SCOTTISH MONASTICISM

The old Celtic monastic system, with Iona as its centre, was superseded by the monastic system of the Roman Church in the eleventh century, and the old Culdee monks were either driven from their ancient settlements or compelled to become Augustinian canons or Benedictine monks. The life of Queen Margaret marks the period of transition in Scotland from the old system to that of the Church of Rome both in building and in every other department, and what Queen Margaret began, her sons, Edgar, Alexander and David completed. St. Margaret had a monk of Durham for her chaplain; Lanfranc, Archbishop of Canterbury, was her chosen counsellor. She introduced Benedictines from Canterbury into her foundation at Dunfermline. Edgar and Alexander took for their adviser St. Anselm Lanfranc’s successor, preferred English priests, and peopled the monasteries with English monks. David was even more earnest in the pursuit of this policy, and the kings who followed him found little to “Anglicise.” Saxon refugees were followed into Scotland by Norman knights; these were received by David and presented with lands, and the extent of their possessions is apparent in the names of the proprietors settled in every part of the country. The policy is apparent: their settlement helped to keep the country in order, and defend it from the attacks of the unsubdued tribes in the north and west. It also helped to facilitate the spread of the Roman Catholic system throughout the country. “The new colonists,” says Dr. Cosmo Innes, “were of the ’upper classes’ of Anglican families long settled in Northumbria, and Normans of the highest blood and name. They were men of the sword, above all service and mechanical employment. They were fit for the society of court, and many became the chosen companions of our princes. The old native people gave way before them, or took service under the strong-handed strangers, who held lands by the written gift of the sovereign." ... “The new settlers were of the progressive party, friends of civilisation and the Church. They had found churches on their manors, or if not already there, had founded them. To each of these manorial churches the lord of the manor now made a grant of the tithes of his estate; his right to do so does not seem to have been questioned, and forthwith the manor tithed to its church became what we now call a parish." Examples of these parish churches have already been considered, and the two-fold movement of a cathedral system with parochial bénéfices was continued for a time. It was the most effective way of superseding the old Celtic church, and the policy was throughout inspired by the aim of substituting the parochial system with a diocesan episcopacy for the old tribal churches with monastic jurisdiction and functional episcopacy. But this was accompanied by a third movement, which to a very great extent paralysed it, and became a source of weakness to religion. The parochial system was shipwrecked when scarcely formed by the introduction of monasticism, which was then in the ascendant throughout Europe. “The new monks,” says Dr. Cosmo Innes, “of the reformed rule of St. Benedict or canons of St. Augustine, pushing aside the poor lapsarian Culdees, won the veneration of the people by their zealous teaching and asceticism.... The church, too, with all its dues and pertinents, was bestowed on the monastery and its patron saint for ever, reserving only a pittance for a poor priest to serve the cure, or sometimes allowing the monks to serve it by one of their own brethren. William the Lion gave thirty-three parishes to the new monastery of Arbroath, dedicated to the latest and most fashionable High Church saint, Thomas a Becket."

The Church thus became territorial instead of tribal; episcopal instead of abbatial, and the new abbeys began to acquire large territory in the country. By the end of the thirteenth century the old line of Celtic kings closed in Alexander, and the movement was complete; the Church had ceased to be Celtic in usage and character, and had become Roman. This stream of tendency came from the south, and cathedrals with abbeys were constituted after English models. “Of the Scottish sees, all,” says Dr. Joseph Robertson, “save three or four, were founded or restored by St. David, and their cathedral constitutions were formally copied from English models. Thus the chapter of Glasgow took that of Salisbury for its guide. Dunkeld copied from the same type, venerable in its associations with the name of St. Osmund, whose “Use of Sarum” obtained generally throughout Scotland. Elgin or Moray sent to Lincoln for its pattern, and transmitted it, with certain modifications, to Aberdeen and to Caithness. So it was also with the monasteries. Canterbury was the mother of Dunfermline; Durham, of Coldingham; St. Oswald’s at Nosthill, near Pontefract, was the parent of Scone, and through that house, of St. Andrews and Holyrood. Melrose and Dundrennan were daughters of Rievaux, in the North Riding. Dryburgh was the offspring of Alnwick; Paisley, of Wenlock."

Roman monasticism thus became an important factor in Scottish life, and it is true to say that for a very considerable period the history both of piety and civilisation in Scotland was the history of its monasticism. It was a stage in the national development, a movement in religious progress, and it was only abolished when the salt had lost its savour, when monasticism had ceased to be spiritual and had become worldly and corrupt. The system had served its day in helping to educate the nation, and when its purpose was achieved it passed away.

Mediaeval architecture was, too, the outcome of the leisure in the cloister, and the men who designed and built those venerable temples must have been men to whom their work was their religion, and who regarded it as the way of honouring God. One cannot look at their architecture without realising how true are Ruskin’s definitions of Art: “Art has for its business to praise God." “Great Art is the expression of a God-made great man." “Art is the expression of delight in God’s work." “All great art is praise.” “Art is the exponent of ethical life." One cannot look at their ruins and not recall that by their destruction a beauty has passed away from the earth; one cannot read of the rude forces that destroyed them, and not see that the judgment on things is always on character, and that the last testing principle is, “See not what manner of stones, but what manner of men.” While we deplore the forces that destroyed, we have also to deplore the indefensible lives of the monks which at their last stage stirred such forces to their depths.

There were four principal rules, under which might be classed all the religious orders. (1) That of St. Basil, which prevailed by degrees over all the others in the East, and which is retained by all the Oriental monks; (2) That of St. Augustine, which was adopted by the regular canons, the order of Prémontré, the order of the Preaching Brothers or Dominicans, and several military orders. (3) That of St. Benedict, which, adopted successively by all the monks of the West, still remained the common rule of the monastic order, properly so called, up to the thirteenth century; the orders of the Camaldules of Vallombrosa, of the Carthusians, and of Citeaux recognised this rule as the basis of their special constitutions, although the name of monk of St. Benedict or Benedictine monk may still be specially assigned to others. (4) The Rule of St. Francis signalised the advent of the Mendicant orders in the thirteenth century. It is to be noted that the denomination of monks is not generally attributed to the religious who follow the rule of St. Augustine, nor to the Mendicant orders.

