at a later time (see aisle window in Fig. 236.). In the south aisle of the nave the east window is similar to those of the north side, but the others, extending as far as the south doorway, have, in the interior, mouldings indicating a more advanced date. (Fig. 237.) Externally, these windows have been restored. There would appear to have been a good deal of time spent over these aisle walls extending as far as the north and south doorways, and the main piers and arches within them were probably erected at the same period. Both of the above aisle walls have a Norman interlacing arcade (see Fig. 237.) running along the interior below the windows. In these arcades, and those of the transepts, various varieties of chevron ornament occur. The north aisle doorway (see Fig. 236.) is Norman in detail, but seems to have been restored at a late date. The interior mouldings are similar to those of the three west doorways. The doorway in the south aisle retains its old Norman arch and shafts in the interior, but has been altered externally (Fig. 238). The nave piers may have been continued as far as the above doors about this time, together with the triforium, but the upper part of the nave walls and the vaulting are later. After the Norman period above described, a distinct change of style is observable. This is prominently seen in the piers and arches of the crossing (see Figs. 233 and 235), which are of an advanced transition style, and appear to have been introduced in lieu of the old Norman piers. Possibly, however, the older piers are preserved and encased in the new. The latter (Fig. 239) are arranged in the form of clustered shafts, approaching first pointed in plan. The bases and caps of the shafts are of transition character, being very like those of Jedburgh Abbey, a good transition example. Some, however, have a tendency to foliage, but all are much damaged. The arches are in distinct orders, like first pointed work, and the inner order of those next the nave and choir is enriched with a large boldly relieved chevron ornament (see Fig. 233.). The windows in the choir nearest the main arches of the crossing, and the triforium openings into the transept, appear to have been altered and rebuilt at the time of this operation. The upper part of the north transept was probably raised and its windows inserted at this time, as they are of transition character; but the raising of the south transept and introduction of the rose window in it is of a somewhat later date. This circular window (see Fig. 235.) is very similar to that in the east window of the choir. The chapels on the east side of the transept are also of the transition period. Both internally, including the vaulting, and externally, including the pointed windows (see Figs. 229 and 230), the work of these chapels is very advanced transition in style. Of course, it must be understood that the style is referred to, not the date. The transition style may not have penetrated to Orkney till a long time after it had been abandoned further south, possibly not till the middle of the thirteenth century. The space between the south chapel and the choir aisle has been built up and formed into a small vaulted chamber, which has no opening communicating with the chamber in the south chapel. It enters from a window in the aisle changed into a door. The use of this chamber is unknown. The large windows in the triforium of the transept, adjoining the crossing, are cut across by the aisle roofs. This arises from the aisle roofs having been raised at a late period. The vaulting of the original choir, and the vaulting shafts, with their corbels (see Section, Fig. 226.), probably also belong to the transition period. The completion of the nave, as far as the original west wall, was probably next undertaken. The piers (as above mentioned), although round on plan like the original ones, have round moulded caps like those further east. The arches over the piers were, no doubt, executed at the same time, and the triforium carried up. The latter consists of three orders of plain arches, with chamfer on edge, except some on the north side, which have a bead and fillet on edge, thus indicating a somewhat advanced date. It is not easy to say when the clerestory and vaulting of the nave were executed; but, from the circumstance that the clerestory is built with whitish stone, similar to the raised part of the clerestory of the choir, we are inclined to believe that it was carried out about the same period as the heightening and vaulting of the choir, to be afterwards referred to. Steps are introduced at the bottom of the nave triforium arches, which, however, can scarcely be seen from below. Their object is to raise the floor of the triforium, so as to give height for the aisle vaults. The next alteration of the cathedral effected a complete revolution in the eastern portion of the edifice. The apse was taken down, and the choir, with its aisles, was extended by three bays to the eastward. (See Fig. 234.) The junction of the extended work with the old is quite apparent in the large pier on the left. The style of this extension of the choir has in many points a strong resemblance to advanced first pointed work, but it exhibits some peculiarities of detail. The piers of the new bays consist of clustered shafts, but the arrangement of the shafts is peculiar, having rounds and hollows passing into one another, and with fillets on edge, more like decorated work than first pointed. The bases are of early form, and the caps, which generally resemble first pointed work, have also features which recall the French “Crochet caps” of the period. Possibly some of the Frenchmen engaged at Upsala or Throndhjeim may have been brought over to the work at St. Magnus’, and have here left the mark of their French extraction. Some of the caps, which have a square abacus, have small leaves introduced at the junction of the circle with the square—an arrangement common in bases, but very unusual in capitals. (See Main Pier, Fig. 240.) The main arches over the piers (see Fig. 234.) are not pointed, but semi-circular (a form of common occurrence in Scotland). Otherwise the sections of the mouldings, and the arrangement of the orders in distinct divisions, are quite first pointed in style. The triforium consists of plain chamfered semi-circular arches and jambs in three orders, with plain impost mouldings, being a continuation of the design of the triforium of the earlier part of the choir. The clerestory has simple pointed windows, moulded on sconsion, but without cusps, at the same level as the Norman windows in the western part of the choir. A vaulting shaft is carried up between the piers. It springs from the pier caps, and is very small up to the triforium, where it thickens and runs up to the triforium caps, and above that point is carried up as a triple shaft to the cap which receives the springing of the vault. The clerestory windows appear to have been built before the vaulting was arranged, seeing that they are placed very low in the red part of the wall. But when the vaulting was designed, it was found desirable to raise the walls so as to get proper height for the arches. This was done in whitish stone, and shows distinctly on the exterior, as above stated. A row of Norman corbels on the north side marks the original height of the clerestory wall. These corbels appear to have been moved from the Norman part of the choir, and inserted in their present position when the choir was lengthened. A few corbels remain in their original position on the south side of the choir. The vaulting of the old part of the choir was also altered at the time when the new vaulting was built. The design of the extended choir aisles corresponds with that of the choir, and is very beautiful, though somewhat foreign in character. (See Fig. 240.) The ribs of the choir and aisle vaults have all bold sections of first pointed form. The east end of the cathedral is of this period. The great east window (see Fig. 234.) fills the whole space available. This window, including its mouldings, measures (according to Sir H. Dryden) 37 feet 2½ inches by 16 feet 7½ inches. It is well designed, and has side shafts of first pointed form, while the tracery is perhaps a little more advanced. The great rose in the arch, which expands over the whole of the mullions and arches of the tracery, is (as pointed out by Sir H. Dryden) quite peculiar and unique. The three-arched recesses under the east window indicate that the altar stood free from the wall. On the exterior, the junction of the new buttresses with the old Norman ones is distinctly seen. (See Fig. 230.) The former are of red freestone, and project with water tables in stages, while the latter are flat and shallow. The side windows have plain splays in the jambs, and have no caps, one round-headed window on the south side has two lights, and a doorway is formed beneath it. A large base course goes round the choir and marks the new work. It is also continued round the transept chapels at a lower level. Besides the raising of the clerestory walls, above referred to, the aisle walls of the choir have also been raised. On the north side (see Fig. 229.) this is effected by leaving the old parapet and building a second parapet above it, while on the south side (see Fig. 230.) the old parapet has been removed and the wall heightened with red ashlar, and a new parapet placed at the higher level. Several square windows have been cut in the lower part of the north choir wall. These are modern, and are not shown in the sketch. Their object is to admit light under a gallery which has been inserted in the north aisle. The floor of the choir has been raised, and is now reached by several steps from the transept; but the steps to the sanctuary are believed to have been where shown on the plan. As already mentioned, the clerestory and vaulting of the six eastmost bays of the nave was probably executed soon after the choir was finished, the outer wall of the clerestory being built with the same whitish stone as the heightened part of the choir. The windows are small and of plain-pointed form, like those of the choir. Some of them have the appearance of having been cut up into the vaulting, as if they had been inserted or heightened after the vaulting was built. It is to be remarked that while the parapets of the nave and choir are on the same level on the exterior, the vaulting of the nave is several feet lower than that of the choir. The three western doorways (Fig. 241) and the pointed doorway in the south transept (see Fig. 231.) must be assigned to a period rather later than the choir. The wall containing the three west doorways is built out
[Image unavailable.] Fig. 241.—Kirkwall Cathedral. West Doorways.
of the square with the nave walls. It is supposed to have been erected outside the church, with the view of lengthening it, while the original west front stood at a point distant one bay from it. The new west wall seems to have been left unfinished for a considerable time, the upper part of the west front having, from its style, evidently been built at a much later period than the doorways. When the new west wall was completed, the old west front would be removed. This necessitated the building of the westmost pair of piers. While this operation was in progress, the next pair of piers and arch above have yielded, and the piers remain much inclined to the west. The three west doorways and that in the south transept are specially remarkable from their presenting probably the finest examples in Great Britain of the use of coloured stones in the construction. This is chiefly observable in the exterior, but is also carried out in the interior of these doorways (Fig. 242). The north doorway (Fig. 245) and central doorway (Fig. 244) of the west front have the colours arranged in concentric rings in the arches, red and yellow alternating. In the south doorway (Fig. 243) the same colours radiate and alternate, and in the doorway of the south transept the red and yellow stones are arranged chequerwise. (See Fig. 231.) Fig. 246 shows the plan of the central doorway.
[Image unavailable.] Fig. 245.—Kirkwall Cathedral. Plan and Elevation of North Doorway of West End. Fig. 245.—Kirkwall Cathedral. Plan and Elevation of North Doorway of West End.
