Chapter IX: Part 9

The date of the foundation of the abbey is 1275. The names of many of the abbots are preserved, but they do not seem to have been specially distinguished, except the last, Gilbert Brown, who maintained the doctrines of Romanism in a written controversy with the well-known reformer, John Welsh, of Ayr. The abbot was afterwards exiled, and died at Paris in 1612.

In the sixteenth century the monks found it necessary to place themselves under the protection of a powerful layman. They therefore adopted the plan then common, and, in 1544-48, feued the Barony of Lochpatrick and other property to Lord Maxwell, and made him heritable bailie of the whole of their lands.

The property became vested in the Crown by the Annexation Act of 1587, and, in 1624, it was granted to Sir R. Spottiswood. Since that time it has passed through the hands of several proprietors. At the Reformation the records of the monastery were lost, having been either destroyed or carried abroad by the monks.[129]

During last century the buildings suffered great dilapidation, but towards the close of the century, by the exertions of the parish minister and some of the gentry of the neighbourhood, the structure was saved from further demolition, and put in a proper state of repair.[130] Since that time it has been still further repaired, and is now in good preservation.

Few of our ancient churches are so complete as regards all the divisions of the plan. The nave retains its central compartment, 118 feet in length by 33 feet in width, divided into six bays, and is separated from the side aisles--which are 17 feet in breadth--by two arcades of six arches each. The outer wall of the north aisle is almost entirely demolished, but this, fortunately, rather adds to the picturesque effect of the ruin, whether viewed from the interior or the exterior. In the former case, the distant glimpses of the country as seen through the arches, and, in the latter case, the beautiful view obtained of the interior of the church as seen from the outside (Fig. 757), lend an unusual charm to the edifice. The side aisles have evidently been vaulted, from the remains of the vaults still visible. It should be observed that the main arches are slightly depressed, their centres being below the level of the caps. The western doorway is plain and small, and seems, from the corbels above for the support of a roof, to have had some kind of porch in front of it. The doorway was originally surmounted by a large window filled with tracery; but at a later time the tracery seems to have given way, and has been partly

replaced by solid masonry, which sustains a wheel of tracery in the arch (possibly part of the original window), while the lower part is divided into three smaller windows, with little buttresses between, each light having been filled with separate tracery. The nave is also provided with the usual door adjoining the transept and leading into the cloisters. There is no triforium, the wall over the nave arcades (Fig. 758) being blank till the clerestory is reached. The latter consists in the interior of a series of three arches in each bay, and on the exterior (see Fig. 757) chiefly of semicircular windows filled with five pointed openings in each. The sill of the inner arches is kept considerably below the level of that of the outer windows, so as to diminish the blank space between the clerestory and the nave arcade. The main piers consist of a series of rounds, with larger filleted shafts at the angles (Fig. 759), and the caps and arch mouldings (see Fig. 758) indicate first pointed work.

New Abbey, or Sweetheart Abbey. Nave Pier.]

The inner trefoiled arches of the triforium are of great beauty, and are enriched with fine bold mouldings (see Fig. 758), supported on bold shafts, the caps of which are carved with finely executed foliage, partly showing some survival of first pointed feeling in the design, and partly copied directly from natural foliage. They indicate a transition stage from the early to the middle pointed style. The nave wall is not divided into bays, with the usual vaulting shafts, the roof being doubtless of timber.

The central tower over the crossing stands on four piers, similar in section to, but larger than, the nave piers. The tower itself is square and plain, and rises, with a double crow-stepped gable above a plain parapet, to a height of over 90 feet. The water tables of the steep roofs of the four arms of the church are distinctly visible on the exterior of the tower.

The transepts extend 33 feet north and south of the crossing. They are 31 feet wide, and each contains two bays, with a chapel in the eastern aisle opposite each bay. The east aisle of the south transept is the only portion of the whole edifice which retains its vaulted roof. One of the bosses bears a shield containing arms, said to be those of the abbey. The charge consists of two pastoral staves in saltier, over which is a heart, and beneath three mullets of five points. The motto is indistinct.

The façade of the south transept (Fig. 760) retains a portion of its circular window, the tracery in which, like that of the great western window, has apparently given way, and has had to be partly built up in a similar manner with solid masonry. This portion of the church possesses a few features which seem to point to it as the oldest remaining part of the edifice. The forms of the windows indicate a somewhat earlier date than the rest of the church. A small portion of the triforium in the north transept (Fig. 761) has been spared, which shows that it has been similar in design to that of the nave.

The choir (see Fig. 761) is without aisles, and is 50 feet long by 28 feet wide, and divided into three bays. It is lighted with one large traceried east window and two traceried windows on each side; and the tracery, as rarely happens in Scotland, is still preserved. It is a peculiarity of this structure that most of the arches are depressed, the centres from which the arches are struck being below the level of the capitals; and this peculiarity is particularly apparent in the great east window of the choir.

is also noticeable in the side windows and throughout the building, even the arches of the main arcades of the nave having, as already pointed out, a similar form. The inner mouldings of the window arches by this arrangement abut against or die into the jambs, a form not in itself displeasing; but the incompleted and broken appearance of the arches of the hood at the face of the wall cannot be regarded as beautiful.