The canonical hours at which the monastic bell regularly summoned the monks were seven in number: (1) Prime, about 6 A.M.; (2) Tierce, about 9 A.M.; (3) Sext, about noon; (4) Nones, from 2 to 3 P.M.; (5) Vespers, about 4 P.M. or later; (6) Compline, 7 P.M.; (7) Matins and Lauds, about midnight.

Scottish monasticism exhibited the expansion of the two main streams the Augustinian and the Benedictine, and each subsequent order is to be regarded as an endeavour towards reform. Space will only permit us to deal with the Augustinian establishments at St. Andrews, Holyrood, and Jedburgh; with the Premonstratensian abbey of Dryburgh; with the Benedictine abbey of Dunfermline; with the Cluniacensian abbey of Paisley; with the Tyronensian abbeys of Kelso and Arbroath; with the Cistercian abbey of Melrose. The Premonstratensian order was a reform on the Augustinian, and the Cluniacensian, Tyronensian, and Cistercian orders, reforms on the Benedictine order. A study of their history and architecture in representative forms will introduce us to the piety and beauty of former days, as well as to an order of things very different from our own.

St. Andrew’s Priory. The priory or Augustinian monastery was situated to the south of the cathedral (q.v.), and was founded by Bishop Robert in 1144. The structure has now almost disappeared. It comprised about twenty acres, and was enclosed about 1516 by Prior John Hepburn with a magnificent wall, which, starting at the north-east corner of the cathedral, passed round by the harbour and along behind the houses, till it joined the walls of St. Leonard’s College on the south-west.

This, about a mile in extent, is all that now remains, but it is thought at one time to have passed back from the college to the cathedral. The wall has thirteen turrets, and each has a canopied niche for an image. The portion towards the shore has a parapet on each side, as if designed for a walk. There were three gateways, the chief of which, on the S.W., is known as the Pends, and of which considerable ruins still remain. Another gateway is near the harbour, and the third was on the S. side. Martine in his Reliquiae Divi Andreae mentions that in his time fourteen buildings were discernible besides the cathedral and St. Rule’s Chapel. Among these were the Prior’s House or the old inn to the S.E. of the cathedral, of which only a few vaults now remain; the cloisters, W. of this house, and now the garden of a private house, in the quadrangle of which the Senzie Fair used to be held, beginning in the second week of Easter, and continuing for fifteen days; the Senzie House, or house of the sub-prior, subsequently used as an inn, but now pulled down and the site occupied by a private house. The refectory was on the S. side of the cloister, and has now disappeared, as well as the dormitory between the Prior’s House and the cloister, and from which Edward I. carried off all the lead to supply his battering machines at the siege of Stirling. The Guests’ Hall was within the precincts of St. Leonard’s College, S.W. of Pend’s Lane; the Teinds’ Barn, Abbey Mill, and Granary were all to the S.W. The new inn, the latest of all the buildings, was erected for the reception of Magdalene, the first wife of James V. The young queen, of delicate constitution, was advised by her physicians to reside here; she did not live to occupy the house, as she died on 7th July 1537, six weeks after her arrival in Scotland. It was for a short time the residence of Mary of Guise when she first arrived in Scotland, and after the priory was annexed to the archbishopric in 1635 the building became the residence of the later archbishops. Several of its canons had sympathies with the Scottish Reformation. The prior of St. Andrews had superiority over the priories of Pittenweem, Lochleven, Monymusk, and the Isle of May, and was also a lord of regality. In Parliament he took precedence of all priors, and he, his sub-prior, and canons formed the cathedral chapter. The priory possessed in all thirty-two churches or their great tithes. From 1144 to 1535 there were twenty-five priors; from 1535 to 1586 the lands were in the possession of the Earl of Murray and Robert Stewart, as lay commendators; from 1586 to 1606 they were held by the Crown; from 1606 to 1635 by the Duke of Lennox; from 1635 to 1639 by the Archbishop of St. Andrews; from 1639 to 1661 by the University; from 1661 to 1688 by the archbishop again; from 1688 by the Crown. The part within the abbey wall was sold by the Commissioners of Woods and Forests to the United Colleges.

Holyrood Abbey (Midlothian). The abbey of Holyrood was founded by King David I. in 1128 for the canons regular of the order of St. Augustine, and was dedicated in honour of the holy cross or rood brought to Scotland by his mother, Queen Margaret. This cross, called the Black Rood of Scotland, fell into the hands of the English at the battle of Neville’s Cross in 1346. The abbey was several times burned by the English, and the nave on the last of these occasions, 1547, was repaired with the ruins of the choir and transepts. This was used as the parish church till 1672, when it was converted into the chapel royal. In 1687 it was set apart by King James VII. for the service of the Roman Catholic Church, but was plundered and again burned at the Revolution in the following year. It remained neglected until 1758, when it was repaired and roofed; the new roof, proving too heavy for the walls, fell with a crash in 1768, destroying all the new work. It suffered neglect again till 1816, when it was repaired, and in 1857 it was still further improved.

The abbey early became the occasional abode of the kings of Scotland, and James II. was born, crowned, married, and buried in it. The foundations of a palace apart from the abbey were laid in the time of James IV., Edinburgh having then become the acknowledged capital of the country. Holyrood Palace was henceforth the chief seat of the Scottish sovereigns. In it the nuptials of James IV. were celebrated; here also Mary Queen of Scots took up her abode in 1561 on her return from France, and here James VI. dwelt much before his accession to the throne of England in 1603.

The abbey church was beautiful in its architecture and of great size. It consisted of nave, choir, transepts with aisles, and probably lady chapel to the east, two western towers, and a tower over the crossing; but of all that splendid structure there now only remain the ruins of the nave and one western tower.

The surviving nave is in a ruinous state and consists of eight bays, the main piers of which are complete on the south side, but only represented by two fragments on the north side. The vaulting of the south aisle still survives, but that of the north aisle is gone. The north wall of the aisle still stands, and the east and west ends of the nave are restored. The N.W. tower is still preserved, but the companion tower at the S.W. angle was demolished when the palace was rebuilt in the seventeenth century. Some remains of the cloister are still observable on the S. side of the nave.

