Chapter II: Part 2

Lithgow, who built the north porch, and the completion of the nave was carried out by Bishop Tervas. A striking peculiarity of the interior of the nave is a series of large corbels (see Figs. 961 and 962), which project from the spandrils of the triforium arcade. The object of these corbels appears to have been to enable a passage, which is formed in the interior of the clerestory windows, but does not run through the wall in a straight line from end to end as is usual, to be carried round the solid piers introduced between the windows. These projections recall, by the small corbels arranged in rows into which they are divided, the corbels generally used for the support of the bartizans of castles. Each of the large corbels springs at its lowest point from the sculptured grotesque figure of a man or animal. Dr. Lees states (p. 209) that these figures “were mostly the work of Thomas Hector, a sculptor who lived at Crossflat, and whom the abbot retained for his skill in his art.” One of the corbels on the south side (near the west end) represents a man wearing the garb of Old Gaul. It may be mentioned that a somewhat similar gallery exists in Rouen Cathedral. It is carried round the piers of the nave on the side next the aisles, and is supported on shafts springing from corbels. This gallery has a light stone parapet resting on it. The design is of the thirteenth century, and is elegantly carried out; but it has, notwithstanding, a rather heavy appearance. It must be admitted that the projecting corbels at Paisley are clumsy, and considerably mar the effect of the interior. There appears to have been a parapet in front of the clerestory passage opposite the windows, and a similar parapet may have been carried round the large corbels, otherwise walking round them would have been dangerous. This would add still more to the heaviness of their appearance. Vaulting shafts are carried up between the windows of the clerestory, but the buttresses being very light, a vaulted roof has apparently not been contemplated. The present plaster vaulting is modern. The north wall of the nave aisle, except the doorway of the north porch, which is of first pointed work, has been rebuilt in the fifteenth century. The ingoing of the window jambs and arches consists, both on the inside and outside of the wall, of a great hollow, with the tracery set in the centre of the wall. The large north porch (shown in Billings’ work) was taken down in 1863, in order to be erected anew, in what was considered a finer style. The porch contains the tomb of Bishop Lithgow, who selected this porch as his burial-place, and was interred there in 1433. Some of the tracery in the aisle windows is good for the period, like that in some of the windows of Dunkeld Cathedral, which building (as above mentioned) has considerable affinity with Paisley Abbey Church.

St. Mirin’s Aisle (Fig. 965), as already pointed out, occupies the south end of the south transept, and was erected in 1499. It is a chapel 48 feet 3 inches long by 23 feet wide, having a vaulted roof about 32 feet 6 inches high. The main vault, like that of so many structures of the latter part of the fifteenth century, consists of a pointed barrel vault, the curve of which is drawn from a point lower than the springing of the arch, and thus forms an angle at the junction with the side walls. The surface of the vault is strengthened with a series of ribs, most of which spring from corbels in the side walls. The ribs are arranged so as to cross one another at the ridge, as if the roof were

groined; but they are almost entirely ornamental. The mouldings of the corbels are well designed, and show an imitation of first pointed work. The corbels being at a lower level than the top of the wall, the ribs project considerably in passing that point. The ridge has a bold rib enriched with carved bosses, and one of the transverse ribs is divided into two branches, so as to avoid descending on the top of the large arch in the north wall. There is a large pointed window in the east end, having jambs with single shafts (like the clerestory of the church). It has mullions dividing it into four lights, and the arch-head is filled with good simple tracery. Beneath this window runs a frieze 1 foot 8 inches broad, partly carved, with groups of figures showing, as discovered by Dr. Lees,[14] events in the life of St. Mirin. The east end of the chapel, where the altar stood, is raised four steps above the western part. The west wall contains an outer doorway from the cloister court, and there is a window with simple tracery above it; a curious large ambry adjoins the door in the outer wall. The chapel was connected with the south transept by two wide archways, now built up. There is a piscina near the east end (Fig. 966), with three-sided head, like that in the choir.

Above the vaulting of St. Mirin’s Chapel, and in the angle formed by the sloping roof, there is introduced a chamber, with a pointed barrel vault, about 12 feet wide and nearly 10 feet high, to the apex of its sharply pointed vault. The three sides of this chamber thus nearly form an equilateral triangle. Like the chapel below, it is 48 feet in length. It is lighted by trefoil headed windows in the gables. Access to this chamber, which may have been occupied by one or more priests, is obtained from the adjoining buildings. It is to be regretted that the south and south-east sides of St. Mirin’s Chapel are concealed from view by buildings of a poor description. It will be observed that the construction of the roof of St. Mirin’s bears considerable analogy with that of Lincluden Abbey, although later in its features. There is a similar double vault over both these buildings, with a small chamber between them. At Lincluden the lower vault was (if it ever was completed) of a genuine groined construction, while at St. Mirin’s the ribs were only imitative. The roof of St. Mirin’s Chapel was clearly intended to be formed of stone slabs, resting on the pointed arch, but has never been carried out, the present roof being slated.

