Chapter IV: Part 4

The chartulary of the Bishopric of Moray goes no further back than the year 1200, but the see of Moray is believed to have been founded by Alexander I. about 1107, and the bishopric certainly existed in his time.[46] The seat of the bishop, however, was not fixed for a considerable period thereafter, being sometimes at Birnie and other times at Spynie and Kineddar. But in 1203 application was made by Bricius, the sixth bishop to Pope Innocent III., requesting that the site of the cathedral should be fixed, and the Pope decided that it should be settled at Spynie. This situation was, however, found to be too remote, and Pope Honorius was approached for the purpose of having the see changed to the banks of the Lossie, where an extensive and suitable site for the cathedral had been obtained from Alexander II., who was a great patron of Elgin.

The introduction to the _Register of the Diocese_, p. xii., states that the application for the transference of the see to Elgin was made by Bishop Bricius, though the change did not take place till after his demise. This bishop established a chapter of eight secular canons, and gave the cathedral a constitution founded on the usage of Lincoln, which was ascertained by a special mission to England. Bishop Bricius died in 1222, and was succeeded by Andrew de Moravia, a member of a powerful family in the north. Under him the transference of the Episcopal See to Elgin was effected, and the cathedral of the Holy Trinity was founded in 1224, on the site of an older church with the same dedication. The works proceeded under Bishop Andrew’s supervision during the eighteen remaining years of his life.

Munificent donations were bestowed on the see by the bishop’s family, and through his influence the number of the prebends was increased to twenty-three. It is recorded that Master Gregory, the mason, and Richard, the glazier, were two persons employed on the work.[47]

The edifice was probably well advanced in the course of the thirteenth century, when in 1270, as we are informed by Fordun, the cathedral and the houses of the canons were destroyed by fire. Mr. Billings is of opinion that the most of the structure now remaining was erected after that date. It will, however, be seen that this can scarcely have been the case. In 1390 the building suffered from another great conflagration, caused by Alexander Stewart, son of Robert II., who bore the title of Earl of Buchan, but was better known as the “Wolf of Badenoch.” Having interfered with some of the cathedral lands, and refusing reparation, he was excommunicated by the bishop, and by way of revenge the “Wolf” descended in force from his mountain fastness and plundered Forres and Elgin, reducing the latter town and cathedral to ruins.

It is evident, however, from the style of much of the work which still remains that this catastrophe, terrible as it was, caused only a partial destruction of the cathedral, and it is likely that the previous fire (in 1270), above referred to, was not of so serious a character as this one, the memory of which long lingered in the province as the most terrible disaster ever experienced there. The aged Bishop Bur appealed for redress to the king, and the “Wolf of Badenoch” was not only forced to do penance, but also to contribute largely towards the expense of the restoration of the damage he had caused.[48]

The work of reconstruction proceeded under Bishops Spynie and Innes and other Bishops, and probably lasted during the most of the fifteenth century. At the election of a new bishop in 1414, after the death of Bishop Innes, the canons agreed and made oath that the new bishop about to be elected should bestow one-third of the revenues of the bishopric on the rebuilding of the church until its complete restoration was accomplished. Several parts of the work, such as portions of the west front and the interior of the chapter house, indicate by their architecture that they belong to the fifteenth century. Early in the sixteenth century the central tower showed signs of weakness, and had to be rebuilt in 1538.

Some years before the Reformation the period of decline began. In 1535 Patrick Hepburn, son of the first Earl of Bothwell, was made bishop. Like many of the other Church dignitaries of that period he caused great dilapidation of the ecclesiastical possessions, and almost all the charters of alienation of the cathedral lands were granted by him.[49] In 1568 the exigencies of the Regent Moray compelled the Privy Council to order the removal of the lead from the roofs of the cathedrals of Aberdeen and Elgin that money might be provided for the soldiers, but the ship which was conveying the lead to Holland for sale sank, and the whole was lost. The roofs were thus left unprotected, and in a great storm which occurred in 1637 the rafters were blown down.

The destruction of the interior soon followed, and was hastened by the action of the General Assembly, which, in 1640, empowered Gilbert Ross, minister of Elgin, and others to break down the timber screen between the nave and choir. Spalding states that the paintings on the rood screen--the Crucifixion on the west side, illuminated with gold stars, and the Day of Judgment on the east side--notwithstanding their exposure for “seven score years,” were still in excellent preservation when the demolition took place.

Next followed the destruction of the tracery of the great west window and other features, which is believed to have been caused by Cromwell’s troops in 1650-60.

By the end of the seventeenth century the double aisles of the nave seem to have disappeared, as they are not shown in Slezer’s view (published in 1693). But the chief catastrophe which overtook the edifice was the fall of the central tower on Easter Sunday, 1711. It fell towards the west, thus overwhelming in its ruin the nave and transepts, and causing their complete destruction. The ruins thereafter became, as usual, the quarry of the district, till, in 1807, by the exertions of Mr. King of Elgin, a wall was built round the enclosure. In 1816 the Barons of Exchequer took possession of the ruins, and appointed as keeper John Shanks, who was an enthusiast in excavating and preserving any ancient sculpture he could discover, and is said to have wheeled out over 3000 barrows of rubbish.

