Chapter V: Part 5

Bishop Joceline, previously abbot of Melrose, was consecrated in 1175. Under him, and by his influence, the burgh received many privileges, and advanced in prosperity. Between 1189 and 1192 he was engaged in restoring or adding to the building.

The original church of Bishop John, “built, perhaps, chiefly of wood,” had been recently destroyed by fire. Through the exertions of Bishop Joceline a society was founded to collect funds for its restoration, and the work was sufficiently advanced for consecration on 6th July 1197.[60]

It was generally believed, at one time, that the existing choir and lower church were erected by Bishop Joceline; but it has been shown by Mr. John Honeyman, architect, in various papers on the subject, published at various times during the last forty years, that only a small part of the structure which now exists may possibly be of the time of that bishop.

According to Mr. Honeyman, a portion of the lower church, situated at its south-west angle, and extending from the transept eastwards to the third buttress of the choir, and including one bay and a half, shows some differences in its style of architecture from the remainder, and may be regarded as of the transition style, and may thus be of the date of Bishop Joceline; while the remainder of the lower church and the whole of the choir are built in the first pointed style, and cannot be earlier than the second quarter of the thirteenth century. The actual builder of the lower church and the choir above, as they now exist, was Bishop William de Bondington (1233-1258). A large part of the structure was completed before his death in the latter year, and the style of the work thoroughly corresponds with his period. In 1242 an ordinance was made for a national collection annually during Lent in aid of the building.[61]

According to Mr. Honeyman, the foundations of the nave were laid, and part of the walls was carried up, before the building of the choir was begun.

Most of the nave appears, from the style of its architecture, to have been chiefly erected at the end of the thirteenth or the beginning of the fourteenth century, but there is no record of its construction. It forms one of the finest examples of the late first pointed or early decorated style in Scotland.

Bishop Wishart occupied the see during the greater part of the War of Independence, and supported the Scottish party on all occasions. He obtained permission from Edward I. to cut timber in the forest of Luss for the purpose of erecting the spire of the cathedral; and it was one of the causes of accusation against him which led to his imprisonment in England that he had used the timber so obtained, not for building the spire, but for making engines of war with which to attack Edward’s forces.

The wooden spire of the cathedral, which was erected during the fourteenth century, was struck by lightning and destroyed in 1400. A new tower of masonry was erected over the crossing by Bishop Lauder (1408-25), who carried the work as high as the main parapet. This bishop appears also to have begun the completion of the chapter house, a detached structure lying to the north-east of the choir. The walls of this building were partly erected about the time of the construction of the choir, but were afterwards raised to two stories in height and vaulted by Bishop Cameron.

Bishop Lauder was succeeded, in 1425, by Bishop Cameron, called “The Magnificent,” from his lavish expenditure and the splendour of his Court. He erected the stone spire above the tower of Bishop Lauder, and also completed the chapter house wing containing the sacristy on the upper floor and the chapter house on the ground floor. His arms are still to be seen on the portions of the structure erected by him. The beautiful rood screen was also probably constructed by him.

During Bishop Cameron’s reign the episcopal see was at the highest point of its power and splendour. The prebendaries, who were originally seven in number, were now increased to thirty-two, and the bishop required that they should all have manses,[62] and reside near the cathedral. The Episcopal Court thus became of great extent and importance, and was said to rival that of the king. Bishop Cameron died in 1446. He was succeeded by Bishop William Turnbull, the founder of Glasgow University. His arms appear on the upper part of the chapter house wing.

Bishop Robert Blackadder was consecrated in 1484. We have already met with this prelate in connection with Jedburgh Abbey and Edrom Church. In his time the see was erected into an archbishopric. A building in continuation of the south transept, called Blackadder’s Aisle, was partly erected by him, but was never carried higher than the ground story or crypt. This archbishop was the last occupant of the see who added much to the adornments of the cathedral. He founded altarages, and erected two altars, on which his arms and initials are carved, in front of the rood screen.

Towards the middle of the sixteenth century, it became apparent that the end of the episcopal reign was approaching. Archbishop James Beaton first withdrew all the treasures and valuables from the cathedral into the bishop’s castle; but, finding himself and them insecure there, he retired to France, taking with him what valuables he could, and also the records of the see from the earliest period. The latter were deposited in the Scots College in Paris, and at the time of the French Revolution they were partially saved by the Abbé Macpherson, and sent back to Scotland.

These records have now been published by the Maitland Club under the title of _Registrum Episcopatus Glasguensis_, with a valuable introduction by the editor, Professor Cosmo Innes.

The cathedral is situated on steep ground sloping eastwards towards the Molindinar Burn, which here runs through a narrow valley on its way southward to the Clyde, which is only a short distance off. Opposite the cathedral, on the eastern bank of the burn, there rises a steep conical hill, now a many-monumented cemetery, from which fine bird’s-eye views of the building may be obtained. The surroundings of the edifice have changed many times since it was built. Till after the Reformation there stood at the west end of the cathedral the Bishop’s Palace, a great fortress covering some acres of ground; but of its many buildings, walls, and towers not a shadow is left. The manses of the prebends have likewise disappeared, and even the Molindinar Burn is buried as a sewer deep below the present surface of the valley. The cathedral is surrounded by the old churchyard, a large open space free from houses, and the structure can thus be well seen on all sides.

