Chapter XV: Part 15

The _West Front_ is entirely modern, the work of Sir G. Scott, but it is designed after the fashion of the ancient front which existed before the hideous construction of the early eighteenth-century architect. As we walk around the Cathedral we must remember that nearly all the work is Transitional Norman, although its character is much disguised by later alterations and the insertion of Decorated windows. The _North Doorway_, with its curious ornamentation, is Transitional Norman, but time and weather have destroyed much of its beauty. The walls of the aisles were raised in the time of Bishop Gower (1328-1347), who inserted Decorated windows. The massive flying buttresses were added about 1500 A.D. On this side was the cloister court of the College of St. Mary, the ruined walls of which appear on the north. This college was founded by John of Gaunt in 1377 for the maintenance of a master and seven priests. The _North Transept_ has been much altered. During the recent restoration the low Perpendicular roof has been removed, and one with a high pitch erected. The north window was inserted by Butterfield in 1846 in place of one which had been blocked up. A curious building is seen on the east side of this transept, which has three storeys, and is higher than the roof of the main building. It contains the Chapel of St. Thomas the Martyr, built mainly by Sir Richard Symonds in 1329, and above it the old chapter-house, and in the highest storey the treasury. The east end of the church was extensively restored by Scott. The Perpendicular roof was retained, but finding amongst the _débris_ the evidence of lancet windows at the east end, Scott reproduced these with excellent effect. The _Lady Chapel_, built by Bishop Martyn (1296-1328), is still in ruins. The south transept has a Transitional Norman west wall, and the rest was built about 1220, after the fall of the tower. Large Perpendicular windows were inserted in the south wall. The old vestry is on the east side. On the south side is the beautiful _Porch_, built by Bishop Gower (1328-1347) in the Decorated style. There is a parvise chamber above. The doorway is remarkable; the sculptures represent the Root of Jesse, with Adam and Eve on the west side and the Patriarch Jesse on the other; above it a representation of the Holy Trinity, with censing angels.

The _Tower_ was erected originally by Bishop de Leia, and fell in 1220. It was then rebuilt. Bishop Gower added a second storey in the Decorated style, and above this a Perpendicular storey was raised in Perpendicular times. The wonder is that all this extra weight did not cause the tower to collapse again. It certainly caused continual anxiety, and produced bulges in the neighbouring walls. However, the restoration of Sir G. Scott has secured safety and removed anxiety. The Perpendicular parapet is curious and not very beautiful.

Only one gateway remains, though there were four in the great wall which surrounded the precincts. The _Tower Gate_ is a fine structure, flanked by two towers, one of which is octagonal and the other semi-circular. The ruins of the _Bishop's Palace_, a magnificent structure, should be visited. It was built by Bishop Gower, and must have been one of the finest residences in the whole kingdom.

THE INTERIOR

The _Nave_ is the work of Peter de Leia (1176-1198), and is Transitional Norman. The elaborate carving and the richness of the ornamentation are remarkable, and the colour of the stone adds a wonderful effect. St. David's has many peculiar features, and is unlike any other church in the kingdom. The arches are round, the triforium and clerestory are blended together under one arch. The piers are round and octagonal, with attached shafts. It was evidently intended to vault the nave, but this was abandoned. A Perpendicular roof of intricate and unusual design was constructed about 1500. The capitals afford an interesting study. The west end is modern, the work of Scott. Traces of coloured decoration may be seen on some of the piers of the nave; among the designs are figures of the Virgin, our Lord, and some monarch. The font in the south aisle is, with the exception of the shaft, of the same date as the nave. It is octagonal, and is carved with an arcade of pointed arches. The aisles do not possess any special features of interest. The architectural changes which have taken place there have already been mentioned. In the north aisle is the Transitional Norman doorway, and in the south the Decorated door of Bishop Gower.

The _Rood-Screen_ is very remarkable, the work of Bishop Gower in the Decorated style. It is very massive and elaborate, and contains several tombs and monuments, has a groined roof, and is a very unusual and noble structure. The organ, which is modern, stands above this screen. The iron gates leading to the choir are also modern. Before entering the choir we will visit the _Transepts_, which are entered through Late Norman doorways from the nave. The western walls are Late Norman, built by De Leia, the rest were erected after the fall of the tower in 1220. In the _North Transept_ the large north window was erected in 1846 in the Decorated style. This transept was dedicated to St. Andrew. On the east side is the Chapel of St. Thomas the Martyr, begun in 1220, refounded by Sir R. Symonds in 1329, and used for a variety of purposes. We notice a fine Early English piscina in the south wall. Above is the library and the old treasury. The _South Transept_, formerly known as the "Chanter's Chapel," had altars dedicated to the Holy Innocents and St. David, and was once used as a parish church. The east side of this transept has passed through several vicissitudes, and has now been restored to its original form.

