PARISH CHURCHES ILLUSTRATING THE ARCHITECTURE OF THE NORMAN PERIOD

Dalmeny Church (Linlithgowshire). “Two nearly perfect churches of the Romanesque age,” says Dr. Joseph Robertson, “survive at Dalmeny and Leuchars the former apparently in the twelfth century a manor of the Anglo-Norman house of Avenel, the latter a Scottish fief of one of the Magna Charter barons, Saier de Quincy, Earl of Winchester. Neither building need fear comparison with the common standard of English examples. Both are late in style: Leuchars is the richer, Dalmeny the more entire of the two. Both have semicircular apses a feature found also in the parish churches of St. Kentigern at Borthwick, and St. Andrew at Gulane, and in the chapel bearing the name of St. Margaret within the walls of Edinburgh Castle."

Dalmeny Church is the most complete of Scottish Norman churches, and consists of a chancel with eastern apse, and a nave separated from the chancel by an elaborate chancel arch. The arch has three orders, decorated with elaborate chevron ornaments, enclosed with a hood moulding carved with an enrichment somewhat resembling the dog-tooth. The soffit contains a similar faceted enrichment. The arch is carried on three attached shafts on each side, built in ashlar, and provided with subdivided cushion caps and plain bases. The chancel has one small window on the south side, and is vaulted with bold diagonal groin-ribs, enriched with chevron ornaments and springing from grotesque corbels. The apse is semicircular, and is entered from the chancel by an enriched arch with shafts and caps similar to those of the chancel arch. It is lighted by three plain window openings, the central one being enlarged. In the exterior a string-course runs round the building immediately below the windows, of which it forms the sills, and is enriched with a carved floral pattern. The chief feature is the main entrance door in a porch, projecting to the south, the archway of which is supported on two plain pillars with Norman capitals. There are over this door the remains of a line, concentric with the arch, of sculptured figures and animals, very similar to those found on the ancient sculptured monuments of Scotland. Associated with the Agnus Dei, Leo, Sagittarius, serpents, birds, dragons, and human figures, we have one perhaps bearing a pastoral staff. From the rough nature of the masonry at the west end of the nave it is probable that a tower was intended to be built there. On the north side projecting wings have been added to the church, but the south front and east end are almost untouched and show twelfth century work, uninjured save by weather and natural decay. The church is believed to have been dedicated to St. Adamnan, and this is rendered very probable by the fact that the neighbouring church of Cramond was dedicated to St. Columba.

Leuchars Church, Fifeshire. We hear of a church here in 1187, and it was given to the canons of St. Andrews (1171-1199). The church now consists of a choir with a circular apse; there are traces of an arch at the west end of the choir which opened into the nave, that has been rebuilt. In the seventeenth century a turret was built, which is incongruous and out of place; and to support the belfry a plain arch has been introduced in the interior amongst the Norman work of the apse. The exterior of the semicircular apse shows an arcade of two storeys,

“the shafts of the upper tier resting on the arches of the lower one, and all the shafts bearing cushion caps. Those of the lower story are double shafts, and those of the upper story are double shafts, with a broad fillet between them. All the arches are enriched with chevron and billet mouldings, and the upper tier has an extra order of elaborate billet-work. The string-course between the two arcades is carved with zigzags. The cornice is supported on a series of boldly-carved grotesque heads, all varying in design.... The design of the exterior of the choir is similar to that of the apse, there being two arcades, one above the other, surmounted by a cornice, with corbels carved as grotesque heads. The lower arcade, however, has interlacing arches, which indicate a late period of the style. The two arcades are separated by a string-course, enriched with scroll floral ornament. In the interior ... the chancel arch (which has elaborate carving) is carried on a central attached shaft and two plain nook shafts, built in courses, with simple cushion caps and plain bases. The chancel is vaulted with heavy moulded groins, springing from the cushion caps of short single shafts resting on grotesque heads. A small window is introduced in each of the divisions formed by the shafts, and each window has a pair of nook shafts in the interior and enriched arch above. The lower part of the apse is plain, and is separated from the upper part by a string-course, enriched with faceted ornaments."

PARISH CHURCHES ILLUSTRATING MIDDLE POINTED OR DECORATED PERIOD

St. Michael’s Parish Church, Linlithgow, was the scene of the apparition that is said to have warned King James IV. against the battle of Flodden, and is one of the largest parish churches in Scotland. A church dedicated to St. Michael existed here as early as the time of David I. A new church is said to have been erected in 1242, and probably some parts of this are incorporated in the present edifice. In 1384 Robert II. contributed to the erection or repair of the church tower, and in 1424 the church was injured and considerably destroyed by the fire that reduced the town to ashes. The reconstruction of the edifice probably progressed, under the Jameses, simultaneously with that of the palace adjoining.