The chief part of the architecture is pronounced to be first pointed, but the doorway at the S.E. angle, which led from the cloister into the nave is pronounced to be of genuine though late Norman architecture. There was a nook shaft on either side, the divided cushion caps of which survive. The arch is round and contains two orders, both ornamented with zigzags. These orders are enclosed with a label, containing a double row of square facets and sinkings.

Some alterations have taken place adjoining the doorway, and two of the windows, that over the doorway and that to the west of it, are circular-headed and have a Norman character in their nook shafts and cushion caps. These windows were probably constructed in imitation of Norman windows which existed there originally. It is not improbable that the choir was built before the nave, and was of Norman work, and this supposition is regarded as accounting for the Norman work found at the first bay of the nave, and which may have been erected in connection with the choir and crossing.

The oldest part of the nave after the S.E. doorway is the wall of the north aisle. The windows above the arcade are single lancets, one in each bay. The south wall of the south aisle is similarly designed, but the details are different and of a rather later character. The lower story contains a wall arcade having single pointed arches, with first pointed mouldings. The windows over the arcade correspond generally to those in the north wall, and are all pointed except the two east bays already mentioned. The lower part of the exterior of the south wall, running westward from the Norman doorway, is arcaded with a series of large pointed arches, each enclosing five smaller pointed arches, and with a plain wall space between the large and small arches. The above large arches were the wall arches for a groined roof over the cloister walk, but whether that vault was ever built it is now regarded as impossible to say. The vaulting of both aisles has apparently been similar, but the south aisle alone retains it, which is of a simple character, consisting of transverse and diagonal ribs.

The main arcade of the nave has consisted of eight bays; the triforium is divided into two arches in each bay by a single central shaft, springing from a corbel over the apex of each arch of the main arcade, and running up to the string-course beneath the clerestory. This would suggest the view that the vaulting was sex-partite. Each arch of the triforium is acutely pointed, and contains two smaller pointed arches within it, each of which has an inner trefoiled arch. The tympanum of the large arch is pierced with a quatrefoil or trefoil. To counteract the weakening tendency of the triforium passage, saving arches, as may be seen from the south, have been introduced to carry the chief pressure across from main pier to main pier. A similar strengthening arch exists in the outer wall of the triforium gallery at Amiens. The west end is pronounced to have contained the finest work of the building, and the west door with the two towers must have presented a lovely and imposing front. The S.W. tower was removed to make way for the palace being erected, and even the W. doorway is encroached on by the palace wall. A portion of the S.W. tower is still visible in the interior, and contains a doorway. The upper part of the W. end was reconstructed by Charles I. in 1633, and contains two nondescript windows of seventeenth century Gothic with an inscription between them. The tympanum of the doorway has also been altered at this time, and an oaken lintel introduced containing a shield with the initials of Charles I. The western doorway has been a beautiful specimen of first pointed work, and the W. side of the N.W. tower is ornamented with two tiers of arcades. “The lower arcade contains five pointed arches, with a trefoiled arch within each. These rest on triple shafts, with carved caps and rounded abaci. Over each shaft and between the arches there is a circle containing a boldly carved Norman head. The feature is unique and its effect is fine. The upper arcade consists of three larger arches, each containing two smaller arches, and all resting on shafts with carved and rounded caps. The shields in the larger arches are pierced with bold quatrefoils. Two circles occur in the spandrils over the arches, but they do not now contain heads." The same design is continued round the S. side of the tower, and along the W. wall of the nave as far as the main doorway, but the N. and E. sides of the tower are plain. Above the two arcades the tower contains a large two-light window on the N.E. and W. sides. Each window is divided into two openings by a single central shaft, having a carved cap and broad square abacus, on which rest the two plain pointed arches of the inner openings. The shield above is pierced with a bold quatre-foil. The two western piers of the crossing are still standing, and within the arch there has been erected in modern times a large traceried window. The spaces below the window and across the side aisles have been built up with fragments of the demolished structure, and a window is thus formed at the east end of each aisle.

The church has evidently undergone a thorough repair during the fifteenth century, probably during the period when Crawford was abbot (1460-1483). “The work executed at this time consisted of the addition of seven buttresses on the north side and several buttresses on the south side of the aisles. Those on the north side are large, and may either enclose the old buttresses or have been substituted for them. They have a set-off near the centre, above which each contains an elaborately ornamented and canopied niche. Beneath and above the niche there are carved panels, which have contained angels and shields, with coats of arms. The arms of Abbot Crawford are said to have been carved on the panels, but they are now too much decayed to be distinguishable. Above the upper panels the buttresses are continued with several set-offs, and finished with a small square pinnacle. The pinnacles have been crocheted and terminated with a carved finial, but they are now greatly wasted away. There were, doubtless, flying arches from the above buttresses to the clerestory, but they must have fallen with the roof. A somewhat elaborate north doorway has been introduced, in a style similar to that of the buttresses, in the second bay from the west tower. The arch is semicircular, and has an ogee canopy. There are small niches above the arch on each side which contained statues, now demolished. This doorway was probably constructed by Abbot Crawford at the same date as the buttresses."

“A series of buttresses was also erected about the same time on the south side of the fabric. It is believed, however, that these buttresses are partly old or are on old foundations. In order not to interfere with the cloister walk, which ran along next the south wall, and where it would have been inconvenient to have any projections, the buttresses were carried in the form of flying arches over the top of the cloister roof. At the clerestory level flying arches, similar to those on the north side, rested against the upper portions of buttresses and pinnacles introduced between the windows. On the outside of the cloister walk the flying arch abutted upon oblong masses of masonry, which probably at one time were finished with pinnacles, but these no longer exist."