Some further peculiarities are also to be noticed in connection with the tracery. A prominent moulding is carried round the mullions and the lower arches only of the eastern window, while the upper parts of the tracery are plain and rather heavy in appearance. In the case of the side windows of the choir a similar moulding is carried round the whole of the tracery, and the effect, owing to the depression of the arches, is somewhat squat and heavy.

The most beautifully detailed feature of the church is undoubtedly the triforium. Although now only well preserved in the nave, it has originally gone round the whole edifice, small portions of it being still preserved, as above mentioned, in the triforiums of the transepts and choir (see Fig. 761). In the two latter places it has been simpler than in the nave, the caps being moulded in these situations, and beautifully carved with foliage in the nave.

The semicircular arch of the upper window in the east gable (Fig. 762) of the choir and the similar form in the exterior windows of the triforium of the nave (see Fig. 757) are quite in accordance with Scottish usage, and give no clue to the date.

The sedilia and piscina of the choir have been of fine workmanship, but are now sadly destroyed.

It is unfortunate that so few written records remain to fix the dates of the different parts of the edifice. It is known to have been founded in 1275, and if in England, the building would, from its style, be attributed to the period immediately succeeding; but in Scotland, the period from 1296 onwards was a time of war and disturbance, when very little building was in progress. Probably the choir was begun in the lifetime of the foundress, and was sufficiently far advanced to permit of her burial within the walls; but the building would certainly be interrupted during Edward’s invasions, and was not likely to be resumed till after a considerable interval. Some portions of the transept have already been referred to as probably the oldest parts of the existing edifice. The choir seems to have been next constructed or completed, and the nave not long afterwards, probably during the fourteenth century. Although ecclesiastical buildings in Scotland were rare at that period, still we know that Bruce encouraged the re-erection of churches at Melrose, Crosraguel, St. Andrews, and elsewhere, and there can be little doubt but that in this remote and quiet region building operations may have been in progress during his reign. The design and workmanship at Sweetheart are, as we have seen, in some respects inferior and contrast disadvantageously with the beautiful work at Dundrennan Chapter House. May we hazard the conjecture that the latter was executed before the true current of

architectural feeling and design was stopped and broken by the War of Independence, while the buildings at Sweetheart were carried on and completed after the current had been interrupted, and the sympathy with the advancing art of the South had not had time fully to recover itself?

We are informed[131] that, in 1381, a charter to the Church of St. Colmonel of Butyle was granted by the Bishop of Galloway to Sweetheart Abbey on account of the poverty of the abbey and the demolition of the monastery by lightning, which charter was confirmed by the Pope in 1397. This seems to point to some considerable damage sustained by the buildings about that period, and may account for the curious repairs of the tracery of the great west window and the circular window of the south transept. It may also explain the remarkable patch of the upper window in the end of the north transept, where the originally pointed window has been mended with a segmental top.

The cloister garth is still traceable and is unencumbered with buildings, except one detached gable, evidently of ancient date, but the history and use of which cannot now be determined (see Fig. 760). It contains two shields, but the armorial bearings have entirely disappeared. This view from the south-west point, which includes the above ivy-clad gable in the foreground, with the remains of the chapter house and an ancient tree on the opposite side of the cloister garth, is one of the most striking and picturesque aspects of the abbey.

The chapter house is separated from the south transept by a narrow passage or slype, from which a door opened into the transept.

The size of the chapter house has been about 30 feet by 20 feet, but only a few feet of its walls remain. It has been lighted by a large traceried window looking to the east (see Fig. 760). The refectory is said to have been on the south side of the cloisters, but it has now disappeared.

MELROSE ABBEY, ROXBURGHSHIRE.

Amongst the picturesque and beautiful remains of our ancient church architecture, the ruins of Melrose Abbey most deservedly occupy a distinguished place. Apart altogether from the charm which attaches to this edifice from the poetic interest which has been thrown around it, and the attractive nature of the beautiful locality, the architecture of the building is of a high order, and particularly valuable from the richness and completeness of its details, which afford a fine illustration of a period of Scottish architecture the examples of which are not numerous. The building stands in the sheltered and cultivated vale of the Tweed, surrounded by gentle pastoral hills, presenting one of those peaceful sites dear to the Cistercians, by whom the abbey was colonised. It was founded by David I., who brought to it from Rievalle, in Yorkshire, the first monks of the Cistercian order in Scotland. A more ancient Abbey of Melrose had existed from the seventh century, on a broad meadow, nearly surrounded by a “loop” of the Tweed, about two and a-half miles lower down the river. It was established about the year 650, and the first abbot was Eata, one of the chosen band of disciples educated by Aidan, the missionary from Iona, who converted the heathen Northumbrians, and founded the Abbey of Lindisfarne. In the primitive monastery of Old Melrose St. Cuthbert spent much of his early life before passing to more distinguished charges at Hexham and Lindisfarne. Here also the monks of Lindisfarne, when expelled by the Danes, found refuge, bringing with them St. Cuthbert’s sacred body, which, after many wanderings, found a final and worthy resting-place at Durham. This establishment at Old Melrose suffered many vicissitudes, and in the eleventh century was a ruined and desolate place. It afterwards became the retreat of a few monks, amongst whom was Turgot, the confessor and biographer of Queen Margaret, and subsequently Bishop of St. Andrews. A chapel was erected and dedicated to St. Cuthbert, which at first belonged to Coldingham, but was finally presented by David I. to his new Abbey of Melrose.