St. Michael’s consists of a choir, including two aisles and a three-sided apse at the east end; a nave, including two aisles; two chapels inserted, north and south, in the place usually occupied by the transept; a square tower at the west end, and a south porch giving access to the nave. The nave is the oldest part of the building, and appears to have been erected before the middle of the fifteenth century. The choir is of somewhat later date. A broad stone bench or seat is carried round the nave, and the bases of the triple wall shafts of the vaulting rest upon it. Those of the choir, different in design, rest on the floor. In the nave there are triforium openings in each bay, and clerestory windows above them. The windows throughout the church are of large size, and filled with varied geometric tracery. The windows of the apse are large, and the tracery of two of the windows is perpendicular in character. The transepts (or north and south chapels) and the south porch have crow-stepped gables both on their outer walls and also over the inner or aisle wall which separates them from the church. Each of these contains an apartment over the vault, that over the south porch being probably a place for preserving documents. The buttresses of the nave have a simpler character than those of the apse and north transept. The canopies of the niches are ornamented somewhat similarly to those of Rosslyn. The buttress of the south-west angle of the nave, crowned with the sculptured figure of St. Michael, is a striking feature on approaching the church. The western tower was originally terminated with a crown of open stone-work, similar to that of St. Giles, Edinburgh. About 1821 it was found to be in a dangerous condition, and had to be taken down. The tower is of late design and contains a doorway, continental in style, which may possibly be the work of Thomas French, the King’s master-mason, and above which there is a large perpendicular window. The upper part of the tower would contrast well with the crown on the top. The tower opens into the nave with a wide and lofty arch, carried up to the clerestory level, and the groined vault with large window below produces a good effect. In each side wall of the tower is a richly canopied recess, intended for monuments or sculpture. A portion of what seems to have been a carved altar-piece is preserved in the church and represents scenes in our Lord’s Passion. The steeple contains three bells with inscriptions.

The south transept contained an altar dedicated to St. Katherine, and was the place where James IV. is reported to have seen the apparition that warned him against the fatal expedition to England an incident chronicled by Pitscottie, and forming the basis of Sir David Lyndsay’s tale in Marmion. The church contained twenty-four altarages, which were removed in 1559 by the Lords of the Congregation in their march from Perth to Edinburgh; and probably still further damage was done by Cromwell’s dragoons, who used it as a stable. The church belonged to St. Andrew’s priory, and was long served by perpetual vicars. It has been recently restored, and made worthy of its great past.

The west doorway is pronounced to be a pleasing specimen of the half continental manner in which that feature was usually treated in Scotland.

Haddington Parish Church (East Lothian) is one of the ecclesiastical structures belonging to the ancient royal burgh of Haddington. Besides it there were the monasteries of the Franciscans and Dominicans, the Cistercian nunnery, and the chapels of St. Martin, St. Ann, St. Katherine, St. John, and St. Ninian. Of these establishments the only two that now survive are St. Martin’s (a very ancient chapel) and the parish church, which deserves the name now applied to it (although originally it seems to have been given to the vanished church of the Franciscan monastery) on account both of its beauty and the distance at which its lights were visible Lucerna Laudoniae, or Lamp of Lothian. The ancient church of Haddington was founded by David I., dedicated to the Virgin, and by him granted in 1134 to the priory of St. Andrew. The present structure is of later date, and from the style of the architecture, was probably rebuilt in the first half of the fifteenth century. The church is cruciform, having choir and nave, both with side aisles, and north and south transepts without aisles. Over the crossing is the central tower. The choir and transepts are ruinous, and the restored nave is used as the parish church. The tower was originally crowned with a canopy or spire of open work similar to that of St. Giles, Edinburgh, and King’s College, Aberdeen; and large picturesque gargoyles still break the line of the cornice on the top. Although the edifice has been so sadly damaged, it does not appear to have suffered at the Reformation. The town was under siege in 1548, when it was held by the English after the battle of Pinkie, and was attacked and taken by the Scots and their French allies. It is not unlikely that the church suffered at that time.