The enclosure which surrounded the precincts of the cathedral was of considerable extent, and comprised within its bounds the houses of the canons and the town house of the bishop. The former are now entirely demolished and the latter is hastening to decay, a large portion having recently fallen.[50] One gate of entrance to the precincts still remains.

Whether we regard the extent and completeness of the arrangement of the buildings or the beauty of the architecture, Elgin Cathedral, when perfect, must have held a place in the first rank of our Scottish ecclesiastical edifices. It was complete in all departments (Fig. 543), having a large nave with double aisles, an extended choir and presbytery, north and south transepts, a lady chapel, and a detached octagonal chapter house. It also possessed a great tower and spire over the

crossing, two noble towers at the west end, and two fine turrets at the east end. Most of the existing portions had also the advantage of being erected during the thirteenth century, at which period Scottish architecture was at its best. Good examples of the Scottish decorated period are also represented, and the testimony of ancient historians to the beauty of the internal sculpture and decoration is well supported by the fine fragments which still survive, of which a collection is formed in the chapter house.

Although slightly inferior in dimensions to our larger cathedrals at St. Andrews and Glasgow, that of Elgin is in some respects superior. The splendid western portal is undoubtedly amongst the finest examples of that feature in Scotland, if not in Britain, and recalls rather the noble portals of French architecture than those of this country.

The two grand western towers (Fig. 544) are also very notable portions of Elgin Cathedral, and are unsurpassed by any western towers in the kingdom. From the simple and bold lines of their design, these towers have likewise more affinity with French than British Gothic.

On entering the nave by the great western doorway it is apparent from the remains of the bases of the piers, which are all that now survive of that portion of the edifice, that the nave has consisted of a main central compartment with two aisles on each side, thus forming five divisions, with four rows of arcades running along the length of the nave. These comprised six bays in the length with an additional bay in the central compartment between the two western towers. The internal length of the central aisle of the nave was 118 feet by 32 feet in width, and the width of the double aisles on each side was 26 feet, thus making the total width of the nave 84 feet.

The nave was also entered by two large vaulted porches, one on the north side and the other on the south side, adjoining the western towers. These porches are now much destroyed, especially that on the north side. The choir is of unusual length, containing from the crossing to the east end seven bays, and extending to a total length of 211 feet. This includes the two bays of the presbytery which, as usual in large Scottish churches, extend eastwards beyond the aisles and are lighted with windows on three sides. The three steps leading up to the high altar still remain. The great eastern window of the choir (Fig. 545) is divided into two arcaded stories with five lights in each, and the upper story is surmounted by a large circular opening, the tracery of which, now broken, was evidently inserted at a later time. In the side walls there is no triforium, but the clerestory is lofty and forms a continuation of the upper story of the east end, extending along both sides of the choir (see Fig. 545). This upper story has separate arches on the exterior and interior of the wall, and contains a passage between them for access to the upper part of the building. The arcades of the east end and clerestory are all ornamented with

distinct shafts, having round moulded caps and bases and fine bold mouldings in the arches. The hollows between the shafts and mouldings are enriched with numerous and elegant forms of the dog-tooth ornament.

The windows are almost all lancets, but some of the side windows are larger, and some of those in the east end have a little tracery introduced, thus indicating a rather late date in the style. The elegant turrets at

the east end (Fig. 546) are ornamented with trefoiled arcades, and have been finished on top with octagonal pyramidal roofs and canopied windows. All the features of the choir seem to point to its having been erected late in the thirteenth century, probably after the fire in 1270, reported by Fordun. The details are all of pure first pointed form, but from the exuberance of the enrichments the building was apparently somewhat late in the period.

The buttresses on the exterior of the clerestory are of small size (Fig. 547), the building having evidently not been designed for a vault, but only intended to carry a wooden roof over the central choir. The side aisles, however, were vaulted and groined. About the centre of the side walls of the choir there is a projecting respond on each side (see Fig. 545), which seems to indicate that at one time it had been intended at this point to throw an arch over the choir to separate it from the presbytery, and the buttress at this point is of extra size; but some change of the first design has apparently taken place, and the space above the caps of the responds has been sloped off in a pyramidal form, and ornamented with a series of small leaf enrichments. Whether this change of design was adopted voluntarily, or in consequence of damages caused by the fire above referred to, it is now impossible to say, but the result proves how beautifully an accidental alteration could be turned to good account in the olden time. Possibly the choir only extended to this point before 1270.

The aisles of the choir do not extend the full length of the choir, but stop short, as is usual, by two bays so as to admit more light into the presbytery. The north aisle is separated from the central choir by a solid wall, having only one opening, through which a passage leads from the choir across this aisle to the chapter house. Along the south side of the choir there runs another and wider aisle (Fig. 548), which is said to have formed the lady chapel. It was connected with the choir by wide arched openings having first pointed piers and mouldings with round moulded caps, and contains several ancient monuments. The tracery and other details of this aisle (see Fig. 547) prove that it has been considerably altered at a later date than the choir.