On the floor of this chapel there now stands an ornamental altar tomb (see Fig. 965), which was found lying in fragments near the abbey by Dr. Boog, one of the ministers of the parish, who, in 1817, had it brought here and put together again. It supports a recumbent female figure, believed to be the effigy of Margery, daughter of King Robert I., and mother of Robert II. The head of the figure is surmounted by a large cusped canopy, placed in n horizontal position, on the end of which is carved a crucifixion. The pedestal is covered with a series of Gothic compartments, in each of which there is carved a shield, enriched with heraldic blazons and figures of ecclesiastics. The panels at the west end (Fig. 967) contain--the first the fess chequé of the Stewarts between three roses; the third the fess chequé, surmounted of a lion rampant, and the central one, two keys saltierwise, between two crosiers in pale.

Mr. Semple[15] is of opinion that the monument is made up of fragments from various quarters. On each side there are nine full compartments of

Piscina in St. Mirin’s Chapel.]

an oblong or oval form, and one half compartment at each end. At the foot the compartments are empty. On the right side the 1st compartment contains a bishop with crosier; the 4th, a bishop at prayer, and, on a scroll, the name Robert Wyshart (Bishop of Glasgow). On the left, the 1st compartment contains a bishop celebrating, with the name Johes D. Lychtgow (Abbot of Paisley); the 4th, an abbot at prayer, with the name of Abbot Lythgow repeated. Several compartments contain monks at prayer, and others are blank. Mr. Semple thinks that the left side may be part of Abbot Lithgow’s monument, and the right side part of that of Bishop Wishart.

Of the cloisters and conventual buildings few traces remain; but the outline of the cloister court is preserved. It is surrounded (see Fig. 953) with post-Reformation structures, occupying the site of the chapter house, refectory, &c. These were converted into the “place of Paisley,” as the residence of the Abercorn family, which has been already fully described.[16] These buildings probably contain portions of the walls of the refectory and other conventual structures erected by Abbot Shaw at the end of the fifteenth century. The western side of the cloister buildings was removed about twenty years ago, in order to widen the adjoining street. The wall, gatehouse, &c., erected by Abbot Shaw, have now almost entirely disappeared.

The cloistral buildings were much altered and added to in 1675 by the Earl of Dundonald, and fitted up as a mansion house, and they still bear traces of considerable splendour in panelled walls, with stone fireplaces and ornamental ceilings. One of the latter on the upper floor is a fine example of the plaster and painted decoration of the period.

Turning to the ground Plan, it seems highly probable that the walls are, in part at least, of pre-Reformation date, and that we have here

part of the work of Abbot Shaw, who erected a refectory and other buildings at the end of the fifteenth century. It will be observed that the main wall of the south range, running east and west, is very thick (4 feet to 5 feet), while the outside wall, forming the south side of the cloister, is only about 2 feet thick. The latter was probably erected when the place became a mansion house, in order to form a passage, and thus obviate the necessity of passing through the rooms, while the thick wall was the original outside wall of the refectory or of cellars below it. The south wall of this building also probably consists in part of the south wall of the refectory, but the large windows in it are, doubtless, insertions.

The building marked as chapter house on the Plan occupies the position in which that chamber would likely be. It is now divided into two, and has lost all traces of its ecclesiastical purpose--one side being used as a bottling store and the other as a stable. There is a large fireplace in the north wall, of distinctly Gothic design. That is not a usual feature in a chapter house; but in the sacristy over the chapter house of Glasgow Cathedral there is a large fireplace. At Paisley, the arrangement may have been reversed. The vestry may have been on the ground floor and the chapter house above. This building is at present some five stories in height, the upper floors being reached by the wheel stair shown on the Plan. It is from this high building that the chamber over St. Mirin’s is reached, which is a fair indication that this chapter house tower, as it may be called, is as old as St. Mirin’s. The same stair also accommodates the refectory range of buildings on the south side of the cloister, which are three stories in height, and have another stair at the west end.

It is thought by some that the first central tower erected over the crossing was of inferior workmanship and gave way. Another central tower is believed to have been erected by Abbot Tervas. This tower probably fell during the siege by Lennox and Glencairn, no doubt destroying much of the choir and transept in its fall. It has been mentioned above that western towers appear to have been contemplated. Possibly it may be one of these to which Martine, when speaking of John Hamilton, Archbishop of St. Andrews, refers when he says, “At which church [Paisley] he built a prettie handsome steeple, which fell before it was well finished.”[17]

It is thought that the body of Archbishop Hamilton was buried in the abbey, and a tablet in the church looks as if it marked his grave. It contains his arms and initials, J. H., and “the motto he assumed, which contrasts strangely with his troubled life, ‘Misericordia et pax.’”

Several monuments with inscriptions of sixteenth century date exist in the building. On the west buttress of the north transept, at 21 feet in height, is the shield of the Stewarts, with a pastoral staff and the word “Stewart.”

One of the south piers of the nave is called the Cathcart pillar, having carved upon it a shield with the Cathcart arms (see Fig. 964). This is believed to be a memorial of Sir Allan Cathcart, one of the knights who sailed for the Holy Land with Bruce’s heart. The heart was brought back by Sir Allan, and buried at Melrose.

DUNKELD CATHEDRAL, PERTHSHIRE.