]

Although built at different dates, the edifice has a very homogeneous appearance, and might easily be mistaken at first sight for a building of one period. The structure has a gaunt and stern aspect, and greatly wants some salient features to break its rigid outline. Such features existed till about the middle of this century in the shape of two projecting adjuncts at the west end (Fig. 567), the one on the north side being a tower crowned with a pointed roof, and the other, called the consistory house, being a lower building, which finished like a pele tower with a crow-stepped roof and a cape house. These structures have now been removed.

In the external length of the church, a distance of about 330 feet, the ground falls from west to east about 15 feet. This fall required the walls of the eastern part to be raised so as to bring them up to the level of the western part, and this under-building was made available as a lower church. This lower church forms one of the finest and most characteristic features of the edifice. It extends the whole length from the transept to the east end, and is entirely above ground. It is supposed that the building has been placed on this sloping ground, and not on the higher and leveller site a little to the westwards, in order that the most sacred part, containing the high altar, might be situated immediately over the supposed site of the original tomb of St. Mungo, which would, doubtless, be beneath the east end of the primitive church.

The cathedral, as seen from the east end, with the lower church and the choir towering above it, is very lofty and imposing (Fig. 568), and surpasses the view obtained from the west end (Fig. 569) on emerging from the streets of the city.

The edifice consists (Fig. 570) of a nave of eight bays, with side aisles measuring about 122 feet in length by 61 feet 9 inches in breadth within the walls (the whole length of the edifice being of this width); transepts, which do not project beyond the aisles; a choir of five bays, with side aisles and an aisle at the east end of the same height as the north and south aisles, with chapels beyond it. Entering from one of the eastern chapels is the sacristy or vestiarium at the north-east corner of the choir. A wide staircase leads down from the crossing on each side to the lower church, or crypt, as it is usually called (Fig. 571), and from the lower church is the entrance to the chapter house, immediately below the sacristy. On the south side of the church, and in continuation of the south transept, is situated another low church or crypt, called “Blackadder’s Aisle;” and on the north side, opposite the west bay of the choir, are the foundations of what has apparently been intended to be a large chapel. Over the crossing rise the tower and spire to the height of 217 feet. The church measures about 283 feet in length by 61 feet 9 inches in breadth within the walls, and the central alley of the nave and choir measures between the pillars about 25 feet 3 inches.

As already mentioned, the most ancient part of the structure, according to Mr. Honeyman, is the portion of the lower church at the south-west angle. Mr. Honeyman’s theory is that the church built by Bishop John (Achaius) was restored by Bishop Joceline at the end of the twelfth century, and that the above portion at the south-west angle formed a chapel, and was part of that restoration.[64] He supposes that this chapel, situated in a corner of the old building least likely to be interfered with by the proposed operations, had been preserved as a receptacle for relics while the choir and lower church were being rebuilt by Bishop Bondington in the thirteenth century. Mr. Honeyman points out that one shaft and cap in the east wall of the above chapel and part of the wall adjoining, into which the shaft-stones are bonded, are of the transition style, and correspond with some other fragments of the same style which have been discovered lying loose, and which all appear to have been part of the work carried out in Bishop Joceline’s time. The vaulting of this south-west chapel is also of transition character; but from other indications it is thought that this vault has probably been rebuilt with old materials. These indications are that the shafts, with

their caps and bases, both of the north and south sides of the chapel, are of later character, those of the south side being similar to the corresponding features of the nave and those of the north side resembling the same features in the lower church, and having been, doubtless, renewed when the lower church was re-erected. The floor of this south-west chapel is 15 inches above the level of that of the lower church. The exterior base differs in design from that of the rest of the lower church, and indicates an earlier date. Mr. Honeyman is of opinion that when the south staircase to the lower church was erected this small chapel stood in the way, and prevented the stair from being carried out in the same manner as that on the north side, which was executed according to the architect’s design. The eastern wall of the chapel was afterwards cut through so as to provide access from the south stair to the lower church. The north staircase to the lower church was not impeded, as the south one was, by the above chapel, but was carried out according to the architect’s design, and possesses a handsome early pointed doorway, where it enters the lower church.

Mr. Honeyman then goes on to show that the same base as existed on the outside of the ancient south-west chapel is continued round the nave, which fact supports his view that the nave was founded and the walls partly erected before the choir was built by Bishop Bondington. As pointed out by Mr. Honeyman, the bases of the vaulting shafts and part of the side walls of the nave aisles (more on the north side than the south side) were apparently executed at an earlier date than the choir. “The bases of the shafts on the bench-table of the aisles, with their delicate mouldings and square plinths, belong to an earlier period than anything to be seen in the choir.” But when Bishop Bondington came on the scene and resolved to reconstruct the whole choir, the work at the nave was stopped, not to be resumed for about a century.