Robert Bellenden, the twenty-fifth abbot of Holyrood, and successor to Abbot Crawford, presented the abbey with bells, a great brass font, and a chalice of gold. He was also beneficent to the poor, and completed the restoration of the fabric by covering the roof with lead. This happened about 1528, and in 1539 the office of commendator was given to Robert, natural son of James V., while still an infant. The brass font was carried off by Sir Richard Lee, an officer in Hertford’s army, in 1544, and was removed to St. Alban’s Abbey. It was afterwards sold for old metal. The brass lectern of the abbey was also taken by Sir Richard Lee, and presented to the Parish Church of St. Stephen’s at St. Alban’s, where it still is. It is in the form of an eagle with outstretched wing, and contains a shield with a lion rampant and a crozier, with the inscription, “Georgius Crichton, Episcopus Dunkeldensis." Before becoming bishop, Crichton was abbot of Holyrood, 1515-22.

Jedburgh Abbey (Roxburghshire). In 1118 David I., while Prince of Cumbria, founded a priory on the banks of the Jed, and placed it in possession of canons regular from the Abbey of St. Quentin at Beauvais in France. In 1147 the priory was raised to the dignity of an abbey and dedicated to the Virgin Mary, while the smaller buildings of the priory served as a nucleus for the larger buildings of the abbey. Its abbots were sometimes men of distinction, and in 1285, when John Morel was abbot, Alexander III. was married in the abbey with much ceremony to Iolanda, daughter of the Count de Dreux. In the wars between England and Scotland (1297-1300) the abbey suffered so severely that the monks were unable to inhabit it, and were billeted on other religious houses. Jedburgh had to bear the brunt of many English onslaughts, and in 1410, 1416, 1464 it was damaged by repeated attacks of the English. In 1523 both town and abbey fell before the forces of the Earl of Surrey. The abbey was stripped of everything valuable and set on fire. In 1544-1545 the process of destruction was twice repeated under Sir Ralph Eure and the Earl of Hertford respectively. In 1559 the abbey was suppressed, and its resources went to the Crown. For some years it was left a roofless ruin, and a building designed for the parish church was afterwards erected within the nave, roofed over at the level of the triforium, and used as a place of worship till 1875, when a new church built in excambion by the Earl of Lothian was opened for worship, and the abbey ruin can now be viewed “clear of that incubus upon its lovely proportions.”

Like most ancient buildings that have been added to from time to time, the abbey shows different styles of architecture, and the choir, which is early Norman, is undoubtedly the oldest part. The church consists of a choir with side aisles extending eastward for two bays, beyond which was an aisleless presbytery, the east end of which is demolished; a nave of nine bays, which had vaulted side aisles; a central crossing with square tower above; a north transept well preserved, and a south transept, of which the south end is destroyed.

It has been suggested that the choir may have terminated with an eastern apse, but of this there is no proof. What survives consists of two bays next the crossing, the lower portions of which are in the Norman style. A unique arrangement is visible here, as far as Scotland is concerned, and resembles a somewhat similar design at Gloucester Cathedral and Romsey Church, Hampshire. The main piers have the peculiarity of being carried up as massive cylindrical columns to the arch over the triforium. The lower story has the round arch and vaulting ribs supported on corbels, projected from the round face of the piers. The triforium arch is round and moulded, and has a well-wrought chevron ornament. “It rests on large caps of the divided cushion pattern. The main arch is formed into two openings by a central round shaft and two half round responds, with massive cushion caps carrying plain arches."

The clerestory is of Transition work, having one lofty stilted and pointed arch, and two smaller pointed arches in each bay. When the Transitional clerestory was erected, the eastern part of the choir is thought to have been built, and the remains of two lofty pointed windows are preserved to the east of the cylindrical piers. The same Norman style of architecture as in the choir is continued in the south and north transepts, and appears to have originally also extended into the nave. “This is apparent from the mode in which the string-course over the triforium runs along on the north side from the choir to the nave, where it is broken off. That the Norman nave has probably extended westwards from the crossing is further evidenced by the existence of the west end wall, with its great doorway and windows, and the south doorway to the cloister, which portions are all of characteristic Norman design.” The Norman work must have preceded the Transition work in choir and nave by a considerable portion of time. There is no gradual development visible.

The nave (129 feet in length and 27-1/2 feet in breadth) “is divided into nine bays, each of which comprises a main arch resting on clustered piers, a triforium with one round arch containing two pointed arches, and a clerestory forming a continuous arcade, with four pointed arches in each bay. The main clustered piers contain four principal shafts at the angles, and four intermediate shafts between them. The former are brought to a point on the face, the latter are flatter. The caps are simple and of an ordinary transitional form, each with a square abacus. The bases are also simple, and stand on a massive square plinth, a feature not uncommon in Norman work. The arches of the main arcade are somewhat acutely pointed, and the mouldings are bold, and resemble first pointed work.”

The clerestory shafts are of trefoil section; the arches are all pointed, and contain first pointed mouldings. The west end of the nave and doorway are Norman in character, and Sir Gilbert Scott declared the great western doorway and south doorway to be “perfect gems of refined Norman of the highest class and most artistic finish.” The doorpiece is surrounded by three gablets, the central one still retaining a trefoiled arch. The west wall has flat buttresses of Norman character, and “the upper portion of the wall has a central round-headed window, flanked on each side by three small pointed arch heads, the caps carrying which rested on long single free shafts, now gone. The central window has deep mouldings, but no enrichments. The west front has been finished with an octagonal turret on each side, as at Kelso Abbey, and the gable contains a central circular window, which has been filled with tracery at a late date. The west end walls of the aisles have each contained a circular-headed window of Norman design, with a chevron ornament in the arch and a nook shaft at each side.”

“The lower part of the walls of the choir and the western wall and doorway and south doorway being all of Norman work, it seems probable that the whole building was set out and partially executed in Norman times, and that the work was either stopped for a considerable period and then resumed, or that the structure, after being completed, was destroyed, and had to be restored in the late Transition style. The Transition work is well advanced in style, and may be regarded as being of the date of the end of the twelfth century or beginning of the thirteenth century.”

“The Norman north transept is fairly well preserved, but both the north and south transepts have undergone great repairs about the end of the fifteenth century. The crossing appears to have been so greatly damaged by the assaults of the fifteenth century that it was found necessary to rebuild it. The restoration is distinctly visible in the south-east pier of the crossing, the style of which is quite different from that of the Norman work adjoining in the choir and south transept, and the junction of the new work with the old is very apparent. This pier has clearly been rebuilt. It is plain next the crossing, but next the aisle it consists of a series of shafts with a moulded cap of late date. The upper mouldings of the cap form a continuous straight line, while the bells of the caps are broken round the shafts a style of cap common in Scotland at the end of the fifteenth century.”