Situated in the beautiful, though rugged, glen which forms the pass to the Highlands from the fertile lowlands of Perthshire, this grey and venerable ruin adds an unexpected and charming interest to the lovely scenery of the locality. The mountain range through which the pass penetrates long formed a barrier to the access of the Scottish kings to the Celtic provinces further north, and the nearness of the Highland clans was a constant source of menace to the Church. For that reason the bishop’s palace had to be constructed as a fortified stronghold; hence, perhaps, the name of Dunkeld, the fort of the Keledei or Culdees.

After the destruction of Iona by the Norsemen in the beginning of the ninth century, Dunkeld was selected by the King of the Picts as a secure place, remote from the sea, and comparatively safe from the attacks of the Vikings, in which a mother church in lieu of Iona might be established. To this retreat a portion of the relics of Columba were brought by King Kenneth Macalpine in 850, and here he resolved to place the abbot of his new monastery as bishop over the Church in the territories of the Southern Picts, with a view to the ready reorganisation of the Scottish monasteries, so that they should form one diocese under one bishop.[18]

But the primacy of the Pictish Church did not remain long at Dunkeld, being transferred in the end of the ninth century to Abernethy, on the south side of the Frith of Tay.

The abbots in those days had become great lay proprietors, having lawful wives, and succeeding to the benefices of their abbacies by hereditary descent. One of these lay abbots of Dunkeld married a daughter of Malcolm II., and it is remarkable that it was by their descendants that the religious order in Scotland was changed. The new order of things, which had been initiated by St. Margaret, was continued by her son, Alexander I., who, in 1107, created two new bishoprics in the more remote and Celtic portion of his kingdom, the first being that of Moray, and the second that of Dunkeld. Alexander I. also brought, in 1115, a body of canons regular to Scone Abbey, and a few years later he established the same order in the diocese of Dunkeld. He also, in 1122, introduced canons regular to a monastery he had built on an island in Loch Tay, and, in 1123, founded the monastery of Inchcolm, and introduced the same order there.[19]

The Cathedral of Dunkeld has been the see of several distinguished bishops. Bruce’s friend and supporter, Bishop Sinclair, held this see; and Gavin Douglas, the well-known scholar and translator of the _Æneid of Virgil_, was Bishop of Dunkeld.

The buildings which now exist are of much more recent date than the days of Queen Margaret’s sons. Alexander Myln, a canon of Dunkeld in 1505, and afterwards Abbot of Cambuskenneth and first President of the College of Justice, has fortunately left a history of the lives of the Bishops of Dunkeld, which professes to give a more minute account of the

dates of the different parts of the structure of the cathedral than we have of any similar building in the country. From this account it would appear that the existing structure is chiefly of the fifteenth century.

The edifice (Fig. 968) consists of an aisleless choir, a nave with two aisles, a north-west tower, and a chapter house to the north of the choir. The choir measures 103 feet long by 29 feet wide internally, and the rectangular chapter house attached to the north side is 27 feet long and 20 feet wide. Some portions of the choir indicate the style of the thirteenth

century; but this part of the structure was almost entirely rebuilt in the beginning of the present century. An original fragment may, however, still be observed in damaged portions of a first pointed arcade (Fig. 969) in the interior of the north wall near the west end. The arcade is below the level of the window sill, and extends to six arches of trefoil form, springing from the carved caps of single shafts. All the details (Fig. 970) are pure and good. A post to support a modern gallery cuts into the arcade, as shown in Fig. 969. From the floor to the top of the caps measures 5 feet 9 inches. The choir is now fitted up and used as the parish church.

The chapter house, on the north side of the choir, is now converted into a mausoleum for the families of the Dukes of Atholl, and contains several Renaissance monuments. It is two stories high (Fig. 971), the

lower story being vaulted and of considerable height (Fig. 972), and is lighted by tall lancet windows cusped at the arch head. The buttresses are simple, and the whole character of the work is early, but it has been altered. The vaulting (Fig. 972) is round arched, but the wall ribs are pointed; the roof has thus a flat appearance, and there are no horizontal ridge ribs. The chapter house structure has been added after the erection of the choir, as is evident from the portion of the original exterior base of the choir which still exists in the south-west angle of the interior of the chapter house adjoining the door (see Fig. 972). From the style of the design, this structure was probably an early addition. The upper

chamber over the chapter house is doubtless later. The staircase leading to the upper floor is inserted in the south-west angle and projects into the chamber,[20] and cuts through the groined ceiling (see Fig. 972).

The heightening of the chapter house was apparently carried out by Bishop Lauder, whose arms, a griffin segreant (Fig. 973), are carved near the top on the face of the north buttress on the east side. The upper

chamber has been lighted by small windows, which are now partly built up. The windows of the lower story have been fitted with wooden shutters on the inside, some of which are still in position (see Fig. 972). At the doorway leading into the choir there is a curious small stoup cut on the base (see Fig. 972).

