Chapter III: Part 3

The arches of the east and south sides of the crossing are of a different character from the above, the arches being fully moulded. The piers (Fig. 998) do not differ much from those of the older sides, and are all of an early form of design. The same character is kept up in the inserted piers of the north arch, although these must undoubtedly be later than the original piers. The mouldings seem all to have been imitated from early forms (such as we find in the choir arch of the nunnery).[39] The changes in the plans of the piers and mouldings, common in the central districts of the mainland, would be long in reaching this distant spot, and the old forms appear to have been, therefore, adhered to. Such continuations or imitations of early forms are very common in Scotland. It should be observed that the outer or central shaft of each pier has a fillet on its central line, which indicates (especially here) a somewhat advanced date (see Fig. 996). The bases are of a very late type, as also the caps, both of which differ from those of the earlier piers. From these facts we infer that the south and east sides of the crossing have been rebuilt at a late period, possibly at the time when the tower was erected. That part of the edifice is always justly regarded as being very late, and the rectangular windows and their tracery clearly support that view. If the above supposition is correct, then the insertion of the additional piers and arch under the north tower arch is explained. That addition would be made at the time the tower was built, in order to make sure that the support was sufficient to carry it. Similar extra strengthening was not necessary in the case of the west arch, as it already had sufficient piers and supports; and the additions to the piers of the north arch, which

South-East Pier of Crossing.]

previously were small, simply made them of similar strength to those of the west arch.

We therefore conclude that the original north and west arches and piers of the crossing are old, perhaps of the thirteenth century; while the east and south arches and piers have been rebuilt, and the additional piers and arch added to the north opening, probably when the tower was erected.

Let us now turn to the choir. When we consider the forms of the tracery of the three windows of the presbytery (see Figs. 983 and 984, and the north window in Fig. 999), the thickness of the mullions, and the number and smallness of their mouldings, there cannot be much difficulty in assigning these windows to a late date. The forms and decorations of the arches of the sedilia (see Fig. 986) also clearly indicate a late period. These are exceedingly good of their kind, and it is a misfortune that the Celtic ornament with which they are covered is now so far decayed as to be scarcely legible; but there can be no question as to the lateness of their date.

On turning to the south aisle the same impression is received. The circular and stunted form of the piers, with their remarkable bases and the peculiar form of their enriched capitals (see Figs. 989 and 990), strike one at once with the idea that they belong to a late and rather debased epoch. The insertion of the clerestory windows over the piers (an arrangement which is also met with at the nunnery) is bad construction, and led to the adoption of the low and poor flying buttresses (which are evidently an afterthought) as a means of steadying the main structure.

The north side of the choir is so peculiar in its arrangements that little can be gathered from it with regard to dates. If the pillar and

Section of Arch Mouldings.]

arches of the high chapel over the sacristy (see Fig. 983) are of thirteenth century work, as their ornamentation would at first sight lead one to suppose, they might possibly have been re-erected in their present position; but they are more likely to have been made in imitation of thirteenth century work, and built here at a late period. The section of the arch mouldings (Fig. 1000) is almost identical with that of the chapter house arches, which (as will be afterwards explained) are almost undoubtedly of very late date.

These arches gave a view of the altar from a high chapel, which, as will be pointed out, was perhaps connected with the library or dormitory. The chapel has been added to the church, and the walls are not bonded into the choir. The decoration of the upper portion, with its imitation dog-tooth or nail-head ornament round a straight sided arch (Fig. 1001), shows that it is of very late date.

This structure appears to occupy the position of the original north aisle, which at one time extended (or was contemplated) the full length from the presbytery to the north transept. The water table over the old aisle roof runs the whole length, and has a sloping water table where the roof abutted against the north transept. The old corbels to receive the timbers of the aisle roof also still exist. The aisle would no doubt block one of the Norman transept windows, but that could not be avoided.

The doorway from the choir to the sacristy (see Fig. 987) is a very fine feature, and one would be inclined to consider it somewhat earlier than the other parts of the sacristy and upper chapel. Possibly it may have formed an access to the aisle before the upper chapel was raised to its present position.

The above examination of the choir, south aisle, and sacristy leads to the belief that they are all of a late period, probably about 1500. The entire building bears evidence of having been in whole or part re-erected about the end of the fifteenth century or the beginning of the sixteenth century, possibly when it became the Cathedral of the Isles in 1506. Some portions, such as the north transept, the north and west sides of the crossing, the wheel stair to the tower and parts of the walling connected therewith, are older; but all the rest, including the east and south arches of the crossing, is of a much later date. Besides the points to which attention has been drawn above, it may be noted that the buttresses of the choir, which from their form may have been raised from ancient bases, have on each angle a single bead on their lower part and a triple bead on the upper part (see Fig. 984). The upper story of the tower, which is admittedly very late, has also a triple bead on the angles of the top story. May it not have happened that the building suffered from some cause, or was intentionally taken down and reconstructed about the end of the fifteenth or beginning of the sixteenth century? Such an event might account for the antique form of the buttresses, which may have been raised from existing portions of old buttresses; while the triple bead on their upper story would show the change of style introduced at the time of the reconstruction. It would also explain the preservation of the old doorway to the sacristy, while the upper parts of the walls were rebuilt. The very irregular appearance of the lower part of the north wall of the choir might also be thus accounted for. The interior string course on the north side, which rises in large steps from the sacristy door, is composed of stones partly enriched and partly plain, as if it formed part of a reconstruction in which old materials had been reused. The clerestory windows, with their ancient forms, are doubtless reproductions of the outlines which formerly existed.