With reference to Mr. Honeyman’s views, as explained above, there is, undoubtedly, considerable difficulty in accounting for the numerous peculiarities of the small chamber or chapel at the south-west angle of the lower church; and it is quite likely, as Mr. Honeyman suggests, that this may have been part of an earlier building preserved when Bishop Bondington carried out the work at the choir and lower church. That there was a good deal of early thirteenth century work done in the nave there can scarcely be any doubt. Indeed, it is owing to the nave having been commenced with this early work that it has retained, in its later portions, which form the completion of the work formerly begun, so much of a first pointed character. The annexed sketch (Fig. 572) shows the plan and section of the lower part of the responds of the nave aisles which Mr. Honeyman relies on for proving their early character as compared with the work in the choir; and this will be at once recognised in the keel-shaped shaft and the square plinths and delicate mouldings of the bases. The junction of the external base of the south-west angle or chapel with that of the lower church and the sections of the bases are also shown (Fig. 573). The earlier and simpler character of the base of the south-west angle is apparent. This early base is continued round the whole of the nave (passing through Blackadder’s Aisle), and corresponds in style with the early design of the bases of the interior wall shafts of the nave shown above.

In the south wall of the south-west angle or chapel there is a shaft with the same plan as the responds in the nave aisles, having, like them, the keel edge and cap with first pointed mouldings (Fig. 574); while in the lower church and choir the angle shafts have all the fillet on edge and first pointed caps, as shown in the same Figure.

That there has been transition work in connection with the building is evident from the fragments preserved in the chapter house, of which specimens are shown (Fig. 575). Some pieces of groin ribs (Fig. 576) are also preserved, which have a similar section to those of the south-west angle or chapel, and a transition base with square plinth and spurs at the angles. These transition fragments confirm Mr. Honeyman’s view as to the vault of the south-west chapel having been constructed with old materials when the north wall of the chapel (the details of which correspond with those of the lower church) was rebuilt and the chapel converted into a passage to the lower church.

It is most difficult, owing to the darkness of the place, to obtain accurate sketches, but the annexed diagram (Fig. 577) gives an idea of the shaft in the east wall of the south-west chapel and its cap, on which Mr. Honeyman lays stress as proving their transition character. The abacus is transitional in section, but the carving is undoubtedly first pointed. Mr. Honeyman thinks that the cap may have been left rough at first, and the carving executed in first pointed times.

Whether this shaft and cap and the vaulting of the south-west chapel are transitional, or of the early first pointed date of the lower part of the nave walls, there can be no doubt that Mr. Honeyman’s main contention is correct--viz., that part of the south-west chapel and the lower part of the walls of the nave were constructed before the rebuilding of the lower church and choir was carried out by Bishop Bondington about the middle of the thirteenth century.

St. Mungo’s Cathedral.

Detached Rib.]

The lower church (see Fig. 571) is about 125 feet long, and is about 17 feet in height at the west end; but owing to a fall in the level of the floor at the east end, the height of the vault at that end measures about 4 feet more than at the west end. From the choir floor to the floor of the lower church the height is about 19 feet 3 inches. In order to obtain this height, the floor of the choir is raised about 3 feet above that of the nave. The height of the choir from the floor to the apex of the roof inside is 74 feet 6 inches.

The following are the entrance doorways to the cathedral--viz., a wide double entrance doorway at the west end of the nave, and a south doorway in the second bay from the west end. There are also north and south doorways in the lower church, and a doorway from the landing of the north stair to the lower church.

Pillar and Rib in South-West Angle of Lower Church.]

The lower church (see Fig. 571), supporting as it does the choir with its aisles and the east aisle with its chapels above, conforms in its structural arrangements to the plan of the upper church. Thus all the pillars in the simpler plan above are supported by pillars in the more complicated plan below. In the latter, between each of the main piers of the arcade, lesser piers are introduced; so that while there are four pillars and five bays on each side of the choir above, there are nine pillars and ten bays in the church beneath. The central area of the lower church is further subdivided by a simple and beautiful scheme of pillars and vaulting, which is arranged in the following manner (Fig. 578). A central shrine of four slender pillars (Fig. 579) is placed opposite the sixth bay, counting from the eastern aisle, and is situated under the high altar of the choir. This shrine is made the centre of the scheme for the vaulting of three bays on each side; the remaining bays on the east and west being treated so as to form a variety both in the piers and vaults. From the shrine as a centre a single central pillar is introduced in the spaces to the east and west, and in the bays beyond them two pillars are introduced in the breadth, and the vaulting is varied so as to suit this arrangement of the pillars (Figs. 580 and 581). The vaulting of the lower church is a masterpiece of design, and produces by very simple means a wonderful variety of effect. It is analysed by Sir G. Gilbert Scott in his lectures, and greatly commended. This vault has been the subject of very careful examination by Mr. T. L. Watson, architect, Glasgow, who points out that it must have been erected at a later period than the rest of the choir. This he proves from the mouldings, which are of a later character than those of the choir. His view is that the original intention was to vault the central aisle with a series of cross vaults similar to those in the side aisles, and he points out that the springers for these vaults were built along with the piers. The central vault, however, was delayed for convenience of building operations till after the upper portions of the choir were finished, and, when this vault came to be executed, the architect had devised the more beautiful scheme which is actually carried out. This required some alteration of the springers, and Mr. Watson draws attention to the points where the alterations are visible. He also points out that the two central east windows of the lower church are different from the others (see Fig. 568). The latter are all double lancets, whereas the former have each one large arch enclosing two smaller ones. The larger arches would be left open during the progress of the work for the introduction of building materials, and the filling in of the smaller arches would be done after the building was completed.