Against the centre of the north wall there is a recessed tomb (Fig. 974), which exhibits that peculiar kind of design, having mixed Gothic and Renaissance features, frequently found in the seventeenth century. It contains in the pediment a shield bearing--1st and 4th, a fess chequé for Stewart; 2nd and 3rd, three pallets for Athole, a pelican at top, and

the motto, _Furth Fortoun et fil ye Feteris_. The recess for the figure is 4 feet 11 inches wide by 3 feet 11 inches high, but it contains no effigy.

On the south wall there is a large eighteenth century monument with inscription (see Fig. 972), and, at the sides, thirty-two coats of arms, arranged in two rows of eight on each side, besides other arms.

Resting on the floor, and against the walls of the chapter house, there are numerous carved stones, several having arms, which appear to have come from some sixteenth or seventeenth century buildings; and in the room over the chapter house the remains of a rich Renaissance monument, carved in oak, lie scattered on the floor.

Abbot Myln relates[21] that in 1312 Bishop William de St. Clare (Bruce’s “own bishop”) brought Magistrum Robertum Cementarium to the work of the choir and church, which he built from the foundation. This clearly refers to a restoration, as part of the thirteenth century walls is still in existence. Bishop Sinclair died in 1337, and was buried in the choir built by him, having filled the see for twenty-five years.

To the west of the choir is the nave, which measures, internally, 120 feet in length by 60 feet wide, and consists of a central compartment of seven bays, separated from the side aisles by arcades, which rest on plain round pillars. We are informed by Abbot Mylne that this part of the cathedral was founded by Bishop Cardeny on the 27th day of April 1406, and that he carried it up to the second arches, “vulgariter le blynd storijs.” This bishop conferred great benefits on the see by acquiring lands for it and otherwise. He also founded and adorned the altar of St. Ninian in Dunkeld, and decorated all the windows of the choir with glass. Having on one occasion made a narrow escape during an attack on his house, he constructed a strong tower for the bishop’s residence. He died in 1436,[22] and his fine monument (Fig. 975) is still preserved in the south wall of the nave.

In 1447 the king’s secretary, John of Ralstoun, was made bishop, but he lived for only three years after his appointment.[23] He made provision of hewn stones from the quarry of Burnbane for continuing the building of the nave begun by Bishop Cardeny. Bishop Ralston died in 1450, and was succeeded by Bishop Lauder, who completed the nave and decorated all the windows with glass, and finished the roof. He also constructed a handsome portico to the church before the southern doorway, and placed figures of sculptured art therein. With his own hands Bishop Lauder dedicated the church in 1464. But still untired of his sacred work, he founded the campanile (Fig. 976) on 5th March 1469, and continued the building on high. The chapter house was also founded by him in 1457. This, no doubt, refers to the erection of the upper floor of the two story building on the north side of the choir above described. Perhaps this edifice contained the sacristy on the ground floor, on the level of the choir, and the upper story added by Bishop Lauder may have been the chapter house. At Glasgow Cathedral, the similar two story building contained the sacristy on the upper floor, on the level of the choir, and the chapter house on the lower story. This “Great and worthy High Priest” likewise, in 1461, constructed a bridge over the Tay, near his own palace, partly of stone and partly of wood. He likewise presented the church with numerous splendid vestments and silver vessels, including a silver cross containing part of the true Cross. He also had paintings executed at the high altar, representing the twenty-four miracles of St. Columba, and he constructed the bishop’s throne and stalls in the choir.

In 1481 this prelate died full of years and of good works. By Bishop Lauder’s influence the cathedral lands north of the Forth were raised into

]

the barony of Dunkeld, and those south of the Forth into the barony of Aberlathy.[25]

The bishops of Dunkeld, in addition to their palace or tower at Dunkeld, had also a country seat at Loch Cluny (where their house still exists on an island in the loch) and a residence at Cramond, in Mid-Lothian.[26]

The successors of Bishop Lauder are not stated to have added any buildings to the cathedral; but it is mentioned that some of them, especially Bishop Brown, adorned the interior with images and paintings, and added to the store of rich vestments and ornaments.

The Reformation came not long after the completion of the internal decorations and fittings. In 1560 two of the neighbouring lairds were commissioned to take down the images and burn them in the churchyard, and also to cast down the altars and purge the church of all kinds of monuments of idolatry. They were enjoined to see that the desks, windows, and doors were unharmed, nor the glass or iron work broken. But the spirit of destruction once let loose was not easily restrained, and the church was completely destroyed and the roof burnt.

The architectural style of the different portions of the edifice corresponds generally with the above dates fixed by Abbot Myln. The massive round pillars of the nave, 4 feet 6 inches in diameter (Fig. 977), and the heavy semicircular arches of the triforium have been supposed to indicate Norman work; but the details prove that here, as frequently occurs in Scotland, the ancient forms are repeated in later times. The caps and bases of the piers show that they belong to an advanced period, while the mouldings of the triforium arches and the trefoiled filling in clearly indicate work of the latter half of the fifteenth century. These features are, undoubtedly, peculiar; but other examples show that they are not singular. Thus at Aberdour Church[27] and Aberdeen Cathedral (late works), the pillars of the piers are circular, and have similar caps to those at Dunkeld; and at Paisley the triforium arches are segmental, and are divided with cusped arches somewhat similar in style to those of Dunkeld Cathedral. The clerestory is very plain, and the windows are small. From the number of holes in the wall, used for the support of rafters and other woodwork, it seems likely that this portion of the wall was partly concealed by the timbers of the open wooden roof, and perhaps partly covered with panelling.