The _Choir_ is entered through the gates of the rood-screen, and occupies the space beneath the tower and half a bay beyond. The presbytery occupies the rest of the space beyond the parclose screen to the east wall behind the altar. All this is the work of Bishop de Leia, or that of his immediate successors, who rebuilt the tower after its fall in 1220. First, we examine the tower itself, and wonder at the marvellous skill of our modern architects and masons who could rebuild from their foundation two out of the four piers, each sustaining a weight of 1150 tons. Rich ornamentation is observed on the east and west arches, one of which is round, the rest pointed. Scott raised the wooden ceiling, and greatly improved the appearance of the interior of the tower. The _Stalls_ were erected at the end of the fifteenth century, and are the work of Bishop Tully. There are a number of curious _misereres_ with strange grotesques, amongst others--three men in a boat with a fourth rowing, one of the passengers being very sea-sick; a cowled fox offering a wafer to a goose with a human head; a carpenter building a boat, etc. The fox is doubtless a satire on the monks, and possibly also the sea-sick passenger. The _Bishop's Throne_ is an elaborate structure erected by Bishop Morgan (1496-1505), and is of great height. It is a blend of the Perpendicular and Decorated styles; probably Bishop Morgan used some older materials in its construction. The _Parclose Screen_, separating the choir from the presbytery, is a peculiar feature of this Cathedral. It is of Decorated design. Passing through it we enter the _Presbytery_. At the east end above the altar are two rows of lancets, the lower lights being blocked, and filled with rich mosaics. The glass in the upper lights is modern, of good design and execution, erected by the Rev. John Lucy in memory of his ancestor, Bishop Lucy (1660-1677). The subjects of the mosaics are the Crucifixion, and figures representing the Christian and Jewish Churches. The type of our Lord upon the Cross, the brazen serpent, appears below the central figure. Scenes from the life of St. David also are represented. The roof of the presbytery dates from about 1500, and on the bosses and in the panels are heraldic shields. The altar is modern. The floor is paved with old tiles, and the five crosses cut on some of the slabs in the sanctuary show that these stones were formerly altars. On the north of the presbytery is the famous _Shrine of St. David_, to which pilgrims flocked from all parts of Great Britain and Ireland. Kings and queens, nobles and princes came to pay their devotions at this shrine of the great Welsh saint, and bestowed many offerings on St. David's Church. Only the base of the shrine remains, and above this once stood the _feretrum_, which was doubtless covered with gold and jewels. The base is of Late Early English design, and was probably constructed in 1275 by Bishop Richard de Carew. The lowest part consists of three pointed arches with quatrefoils in the spandrels. The two inner quatrefoils communicate with lockers at the back, and were evidently intended for offerings. The upper portion consists of three arches with Early English capitals to the shafts, and under the arches were paintings of SS. David, Patrick, and probably Denis, but these have disappeared.

Another shrine is in the Cathedral, that of _St. Caradoc_, on the south side of the north transept. He was a Welsh saint, who was ordained and ministered in the Cathedral of St. David, and dying in 1124 was canonised by Innocent III. Here too are seen two quatrefoil openings for the reception of offerings.

We need not linger in the choir aisles except to observe the monuments, and will at once pass to the part of the east end behind the altar. This part consists of Bishop Vaughan's Chantry on the east of the presbytery, the ante-chapel, with two chapel aisles, and the Lady Chapel. This part of the church awaits restoration, for which funds are needed. With the exception of Vaughan's Chantry and the ante-chapel, all the building is roofless, exposed to the storms and rains of this exposed headland, and pitifully beseeches a new roof and shelter. Several architectural puzzles are presented by this portion of the Cathedral, which have not yet been entirely satisfactorily solved. Examining first Vaughan's Chantry or Trinity Chapel, we find a very beautiful example of Perpendicular work. The roof is a fine example of fan-tracery, and the whole structure rivals King's College Chapel, Cambridge, or Henry VII.'s Chapel at Westminster. Before the construction of this chapel the space occupied by it was left waste, and was described by Vaughan as _Vilissimus sive sordidissimus locus in totâ ecclesiâ_. A curious recess of Late Norman work has been discovered behind the high altar with beautifully-carved crosses. Above the recess is the figure of an angel, and some relics were found in the cill embedded in mortar, where they had doubtless been placed for the purpose of preservation at the Reformation. Recent discovery has revealed at the east end a beautifully-carved niche and two fine windows. Here are preserved some interesting Celtic crosses. On the south is the Chapel of King Edward the Conqueror, and on the north the Chapel of St. Nicholas. The _Ante-Chapel_ has Early English arches with a Perpendicular roof. The _Lady Chapel_ in its present form belongs to the transition from Early English to Decorated. Bishop Gower added the sedilia, founded a chantry here, and made sundry other alterations of a Decorated character.