The shafts have all been detached, as shown in the plans. They have been renewed; but, as Sir H. Dryden suggests, no doubt correctly, they were probably at first in red and yellow stone alternately. The caps have been very elaborately carved with foliage, which is now much decayed. It looks later than the enrichments of the arches, which consist of early ornaments, such as the dog-tooth and chevron, much undercut. These enrichments, and the foliage which ran up the jambs of the doorway, are now greatly decayed, especially the portions carved in the yellow stone. In the case of the south transept doorway, the stonework, which is much wasted, has been roughly repaired with cement. The central doorway has five orders of mouldings, and the north and south doorways four orders. The south transept doorway has also four orders. Notwithstanding the damage they have sustained, these doorways are still amongst the most charming portions of the edifice; and, as regards the coloured decoration of their masonry, they stand almost alone in this country. In the interior the west doorways and responds of piers (Fig. 242) are constructed with alternate bands of red and yellow stone, and the sconsion moulding is enriched with a ball ornament. The sconsion of the doorway of the north nave aisle has a similar enrichment, showing that it must have been restored at a late date, as already mentioned. The buttresses between the west doorways are, so far as original, also carried up in alternate red and yellow courses. (See Fig. 241.) The upper part of the gablet over the centre doorway is of the seventeenth century, and bears the shield of Sir George Hay of Kinfauns, who rented the lands of the bishopric in the beginning of the seventeenth century. A crozier is added to the shield in connection with the lands of the see. (See enlarged sketch in Fig. 244.) The upper part of the west front is of late construction, having probably been carried out when the two west bays of the nave were built. These bays, as above mentioned, were added to the cathedral at a late period, and are almost entirely built with red freestone. The piers are designed in imitation of the old nave piers, but the caps and bases have different mouldings, and the plinth of the base is round, while that of the older bases is square. (See Fig. 242.) The triforium and clerestory are also constructed in imitation of the older parts of the nave. The three west bays of the nave and two bays of the aisles remained without vaulting till they were covered with the present wooden vaults, when the building was repaired by the Government in 1848. The aisle windows in these bays are narrow, and have trefoiled cusped heads, being the only cusping in the cathedral (see Fig. 236.), except those in the large round windows. The parapet of the north side of the nave is evidently a very late piece of work. It is supported on large trefoil ornaments, or inverted fleurs-de-lys, cut square into the wall, without chamfer or moulding. (See Fig. 236.) This ornament extends along the six eastmost bays of the nave, the two westmost bays having a plain parapet on the same level. On the south side of the nave the aisle wall has been raised with red ashlar (like the choir south wall), and an ordinary parapet placed above it. The buttresses in the west part of the north side of the nave are of a late pattern, with two set-offs, and those on the south side of the nave have been repaired and altered. In the south side of the nave a new exterior doorway (see Fig. 238.) has been substituted for the old Norman doorway, the shafts and arch of the latter remaining in the interior. The new doorway is said to have been inserted by Bishop Reid in the sixteenth century. This is the same Bishop whom we meet with as Prior of Beauly and Abbot of Kinloss (q.v.) The doorway has the late form of a three-sided arch, and the mouldings are those common at the period (sixteenth century). In the centre of the lintel is the shield for a coat of arms, now obliterated, but a mitre is still traceable. A benitier adjoins the doorway, and there seems to have been a wooden porch or awning over it. The tower over the crossing (see Fig. 230.) has been considerably operated upon in modern times. The old wooden spire was destroyed by lightning in 1671, and the tower consequently required repairs. The parapet and pinnacles are modern, as also the pointed and slated roof; but the lower part seems to be of considerable age (see Section, Fig. 227.). The part within the roof of the church is apparently of transition date, and the upper part, with the large pointed windows, is probably of fifteenth century work. An unusually wide wheel stair leads from the north-west and south-west angles of the transept to the upper parts of the edifice. These stairs are connected with passages which circulate all round the clerestory and triforium in the thickness of the walls (Fig. 247), and give access to every part of the building. They also pass round the tower at each story, and are connected with small wheel stairs in the angles, by one of which access is obtained to the roof. There would appear to have been, at one time, numerous fine monuments in the cathedral, but they have all disappeared. An arched recess, with a gablet over it, in the south nave aisle (see Fig. 237.) is now empty, but is supposed, by Sir H. Dryden, to have been erected for some member of the family of the Strathernes, Earls of Orkney. The altar tomb of Bishop Tulloch, who died soon after 1455, stood between the two eastmost pillars of the choir. It was a handsome erection, and appears to have had a canopy, but not a fragment now exists. A stone cist was discovered between the two east piers of the choir (north side) during the repairs in 1848. It contained a skeleton doubled up, and an ivory crozier and a plate of lead inscribed, “Hic requiescit Wilialmus senex felicis memorie,” and on the back “primus episcopus.” Bishop William the old died in 1168. The cist and bones were carted away with the rubbish in 1856, but the ivory staff handle and the lead plate are preserved in the Museum of the Society of Antiquaries at Edinburgh. Numerous slabs, with inscriptions of the seventeenth century, have been erected against the nave walls. At one time the cathedral possessed some fine specimens of woodwork. The canopy over the Bishop’s throne (shown by Billings) has now disappeared. The alms dishes, which are of brass, 2 feet 5 inches diameter, are of Dutch workmanship of the seventeenth century. They are large and fine of their kind. The tower contains four bells. Three of these were given by Bishop Maxwell. The great bell (3 feet 5½ inches diameter and 2 feet 9 inches high) has, on a raised shield, the Bishop’s arms, a saltier, with annulet in centre, and under it “NLTAS.” Also the following inscription:—“Made by Master Robbert Maxvell, Bischop of Orkney the yaer of God MDXXVIII the year of the reign of King James the V., Robert Borthwik made mein the castel of Edinbrugh.” There is also in a medallion, containing in seven lines, the following:—“Taken et brought againe heir by Alexander Geddus marchant in Kirkwa and recasten at Amsterdam Jully 1682 years by Claudius Fremy city bell caster. It weighs 1450 P.” On a medallion, a figure with a sword, and, under it SCT MAGNVS. The latter inscription shows that this bell was sent to Amsterdam
to be recast, which was required, in consequence of a crack or rift having occurred in it. The second bell (3 feet 1 inch diameter and 2 feet 5 inches high) bears the following inscription in black letters:—“Maid be maister robert maxvell bischop of Orknay in ye secund yier of his consecration in the zier of god Im Vc XXVIII zeiris ye XV zier of ye reign of King James V.” On a medallion is a figure with a sword, and, under it, “Sanctus Magnus.” Below, “robert borthvik.” Also, on a medallion, the arms of Scotland, and on another, the arms of Maxwell, and on another part, “Ihs.” The first bell is 2 feet 9 inches diameter and 2 feet 5 inches high. The inscription, in black letters, raised in three lines, is, “Maid be maister robert maxvel byschop of Orknay, ye secund zeir of his consecration ye zeir of gode Im Vc XXVIII zeirs ye XV zeir of Kyng James y V. be robert borthvik maid al thre in ye castel of Edynbrugh.” There are also, on a medallion, a figure of St. Magnus, on a shield the arms of Maxwell, as before, and on another part, “Ihs.” Robert Borthwick, above mentioned, was master gunner to King James IV. The fourth bell is small (1 foot 8 inches diameter and 1 foot 4 inches high), and is not hung. (See description of St. Magnus by Sir Henry E. L. Dryden, Bart.) The fabric of the cathedral does not appear to have suffered at the time of the Reformation, but in 1606 an attempt was made by the Earl of Caithness to destroy it. This happened during the rebellion of E. Patrick Stewart, who had taken possession of the Tower, and used it as a place of strength. The demolition was, however, prevented by the intervention of Bishop Law. The building would appear, in 1701, to have received very improper usage at the hands of the Town Guard, who occupied it as a public place, shooting guns and “drinking, fiddling, piping, swearing and cursing night and day” within the church, and so rendering it unfit for public worship. Great repairs were required in the early part of this century, and the Government, under the belief that the cathedral was Crown property, expended a good deal of money in putting it in good condition in 1848. It was afterwards discovered that the building belonged to the town, when the local authorities took possession of it and replaced in the choir the galleries which had been removed. The choir still continues to be used as the parish church. ST. BLANE’S CHURCH, Bute. This interesting ruin stands in a remote valley near the south end of the island of Bute, being about three miles south from the parish church of Kingarth. The site is at a considerable elevation, and commands a fine view of the hills of Arran to the south. A lofty and precipitous wooded hill shelters the valley from the northwards. The building stands on a slightly elevated platform, enclosed with a retaining wall. This enclosure forms an upper churchyard, while another enclosure below it forms a lower churchyard. In former times the upper burial-ground was reserved for men, and the lower one for women. At first sight the structure at once impresses one as being a Norman building (Fig. 248), from the style of the masonry of the lofty central wall and the east end, which stand out prominently from amongst the ruins. On closer inspection, the church is found to consist (Fig. 249) of an oblong nave, 50 feet 6 inches in length internally by 16 feet 8 inches in width, and a chancel, 26 feet 3 inches long by 13 feet 11 inches wide, separated by the lofty wall above referred to. The latter contains a chancel arch, 5 feet 3 inches in width. The masonry of the nave is undoubtedly Norman, being in courses of carefully-dressed freestone, with upright joints all breaking band. The west wall has, on account of the slope of the ground, been brought up from a depth of several feet below the level of the floor, and the lower portion is thickened, and has exterior set-offs about the floor level. A base of peculiar form is carried round the building. (See Figs. 248 and 249.) The side and west walls are now reduced to a few feet in height, and there thus remains no trace of any windows. There have been two entrance doorways, opposite one another, in the north and south walls near the west end, of which only some fragments remain. The chancel arch (Fig. 250) is of good Norman design. On the side next the nave it is in two orders, the inner order having a simple linear or, perhaps, bird’s-beak enrichment, and the outer order is enriched with two series of chevrons, one on the face and the other on the soffit, which leave on the angle a raised lozenge form between them. The arch is enclosed with a label of three-sided section, enriched with a lozenge pattern, and having a small Greek cross in the centre of the arch. Each order rests on the cap of a shaft, the inner shafts being half-rounds, and the outer shafts complete cylinders set in nooks; but these shafts have now disappeared. The caps vary in design, but are of good Norman character. The bases are much decayed. The abacus of the shafts forms a string course, which was continued round the interior of the nave. It is carved with a saltier-like ornament. A similar string course probably ran round the exterior of the nave. The side of the arch next the chancel is plain, the outer order only having a simple roll on the edge. (See Fig. 248.) The central wall between the nave and chancel is in good preservation, and is carried up with freestone courses resembling the ashlar work of the nave; but the work is coarse, and has probably been rebuilt. Three buttresses, built with whinstone, have been erected at a late period against the south wall of the nave, which seems to have shown signs of weakness.
The Norman masonry of the nave extends both on the north and south sides for about 13 feet into the chancel, when it stops suddenly against a whinstone wall. A fragment of the Norman string course is traceable on the exterior of the north wall at the west end, and the same base as that of the nave runs along this Norman part of the chancel. There are the remains of a doorway in the south wall. The remainder or eastern portions of the side walls of the choir are composed in their lower part of whinstone rubble work (both on the exterior and interior), while the upper portions of the side walls are built with freestone, similar to that used in the nave, but executed with very inferior workmanship, especially as regards the jointing and coursing of the stones. The lower rubble portions of the side walls contain no openings, but the upper freestone portions contain windows. The window in the north wall (see Fig. 248.) is a single-pointed light, with freestone ingoings and sconsion arch. There has at one time been a similar one-light window in the south wall, but at a later date a two-light window has been introduced instead of it. The latter being placed at a higher level than the former, part of the older window still remains below the sill of the later one. The older windows in the side walls are moulded on the jambs; the later one is splayed. A piscina has also been inserted in the south wall close to the window. The eastern wall of the chancel, like the east portions of the side walls, has the lower part built with whinstone rubble, and the upper portion with freestone. As the ground slopes to the east, the east end wall is carried deeper than the side walls. The lower portion (which extends also for a short way along the north and south sides) is brought up with whinstone rubble for about two feet (see Fig. 248.), when a freestone splayed base (quite different from, and at a lower level than, that of the nave) is laid above it. The wall over the base is carried up in the interior with whinstone rubble for nearly four feet (see Fig. 250.), and on the exterior with rubble mixed with freestone for two courses. Above this the wall is built in the interior for two courses, and in the exterior for four courses, with carefully-constructed and jointed freestone blocks, similar to those of the nave walls. A set-off occurs on the exterior above these courses. The upper part of the wall and the exterior of the gable are composed of freestone, built irregularly, like the upper portions of the side walls. The upper portion of the interior is of similar work up to the top of the windows, above which it is of rubble work. In the east wall there are two single-light pointed windows, similar to the window in the north wall. They have the same mouldings, and similar sconsion arches. The inner sills are stepped in three courses. An ambry is inserted in the east wall. There is some difficulty in explaining the sequence of the construction, and the comparative dates of all the different portions of the chancel. In a paper by Mr. William Galloway, in the ArchÆologia Scotica, Vol. V. p. 217, a very interesting and ingenious theory is propounded thereanent. It is there supposed that the whinstone rubble work is actually a portion of an ancient chapel erected at a very early date, and that the Norman work was built around it, in order, so far as possible, to preserve the venerable remains of the primitive structure. This, it is pointed out, would explain the finely coursed work which occurs above the rubble work on the exterior and interior of the east end wall and adjoining portions of the north and south walls. As regards the inferior freestone work of the upper part of the walls, it is assumed that these are the result of an alteration which took place in the thirteenth century. If this theory were correct, it would enhance very greatly the interest of the structure, not only by the extreme antiquity it would assign to it, but also by proving the great veneration with which it was regarded, and the unusual tenderness with which it was treated by the twelfth century builders. It must, however, be confessed that an inspection of the building does not tend to confirm the theory. Several points arise which do not appear to be met by it, such as—(1) How does the splayed freestone base of the east end happen to be laid in the middle of the rubble work? Such a base is practically unknown in ancient Celtic structures. (2) On the north wall of the choir a string course and moulded base exist in the Norman portion, and have apparently run along the outside. Would these simply be butted against the supposed ancient rubble work, or how would they be terminated? (3) Is it at all consistent with the usual action of Norman builders to leave small fragments of ancient rubble work and incorporate them in their structures? Or was it not, on the contrary, their