The section of the south-east pier of the crossing (see Fig. 998) shows that the south transept is of about the same period as the choir, the round responds in each corresponding with the circular piers of the choir, and the carved caps being very similar in both (see Figs. 989 and 990); and the south wall of the transept, with its late traceried window and buttresses and base course, is evidently of the same period as the presbytery. The mouldings of the mullions are in both cases returned along the sills, an unusual and late arrangement.

The rebuilt part of the crossing has arch moulds which correspond in style with those of the south aisle arches, and the sculpture of the caps

also corresponds with that of the aisle piers, both containing, as above mentioned, fine examples of Celtic foliage and figures. The peculiar traceried windows at the east end of the south aisle of choir and the adjoining piscina (see Fig. 999) are also clearly of late date.

The cloister lies to the north of the nave; it measures 73 feet from north to south by 66 feet from east to west. The cloister walk has had a wooden roof all round, resting on corbels (see Fig. 994) in the main wall, and on an arcade on the side next the cloister garth. Some fragments of the shafts and arches of the arcade are preserved in the chapter house, and the bases of a twin column, socketed for the shafts, stand on the wall at the north-west angle. The arcade would thus appear to have rested on coupled shafts, and, so far as can be ascertained by examination of the only surviving portion at the south-west angle and the fragments in the chapter house, the arches were pointed and carved with Celtic ornament somewhat similarly to the arches of the sedilia in the choir (see Fig. 986). In each angle of the cloister walk an arch has been thrown across the walk diagonally, so as to strengthen and steady the walls. Only one of these arches, that at the south-west angle (see Fig. 994), remains entire, those in the other angles being reduced to fragments. This arch is the only one which is moulded on the edge, the others being splayed. These arches have evidently been built after the walls adjoining, as they fit awkwardly against previously existing doorways at the north-east and north-west angles. That at the south-west angle butts against a structure which seems to have formed a turret adjoining the north-west angle of the nave. This turret contains a small chamber, at about 7 feet to 8 feet above the floor of the nave, which enters by a small door from the nave, and is said to be the porter’s lodge. It has a curiously cusped loophole opening in the direction of the church door.

The cloister is surrounded by buildings on the east and north. The north transept has a door to the cloister, and a benitier is placed near the entrance. Next to the transept on the north is a chamber, 10 feet wide, entering from the cloister (see Fig. 982), and lighted by a window to the east. There is a fireplace in the east wall of this room, being the only fireplace in the monastery. It seems doubtful whether this chamber was not originally the slype or passage from the cloister towards the east, as there is no other passage.

Next to this, on the north, is the chapter house, which projects beyond the general line of the buildings, the portion next the cloister having the appearance of a vestibule. The inner cloister enters from the vestibule by two arches (Fig. 1002), which rest on a central round pillar and corbels at the sides. This pillar is sometimes stated to be of Norman work, and the chapter house is, consequently, regarded as of Norman date. But a careful examination of the pillar and its capital leads to the conclusion that it is comparatively a late structure. The carving of the cap (Fig. 1003) is very peculiar. On the outer or west side, the ornament, which is somewhat decayed, resembles that of the caps of the adjoining nunnery church, and may easily be mistaken for ancient. But the ornament of the inner or east side of the cap (see Fig. 1003) is quite different, and is undoubtedly of very late design, being similar to that on the carved tombstones of the fifteenth or sixteenth centuries, such as that in Figs. 991 and 992. The dog-tooth or nail-head ornament of the arches, although at first sight like first pointed work, is found, on closer inspection, to consist of late imitations--showing three small nail-heads placed close together, so as to form an enrichment in a manner not at all transition like. The same remark applies to the enrichments of the high chapel in the choir (see Fig. 1000).

The walls of the eastern part of the cloister are not over 2 feet 6 inches in thickness (which would be very unusual in Norman work), and they have been strengthened by interior piers when the present flat barrel arch was erected over the chapter house. This probably took place when the upper part of this portion of the building was raised a story in height, possibly in order to form the library on the upper floor. It is evident, from an examination of the junction of the walls on the exterior, that the upper floor of this part of the building was added at a late period. Both vestibule and chapter house appear to have had a stone seat running along the walls, and the whole may possibly have formed the place of assembly of the monks. Probably, like the chapter house at St. Andrews, the western portion, or vestibule, was the original chapter house, and the inner division was added at a later period.

From the chapter house a passage is visible in the upper part of the east wall of the north transept. In order to admit of this, the wall of the transept (as above pointed out) has required to be made of great thickness, and this explains the depth of the two recesses under it in the transept previously referred to. As already mentioned, there was an upper floor over the chapter house and the adjoining portions of the east range of the cloister buildings. Part of this upper floor is believed to have been the library--the literary treasures of which were famous--and part would, no doubt, be the dormitory of the monks.