The latter abbey was founded, in 1136, at a place then called Fordell, and was endowed by King David and his nobles with ample lands. The church then erected was in course of building for ten years. It was consecrated in 1146, and was dedicated to the Blessed Virgin. As only a short time had elapsed since the founding of the abbey, the buildings then constructed probably consisted of the residence of the monks and an oratory. These erections were no doubt in the Norman style of the period, of which style some examples are preserved in the other monasteries founded in the district about the same period, such as the Abbeys of Kelso, Jedburgh, and Dryburgh.[132] How long the original structures continued it is now impossible to say, as every trace of them has long since disappeared. From its situation, in the direct path between England and Scotland, Melrose was particularly exposed to danger, and frequently suffered in the wars between the two countries.

Many of the abbots were distinguished men. Waltheof, an early abbot, was reputed a saint and worker of miracles. The connection with the parent house of Rievalle was kept up, and monks from Melrose sometimes became abbots of the Yorkshire monastery. Melrose also sent abbots to other Cistercian houses, including Kinloss, Coupar, Newbattle, Deer, and Balmerino.

The possessions of the abbey soon increased, and it held lands in many parts of Scotland. Its property was considerably augmented, in 1235, by a grant from King Alexander II. of the lands of Ettrick Forest.

In 1246 Abbot Matthew erected many convenient offices and buildings and a magnificent hall on the bank of the river for himself and his successors, but these structures have now disappeared.

In 1291 Edward I. granted protection to the monks of Melrose, but when John Baliol opposed him, he took possession of their lands. These, however, he subsequently restored, on the monks doing homage to him as liege lord. His letters to the sheriffs of counties show how extensively the monastery’s lands were spread, extending even into England. These letters were addressed to the sheriffs in Berwick, Ayr, Jedburgh, Peebles, Edinburgh, Roxburgh, Dumfries, and Northumberland.

Edward II., in 1322, invaded Scotland as far as Edinburgh, and, in retiring from his unsuccessful expedition, he slew the monks and pillaged and destroyed the abbey. The church and other buildings seem to have been greatly ruined on this occasion, and were rebuilt thereafter chiefly through the influence and liberality of King Robert Bruce. In 1326 King Robert granted the monks rents from forfeited lands equivalent to a sum of £2000 (which would now represent £15,000), to enable them to rebuild the abbey, which lay in ruins; and in 1329, shortly before his death, he addressed a letter to his son and successor, recommending the abbey to his favour, and desiring his heart to be buried in the church. Melrose, along with other portions of the south of Scotland, remained in the hands of Edward III. for about forty years.

In 1385 Richard II. carried out another unsuccessful, though destructive, invasion of the south of Scotland. As he retreated homewards he lodged one night in Melrose Abbey, and next morning set fire to it and destroyed it, as he also did to the abbeys of Newbattle and Dryburgh.

About the middle of the fifteenth century Andrew Hunter was abbot. He was confessor of James II., and was employed in many offices of State, being Ambassador to France in 1448, and concerned in negotiations with England till 1460. He was also Lord High Treasurer, 1449-53.

This abbot being a man of such high office, it is natural to look for some benefit arising to the abbey through his influence, and accordingly we find that he has left his mark on the church, his coat of arms being carved at least three times on different parts of the building. This leads to the conclusion that some portions of the structure were erected by him, and gives a clue to the date of erection of those portions.

The secularisation of the property of the abbey followed the usual course in the sixteenth century. In 1535 King James V. was invested with the administration of the revenues, and, in 1541, he conferred the abbey on his infant son--Durie, the abbot, retiring on a pension to make way for him.

During the repeated invasions of the Generals of Henry VIII., the abbeys of the south of Scotland suffered along with the churches and domestic buildings of the district. In 1544 Melrose was damaged by Sir Ralph Eure and Sir Bryan Laiton, who also defaced the tombs of the Douglases in the church--a disgrace which was avenged the following year by the defeat of the English at Ancrum Moor. The above destructive attack was followed by that of the Earl of Hertford, who demolished what of the Border abbeys had not already been destroyed.

In 1558 Cardinal Guise was Commendator of Melrose, and, in 1559, the abbey was taken possession of by the Lords of the Congregation. In 1560 it was annexed to the Crown; but an allowance was granted to eleven monks and three portioners, being apparently all who survived of the inmates of the monastery, who, in 1542, numbered one hundred monks and as many lay brethren.

Under Queen Mary the estates were granted to the Earl of Bothwell, with the title of Commendator, and, after passing through the hands of Douglas of Lochleven and Sir John Ramsay, they were ultimately acquired by the Scotts of Buccleuch.

The abbey appears never to have recovered the destruction of the sixteenth century, and gradually fell into decay. The materials of the buildings were used for the erection of other structures, and Douglas, the Commendator, built a house for himself out of the ruins.