The new scheme of vaulting was, doubtless, so arranged as to leave the original grave of St. Mungo undisturbed, and allow the new shrine to be erected over the sacred spot.

The eastern part of the lower church is treated in a manner similar to the east aisle and chapels over it, except that in the former the chapels are divided by solid walls (containing arched openings) running between the piers and the east wall. The object of these cross walls has been to

give solidity to the lower part of the structure. In the upper church the pillars between the aisle and the eastern chapels stand free, but to have

continued these free standing piers down through the lower church would have made the construction weak. Even with the walls between the

chapels in the lower church the construction has proved insufficient, and at this part of the edifice considerable signs of disturbance are observable. The cross walls contain open arches, each with a piscina and credence table; and the central one contains a monument. This is believed to be the effigy of Bishop Wishart (Fig. 582), but as the space is too short to contain it, the lion at the feet has had to be cut away in order to enable the effigy to be placed where it is. It, therefore, seems to have been brought from another site.

In the northmost chapel is the entrance to the chapter house, which corresponds in style with the lower church (Fig. 583), and has apparently been built about the same period. The main wall shafts of the chapter house (Fig. 584), with their rounded and moulded caps and bases, correspond with those of the lower church, and the windows are also of corresponding design (see Fig. 597), except that the external bases of the window shafts are of a later date. The chapter house would appear to have been left incomplete for a long period, and to have been heightened and finished in the fifteenth century, as will be pointed out. The doorway (see Fig. 583), which is in the first pointed style and very ornamental, was evidently designed to give access to it.

Details of Wall Shafts of Chapter House.]

The plain cross vaulting of the side aisles of the lower church corresponds with the piers of the subdivided bays, and on the exterior, opposite each intermediate pillar (see Fig. 568), there is a buttress of lesser dimensions than the main buttresses opposite the main piers.

The lower church was formerly well lighted with numerous lancet windows, but, unfortunately, these have been filled, within the last thirty years, with dark-coloured glass, so that, without the aid of lamps, this almost unrivalled specimen of mediæval architecture is obscured from view. Only those whose memory goes back to before the above time can form a proper idea of the beauty and purity of its details.

There is a well about 18 feet deep, built with ashlar, at the east end of the south wall, and near it an altar tomb to one of the family of the Colquhouns of Luss, whose arms it bears. The well may have contributed to the weakness of this part of the edifice; but although the upper part of the building is as much as 18 inches off the plumb, there is no appearance of any settlement at the base. The wall seems to have suffered from a thrust outwards while in course of erection, as the upper story is set back from the lower portion, which is off the plumb.

The south doorway of the lower church (Fig. 585) is a very simple and beautiful design, and forms a porch projecting as far as the buttresses. It has a groined ceiling covered with a sloping stone roof. Immediately opposite the south doorway there is a north entrance to the lower church, which has a moulded pointed arch head, but no porch.

The interior of the choir is a noble specimen of first pointed design. A striking and unusual feature of the plan is the ambulatory aisle which runs round the east end (see Fig. 570), having four chapels beyond it to the east, as above mentioned. These chapels are not divided, like those in the lower church, by walls, but are quite open, and the pillars stand free. The view (Fig. 586) shows that the pillars are slender and clustered, with dog-tooth mouldings in the hollows. Their section is shown in Fig. 587. The caps are rounded and moulded, while those of the wall shafts are carved with foliage. Fig. 588 shows the south-east bay of the east end. The piscina seen in the south-east angle has the drain carried direct to the outside, and is not carried down to the ground, as usual. The vaulting here is of later date than the rest of the work, as is apparent from the

sections of the ribs. As the vaulting was, doubtless, much dislocated by the disturbance which has taken place at the south-east corner, it may have been rebuilt; or, as Mr. Watson points out, it may have been delayed till after the vaulting of the lower church was completed.

The main arcade is carried round the east end of the choir (Fig. 589).

To accomplish this, with arches of about the same width as those of the side aisles, the wall had to be divided into two bays having a central pillar, which is not a pleasing feature. Above the main arcade rises the east wall of the cathedral, pierced with four graceful lancets (see Fig. 591).[65] This arrangement of a central mullion in the large upper window was almost rendered necessary in order to carry up the design of the single pillar in the centre of the main arcade, otherwise a central light, as at Salisbury, would doubtless have been preferable.