It seems not improbable that the passage in the transept wall may have led from the library or dormitory to the chapel in the upper aisle of the choir over the sacristy, and the use of that chapel would thus be explained. The chapel, as already mentioned, is a structure of late erection, as is apparent from the imitation dog-tooth running round the straight-sided arch of the east window (see Fig. 1002). The passage in the transept wall may be much older, but was possibly utilised in connection with the late reconstruction of the monastery, as above suggested.

To the north of the chapter house are two chambers of good size, over which an upper story has extended, as the remains of the windows show.

The north side of the cloister has been occupied by the refectory, a building 63 feet long by 20 feet wide. It is situated on the first or upper floor, and is of late work; but seems to occupy the position of a previous refectory, which formerly stood on the site, and of which some portions of the walls remain. The first refectory appears to have been on the ground floor, as the remains of what must have been a handsome doorway in the south wall near the west end of this range prove. This doorway has had three orders of mouldings with shafts and caps, about 7 feet high, apparently of thirteenth century work, of which some fragments remain, partly built into the adjoining angle structure. The latter is evidently a late erection, as it encloses part of the west jamb of the above doorway. The pier of the diagonal arch of the cloister walk at the east end of the refectory also encroaches on the door beside it. At a somewhat late period the refectory has been raised to the upper floor, and an entrance made to it by a wide staircase at the east end (which would also probably form the day staircase to the dormitory). The ground floor is low, and has loopholes for windows. It has apparently been used for cellars or storages. There is a wide pointed doorway leading into it at the north-west angle (see Fig. 997). The north elevation of the structure is fairly preserved.

The buttresses seem to be reconstructions on the lines of the original ones, but the windows, both in the north elevation and towards the cloister, are of later date.

The eastern range of buildings is continued northwards beyond the refectory by a chamber 33 feet long by 12 feet 6 inches wide, which seems to have been connected on the upper floor with a lavatory and latrine. The latter has a built channel, evidently intended, from the low aperture at each end, for the passage of a stream of water, which could be easily led into it from the neighbouring burn. To the west of this stand the walls, 3 feet high, of a nearly detached edifice, with a separate outer doorway, which may perhaps have been an infirmary. To the north-east, the low walls are observable of a detached structure 58 feet 9 inches long by 21 feet 6 inches wide. The only wall opening traceable is the doorway, which has been of simple design. This is supposed by some to have been the kitchen, but it seems doubtful. There is no appearance of a fireplace.

A small detached chapel, 38 feet in length by 20 feet 9 inches in width over the walls, lies to the north-east of the chapter house. It has had a doorway in the north wall, a small centre window in the east wall, and a similar window in each of the side walls near the east end. The windows are trefoil headed and cusped, and appear to be late. The doorway had two orders, with a bead on each. The orientation of this building is different from that of the cathedral.

Adjoining the south-west angle of the cloister, and built out from it, is a small enclosure containing stone coffins (see Fig. 994). Immediately beyond this are the remains of another enclosure, connected with a Celtic cross (called St. Martin’s) near the west end of the cathedral (see Fig. 995). The inner of these chambers, which encloses the stone coffins, is called “St. Columba’s Tomb.” Dr. Skene is of opinion that it is actually the structure which contained the body of St. Columba, the coffin of that Saint being placed on the right or south side, and that of St. Blathmac (a martyr who died in defending the abbey against the Northmen in 825) being placed on the left or north side. This view is, however, controverted by Sir Henry Dryden in a MS. of 1879, deposited in the Antiquarian Museum in Edinburgh.

There is also a well in the same locality as the above enclosures.

The ruins of a chapel of some size (48 feet long by 30 feet wide over the walls) lie at a short distance to the west of the cloister. The walls are reduced to a few feet in height, and are partly rebuilt in a rough manner. There seems to have been a doorway in the east end, but this is doubtless not original. A turret can be traced at the south-east angle and another at the south-west angle.

To the north-east of the cloister lie the total ruins of what is called the Abbot’s House, and at some distance to the south-east of the church may be observed the greatly demolished remains of a chapel.

In the choir are preserved several monuments. On the south side, close to the sedilia (see Fig. 986), lies the well sculptured effigy of Abbot Kenneth; and on the north side, near the door of the sacristy, is the effigy of Abbot M‘Kinnon, the last abbot of Iona (the head being visible in Fig. 987), around which is legible the following inscription, “Hic jacet Johannes MacFingone, Abbas de Hy qui obiit anno Domini Millessimo Quingentessimo cujus animae propitietur Deus Altissimus. Amen.”

In the floor of the choir a large slab shows the remains of brass work, and against the east wall rests the carved figure of a knight, with shield and spear, said to be the monument of a M‘Lean (see Fig. 983).

ST. MACHAR’S CATHEDRAL, OLD ABERDEEN.