The masonry long continued to form a quarry for the supply of the locality, being used, amongst other purposes, for the erection of the Tolbooth and for repairing the mills and sluices.

In 1618 the portion of the structure which still remained was fitted up as the parish church, and, in order to render it secure, a plain pointed barrel vault was thrown across the nave, and was supported by plain square piers built against the old piers on the north side. The original vaulting seems to have been previously demolished.

By remarkable good fortune the statues and images which filled the niches escaped destruction till 1649, when they suffered at the hands of an iconoclast, but by whose orders it is not known.

The charters of the abbey have been kept amongst the archives of the Earl of Morton, and form “the finest collection of ancient writs preserved in Scotland.”[133]

Of the once extensive structures connected with the Abbey of Melrose there now only remain the ruins of the church.

The domestic buildings and cloister, including the hall of Abbot Matthew above mentioned, were situated, somewhat contrary to the usual practice, on the north side of the church. The course of the Tweed has altered since the thirteenth century; and possibly this arrangement of the plan may have had some connection with facilities for water service in the then course of the river. A mill-lade still flows along what would formerly be the north side of the monastery; but

the domestic structures have now entirely disappeared, leaving only a portion of the cloister to indicate their position on the north side of the nave. A door at a high level in the north transept shows the access of the monks to the church from the dormitory, which lay to the north. A similar high door, leading from the dormitory to the church by a straight stair, still exists at Pluscardine Priory, and there is a corresponding doorway at Dryburgh Abbey; but in these convents the monastic buildings lay on the south side of the church.

The church is cruciform, and the Plan (Fig. 763) has this peculiarity, that the choir is unusually short and the nave is unusually long. The choir extends, with aisles, only two bays eastwards from the crossing, beyond which point the presbytery is carried one bay further, without aisles, and is lighted by large windows on the north and south sides, as well as by the great eastern window.

The shortness of the choir rendered it necessary that part of the nave should be appropriated for the accommodation of the monks, and the enclosing screen wall of this portion of the “choir” extended to the fourth pier west from the crossing, where it was carried across the nave and formed the rood screen. This arrangement is apparent from the broken portions of the screen wall, which formed integral parts of the structure of the nave piers (Fig. 764), having been built along with them, thus showing that the screen constituted a feature in the original design. The part of this screen which crosses the nave still exists. It is wide, and contained a gallery, on top of which stood the rood. Fig. 765 shows the door through it from the nave. On the left is the small stone stair leading to the gallery.

The nave now extends to eight bays in length, but it has been intended to be longer, the west end being incomplete; it is impossible, however, to say how far it was meant to extend. It is stated that the foundations of the nave have been found, in excavating, to reach to a considerable distance westward. The existing nave is 160 feet in length, and has north and south aisles. Extending southwards, beyond the south aisle, is a series of eight chapels, which produce, externally, along with the south aisle the appearance of a double aisle (Fig. 766).

The north aisle is narrower than the south aisle, the former being 6 feet and the latter 11 feet in width. This difference may have arisen from the plan of the original abbey of the twelfth century being adhered to in the later reconstruction. The position of the cloister may have hampered the design, and prevented the north aisle from being widened in the direction of the cloister.

The central nave is 26 feet in width, and the depth of the south chapels 13 feet 6 inches, and the total width of the nave, with aisles and chapels, is 68 feet.

The transept consists of two portions--the north and south transepts--and contains the usual eastern aisle only, in which are situated four chapels. The total length of the transept over the crossing is 114 feet 6 inches, and the width of the north transept, including the aisle, is 40 feet 6 inches, while that of the south transept is 42 feet 6 inches.

The length of the choir and presbytery is 59 feet, and the width 26 feet. The aisles of the transept return along each side of the choir for two bays, leaving the length of the aisleless presbytery 24 feet.

The plan or outline of the walls of the church, as above described, is still almost all preserved, but the superstructure has suffered severely. The western part of the nave beyond the rood screen is very greatly demolished. The portion eastwards from the rood screen is in better condition. The vaulting of the aisles (Fig. 767) remains, and is in good preservation; but that of the centre aisle is demolished, a pointed tunnel vault (Fig. 768) having been constructed in 1618, as above described. A few courses of the springing of the original groins, seen rising above the vaulting shafts of each bay, have been left standing. The level cornice at the springing of the inserted arch defaces the clerestory windows, and builds up the upper half of them in the interior. The roof over the arch is composed of slabs of stone carefully dressed (see Figs. 766 and 769). The carved work of the caps of the piers and other enrichments of this portion of the nave are well preserved and are of beautiful workmanship (Fig. 770).

The eight chapels which extend along the south side of the nave are in good preservation, although some parts of the three furthest west are somewhat damaged and have lost their vaulting. That of the remaining five still exists, and is protected by a flat slated roof, which stretches

over the south aisle and the chapels (see Fig. 766). The tracery in the windows of those chapels is good, and has suffered much less than usual. The vaulting of the nave, south aisle, and chapels is supported by a series of flying buttresses, which form one of the most prominent and beautiful

elements of the building. No church in Scotland retains such a striking example of that important feature of Gothic architecture.