The Cathedral is rich in monuments. The most important are:--

Bishop Gower, south of rood-screen.
Bishop Morgan (1564), south of nave.
Edmund Tudor, Earl of Richmond, father of Henry VII. (1456),
presbytery.
Bishop Anselm le Gras (1247), presbytery.
Two tombs of Knights, on each side of presbytery.
A Priest (Decorated period), in presbytery.

Two ancient Celtic slabs, one of which records the name of Bishop Abraham (1078), and is in memory of his two sons.

In the ruined eastern chapels are the monuments of Bishop Vaughan, Sir J. Wogan (_temp._ Edward I.), Archdeacon Hoit (1319), an unknown knight, Bishop Martyn, and the fine tomb of a priest under a beautifully-carved canopy.

SCOTTISH CATHEDRALS

Although the Church of Scotland is Presbyterian, it was not until the stirring events of the Revolution of 1688 that this form of church government was adopted. From that day forward the Church of Scotland knew no bishops, and hence the application of the term cathedral to a church belonging to that communion is a misnomer. The Episcopal Church of Scotland has its cathedrals, but these for the most part are modern. But Scotland still possesses many of its ancient fanes, which are usually preserved with much care and solicitude, and retain much of the splendour of their Gothic architecture, and are rich with historical associations and tradition.

GLASGOW CATHEDRAL

The Cathedral of St. Mungo in this city has vast treasures of architectural beauty. Its Patron Saint was the contemporary of St. Columba, a devout, miracle-working apostle, who converted the King of the Strathclyde Britons to Christianity and gained a victory for the Cross of Christ over the wild people who inhabited these parts. A cathedral was built here in Norman times. It was begun in 1124 and consecrated in 1192 in the presence of King David of Scotland. Before the century had closed fire destroyed this ancient church. But a new one was immediately begun, and five years later a portion of the building was so far finished that it was fit for consecration. About 1258 the fine Early English choir was completed. It is one of the best works of the thirteenth century in Scotland. The style of architecture followed closely the Early English of the northern type. The windows are deeply moulded on both sides, and the piers are strong and massive without clustering shafts. But Scotland at an early date developed peculiarities in her architecture which differed from English art. We see this in the use of the double lancet and simple tracery, whereas in England the lancets were widened. The influence of French architecture was not yet felt, though there was a distinct difference from the English usage. We see also that the choir has two storeys, the lower or crypt being entirely above the ground. Mr. Watson has recently published a learned work on this double choir, and gives excellent reasons for assuming that the vault of the "lower church" was built at five different periods, extending over half a century. His first period (_circa_ 1220) includes only the south-east compartment. Then followed the north and south aisles with the springers of the south middle portion. The lower church was then left unfinished until the upper church had been built. The central portion of the lower church was then vaulted (_circa_ 1260), and later still the eastern aisle and chapel. Mr. Watson's conclusions have not been universally accepted, but they are certainly worthy of credence. A few years later the tower and transepts were finished. Bishop Wishart took the part of Bruce as a loyal Scot against Edward I. and his attempted conquest, and suffered a long imprisonment. A disaster happened to the steeple in 1400, when it was struck by lightning. Bishop Lauder erected a stone one. The chapter-house was built by Bishop Cameron in the Perpendicular style. The rood-screen, with its curious sculpture, was the work of Bishop Blackadder, and also the great staircase leading to the crypt or lower church. At the close of the fifteenth century Glasgow became the seat of an archbishopric. Beaton, the nephew of the more famous Cardinal, finding that he lived in times dangerous for prelates, fortified his Palace and stored therein all the plate and precious things he could find, and then carried them off to Paris. The Cathedral happily was spared when the storm of contending forces at the Reformation raged, though it was long disused. The archbishop was in France, and Episcopacy was not in favour. With the advent of James VI. of Scotland to the throne of England Episcopacy was restored, and Spottiswood became Bishop of Glasgow. Then during the civil war Cromwell came here during the Presbyterian rule, but Episcopacy was restored with the monarchy, until it vanished again with the coming of Dutch William.

Much has been done during the past century in the way of "restoration." Two western towers have been bodily removed. The glass is modern and is almost entirely the work of foreign artists. The great east window was the gift of Queen Victoria. From the close we gain a fine view of the necropolis, which abounds in the sculptured tombs and monuments so dear to Scotland's sons.