The great window in the western gable (see Fig. 976) is evidently a late feature, and seems to have been added sometime after the west wall had been erected. This is apparent not only from the style and the peculiar unsymmetrical position of the window, but also from the construction of the exterior (Fig. 978), where it will be observed that the original west door has had a portion of wall somewhat rudely added in front of the original wall, in order to support a balcony or gallery carried across at the base of the window. The older moulded doorway (the jamb of which is shown in

Fig. 973) is thus overlapped and buried by two square piers, carrying plain arches above, stuck on in front of the original wall; while in a similar opening or recess, between the south pier and the tower at the

south side, the space is lintelled over between the square pier and the stair turret. As the stair turret probably existed (at least for part of its height) before this alteration, the large window, which occupies the full available width, had to be squeezed in as best it could, and thus came to stand in the unsymmetrical position it occupies (see Fig. 977). This supposed alteration may also, perhaps, explain the peculiar way in which the ogee canopy of the window is twisted to one side at the top (see Fig. 976), which Mr. Billings has difficulty in accounting for. The small circle in the gable being right over the entrance door (as the original window in the west end doubtless also was), it was found, when the window came to be enlarged, that there was no room to carry the canopy and its fleur-de-lys finial straight up without removing the small circular opening, and so the canopy and finial had to be pushed to one side.

The side aisles are 12 feet in width, and the south one has been vaulted. The tracery in many of the windows still survives, and is varied and generally good in design. A restoration of the tracery in the west window may be seen in Mr. Billings’ work. The tracery is of the kind common in the Scottish architecture of the fifteenth century.

Attention has already been drawn to the peculiar flat-headed windows at the west end of the north aisle of Dunblane Cathedral. At Dunkeld, the corresponding window is flat arched (Fig. 979), and at St. John’s Church, in Perth, the window in the same position is either flat arched or has a lintel. It is singular and interesting to find this similarity of treatment, as regards the north-west window, in these three churches, which are all situated in one part of the country. Over the north-west window at Dunkeld are the arms of Bishop Brown (a chevron between three fleur-de-lys), surmounted by a mitre. There is an inscription on a ribbon round the arms, but it would require a very minute inspection to make it out. George Brown was consecrated Bishop of Dunkeld by Pope Sixtus IV. in 1484, and died 14th January 1514-1515, aged seventy-six years.

The ruins of a large porch still exist on the south side of the nave (see Fig. 976). From the forms of the finials and other details it has evidently been a somewhat late addition. This was, doubtless, the portico which Canon Myln states was erected by Bishop Lauder at the south entrance to the church.

The upper part of the stair turret of the west front, the broken angle pinnacle at the base of the gable, and the corbelled octagonal finial on the south-west angle of the south aisle are all late additions. The corbelled turret at the angle resembles the angle turrets of the castles. A similar turret exists at the angle of the north transept of Paisley Abbey.

The north-west tower is simple and good in design. According to Abbot Myln’s account, it was not founded till 1469, and in style is good for the period. The windows of the ground floor and top story are well designed, and quite equal to the rest of the church. The ground floor is vaulted, and has been painted in a handsome manner, part of the painting being still preserved.

The monument of Bishop Cardeny in the south aisle of the nave, with

its recumbent statue (see Fig. 975), its carved sarcophagus and arched canopy, is a good example of Scottish work of the fifteenth century. It is now much damaged, but the fine carving of the crockets and ornaments, and the sculptured figures of the angels bearing shields, are still fairly preserved. The arms on the shields are now so far decayed as to be with difficulty legible.[28]

A very fine altar tomb (Fig. 980) still remains in the south side of the eastern part of the choir, now used as a vestibule to the parish church. This is the monument of the famous “Wolf of Badenoch,” son of Robert II., at one time a great enemy to the Church, and the destroyer of Elgin Cathedral. Having been compelled by the king to do penance, he received absolution at the hands of the Archbishop of St. Andrews, in the

Blackfriars Church, at Perth. The monument dates from about 1394. It contains a massive figure of the “Wolf” in complete armour, with his feet resting on a lion. On the sarcophagus are carved a number of figures in armour, in different attitudes.[29] There is a mutilated headless figure, supposed to represent Bishop Sinclair, lying beside the “Wolf of Badenoch’s” monument; and other memorials of him are the engrailed crosses on the east and west gables. These are cut out of the solid stone, and have probably been renewed.