Before completing the description of the choir it may be pointed out that the north wall presents some peculiarities. It has already been mentioned that the wall is solid, having in the lower part no openings to the side aisle, except that leading to the chapter house. It would appear, however, that this was not always the case, as there are traces in the side next the aisle of a window which has been built up. The wall is also in its lower part built with rubble, and it may be conjectured that this wall was part of the original choir of the Church of the Holy Trinity, which had been begun when the see of the bishop was transferred to the site of that church. Another peculiarity is that the windows in the triforium of the western portion are smaller than those of the rest of the choir. Possibly the western aisle, which was cut off from the choir by a solid wall, was used as the sacristy.

The transepts, like the nave, have been greatly destroyed, and the

chapels, if any such formerly existed on the east side of the transept (which, however, does not seem to have been the case), have now entirely disappeared. The south wall of the south transept (see Fig. 547) is especially interesting from its containing the oldest architecture in the cathedral. The various features all show that it belongs to the period of transition from Norman to first pointed, which in Scotland occurred about the beginning of the thirteenth century. The forms of the buttresses and the introduction of the pointed lancet windows below the circular arches on the upper floor show that the first pointed style was making rapid progress, while the circular arches of the upper windows and the Norman ornaments inserted in the pointed doorway of the south transept show some lingering remains of the earlier style. Perhaps the transition in this northern region may have taken place at a later period than in the south; and, to judge from the transition style here employed, which in a more southern situation would indicate a date about 1200, this part of the structure may have been erected immediately after the foundation of the cathedral in 1224; or the transept may have formed part of the original Church of the Holy Trinity, which was superseded by the cathedral. The transept would be of great size for an ordinary church, but would accord well with the dimensions of an edifice intended for a cathedral.

The style of the western towers (see Fig. 544) indicates an early date, being all of early first pointed work in every detail. The great western portal (Fig. 549), with its surmounting gablets and side niches, is also in the first pointed style. The nine circular shafts of the ingoing, with their round moulded caps and bases and simple cavetto between, and the mouldings of the deep bay of the principal arch, are of fine first pointed character. The arch head comprises amongst the boldly cut mouldings four rows of dog-tooth ornament, and one order formerly enriched with a finely undercut and foliaged ornament, now almost obliterated. This doorway is evidently in a later style than the towers, although still belonging to the first pointed period.

An elegant first pointed gallery (Fig. 550) likewise runs round the interior of the west wall over the doorway. The inner portions of the western portal, _i.e._, the two smaller arches and tympanum within the great arch, are of later date. This is quite apparent from the nature of the enrichments, which indicate the fifteenth century. The ornaments are numerous and consist of imitations of natural foliage, the jambs and arches are continuous and without caps, and the arches are surmounted by crockets, all signs of decorated work. The vesica over the central mullion has, doubtless, contained an image of the blessed Virgin, and on either side is an angel kneeling and throwing the censer.

The great west window over the portal (see Fig. 544), which was formerly filled with tracery, is also of later date than the portal, every feature being of a decorated character. The tracery has apparently contained a large circle or rose form in its design, and has corresponded in style with the tracery which latterly filled the eastern circular light. This part of the building was probably erected in the earlier part of

the fifteenth century. The arms of Dunbar and the royal arms are observable on shields above the arch, and the former may stand for Bishop Columba Dunbar, under whom it may have been erected (1422-35). During the fifteenth century great additions and alterations were, doubtless, carried out in consequence of the restoration required after the destruction caused by the “Wolf of Badenoch” in 1390. These extended chiefly to the nave and chapter house, which were both to a large extent rebuilt. A contribution towards this restoration appears to have been made by Robert III. in 1390, in the form of an annuity during the king’s pleasure; and in 1408 the revenues of the see, while vacant, were granted to the work.[51]

The nave appears, from the plan of the main piers (see Fig. 543) and the style of the responds against the west towers (see Fig. 550), to have been originally of first pointed work, and to have corresponded with the style of the choir, having no triforium, but a lofty clerestory with passage in the wall similar to that of the choir. Slezer’s view, taken before the destruction of the tower and nave in 1711, shows the clerestory of the nave complete, as above described. The arches of the windows are drawn as if circular, but this is evidently a mistake, those of the choir, which still survive and are pointed, being also drawn as if of circular form. The smaller piers of the outer aisles are evidently much later in style. The outer aisles would appear to have been the result of an alteration made apparently at an early date. Some fragments of the south aisle wall and south porch are apparently of first pointed style, but the outer aisles were undoubtedly restored in the fifteenth century. This is apparent not only from the style of the piers, but also from other indications. Thus, from the water table of the aisle roof against the north-west tower, it is evident that the roof has originally been of the simple shed form usually employed to cover a single aisle; while a second water table or groove has been formed to receive the span roof of the outer aisle. The small portion of the south wall of the nave which survives also confirms this view, as the form and ornament of the traceried windows (Fig. 551) assign them to the middle pointed period. The mode of junction of the outer aisles with the western towers also shows that the former were afterthoughts, as they project beyond the outer face of the tower wall in an awkward manner (see Plan). The junction of the south wall with the transept further indicates that the position of the former has been altered, as the lower part of a buttress has had to be cut away to make room for it, and the upper part of the buttress is left unsupported in mid-air (see Fig. 551).