Old Aberdeen is situated on the river Don, about two miles north from the town of Aberdeen on the Dee. The cathedral, which is dedicated to St. Machar, is built in granite, and is now considerably reduced in size from its original dimensions. The nave (Fig. 1004) is entire and is used as the parish church. The walls of the transepts exist only to the height of about 10 feet. The choir has been entirely destroyed. The bishop’s palace, which stood at the east end of the cathedral, has also disappeared. It was a large building, and “had a fine court, having a high tower at each of its four corners; an outer and inner gate; with a deep well in the middle of the court; and an iron gate by which the bishop passed from his palace into the choir.”[40]

The cathedral stands on the north side of an extensive churchyard, and the situation is pleasant, having the houses of the chanonry--some of them quaint-looking and interesting--approaching it on the south. On the north it is skirted by high trees, which grow on a steep bank sloping down from the cathedral towards the Don.

The seat of the bishop was translated from Murthlack or Mortlack, in Banffshire, to Aberdeen by King David I. in the year 1136, St. Nectan being the last bishop of Mortlack and the first of Aberdeen. The third bishop, Matthew Kinninmond, began to build a cathedral between 1183 and 1199 to supersede the primitive church then existing, “which [new building], because it was not glorious enough, Bishop Cheyne threw down.”[41]

A second edifice was begun by Bishop Cheyne shortly after 1282, and the work went on till the time when the country was involved in the war with Edward I. After Bruce was seated on the throne, Cheyne was temporarily banished, and “during his absence the king, seeing the new cathedral he had begun, made the church to be built with the revenues of the bishoprick.”[42]

The cathedral thus erected was in its turn thrown down by Bishop Alexander Kinninmond, who succeeded in 1355, and he began a new building on a still larger scale about the year 1370. Of his operations there remain two large piers for the support of the central tower, which form the earliest portion of the structure of St. Machar’s now remaining. These piers are built of red freestone, and are much more graceful and

refined in character than the succeeding work, most of which is constructed in granite. Bishop Kinninmond may possibly have built the bay of the nave adjoining for a buttress to the central tower. Freestone mouldings similar to those of the tower still remain at the springing, as if they had continued across to the first pillar; but the arch must have been taken down, as the existing bays are all of granite, and the granite mouldings--which are of quite a different section--are seen to butt against those of Kinninmond’s time.

The nave may be said to be all of one period, and appears to have been principally built, including the two western towers, by Bishop Henry Leighton between 1422 and 1440. It was roofed in by his successor, Bishop Lindsay, and in the _View of the Diocese_ it is said to have been leaded over by the Bishops Elphinston and Dunbar, and “ceiled by this last,” A.D. 1518-1531. The flat ceiling of oak erected by Bishop Dunbar still remains (Fig. 1005), having been constructed by him at his own “pains and expenses.” “James Winter, an Angus man, was architect of the timber work and ceiling of said church; which was well done, and may make his name famous to after ages.”[43] It is ornamented with heraldic decorations, containing the arms of various European kings, Pope Leo X., the Scottish nobility, and Churchmen. These have been drawn and illustrated in colour by the New Spalding Club. Bishop Dunbar also finished Leighton’s towers by adding the spires (Fig. 1006) in grey freestone. The general colour of the granite work is of a reddish yellow tint.

The edifice as it now stands measures on the outside as follows, viz.--length of nave about 143 feet, width 77 feet. The transept is about 121 feet long by 37 feet 6 inches wide. The centre alley of the nave is 30 feet 6 inches wide. The towers are about 23 feet 6 inches square, and about 111 feet high.

The west front of St. Machar’s (see Fig. 1006) is entirely built with granite, except the spires, and is one of the most impressive and imposing structures in Scotland. It is extremely plain, not a single scrap of carving being visible anywhere, and most of the openings are of the simplest kind. This front is a veritable piece of Doric work, depending for its effect on its just proportion and the mass of its granite masonry. The towers and spires are of equal height, and almost identical in design. The great corbels and machicolations of the parapet are clearly derived from castellated forms, and the embrasured bands round the spires and their numerous lucarnes are distinct signs of the late date of their construction. The entrance doorway (Fig. 1007) is remarkable, the jambs being mere rounds and hollows, with a flat stone laid along at the springing of the round arch, marking where the capitals usually stand, while the arch mouldings are of the most elementary kind, all being designed to suit the hard granite of which they are constructed. Above this doorway is one of the most striking features of the composition, viz.--the seven lofty narrow windows (see Fig. 1006), about 26 feet in height, and each crowned

with a round and cusped arch (Fig. 1009). The ground story of both towers is barrel vaulted; the apartment in the south tower has had a rude door knocked through the front wall, and is now used as a place for keeping spades and shovels in.

The south elevation (Fig. 1008) is marked by the same simplicity as the west front, being designed to suit the intractable material of which it is built. The clerestory is an absolutely plain wall, pierced by narrow round arched windows, without a moulding of any kind, while the windows of the side aisles are filled with the simplest tracery. The effect of this part of the building is much marred by the removal of the parapet which formerly ran along the top of the wall. The south porch is a dignified structure. It was evidently meant to have a room over the entrance, for which a window is provided; but there is no indication of there ever having been an upper floor or an access stair, and the considerable height, as viewed from the inside, has an unmeaning appearance. The resemblance between this porch and the south porch of St. Michael’s, Linlithgow, is striking, both having the inner crow-stepped gable built on the aisle wall. In the latter porch the upper room has been completed.