invariable practice to remove such early work? Is it not more reasonable to suppose that the different styles of work which are seen here are the result of alterations and repairs? A study of the building itself certainly tends to strengthen that impression. After a careful inspection of the structure, one feels it impossible to believe that the different portions of the work were other than the result of alteration and patching. It is admitted that the matter is rather puzzling; but we venture to make the following suggestions as to the history of the building. The chancel was probably all built originally in the Norman style of its existing west half. Some accident overtook it, and the east half was demolished. In rebuilding it whinstone rubble work was chiefly used, but a splayed freestone base course was inserted, where it still remains. The Norman-like courses above the rubble work were derived from the old materials of the demolished Norman portion, and were reused without alteration, as nearly as possible, in the same manner as originally. It is generally supposed that the imperfect work of the upper portions of the walls is of thirteenth century date, but it is more probably much later. The irregular and inferior workmanship alone seems to prove that, and the windows are of a form which might belong to any date. The sconsion arches are not unlike those of the church at Rothesay, which is not earlier than the end of the fifteenth century. DALMENY CHURCH, Linlithgowshire. This edifice is the completest of our Norman parish churches, consisting (Fig. 251) of a chancel with eastern apse and a nave or main building, separated from the chancel by an elaborate chancel arch. As usual in parish churches of this period, there are no aisles. Although the above divisions are complete, the church has not entirely escaped alterations and additions. On the north side projecting wings have been added, which contain a gallery and a north porch, and staircase leading to the gallery. The south front and east end are, however, almost untouched, and show the work of the twelfth century, uninjured save by natural decay. The church stands beside the quiet and pleasant rural village of Dalmeny, about one mile inland from South Queensferry, and about eight miles west from Edinburgh. Little is known of its history. A charter is signed by Robert Avenel, “parson of Dumanie,” about 1166-82, and in the thirteenth century, during the reign of William or Alexander II., the church was granted to the monks of Jedworth. It is believed to have been dedicated to St. Adamnan,[170] and the fact of the neighbouring church of Cramond being dedicated to St. Columba tends to confirm this belief, as it has been pointed out by Dr. Skene that these two saints’ names are generally found together in the dedication of churches. The edifice consists of a nave 42 feet long by 18 feet wide, with a projection in the south wall, which contains the doorway. It has three small windows in the south wall. In the interior of the south wall there is a recess, now linteled over, which may have contained a monument. From the rough nature of the masonry at the west end of the nave, a tower would appear to have been intended to be built there. Part of the commencement of its side walls exists, and into these the two buttresses shown on Plan have been toothed or joined at a later period. The nave (Fig. 252) opens to the chancel with a splendid chancel arch, having three orders decorated with elaborate chevron ornaments, enclosed with a hood moulding carved with an enrichment somewhat resembling the dog-tooth (Fig. 253). The soffit of the arch contains a similar faceted enrichment. The arch is carried on three attached shafts on each side, built in ashlar, and provided with subdivided cushion caps and plain bases. The chancel (Fig. 254) is 16 feet long by 15 feet wide, and is vaulted with bold diagonal groin-ribs, enriched with chevron ornaments and springing from grotesque corbels (Fig. 255). It has one small window on the south side, with plain splay in the ingoing and plain sconsions and arch. The apse is semi-circular, and is entered from the chancel by an enriched arch (see Fig. 254.). The arch has two orders carved with chevron ornaments and a hood mould with faceted enrichment. The shafts and caps are similar to those of the chancel arch. The apse is vaulted like a single square bay, with boldly moulded groin-ribs springing from large corbels carved with grotesque heads (Figs. 256 and 257). The wall is of plain ashlar, and the apse is lighted by three plain window openings (Fig. 258), the central one of which has been enlarged. The exterior of the church (Fig. 259) is built with the usual cubic ashlar of the period. All the windows in the building (Fig. 260) have a single pair of shafts with cushion or carved caps, and an arch, of one order, carved with chevron ornament, and a hood mould enriched with faceted patterns. The choir and apse have a boldly projected cornice supported on corbels carved with grotesque heads. The choir has the side walls carried up in the form of a parapet above the cornice, having evidently been raised at some period to the same height externally as the nave. A string course runs round the building immediately below the windows, of which it forms the sills. It is enriched with a carved floral pattern. The doorway (Fig. 261) is placed in a projecting part of the south wall, and is surmounted by an arcade of interlacing arches, with corbel course above, carved with grotesque heads. The doorway has two nook shafts on each side, the outer one round and the inner one octagonal. These are detached and in single stones. They carry enriched caps, three of them having foliage and volutes imitated from the Roman, and one with traces of an animal. A string course, enriched with scrolls, forms an abacus above the caps, and from the abacus spring the arch mouldings in two orders, with carved hood mould beyond. The inner order of arches contains thirteen voussoirs, each of which is sculptured with a figure. These figures (Fig. 262) are very similar to those often found on the ancient sculptured monuments of Scotland, and have also considerable analogy with the figures carved on the Norman churches of England and on the Continent, thus indicating (as pointed out in the Introduction) the connection between the former and the latter. Commencing at the right-hand voussoir of the inner order, we have (No. 1) a clear representation of the Agnus Dei, bearing the cross in sign of victory; No. 2 seems to represent a serpent, possibly with a human head; No. 3 represents a winged quadruped with a bird’s head; No. 4, a lion (a favourite emblem both in Norman work and Scottish monuments); Nos. 5 and 6 are too much decayed to be intelligible; No. 7 seems to be a hare running and an animal with scrolled tail at rest; No. 8, a winged bird and serpent; No. 9, a winged dragon with tail passing into a divided scroll, part of which it is biting with its bill; No. 10, a winged griffin; No. 11, a bird with a fish’s tail pecking at a serpent; No. 12, two seated human figures clasping hands; No. 13, a nondescript bird and serpent. The outer order of the arch contains eight projecting heads of grotesque form, but some of them much decayed. Alternating with these heads are voussoirs carved with figures somewhat similar to those of the inner order. These, so far as can be made out, are—No. 1, a man with a pair of horses; No. 2, a lion, perhaps crowned; No. 3 seems to represent a number of darts radiating from a centre; No. 4, a centaur or Sagittarius shooting an arrow at an undefined object; No. 5, two seated
figures, one holding a spear or pastoral staff. At each side of the arch, and resting on the string course, are two detached figures, which recall the figures similarly placed at Whithorn Priory. That on the right represents a man holding a spear, that on the left, although apparently a human figure, is too far gone to be clearly made out. This doorway is particularly interesting from being, as we believe, the only example in Scotland of similar well-preserved sculptures upon a church. In England, as pointed out by Mr. Romilly Allen, sculpture of this description is common on Norman structures after 1135, especially on doorways and fonts. It is difficult to form an idea of the meaning of many of these sculptured figures, occurring, as they do, in the strangest juxtaposition. On this point Mr. Romilly Allen observes[171] that “one of the most remarkable features in Norman sculpture is the way in which the Agnus Dei is associated with what appears to us to be the most incongruous surroundings, such as animals, serpents, and a bird at Parwich in Derbyshire; animals and a figure holding a pastoral staff at Hagnaston in Derbyshire; a tree with birds and Sagittarius and Leo at Stoke Subhampton in Somersetshire, &c.” Such descriptions would well apply
to the doorway of Dalmeny Church, where we have associated with the Agnus Dei, Leo, Sagittarius, serpents, birds, dragons, and human figures, one, perhaps, bearing a pastoral staff. Numerous similar figures may be also seen on the sculptured monuments
of Scotland, and thus a connection is observed between these remarkable erections and the sculpture of Norman buildings, which brings the earlier monuments into close connection with the later, and provides them a place in the general history of art in the country. Sculptures of a similar description have, at one time, existed at Dunfermline and Jedburgh, but they are now too far wasted away to be intelligible. LEUCHARS CHURCH, Fifeshire. Situated four and a half miles from St. Andrews, and one mile from Leuchars Railway Junction, this church, like that of Dalmeny, forms one of the best-preserved examples of our parish churches of the Norman period. Though not complete, like Dalmeny, the choir and apse of Leuchars, which alone remain, are even more richly decorated with the characteristic ornaments of the style than the former. As usual, the church is without aisles. It is scarcely possible to ascertain the date of these early structures, but we find from the registry of the Priory of St. Andrews that the Ecclesia de Lochres existed in the year 1187. There are letters by Orabile, Countess of Mar, attesting that she was present when her father,
Nes, the son of William, gave the Church of Leuchars, in Fife (Lochres), to the Canons of St. Andrews, 1171-1199. Orabile was married to Robert de Quinci. Between 1210 and 1219 Syer de Quinci, Earl of Winchester, gave to the Canons of St. Andrews three merks of silver yearly from his mill of Leuchars for the souls of his
[Image unavailable.] Fig. 265.—Leuchars Church. 1. Details of Apse. 2. Details of Choir. 3. Corbel in Apse. grandfather and grandmother, of his father, Robert de Quinci, and his mother, Orabile.[172] The church (Fig. 263) now consists of a choir, 19 feet 9 inches long by 18 feet wide, with a circular apse, 12 feet 6 inches wide and 12 feet deep. There are traces of an arch at the west end of the choir, which opened into the nave; but the latter is now rebuilt.
[Image unavailable.] Fig. 266.—Leuchars Church. Interior of Apse.
The general view (Fig. 264) shows the exterior of the semi-circular apse, with its arcade of two stories, the shafts of the upper tier resting on the arches of the lower one, and all the shafts bearing cushion caps. Those of the lower story are double shafts, and those of the upper story are double shafts, with a broad fillet between them. All the arches are enriched with chevron and billet mouldings, and the upper tier has an extra order of elaborate billet-work. The string course between the two arcades is carved with zig-zags (Fig. 265). The cornice is supported on a series of boldly-carved grotesque heads, all varying in design. On the top of the apse vault there has been built, in the seventeenth century, an incongruous turret, which, although not of bad design, is extremely out of place. To support this belfry, a plain arch has been introduced in the interior amongst the Norman work of the apse. (Fig. 266.) The design of the exterior of the choir (Fig. 267) is similar to that of the apse, there being two arcades, one above the other, surmounted by a cornice, with corbels carved as grotesque heads. The lower arcade, however, has interlacing arches (see Fig. 265.), which indicate a late period of the style. The two arcades are separated by a string course, enriched with scroll floral ornament. In the interior (see Fig. 266.) attention is drawn to the elaborate carving of the chancel arch, which has two orders of complex chevron ornament, and an outer order or hood mould of four rows of billets. The soffit of the arch is also enriched with chevrons, so arranged as to form a row of lozenge ornaments in the centre. The chancel arch is carried on a central attached shaft and two plain nook shafts, built in courses, with simple cushion caps and plain bases. The chancel is vaulted with heavy moulded groins, springing from the cushion caps of short single shafts resting on grotesque heads. (See Fig. 265.) A small window is introduced in each of the divisions formed by the shafts, and each window has a pair of nook shafts in the interior and enriched arch above. The lower part of the apse is plain, and is separated from the upper part by a string course, enriched with faceted ornaments. BUNKLE CHURCH, Berwickshire. There exist in Berwickshire the remains of a number of Norman churches which, unfortunately, are very fragmentary. This is the more to be regretted, as the portions still remaining of some of them show that they must have been equal, if not superior, in richness of detail to most of the better preserved specimens in other parts of the country. The fragments at Edrom and Legerwood are of the finest Norman architecture, while the extreme simplicity of the work at Bunkle seems to indicate that it is very early in the style. At Chirnside and St. Helen’s but little is left; indeed, the latter is now almost only a memory of the past.[173] The numerous remains of Norman parish churches scattered throughout Berwickshire point to the direction from which the Roman influence gradually spread over the country. Amongst these fragments, the small piece of Bunkle Church (Fig. 268) which survives is one of the earliest. It is situated about 4½ miles north-west from Chirnside Station, on the Duns Branch Railway, and stands in the immediate neighbourhood of the fragmentary ruins of Bunkle Castle. The building appears to have been entire till about 1820, when it was demolished, and the materials used in the erection of the existing parish church, which adjoins it. Only the semi-circular apse, with the arch leading into it, remains of what was the original parish church. The building is extremely plain, and Mr. Muir[174] suggests that it may be of even earlier than twelfth century date. The apse is about 11 feet in width, and projects 7 feet internally. It has a small round-headed window to the north-east, and another to the south-east, but none to the east. These windows are placed high, and are 18 inches wide on the outside, and are widely splayed inwards. Adjoining the south-east window are the remains of a piscina, about 14 inches square by 11 inches high. The entrance to the apse from the choir is preserved. It is 7 feet 6 inches in width, and 7 feet 10 inches high to the springing of the arch. The wall is 3 feet in thickness. The jambs are plain, and the semi-circular arch is also plain, having one deep square-edged order extending the full thickness of the wall. The impost is a simple fascia, with a small splay on the under edge. The apse is vaulted with a plain semidome similar to that of St. Margaret’s Chapel in Edinburgh Castle, and the roof is formed with overlapping stones. A few stones are observable in the walls of the new church which are carved with zigzag ornaments, and were, doubtless, derived from the old building. EDROM CHURCH, Berwickshire. Of the ancient parish church of Edrom, situated about one mile from Edrom Railway Station, there still survives a Norman doorway of beautiful workmanship. (Fig. 269.)[175] It has been preserved by being made the entrance to a burial vault at the west end of the church. This doorway (Fig. 270) is one of the finest of the style in Scotland, and is of considerable size, being 11 feet high and 4 feet 8 inches wide. It has two shafts (one of them a nook shaft) in each jamb, and the ashlar work of the wall forms the support of the outer order. The arch contains three orders, all elaborately carved with Norman enrichments. The inner enrichment (Fig. 271) consists of a series of chevrons; the central order is also ornamented with two sets of chevrons, arranged so as to form lozenge shapes between them, which are filled with delicate carvings. The outer order contains a repeating ornament, arranged in squares, and the whole is enclosed with a small label carved with a delicately foliaged ornament. The caps of the shafts are somewhat remarkable. Fig. 271 shows those of each side. The cushion caps and the elaborately carved scrolls of the left central cap correspond with ordinary Norman work, but the peculiar and twisted serpent-like forms of the right jamb are remarkable. It is not quite clear that the doorway is in its original state. There are three capitals on each side, only two of which have shafts. It is not unlikely that the remaining two capitals had either shafts or some kind of decoration continued to the base, as at Iffley or Middleton; Stoney, Oxfordshire; or Kirkham Priory, Yorkshire (see Parker’s Glossary). It is also probable that the opening was square-headed, and the tympanum filled with a shield, as at Abercorn and Linton. The lands and church of Edenham, with Nisbet, were granted to St. Cuthbert’s monks by Gospatrick, Earl of Dunbar, and confirmed, in 1139, by David I. The investiture is in favour of the Prior of Coldingham.