The rebuilding of the nave was, doubtless, carried out during the restoration subsequent to the ruin caused by the “Wolf of Badenoch,” in 1390. This restoration is in the style of the Scottish decorated work

which flourished during the fifteenth century. It should, however, be kept in view, as above pointed out, that some of the details of the west window of the south aisle wall and the south porch seem to indicate that the south wall had been extended to its present position in first pointed times. The restoration in the decorated period (after the great destruction of 1390) may, therefore, have proceeded on the earlier lines of the thirteenth century. The traceried windows of the south aisle are clearly of the decorated period. The corbels which carry the arches in the towers, in the bay of the interior next the west doorway, are also of fifteenth century work.

There have been cross walls dividing some bays of the outer aisle into chapels. Of these some fragments can be traced in the south aisle, and a few of the piscinas and ambries still remain.

The chapter house (Fig. 552) appears to have been originally built about the same time as the east part of the choir, the buttresses being similar in design, but it was afterwards considerably altered.

As it now stands, the chapter house is practically a structure of the late pointed period. It is the only example remaining in Scotland of a similar detached octagonal edifice, with central pillar and vaulted roof (Fig. 553). It is 37 feet in internal diameter on the ground floor; but the walls have the peculiarity that, about 8 feet above the floor, they are corbelled out, and overhang towards the interior. On the side opposite the entrance where the bishop’s seat stood the corbelling is carried on an arcade of five arches, enriched with third pointed ornaments. On the other sides the corbelling is horizontal, with foliaged caps and corbels at intervals, and detached leaf ornaments in the mouldings.

It is apparent from the alteration of the masonry of the exterior that the windows have been inserted in an older structure. Probably the chapter house suffered so severely at the hands of the “Wolf of Badenoch” that it had to be almost rebuilt. The interior of the walls appears to have been relined with ashlar work when the restoration took place, new vaulting being erected and enlarged windows introduced at the same time. The new facing of the interior of the wall is carried round all the sides, except that in which the entrance doorway is situated. There it stops short, and the old wall is visible. This lining accounts for the unusual projection of the upper part of the wall above mentioned (see Fig. 553).

The designer of the restoration of the chapter house has apparently thought that the original floor space might thus be retained without diminishing the stability of the structure, which is well buttressed on the exterior, and he has ingeniously calculated that the additional weight thrown by the corbelled out thickness on the interior of the walls would serve as a counterpoise to the outward thrust of the vaulting. The latter springs from a single vaulting shaft in each angle of the building, resting

on a carved head, and having a foliaged cap. The vaulting has ridge ribs and liernes, and is evidently founded on English examples. The intersections of the ribs are provided with ornamental bosses. The windows are large, and were divided with mullions and tracery of the middle pointed style, most of which is now demolished.

The central pillar is octagonal, and consists of alternate rounds and hollows, the former having distinct bases and foliaged caps, and each of the hollows having a shield with armorial bearings inserted in the cavetto between the caps of the shafts.

The shields on the capital of the central pillar of the chapter house are as follow:--

1. On the south side facing the entrance doorway, a shield with the
royal arms.

2. On the north side, immediately opposite the 1st, a sculptured
figure of St. Andrew (see Fig. 553).

3 and 4. On each of the east and west sides, a shield having arms
quartered thereon, viz.:--1st and 4th, a lymphad; and 2nd and 3rd,
a fesse chequé, being the arms of Stewart of Lorn or Innermeth[52]
reversed--_i.e._, the 1st and 4th quarters should occupy the
position of the 2nd and 3rd, and _vice versa_ (a mistake not
unusual in Scottish heraldry).

5, 6, 7, and 8 occupy the diagonal faces of the octagon, and have
shields bearing the cross, crown of thorns, hands and feet, spear,
and other emblems of the Passion.

The above heraldic blazons are of some importance, as they enable us to fix approximately the name and date of the bishop under whom the restoration of the chapter house was carried out. The royal arms occupy, as is natural, the most prominent position. The east and west sides both bear the same arms, and are, doubtless, those of the bishop who presided at the time of the restoration.

There were several bishops of the name of Stewart during the fifteenth century, when the author of the restoration would naturally be looked for. These were James Stewart (1459), David Stewart (1462), and Andrew Stewart, who was elect of Moray in 1482. These bishops all belonged to branches of the family of Lorn. Bishop James Stewart lived for only two years. Bishop David Stewart was brother of the last bishop, and was parson of Spynie. “He built the great tower of Spynie Castle[53] (the Bishop’s Seat), a mighty strong house; it is called to this day David’s Tower.”[54] “This good prelate made several wise regulations; and after he had governed the see of Moray fourteen years, he died, and was buried in the same aisle with his brother,”[55] viz., that of St. Peter and St. Paul on the north side of the cathedral.