“This pier and the south aisle of the choir beside it appear to have been restored by Abbot John Hall (appointed 1478), whose name occurs on the pier and on one of the bosses. The south-west pier of the crossing has also been rebuilt. This work was carried out by Abbot Thomas Cranston (appointed 1482). On a shield on this pier are carved the arms and initials of Abbot Cranston three cranes and two pastoral staves saltierwise. The same abbot’s initials are placed on the north side of the west arch of the crossing, where the chamfer begins, and on the lower part of the north-west pier. The south-west pier, the north-west pier, and the arch between them would thus appear to have been rebuilt by Abbot Cranston. The base inserted by him is different from the old Norman base.

“About half-way up the south-east pier, rebuilt by Abbot Hall, the springer of an arch may be seen projecting to the west. Abbot Hall had evidently intended to throw an arch across the transept at this point, but Abbot Cranston changed his plan and the arch was not carried out. The mouldings of the portions executed by the two abbots differ in their respective parts of the structure.

“To the north of the original Norman north transept an addition to the transept has been erected. It is cut off from the old transept by a wall, and thus forms a separate chapel, measuring 27 feet in length by 22 feet in width internally. This chapel is vaulted with the pointed barrel vault usual in Scotland in the fifteenth century, and, consequently, the side windows are low, their pointed arch being kept below the springing of the vault. The window in the north end wall, however, is of large dimensions. The windows are all filled with good fifteenth century tracery, similar to that in the restored south aisle of the choir. This part of the edifice is now used as a mortuary chapel for the family of the Marquess of Lothian. The tower over the crossing is 33 feet square and 86 feet in height. It contains three pointed and cusped lancets on each side, and is without buttresses. It appears to have been erected about 1500. At the top, near the north-west corner, are engraved the arms and initials of Abbot Robert Blackadder, who was afterwards promoted to the offices of Bishop and Archbishop of Glasgow. He was appointed to that see in 1484, and died 1508. His arms are a chevron between three roses.”

The abbey thus completed was not permitted to remain unmolested. Described by Sir Ralph Eure as “the strength of Teviotdale,” and by Hertford as “a house of some strength which might be made a good fortress,” it was, as already mentioned, the frequent object of attacks by the English. It was pillaged and burnt in 1544 and 1545, and never recovered from the damage done. In 1559 the monastery was suppressed. In 1587 the bailery of the abbey was continued or restored by a grant of King James VI. to Sir Andrew Ker, and in 1622 the entire property of the lands and baronies which had belonged to the canons of Jedburgh was erected into a temporal lordship, and granted to him with the title of Lord Jedburgh. Sir Alexander Kerr of Fernieherst was ancestor to the Marquess of Lothian.

Dryburgh Abbey (Berwickshire). The name Dryburgh has been derived by some from the Celtic darach-bruach, “bank of the grove of oaks,” and vestiges of pagan worship have been found in the Bass Hill, a neighbouring eminence. St. Modan, a champion of the Roman party, is said to have come hither from Ireland in the eighth century, and a monastery on very scanty evidence has been attributed to him. St. Mary’s Abbey was founded by Hugh de Morville, Lord of Lauderdale and Constable of Scotland, in 1150. According to the Chronicle of Melrose, Béatrix de Beauchamp, wife of de Morville, obtained a charter of confirmation for the new foundation from David I.; the cemetery was said to have been consecrated on St. Martin’s Day 1150, “that no demons might haunt it”; the community, however, did not come into residence till 13th December 1152.

The monks were Premonstratenses or White Friars; called by the latter name because their garb was a coarse black cassock, covered by a white woollen cape, “in imitation of the angels in heaven, who are clothed with white garments.” The monks introduced were from Alnwick. “A large part of the domestic buildings seems to have been erected within fifty or sixty years of the date of the foundation, as they are built in the transition style of the beginning of the thirteenth century. The church appears to have been in progress during the thirteenth century, as in 1242 the Bishop of St. Andrews, owing to the debts incurred in building the monastery and other expenses, gave the canons permission to enjoy the revenues of the churches under their patronage, one of their number performing the office of vicar in each parish. The canons took the oath of fidelity to Edward I. in 1296, upon which their property was restored to them. Their possessions were widely spread, and extended into several counties, as appears from letters addressed by Edward regarding them to the sheriffs in the counties of Fife, Berwick, Roxburgh, and Edinburgh."

Tradition states that the English under Edward II., in their retreat in 1322, provoked by the imprudent triumph of the monks in ringing the church bells at their departure, returned and burned the abbey in revenge. Dr. Hill Burton remarks that Bower cannot be quite correct in saying that Dryburgh was entirely reduced to powder, since part of the building yet remaining is of older date than the invasion. King Robert the Bruce contributed to its repair, but it has been doubted whether it ever was fully restored to its former magnificence. Certain disorders among the monks in the latter part of the fourteenth century brought the censure of Pope Gregory XI. upon its inmates. Being within twenty miles of the border, the abbey was frequently exposed to hostile English attacks, and we hear of its burning by Richard II. in 1385, by Sir Robert Bowes and Sir Bryan Latoun in 1544, and again by the Earl of Hertford in 1545 James Stewart, the abbot commendator, having with others crossed the Tweed into Northumberland and burned the village of Horncliffe. It was annexed to the Crown in 1587, and the lands were erected into a temporal barony, with the title of Lord Cardross, in favour of the Earl of Mar, from whom they have passed by purchase through the hands of several proprietors.