An aisle of some interest is attached to the church. It contains in a panel occupying the position of a niche on one of the buttresses a modern inscription giving the history of the aisle, viz.:—“Founded by Robert Blackadder, Archbishop of Glasgow, in the year 1499.” The only portions of the aisle still preserved which are of any interest are the two angle buttresses (Fig. 272). Both of these have had niches with canopies and corbels for supporting figures. The canopy of one is gone, but a sundial occupies its place. The archbishop’s arms and initials (Fig. 273) are carved on the buttress. His family name is derived from a place of the same designation in the parish. Another shield (Fig. 274), with arms almost obliterated, occurs a little further west. LEGERWOOD, Berwickshire. Legerwood stands in the hilly region, about four miles north-east from Earlston Station. The parish church is old, and has been often repaired. Attached to it, but entirely cut off by a wall, are the roofless ruins of the original Norman chancel (Fig. 275), which is complete, and measures internally 17 feet 4 inches square. It is fairly preserved, and contains some good Norman work. The chancel arch is entire, but is partly concealed on the face with plaster, and the ingoing is entirely hidden by the stone wall, which separates the chancel from the church. There is a 10 inch diameter round shaft in each internal angle, which is continued up as high as the walls, but there are no indications of vaulting. A small round-headed window, 9 inches wide, is introduced in the centre of the east and north sides (Fig. 276), and apparently a doorway has existed in the south wall. The chancel arch has been large, being about 14 feet 8 inches wide, including the columns, and is enriched with shafts and carving; but, unfortunately, it is so built up that only portions are visible. The caps and mouldings, so far as they can be seen, are shown in Fig. 277. The ornament consists largely of square facets, with various forms of sinkings. A small recess, 11 inches deep, 15 inches wide, and 17 inches high, which occurs in the north wall, is shown in Fig. 278. It has not been fitted with a door. Masons’ marks are distinctly chiselled on the stones of the chancel. Throughout the chancel there are clear indications of coloured decorations, consisting of a cross or star in red on a circularly-shaped ground of white. Fig. 278 shows one on the wall, and another in the recess. Till the Reformation the Church of Legerwood belonged to Paisley Abbey, to which it was granted in 1163; but “John Priest of Ledgureside” is found witnessing a charter granted in 1127 by Robert, Bishop of St. Andrews, in favour of the Priory of Coldingham. The modern church appears to occupy the site of the original nave, as its east wall and part of the return of the side walls are old. The nave measures 47 feet 10 inches long by 27 feet 9 inches wide. A piece of stone carved with Celtic interlaced work is built into the south wall near the west end, and on the corner there is a double sundial, bearing the initials W. G., and the date 1682. CHIRNSIDE CHURCH, Berwickshire. Another fragment of Norman work survives at Chirnside in the doorway of the ruined church, situated about one mile from Chirnside
Railway Station. The village stands high, and commands an extensive view. The church has been much restored, but the ancient Norman walls in great measure remain. Its size can, therefore, be determined, being 78 feet in length by 23 feet ½ inch in width. The only architectural feature remaining is the doorway on the south side. (Fig. 279.) It is contained in a shallow projection of 9½ inches, which is 10 feet 2 inches in breadth. The doorway is 2 feet 10¾ inches wide, and the height to the lintel is 6 feet 10 inches. The arched head is somewhat peculiar, consisting of two segmental arches, resting on caps placed at different levels. Each jamb contains two nook shafts (the two outer shafts being modern), with simple bases and cushion caps, the inner cap being lower than the outer. A bead runs round the jambs and square lintel, and the tympanum is plain. Each cap carries an order, the inner order being enriched with a series of chevrons, and the outer order with mouldings. The soffit in both orders is plain. The outer order is enclosed in a small label, which has a break at the termination—a very unusual feature in Norman work. At the sides of the doorway there are remains of a projection, probably a porch. The church had a western tower, which was taken down in 1750. It was vaulted in stone. The Church of Chirnside, before the Reformation, was under the patronage of the Collegiate Church of Dunbar. In the taxation of 1176 the Ecclesia de Chirnesyd is valued at 50 merks. The church is probably somewhat older than that date. ST. HELEN’S CHURCH, Berwickshire. The ruins of this church stand in a lonely and lofty situation overlooking the sea, about three miles eastward from Cockburnspath. The fabric is now in a greater state of dilapidation than is shown by the annexed views, which are copied from a sketch by James Drummond, R.S.A., engraved in the Proceedings of the Society of Antiquaries of Scotland.[176] It is accompanied by a description and plan by Mr. Thomas S. Muir, from which it would appear that about the middle of this century the east gable wall, which was then entire, was taken down, the stones being used for agricultural purposes, and that most of what is shown of the chancel arch shared a similar fate. The dimensions can still be ascertained from the ruins. The church (Fig. 280) was a Norman structure, with the exception of the west gable wall, and consisted of a nave about 30 feet 9 inches long by 18 feet wide, and a chancel 15 feet 2 inches long by 11 feet 6½ inches wide. The total internal length was thus about 48 feet 11 inches. The building was barrel vaulted throughout. The apertures where the north and south walls of the nave are shown broken down (see Fig. 280.) probably indicate the position of a north and south doorway. There were two windows in the south wall, with three shallow arched recesses beneath. (Fig. 281.) These recesses measure 11 inches deep by about 3 feet high, and have not been fitted with doors. Their purpose is unknown. The chancel arch, when entire, measured about 7 feet in width. The stone shown in the foreground of Fig. 281 gives an idea of the section of the jambs of the arch, only part of which now remains. A broad band connected with the caps runs along the north and south walls of the nave. The band is decorated with a circular rosette ornament. As will be seen from this view, the arch was flanked on each side by a square recessed opening, similar in position to those at the chancel arch at Tynninghame, but the recesses at the latter are arched. Beneath each of these there is a small opening, as shown on view, about 6 inches square, which goes into the wall for about two feet, but the place is now too ruinous to permit of the matter being further investigated. The north wall of the chancel is almost entire, and has had no opening. The south wall is nearly all gone, and, as already stated, nothing remains of the east wall. The narrow east window, with its wide internal splay, appears to have been set in a recess, and enriched round the arch and down the jambs with a single chevron ornament. The west gable wall (Fig. 282) has been rebuilt in the fourteenth or fifteenth century. It is without opening of any kind, save the numerous putlog holes used for the masons’ scaffolding when erecting the building. This was the church of Aldcamus, incorporated before the year 1750 in the parish of Cockburnspath. The manor of Aldcamus was granted by King Edgar (1098-1107) to Durham, and “thenceforth belonged to the monastery of Coldingham, as a cell of Durham.”[177] How long after this date the church was built we do not know; but as Chalmers remarks in a footnote that it was the manor, not the church, which Edgar granted to Durham, it may be doubted whether the church then existed. It appears to have fallen into ruin about the time of its annexation to Cockburnspath. TYNNINGHAME CHURCH, Haddingtonshire. The few relics which survive of this ancient monastery lie buried in a thick clump of trees, which stands between the modern mansion of Tynninghame and the river Tyne, about three miles north-east from East Linton. This was one of the churches dedicated to St. Baldred, of which there were several on the East Coast. That Saint seems to have selected the Bass Rock as his place of abode, whence his fame spread through the adjoining regions. He is believed to have come from the establishment of the Columbans at Lindisfarne, whose diocese extended as far as the Frith of Forth. He died in 606. The foundation of Tynninghame was laid by St. Baldred, or Blathere,[178] and the church continued as a separate parish till 1760, when it was united to Whitekirk. What remains of the structure is of Norman architecture, and exhibits elaborate ornamental work of that style. The plan of the church (Fig. 283) is in part still traceable. The west end of the choir, with its great arch (Fig. 284), is fairly preserved, and the outline of a rectangular choir, about 18 feet in length by 17 feet in width, is observable, although the side walls are greatly demolished.