In 1482, Andrew Stewart, third son of Sir James Stewart, surnamed the Black Knight of Lorn, by Joan, Queen Dowager of Scotland, the widow of King James I., was promoted to the bishopric. He had previously been Lord Privy Seal, sub-Dean of Glasgow, and Rector of Monkland. In 1477 he was Provost of Lincluden. He died in 1501, and was buried in the choir of the cathedral. Bishop Andrew Stewart thus held the see for nineteen years. It is quite possible that the restoration of the chapter house was begun by Bishop David Stewart, but it seems more likely that the arms on the pillar are those of Bishop Andrew Stewart. The figure of St. Andrew, carved on the capital on the north side, being that opposite the royal arms, seems to favour that view; and the style of a good deal of the ornament connected with the restored stone lining of the interior, such as the enrichments of the corbels, &c., agrees rather with the end than the earlier parts of the fifteenth century. The windows, with their tracery, may, however, be of a somewhat earlier date.

A stone reading desk forms part of the central pillar, being attached to the north-west side at a suitable level. A stone bench runs, as usual, round the chapter house, and the bases of the shafts in the angle rest upon it.

The entrance to the chapter house is by a vestibule opening from the north aisle of the choir. The interior of the wall over the doorway has not been thickened like the other sides, and near the top of this blank wall are four niches (see Fig. 553), now empty, and these are surmounted by a smaller niche, also empty.

On the east side of the vestibule is a small vaulted apartment, containing a stone trough, which was, doubtless, formerly used as a lavatory. In more recent times it was occupied as a living-room by the mother of General Anderson (a benefactor of the town), and the trough is said to have formed the future General’s cradle.

A wheel-stair, in the south-east angle of the chapter house, leads to the roof.

The north and south aisles of the choir have been vaulted and provided with ridge ribs and liernes. In the north aisle one bay and in the south aisle three bays of the vaulting still remain (see Figs. 552 and 548). The latter, called the Lady Chapel, has been restored in the fifteenth century, when traceried windows were inserted and the vaulting built.

In this aisle several monuments have been erected. That of Bishop Winchester (1437-58), in the wall next the choir (see Fig. 548), is a good example of the work of the period. The recumbent effigy of the Bishop is in fair preservation, and some traces of paintings of angels are still visible in the interior of the vaulted canopy of this tomb. The monument to another Bishop, in the same wall, is of a simpler design.

This aisle has long been the burial-place of the ancient family of the Gordons. The central tomb at the east end is that of the first Earl of Huntly, who died in 1470.

In the north wall of the choir is an early example of a tomb of peculiar design (see Fig. 545).

The remains of another monument exist at the passage from the choir to the north aisle, but so mutilated that its design cannot be made out. The details of the sedilia and piscina in the choir are also much destroyed.

A few specimens of the fine carved work collected amongst the ruins are exhibited in the chapter house. Two of these are illustrated (Fig. 554), from which some idea of the richness and beauty of the details which have perished may be gathered. These probably formed caps of the outer piers of the nave aisles.

The transepts contain some interesting monuments. In the south wall

of the south transept, called the Innes aisle (Fig. 555), is the canopied monument, bearing the arms (said to be) of Alexander Stewart, Duke of Albany, who died in 1481. The shield on the sinister side of the tomb bears the fesse chequé and three antique crowns, the arms of the lordship of Garioch. Another canopied monument in the south wall, to the left of the above, is said to be that of Robert Innes of Innermarkie. These monuments are late, and a good deal damaged. The coats of arms on the shields do not correspond with those of the persons named above.

The north transept, called the Dunbar aisle, also contains several remnants of tombs. One in the north wall still retains the mutilated effigy of Bishop Columba Dunbar (1422-35), and another that of Sir Alexander Dunbar of Westfield, who died in 1497. In Slezer’s time the north gable of this transept was complete, and showed in elevation two stories of three single windows in each, surmounted by a triple light in the gable.

One of the most interesting monuments in the cathedral is that of a knight in full armour (Fig. 556) near the entrance to the Lady Chapel. It bears the following inscription:--“Hic jacet Wills de la Hay, quondam dominus de Lochloy, qui obiit VIII die mensis Decembris Anno Domini MCCCCXXI.” He was of the family to whom Inchoch Castle belonged, which lies a short way west of Forres.[56]

Amongst the mutilated fragments of sculpture preserved at the cathedral is a portion of a gigantic statue, said to be that of Bishop John Innes (1407-14). It was found at the base of the north-west pillar of the central tower, of which that bishop commenced the erection. The inscription on his tomb was as follows:--“Here lieth in Christ the Rev. Father and Doctor of Divinity John de Innes who began this distinguished edifice and for seven years sedulously continued the building.”[57] The tower was rebuilt in 1538 (as already mentioned), and a representation of it, as it existed in 1693, may be seen in Slezer’s view. It is there shown as a plain, square erection, with a large window on each side, and colossal statues at the angles. The so-called statue of “Bishop Innes” is, doubtless, one of these; but whether it formed part of the original tower of the fifteenth century, and was replaced on the rebuilt tower of the sixteenth century, or was a new statue of the latter date, it is difficult to decide.

The following is a short epitome of the dates of the different portions of the cathedral as pointed out in the foregoing description:--

The transept was erected about the date of the foundation of the cathedral in 1224. It may possibly have formed part of the previous Church of the Trinity, but seems more likely to have been built after the conversion into the cathedral.