Nearly opposite Bishop Cardeny’s monument, against the north wall of the nave, there is one of those grave slabs (Fig. 981) of which several

examples have been illustrated, and unfortunately, like most others, it is in a very wasted condition from exposure to the weather. It is also broken, as shown on the sketch. The slab is of red sandstone, and measures 5 ft. 8 in. long by 3 ft. 4 in. wide. It is divided into four sunk panels, with a three-quarter size figure in each panel, and the figures are flush with the general surface. It cannot be determined what the costumes of the figures are. No. 2 has, on the dexter side, a bishop’s crozier, and, on the sinister side, what may have been a shield. No. 1 was probably distinguished in the same way, there being something visible on the sinister side. No. 3 has, on dexter side, a shield with a lion rampant; on sinister side, a square with initials only, the last of which (S) is legible. No. 4 is certainly the figure of a woman, with large epaulets and a necklace; on her dexter side is a shield with three innescutcheons, probably for Hay, and, on the sinister side, the initials B. H. Beneath each pair of figures there has been an inscription--the upper one, as far as legible, being, “This is the honorabille Bv ... Spovs of Arnetvllie.” Of the other marginal inscriptions nothing legible can be made out. Along the base of the stone there are sculptured seven small figures.

The dates of the different parts of the cathedral, as given by Abbot Myln, would, if thoroughly reliable, be invaluable in connection with the history of Scottish architecture. Few, if any, of our ecclesiastical edifices have the periods of their erection so distinctly recorded. The peculiarity of the design, however, renders it somewhat difficult to make any general application of the above dates to the architecture of other buildings. It seems likely that the different parts of the structure were begun at the dates given by Abbot Myln, but not completed for some time thereafter. From the analogy with other Scottish structures, especially with Paisley Abbey, which it in some respects closely resembles, the nave of Dunkeld Cathedral must undoubtedly be classed as belonging to the third pointed period.

IONA CATHEDRAL, ARGLYESHIRE.

The original settlement of St. Columba in Iona took place A.D. 563.[30] Dr Skene has shown[31] that the place where the monastery was first situated lay a short distance to the north of the existing ruins. The vallum which enclosed the establishment can still be traced, as well as the burying-ground, the site of the mill, and other features; but the principal erections, being constructed of wood and wattle, have necessarily disappeared. Owing to the destruction of the buildings by fire in 802 and the slaughter of the monks, it was thought desirable, in 818, to rebuild the monastery in stone for greater security, and also to remove it to the present site, which is better protected by nature. But the buildings were again destroyed by the Northmen, and seem to have remained in a ruinous state till 1074, when some attempt to restore the monastery was made by Queen Margaret.

In 1099 the last of the old order of abbots died, and for more than fifty years there is an unbroken silence regarding Iona. All the Western Islands had at this time passed under the rule of the Norwegian King of the Isles, by whom nothing was done to maintain the religious establishments, and Iona fell into a state of decay. The rule of the Norwegian Kings of the Isles having become oppressive, Somerled, King of Argyll, was applied to for protection, and after a great naval battle, fought between him and Godred, King of the Isles, in 1156, all the islands south of Ardnamurchan Point were ceded to Somerled. Amongst these was Iona, where Reginald, the son of Somerled, undertook the rebuilding of the monastery on a larger scale. He adopted the policy of the Scottish kings, and introduced one of the religious orders of the Roman Church.

“Macvurich tells us that ‘three monasteries were formed by him--the monastery of Black Monks in I or Iona, in honour of God and Saint Columchelle; a monastery of Black Nuns in the same place; and a monastery of Gray friars in Sagadul, or Saddle, in Kintyre;’ and he appears to have established the Benedictines or Black Monks in Iona in the year 1203.”

“The deed of confirmation of the Benedictine Monastery still exists in the Vatican. It is dated the 9th December 1203, and is addressed to Celestinus, abbot of Saint Columba, of the island of Hy, and his brethren professing a religious life; and the pope takes the monastery of Saint Columba under the protection of Saint Peter and the pope, in order that the monastic order which has been instituted in that place, according to the rule of Saint Benedict, may be preserved inviolate in all time to come; and he confirms to them the place itself in which the said monastery is situated, with its pertinents, consisting of churches, islands, and lands in the Western Isles.”[32]

Celestine, the abbot of this monastery, appears to have attempted to thrust out the prior Celtic community; but the latter, with the support of the clergy of the north of Ireland, resisted and vindicated their right to remain in the monastery. The Celtic community, however, appear to have ultimately adopted the Benedictine rule, “while the functionary formerly known as the Head of the Culdees was represented by the prior of Iona, whom we afterwards find in the monastery.”

About 1200 the districts to the west of the great range of Drumalban, which formerly belonged to the diocese of Dunkeld, were separated from it and formed into a new bishopric, first called of Argyle and afterwards of Lismore.

During the fourteenth and fifteenth centuries Iona was under the Bishop of Dunkeld, but in 1507 John, Bishop of the Isles, obtained the annexation of Iona to his see, and the Abbey Church became the cathedral of the diocese, and so continued till the Reformation.

In 1561 the abbey suffered from the Act anent “demolishing all the abbeys of monks and friars, and for suppressing whatsoever monuments of idolatrie were remaining in the realm.” The carrying out of this Act was remitted to Argyll and Glencairn, and much has been written with regard to the great damage caused by the mob to the buildings and monuments and the valuable library.

The island passed into the hands of M‘Lean of Duart, but from 1567 onwards the Protestant bishops of the Isles seem to have had the abbey in their possession. The buildings, however, appear to have been neglected, and Charles I., in 1635, directed £400 to be spent in repairing them. But that does not appear to have been done, and by the end of the seventeenth century the edifices had fallen into ruin. In 1693 the island came into the hands of the House of Argyll, and within recent years the ancient buildings have been put in a good state of preservation by the present Duke.