Chaucer was held to have visited the abbey, but the claim has been demolished by Dr. Hill Burton in Billings’ Antiquities. Among the distinguished men, however, connected with the abbey was Ralph Strode, “the Philosophicall Strode,” to whom and the “moral Gower” Chaucer inscribed his Troilus and Cresseide. He was a friend both of Chaucer and John Wiclif. Andrew Forman was superior of Dryburgh, and was much occupied with affairs of Church and State under James IV. and James V. He was appointed in 1501 to the bishopric of Moray, holding at the same time the priories of Coldingham and Pittenweem, with the commendatorship of Dryburgh. He became afterwards Archbishop of Brouges, and finally Archbishop of St. Andrews. He is said to have written (1) Contra Lutherum, (2) De Stoica Philosophia, (3) Collectanea Decretalium.

The monastery had the usual buildings around the cloister; the church was on the north side, and stood about ten steps above the level of the cloister garth. The sacristy, chapter-house, fratery, and other apartments stretch from the transept southwards along the east side; above these, on the upper floor, were the dormitories, entering by an open staircase from the south transept. Along the south side of the cloisters lay the refectory, which, on account of the slope of the ground, was raised on a basement floor of vaulted cellars. On the west side of the cloister garth are now only a few vaulted cellars. A small stream runs along the S.W. side of the monastic buildings, and beyond the stream are the remains of what seems to have been a detached chapel.

The oldest portions of the structure are those forming the eastern range; they are of Transitional date or about the beginning of the thirteenth century. The sacristy has a stone bench round the walls and three steps in the floor. It has a door from the transept and an outer semicircular-headed doorway of Transition character from the cloister. Access is also obtained by a small door in the north side to a wheel-stair leading to the upper floors, and visible as a projecting turret at the S.E. angle of the transept. The east window of the sacristy is pronounced remarkable, having two round-headed windows surmounted by a visica-formed aperture. It has a piscina in the south wall near the east end. The apartment next the sacristy may originally have been a parlour, but is now appropriated as a mausoleum. There is an ambry in the south wall near the east end, and the doorway is semicircular and of Norman character. The floor of the chapter-house is several feet below the level of the cloister walk; the ordinary central doorway and side windows opening from the cloister are placed in their usual position on the level of the cloister walk. The side openings were unglazed, and were used for seeing and hearing what was proceeding in the chapter-house below. The doorway is large and deeply recessed; the outer arches of the windows on each side of the doorway are plain semicircles, filled in with two pointed lights having a central shaft.

The chapter-house retains its round barrel vault, and has three pointed windows in the east end and two similar ones in the side walls, where the chapter-house projects beyond the general line of the buildings. In the interior a round arched arcade runs along the east side, supported on single shafts, and there are traces of a similar arcade running round the side walls. There is an entrance doorway in the south wall; the east gable wall over the chapter-house still exists, possessing flat buttresses of a Norman type at the angles and between the windows, but the pointed arches indicate Transition work. There is a lovely fragment of carved work still preserved in the chapter-house, representing the pascal lamb slain and surrounded by a wreath of foliage, above which are the letters I.H.S. The vine leaves flowing from the lamb may symbolise the branches springing from the true vine.

South of the chapter-house was probably the fratery or monks’ day room. It has been vaulted at a late period probably third pointed. There is a fire-place in the centre of the west wall, and an outer doorway at the south end of the same wall. The apartment was lighted by three plain round arched windows in the east wall, one of which has had tracery inserted in after times. At the N.W. angle, opening from the level of the cloister, is a round-headed doorway, and traces of a staircase which served as the day access to the dormitory. South of the fratery is the slype or passage, with arched openings to the east and west. It has also a doorway to the fratery, and another to the apartment on the south side, the latter of which now only exists in part, the south end of the range having been destroyed. The range of these buildings still retains its eastern wall to the full height of two stories the upper story being doubtless the dormitory.

On the south side of the cloister, where the refectory once stood, there are now only the ruins of the vaulted basement on which it stood. At the east end of this range there is a doorway from the cloister giving access to a staircase which led down to the lower level of the fratery, and the remainder of the south side was probably all occupied by the refectory. The west wall is almost all that survives; it is now ivy-clad, and contains a picturesque circular window, with radiating tracery. Adjoining this wall in the S.W. angle of the cloister there is an arched recess, apparently intended for a tomb and monument, but now empty. Over the doorway in this angle is a large shield, containing the arms of John Stewart, who was commendator in 1555. On the shield are the initials J.S., with the crozier in the centre. He was brother to the Earl of Lennox, and uncle to Lord Darnley, who married Queen Mary. The arms are those of the Stewarts of Lennox.

The cloister occupies a space of 93 feet by 91 feet, and was surrounded by a vaulted walk which has entirely disappeared. It is evident that the cloister walk was at least partly vaulted, from the small remains of the springing of the vaults which are visible in the eastern wall on each side of the doorway to the chapter-house. The south wall of the nave of the church extends along the north side of the cloister, and at the N.E. angle is the doorway which led from the cloister into the nave a handsome specimen of the Transition style. The nave of the church is entered through this handsome doorway by ten steps up from the cloister, and presents a scene of terrible destruction. The west end wall partly remains, “and shows by the responds attached to it the form of the nave piers, with their caps and bases. The position of the piers along the nave is now roughly indicated by a collection of fragments arranged as nearly as possible in the original position and form. The mouldings indicate a late date, and were, doubtless, restorations; but the responds, which were not so liable to destruction, are of first pointed date. The responds which form part of the west wall show that there was a central nave 28 feet wide and side aisles, each about 13 feet 6 inches wide, making a total width of 55 feet. There have been side chapels in the nave, apparently divided by walls, some portions of which remain, with ambries in the chapels. The western doorway has a round arched head, but its details show that it is of late design. This part of the edifice has apparently been restored in the fifteenth century, after the destruction of the abbey by Richard II. in the end of the fourteenth century."

The transept has a slight projection to the north and south; this part of the building and all to the east of it are evidently of thirteenth century work, but only a few detached portions remain. The south transept gable has a large window filled with simple pointed tracery, rising in steps above the roof of the dormitory. The arch through which the stair to the dormitory passed is visible in this wall. To the east of the transept is a choir of two bays, with aisles, and beyond which is an aisleless presbytery. The portions left are pronounced to be of a very beautiful design, both internally and externally. The exterior is simple but elegant, and of first pointed work; the interior shows evidence of more advanced design. The clerestory is of beautiful design; “each bay contains an arcade of three arches, the central one, which is opposite the window, being larger than the side arches. The arches are supported on detached piers, behind which runs a gallery. These piers each consist of two shafts, with central fillet. They have first pointed round caps, over which a round block receives the arch mouldings as they descend. A small portion of the north end of the transept adjoins the above, which shows that the structure has been carried up in two stories of richly moulded windows, all in the same style as the adjoining portions of the choir. The remaining portion of the aisle is vaulted with moulded ribs springing from responds and corbels corresponding in style with the choir."