The western towers follow soon after, being of early first pointed work. The western portal is somewhat later than the towers.

The west part of the north wall of the choir appears to be older than the remainder of that portion of the edifice, and this may possibly have been part of the original Church of the Trinity; but the general work of the choir and nave and the original chapter house would appear to have been carried out during the thirteenth century. The first pointed work would probably be all completed shortly before the War of Independence, which stopped all architecture in Scotland for a long period.

The cathedral was then practically completed, and so remained for about a century.

The next great change occurred after the destruction of the edifice by the “Wolf of Badenoch” in 1390. The nave and chapter house would appear to have been much destroyed, and were almost rebuilt during the fifteenth century. The west front above the portal and the whole of the nave were, doubtless, reconstructed about the time of Bishop Columba Dunbar (1422-35). The chapter house appears to have been restored in the time of Bishop David Stewart (1482-1501). The architecture of the nave and chapter house corresponds with the respective dates of these prelates, and also bears their coats of arms engraved on each department.

PLUSCARDEN PRIORY, MORAYSHIRE.

This monastery was one of the three houses of the order of Valliscaulium founded under Alexander II. in his recently acquired dominions in the Highlands, the other houses of the order being at Beauly, in Inverness-shire, and Ardchattan, in Argyleshire.

The policy adopted by David I., in the twelfth century, of extending civilisation and order by the planting of religious houses, was thus continued by his successor in the thirteenth century. We have seen how Alexander II. encouraged the building of Elgin Cathedral, and it is recorded that, besides the above monasteries, he endowed religious houses in Elgin for the Dominicans and Franciscans.

Pluscarden Priory stands in a long, well-sheltered valley, about six miles south-west from Elgin. The hills on either side are of moderate height, and the glen is well planted and cultivated. The priory, which is dedicated to St. Andrew, stands on a level holm on the bank of the Blackwater, and has a southern aspect at the base of a wooded hill. It is surrounded with fine old trees, and the ancient gardens and precincts of the monks are now cultivated as a thriving nursery, and kept in beautiful order. Part of the ancient wall of the precinct, with a gateway towards the east, is still preserved. The climate is mild and suitable for the growth of vegetation, as is apparent from the very luxuriant crop of ivy which covers the buildings and almost entirely conceals their architecture.

The first charter of Alexander II. is dated in 1236, and endows the monastery with the whole valley of the Blackwater, and with mills in Elgin.

Little is heard of the priory for many years after its institution beyond the usual disputes with the neighbouring lay proprietors regarding boundaries, &c., but the establishment seems to have gradually dwindled, and in 1398 the buildings had been allowed to fall into disrepair. The election of Alexander as superior at that date proceeded on the expectation that he would be able to defend the possessions of the monastery and repair the church and dwellings of the monks.

During the fifteenth century it seems to have fared ill with the monastic establishments of Morayshire, for we find that the priory of Urquhart, in that county, founded by David I. in 1125, had also dwindled like Pluscarden.

In 1454 John Benaly, prior of Urquhart, whose brethren consisted of only two monks, petitions Pope Nicholas V. that he would unite the priory of Urquhart to that of Pluscarden. He states that, owing to various calamities, the income of the priories had so diminished that they were unable to support a prior in each house with a decent and competent number of religious men, or to keep up the buildings and services; so that in Pluscarden there were generally not above six monks, and in Urquhart only two.[58]

It is stated by Shaw and other writers that the monks of Pluscarden had become vicious, and that, therefore, the priory was reformed and made a cell of Dunfermline.

It appears, however, that the change arose as above described, and, after due inquiry, William de Boys, Sacristan of Dunfermline, was, in 1460, appointed Prior of Pluscarden and Urquhart, and John de Benaly, formerly Prior of Urquhart, was made Sacristan of Dunfermline. The Valliscaulians, or White Monks, were then superseded by the Black Benedictine Monks from Dunfermline, and the priory became dependent on that house.

The last Benedictine prior was Alexander Dunbar, who died in 1560, and the first lay prior was Lord Alexander Seton, afterwards Earl of Dunfermline, who obtained possession of the abbey and lands. The monks do not appear to have been disturbed at the Reformation, but were suffered to die out gradually, as one monk still remained in 1586. After passing through the hands of various proprietors, the priory and lands were acquired by the Earl of Fife, and are now the property of the Duke of Fife, by whom the edifice and its surroundings are carefully attended to and kept in good repair.

The existing buildings (Fig. 557, Plan) consist chiefly of the remains of the church, comprising an aisleless choir, north and south transepts with eastern aisles, and a square tower over the intersection. There is no nave, that portion of the structure having, apparently, never been erected. The monastic buildings consist of the sacristy, which lies to the south of the transept, and is known as St. Mary’s aisle; the chapter house; the slype and the monks’ hall, which all extend in a line further southwards, the whole forming the east side of the cloisters. The cloister garth measures 102 feet by 94 feet, and is surrounded by a wall partly ancient. To the south-east lies a detached ruin, supposed to have been the prior’s house. The oldest parts of the edifice are the transepts, with their eastern aisles, which are in the first pointed style, and were, doubtless, built during the thirteenth century, soon after the foundation. The transept measures 93 feet 6 inches in length, and, including the aisles, is 46 feet in width within the walls.