The edifices which still survive in the island, although ruinous, exhibit probably the completest and most interesting group of ancient ecclesiastical structures in Scotland.

There is first the Chapel of St. Oran, a small twelfth century structure, surrounded by the very ancient churchyard, which contains so many beautiful specimens of Highland carved tombstones,[33] admirably illustrated by the late James Drummond, R.S.A., in his work on Highland monuments. Then there are the remains of the Benedictine Monastery, and those of the Benedictine Nunnery, at a short distance on each side of St. Oran’s, both of which, though sadly mutilated, still show the general plan of the church and domestic edifices of these monastic establishments more completely than any other Scottish examples.

The Church of St. Oran has already been described.[34]

The nunnery is also described among the Norman structures.[35]

The abbey or cathedral, which is now to be described, is classed along with the buildings of the third pointed period, as the greater part of the work connected with it belongs to a late date.

When the great distance of the Island of Iona from the centre of operations of mediæval architecture is considered, it is not unnatural to find those deviations from the rules and practice of the art which are so frequent in Scottish architecture even more accentuated here than is usual. The connection of the locality with the Celtic art of Ireland and the west of Scotland has also had considerable influence in moulding the style of the carving and decoration of the Cathedral of the Isles.[36]

These facts, although rendering the building somewhat difficult to class along with the general architecture of the recognised periods of Gothic in Scotland, yet add much to the interest of this isolated and unique structure.

It should also be noticed that the cathedral shows signs in all directions of having been much altered and added to; but as the style of the masonry of the walls is much the same throughout, whatever its date, it is somewhat difficult to trace the points of junction of the work of the various periods. This masonry of all dates consists of large blocks of red granite of irregular shape, set with flat untooled face to the outside, and with filling-in of smaller pieces of granite and slaty stones between the larger blocks.

The monastery (Fig. 982) consists of the church, which contains a

choir, 62 feet 6 inches long by 23 feet wide, with a south aisle; a nave, 60 feet 9 inches long by 22 feet 6 inches wide; north and south transepts,

and a tower over the crossing. The eastern part of the choir (Fig. 983) forms the presbytery, which, like that of most Scottish churches, is without aisles, and is lighted by a large central and two side windows, all containing late tracery. On the south side of the choir, west of the presbytery, is an aisle, separated from it by two circular piers and three arches. From above the caps of the piers two bold arches are thrown across the south aisle, after the manner of flying buttresses (Fig. 984). It will be observed from this view that there is a peculiarity of construction in the upper part of the choir walls, the clerestory windows being placed over the piers and not over the arches, as is usual. This arrangement has had the effect of preventing the flying arches or buttresses from being carried as high as they might have been (Fig. 985) had the windows been placed over the arches in the ordinary manner. The flying arches or buttresses are thus very low, and interfere with the space in the aisle (see Plan). There are a sedilia, with three divisions, and a piscina (Fig. 986) near the east end of the south wall of the choir. Part of the pavement there still exists, and two steps are observable in the floor.

On the north side of the choir is the sacristy, which occupies the place of the north aisle. The door to the sacristy (Fig. 987) is of fine design, and the ornament of the caps of the shafts (Fig. 988), together with the caps of the piers between the choir and the south aisle and the arches of the crossing (Figs. 989 and 990), exhibit fine examples of Celtic carving, mixed with grotesque figures. Carving of an identical description is shown in Figs. 991 and 992 on slabs in St. Oran’s Chapel, one of which, dated 1489, also exhibits late Gothic ornaments on the edge. This stone bears the following inscription, from which it would appear to be in memory of the father of Abbot Macfingone, and of the abbot himself (whose tomb and monument are preserved in the choir, as will be pointed out further on):--“Hec: est: Crux: Laeclanni: Meic: fingone: et: ejus: fil--Ohannis: Abbatis: de: Hy: facta: Anno: domini: Mº. CCCCLXXX: IXº. Numerous examples of carving of a very similar description occur throughout the West Highlands, and, where dated, are all of about the above period. The undated specimens are also distinctly in the same style and of the same epoch. There can, therefore, be no hesitation in assigning the sculpture in the cathedral, which is of a similar character (such as the caps in Figs. 988 and 990), to about the same date. The dog-tooth ornaments in Fig. 993 and other similar examples, which are not rare at Iona and throughout the Western Islands, are thus clearly a revival, at a late date, of ancient forms.

Close to the sacristy door, but raised to a considerable height above the choir floor, stands a round column (see Fig. 983), which supports two pointed arches. These arches appear to have opened into an upper aisle or chapel. They are carved with rows of dog-tooth or nail-head ornaments, which have the appearance of thirteenth century work; but as they are

much decayed, they are probably of the late date to which, as we have seen, many examples of imitation dog-tooth enrichments at Iona and elsewhere belong.

The parapet of the choir (see Fig. 984) is simple, and is supported on massive corbels, like those common in the castles of Scotland. The water of the gutters escapes by small apertures through the parapet.