The nave, if it ever existed, has entirely disappeared. At the east end an enriched chancel arch still survives (Fig. 285), and also portions of pillars, which indicate that there has been an eastern apse. The western arch (see Fig. 284.) is supported on a series of nook shafts, some of which are broken away. These carry simply formed caps, with square abacus, carved with scale work. The arch contains three orders enriched with ornaments and a label. The first and third orders are enriched with very elaborate chevron ornaments; the central order has the billet and the hood mould, a series of small semicircles placed back to back. An arched recess occurs in the wall at each side of the central arch. That on the north side is original, and is ornamented with the chevron. The arch on the south side has been renewed. It is not clear what purpose these arches served, but most probably they contained altars. Arched recesses in this position, although not common, are sometimes found in Norman churches. The arch of the apse (see Fig. 285.) is enriched in three orders, and the caps of the shafts have volutes (Fig. 286). Two of the pillars which formed part of the apse survive. The details of the caps and central band are shown in Fig. 286. Many of the smaller ornaments of this structure are very beautiful, and are well preserved. On the south side (see Fig. 284.) there remains the recessed pointed arch of a monument, in which parts of a decayed recumbent effigy are visible. The three shields on the top give it a picturesque effect. The ruined church is now used as the family mausoleum of the Earls of Haddington. STOBO CHURCH, Peeblesshire. This church is situated in the valley of the Tweed, six and a half miles west from Peebles, and within one mile of Stobo Railway Station. It is
a Norman structure, to which some alterations and additions have been made in the sixteenth and seventeenth centuries. The building is still used as the parish church. The roof and interior fittings are modern, as are also the skews and gabled skew putts, of which latter there was no suggestion in the old work. But the most serious injury inflicted on the structure was the entire destruction of the Norman chancel arch at the restoration of the building in 1868, “in order to insert a modern pointed one.”—(Transactions of the Aberdeen Ecclesiological Society, 1887, p. 6.) The building (Fig. 287) consists of a nave about 40 feet long by 18 feet 7 inches wide, with a chancel about 24 feet 4 inches long by 16 feet wide, thus making the total interior length about 67 feet 4 inches. There is a tower at the west end, about 20 feet square over the walls, and 11 feet by 9 feet 6 inches inside. The tower has originally opened into the church with what appears to have been a round arch, which is now partly concealed by a gallery and other erections. This opening has been reduced in size, as shown on the plan, to a doorway about three feet wide. The doorway is pointed, and of old date. As the whole building is harled or rough cast on the outside and plastered on the inside, it is impossible to say definitely whether the tower is Norman or later. The work of the sixteenth and seventeenth centuries consists of the south porch (Fig. 288), built up against the Norman doorway (Fig. 289), and a north aisle or chapel, which opened from the nave with a round arch, now built up. This chapel, which is ruined, was barrel vaulted. The windows in the south wall are also of this period. The mullions and tracery of those of the nave are modern, as is also a monument erected against the interior of the east wall, which may possibly conceal a Norman east window. The four-light window in the south wall of the chancel (Fig. 290), although of this late period, is quaint and pleasing, the small circle in the apex giving it quite a touch of originality. A round arched recess for a monument in the north side of the chancel also belongs to this period. It has contained a coat of arms, which is effaced. The original windows in the north side of the chancel remain. The daylight is about 7 inches wide by about 2 feet high. There has been a Norman doorway in the north side of the nave. It has a plain arch, and was probably not unlike the doorway in the opposite wall, which is of very simple design, with octagonal shafts. The capitals are slightly mutilated. The window to the west of the porch is modern, as are the doorway and stair in the tower. The latter is of wood, and leads to the gallery already referred to. There does not appear to have been a stone stair in the tower. The belfry is late, as is the present tower roof. It is impossible to say how the tower was originally finished. The walls being lined with wood on the inside, the usual fittings are concealed, the only feature visible being the locker, shown on Plan, near the east end. It is widely splayed in the ingoing, and is not Norman. The south chancel door is probably of the period of the adjoining windows. Stobo Church, like most of the churches of Peeblesshire, “belonged to the diocese of Glasgow at the epoch of Earl David’s Inquisitio in 1116, and both the church and manor were confirmed to that see, by several bulls of successive Popes, in the twelfth century.” In Bagimont’s Roll (1275) it is mentioned as the “Rectoria de Stobo” and the “Vicaria de Stobo.”[179] It was the church of a Plebania,[180] having subordinate churches or chaplainries within its territory, over which its priest, who was styled dean, exercised a certain authority. There were four subordinate parishes—viz., Broughton, Dowie, Drummelzier, and Tweedsmuir. In 1116 the rectory of Stobo was converted into the valuable prebend of Tweeddale in Glasgow Cathedral. DUDDINGSTON CHURCH, Mid-Lothian. This ancient Norman edifice has formed the place of worship for the locality since the twelfth century, and is still used as the parish church. It is picturesquely situated on the north side of Duddingston Loch, immediately under the south side of Arthur’s Seat, and within a mile of Edinburgh.
The structure has undergone many alterations during the six centuries of its existence, but still retains its original Norman character to a greater extent than at first sight might be supposed; indeed, it is one of the best preserved examples we have in Scotland, although the introduction of a few prominent features in later times, such as the windows and buttresses, have somewhat detracted from its antique appearance. The building appears to have originally consisted of a nave and chancel; if it had a tower, it must have been of smaller dimensions than the present one, as the base of the west wall abuts against the side walls of the present tower instead of returning along it, as it would otherwise in all likelihood have done. The nave (Fig. 291) measures about 33 feet 4 inches long, and was probably about 19 feet wide inside. The chancel is about square, being 16 feet 1½ inch from east to west by 15 feet 6 inches wide, the total inside length of the church being 52 feet 9 inches. On the outside a series of pilaster buttresses divided the nave into four bays; these still exist along the south side, measuring about 2 feet on the face, and having a projection of 9 inches, with a large base returned round them. To these pilasters massive buttresses (Fig. 292) projecting three feet have been added. At the corners of the church the original angle pilasters remain unaltered. The old doorway in the west bay of the south side (Fig. 293) still continues unchanged, except that it is built up, and has an incongruous granite slab occupying the whole space. The opening of the doorway is about 4 feet 2 inches wide. The arch is richly sculptured with the chevron in two orders, the inner order being supported on shafts decorated with the chevron in a manner not found, we think, anywhere else in Scotland. On one of these shafts there are two sculptured scenes. The upper one represents the Crucifixion. (See Fig. 293.) The lower one (Fig. 294) shows a figure holding aloft a drawn sword; beside the sword, in the shade where the shaft disappears at the jamb, there is what looks like a key, possibly the symbol of St. Peter, so that the subject may be the incident of cutting off the ear of the High Priest. The chancel arch (Fig. 295) is the only Norman feature now remaining in the interior. It is in two orders, having on the outer order the usual chevron ornament, with a notched hood moulding similar to what is found at Dunfermline. The inner order has a bold bead on the edge. The arch is quite plain on its inner face towards the chancel. It is carried by three semi-shafts (Fig. 296), with cushion caps and simple bases. The abacus has been carved with facets. On the exterior of the chancel there occur on the north and south sides (see Fig. 292.) characteristic Norman corbels supporting the wall-head parapet. These consist generally of the usual bridled heads and monstrous faces, but they are now very weather-worn. The north wall of the nave has been taken down and a north aisle added (see Plan), apparently in the year 1631, as that date (Fig. 297) is carved on a window lintel of the east wall. In the north gable of this aisle there are two traceried windows, somewhat after the style of the Perpendicular Period. (Fig. 298.) It will be observed that the mouldings of the loop form of the tracery do not mitre with the arch mouldings. At a later period a central window, without tracery, has been placed in the north wall of the aisle. It corresponds exactly with the windows seen in the south side, and with the one in the east wall of the chancel, judging from which it was probably at this later period that all the present windows, seen in Fig. 292, were inserted. The original windows were, doubtless, the usual small windows found in Norman churches, and when they came to be enlarged, the builders probably increased the buttresses to compensate for the weakening of the wall, and added the conical finials on them and on the gables (see Fig. 292.). It is obvious that to this period also the upper part of the tower belongs. The lower part of the tower, although not of the original structure, is, we are inclined to think, of considerable antiquity; it opens into the church with a plain, round arch. The staircase shown in it and on the north aisle lead to galleries. During the reign of William the Lion (1165-1214) the church and lands of Dodin-ston were acquired by the Abbey of Kelso, but from whom they were acquired is not known. There were several persons of the name of Dodin, but the one who gave his name to this place does not appear to be known. But there was a “Hugo filius Dodini de Dodines-tun” who witnessed a charter to the Canons of Holyrood in the time of William the Lion (Dalrymple Collection, Pref. lxvii.; also, Caledonia, Vol. II. p. 791.) In 1296 John Combale, the vicar of Dodinestun, swore fealty to Edward I. In the ancient Taxatio (end of twelfth century), Duddingston Church is rated at twenty-five merks. ST. ANDREW’S CHURCH, Gullane, Haddingtonshire. The village of Gullane lies in the parish of Dirleton, about four miles north-west from Drem Station, and half-a-mile from the sea. The old church of St. Andrew is now a roofless ruin, thickly clad with ivy, and standing in the middle of the ancient churchyard. The church was bestowed early in the thirteenth century on Dryburgh Abbey by Sir William de Vaux, and in 1446 it was erected into a collegiate institution by Sir Walter de Haliburton. Both these knights were the proprietors of the Castle of Dirleton in the vicinity. The structure (Fig. 299) consisted of nave and chancel, the chancel being entered from the nave by a semicircular chancel arch, almost the only remnant of the edifice of the twelfth century which survives.
[Image unavailable.] Fig. 299.—Gullane Church. Plan. The chancel as it now stands is 35 feet in length by 15 feet 6 inches in width internally. The eastern portion is a comparatively recent addition, and has a square east wall, but it is believed that the chancel formerly terminated towards the east with an apse. Part of the old south wall of the chancel, extending to about 20 feet in length, still remains. It contains two pointed windows, with late mouldings on the exterior, probably fragments of the restoration of the fifteenth century, at the time when the church was made collegiate. These windows have been reduced to mere slits by being built up with slabs in the interior. This filling up was probably inserted when the place was converted into a burial-ground for a private family, in order to prevent entrance through the windows. The south wall of the nave is still about 72 feet in length, but the north wall is reduced to about 43 feet long. The west end is gone, and the nave has been divided up into private burial-places. The windows which remain in the south wall of the nave have been much altered in Presbyterian times, having had flat lintels, &c., introduced. The chancel archway (Fig. 300, 301) is 8 feet in width. It has square jambs on both sides of the wall, and a central half shaft on each jamb of the opening. The caps of these shafts (see Fig. 301.) are fairly preserved, and
show a form of volutes, with a cabled necking and a three-sided abacus, which was continued as a string course along the walls on each side. The arch has been built up, but the two plain orders of the east side are visible, and the outer order on the west side (Fig. 300), carved with a bold chevron and finished with a three-sided hood, is well preserved. There can be no doubt as to this part of the structure being of Norman origin, and the north wall of the nave has a three-sided string course, which seems to indicate the same date, but the remainder of the structure has been greatly altered. The earth inside the choir has been filled up to near the caps of the chancel arch. A round arch in the north wall of the chancel appears to belong to a side door at the original level of the floor. An “aisle” or wing has been built out to the north from the nave. It has been entered by a large semicircular arch from the nave, and has had a large north window, but these openings are now built up. This erection seems to be of about the time of the Reformation. UPHALL CHURCH, AND ST. NICHOLAS’ CHURCH, Strathbroc, Linlithgowshire. The Church of Uphall is a Norman structure throughout, and consists of nave, chancel, and a western tower. It has been subjected to various alterations and extensions, but the original plan is still perfectly clear, and is shown by Fig. 302, which ignores the changes, except the addition of the south aisle or wing. The building has no side aisles. The nave measures about 35 feet long by 15 feet wide, and the
chancel 30 feet 6 inches long by 13 feet wide. The doorway (Fig. 303) is in the usual place at the west end of the south front. It is of Norman design, having a nook shaft at each side, with cushion cap and plain square abacus. The arch is round, and has two orders, the inner order being square edged, and the outer composed of mouldings, and having a moulded label. It is probable there was some piece of carving beneath the arch, or else the square lintel is an alteration. A stoup adjoining in the south wall has a pointed opening, and probably dates from the fifteenth century. There is another doorway opposite in the north wall, which is perfectly plain, and, so far as it can be seen, it appears to be original; but, as the lower parts of the walls are covered with wood boarding, other requisites which may exist, such as ambries and piscina, are concealed. None of the windows are original, so far, at least, as they are seen on the exterior, and the whole masonry on the inside is covered. The east window in the south wall (Fig. 304) has a horizontal arched lintel, with radiating joints, and probably dates from late in the fifteenth century. It is impossible to say whether there were windows in the east wall or not, and, as regards the north wall, it has nearly all been taken down between the west door and the chancel arch, in order to admit a modern addition. The chancel arch itself has been taken away, and the wall above removed, and the place occupied by it has been filled up with lath and plaster, and slated on the outside. The western tower (Fig. 305) has been appropriated as the burial-place of the Buchan family; so that it now forms no part of the church. It is entered by a fanciful Norman door in the west end. The windows in the tower are all modern, and so, we need hardly say, is the belfry. The upper part of the tower has been rebuilt at a late period, probably during the fifteenth century alteration. The south aisle probably dates from the seventeenth century, and was built by the Shairp family, whose mansion house of Houston is in the neighbourhood. It is now partly used as their burial aisle, and is a quaint structure, forming an agreeable contrast to the modern additions. The parish of Uphall was formerly called Strathbroc, and at this place, near the modern mansion of Kirkhill, and about one mile east from Uphall, stood the old parish church, dedicated to St. Nicholas, which was abandoned in the sixteenth century, when the Church of Uphall became the parish church. What kind of building it was before this does not appear to be known. The Rev. Mr. Primrose, who has devoted much attention to the antiquities of the locality, suggests that it was the chapel of some order of monks. Of the Church of Strathbroc only two relics now remain. The one is the font (Fig. 306), of which the basin only is old. It was rescued from the adjoining farm steading, where it served a useful, if not dignified, purpose, and placed on its present base, and now stands in the Roman Catholic Church of Broxburn. It is octagonal in shape, and contains (Fig. 307) the letters M· and IHS·, repeated twice. Two of the faces bear the inscriptions and NICOLAS·, and two faces are vacant. The other relic of St. Nicholas is the bell which now rings in the parish church of Uphall. It contains the inscription “Campanum Sancti Nicholai de Strathbroke, 1441.”[181] Mr. Primrose states that the bell was recast in 1503, and contains the Seton arms—Kirkhill at this period belonging to that family.