PARISH CHURCHES OF THIRD OR LATE POINTED PERIOD

Parish Church of St. John the Baptist, Perth. The ancient city of Perth possessed many endowed religious establishments, but the only one that survives is the church of St. John the Baptist, from which the city derived its title of “St. John’s Town.” This church, divided by walls so as to form three separate places of worship, is still the parish church of the town. The first church of Perth was probably connected with the neighbouring Pictish monastery at Abernethy, and was erected by the monks there during the Celtic period. The register of Dunfermline contains the earliest historical mention of the church under the years 1124-1127, when it was granted by David I., with its property and tithes, to that abbey. The church was consecrated by David de Bernham, Bishop of St. Andrews, in 1242, and it is stated that the heart of Alexander III. was buried in the church of St. John. The abbots of Dunfermline allowed the building to become ruinous, and tried to place upon the citizens of Perth the burden of upholding the fabric. The interest of the citizens seems to have been diverted from the church, and directed, probably at the beginning of the thirteenth century, to the building of the Dominican monastery, and about the middle of the century to the erection of the Carmelite or Whitefriars’ monastery. It is probable that in connection with repairs necessary for the church, King Robert the Bruce in 1328 granted that stones might be taken from quarries belonging to the Abbey of Scone, “for the edification of the Church of Perth.” Of the twelfth century church of St. John nothing now remains to indicate its architecture, although it may have been both magnificent and extensive. After the death of Robert the Bruce in 1329 the restoration begun by him probably ceased, and during the unrest of the fourteenth century the church probably suffered further damage. 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 1393-1394, after a parliament at Scone, Walter Trail, Bishop of St. Andrews, conducted divine service in St. John’s Church. From 1401 till 1553-1556 there is a continuous record of the foundation of altars in the church, and of endowment of already existing ones. The chapel in which St. James’ altar was situated stood on the south side of the church, and 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 church consists of a choir and nave, with north and south aisles, and north and south transepts without aisles. The nave and choir are of almost equal length; there was a chapel on the west side of the north transept that no longer exists, but the wide arch of the opening into it is partly visible in the transept. It was two storeys in height.

It is pronounced as evident from the style of the architecture that the choir and crossing beneath the central tower belong to the period about 1448. The transepts may be later, and both are of the same period. The two eastern bays of the main arcade of the choir are more elaborately moulded than the others, and round the eastmost pillar on the south side there is cut an inscription containing the names of John Fullar and his wife. It has been remarked that the tithes and fees received by the magistrates probably did not suffice for the work laid on them by the monks of Dunfermline, and that John Fullar and his wife volunteered to pay for a part, certainly for the pillar on which their names are inscribed. In the second bay of the choir from the east on the north side there is a round arched doorway, now built up, and it led to the sacristy, afterwards used as a session-house; it was taken down about 1800, and the meetings were held in a building on the south side of the nave near the west end, which has also been removed. The present north and south doorways in the choir are modern, although the south one is in the position of the old doorway. The choir has no triforium, but good plain masonry instead, undivided by wall shafts; the clerestory windows are small and round arched, are divided into two lights by a central mullion, and have plain tracery in the arch-head. The nave is divided, like the choir, into five bays, and has no triforium nor clerestory; there is a deep blank wall above the arcade arches. “This wall is of rough masonry compared to that in the choir, and the whole of this part of the church is of a much coarser and ruder description, betokening a later age. The capitals of the piers are of the very rudest kind, and are a perfect contrast to the delicate work of the choir. In the meagre description of St. John’s to be found in the books on Perth, this rudeness is pointed to as a sign of great antiquity, but the reverse is unquestionably the case. This nave is undoubtedly ’the New Kirk of Perth’ referred to in the Chronicle, in which ’ane Synodall assemblie’ was held in April 1606." Early in the nineteenth century it was contemplated to raise the nave wall and erect a clerestory; two of the windows adjoining the tower on the north side were actually built, and still remain with massive buttresses, surmounted by high finials; the work was never finished, and could not be carried farther west, as there is no proper support for such a massive building. Tradition says that at one time the church extended farther west, and it seems not improbable that a western tower in the centre of the front may have been contemplated, and even begun. “This tower, like those at Stirling, Linlithgow, and Dundee, may have been intended to open towards the church with a wide arch, of which the jambs still remain; but this idea having been abandoned, and any part of the tower which then had been built having been taken down, the present makeshift gable was put up instead to fill up the gap, which, in these circumstances, would be left for the supposed opening into the church." On the north side of the nave there is a large porch called Halkerston’s Tower. It was a two-storied building, the upper storey being of great height and vaulted as well as the lower one. The erection of the west end of the church is referable to about 1489, when payments were made “to the kirk werk of Pertht.” The central tower was erected after the adjoining part of the nave, and has one window in each face. The parapet and corbelling were renewed about forty years ago. The exterior of the church has been altered at various times, and an open parapet carried along the top of the choir wall over the clerestory windows as well as along the aisle walls and up the sloping gables of the east end. Dormer windows to light the galleries break in on this aisle-wall parapet, as well as on the roof of the nave.