IONA CATHEDRAL

We must now journey to the ruined shrine of Iona, the cradle of Western Christianity, the place whence flowed the stream of missionary enterprise which watered the dry furrows of northern England as well as Scotland, and caused Christianity to flourish throughout the country. We owe much to this lonely isle where St. Columba landed in 563 and built his rude monastery, the forerunner of the ruined buildings which now greet us. This isle could tell us of many a scene of carnage when the wild Norse pirates came. The Cathedral was begun in the Early English period, and is cruciform. The tower, 75 feet high, has two fine windows. The capitals are beautifully carved, though they are much weather-worn owing to the roofless condition of the church. On the north side are the remains of the monastery; a Norman arcade shows that it is older than the present Cathedral; and on the south is the Chapel of St. Oran, the companion of St. Columba. It is of early date, probably founded in the eleventh century by Queen Margaret when the isles were wrested by Scotland from the Norsemen. Its western doorway is Norman with beak-head ornament. In the _Reilig Oiran_, or cemetery of kings, lie buried forty-eight Scottish, four Irish, and eight Scandinavian monarchs, together with many abbots and monks and chieftains, a veritable Valhalla of the great. The carved sepulchral stones and crosses of Iona are noble examples of early art, the interlacing work sculptured upon them being wonderfully intricate and beautiful. The two most perfect crosses are Maclean's cross and St. Martin's, one of the most beautiful and perfect in Christendom. A nunnery was founded here in Norman times, and traces of Norman architecture are evident in the ruins. In 1208 a colony of Benedictine monks was established here by one Reginald, the heir of the Abbot of Derry, who handed over the nunnery to the guidance of his sister Beatrice. There was a close connection between Iona and Norway, and for a long time the bishopric of the Isles was united with that of the Isle of Man. At the present time the bishop of that island is known as the Bishop of Sodor and Man, Sodor being a corruption of Sud Ja, or southern island, so called by the Norwegian Vikings, who long held rule here. The monastery was destroyed in 1561. Iona was a much-esteemed seat of learning, and was much frequented by pilgrims. It was long regarded as the isle of special sanctity, and kings and warriors from far and near were brought here to be laid in their last resting-place near the sacred tomb of Columba. Few places have so great a fascination as this sacred isle.

BRECHIN CATHEDRAL

Brechin has many interesting features, notably its half-finished Cathedral, the famous round tower which was undoubtedly connected with it, or an earlier shrine, and the ruins of the _Maison Dieu_ or hospitium founded by William of Brechin in 1256. The old Cathedral was founded by King David of Scotland in 1150. It is a plain and unpretentious building, now used as a parish church, and it has suffered much from restorers and renovators. Its plan was originally cruciform, but some vandals at the beginning of the eighteenth century entirely destroyed the transepts. The west window and doorway are thirteenth-century work. Most drastic treatment did this church receive in 1806, when besides the destruction of the transepts, the aisles were removed, and new and larger ones erected. The renovators were not satisfied with the old arches of the nave; so they built new and wider ones, and raised the walls, so that one roof could span the whole, and thus eclipsing the clerestory windows. The south side of the nave seems later than the north. Its piers are lighter than those on the opposite side. At the north side of the choir are three lancet windows. The church is disfigured by galleries and pews. The ruins of the chapel of the _Maison Dieu_ are small but interesting. An Early English doorway and a few lancet windows remain. The _Round Tower_ is the principal architectural feature of Brechin. Ireland possesses many of these curious structures, and besides this one Scotland has only one other, the tower at Abernethy. Its date is about 980. The object of such towers is mainly to provide a place of refuge in times of attack, where the monks could store their treasures and protect themselves. They may also have been used as belfries, and their origin is certainly ecclesiastical. There is no staircase, access to the top being gained by ladders resting on wooden floors. The height is 86 feet, the thickness of the wall near the base 4 feet, and the inner diameter 8 feet. An octagonal spire crowns the summit. There is a doorway on the west which is adorned with rude carvings. Over the doorway is a carved representation of the Crucifixion, and on either side of the door are ecclesiastics, and below are strange creatures realistically carved. These figures are interesting memorials of Celtic art.