The eastern piers of the crossing have been demolished, probably in some of the attempts to blow up the building in Henry VIII.’s time. Their destruction has entailed that of the central tower, of which only the western wall remains (see Fig. 766). The transepts have suffered by the fall of the tower, the vaulting of the north transept being demolished, except in one chapel, while that of the south transept is reduced to the south bays of the central nave and the adjoining chapel (Fig. 771). Fortunately the south wall of the transept, with its splendid decorated window, is still in good preservation (Fig. 772). From the south transept access is obtained to the roof of the aisle of the nave and the upper parts of the structure by a turnpike stair, which also forms the only mode of approach to the tower (Fig. 773).

The choir (Fig. 774), so far as the east end is concerned, is well preserved, the buttresses and gable, the celebrated eastern window, and the remarkable vaulting (Fig. 775) of the presbytery being all in good order. The remainder of the choir, however, has been greatly wrecked by the fall of the central tower; but many of the windows of the choir and transept,

with their perpendicular tracery, have escaped destruction and afford the best example in Scotland of that form of design (Fig. 776).

Having described the present condition of the edifice, we shall now consider the different parts in the order of their age, so far as ascertainable.

There seems to be no part now traceable of the church erected in the twelfth century, except perhaps one or two tombstones. It has been

pointed out above that the arrangements of that original church and cloister probably influenced the position of the north wall of the nave, and thus caused the narrowness of the north aisle. It seems not improbable that some of the original north wall may be preserved as the core of the present wall, having been faced up with newer work on each side.

But, speaking generally, the building, as it now stands, is all of a date subsequent to Bruce’s time, and much of it is later than the destruction which occurred under Richard II. in 1385. The nave, from the crossing to the rood loft, and part of the transepts are, undoubtedly, the oldest

portions of the existing edifice. The work in these is, for the most part, of the Scottish decorated period. The nave piers, with their beautifully-carved caps, and the mouldings of the arches are distinctly decorated work; and the flying buttresses and pinnacles on the south side of the nave are, without doubt, of the same period (see Figs. 766 and 773). So also is the south wall of the transept, with its magnificent window and tracery and its buttresses, enriched with fine canopies and quaint figures carved as corbels (see Fig. 772).

All these features bear a close affinity to the decorated work of the nave of York Minster, erected about 1400. The flying buttresses, with pinnacles enriched with crockets and foliaged finials (see Fig. 766); the niches (Fig. 777), with their elaborate canopies and corbels composed of figures of monks and angels (see Figs. 769 and 778); the statues which formerly filled the niches, of which very few now remain; the decorated tracery of the south transept window (see Fig. 772); and the whole character of the work, both in its general scope and in its details, is of fine decorated design, and vividly recalls that of York, Beverley, and other English examples. It is not improbable that some parts of the nave and transept were erected during the period between the death of King Robert Bruce and the invasion of Richard II. It should be mentioned that Bruce’s bequest was not all received till 1399, and the operations also, probably, proceeded slowly. The doorway in the south wall of the south transept (Fig. 779) is apparently an insertion in older work. It is of a later style than the window above; and the irregular setting of the masonry on each side indicates that there has been some patching and restoration in this part of the building. Fig. 780 shows the jamb mouldings of this doorway. A passage or gallery passed along the interior at the base of the large south window. It had a parapet of pierced work, now destroyed, supported on a carved cornice (Fig. 781), having angels playing on instruments introduced at intervals.

It is sometimes said that the north wall of the transept (Fig. 782) is of earlier date than the rest; and, at first sight, the three simple lights and the semicircular doors might give ground for that view. But, on closer inspection, it is seen that the windows correspond with those of the clerestory of the nave, and the round arches are simply one of the peculiarities of Scottish Gothic in which that form is preserved, especially in doorways, throughout all the periods of the style. The long lying panel about the middle of the north wall further indicates a late date.

It seems to have contained a row of statues, as fourteen pedestals or corbels still occupy its base. The small circular window in the gable, filled with simple tracery (similar to a window at Dryburgh), is also a late feature.

The south chapels of the nave have apparently been added during the repairs of the earlier part of the fifteenth century. The forms of the flying buttresses (see Fig. 766), which extend beyond the outer wall of the chapels so as to comprise them, show that the restoration of this part of the nave is all part of one design; and the arms of Abbot Hunter (Fig. 783), which occur on the niche-corbel of the east buttress, indicate that these buttresses were probably executed towards the middle of the fifteenth century. The tracery in the windows of the south chapels would tend to confirm the belief that they belong to the decorated period, but for the fact that this feature cannot be fully relied on in Scotland as an index of date, tracery similar to this being sometimes used at a later time.

There is a distinct change in the design of the transepts from that of the nave, as if the former had been added to the latter at a later period.