Churches with an eastern ambulatory are occasionally to be met with in England, a fine example being the church of the Abbey of Dore, in Hertfordshire. This ambulatory aisle is the British equivalent for the aisle which is generally carried round foreign apses, and from which the apsidal chapels open.

A similar plan to that of the eastern end of Glasgow Cathedral was reproduced at Rosslyn Collegiate Church two hundred years later, although with very different details and on a greatly reduced scale.

Each bay of the choir (see Fig. 589) rises from clustered pillars having numerous attached shafts and mouldings (see Fig. 587), and caps elaborately carved with first pointed foliage. The triforium gallery contains two pointed openings, each embracing two smaller arches, and having trefoil and quatrefoil apertures in the spandrils. The clerestory consists of a double wall, with passage between. It has three pointed lights of equal height in the outer wall, and three corresponding openings in the interior, with boldly moulded shafts and arches. A small sharply pointed arch is introduced at each side of the main vaulting shafts. The caps on each floor are all of rounded form.

The south doorway of the nave (Fig. 591) (now forming the principal entrance to the church) is, like that of the lower church, inserted between two buttresses; but it has no projecting porch, and finishes with a flat roof, above which the top of an ordinary traceried window is seen in the plane of the wall. To give importance to this entrance the flanking buttresses are finished at the top with niches for statues, and in connection with the corbels under these occur the only pieces of foliaged carving to be seen in the whole nave.

The western doorway (see Fig. 569) contains two openings with a solid mullion between. This part of the structure has evidently been greatly repaired and altered when the western adjuncts above referred to were removed.

The whole of the cathedral is vaulted except the central alleys of the nave and choir. Vaulting shafts are carried up in the nave (Fig. 592) from the string course above the main arcade, and in the choir (see Fig. 589) from the caps of the main piers to the wall head, as if the idea of vaulting the central area had been contemplated; but it is quite

evident from the smallness of the buttresses of the clerestory (Fig. 593) that the walls were not calculated to resist the strain which such a vault

would have brought against them. The present vaulting beneath the central tower is modern, as also are the plaster ceilings of nave and choir. The vault of the north aisle of the choir has ribs of an early form, while those of the south aisle are of a later design (Fig. 594). On the panels of the latter vault there are a number of figures, comprising the symbols of the evangelists, &c.

The bays of the nave are divided by clustered piers of smaller size and later shape than those of the choir (see Fig. 587), and the moulded caps (which follow the outline of the shafts and hollows of the piers) are also of later character. Each bay of the triforium and clerestory (Fig. 592) is divided into two openings, and has shafts running up through the whole height, which unite the two stories into one, a design which produces a striking effect. The triforium openings of the nave, although not without great vigour, are perhaps the most rudely executed features in the whole building. The jamb and arch mouldings accommodate themselves to each other in an awkward manner, and the fitting in of the uncouth trefoil tracery is quite a contrast to the fine finishing of the clerestory above. It is not easy to account for the careless work in the triforium, as the upper part of the nave appears to have been all executed about one period. The coarse workmanship is much more striking in the building than can be shown by drawings on a small scale.

Ribs in North, East and South Aisles of the Choir.]

The windows of the aisles, in the choir and part of the nave, are very much alike and very simple in design, and some of them are grouped and contain rudimentary rather than real tracery. Some of these are visible in the choir in Fig. 593, and Fig. 595 shows one in the north aisle of the choir, which may be taken as a specimen. It consists of three lancets separated by mullions, which might rather be described as portions of the wall with small buttresses attached, and the whole enclosed within one arch, having the spandril above pierced with a quatrefoil and two trefoils.

The tracery of the windows on the south side of the nave is simple, but completely formed (see Fig. 590), each window having two mullions and three trefoils in the arch head. Those of the clerestory have each a central mullion divided in the arch into two branches (Fig. 596).

The tracery in the great windows in the west end (see Fig. 569) and in those of the north transept (see Fig. 593) and south transept is modern, and it is not easy to determine how far the designs follow the originals. The north transept window (see Fig. 596), which was “taken down and rebuilt,”[66] looks, from the simplicity of its design, to be probably like what the original may have been. Regarding the other two great windows, one cannot be so sure. The great buttress enclos-

Window in North Aisle of Choir.]

*ing the staircase at the north-west angle of the north transept (see Fig. 596) is a noteworthy feature, differing as it does from the other buttresses flanking the end walls. It occupies part of the space which naturally falls to the eastmost window of the nave aisle, and this opening, instead of being designed as a smaller window to fit the space, is treated with the same design as the others, and thus presents the appearance of having been cut in two. In each of the four great gables the vesica aperture occurs; and this, along with the constant repetition throughout the whole building of certain features, such as the parapets with their supporting corbels, the peculiar gargoyles, the slender buttresses in the clerestories, and the terminations of the main buttresses, all show that the keynote of the design struck by the early builders was taken up and continued by their successors. As above pointed out, this, no doubt, partly arose from the lower portions of the whole structure having been begun at an early period, though, in part, not finished till a later time. Even in the chapter house building (Fig. 597), the upper story of which is of a distinctly Scottish character, the continuation of early features has not been lost sight of. Here the details of the church built by Bishop Bondington in the thirteenth century furnished models for the work even of the fifteenth century. The lower windows are similar in form, the parapets of the chapter house wing are continued round at the same level as those of the aisles of the choir, and the buttresses are also similar. Attention may be drawn to the curious treatment of the upper water tables of the buttresses of this wing. The slope is divided into two halves, one half rising a little higher than the other.