ABERDEEN CATHEDRAL

One mile north of the large and flourishing city is the quiet, ancient town of Old Aberdeen. Here is the Cathedral of St. Machar, built entirely of granite. It is not remarkable for its sculptured elegance or vast dimensions, but it has an interesting history, and its flat panelled ceiling, adorned with numerous heraldic shields, is a distinguishing feature. The church is small, and is only 200 feet in length. Its Patron Saint was a companion of St. Columba, who journeyed here on his missionary work, and founded a church about the year 597. A second church was begun in 1183, but this was not equal to the ambition of Bishop Cheyne, and was destroyed by him in order to make way for a better. This again was superseded by a church begun by Bishop Kinnimond, in 1357, but the work progressed slowly, and not until the rule of Bishop Leighton (1422-1440) was the nave finished with the north transept and west towers. The roof was added by his successor, Bishop Lindsay, and the central tower and spire by Bishop Elphinstone, who began the ill-fated choir. Bishop Stewart built the chapter-house. The troubles of the Reformation and of the Civil War wrought much havoc. The lead was torn from the roof; the bells were shipped off to Holland and lost at sea. The stones of the choir were used for fortifications by Cromwell's troops; the great tower fell and destroyed the transepts, and all that remains of this church is the nave. The west front is an imposing piece of work. The west window consists of seven lofty narrow openings, with cusped arches at the head. The towers, capped with spires, are very massive in their granite ruggedness. There are five bays in the nave, with round piers, Decorated arches, no triforium, and small clerestory windows. On the ceiling are forty-eight heraldic shields of princes, nobles and bishops who aided in the erection of the church.

King's College, founded by Bishop Elphinstone in 1498, should be visited. The original oak canopied stalls, _misereres_, and lofty open screen in the chapel, are some of the finest work of the period. The influence of the French Flamboyant style is evident in their execution. These beautiful works of art were saved from destruction by the bravery of the Principal, who summoned his people, and protected his treasures from the fury of the barons of Mearns, after they had sacked the Cathedral.

DUNBLANE CATHEDRAL

This Cathedral is one of the few specimens of Gothic art in Scotland which escaped destruction at the Reformation. Nearly all the building is Early English, except the tower, which is Early Norman. Ruskin wrote his praise of this edifice:--

"He was no uncommon man who designed the Cathedral of Dunblane.
I know nothing so perfect in its simplicity, and so beautiful,
so far as it reaches, in all the Gothic with which I am
acquainted. And just in proportion to his power of mind, that
man was content to work under Nature's teaching, and instead of
putting merely formal dog-tooth, as everybody else did at that
time, he went down to the woody banks of the sweet river,
beneath the rocks of which he was building, and took up a few
of the fallen leaves that lay by it, and he set them on his
arch, side by side for ever."

There was an early church on this site founded by St. Blane. This early church was superseded in 1150 by one erected by King David of Scotland. All that remains of this church is the fine Norman tower. The rest of the church fell into ruin and neglect, until the time of Bishop Clement, who, about 1240, began to build this beautiful church in Early English style. At the Reformation great damage was done, when over-zealous Protestants pulled down the roof and carried off much plate and treasure. For centuries the nave remained in this condition; the choir and chapter-house were roofed over, in order to form a parish church; and now a great restoration of the church has recently taken place. A new roof has been erected, after the fashion of the Cathedral church of Aberdeen, with its heraldic devices, and the whole church repaired and beautified.

The west front is Early English in design, with lancet windows, a deeply-recessed doorway, and in the gable a window with the leaf decoration praised by Ruskin. The nave has eight bays, and is Late Early English. The pulpit is modern, and also the screen. The choir has no aisles, and has six lancet windows, with a large east window. The stall-work of sixteenth-century is beautifully carved, and there are some interesting grotesques. On the west side of the choir is the chapter-house, which is the earliest part of the present church, with the exception of the tower, and has an upper room, possibly used as a treasury or _Reclusorium_. The tower is an important structure, of Early Norman character, and doubtless served the same purpose as the round towers of Ireland and Brechin, affording shelter in case of attack. There are good reasons for believing that originally it was separate from the church. The upper portion was added later. A fine view can be obtained from the summit. There are some interesting monuments in the Cathedral, and in the churchyard is the tomb of the heroine of the song, "Charming young Jessie, the flower of Dunblane."

DUNKELD CATHEDRAL

The first church was founded by Constantin, King of the Picts, about 800 A.D., and the Culdees were established in a monastery here. In 1107 it became the seat of a bishopric, and a colony of Augustinian canons replaced the former dwellers. A new choir was built in 1220-1250, in the Early English style. During the wars with England, in 1380, it was burnt, but almost immediately restored. The nave was finished by Bishop Lauder in 1465. He was a most munificent prelate, who did much for his Cathedral, began the tower and chapter-house, and furnished the Cathedral with gifts of much valuable church plate. There is a curious story[21] of a Highlanders' raid, and of their entry to the church, and of the bishop's perilous escape to the rafters of his church, in order to escape their hands. On another occasion the church was besieged in the time of the famous Bishop Gavin Douglas, the translator of the _Æneid_ (1576). His election to the see was opposed by the Stewarts, the inveterate enemies of his house; and Andrew Stewart barred the door against him, and fought against him from his stronghold in the tower. Douglas soon gathered his friendly clans together, and forced an entrance. It is uncertain when the nave lost its roof, probably when certain lairds at the Reformation went on their base crusade, plundering and destroying churches, and seizing their goods and valuables.