This is observable in the west wall of the north transept (see Fig. 782), but still more so in the west wall of the south transept (Fig. 784). The window nearest the nave is of a different design from that of the one further off. The former (Fig. 785) may be older, and the latter (which is the same as the other windows of the choir and transept) was, probably, built at the same time as the latter. The stair turret is, doubtless, also of this date. It may be remarked, in connection with this point, that the bases of the two piers of the south aisle of the nave, next the crossing (see Fig. 784), differ from those of the remainder of the nave aisle (Fig. 786), as well as from the bases of the east piers of the transept (Fig. 787). These bases also differ from those of the nave piers (Fig. 788). The same Fig. also shows the exterior base of the choir. The pier at the angle of the south aisle with the transept has no wall-shaft to carry the vaulting, which springs from a corbel (see Fig. 784). The vaulting at this angle is also peculiar, and does not fit well with the aisle vaults further west, but has a straight piece of wall built in perpendicularly for the cross rib to stop upon (see Fig. 784). These points appear to indicate that the piers next the crossing are older than the remainder. The vaulting shafts of the main nave piers are somewhat unusual in design (Fig. 789), having in their lower part the appearance of a double shaft, although above the corbel, near the level of the capitals, they assume the form of a triple vaulting shaft of the usual design. The same arrangement has been copied in the transept (Fig. 790), where the piers seem to have been carried up from old bases, as the double vaulting shaft has no proper base, but simply buts against the round form of the ancient base (see Fig. 787), and in some cases fits on to it awkwardly.

Turning now to the choir, we find that the east wall and the other eastern parts of the structure are more recent than the nave. Probably this portion of the church (see Fig. 774) had been more damaged by Richard II. than the nave, and required to be almost wholly rebuilt. The style here corresponds closely with the “perpendicular” of England which prevailed in the fifteenth century. Most of the clerestory windows of the choir and presbytery are markedly in this style. The great eastern window (see Fig. 774) is exceptional and unique, but it has more of the character of perpendicular than any other style. The design of the buttresses is slightly different from that of the south wall of the transept (compare Figs. 772 and 774), but the niches and canopies are very similar. The upper part of the gable consists of a series of niches

over the window arch, which diminish as they ascend towards the apex; and the gable coping, crowned with a pierced parapet, filled in with quatrefoils, corresponds generally in both cases. The design of the choir appears to have been borrowed from that of the transept, but is of a lighter character; or possibly the latter may have been damaged in 1385, and the upper part of both gables may have been designed by the artist who had charge of the restoration in the fifteenth century. It will be observed that flying buttresses are continued round this part of the structure as well as the nave.

As above stated, the upper portion of the choir walls has been reconstructed at a date in the fifteenth century later than the nave. The

Base of Pier, South Aisle of Nave.]

Base of East Piers of Transept.]

Bases of Nave Piers and Base of Exterior of Choir.]

Vaulting Shafts of Main Nave Piers.]

windows here and in the clerestory of the east wall of the transept are quite perpendicular in character, and are apparently of the same date as the presbytery. The clerestory windows of the choir and transept (see Figs. 775 and 771) have on the exterior arches distinct from those of the windows on the inside of the wall, which are likewise of late character. A change in the form of the caps of the piers is observable in the transept (see Fig. 790), which points to their being late; while some of the windows in the lower parts of the walls of the choir and transept contain curvilinear tracery, thus indicating an earlier date for the lower part than the clerestory. There seems to have been a good deal of restoration and patching in this part of the structure.

The design of the west wall of the north transept (see Fig. 782) is different from that of the other parts of the building. Owing to the position of the cloister and to there being no aisle on this side, the place of the main piers and arches is occupied by a blank wall. The clerestory windows, however, are of the same design as the rest of the older church. The wall ribs of the vaulting include two windows in each; and the space between the windows is occupied by two niches, each carried up from a shaft, with late canopies, containing statues of St. Peter and St. Paul--the former having the keys and the latter holding his sword. These are the best preserved statues in the church, but they are not of very remarkable workmanship.

The building or restoration of the eastern part of the edifice seems, from its style, to have been carried out towards the middle of the fifteenth century. The vaulting of the south transept appears to have been erected by Abbot Hunter about the same time. On one of the keystones of the vault of the south transept are carved the Hunter arms--viz., three hunting horns, with a crosier, and the letters A. H. This fixes the date of that part of the vaulting about 1450-60, and probably more of the vaulting in the eastern part of the nave may have been carried out at that epoch. It will be observed that the vaults all contain, besides the main and ridge ribs, subsidiary ribs, or tiercerons, indicating a similarity to English examples.

The vaulting of the presbytery (see Fig. 775) is peculiar, and points to a somewhat later time. It consists of a series of ribs spread over the surface of a pointed barrel vault, so as to form a definite pattern. These ribs produce a very rich effect, but they are a departure from the principles of true groined vaulting. This system was introduced in England at a late period, and led gradually to fan tracery. In the method of vaulting, adopted in late English work, the ribs are no longer relied on, as in genuine Gothic, as the strengthening nerves or centres which sustain the panels of the vault. They become mere ornaments on the surface of plain barrel or intersecting vaults, such as those used in Roman architecture. The vaults of late architecture in England (although ornamented with ribs) are thus constructed on the same principles as those of the pointed barrel vaults of late Scottish churches (of which numerous examples will be given hereafter), the only difference being that the latter are generally left plain, although occasionally enriched with ornamental surface ribs. Very fine examples of vaulting similar to that of the presbytery of Melrose may be seen at Winchester Cathedral[134] and other English examples of the fifteenth century.