The chapter house wing is two stories in height, and the staircase finishes on top (Fig. 598) with a cape house, after the manner of the pele towers. This wing measures on Plan about 30 feet square internally, and has a central pillar supporting the vaulting on both floors. The chapter house, which is on the ground floor, was, as we have seen, left in an unfinished state in the thirteenth century. In the early part of the fifteenth century, Bishop Lauder has evidently recommenced work at it.

The wall shafts (see Fig. 584), with their early section and first pointed caps and bases, have the appearance of being older than his time; but the Dean’s seat, which has been inserted in the east side (Fig. 599), is part

of his work. It is in the design of that period, and contains the following inscription along the top--viz., Wilms: fuda: instut: Caplm: Dei, which Archbishop Eyre thus renders,[67] “William laid the foundation of this chapter house in God’s honour.” The William referred to was Bishop William Lauder, whose arms (a Griffin Segreant) occur on a shield on the lintel below the inscription. The shield is surmounted by the bishop’s crosier.

The shield of Bishop Lauder is also inserted on the exterior of the west side of the chapter house. It is shown on a slab in Fig. 600, and is a characteristic piece of heraldic decoration. Fig. 600 shows the upper apartment or sacristy.

The completion of this wing was carried out by Bishop Cameron, who built the upper story, or sacristy, and vaulted the building. It is not quite clear whether the vaulting of the lower story was executed by Bishop Cameron or Bishop Lauder. The central pillar (Fig. 601) is late, and the boss of the north-west compartment seems to contain the Cameron arms. The groin ribs (=A=) are of early form, while those of the sacristy (=B=) are of a late section. The vaulting springers of the chapter house may have been built at the same time as the chapter house shafts--_i.e._, in the thirteenth century--and completed in the fifteenth century with the same section as they were begun with; while the groins of the sacristy, being entirely of fifteenth century work, are of the section of that period.

The shields in the bosses of the chapter house are somewhat difficult to decipher; but that in the south-east bay may possibly represent the royal arms of Scotland and England impaled, and stand for James I. and his wife, Margaret Tudor.[68] King James returned to Scotland in 1424, about which time the chapter house vault may have been built.

The upper chamber is undoubtedly the work of Bishop Cameron. The central pillar has two shields in the capital. That fronting a person entering contains the royal arms, surmounted by a crown (see Fig. 600); and the shield on the opposite side contains Bishop Cameron’s arms. There is here an analogy with the central pillar of the chapter house of Elgin Cathedral, where the royal arms and those of the bishop by whom it was completed are carved on the capital. The Cameron arms also occur in the cap of the wall shaft opposite the coat above referred to, and likewise over the fireplace (see Fig. 600).

The sacristy contains, as shown in the sketch (see Fig. 600), stone built projecting cupboards and a large fireplace. The arms of Bishop Cameron on the mantel above the latter contain an example of how heraldry and architecture may be made to work together; one of the members of the cornice over the fireplace being continued across the shield, so as to form one of the fesses of the Cameron coat. A wide wheel stair close to the entrance connects the chapter house and the vestry above. A shield containing a bull’s head, the arms of Bishop Turnbull, is inserted in the outside of the west wall, near the top. The wing may have been completed by that prelate.

Archbishop Blackadder’s Arms on Altar.]

Mr. Honeyman[69] conjectures that the Rood screen (Fig. 602) which is erected between the eastern piers of the central tower was built by Bishop Cameron. It contains a staircase in the space in the north side, and in the opposite side are cupboards for containing church vestments. In front of the screen there are two fine stone altars, that on the south side being known as the altar of St. Mary of Pity, and that on the north side as the altar of the Holy Cross. The arms and initials of Archbishop Blackadder (Fig. 603) are carved on the ends of both of these altars.

The rood screen with its two altars, although evidently a late work, adds considerably to the picturesque effect of the interior of the cathedral. It has a large, deeply-recessed and moulded doorway in the centre, the arch of which is of elliptical form, and has the jamb mouldings (Fig. 604) continued, without caps or break, round the arch head. On each side of the doorway the surface of the wall is covered with shallow panels having trefoiled arch heads. A corbel in each of these panels (now cut off) once supported a statue, and these would add much to the effect of the structure. The cornice is large, and is surmounted by an open parapet containing quatrefoils, and having standards running up in the centre of each alternate quatrefoil. The standards are ornamented with small pinnacles, and are supported on corbels, each of which contains two human figures, which recall similar carvings at Rosslyn Chapel, but are of finer execution.[70]

The structure begun to be erected in continuation of the south transept has already been referred to. The building (see Fig. 571) is 57 feet in length by 25 feet in width internally, and comprises four bays in the length and two in the width, supported on three central pillars. The entrance is from the wide landing of the staircase in the south transept leading down to the lower church, from which point a series of wide steps leads down to the floor. From these steps a good view is obtained of the interior (Fig. 605).