The sacristy, or lady chapel, which extends along the full breadth of the south end of the transept and aisle, is probably of the same date. The design of the north end of the transept (Fig. 558), which was probably built about the same time as Elgin Cathedral, has some resemblance to the east end of the choir of that edifice, but is much plainer. It exhibits two stories of pointed windows, with a large circular window above, now built up. This wall also contains the only well-preserved

exterior door to the church. There is no triforium, but the clerestory on the east side is lofty, and has internally a high pointed and trefoiled

arcade, with a passage in the thickness of the wall. Externally, the windows of the clerestory of the north transept are plain pointed arches. Throughout the building the windows are mostly designed as triplet lancets, enclosed in one pointed arch (Fig. 559). In some cases the enclosing arch

assumes a segmental pointed form, which enables the side lancets to be carried higher than in the ordinary arch. This is observable in the clerestory of the south transept (east side), both in the exterior and interior (see Figs. 559 and 560). The mode in which the face of the wall in the inside of the clerestory passage is carried in this position is very effective, and well worthy of notice. A somewhat similar arrangement is carried out in the clerestory on the west side of the south transept (Fig. 561), but is modified over the arch into the nave, so as to allow of the wall passage being carried up a few steps in the thickness of the wall. This arrangement forms a kind of triforium. The moulded work of the transepts is simple, and the shafts, caps, and arch mouldings are distinctly of first pointed date. But this part of the structure has been dreadfully damaged, the shafts of the piers, with their caps and bases, having all been burned, and have crumbled away, presenting a most disfigured appearance. This appears to have been the result of the fire afterwards referred to.

Both in the choir and the crossing there are signs of great alterations and repairs. It is thought that the building must have suffered severely from fire at some time, having probably been burned by the “Wolf of Badenoch,” in 1390, when Elgin was destroyed. The work which has subsequently been done indicates that a considerable amount of strengthening was found necessary. The western piers of the crossing have been in great part burned away, and are strengthened with new masonry; and the opening between the north pier and the south pier is built up (see Plan). On the east side of the crossing a plain double wall has been erected between the piers, so as to support the arch above, which carries the tower. In this double wall an archway, only about 7 feet in width, leads into the choir. To the north of the archway a staircase in the centre of the double wall led apparently to a gallery above, while the space within the double wall to the south of the archway forms a large closet.

Traces of painted decorations are still visible in the vault over this part of the church. These consist now of a few gilt stars on a blue ground; but when Cordiner wrote, about one hundred years ago, he was able to identify the portrait of St. John under a canopy, accompanied by his eagle, also a rainbow, and the sun, moon, and constellations.

The choir, which has no aisles, measures 56 feet in length by 27 feet wide internally. It has originally been constructed in a light manner, with very wide window arches, having small piers and buttresses between them, and it seems to have been vaulted, or intended for vaulting, the springers of the vaults being visible in the interior (Fig. 562). But this mode of construction was evidently found too weak, and it became necessary to partly build up the great arches of the windows and to introduce much smaller windows within them. The choir is so densely covered with ivy that these features are not easily detected on the exterior (Fig. 563), but in the interior view (see Fig. 562) they are plainly visible. At what period the choir was built it is difficult to say. The exterior buttresses, so far as visible through the ivy, might be considered of an early form, but they resemble those of the lady chapel of Elgin and other structures in the North, which are not very early. The large vesica piscis over the east window arch, and the trefoiled triangle in the gable, are likewise rather late features (see Fig. 559). Keeping in view the great size of the intended windows, which were clearly meant to be filled with tracery, and the small caps of the jambs, both exterior and interior, the building may be ascribed to the fifteenth century. Probably the first design with the very large openings may have been carried out early in the fifteenth century, soon after Alexander the prior was appointed, who was expected to improve the buildings of the priory, which had fallen into decay.

The insertion of the smaller windows, and the strengthening masonry within the wide openings, may have formed part of the restoration of the dilapidated structure which William de Boys would be sure to institute when he and his Benedictines took possession of the priory in the middle of the fifteenth century. We shall see that parts of the chapter house and other portions of the structure may be attributed to the same revival.

The reduced side windows of the choir contain portions of late tracery, and in the filled in mason work of each is inserted a dedication cross (see Fig. 562), which seems to point to a new dedication of the restored edifice. The design of the smaller windows introduced within the arch of the very large east window is remarkable (see Figs. 559 and 562). The four small pointed arches, surmounted by a traceried window above, faintly recall the east windows of Elgin Cathedral, while the peculiar tracery of the upper window plainly indicates a very late date.

The square tower over the crossing is seen (see Fig. 563) to rise externally only a short way above the apex of the roofs of the choir and transept. Like the choir, it has been intended to be vaulted, the springing stones being still visible (see Fig. 558); but the supports were either found to be too light, or were so damaged by the fire that, as above mentioned, the piers and arches had to be strengthened with supporting walls brought up from the foundation. The upper part of the tower appears to have originally been of the date of the transept, and to have been restored, like the rest of the edifice, at a later period. This is evident from the shape of the window openings, which are of first pointed work, and also from the corbels of the parapet, some of which are original and of early form, while others, which have been restored, are of the late form common in the churches and castles of the fifteenth and sixteenth centuries. The large trefoil apertures have suffered from the fire, and have been built up.