St. Machar’s Cathedral.

Top of West Windows.]

The north aisle wall of the cathedral, which is fortunately not so well seen as the south wall, is quite modern, and has a mean and paltry appearance.

The pillars in the nave (see Fig. 1005) are all round on Plan, with round moulded caps and very simple bases. These are shown in section in Fig. 1005, and also on a larger scale in Fig. 1010, which contains Scougal’s monument (afterwards referred to), and where there is also a view of part of the interior of the large west window. Beside the sketch of this monument will be seen a stone containing the arms, surmounted by a mitre, probably of Bishop Stewart, who died in 1565 (a fesse chequé debruised by a bend engrailed).

In the view of the interior (see Fig. 1005) it may be observed that the full thickness of the clerestory walls does not come down to the caps of the pillars, but stops short a few feet above. This arrangement has an unpleasing effect in perspective, leaving a portion of the cap projecting and bearing nothing. The two piers at the crossing, as already mentioned, are of freestone and are of clustered form, and have richly carved capitals. These capitals are necessarily concealed by the building up of the arches, which lead from the nave to the crossing. Fig. 1011 shows a part of one of these capitals, which can be seen from the transept.

Regarding the choir nothing can be now said from observation, as it was destroyed in 1560, and the ruins have since been entirely removed. Alluding to this, Orme says (p. 104)--“The glorious structure of said Cathedral Church being near nine score years in building, did not remain twenty entire, when it was almost ruined by a crew of sacrilegious church robbers.”

There was an old choir standing in Bishop Elphinston’s time, early in the sixteenth century, which, as Boece tells us in his life of that prelate,[44] was considered by the bishop to be in a style unworthy such a church, and he began to rebuild it on a plan corresponding with the western part of the building; “but lest he should die before it was completed, he would not take down the old choir till everything was in readiness to begin the new one, so that a considerable part was finished before his death.” The work was continued by his successors, but it seems doubtful if it ever was entirely completed before the Reformation burst on the country.

The building of the central steeple, which had been partly carried out by Bishop Leighton, was finally completed by Bishop Elphinston about 1511. The tower was supported by the four pillars of the crossing. “It

was four storey high, and square, and had two battlements, and seems to have been about 150 foot high.”[45]

Bishop Leighton also built, in 1424, the north transept, or, as it was called, St. John’s Aisle, where the beautiful sculpture of that bishop’s effigy now lies inglorious beneath a rough brick arch (Fig. 1012). His tomb appears to have been entire when Orme (who died about 1725) wrote his description of the cathedral.[46] He describes it as an effigy _in pontificalibus_, on an altar tomb with a canopy, under which is this inscription: “_Hic jacet bone memorie Henricus de Lichtoun_,” &c. Huddled in behind the figure there is a large stone slab with an inscription, which can hardly be seen on account of the rubbish and ivy.

The south transept was built by Bishop Dunbar in 1522. And so recently as the time of Orme large portions of it, which have now disappeared,

were standing, if, indeed, it was not almost entire at that date. Orme speaks of the “top of this aisle” as having then been taken down for the miserable purpose of furnishing stones for new buildings at the college; and he also mentions large windows as then existing, all of which have vanished. Indeed, almost nothing of this transept now remains except the tomb of the founder, Bishop Gavin Dunbar (Fig. 1013), and an empty tomb to the left of it, which were complete when Orme wrote. The latter contained the effigy of a bishop, “a lion at his feet, and under his head a pointed helmet for a cushion; arms, a lion rampant _queue fourche_ debruised by a bend charged with three escallops.”[47] This was probably a tomb of the end of the sixteenth century. The foliage round the arch, modelled from seaweed, is carved with great spirit. Dunbar’s tomb is perhaps the finest of the minor pieces of work now remaining here. It is remarkable how it escaped destruction on various occasions, and especially in 1693, when a gang of religious fanatics broke his effigy in pieces, defaced the inscription, smashed the hanging cusped tracery round

Monument of Bishop Leighton.]

the arch (apparently firing guns at it), and threw down the top of the monument. The existing cornice, with its two rows of corbels, was erected afterwards; and it must be allowed that it harmonises well with the earlier work, although it has more of the spirit of domestic than of ecclesiastical architecture. A similar kind of battlement is introduced over the centre panel of the Amond Monument, at Ellon, in the same county (see

Fig. 1014), erected just about the time that this monument was repaired. In the spandrils of the arch of the bishop’s tomb are the royal arms of Scotland and those of Dunbar (three cushions pendant at the corners in a bordure). The label terminals near the head and feet of the effigy are designed as angels bearing shields. Orme states that, in 1640, under the direction of the Earl of Seaforth and others, “A mason struck out

Christ’s arms in hewn work, on each end of Bishop Dunbar’s tomb,” “and likewise chesel’d out the name of Jesus” from another part of the building.[48] Both of the above tombs are of freestone.

A very interesting monument, also in freestone, is built into the south wall of the nave (Fig. 1015). It is in bas relief, the depth of the recess above the effigy being only two inches from the projection of the arch moulding, yet within this slight recess the sculptor has obtained a wonderful effect in the beautiful figure, supposed to represent Archdeacon Barbour, the poet, who died in 1396. If this is Barbour’s monument, it must have been erected a considerable time after his death, as the nave was not built till after that event. There is a long inscription beneath the monument, which, so far as we know, has never been decyphered. The length of the recess in which the figure lies is 3 feet 11½ inches.