Details of Rood Screen.]

The pillars are all moulded and provided with caps and bases, and the arches springing from them have numerous moulded groins with large foliaged bosses at the intersections. A substantial stone bench surrounds the outer walls; on this rest the bases of the responds and the sloping sills of the windows. Externally the building is plain (see Fig. 593), and has evidently been prepared for an upper story. It has a heavy moulded base, which is returned round the buttresses. The section of this base (see Fig. 573) is different from those of the nave and choir, and is doubtless later, the base of the main building being (as above mentioned) carried through this wing, which abuts against it. The buttresses of the main building are also carried down to the base, and the walls and arches of the crypt abut upon them. The doorway is evidently much older than the crypt. The windows have plain tracery, and over each window is a small panel containing a piece of sculpture, probably representing subjects from a mediæval bestiary, such as those referred to in Vol. I. p. 19. They look older than the building in which they are inserted.

It is conjectured from the following inscription on the vaulting, “This is ye ile of Car Fergus,” that this structure was begun at an early period, and that it was completed by Archbishop Blackadder, whose arms, surmounted by his mitre, are carved on the central buttress at the south end, and also on the corbel of a niche at the north-west angle. It is difficult to decide either the date or the purpose of this structure. It

has evidently been intended to be carried higher, and probably may have been meant to form an extension of the transept. Although the work in the interior has considerable resemblance to that in the lower church, it is decidedly later, and has been copied from it. The work on the exterior is very much inferior, and the carving of the caps, which seems also to be imitated from that of the choir, is evidently late and debased. The groin ribs, too, are coarse, and point to about the time of Bishop Blackadder.

The western towers or adjuncts, already mentioned (see Fig. 567), were structures of considerable importance, that on the south-west being a very strong keep, about 34 feet by 32 feet, with walls 9 to 10 feet thick, strengthened by great buttresses. It was about 54 feet in height to the parapet, and 70 feet to the cape house roof. This structure is believed to have been built about the middle of the fourteenth century. Those who know anything of our pele towers can easily understand how much the cathedral was marred by the loss of such a characteristic feature.

The other structure which stood at the north-west angle was of about the same size, but was considerably higher, being 118 feet to the parapet, and was surmounted by a lead-covered spire. Both the above adjuncts were taken down in 1846.

The ancient monuments in the cathedral are comparatively few, those which survive being all of the sixteenth and later centuries. Two of these are seen in Figs. 588 and 590, which show that the design of that period is well represented.

Another of these sixteenth century monuments is shown in Fig. 606, erected in memory of the barons of the House of Mynto. This monument is noteworthy from its possessing one of the few examples of old brasses in Scotland. The brass (Fig. 607) represents one of the barons in armour kneeling and looking towards the sun, surrounded with rays in the upper corners.

BRECHIN CATHEDRAL, FORFARSHIRE.

The Bishoprics of Brechin and Dunblane were founded towards the close of the reign of King David I. from the remains of the old Pictish Bishopric of Abernethy. Although a religious establishment had existed at Brechin previously, it had no claim to represent an old Columban monastery. The earliest notice of Brechin is that in the Pictish chronicle which narrates that King Kenneth, son of Malcolm, who reigned from 971 to 995, gave the great town of Brechin to the Lord. The dedication of the church to the Holy Trinity also indicates a comparatively late date. This church, like many others founded after King Kenneth Macalpin’s restoration of the Irish priests in the middle of the ninth century, emanated from the Irish Church, and was assimilated in character to the Irish monasteries. To this connection is, no doubt, attributable the famous round tower which still exists at Brechin.

The next notices of Brechin occur in the reign of David I. In the early part of his reign a charter to the Church of Deer is witnessed by “Leot, Abbot of Brechin,” and a later charter is witnessed by “Samson, Bishop of Brechin.” The abbot had probably, in the interval, become the bishop, while the abbey was secularised and passed into the possession of a lay abbot, and a community of Keledei under a prior. These formed the chapter of the diocese till they were superseded by a regular cathedral chapter. In 1218 the Keledei are distinguished from the chapter, and in 1248 they entirely disappear.[71]

Several of the bishops of the diocese were men of note, and rendered important services during the War of Independence and in connection with the redemption of David II. from captivity, and, in consequence, obtained privileges to the town. The cathedral was also largely benefited by the Earl of Crawford, and received liberal grants from the Stewarts, Earls of Atholl. There is, however, little to be gathered from the accounts of the lives of the bishops regarding the history of the structure of the cathedral. Almost the only statement bearing on the subject is that the vicar of the parish of Lethnot, in fulfilment of his obligation, “delivered to Patrick, Bishop of Brechin (1354-84), a large white horse, and had also given a cart and horse to lead stones to the building of the belfry of the Church of Brechin in the time of Bishop Patrick.”[72]

The gradual declension of the bishopric and the loss of the church property followed the usual course. A precept by James III., in 1463, states that, through the profligacy of the bishop and canons, the revenues of the cathedral had been greatly reduced by frequent alienations of its property, and, in consequence, steps were taken and some of the lands were restored, or an annual feu-duty paid for them.