ABERCORN, Linlithgowshire. The ancient church of Æbbercurnig, or Abercorn, lies in a sheltered spot amidst the fine woods surrounding the grounds of Hopetoun House, about three miles west from Queensferry. It is believed that when the Northumbrian kingdom was extended to the Forth in the seventh century, a church was founded here in 675, under St. Wilfrid, as a central point from which to superintend the northern part of his diocese. Under Trumuini, this church became the see of the earliest bishopric in Scotland, during the years from 681 to 685. But the victory of the Picts over the Northumbrians at Dunichen caused the latter to retire from Lothian, and drove the monks back to Whitby. The site, however, continued to be occupied by a church, and part of the existing structure belongs to the Norman period. It has been very greatly altered in modern times—so much so, that a round-headed doorway (Fig. 308) in the south wall is now almost the only portion remaining which can be identified as of Norman date. This Norman doorway has the usual nook shafts, with cushion caps, and the lintel within the round arch is square. The tympanum is filled with stones, arranged in zig-zag patterns, and is one of the few examples in Scotland of a tympanum filled with a shield containing ornament of any kind. Several burial-places have been added on the south side of the church since Reformation times. (Fig. 309.) These can generally be identified by the coats of arms they bear. To the north-east of the church there has been erected, probably in the eighteenth century, a house of two stories as a place for the lord of the manor, from which he obtained access to his private gallery, erected about that time at the east end of the choir, which it still disfigures. In the churchyard there are many interesting tombstones, and amongst them are two stone monuments of rather unusual form. (Fig. 310.) These consist of solid stones, doubtless intended to be laid over graves, triangular in section, with the ridge rising to the centre. One has the sides carved with figures of fish-scale pattern, arranged in rows; the other has the scales of a squarer shape. The ends are broken. They are good specimens of the hog-backed form of tombstones. KELSO ABBEY, Roxburghshire. In 1113, David, Earl of Huntingdon, introduced thirteen Reformed Benedictine monks from Tiron, in France (hence called Tironenses), and settled them at Selkirk, near his castle there. But the place was not found suitable, and in 1128, after David had become king, the monks, with the consent of the Bishop of Glasgow, were removed to Kelso, where they were established near the royal castle of Roxburgh. The foundation of the new abbey was laid in 1128, and the church was dedicated to the blessed Virgin Mary and St. John the Evangelist. The monastery soon became the richest and most powerful in Scotland. In 1165 the Pope granted permission to the abbot to wear the mitre, and the abbot claimed precedence of all the superiors of monasteries in Scotland. But in 1420 this precedence was decided by James I. in favour of the Prior of St. Andrews. Many of the abbots of Kelso were men of learning and celebrity, and were employed in important offices in and out of the kingdom, and others were promoted to bishoprics. During the War of Independence the abbey, which lay near the Border, suffered severely. The monastery was laid waste, and the monks were supported by contributions from the other houses of the order. In 1344, the buildings of the abbey having been destroyed by fire, David II. granted permission to the monks to cut wood in Selkirk and Jedwart Forest, to enable them to carry out the necessary reparations. In 1511 the abbacy passed into the hands of the Bishop of Caithness, as commendator, and its decline soon followed. After the Battle of Flodden, in 1513, David Ker of Cessford took possession of the abbey, and had his brother made abbot. In 1522-3 invasion and havoc spread over Teviotdale. Lords Ross and Dacre pillaged the town, sparing the abbey; but in 1523 Lord Dacre sacked and burned it. The abbot’s house and buildings surrounding it, the Chapel of the Virgin, and the cells of the dormitory were all reduced to ashes; the lead was stripped from the roof, and the abbey rendered uninhabitable. All religious services were stopped, and the monks had to retire in want and poverty to a village near. From 1536 till 1558 James Stewart, natural son of James V., filled the office of abbot, and drew the revenues. In 1542 the Duke of Norfolk,
and in 1545 the Earl of Hertford, again attacked and further destroyed the monastery. On the latter occasion the defenders sought refuge in the tower, which they defended till darkness enabled some of them to escape. The shattered walls seem still to have afforded some shelter; but they were again still further reduced by Lord Eure in 1546. Finally, in 1560, when a few monks still remained, the buildings were attacked by the mob, and all the remaining fittings and furnishings destroyed. In 1559 the revenues and property of the abbey had been taken possession of by the Lords of the Congregation in the name of the Crown. These were afterwards distributed amongst the favourites of James VI., and were finally conferred on Sir Robert Ker of Cessford, who was created
Lord Roxburgh in 1599. The abbey still belongs to his successor, the Duke of Roxburgh, and the remains of the late Duke are buried in the south transept. In 1649 a vault was thrown over the transept, so as to convert it into a parish church, and above this another vault served as a prison. This is shown in Grose’s view, made a century ago. During service on a Sunday in 1771, a panic was caused by the fall of a fragment of cement, and the church was thereafter abandoned. The ruins were partly disencumbered by the Duke of Roxburgh, 1805-16, and in 1823 the buildings were repaired by the noblemen and gentlemen of the county.[182] After the many batterings and the long neglect the abbey church has endured, it is astonishing to find even the fragments which still exist. The edifice has consisted (Fig. 311) of a choir or chancel of considerable length, with north and south aisles, and of a transept and nave, without aisles. The north and south divisions of the transept and the nave form three arms of equal length round the three sides of the crossing, above which rises the massive square tower. The church has been originally constructed in the late Norman style of about the end of the twelfth century, passing into the transition style; but the upper part of the tower has been rebuilt at a later period. A portion of each of the departments of the church survives, but in the case of the chancel there remains only a fragment. The chancel is the only part which had aisles, but these have now entirely disappeared; and of the chancel itself, all that remains (Fig. 312) is two of the south main piers, with their arches, and two stories of arcades above, which represent the triforium and clerestory. This arrangement is peculiar, and the effect is striking. The main piers consist of a circular column, five feet in diameter, with smaller attached half-columns on three sides to carry the moulded arches between the main piers and the arches between the latter and the aisles. The piers have caps of the usual Norman modified cushion pattern, and the arches were moulded and arranged in several orders. The arcade immediately over the main arches has a row of single round shafts, with spreading Norman caps, which carry a series of moulded arches, occupying the position of the triforium. The upper arcade, which takes the place of the clerestory, has shafts of triple form, with wide-spreading bases and caps of Norman and transition design. On the latter rest the round boldly-moulded arches. The arches opposite the windows in the outer wall are slightly larger than the others. It will be observed that there is no main vaulting shaft carried up over the main piers, as is almost invariably the case, for the purpose of strengthening the wall. On the contrary, the triforium arcade is continuous, and no provision is made to support the side wall, except the single shafts of the running arcade, which have a very weak effect. In the usual arrangement the triforium arches are separated by a substantial piece of wall, including a vaulting shaft, and the triforium arch, which is generally subdivided into several subordinate arches, is introduced between the vaulting shafts. That is a much more substantial form of construction, and also more satisfactory to the eye, than the plan adopted here of a simple continuous arcade. The clerestory is designed on the same principle as the triforium, and consists of a continuous arcade, without the interruption of the vaulting shafts. In the view of the exterior of this portion of the choir (Fig. 313), the outside of the windows of the clerestory is visible, being simple round-headed openings, with flat buttresses between them. The remainder of the wall is plain, but, judging from the level of the triforium window, the vaulting of the aisle, which was very high, and partly covered the windows, seems to have been added at a later date. The choir was 28 feet in width from centre to centre of the piers, only two of which survive. The crossing is square, and measures 28 feet from centre to centre of the piers; but of these the north-east one is wanting. The piers are about nine feet square, that at the south-east angle standing detached in consequence of the opening into the south aisle, while those at the north-west and south-west angles are incorporated with the walls. The piers are designed as a series of shafts set in square nooks (four on each of the complete sides), with a larger semicircular shaft at each angle. (See Figs. 312 and 314.) The shafts are all built in courses with the piers. They have transition bases and caps. From the latter spring large pointed arches, with plain chamfered orders. The pointed arch indicates the transitional character of this part of the building. It was probably introduced in this position to give strength to sustain the tower. As already mentioned, the three arms of the cross branching to the north, south, and west from the crossing are of equal size. This is a very unusual arrangement, the western arm or nave being generally much the longest division of the church. We have not heard any satisfactory explanation given of the shortness of the nave of Kelso. This arrangement of plan has apparently been part of the original design, as the western doorway (Figs. 315 and 316) is one of the most prominently Norman portions of the edifice. The upper part of the west front (see Fig. 315.), although much broken away, has been in the transition style; while the Norman arcading, which runs round the interior of the nave, was continued across the west end. The nave and the north and south transept each measure about 22 feet in width by 18 feet in length. Each contains four stories in height (Figs. 315 and 317), consisting of an interlacing arcade of Norman work in the interior of the ground level, and three stories of windows above. The upper arcades of the choir do not extend round the nave and transepts, except in a portion of the south transept. (See Fig. 312.) Another arrangement was found desirable in those portions where there were no aisles, as windows could be obtained in that case; while, with aisles (as in the choir), the first floor was darkened by the roof of the aisles. The windows in the different stories of the nave and transept have all round arches, both outside (see Fig. 315.) and inside, the former having one plain square-edged order supported on nook shafts. Of these the caps and bases only are now for the most part in existence. The exterior is marked at each angle by broad and shallow Norman buttresses, with nook shafts in the angles, and an interlacing arcade running round the lower story, both internally and externally. In the faÇades of the west end and north transept the windows of the different stories have been grouped so as to form distinct designs. In the west end, over the great west doorway (see Fig. 315.), there has been an arrangement of tall windows of apparently lancet form, having on either side an interlacing arcade of round arches, supported on tall banded shafts. This is now, unfortunately, greatly destroyed. Above the arcade there runs a horizontal flat cornice, enriched with several rows of carved ornaments, and this was surmounted by a large opening of quatrefoil shape, surrounded with numerous mouldings and enrichments. The angle buttresses have been crowned with octagonal turrets. The north wall of the north transept (see Fig. 317.) has a fine transition door-piece (Fig. 318), which occupies the two lower stories. The next two stories have two windows in each, separated by a small buttress, the upper one of these stories having three arches in the interior. (See Fig. 314.) Above these stories is a small circular window, with a curious saving arch over it, and the whole is crowned with a top story, containing three round-headed openings, and a gable with a small circular aperture. The buttresses at the angles are crowned with circular turrets, which have been finished with a projecting parapet, the corbels for carrying which still survive. The upper part of the gable shows signs of having been altered. It may be pointed out that the west front and the faÇade of the north transept are good illustrations of the Norman and Transition styles of designing such elevations. The north transept shows the early manner of dividing the faÇade into several stories, piled one above the other; while the west front, which is chiefly in the transition style, indicates the beginning of the later form of faÇade, in which the whole front is treated as a single design. The west doorway and the north door-piece are especially interesting. The former is a remarkably rich specimen of the elaborate carved work which characterised the late Norman period. Unfortunately, the south half of this door-piece has perished. But, from what remains (see Fig. 315.), it is evident that it consisted of a large door-piece, or quasi-porch, projecting upwards of 5 feet, and finished with a sloping gable, with
[Image unavailable.] Fig. 322.—Kelso Abbey. Plan at Clerestory Level, showing Passages in Walls, &c. stone roof. The jambs (see Fig. 316.) contained five detached shafts set in nooks, and having Norman bases and carved caps. Over each of these shafts there springs a circular order, carved with rich Norman ornament, now, however, very much decayed. The jambs of the doorway also formed moulded shafts, supporting their order in the arch. The door-piece in the north wall of the transept (see Fig. 318.) is also a prominent feature. It projects about 4 feet 6 inches from the main wall, is carried up two stories, and is roofed in with a sloping stone roof. The lower story contains the doorway (Fig. 319), which is 5 feet 6 inches wide, and has plain jambs. It is set back about 3 feet 6 inches, and the ingoing for about 2 feet is square, and contains two shafts of ordinary size, with a small one between them; then follows a nook containing a shaft, and then the jamb. The shafts have the usual Norman caps and bases. The mouldings of the arch (see enlarged outline in Fig. 319.) are peculiar in their profile. They are enriched—the outer one with small medallions, the central one with the billet, and the inner one with rosettes. Above the archway there is an arcade of interlacing round arches, the shafts, which are gone, having Norman caps. The tympanum of the gable is covered with a reticulation of round beads or rolls. The tower (see Figs. 315 and 320), of which the south and west sides and a small portion of the north and east sides remain, is 35 feet square over the walls. It is carried up with plain masonry externally, but the interior has immediately over the great arches of the crossing an arcade of round moulded arches, supported on triple shafts similar to those of the choir. Above this arcade is another story containing simple round arched openings, which are lighted on the exterior by circular windows containing quatrefoils. Over this tier is the top story, which contains three pointed and deeply-recessed windows on each side of the tower. Broad flat buttresses are placed at each angle of the tower, similar to those of the main building, and these were, no doubt, originally finished with turrets like those of the transepts. It has already been said that the upper part of the tower is later than the lower part. This is apparent from the pointed windows of the top story, and the quatrefoiled circular windows of the story beneath. The lower story immediately over the great arches is, without doubt, of about the same date as the choir. The approach to the upper floors is now by one staircase in the north-west angle of the transept, but there were, doubtless, other similar staircases in parts of the structure now removed. This staircase gives access to passages which run round the building on every floor (Figs. 321 and 322) between the arcades and the outer walls. In the angles of the tower there are small wheel stairs leading to every floor, and passages running round the tower on every story (Fig. 323.) These arcades and passages have tended to weaken the structure, which it has been found necessary to strengthen with numerous iron tie-rods, iron beams, &c. There was an outer door in the south-west angle of the transept, and another in the north wall of the nave adjoining the crossing. The style of the caps of the arcade on the ground floor (Fig. 324) is somewhat florid and unusual. The interlacing arches are also in some places much carved and ornamented, and some portions are wonderfully well preserved. A recess for a tomb is seen in the south wall of the transept (see Fig. 312.), and in the recess beneath there are two ambries or lockers and a piscina, the only one remaining in the building. To the south of the transept there is a vaulted chamber, 26 feet long by 10 feet 6 inches wide, which may have been the sacristy. It has a wide entrance from the west, and an arcade with detached shafts and round arches has run along each side. There has been a window at the east end, and in the north-east angle a passage leading at a doorway to the exterior, and also probably into the church. ST. MARTIN’S CHURCH, Haddington. This ruined structure stands on a slightly-elevated site at the east end of the Nungate, a suburb of the town of Haddington, on the right bank of the Tyne. The Nungate is joined to the town by an ancient bridge of three wide arches and two smaller ones. St. Martin’s belonged to the Abbey or Nunnery of Haddington, which was situated about one mile to the east of the town. The nunnery was founded in 1178 by Ada, Countess of Northumberland, widow of Prince Henry (son of David I.), and mother of Malcolm IV. and William the Lion. The abbey is now entirely demolished, and not a stone of it remains. St.