The whole breadth of the monument is 4 feet 4 inches, and the height, including the inscription and base course (exclusive of the lower inscription), to the top of the horizontal cornice is 2 feet 6 inches. It stands at a height of 6 feet 6 inches from the floor to the bed of the figure.

At the west end of the south aisle is the monument (see Fig. 1010) of Bishop Patrick Scougal, who, as his epitaph says, “enriched the Cathedral of St. Machar,” and other places in Aberdeen, “with considerable tokens of his great bounty.” The monument was erected in 1685, the year of his death.

TRINITY COLLEGE CHURCH, EDINBURGH.

This church stood in the hollow between the Old and New Towns of Edinburgh, on the west side of Leith Wynd. It was founded by Mary of Gueldres, Queen of James II., shortly after that king’s death in 1460, the charter of erection being dated 1462. The edifice was dedicated to the “honour and praise of the Holy Trinity, to the ever blessed and glorious Virgin Mary, to Saint Ninian the Confessor, and to all the saints and elect people of God.”[49]

The foundation was established for a provost, eight prebendaries, and two clerks, and in 1502 there were added a dean and sub-dean. Lands and benefices sufficient were bestowed on the establishment for its maintenance.

Connected with the college was “Trinity Hospital,” also founded by Queen Mary of Gueldres. After the Reformation the endowments passed into the hands of the Town Council, who maintained the Hospital as a city charity for decayed burgesses and their families.

The church became the place of worship of a new parochial division called “Trinity College Parish,” and so continued till 1848, when it was removed to make way for the station of the North British Railway Company.

Trinity College Church was a very fine specimen of the Scottish Gothic architecture of the fifteenth century. It showed (as has been pointed out in the Introduction) that much of the middle pointed or decorated style continued to be used in this country long after it had been given up in England. This view is supported by Richman, who says of this church: “The interior is a very beautiful decorated composition, with the capitals of the piers enriched with foliage, not exceeded in design or execution in any English cathedral”; and he also adds, “This building is all of good decorated character, and deserving of minute examination and study.” During the erection of the church “the master of works” was John Halkerston, who, in recent books, is frequently referred to as the architect; but, as has been pointed out elsewhere,[50] he seems to have acted as paymaster, not as designer.

The church (Fig. 1016)[51] consisted of a choir, with north and south aisles, and a five-sided eastern apse, north and south transepts, with the commencement of a tower over the crossing, and a north sacristy. The nave was never erected, the arch leading to the west from the transept being built up, and having a circular window inserted therein. It is supposed that the progress of the structure was arrested by the death of the foundress, which occurred in 1463. The choir, including the apse, was 69 feet in length by 25 feet in width internally. The north and south aisles extended along the three bays of the choir, the north aisle

being 13 feet wide and the south aisle 9 feet wide. The apse was the full width and height of the central choir, and had a lofty window in each of its three central divisions. The transepts had small projections; the whole internal length of the transept, including the crossing, being 74 feet and the width 24 feet.

The choir and aisles were roofed with fine groined vaulting. That of the side aisles was simple, but the vault of the choir was ornamented with ridge ribs and several intermediate ribs, or tiercerons, springing from vaulting shafts, supported on corbels and provided with carved caps, and all the vaults were studded with carved bosses. The effect of the vaulting of the apse was specially beautiful. Each bay of the choir had clustered piers (Fig. 1017), with finely carved capitals. Above these was a string course, then a piece of plain wall in the space usually occupied by the triforium, and the whole was crowned with the traceried clerestory

Piers of Choir.]

windows. A good general view of the interior, taken a short time before its destruction, is given by Billings.[52]

Owing to the removal of the building, it has been impossible to make original illustrations for this work, but we are fortunate in being able to publish copies of a series of sketches made by the late James Drummond, R.S.A., in 1845. These picturesque sketches give a good idea of the nature of the structure, both internally and externally. Fig. 1018 is a view of the exterior of the south side of the choir, showing the three bays into which the aisle was divided by buttresses, from which flying arches extended to the upper part of the choir. The buttresses had simple set-offs, and were crowned with pinnacles, which, for the most part, seem to have been greatly decayed. In the depth of the buttresses next the south transept a porch was formed, which was roofed with fine groined vaulting. This porch is also well shown in Fig. 1018. The arch is moulded, and dies against the buttresses, and is crowned with a reversed curve and a flowered finial. There were carefully carved canopies and corbels for statues on the face of the buttresses on each side of the porch, and the other buttresses seem to have had similar niches. A round-headed doorway in the porch gave access to the choir, and had a square-headed window over it.

The aisle windows had double splayed jambs and arches (Fig. 1019) both in the exterior and interior of the wall openings, but the original tracery had been broken, and its place was supplied with one upright mullion in the centre and a transome (Fig. 1020). This sketch also shows the south end of the south transept, which preserved its four mullions, of varied thickness, and its tracery. The latter is of a kind not uncommon in late Scottish churches.