Here rests the dust of Sir Walter Scott and his kinsfolk, and of it Alexander Smith wrote that “when the swollen Tweed raves as it sweeps, red and broad, round the ruins of Dryburgh, you think of him who rests there the magician asleep in the lap of legends old, the sorcerer buried in the heart of the land he has made enchanted.”

Dunfermline Abbey (Fife). Dunfermline was from a very early period the residence of the kings of Scotland and here Malcolm Canmore had his tower; here he entertained the royal fugitives from England, and married the Princess Margaret in 1068. The Glen of Pittencrieff contains the remains of the Tower of Malcolm Canmore, and of a subsequent royal palace, and they were in 1871 pronounced by the House of Lords to be Crown property. Malcolm’s Tower is believed to have been built between 1057 and 1070, and the royal palace may have been founded as early as 1100, although more likely it was not built till after the departure of Edward I. of England, in February 1304. The kings of Scotland, from Robert Bruce onward, appear to have frequently resided in the palace.

According to Turgot, Queen Margaret, after her marriage, founded a church “in that place where her nuptials were celebrated,” and it was dedicated to the Holy Trinity in 1074. It became the place of royal sepulture, and Queen Margaret was buried within it. There are frequent references from this time onwards of grants to the church of the Holy Trinity, and to interments of royal personages therein. “The original church of Canmore,” says Professor Innes, “perhaps not of stone, must have been replaced by a new edifice when it was dedicated in the reign of David I.," and Messrs. MacGibbon and Ross add

“As no notice has been preserved of the erection of any new church till the building of the choir in the first quarter of the thirteenth century, it has been supposed that the nave of the existing structure (which is in the Norman style) may have been the church founded and erected by Queen Margaret. But the style of the building forbids this supposition. None of the English cathedrals were founded till the end of the eleventh century, and few were carried out till the expiry of the first quarter of the twelfth century. Scotland would certainly not be in advance of England in its style of architecture, and we know that little, if any, Norman work was executed in this country till the days of David I.... The style of the structure is early Norman, and would naturally follow the erection of Durham Cathedral, which took place about twenty-five years earlier."

The same authorities think that the original church of Malcolm stood where the new choir was afterwards erected, and that David I. added the Norman nave to it.

“The nature of the site seems to favour this view, as the ground to the west slopes rapidly away, and scarcely allows room for the west end of the nave; while the conventual buildings, for want of suitable space, have had to be carried with an archway over a public street."

Alexander I. seems to have contemplated its erection into an abbey, and in the year of his succession David I. remodelled it as a Benedictine Abbey, and placed in it an abbot and twelve brethren brought from Canterbury. By the close of the thirteenth century it had become one of the most magnificent institutions in Scotland.

David I., after introducing the Benedictine order, probably added the Norman nave to the then existing church erected by his royal parents, and it was evidently resolved at no distant time from this to rebuild the early church and form a new choir and transept worthy of the new settlement. This was done, and between 1216 and 1226 the choir, aisles, transept, and presbytery were erected, and Abbot Patrick, formerly Dean and Prior of Canterbury, presided at Dunfermline during the whole of the above time. Appeals were made to the Popes Honorius III. and Gregory IX. on account of the expenses incurred by church erection and the increase of the number of canons from thirty to fifty.

In the dispute of 1249 regarding the consecration of the new choir, Pope Honorious IV. decided that a new consecration was not necessary, as the consecrated walls of the oldest part (the nave) continued in use. In that year Queen Margaret was canonised, and in 1250 her body was transferred from the old church to the new lady chapel in presence of all the chief men of the kingdom. “The translation of the saintly foundress,” says Professor Innes, “was probably arranged to give solemnity to the opening of the new church." This is known in history as the “Translation of S. Margaret,” and the “grate companie” of king, nobles, bishops, abbots, and dignitaries in procession kept time “to the sound of the organ and the melodious notes of the choir singing in parts.” Soon after this, describing what it had become towards the close of the thirteenth century, Matthew of Westminster wrote: “Its boundaries were so ample, containing within its precincts three carrucates of land, and having so many princely buildings, that three potent sovereigns, with their retinues, might have been accommodated with lodgings here at the same time without incommoding one another.” In 1244 it had become a mitred abbey, Pope Innocent IV. having, at the request of Alexander II., empowered and authorised the abbot to assume the mitre, the ring, and other pontifical ornaments; and in the same year, in consideration of the excessive coldness of the climate, he granted to the monks the privilege of wearing caps suitable to their order; but they were, notwithstanding, enjoined to show proper reverence at the Elevation of the Host and other ceremonies.

“This sumptuous pile,” says Professor Innes, “was destroyed and levelled with the ground by the soldiers of Edward in 1303, excepting only the church and a few dwellings for the monks Edward I. of England having occupied it from 6th November 1303 to 10th February 1304. It was restored, probably in much less than its former magnificence, after Bruce was settled on the Scottish throne, and it evidently remained in that condition until 28th March 1560, when the choir, transepts, and belfry were, with the monastic buildings, “cast down."”

It was a very wealthy abbey, and the greater part of the lands in the western, southern, and eastern districts of Fife, as well as in other counties, belonged to it. The abbey also possessed many rights, and the abbot was Superior of lands the property of others and received the resignation of his vassals sitting on their bended knees, and testifying all due humility. The abbot and convent were invested with the power of enforcing their rights by excommunication, and they exercised it on several occasions. The abbey possessed the right of a free regality, with civil jurisdiction equivalent to that of a sheriff over the occupiers of the lands belonging to it, and with a criminal jurisdiction equivalent to that of the Crown, wielding the power of life and death. A bailie of regality, appointed by the abbot, and officiating in his name, resided in an edifice called the Bailie House, near the Queen’s House, and presided in the regality courts.

