Chapter X: Part 10

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

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.

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

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.

THE TRANSITION STYLE

The term “transition” might be applied to any of the periods during which one Gothic style is passing into another, as the buildings erected at such periods partake of a transitional character. But the change from the round arched and elaborately ornamented Norman to the pointed arched and plainer style of the first pointed period being more marked than that between any of the other Gothic periods, it has been generally agreed to reserve the term “transition” for the architecture of the end of the twelfth century, when the Norman style gradually gave place to the first pointed Gothic style.

The chief elements which mark the Transition style are the gradual introduction of the pointed arch and its use along with some of the decorative features of the Norman style. The pointed arch shows the advent of the new style, but the ornaments of the old style continue to linger for a time. The first pointed style was not complete till these old ornaments were abandoned, and the more vigorous enrichments of the new style were introduced. The other constructive features of the Norman style gradually changed at the same time as the arch. The buttresses by degrees assumed the projecting form of the first pointed style, and the pinnacles and spires of the latter style were in course of time introduced.

During the progress of the Transition there was naturally a considerable mixture of architectural elements. The round and the pointed arch were used indiscriminately, and were frequently employed together in the same structure, round arches being sometimes placed above pointed arches. Of this there are examples in the nave of Jedburgh Abbey and the south transept of Elgin Cathedral. In other instances, although the building is chiefly Norman, the pointed style is introduced in certain positions; as, for example, at Kelso Abbey, where to all appearance, contemporarily with the Norman walls, the piers and pointed arches of the crossing are in the first pointed style. At Dundrennan Abbey we find the older Norman work partly converted into first pointed by alteration, and in other examples, such as Coldingham, there is a mixture of the features of the two styles.

In many of the examples of the different periods, given or to be given, some Norman features may be discovered which, it might be thought, entitled the structures to be ranked as transitional. The buildings, however, have been arranged under the various periods to which the most prominent, not the most ancient, portions of their architecture belong.

In England the period of Transition extends from about 1180 to 1200; but, as we shall find, the corresponding period in Scotland extends considerably into the thirteenth century.

DUNDRENNAN ABBEY, KIRKCUDBRIGHTSHIRE.

The greater part of this very interesting structure has been demolished, but what remains is so fine as to make one regret all the more the hard usage the demolished portions have met with.

The abbey stood in a small, but deep, valley on a few acres of comparatively level ground lying on the west side of a little stream called the Abbey Burn, about a mile and a-half from the sea. The edifice is concealed in this remote and buried situation, and is with difficulty discovered after traversing a hilly road of six or seven miles south-east from Kirkcudbright. But when found, the quiet and secluded site, and the peaceful aspect of the grey ruins, surrounded with ancient trees, are very charming.

The monastery has been of considerable extent (Fig. 351). The church was large, being 209 feet from east to west by 108 feet from north to south of the transept, and comprised a great nave with double aisles, a choir without aisles, north and south transepts with eastern aisles, and a tower and spire 200 feet high over the crossing. The monastic buildings which surrounded the cloister garth were of the usual description, and, to judge from the remains of the chapter house, were of exceptionally fine design.

Of all these extensive structures the great nave and the tower and spire have almost entirely disappeared, and there now survive only portions of the north and south transept and choir, a beautiful fragment of the chapter house, some walls of cellars on the west side of the cloister garth, and other walls containing a few carved caps which show how fine the design of the cloisters must have been.

The abbey was founded by David I. about 1142, and was colonised by Cistercians from Rieval in Yorkshire. Its history is little known. Robert I. and David II. both conferred lands upon it. In 1568, after her flight from Langside, Queen Mary was welcomed at Dundrennan by Abbot Edward Maxwell, brother of Lord Maxwell. The abbey was then entire, and contained all its inmates. The queen embarked for England from Port Mary, at the mouth of the Abbey Burn.

In 1587 James VI. annexed Dundrennan to the Royal Chapel of Stirling, and the Maxwells became the heritable bailies of the lands.[190] The ruins now belong to the Maitlands of Dundrennan. It is not known how the structure was reduced to its present dilapidated condition. By some it is stated to have been destroyed by fire, while others attribute its condition to neglect. It has undoubtedly met with the usual fate of

our old abbeys, and was used as a quarry till 1842, when it was put in repair by the Commissioners of Woods and Forests, and it is now in fair preservation.