Fig. 1021 shows the exterior of the north transept, and the north side of the choir and the sacristy. The north end wall of the transept corresponds

with that of the south transept--the great window having double splays on the outer ingoing, and tracery, mullions, and transome similar to those of the south window. The angle buttresses and pinnacles, and parapet with corbel course, enriched with rosettes and gargoyles, all correspond at both ends of the transepts.

The upper part of the north side of the choir is also seen in this sketch. It had a plain parapet with bold gargoyles, and in each bay

Window Jamb.]

a moulded window in which the original tracery was preserved. This showed a central mullion with quatrefoil in the arch-head, and the smaller arches foiled or cusped. The buttress at the sacristy was well preserved. The pinnacle was apparently original and of good design. On the front of the buttress a small additional pinnacle was introduced, which would give considerable character to the design. Fig. 1018 shows that the same arrangement was evidently adopted in the corresponding buttress on the south side. The arches of the flying buttresses are also visible in the sketches of both sides of the church. The roof of the north aisle seems to have been covered with stone slabs.[53]

A building 17 feet in length by 16 feet in width internally projected from the north wall. It is sometimes called the chapter house, but was more likely the sacristy. It had a round-headed doorway opening into the north aisle (Fig. 1022), a good window to the east, and a smaller square-headed window to the west. There are two ambries in the west and north walls, a fireplace in the north wall, and a squint window in the south-east angle commanding a view of the high altar. At the north-east angle there was a buttress with a pinnacle, and at the north-west angle (see Fig. 1021) an octagonal projection, which, doubtless, contained a wheel stair to an upper floor, the window of which is seen in the sketch. The roof was covered with stone slabs, and a chimney with battlement ornament crowned the north gable. The fireplace of the sacristy is said to have comprised a fine specimen of a Gothic chimney.

Fig. 1023 shows the interior of the south transept. The transept had no aisles or chapels. The main arches of the crossing spring from clustered responds against the walls with carved caps, and the groined vaulting of the transept--which was similar to that of the choir--with its numerous moulded ribs enriched with bosses, is seen springing from wall shafts and corbels. The south window, with its mullions and

tracery, is also well shown. A small circular window, with eight bold cusps, was inserted within the western wall arch.

Fig. 1024 is taken from the parapet walk of the south transept, and shows the upper part of the south side of the choir, the top of the stair turret, and the angle pinnacle of the transept. Of the choir there are

visible the parapet, with enriched corbel course, and the bold gargoyles and pinnacles of the east end buttresses. The south clerestory windows had lost their tracery, and a plain mullion and transome had been substituted. The cape house of the stair turret is plain, but picturesque, and the pinnacle of the angle buttress is of good, though late, design. Those of the apse are evidently similar.

Fig. 1025 shows a view from the parapet of the choir looking south across the south transept. We here see the construction of the parapet and its corbel course, and an example of one of the gargoyles carved in the form of an animal. The monkey was a favourite subject of the carvers in this church, and it as well as other figures were used in great profusion. The cape house and angle pinnacle are also again visible.

To the right is the roof of the south transept, terminated with a foliated cross. A small ridge ornament of stone may also be observed on the top of the stone ridge of the roof.

In Fig. 1022 a small credence table or piscina is visible, which is illustrated on a larger scale in Fig. 1026. Fig. 1027 is a piscina which was probably in the choir. The carving has apparently been of a good style, but late. Fig. 1022 further shows that there was a doorway at the east end of the north aisle, which appears to have nearly blocked up the traceried window, the head of which is visible above. The Plan shows that there was a similar doorway at the east end of the south aisle.

Credence Table in North Aisle.]

Fig. 1028 shows the interior of the south aisle looking westwards. These sketches in the north and south aisles show that the central aisle was shut off from the side aisles by solid partitions at the time the sketches were made.

In Figs. 1029 and 1030 are shown a great variety of the picturesque carvings with which the corbels, caps, &c. were enriched. These sculptures are all of a very grotesque and some of a debased character, and point to the late style of much of the work.

In Fig. 1031 is preserved a view of part of the exterior of the apse and of some old-fashioned structures adjoining. Although the building of Trinity Hospital is removed, the charity still exists and adds to the comfort of a number of old men and women.

When the church was demolished, a careful search was made to discover the remains of the royal foundress; and a skeleton, in an antique-shaped leaden coffin, was found in the apse, near the place where the high altar must have stood. This was probably the remains of the queen dowager.[54]

A very interesting memorial of Trinity College Church has been preserved in a painting, which is believed to have been the altar-piece. It is

a Diptych, painted on both sides, and contains portraits of King James III. and his queen, Margaret of Denmark. It was executed in 1484, and has

been restored to this country from Hampton Court by the gracious permission of Her Majesty, and is now exhibited in the Picture Gallery of

Holyrood House. Dr. Laing has endeavoured to prove its original purpose by identifying the portraits of Edward Bonkill, the queen’s confessor, and

(From a Drawing by William Douglas, 1845.)]

probably that of Mary of Gueldres herself, in the character of an angel seated at the organ of the church, which forms the reverse of one of the panels.[55]

THE PARISH CHURCH OF ST. JOHN THE BAPTIST, PERTH.