The south chapels to the west of the fifth buttress west from the transept, on which buttress another specimen of Abbot Hunter’s arms (Fig. 791) is engraved, are of comparatively late date. This buttress belongs to the earlier part of the nave, and the chapel seems to have been repaired when the additional chapels to the west were erected. Besides the three hunting horns in the shield of Abbot Hunter in the examples above mentioned, the arms engraved on the fifth buttress contain two crosiers saltierwise, and the initials A. H. on the right and left; also, in chief a rose, and in base a mason’s mell, for Melrose. The work in the chapels to the west is inferior to that of those to the eastward, although copied from them. The chapels each contain an enriched piscina (Fig. 792); and these are so inferior in style of workmanship as to lead to the belief that they were inserted after the chapels were built. One of them contains the initials of Abbot William Turnbull, whose date is the beginning of the sixteenth century. A late piscina (Fig. 793) has also been inserted in the south transept.

Piscina in South Chapel.]

Piscina in South Transept.]

Work in the nave and in the south chapels was apparently in progress during the reign of James IV., as the royal arms (Fig. 794), with the letters I. Q. (Jacobus Quartus), and the date 1505 on the westmost buttress testify.

On the south side of the cloister is the very charming doorway (Fig. 795) which leads into the church. It is, as is very usual, circular headed, and enriched with a deep bay containing bold mouldings, which in England would, from the square arrangement of their orders, be regarded as of early date. But the style of the richly carved and undercut caps and the foliaged hood mould clearly points to a later period than would at first sight be supposed, certainly not earlier than the nave. To the right of this, and along the east wall of the cloister (see Fig. 795), are arched recesses of a late style; and in the south wall is an arcade of trefoil form, with nail-head enrichments. The latter might also at first sight be regarded as early work, but closer inspection shows that it is an example of the late revival of early forms which prevailed towards the close of the Gothic epoch.

Not a fragment remains to show how the cloister walk was enclosed. The roof has evidently been of wood, from the corbels for the wall plate and the holes cut in the wall to receive the timbers (see Fig. 795). These probably rested on a series of pillars and arches running round the outer side of the cloister walk, but whether of stone or timber cannot now be determined. It seems not unlikely, from its entire disappearance, that the outer arcade may have been of timber.

Royal Arms on West Buttress.]

It is stated in Wade’s _History of Melrose Abbey_[135] that the arcade of the cloister formerly extended 150 feet each way. The wall of the cloister is now reduced to the portions which abut against the nave and transept, being 50 feet on the east side and 80 feet on the south side. The former side contains a wall arcade of seven arches (see Fig. 795). These are of the form called drop arches, with crocketed ogee hood moulding, and have plain spandrils above, over which there runs a straight cornice, enriched with flowers and shells of all descriptions, very beautifully carved. It is of these Sir Walter truly says--

“Nor herb nor floweret glistened there
But was carved in the cloister arches as fair.”

Of the tower (see Fig. 766) over the crossing, which is 84 feet high, only the western wall, with small portions of the north and south walls, now exists. It rises one story in height above the nave roof, and is

crowned with a parapet filled in with quatrefoils, and resting on an enriched and corbelled cornice. At each angle is a shaft rising from a corbel. The three windows are simple, with pointed arch and cusped trefoil, similar to those of the clerestory of the nave and north transept. The tower has, doubtless, been erected about the same time as the transept.

The above description of the various portions of the abbey suffices to show how full of interest it is to the student of architecture as well as to the artist.

We have drawn attention to the more prominent features, but it is impossible for us here to enter fully into all the multiplicity of details which such an elaborate structure offers for observation and study.

No building in Scotland affords such an extensive and almost inexhaustible field for minute investigation and enjoyment of detail as this. Whether we consider the great variety of the beautifully sculptured figures of monks and angels playing on musical instruments (Fig. 796), or displaying “the scrolls which teach us to live and die,” or turn to the elaborate canopies and beautiful pinnacles of the buttresses (see Figs. 769 and 778), or examine the rich variety of foliage and other sculptures on the capitals of the nave and the doorway and arches of the cloisters; or if, again, we take a more general view of the different parts of the edifice from the numerous fine standpoints from which it can be so advantageously contemplated, we know of no Scottish building which surpasses Melrose either in the picturesqueness of its general aspect, or in the profusion or value of its details.

It occupies an important position also historically, as it in part supplies an admirable example of that decorated architecture the existence of which in this country has been so often denied, but of which, we trust, a sufficient number of examples are now provided to render that reproach to Scottish architecture no longer justifiable.

We have to thank the fine red sandstone of the district, of which the church is built, for the perfect preservation of all the details of the structure. These remain, even in the minutest carving, as perfect and complete as the day they were executed.

In the south transept (see Fig. 784) are two remarkable inscriptions, which have given rise to much speculation. One of these is carved over the doorway in the west wall which gives access to the wheel stair, and part of the inscription is carried down one side for want of room. It runs as follows:--

Sa ye Cumpas gays evyn about
Sua trouth and laute sall do but diute
Behalde to ye hende q. Johne Morvo.