It was in the Church of St. John, Perth, that John Knox denounced the Mass in 1559, and the multitude afterwards demolished the ornaments, images, and altarpieces as well as the monasteries and religious houses in Perth an example quickly followed by others throughout the country. In Scott’s novel, The Fair Maid of Perth, the church is the scene of the trial by bier-right to discover the slayer of Proudfute.

The East Church (or choir) has been recently restored, and many look forward to the day when, the present partition walls being removed, St. John’s Church will once more reveal the full splendour of its striking and grand interior. Perth awaits a generous restorer, and St. John’s affords a grand opportunity for patriotism and beneficence.

DUNDEE CHURCH TOWER

About 1198 the church of Dundee was bestowed on Lindores Abbey, and the church then existing is stated to have been erected by David, Earl of Huntingdon, as a thank-offering for his escape from a storm at sea. About 1442 an agreement was formed between the abbot of Lindores and the provost and burgesses of Dundee, by which the latter undertook the construction and maintenance of the choir of Dundee Church. The only part of the ancient church which now remains is the western tower, and it was erected about 1450. Three parish churches in connection with the tower were developed from the original chapel St. Mary’s or the East Church, St. Paul’s or the South Church, St. Clement’s or the West Church. The church was damaged by the English before the Union, and St. Clement’s had to be rebuilt in 1789. The three churches were almost totally destroyed by fire in 1841, and the choir and transepts were thereafter rebuilt. The church tower survived, and has resisted for over four centuries storm and tempest, fire and siege. Its massive strength and height are features that strike the eye from far. It is square, and 165 feet high. The western entrance consists of two round arched doorways, comprised within a larger circular or elliptical arch, which is again enclosed by a square moulding. The arch mouldings are enriched with foliage, while the jambs and central pillar are moulded with alternate rounds and hollows. In the spandril over the centre shaft there is a circular panel with a Virgin and Child; below are the arms of the diocese of Brechin on a shield. Above the doorway is a lofty traceried window, and above this window the tower is vaulted. The height from the floor to the groined ceiling is about 47 feet. At each of the four corners there is a large circular shaft, and each shaft is fitted into its position in a manner different from the others. The sedilia or stone seats still remain entire, and extend along the north, south, and west walls. The tower is divided into two principal stages by an enriched parapet and outside passage. The parapet is pierced with quatrefoils and ornamented with crocketed pinnacles. The roof is of the saddle-back kind, with gables towards the east and west. It was evidently meant to have an open crown termination, and the preparations exist for the springing of the angle arches.

The tower was restored by the eminent Sir Gilbert Scott in 1871-1873.

Stirling Parish Church. Two churches in Stirling are spoken of in the reign of David I. One of them was the chapel royal, which was dedicated by Alexander I.; and the “vicar” of the “Kirk of Stirling” is mentioned in 1315 and in the time of David II. There are also notices of it in the reigns of Robert II. and Robert III., when it is designated as the Church of the Holy Cross of Stirling. Of this earlier church, which was burnt, nothing now remains. The present edifice consists of two divisions, the nave and the choir, which were built at two different periods. The nave, which is the oldest part, is referred to in the Chamberlain’s Accounts from July 1413 to June 1414, and the date of the choir is known to be between 1507 and 1520.

The church contains a central nave with north and south aisles (the aisles being vaulted in stone), an eastern apse, and a western tower. The nave has five bays, the choir three bays, and they are separated by a wide bay which may be termed the crossing. The crossing now serves as an entrance hall to the two churches, into which the building is now divided. Walls are built across each side of the crossing, so as to enclose the choir as one church and the nave as the other. The west tower, which is vaulted, opens into the nave through a lofty pointed arch, springing from moulded responds. The original entrance to the church was through the western tower, but the western doorway was destroyed in 1818, and part of a window now occupies its place. The tower is pronounced to be one of the best specimens of the Scottish architecture of the sixteenth century, as applied to ecclesiastical structures, and the situation of the church on the Castle Hill gives it an imposing and picturesque effect.

The piers of the nave (with the exception of two) are round and massive cylinders, and the east and west responds are semi-cylinders. The general appearance of these pillars has been taken to illustrate what is so often found in Scotland (both in ecclesiastic and domestic work) during the fifteenth century and onwards viz. a tendency to imitate Norman and Early Pointed details.

“This tendency is also seen in the nave piers of Dunkeld Cathedral, in the piers and arches of the naves of Aberdour Church and Dysart Church, in the imitation of First Pointed work in the late cloisters of Melrose, and many other examples which might be cited. But the later counterfeit is never perfect, there being always some touch of contemporary design which reveals the imitation.”