To the north of the choir is a small vaulted structure about 16 feet square, called the Dunbar Vestry (see Plan). It is evidently of late date, and its style supports the tradition that it was erected by Prior Dunbar shortly before the Reformation. It is vaulted, and bears the arms of Dunbar on one of the bosses.[59]

Apparently of the same date is the sacrament house (Fig. 564) inserted in the north wall of the choir, and a door between the choir and vestry, which has the three-sided arch common at the period. On the north side of the vestry are some remains of a door and wheel stair, the latter of which appears to have led to the roof. The position of the vestry is very awkward, being placed within two feet of the transept aisle, the windows of which are thus almost obscured by it.

The part of the church lying immediately to the south of the transept is called the sacristy, or the lady chapel. It is vaulted, and from the form of the mouldings, caps, window, &c., is evidently of the same date as the transept. The vaulting at the west end has been partly rebuilt, and a fireproof closet formed in the angle, no doubt for the purpose of containing valuables used in the service. At the east end a ruined opening into the transept seems to have been a squint to allow the service at the altar to be seen from the transept. Traces of colour are still observable here, but in Cordiner’s time many emblematic paintings were visible.

To the south of the sacristy is the chapter house, and beyond it the slype. These have been restored within recent times, and the east windows renewed in the same pointed segmental form as the old ones. The doors and windows to the west have also been partly renewed.

The sketch of the chapter house (Fig. 565) shows the interior looking north-west, with the double door and two side windows which face the cloister. The apartment is about 29 feet square, and has a central pillar on which the vaulting rests. A figure of the Agnus Dei may be observed on one of the bosses. The chapter house has evidently, from the first pointed details visible in the door, windows, and corbels, been erected in the thirteenth century; but the details of the central pillar, with its slender shafts introduced amongst the mouldings, clearly indicate a restoration of the chapter house at a date well advanced in the fifteenth century. The fireplace is of modern design.

Still further to the south is the monks’ hall or fratry (Fig. 566), a chamber 45 feet long by 28 feet wide. It is vaulted, and the vaulting is carried by two central pillars. These are plain octagons, into which the chamfered ribs of the arches die. The tracery in the window at the south end is modern, but the large opening is old, having been made so as to admit as much sunshine as possible from the south. This apartment is now used for service by the Free Church of the district, and contains the old pulpit, brought from the ancient church of St. Giles in Elgin, when it was rebuilt, an interesting example of florid Renaissance carving. There can be little doubt but that all these buildings south from the lady chapel belong chiefly to the restoration instituted by the Benedictines in the fifteenth century.

In the interior of the south-west angle of the transept may be observed a wide stone staircase. This leads to the upper floor of the buildings which lie to the south of the transept, and were formerly the monks’ dormitories. One small room over the lady chapel may possibly have been a scriptorium or an oratory. This part of the domestic edifices has now been restored and roofed in, and set aside by the Duke of Fife as a place of shelter and amusement for the visitors to the priory.

The cloister garth is planted with shrubs and kept in good order. Owing to the slope of the ground there have been steps up to the south entrance to the garth, and there still remain steps at the north door, which is a semicircular doorway of good, though late, design. It is evidently meant for a reproduction of Norman work.

Another doorway is still preserved at the south-west angle of the cloister, which was probably the entrance to the refectory. Owing to the

slope of the ground, the refectory and fratry have been raised on vaulted cellars.

Of the prior’s house only the ruins of some of the walls remain. These show that it has been extensive, but there are no features to give a clue to its date. Some remains of the priory mill, which adjoined the prior’s house, are also still observable.

ST. MUNGO’S CATHEDRAL, GLASGOW.

The site on which this cathedral stands has been devoted from very ancient times to religious uses. It is associated with the name of St. Ninian, who is reported to have founded a church here in the beginning of the fifth century. This site was also the scene of the labours of St. Kentigern, or Mungo, who revived religion in the locality in the sixth century, and is said to have established an episcopal see. Here the meeting took place between him and St. Columba, on which occasion, as a sign of friendship, they exchanged their pastoral staves. The place was further sanctified by becoming the last resting-place of St. Mungo’s remains.

During the political changes which occurred in Strathclyde in the following centuries Christianity seems to have been almost obliterated. But in the twelfth century the revival of religion begun by Queen Margaret had penetrated into this region, and was fostered by her son David, Prince of Cumbria. In 1115 he restored the see of Glasgow, and appointed his tutor John (called Achaius) to the bishopric. In order to provide it with suitable means, an inquisition was made, in 1120, concerning the lands which had formerly belonged to the church of Glasgow. In 1124, John, the first of the new line of bishops, began to replace the ancient church which had previously existed with a new structure, which was doubtless raised on the site of the old one. This church was consecrated in 1136, in presence of the king and his retinue.