The other inscription is carved on a tablet in the wall on the south side of the same door, viz.:--

John Morow sum tym callit was I
and born in Parysse certainly
And had in keeping al masoun werk
Of Santandroys ye hye kyrk
Of Glasgw Melros and Paslay
Of Nyddysdayll and of Galway
I pray to God and Mari bath
And sweet S. John kep this haly kirk frae skaith.

In the centre of the former inscription is a sunk panel containing a shield with two masons’ compasses, arranged somewhat like a saltier, and beneath a figure resembling a fleur-de-lys.

The late Dr. John Smith, in the _Proceedings of the Antiquarian Society of Scotland_, considers these inscriptions as applying to one man, who may have been the master mason of the building. But Mr. Pinches, in his account of the abbey, mentions that John Murdo, or Morow, was engaged in building a church in Galloway in 1508. It thus seems likely that these inscriptions are not earlier than that date, and have been added to the building after its completion.

Since the foregoing description of Melrose Abbey was written, we have had the pleasure of reading the very interesting work by Mr. Peter M‘Gregor Chalmers, called _A Scots Mediæval Architect_, in which an attempt is made to identify the JOHN MOROW of the inscription in the south transept, and to trace his work in the various localities where he is stated to have “all mason work in keeping.”

This book shows a great amount of careful investigation and intelligent observation in connection with a number of our ecclesiastical structures, especially Melrose Abbey; and we have to acknowledge our indebtedness to Mr. Chalmers for some valuable hints, which are duly noted in their places as they occur.

The inscription on John Morow’s tablet states that he “had in keeping all mason work of St. Andrews, the High Kirk of Glasgow, Melrose and Paisley, of Niddisdale and of Galloway.”

From this statement it is generally assumed by Mr. Chalmers and other writers on the subject that John Morow was the architect engaged to carry out all the architectural work required at the above places during the term of his official appointment.

Mr. Chalmers conducts the reader to the various places which John Morow “had in keeping;” and wherever he finds a fine specimen of somewhat late work, he confidently attributes its design to that “Scots Mediæval Architect.”

At Paisley he thinks he can trace his handiwork in a panel which formerly stood in the abbey wall, built by Abbot Shaw in 1485, from a certain resemblance in the form of the letters and phraseology employed to those of the Melrose tablet.

At Glasgow Cathedral and Lincluden College the design of the rood screen at each and the chief part of “Blackadder’s Aisle,” and of other details in the former, is assigned to John Morow.

At St. Andrews he believes him to be traceable in the carving of certain coats of arms; and at Melrose Abbey a great part of the later work is attributed to him.

At Whithorn Priory and Glenluce Abbey, which are within John Morow’s province, some work is pointed out which might be of his date; but as it is somewhat poor in character, that “Mediæval Architect” is presumed to have been busy elsewhere, and to have left the job to inferior hands.

It is admitted by Mr. Chalmers that the work at Melrose Abbey must have, undoubtedly, extended over more than half a century, and would, in all likelihood, exceed the compass of one man’s lifetime. But as there are two inscriptions at Melrose to “John Morow,” or Morvo, Mr. Chalmers has no difficulty in deciding that they are to two members of the same family, both architects, who, he believes, carried on the works at the abbey from before the middle of the fifteenth century till some time in the sixteenth century.

The inscription on the lintel of the doorway is, therefore, supposed to be in memory of John Morvo, the assumed grandfather of the John Morow whose tablet is inserted in the west wall adjoining--the earlier parts of the work having been carried out by the former, and the later parts by the latter.

But Mr. Chalmers’ fancy is not limited to the invention of these great architects as illustrious members of the family of the Morows. He would also fain attribute to them other honours and distinctions.

He therefore assumes that John Morow the younger was identical with John Murray, of Faulohill, a favourite at the Court of James IV., from whom he received many gifts, which favours he requited by rebellion, and by finally appearing on the scene as the chief actor in the ballad of the outlaw Murray; of which ballad he is further believed to have been the author! And, to crown this strange eventful history, we are told that the success of this architect so excited the jealousy of the nobles that he was waylaid and assassinated by them.

Here we have disclosed, if not a history, at least a fiction of the most thrilling interest in the life and death of the “Mediæval Architect,” John Morow; and so full of invention is this flight of fancy, that we trust its introduction here will be excused as a relief to the dry details of prosaic architectural descriptions.

We have no desire to disturb this touching romance; but we feel called upon to indicate some points which may be regarded as worthy of consideration before it is accepted as historically or architecturally consistent with fact.

However beautiful this dream may be, and much as the author is entitled to praise for his careful study of the buildings he describes (which, we gladly acknowledge, is considerable), we fear that his theory will be found, on examination, to rest on a very weak and unreliable foundation.

The following are some objections which at once present themselves:--

1. Without entering into the question as between the “master of the work” and the “master mason,” or attempting to prove by whom mediæval buildings were designed, we believe it has been distinctly shown that there was in Scotland, about A.D. 1500, no one recognised as “the architect” apart from the builder. The “master of the works” was a fully recognised and salaried officer, and would, we believe, be more likely to receive a tablet such as this than the master mason.[136]