[Image unavailable.] Fig. 325.—St. Martin’s, Haddington. Plan. Fig. 325.—St. Martin’s, Haddington. Plan. Martin’s Chapel is the only ecclesiastical structure connected with it which still survives. In 1567 the prioress, with consent of the chapter, disponed the greater part of the lands of the abbey, which were conferred by Queen Mary on William Maitland of Lethington. The chapel has all the appearance of being very ancient, “and probably existed as a church when Alexander de St. Martin gave over to the prioress and nuns his lands and tenements of St. Martinsgate.”[183] It is a simple oblong (Fig. 325), 55 feet in length by 16 feet 6 inches in width internally, and appears originally to have had no buttresses; but several have been added at a later date. The side walls are 4 feet 6 inches in thickness, but do not appear to have been sufficiently strong to resist the thrust of the barrel vault with which the building was covered, and a portion of which (Fig. 326) still exists. In the east wall there is an opening (Fig. 327) with plain jambs and round arch, which is sometimes called the doorway, but which is clearly the chancel arch. From excavations made a few years ago, it was ascertained that there were foundations of a choir 12 feet square, with a square east wall. The arch is, doubtless, late Norman in design, having a simple moulding on each jamb to form the imposts, and a plain moulding running round the exterior of the arch stones on the side next the church. The remains of a piscina adjoin the opening on the south side. The round-headed windows in the side walls are tall and narrow, widely splayed towards the interior, and covered with a large round arch on the inside sconsion. There have originally been two entrance doors opposite each other in the north and south walls, near the west end. The west wall (Fig. 328) had a single-light window, similar to those in the side walls; but it is now destroyed. The south doorway has been renewed, but some portions of
the jambs of the north doorway still exist in a mutilated state. The sconsion arch is segmental. The vault is lofty, and there has evidently been a story above it, as is apparent from the windows in the west gable. The gables are very steep and lofty, and are so constructed in order to admit of rooms in the top story. The plan of having an upper story of this kind was not uncommon in early churches. The window in the west gable is pointed, and it and the gables themselves may be of later date than the original Norman church. As already mentioned, three buttresses have been built against each of the side walls. These are entirely constructed with ashlar work of a white freestone, and those at the east and west ends have the ashlar work let irregularly into the old walls, as would undoubtedly be the case in an addition. Besides, they have steep water-tables, such as were introduced in the first pointed style, but were not used in the Norman period. The old walls are built with irregularly-coursed brown freestone, which is greatly worn away, and presents quite a marked contrast to the buttresses, which have stood the weather well. A peculiarity of the old walls is that they have numerous holes, about 10 inches square in three courses in the height, running right through the wall. These may have been putlog holes, used for scaffolding; but the extraordinary thing is that they should all be left open. Possibly they were only closed with a stone on the outside and inside, so as to be easily made available at any time if required, and these stones may now have fallen out. Similar rows of holes may be observed in the walls at St. Helen’s and elsewhere. The church is surrounded by a burial-ground, which was used for interments within recent years, but is now abandoned. KIRKLISTON CHURCH, Linlithgowshire. Some portions of the old Church of Kirkliston, situated about seven miles west of Edinburgh, including the tower and two ancient doorways, stand in the churchyard, on the high north-west bank of the Almond Water, in the village of Kirkliston. The main body
[Image unavailable.] Fig. 329.—Kirkliston Church. Plan.
of the church, so far as can now be ascertained, was an oblong structure (Fig. 329) about 60 feet in length by 26 feet in width externally, but part of the north wall has been removed, so as to allow the church to be extended. The old tower (Fig. 330) stands at the west end of the structure. It is about 21 feet square, and has the solid buttresses projecting on both sides of the angles, which indicate early work—transition or first pointed. A square projection at the south-east angle of the tower contains a wheel staircase. The windows are mere slits. The roof of the tower is evidently comparatively new. It has a picturesque seventeenth century belfry on the east gable. There is an old archway in the east wall of the tower, which connected it with the main building of the church.
In the south wall of the church there still exists, though partly restored, a splendid Norman doorway. (Fig. 331.) The doorway itself measures 4 feet 9 inches in width, and the whole door-piece measures 14 feet 7 inches over all. Besides the attached rolls on the jambs, which form shafts with caps, there are seven detached shafts on each side, arranged alternately large and small, with three large ones at each outer angle. These had all caps of transition form, but the carving is now almost completely destroyed. The arch, which is semicircular, has numerous mouldings, which are not arranged in the usual square orders, but have received a freer treatment. The divisions may be regarded as composing four orders, of which the inner order and the third order are enriched with chevron ornaments. The hood moulding has also been carved with the chevron, but the ornament has now almost all disappeared. The wall of the church in which the above doorway stands is undoubtedly of considerable antiquity, the cornice which carried the original parapet being still in situ. (See Fig. 330.) At the north-east angle of the existing church another Norman doorway, removed from elsewhere in the building, has been re-erected. (Fig. 332.) The round arch consists of three plain square orders, which spring from the enriched caps of two nook shafts and the jamb moulding. Most of the caps have a transition character, and the carving is fairly preserved. At the south-east angle of the church is erected the burial-house of John, Earl of Stair, born 1672, died 1747. Over the moulded doorway is the inscription, “Virtute decet non id sanguine niti. 1629.” Kirkliston from an early period belonged to the Knights Hospitallers of St. John, who held much land in the locality. The church, as altered, is still used as the parish church of Kirkliston.
ST. MARY’S CHURCH, RATHO, Mid-Lothian. The village of Ratho lies about one and a quarter mile south from the railway station of the same name, and about eight miles west from Edinburgh. The parish church is dedicated to St. Mary, and the “Lady’s Well,” in the vicinity, is still in use. Although greatly altered and mostly rebuilt, the church still retains some indications of its Norman origin. The view (Fig. 333) shows the west end of the church, crowned with its belfry. The buttresses indicate considerable age, but it is scarcely possible to fix their date. The only Norman relic preserved is the doorway in the south-west wall (seen in the sketch). It is built against by the wall of a wing, so that only a portion of the doorway remains visible. This consists (Fig. 334) of one jamb, which had a nook shaft and a cushion cap, carrying a plain round arch with a hood mould, carved with a zigzag or saw-tooth ornament. Ratho Church was connected with Holyrood Abbey, and was a rectory. In 1444 the tiends and patronage were, with the consent of the Archbishop of St. Andrews, made over to the College Kirk of Corstorphine, which was then established. By this means four prebendal stalls were endowed. ST. PETER’S CHURCH,[184] PETERHEAD, Aberdeenshire. The remains of the Church of St. Peter, Peterhead (Fig. 335), consist of the side walls of the chancel and the entire chancel arch, with a square tower projecting outwards in the centre of the west wall of the nave. No other portion of the nave remains. The tower and west wall are late, but the chancel is of the Norman period. The arch is quite plain, and is supported on square jambs having Norman cushion caps. There is a supposed reference to the church in the Book of Deer, in 1132, concerning a gift consecrated to St. Peter, Columcille, and Drostan, who “were the tutelar saints of the Churches of Peterhead, St. Colms, and Deer, which were the only churches in the district dedicated to these saints.”[185] Their endowments were then gifted to the great Columban Church of Dunkeld, with which they remained till the founding of the Abbey of Deer, in 1218, when, it is believed, the patronage of the Church of St. Peter, at Peterhead, was conveyed to that abbey by the charter of foundation, now not known to exist. ST. MARY’S CHURCH,[186] RUTHERGLEN, Lanarkshire. Only the merest fragment of this ancient church now remains, consisting of the east wall (Fig. 336), with an eastern tower attached to it. The masonry of the east wall shows it to be of the Norman period. There has been no opening of any kind in this wall. The returns of the chancel walls are only indicated on the east wall by the slightest traces in the jointing, so completely have they been cut away. The eastern tower (Fig. 337) is quite a unique feature in Scotland. It had no connection with the church, although built against it, and is of later erection by probably two or three centuries. The doorway is low and lintelled, and has a simple splay. The upper part of the tower has apparently been rebuilt, and, with the slated roof, dates doubtless from the seventeenth century. The tower is about 10 feet 6 inches square inside, and about 34 feet high to the top of the masonry. It contains no stair. In Ure’s History of Rutherglen it is stated that there was a nave with side aisles, 62 feet long by 25 feet wide, “exclusive of the additions on the back and front;” that is, exclusive of the side aisles. Assuming these to have been eight or ten feet wide, we should have a church nearly corresponding in size with the present erection, built about a century ago, and occupying the site of the nave, as shown in outline on the plan, on which are also indicated the nave piers. The nave was thus about 62 feet long by 45 feet wide, and the chancel was about 42 feet long by 20 feet wide inside. Ure, by a mistake easily made, gives the dimensions of the chancel as ten feet less in length. He also mentions that there were five pillars on each side of the nave. This may mean four whole pillars and two halves (the responds), as shown in the plan, which, however, merely pretends to approximate to something like what the original was. Ure gives a drawing of the interior of the church, with detailed sketches of some of the capitals of the piers. Four of these capitals are preserved in a garden rockery in Rutherglen, and the annexed sketch (Fig. 338) shows them as they are seen lying there half covered up and concealed. The upper one, which shows the bed of the capital, is a respond from one of the end walls, and the diameter of the column, as indicated by the inner circle, is 18 inches, the breadth across the abacus being 2 feet 5 inches. The enrichments of these capitals correspond with those indicated by Ure in his view, and he informs us that the pillars, of which there were five on each side, “are smooth and round, except the middle ones, which are octagonal.” He further says that the arcade “arches are pointed, but the point is hardly discernible,” and with this the view in his book agrees. Above the arcade he shows a small square window, probably measuring about 2 feet each way, and widely splayed inside. Immediately above this was the roof. The walls were “about 20 feet high, including the pillars on which they are supported.” It is satisfactory to find Ure’s description of the church supported by the remaining fragments. The lower member, shown in Fig. 338, is a carved stone, probably part of the chancel arch. It is enriched with the alternate billet ornaments so frequent in such arches during the Norman period. The church was dedicated to the Virgin Mary, and was granted to the Abbey of Paisley by William the Lion before the year 1189, and it continued in their possession down to the period of the Reformation. There were several altars, with endowed chaplains. The church stands near the west end of the cemetery, on the north side of the main street. The entrance from the street is through a picturesque lych-gate of Renaissance design, dated 1663. (See Fig. 337.) It is surmounted by a sundial, dated 1679. The cemetery is mentioned in the charters of Paisley (No. 85) in the year 1262, when the widow of John of Perthie grants to Paisley a piece of land lying between the church of the Virgin Mary and the river Clyde. LAMINGTON CHURCH, Lanarkshire. The Norman doorway of this ancient church is still preserved. The church has been altered and the doorway built up; but, doubtless, some