After the battle of Killiecrankie there was a great fight here, and an asylum of refuge was found here by the people, who fortified their position with the seats, and did much damage. The roof was destroyed, and the nave has been ever since exposed to the storms of wind and rain. The choir is now used as the parish church, having been rebuilt. The nave has seven bays, and measures 120 feet by 60 feet. The piers are of massive Norman character, and there is a somewhat poor triforium and clerestory. The original choir was built by Bishop Sinclair in 1350. The tower, 96 feet high, is Perpendicular, the work of Bishop Lauder (1469), and finished by Bishop Brown in 1501, and is a very good example of the style. The south porch was built by Lauder, but it is now in ruins. The chapter-house is the work of the same bishop. It contains the vault of the Dukes of Athol. Here, near the porch, is buried Alexander Stuart, Earl of Buchan, better known as the "Wolf of Badenoch" (1394), who burned down Elgin Cathedral and devastated the place. Few churches have passed through such stormy scenes as Dunkeld, and its ruined state is a melancholy testimony to the lawlessness of the tumultuous times, which have left their mark upon its desecrated walls.

FOOTNOTE:

[21] _Scottish Cathedrals and Abbeys_, by M.E. Leicester Addis.

ST. ANDREW'S CATHEDRAL

Of the once great Cathedral of St. Andrew, the Primatical See of Scotland, few traces are left. Its consecration in the time of Robert Bruce was marked by unparalleled pomp and circumstance. All the most distinguished in Church and State were present, no less than seven bishops and fifteen abbots, the king and well-nigh all the flower of his nobility. It was originally founded by Bishop Arnold (1159-1162). Its plan was cruciform, and was 355 feet in length, and the nave 200 feet, and there was a Lady Chapel at the east end. It had a grand central tower, and six turrets, of which three remain. A fire partly destroyed it in 1378, but it was restored and embellished, and finished in 1440. In 1559 John Knox preached a fiery sermon in the town church, which led the magistrates and inhabitants of the city to plunder the Cathedral and strip it of its altars and ornaments. The whole church was ransacked and left to fall into ruin. Soon the central tower fell, and carried with it the north wall; and since then the church has been used as a quarry. The ruins are picturesque in their decay. All that remain are the east and west gables, part of the south wall of the nave and the west wall of the south transept. The style of these ruins is partly Norman and partly Early English. Under the east window, built up in the wall, is a curious Runic inscription. The Castle at St. Andrews is closely connected with the Cathedral, as it was built by Bishop Roger in the thirteenth century as an episcopal residence. The old Castle was destroyed in the fourteenth century, and soon afterwards rebuilt. Here Cardinal Beaton was murdered, who had witnessed the burning of Wishart in front of his Castle. The Bottle Dungeon is a curious place of incarceration, and, besides the towers and walls, there is an interesting subterranean passage which enabled persons to escape from the Castle in time of siege.