The nave contains a good western doorway of late design (Fig. 994), with three orders of mouldings in the jambs, which have no caps, but have the jamb mouldings carried round the pointed arch. The nave and transepts have no aisles. The windows of the nave (Fig. 995) are much damaged. At each end of the south wall is a small single pointed light,

and there has been a triple light window, with tracery, in the centre. The single light window at the east end of the nave has a carved head, with a water table over it, inserted above the window. Part of the north

wall of the nave is demolished (see Fig. 994), and a door to the cloister near the west end has been built up (see Plan).

The north transept has two deeply-arched recesses in the east wall, containing small windows and a central arched recess, which seems to have contained a statue. This is apparently the oldest part of the whole edifice, the arches, shafts, and caps in the east wall (Fig. 996) having very much the character of transition work. A small window in the west wall, raised so as to be above the cloister roof (see Fig. 994), throws light on the point where the altar stood.

The south transept is 22 feet by 17 feet, and is lighted by a three light traceried window in the south gable wall (see Fig. 984), and a small window placed at a considerable height in the west wall (see Fig. 995). The parapet and corbel table are the same as those of the choir.

The crossing has four arches opening into the choir, nave, and transepts, which carry a tower, 29 feet by 25 feet, over the walls, rising to two stories in height above the eaves, and crowned with a plain parapet, supported on simple corbels (see Figs. 984 and 994). The upper story has rectangular windows on each face, three of them filled with tracery of late patterns, and the one on the north with a window containing simple tracery

(Fig. 997). The lintels are composed of straight arches, supported by a remarkable shaft on the inside, which recalls the turned shafts of pre-Norman work. The access to the tower is by a small wheel staircase at the south-west angle of the crossing. The original doorway of the staircase entered from the nave, but, after the Reformation, the adjoining

west arch of the crossing was built up, and a new door, with a small enclosing wall, was formed from the crossing into the wheel stair (as shown in the Plan). In the upper part of the tower are built recesses, as if meant for pigeons’ nests; and the upper floor in the roof of the

Carved Slab in St. Oran’s.]

Macfingone’s Slab in St. Oran’s.]

tower is lighted with slits in the wall near the corners, except on the south side, where a larger opening is introduced and filled with tracery (see Fig. 984).

The whole of the church has been roofed with timber, but is now quite open to the weather. The stone corbels intended to carry the principals of the roof still remain where the walls are complete (see Fig. 983).

Externally, the most prominent features are the buttresses and base course (see Figs. 984 and 995). These exist round most of the south wall of the nave, part of the south transept, and the east end of the choir. The angle buttresses have the general form, with bead on angle and sloping table on top, of thirteenth century work, and the broad, sloping base has also a similar character. Several small intermediate buttresses are introduced, which are in many cases awkwardly situated as regards the windows, being kept below the window sills. The base course on the south side of the nave is set at a level several feet above that of the south transept (see Fig. 995). It is stopped suddenly before reaching the eastmost bay of the nave. The base also stops equally suddenly on the west wall of the south transept, a few feet from the south-west angle buttress. The base course and buttresses would thus seem, where they exist, to indicate a rebuilding of those portions of the walls, the portions left without a base course being possibly older. Although the forms of the base course and buttresses are of early design, there is no doubt but that they are late erections, and that the forms and design are revivals or imitations of older features. Their association with the late doorway of the nave and the late traceries of the choir and south transept sufficiently proves their comparatively recent construction.

Dog-tooth Ornaments on Slab.]

In the above general description of the cathedral, the probable dates of the various parts have been casually referred to. It is now proposed to explain more fully the dates we would assign to the different portions of the structure and the reasons for doing so.

Dr. Skene has the following footnote[37]--

“One of the columns which supports the great tower of the Abbey Church has on the upper portion the inscription, ‘Donaldus O’Brolchan fecit hoc opus,’ and seems to think that that inscription fixes the name of the builder of the church. Messrs. Buckler, in their description of the architecture of the cathedral,[38] give the above inscription as reading, ‘Donaldus ornatum fecit hoc opus.’”

The inscription is not now legible, but even if it were, it could give little clue to the date of the edifice.

There will probably be little difference of opinion regarding the antiquity of the east wall of the north transept (see Fig. 996). The character of the arches, shafts, and caps, even worn away as they are, is distinctly late Norman or transition. The small round headed windows in the recesses of the wide internal bays are also quite in keeping with that

style. The depth of the recesses on each side of the central arch, with its figure, which form a special feature, was rendered necessary by the extra width of the wall required (as will be pointed out further on) to admit of a passage in the thickness of the wall above. Almost all the rest of the church appears to be of a much later date, and to belong, with small exceptions, to the late fifteenth or early part of the sixteenth century.

Part of the crossing, however, is probably older; but the other portions of the crossing seem to have been rebuilt at a late date, as the following indications show. The original arches of the north and west sides have no mouldings, but are only chamfered, and the caps, so far as visible, have an ancient character. The north arch has, at some period, been strengthened by the insertion of additional piers, and an additional arch within the then existing piers and arch (see Plan). The old arch is distinctly visible in the wall, and portions of the old piers are also exposed to view.