The nave of the church (see Fig. 351) was 134 feet long within the walls, and comprised eight bays. The central division was 31 feet wide,

and each aisle 16 feet wide, giving a total width of 63 feet internally. Of this part of the church only portions of the west end and south wall remain. The west wall contains the original western doorway, which is of simple Transition design. The doorway had three nook shafts besides the jambs, and the arches are in four orders of plain mouldings (Fig. 352). The caps, which have square abaci, are peculiar from the large quantity of very small nail head ornaments with which they are decorated (Fig. 353). The inner mouldings were renewed by the Government in 1842. The west wall retains the responds of the main piers of the nave, and a portion of one of the piers, being the westmost of the south arcade of the nave, also exists, both showing a

bold early pointed section (see A on Plan). There were seven piers on each side of the nave, besides the west responds and the piers of the crossing. A good deal of early pointed work is also carried into

the transept, but it is clear, from the architecture of the building, that the transepts have been originally erected in an earlier style, and that the first pointed work is the result of alteration. This is especially apparent in the north transept, the external walls of which, on the west and north, are distinctly Norman, in character (Fig. 354). The round arched windows (with square recesses or nooks for shafts on the outside), the broad buttresses with small projections, and the form of the caps are quite characteristic of that style. The same remarks apply to the south transept so far as the outer walls survive. In the choir also the Norman character of the early work is distinctly seen. Only portions of the side walls of the choir remain, the east end having been entirely demolished. In the upper or clerestory windows of the side walls are found very characteristic examples of late Norman work. The large plain round openings of the clerestory and the triple shafts with Norman caps and corbels (Fig. 355) are unmistakable features. The choir and transept were apparently at first completed in this style late in the twelfth century, and sometime in the thirteenth century it has been desired to build the nave on a larger scale. It has then been also resolved to rebuild the interior of the transept, including the piers at the crossing, in the same style as

the nave, so as to bring the transept as far as possible into harmony with the new design. The pointed work is evidently of an early character (see Fig. 354). The squat round-headed windows of the clerestory, with their broad internal splay occurring above the pointed windows of the triforium, indicate a period of Transition. The use of the square abacus is also general throughout the work. The very acute form of the main arches of the transepts has probably arisen from the three bays having to be fitted into the space between the old north and south end walls, and at the same time requiring to be carried up as high as the main arches of the new nave. The piers of the transept are 13 feet from column to column, while those of the nave were about 16 feet from column to column. The outer walls of the east aisles of the transepts, which were part of the original Norman structure, were not renewed at the time of the above alteration, but they have now been demolished, only fragments being left, from which, however, the form of the vaults can be inferred.

The smaller details of the eastern part of the building are greatly destroyed. The sedilia and what seems to have been a fine monument in the choir are broken in pieces. A door has been formed in the north and south side walls of the choir leading into the east aisle of the transepts. There are evident additions made, probably during this century, when the

piers of the tower were rebuilt. The doorway into the south transept aisle (Fig. 356) is distinguished by a large trefoiled head, enriched with small nail head ornaments similar to those in the west doorway, but there

is some doubt whether this is not a restoration. It will be observed that the section of the piers of the nave and transept, and also the piers of the crossing (see Fig. 351), bear a close resemblance to those of Sweetheart Abbey. But the forms here are earlier, the fillet on the outer angle being absent at Dundrennan, though present at Sweetheart.

In the north wall of the aisle of the north transept, and in a round arched recess (Fig. 357), lies the sculptured effigy of a knight wearing a suit of chain armour, and with legs crossed. This is said to be the

statue of Alan, Lord of Galloway, who was interred in the abbey in 1234. There seems also to have been a fine monument in the choir, and numerous portions of cusped and carved work are to be seen piled up in the nave, which may be fragments of this or some other ruined structure of the same nature.

The cloister garth is on the south side of the nave, and measures about 105 feet by 102 feet. The walls surrounding the cloisters are for the most part old. In the north-east angle is the ancient doorway to the nave, and in the north-west angle a more modern doorway. On the east

side, adjoining the south transept, is the slype from which a wide door (doubtless modernised) leads into the transept. To the south of the slype stood the chapter house, which must have been a very beautiful building, measuring 51 feet from east to west by 34 feet from north to south internally. From some fragments of shafts which remain, and from the responds against the west wall, it appears to have been vaulted in three spans from north to south, with four bays from east to west, but the vaults have now entirely disappeared. The front wall next the cloisters, however, fortunately survives (Fig. 358).

It is a splendid specimen of first pointed architecture (Fig. 359). In the centre is the doorway, and on each side a window, divided into two openings by a central shaft. The doorway and windows were, as usual, designed to remain open, so that the brethren in the cloisters might hear all that passed in the chapter house.

The features are all beautifully designed, and the details are of the purest and most elegant forms (see Fig. 358), the whole being enriched with finely carved dog-tooth and other ornaments.

In the arch mouldings a very profuse employment of the fillet is noticeable. The panels in the tympanum over the double arch of the windows, both in the exterior and interior, are filled in with plain, but finely designed, geometric figures (Fig. 360), and the simple bold cusps of the doorway have been carved with foliaceous scroll work, now almost obliterated by decay.

Internally the design of this front wall (Fig. 361) corresponds almost exactly with that of the outside, but is, perhaps, even more effective from containing the vaulting shafts and the springing of the broken groins.

The west wall of the chapter house is altogether a very exquisite piece of pointed work, and was probably executed just before the disturbances of the end of the thirteenth century, which interrupted, and for a time stopped, all architecture in Scotland. The style is clearly later than the early pointed work of the transept, the round abaci and the filleted mouldings contrasting with the square abaci and the pointed or round mouldings of the transept.