ST. GILES' CATHEDRAL, EDINBURGH

Edinburgh was not raised to episcopal rank until the time of Charles I. The church has a great history, though it is popularly remembered as the place where Jenny Geddes threw her stool at the dean, when the English service book was introduced in the time of Charles I. The first Church of St. Giles was consecrated in 1243, but it was burnt down during the English wars, when most of the city shared the same fate. Indeed, signs of fire may still be detected on the piers of the choir and elsewhere. The church is remarkable for its numerous chapels. On the south of the nave two were built in 1387, but these have been destroyed by drastic "restoration." There are the Chambers's Memorial Chapel, the Preston Aisle, named after one William Preston, who brought from France a relic of the Patron Saint; the Chapman Aisle, named after Chapman, the "Scottish Caxton," who introduced printing into Scotland, and the Moray Aisle. During the fifteenth century much building was in progress. The choir was lengthened, a clerestory added and the roof raised, and ere the century had elapsed it was raised to the dignity of a collegiate church. The choir is a fine example of fifteenth-century work, and the Gothic crown which surmounts the central tower forms a very distinguishing feature. It is unlike anything else we know. Few scenes and events in Scottish history have not in some way been connected with this church. We see John Knox preaching violently here against the iniquities of the court, and especially of the unfortunate Queen Mary. Knox was appointed minister of the church. It was divided into three portions--the Great and Little Kirk and the Tolbooth. Then in the time of James I. Episcopacy was restored, and in 1633 Charles I. made St. Giles into a Cathedral. Here Jenny Geddes, as we have said, expressed her displeasure at the new English liturgy by throwing her stool at the clergyman, and commenced the famous riot which had lamentable results. Later on we see the struggle between the Covenanters and the Royal Party, and the head of the Duke of Argyll stuck on a spike on a gable of the Cathedral, the advent of "Bonny Prince Charlie," and all the events of Scottish history seem to be associated in some way with St. Giles'. Its war-worn banners, its monuments of national heroes, all combine to add a peculiar interest to the building. The church owes much of its present beauty to the munificence of Dr. William Chambers, who rescued the building from neglect, and renewed and beautified it. He was one of the firm of the great Edinburgh publishers. Amongst other memorials of recent worthies we find a window to R.L. Stevenson, and in the Moray Chapel a monument to General Wauchope, who was killed gallantly leading his troops in the recent war in South Africa. Although the choir is fifteenth-century work, it differs much from that of the same period in England. In Scotland French influence was much felt in the development of architecture, and the builders inclined more to the French Flamboyant rather than to the English Perpendicular.

The new Cathedral of the Episcopal Church of Scotland at Edinburgh, designed by Sir G. Scott, is one of the finest and largest of our modern Gothic buildings.

KIRKWALL CATHEDRAL

If we journey to the remote Orkneys we shall see a noble Cathedral at Kirkwall, which is of peculiar interest. Until the year 1472 these islands belonged to Norway, and were under the episcopal supervision of the Archbishop of Drontheim in that kingdom. The Cathedral is therefore connected with the rule of Norwegian earls and bishops, and has many features differing from those types which are more familiar to us. It was founded by the Norwegian Earl Ronald in 1137, and was designed and constructed by the Norwegian Kol. Here were buried many Scandinavian jarls and bishops, but their tombs have disappeared. There is a fine nave of eight bays, which is of the Norman character, and a choir of six bays, screened off so as to form a parish church. The piers are all round and massive, and the arches round-headed, both in the main arcade and in the triforium and clerestory. There is some fine Norman arcading, with intersecting arches on the side walls. The church is dedicated to St. Magnus, and is 226 feet long by 56 feet wide. The original choir ended in an apse, but it was lengthened by Bishop Stewart in 1511, and the west end of the nave was finished by Bishop Reid in 1540. Different coloured stone is used extensively in the building, principally the red and yellow sandstone, and these varied hues add greatly to the architectural effect. The three west doors are particularly fine. The tower has fifteenth-century windows, and the bells were given by Bishop Maxwell at the end of the fifteenth century. Near the church are the ruins of the Bishop's Palace, where King Haco died in 1263, and also the Earl's Palace, which, after the incorporation of the islands with Scotland, was assigned to the bishops for a residence. The church has been much restored during the last century.

GLOSSARY OF ARCHITECTURAL TERMS

_Abacus._--The uppermost division of the capital, or head of a
column, originally square and plain, in later styles more or
less decorated with moulding, and in the Early English and
Decorated periods generally circular or polygonal. In classic
architecture it supported the horizontal superstructure of the
entablature, but in Gothic architecture the arch rises directly
from it.

_Apse._--The round or polygonal end of a chancel.

_Architrave._--The lowest division of the entablature in
classic architecture; ornamental moulding round the exterior
curve of an arch or round the openings of doors and windows,
etc.

_Ashlar._--Hewn stone.

_Aumbrey or Almery._--A cupboard for containing the sacred
vessels.

_Ball-Flower Moulding._--Ornament resembling a ball enclosed in
a globular flower of three petals.

_Baluster._--A small turned wooden pillar, generally circular.

_Bay._--The compartment of a church formed by the buttresses or
pilasters on the walls, the main arches or pillars, the ribs of
the vaulting, or other features which separate the building
into corresponding portions.

_Campanile._--A bell tower.

_Cavetto._--A concave moulding of a quarter of a circle, used
in classical and other styles of architecture.

_Chamfer._--To cut off angles.

_Clerestory or Clear-Story._--An upper storey, or row of
windows in a Gothic church; so called to distinguish it from
the blind-storey, or triforium.

_Corbel._--A projecting stone or piece of timber supporting a
weight.

_Corbel-Table._--A row of corbels.

_Credence._--A small table or shelf near the altar on which the
bread and wine were placed before they were consecrated.

_Crocket._--A bunch of projecting flowers or foliage decorating
pinnacles, arches, etc.