of the old walls still exist. The church and village were founded by one Lambin, in the twelfth century. The doorway (Fig. 339) is in the north wall of the church. It is an elaborate example to find in this remote and quiet pastoral district. The arch mouldings and ornaments are well preserved, but, unfortunately, the shafts are wanting. The caps are quite plain. There are three orders of mouldings, all enriched with characteristic Norman ornaments. It will be observed that in that of the outer order the spaces between the rings gradually diminish from the caps to the crown of the arch. ST. BOSWELLS CHURCH, Roxburghshire. The Church of St. Boswells stands near the right bank of the Tweed, at a point about half-way between the village of Lessudden and Maxton Railway Station. The village of St. Boswells is stated to have formerly stood near the church, but it has gradually and entirely disappeared, and the nearest village to the church is now Lessudden, which is fully a mile off. The situation is very fine, and the views of the Tweed, with its wooded banks, in the vicinity are very beautiful. The place is of great antiquity, and is supposed to have derived its name from Eadwine of Northumbria. The church, which has been entirely rebuilt, contains a few small relics of the Norman edifice which undoubtedly once stood on the site. These consist of some carved corbels (Fig. 340) and other fragments, which are evidently of Norman date, and which have been preserved by being built into the restored church. The Church of Lessudden was bestowed on Dryburgh Abbey in the middle of the twelfth century. SMAILHOLM CHURCH, Roxburghshire. As in Berwickshire, so in Roxburghshire, a large number of Norman churches were erected during the Norman period. We have not attempted to compile a list of these, as in most cases almost no trace of them now remains, or so little that it can only be detected by an antiquarian. There is, for example, the Church of Hassendean, of which Cardonell gives a view of the chancel arch, granted by David I. to the Bishop of Glasgow. This, judging from Cardonell’s view, must have been a rich and important structure, with an eastern end similar to what we find existing at Leuchars and Dalmeny. The Church of Upper Crailing was granted in 1147 to the Abbey of Jedburgh; and at the same time Ganfrid de Percy grants to the same abbey the lands adjacent to the Church of Oxenham; and Ranulph de Sulis at the same time gives to the abbey the Church of Castletown, and a little later in the century the Church of Hownam and Eckford are similarly bestowed. The Church of Smailholm (Fig. 341) is distinctly a Norman structure throughout its entire length. David I. granted the manor of Smailholm to David Olifard, and in the ancient Taxatio (beginning of the thirteenth century) the Church of Smailholm was rated at 45 marks. Walter Olifard, who died in 1242, gave the Church of Smailholm to Coldingham Priory. Merely the shell of this building is Norman. It was greatly altered in the seventeenth century, when probably the chancel arch was cut out; and in later times it has suffered severely, so that all its original architectural details have been destroyed. The church consists of a nave, about 46 feet 6 inches long by 17 feet 3 inches wide; a chancel, 25 feet 9 inches long by 14 feet wide—being a total length of about 72 feet 3 inches. The present doorway to the nave is, doubtless, in the position of the original one, and has been enlarged. The chancel doorway is of the seventeenth century, and the windows adjoining are probably enlargements of the originals made at the same time. There were no windows in the north wall, and one in the west wall is quite modern. There is a sundial on the south-west corner, bearing the date 1622, which date is probably the date of the alterations referred to and of the erection of the belfry. LINTON CHURCH, Roxburghshire. This church stands about six miles south from Kelso, and one mile and a-half from Morebattle. It occupies part of a sandy mound on which, at one time, there also stood the Castle of Linton. There was a church here at an early date, records of Linton Church being found as far back as 1127. It was then presented to the Monks of Kelso by Sir Richard Cumin for the salvation of the soul of Prince Henry, eldest son of David I. The lands of Linton soon after passed into the hands of the Somervilles, as the reward granted to William de Somerville for having destroyed a worm or dragon which had long been the terror of the neighbourhood. This exploit is traditionally commemorated in a sculpture in the tympanum of the doorway of the ancient church (Fig. 342), in which the knight is represented on horseback thrusting his spear into the mouth of the monster. It seems more likely, however, that the sculpture has rather an ecclesiastical connection, and may possibly represent St. George and the Dragon, being an allegorical representation of religion, or faith overcoming evil. Possibly, the existence of the sculpture may have given rise to the traditional account of it. In 1858, this sculpture was removed from the old doorway and inserted over the entrance to a new porch, then erected. The porch is seen in the sketch of the church. (Fig. 343.) This sculptured tympanum is remarkable as one of the few examples of sculpture in a similar position in Scotland. There is also a Norman font connected with the church, which was long used in a blacksmith’s shop. The walls of the church are old, but it has been almost entirely restored and renewed. (Fig. 344.) DUNS CHURCH, Berwickshire. Not a stone of this church now remains. The chancel existed till the year 1874 as a burial vault, when the minister of the parish, “under the pretext of improving the churchyard,”[187] had it removed. The greater part of the church was taken down in 1790, when a new church was built on its site. We are enabled by the kindness of Mr. Ferguson, Duns, to give a copy of an old plan which appears in his work on the Churches of Berwickshire, and to the same source we are indebted for the following historical notes regarding it. The Rectory of Duns is mentioned in Bayamund’s Roll (1275), and in the ancient Taxatio (end of the twelfth century) the parish is rated at 110 merks; so that it must have been a building of considerable antiquity and importance. In 1296, the Rector, Henry de Lematon, took the oath of allegiance to Edward I. From a photograph in Mr. Ferguson’s possession, of what remains of the walls of the chancel the masonry looks very like Norman work. If one might judge from the plan (Fig. 345), it evidently consisted of a long nave and a chancel, with a north and south aisle or wing not opposite each other, and probably built at later periods, such as are common in connection with Scottish churches. The nave was about 72 feet long by about 19 feet wide. The chancel was almost a square of about 17 feet, thus corresponding with the Norman chancels of Ledgerwood and Duddingston. The two narrow and widely splayed windows seen in the east gable indicate early work, as do also the north and south doors near the west end of the nave; the other numerous openings, especially of doorways, were probably alterations. ST. LAWRENCE CHURCH, LUNDIE, Forfarshire. In the course of some recent operations on this church under the superintendence of Mr. T. S. Robertson, architect, Dundee, it was discovered that it had been a Norman structure. Of the original building not much now remains, except the ashlar walls and a narrow window with a wide internal splay and an outside check for a shutter. This window is situated near the east end of the north wall. The apse appears to have been taken down, in 1786, during some alterations, and the chancel arch, indicated in the sketch (Fig. 346), was built up. A tomb house was erected on the site of the apse, where it still remains. The building was of small dimensions, being about 40 feet long by 18 feet 6 inches wide. The fragment, of which a sketch (Fig. 347) is annexed, was found built in a wall near the church. It appears to have been the top of a sacrament house of late date. The church, which belonged to the Priory of St. Andrews, was dedicated to St. Lawrence, Martyr. In the early taxations of the Priory it is described as “the Church and Chapel of Lundie.” KIRKMAIDEN CHURCH, Wigtonshire. The parish of Kirkmaiden has long been incorporated with that of Glasserton. Formerly Kirkmaiden formed the port of Whithorn, and its roofless church still stands close to the burial-ground near the sea-shore. It consists (Fig. 348) of a nave, 37 feet 6 inches long by 18 feet wide internally, and the walls are 4 feet in thickness. They are little reduced from their original height, and the west gable is also little diminished. There are only three openings in the walls—viz., a doorway and two windows, all in the south wall. These were, till recently, greatly destroyed, but they have been restored by Mr. Galloway,[188] who has no doubt, judging from what remained, that they were all originally round-headed, and has rebuilt them accordingly. So far as these indications go, this would appear to have been a Norman church. There is an apparent chancel at the east end, but its dimensions and origin are not distinct. It is now appropriated as the “Monreith Vault” (the mansion of that name being in the vicinity), and contains a good deal of modern work. One peculiarity of the east chamber is, that the north wall is in line with the north wall of the nave, while the south wall is set back four feet from the line of the south wall of the nave. There is an arch between the nave and chancel, but it has not the appearance of a genuine chancel arch, being rudely formed with thin slatey stones. A wing, 14 feet long by 12 feet wide, is jutted out at the back or north side of the chancel. The walls are little over 2 feet in thickness. There is a square-headed doorway in the south-west angle, and an ambry or recess in the north wall. A roughly-built archway, similar to that into the nave, but smaller, opened from the nave into the north aisle, but is now built up. The nave seems to be of Norman date. The choir has evidently been altered at a late period, and the north wing or aisle may have been built in post-Reformation times as a burial vault. The ground to the north rises rapidly, and was filled in to the height of the walls, till cleared out by Mr. Galloway. There would appear to have been some kind of extension to the west, but only the lower parts of walls and buttresses now remain. This portion was also filled with earth, and on being cleared out, remains of ten skeletons were discovered. This west wall is at the extremity of a long retaining wall, which encloses the present burying-ground, and runs along close above the shore. The place is very curious and romantic, lying near the sea at the foot of high cliffs, and densely wooded all round. HERDMANSTON FONT, Haddingtonshire. This is one of the few minor relics of the Norman period which have descended to our time. It stands in the burial vault of the Sinclairs of Herdmanston, adjoining the mansion house of that name, about five miles west from Haddington. The font is of yellow freestone, in one piece, and although somewhat worn and battered in part, is still in a good state of preservation. The base is partly damaged, and the surface of the top is somewhat broken away towards the front (Fig. 349), so that it measures a little higher at the back than at the front. As will be seen from the Plan (Fig. 350), the central part consists of four rounded shafts, having a boldly pronounced base moulding. The basin is in the form of a Norman cushion capital, with four rounds on each face, the abacus having a splayed projection of about a quarter of an inch. The font has evidently been meant to be placed against a wall, as all its parts—base, shaft, and capital—abut against a square haffit perfectly plain on the back, to admit of its standing in such a position. The ends of this haffit are very much broken. The dimensions of the font are—base, 7 inches high; shaft, 17 inches; capital, 11 inches; total height, 2 feet 11 inches. Width across shafts, 13¼ inches; capital, 16¾ inches across front, and from back to front, including haffit, 17¼ inches. The basin, which is rounded (see Plan), is 11¾ inches wide by 5 inches in depth. It is flat in the bottom and has no perforation. In the thirteenth century, John de Saint Clair erected a chapel at Herdmanston by leave of the Canons of Dryburgh, to whom he granted two acres of land, with a condition that his chapel should not injure the mother church of Salton, which belonged, in the time of David I., to Dryburgh Abbey.[189] The vault at Herdmanston stands east and west. It is about 31 feet 10 inches long by 14 feet wide, and has a small west window, with a sconsion arch on the inside, and a smaller window in the south wall. The structure, which is barrel vaulted, is of considerable age, but it is not the chapel erected in the thirteenth century; and as the font is a work of the twelfth century, it is evident that it was not made for the chapel of Herdmanston.
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