After the Reformation, Alexander Campbell was bishop from 1566 to 1610. By a grant in his favour he was empowered to sell, for his own benefit, all revenues and properties belonging to the see then vacant, or which might become vacant. Of this power the bishop freely availed himself, both for his own interest and also for the benefit of his powerful patron, the Earl of Argyll. His example was speedily followed by the archdeacon, chancellor, and presbyters, who, on various pretexts, disposed of their houses and lands. By these means the property of the cathedral was lost to the church and passed into the hands of laymen.

The cathedral continued to be used after the Reformation for Protestant worship, and, according to Mr. Black, the edifice was little interfered with till 1806. Before that period he describes it as a handsome Gothic building, consisting of a nave with two aisles, and a transept formed by an extension of these aisles to the north and south. Mr. Black also states that there is no appearance of there ever having been any pillars or arches in the transepts, and questions whether the choir was ever finished, or if there was anything more than a lady chapel. The appearance of the cathedral in the end of last century is shown in Grose’s view.

In 1806 great alterations were made on the edifice. The north and south transepts were removed, new and wider aisles were built on each side of the nave, and the outer walls of the aisles were carried to such a height that the whole nave could be covered with a roof of one span (Fig. 608), “thus totally eclipsing the beautiful windows in the nave, and covering up the handsome carved cornice of the nail-head quatrefoil description which ran under the eaves of the nave.”[73]

The windows of the clerestory (three on each side), which are now concealed by the roof, are peculiar in their arrangement, being placed over the piers instead of over the centre of the arches, as is usual. Externally they have plain splays, and internally they seem to have been richer, but are now obscured by plaster. The windows and the dog-toothed cornice seem to point to an early date.

The only parts of the interior of the nave spared during the above restoration are the main piers, of which there are eight (Fig. 609), with four responds. Two of these piers seem to indicate, from their form, so far as not damaged, that this part of the structure must originally have been of first pointed work. The piers on the south side are octagonal, and those on the north side are alternately octagonal and clustered. A remarkable feature of the building is observed in connection with these piers, those of the south side, together with the arcade above them, being considerably thinner than those of the corresponding parts of the north side. As the clerestory walls above are the same on both sides, it is difficult to account for the difference in size of the piers. The interior of the nave is 83 feet 6 inches in length by 57 feet 6 inches in breadth. Fortunately part of the west end has not been interfered with,

notwithstanding all the alterations, and there we still have the original transition doorway, flanked by the fifteenth century tower on the north, and the famous round tower on the south (Fig. 610). At the east end of the nave are preserved portions of the ruined side walls of the aisleless choir, a beautiful example of first pointed work (Fig. 611).

The most interesting, as well as the most ancient, structure connected with Brechin Cathedral is the round tower, 103 feet in height, which is now incorporated with it, and occupies the place of a spire at the south-west angle (see Figs. 608 and 610). This and the corresponding round tower at Abernethy,[74] on the south side of the Tay, are the only representatives on the mainland of Scotland of this special kind of erection. At Egilsay, in Orkney,[75] is found the only other round tower of this kind in the country.

These round towers have given rise to much controversy as to their date and use, but the whole of our knowledge regarding them has been admirably summed up by Dr. J. Anderson, in his _Scotland in Early Christian Times_, p. 52. It is there shown that these round towers are outliers of a group of which Ireland is the home. As has been pointed out in the Introduction to the first volume, the period of the Irish round towers is comprised between the end of the ninth century and the beginning of the twelfth century. We have above seen that the first church in Brechin was founded by a colony of ecclesiastics, after the Irish model, about the beginning of the eleventh century, and the probability is that the tower was erected during that century. Brechin is said to have been destroyed by the Danes in 1012, and it seems not unlikely that the monks there would follow the plan adopted in Ireland in the case of similar invasions, in order to protect their valuables--viz., to erect a strong detached round tower as a place of refuge and security. The Brechin tower corresponds in all its features with Irish examples. The detached situation; the circular form tapering from the projecting base to the summit; the doorway raised 6 feet 6 inches above the ground, and ornamented with details and sculptures similar to those of Irish models; the division into stories by means of internal string courses to sustain wooden floors, but without any means of access except ladders, and lighted by two small windows with inclined jambs; the four large windows at the top facing the cardinal points; the ornament of the cornice and the pointed roof (although this, no doubt, is a later restoration), are all elements distinctive of the old Irish round towers. The stones of which the tower is built are large, and they are cut to the circle, but are not laid in regular courses. The tower measures 86 feet 9 inches to the base of the sloping roof. It is divided into seven unequal stories, with string courses in the interior.