_Cusps._--The projecting points in Gothic tracery, or inside an
arch; sometimes worked at the ends with leaves, flowers, or
heads.

_Dog-Tooth Moulding._--Ornaments usually consisting of four
plain leaves, arranged so as to form a point.

_Dripstone._--Projecting tablet or moulding over heads of
archways, windows, doorways, etc.

_Fan-Vaulting._--Vaulting in which the ribs rise with the same
curve and diverge equally in every direction from the springing
of the vault.

_Finial._--A foliated ornament ending a pinnacle or gable, etc.

_Flamboyant._--A name given to Late Decorated style of
architecture from the flame-like wavings of its tracery.

_Gargoyle._--A projecting spout, often carved in a grotesque
form.

_Groin._--The angle formed by the intersection of vaults.

_Herring-Bone Work._--Masonry in which the stones are placed
aslant, forming a fish-bone pattern.

_Jamb._--The side of a window or door, etc.

_Miserere._--A projecting bracket on the under side of the
seats of stalls, which were made to turn up; the monks were
allowed to lean on these brackets during the long services,
which were performed standing.

_Mullion._--Perpendicular bar between the lights of windows in
Gothic architecture.

_Nail-headed Moulding._--Moulding in imitation of ornamental
nail-heads.

_Newell._--The column round which a spiral staircase winds.

_Ogee._--A moulding partly concave and partly convex, forming a
round and a hollow. Term also applied to an arch formed of
contrasted curves.

_Orders._--The recesses of a divided arch.

_Parvise._--A small room over the porch.

_Pilaster._--A pillar, sometimes disengaged but generally
attached to a wall.

_Piscina._--A basin attached to the wall near the altar of a
church, where the priest washed his hands and rinsed the
chalice.

_Plate-Tracery._--Tracery which appears as if formed by
piercing a flat surface with ornamental patterns.

_Plinth._--The lowest division of the base of a column, or
projecting face at the bottom of a wall.

_Presbytery._--The part of a church where the high altar
stands.

_Reredos._--A screen at the back of an altar.

_Rood-Loft._--A gallery over the screen separating the nave
from the chancel, on which the great cross or _rood_ was fixed.

_Sedilia._--The seats for the officiating clergy.

_Soffit._--The under side of an arch, cornice, etc.

_Spandrel._--The triangular space between arches.

_Splay._--The expansion given to windows and other openings by
slanting the sides.

_Springing._--The point at which an arch unites with its
support.

_Squint._--An oblique opening in the wall of a church.

_Stoup._--A vessel or stone basin formed in the wall, serving
as a receptacle for holy water.

_String-Course._--A horizontal moulding running along a wall.

_Transom._--A horizontal cross-bar in a window.

_Triforium._--A gallery in the wall over the arches which
separates the body of the church from the aisles.

_Tympanum._--The space above the horizontal opening of a
doorway and the arch above; the space between an arch and the
triangular drip-stone or hood-mould which surmounts it.

INDEX

Aberdeen, 443

Bangor, 426

Bath, 161

Beverley, 327

Brechin, 442

Bristol, 138

Canterbury, 68

Carlisle, 272

Chester, 248

Chichester, 96

Dunblane, 444

Dunkeld, 445

Durham, 283

Ely, 377

Exeter, 164

Glasgow, 439

Glossary of Architectural Terms, 450

Gloucester, 178

Hereford, 204

Iona, 441

Kirkwall, 448

Lichfield, 230

Lincoln, 337

Liverpool, 263

Llandaff, 429

Manchester, 264

Newcastle, 282

Norwich, 393

Oxford, 125

Peterborough, 360

Ripon, 297

Rochester, 57

Salisbury, 108

Southwell, 351

St. Alban's, 409

St. Andrew's, 446

St. Asaph's, 423

St. David's, 432

St. Giles', Edinburgh, 447

St. Paul's, 8

The Architecture of the Cathedrals of Great Britain, 1

Truro, 177

Wakefield, 333

Wells, 149

Westminster, 35

Winchester, 85

Worcester, 216

York, 309

* * * * *

Transcriber's Notes

Punctuation and spelling errors and inconsistent hyphenation have
been corrected.

Italic text is denoted by _underscore_ and bold text by =equal signs=.

In the inscriptions described on page 197, the letters a, e and u
which have macrons in the original text, have been represented in
this version using circumflexes, i.e. grâ, plê and Jhû.

In this version of the text, superscripts are represented using the
caret character, e.g. y^e.

The oe ligatures in the text are shown as separate oe characters.

In ambiguous cases, the text has been left as it appears in the
original book.