The ancient City of Perth, one of the favourite residences of the kings of Scotland, formerly possessed, as might be expected, many well endowed religious establishments. The principal of these was the Dominican or Blackfriars’ Monastery, founded by Alexander II. in 1231. The buildings were extensive, and formed the residence of the Scottish kings when in the Fair City. It was here that James I. was staying at the time of his assassination. The Carmelites or Whitefriars had also a convent close to Perth, founded in the reign of Alexander III. The Charter House or Carthusian Monastery in Perth was the only house of that order in Scotland. It was founded by James I. and his queen in 1429. The Franciscans’ or Greyfriars’ Monastery was founded by Lord Oliphant in 1460. There were also numerous nunneries and chapels, some of very ancient date; but all these religious establishments have now entirely disappeared, the only ancient ecclesiastical structure still remaining (and it has been greatly changed) being the Parish Church of St. John the Baptist, from which the city derived the title of “St. John’s Town.” This edifice still serves its original purpose of the parish church of the town, but it has in modern times been divided by walls so as to form three places of worship.

So far as we have been able to discover, no complete history of this church has ever been written, and the circumstances connected with its original erection and subsequent reconstruction do not appear to have been definitely ascertained and described. It is certain that a church existed here in the twelfth century, and it is obvious, from an inspection of the structure, that not a single stone of that early building remains to enable its size and appearance to be determined. All knowledge in regard to the existing fabric must, therefore, be derived from the internal evidence of the building itself, with such slight aid as can be got from written records. The following are some scattered notices of St. John’s Church gathered from various sources.

The earliest mention of the church occurs in the _Registrum de Dunfermelyn_[56] under the years 1124-1127, when it was granted by David I., with its property and tithes, to the Abbey of Dunfermline.

Between the years 1189 and 1199 William the Lion granted a charter to Henry Bald of “that land which is in the front of the street, which leads from the Church of St. John Baptist to the Castle of Perth, on the east side opposite to the house of Andrew, the son of Simon.” The same Henry Bald granted, about the year 1225, to the Abbey of Scone “these two booths which are in the front of the street which leads from the Church of St. John Baptist towards the Castle of Perth, on the east side opposite to the house of Andrew, the son of Simon; those two booths, to wit, which are towards the north.”[57]

The Church of St. John the Baptist was consecrated by David de Bernham, Bishop of St. Andrews, in 1242.[58] In Hay’s _Sacra Scotia_ (p. 323) it is stated that the heart of Alexander III. was buried in the Church of St. John.

In course of time the abbots of Dunfermline allowed the building to become ruinous, and endeavoured to lay on the citizens of Perth the burden of upholding the fabric. It is probable that early in the thirteenth century the Dominican Monastery was built in Perth, and about the middle of the century the Carmelite or Whitefriars’ Monastery was erected, and the interests of the citizens may thereby have been diverted somewhat from the parish church. It was perhaps in connection with the repairs required at the time that Robert the Bruce, in 1328, granted that stones might be taken from the quarries of Kyncarachi and Balcormac, belonging to the Abbey of Scone, “for the edification of the Church of Perth.”[59]

In 1335 King Edward III. was in Perth and slew his brother, John of Eltham, Earl of Cornwall, before the high altar of the Church of St. John, for his excesses and ravages in the western districts of Scotland.

In 1379 the tomb of Robert II. was brought from Leith to Perth, and temporarily deposited in St. John’s Church before being taken to the Abbey of Scone and set up in it.[60]

In 1393-4, after the holding of a Parliament at Scone, Walter Trail, Bishop of St. Andrews, performed divine service in St. John’s Church.[61]

From 1401 till 1553-6 there is a continuous record[62] of the founding of altars in the parish church, and of endowments to already existing altars. In one of these, founded in 1402, it is stipulated that if the stipend of the chaplain of St. James the Apostle should exceed a certain sum, the excess of the endowment meant for that altar should be applied by the Provost and Town Council “for the maintenance and reparation of the windows and ornaments of the parish church.”

The chapel in which St. James’s altar was situated stood on the south side of the church, and having fallen into a state of ruin, it had been rebuilt about the year 1400, chiefly with the assistance which the magistrates received from William Whitson, a wealthy burgess of Perth.

By a notarial instrument made in 1410, containing certain obligations and confirmations, Euphame, Countess of Stratherne, “gave her bodily oath on the gospels to observe the same. Done in the Parish Church of the Burgh of Perth on St. Martin’s altar.”[63]

The foundation charter of the altar of St. John the Evangelist, founded in 1448 by Sir John de Bute, states that the altar was situated “in the new choir of the Parish Church.”

The accounts of the Lord High Treasurer contain a payment under the year 1489--“To the Kirk werk of Pertht, xviijs.”[64] And again in 1496--“Item, the xij day of March, in Sanct Johnstoun, giffin to the kirk werk on the bred (altar) xjs. vjd.”[65] Along with other offerings at this time in St. John’s there occurs the following--“Item, that samyn day giffin to Walter Merlioune, masoune, for his fee quhill Witsonday nixt tocum, quhilk is the Mertymes fee bipast, xxlib.”