Over the crossing was an upper room, known as the King’s room, from which the service could be seen, but it was destroyed about the middle of this century. At the north-west corner of the church was a chapel (now removed) with a wide opening into the church. It was called Queen Margaret’s, and is supposed to have been built by James IV. in honour of his queen. Another chapel was dedicated to St. Andrew at the north-east end of the nave, and is still entire. It was erected by Duncan Forrester of Garden, Knight, who was a liberal benefactor of the church.

The church is associated with many historical events. It was here that the Regent Arran publicly renounced Protestantism in 1543, and here in the following year also the Convention met that appointed Mary of Guise regent. The church, although “purged” in 1559, was not injured, and was used in 1567 for the coronation of James VI., then but thirteen months old. When General Monk in 1651 was besieging the castle, the church tower was one of the points of vantage seized by his soldiers, and the little bullet pits all over it indicate how hot must have been the fire directed against them. It was held by the Highlanders in 1746, and its bells pealed in honour of the victory at Falkirk. John Knox has preached within its venerable walls.

It was divided into two buildings in 1656, and comprises still the east and west parish churches, the east being renovated in 1869. Since then a large number of stained-glass windows have been introduced.

Church of St. Leonard’s College, St. Andrews. The Hospitium or Guest Hall of St. Leonard’s was founded by Prior John White in the middle of the thirteenth century for the reception of pilgrims and visitors to St. Andrews. Some remains of the guest hall have been excavated, from which it seems to have been a hall with central nave and two side aisles. The building was afterwards used as a nunnery, and in 1512 was appropriated as a college. It was then founded by Prior John Hepburn in conjunction with Archbishop Alexander Stewart. As a college, it was under the superintendence of the prior and chapter, and was for the education of twenty-four poor students. It became famous, however, and was attended by sons of noblemen. George Buchanan was at one time principal, and the college helped to spread a knowledge of sacred music throughout the country. A long range of buildings on the south side of the church was used as the students’ residence. The church was long used for public worship, but after the college of St. Leonard’s was united to that of St. Salvator in 1747, St. Leonard’s was abandoned in 1759. Within recent times several alterations have been made on it, the steeple being taken down and the west end “set back” to give more room for access to a private house.

The chapel is an oblong, and is without division between nave and chancel. The church appears to have been extended 24 feet at the east end, when it was converted into a college. The design of windows and buttresses (perpendicular) is pronounced to accord well with the date of erection in the sixteenth century, and is similar to that of English colleges. On the north side is a room with a round barrel vault, probably the sacristy. There is a piscina in the east window sill.

Church of The Holy Trinity, St. Andrews. This church, usually named the Town Church, is of ancient foundation, but was almost entirely rebuilt at the end of the eighteenth century. An early church is said to have been built here in 1112 by Bishop Turgot, and subsequently dedicated by Bishop de Bernham to the Holy Trinity. It had in its palmy days thirty altarages, each with a separate priest and fifteen choristers, and it was from the pulpit here that John Knox preached his famous sermon on the purifying of the temple. The church demolished at the close of last century is believed to have been erected in 1412. The north-west tower is the only part of the old structure which survives.

“Like the north-west tower at Cupar, it rises from the north and west walls of the north aisle, without buttresses to mark its outline or break the upright form of the walls. The square outline, however, is partly relieved by a square projection at north-west angle, which contains the staircase. The east and south walls are carried by arches, which formerly allowed the lower story of the tower to be included within the church, and the round pier at the south-east angle is made of extra thickness, so as to bear the weight of the tower."

The parapet is plain and rests on simple corbels. Above it rises a short and stunted octagonal spire with lucarnes, like most of the late Scottish examples. There is over the staircase a small turret with pointed roof. It is carried up within the parapet, and groups picturesquely with the main spire. The tower resembles the one at Wester Crail, and both are of fifteenth century date. It is of this tower or steeple that we hear in John Knox’s History of the Reformation in Scotland. When a captive on a French galley lying between Dundee and St. Andrews the second time that the ship returned to Scotland (probably June 1548),

“The said Johne (Knox), being so extreamlye seak that few hoped his lyeff, the said Maister James (Balfour) willed him to look to the land, and asked if he knew it? Who answered, “Yes, I know it weall: for I see the stepill of that place whare God first in publict opened my mouth to His glorie, and I am fullie persuaded, how weak that ever I now appear, that I shall nott departe this lyif till that my toung shall glorifie his godlie name in the same place." His hope, as we have just seen, was not disappointed.”