The abbey church succeeded Iona as a place of royal sepulture, and kings, queens, and princes were buried within it. Gordon gives the list of eight kings, five queens, seven princes, and two princesses, besides other notable persons, so that it may well be called the “Scottish Westminster.”

The abbey church, when complete, was cruciform, and comprised a seven-bayed nave, with side aisles, a transept, a choir with a lady chapel, and three towers, two western ones terminating the aisles and flanking the gable of the nave, and the great central tower rising from the crossing. The monastic buildings were also on a magnificent scale, but of the church and monastic structures there only now remain the Norman nave, the base of the Lady Chapel, and part of the refectory and kitchen.

The nave is well preserved and the piers are circular. The plan of these with that of the wall responds shows that the original intention was to groin the aisles. The two eastern bays between the eastern pillars are built up with solid masonry, and only a portion of the arches is visible. The two western bays and the triforium arches above them have also been filled up with solid building to strengthen the western towers. “The pillars which support the west towers are of greater size than the others, and are of a different section. One of the pillars and the corresponding arch of the north arcade are of late Gothic work, and may be part of the repairs ordered by the Privy Council in 1563, or of the work done in 1594 under the direction of William Schaw, Master of Works, who at that time built the north-west tower and steeple, as well as the porch on the north side of the nave. At the same time, also, certain great buttresses were built against the outer walls, which are now conspicuous features of the structure."

The great western doorway, a good example of Norman work, remains unaltered, and consists of five orders, having alternately round and octagonal shafts, chiefly with cushion caps, but some are ornamented with scrolls. The abacus is heavy, and is carved with sunk diapers. The orders are continued round the arches, and contain chevron ornaments (much decayed), rosettes, and diapers. The outer order contains large heads and geometric figures in the alternate voussoirs an arrangement similar to that of Whithorn and Dalmeny, where the geometric figures also resemble those adopted here. The original north doorway, partly concealed by Schaw’s porch, is similar in design, with the addition of an arcade above the arch, resembling but still plainer than that over the doorway of Dalmeny Church. The south doorway of the church is of late work, and there appears to have been another south doorway at the east end of the nave, but it is now built up. The whole of the aisle walls are arcaded in the interior up to the height of the window sills, but the arcade has been partly cut away for monuments. The general design of the nave recalls that of Durham Cathedral, and Dr. Joseph Robertson remarks, “Though not of great size, the sombre masses of the (nave) interior are impressive. The English visitor will remark more than one point of resemblance to Durham and Lindisfarne; and there is no violence in the conjecture that the same head may have planned, or the same hands have hewn, part of all the three. We know that when the foundations of Durham were laid in 1093 by the confessor and biographer of St. Margaret, her husband Malcolm was present; and when the new church received the relics of St. Cuthbert in 1104, her son Alexander witnessed the rites." Both at Durham and Dunfermline there are the same circular piers with zig-zag ornaments, and massive cushion caps and clustered piers occur in each. The small circular bases, resting on great square plinths, are also common to both. The triforium and clerestory are simple in design, and the aisles are vaulted and groined. The windows of the aisles are single round-headed lights, having plain sconsions, with one recessed shaft on each side, and the arch enriched with chevron mouldings. Internally and externally they are of similar design.

From the existence of the large west end pillars, it was evidently intended from the first to have two western towers. The northern one, along with the upper part of the adjoining gable, was destroyed to a considerable extent at the Reformation, and in its present state it was designed and built up by William Schaw. The bold corbelling at the top recalls the similar treatment of the towers of St. Machar’s, Aberdeen, and other examples derived from domestic architecture. The south-west tower seems to have remained intact, although in a ruinous condition, till 1807, when it fell, having been struck with lightning. Three years later the present top was put on the old walls. The Lady Chapel at the east end was built to receive Queen Margaret’s shrine, and is now reduced to a small fragment, consisting of part of the south and east walls, which remain to the height of about 2 or 3 feet. “It has been a small structure of about 26 feet 9 inches by 22 feet, of delicate and refined pointed work, as is apparent from the bases of the wall arcading and the edge of the surrounding seat, enriched with nail-head ornaments, which still exist. The Lady Chapel appears from an old view to have been a low structure, reaching only to the sill of the great east window of the choir, and it was evidently vaulted in two compartments."

No stones now remain of the thirteenth century choir, as they were all removed to make room for the modern church, begun in 1818; before this, however, considerable remains of the choir and the whole of the foundations were standing. The choir was a prolongation of the present nave, having transepts and a great aisle on the north side. There was a lofty central tower of two stories, with three windows in each storey facing the four sides, and it was this part of the structure which suffered on the 28th March 1560, when “the wholl lordis and barnis that were on thys syde of Forth passed to Stirling, and be the way kest doun the Abbey of Dunfermling." The nave was used as a parish church till 1821, when the new choir was opened. In the south transept of it are three much-admired white marble monuments: General Bruce’s by Foley (1868), the Hon. Dashwood Preston Bruce’s by Noble (1870), and Lady Augusta Stanley’s by Miss Grant of Kilgraston (1876). The remains of King Robert the Bruce were discovered in 1818 at the digging for the foundation of the new parish church. They were found wrapped in a pall of cloth of gold, thrown apparently over two coverings of sheet lead, in which the body was encased, all being enclosed in a stone coffin. “There was strong internal evidence of the remains being those of Robert Bruce, and after a cast of the skull had been taken, they were replaced in the coffin, immersed in melted pitch, and reinterred under mason work in front of the pulpit of the new parish church. An inlaid monumental brass was in 1889 inserted in the floor over his tomb.” Near the east end of the church is a square tower, with terminals showing an open hewn stone-work, in place of a Gothic balustrade, having in capitals on the four sides of the tower’s summit the words “King Robert the Bruce,” and at each corner of the tower there is a lofty pinnacle.

The church occupies a commanding situation, from which the ground falls away on the west and south sides. The monastic buildings were on the south side of the nave, but on a lower level. Of these structures considerable remains still exist. “The ground between the dark walls and the church has, in recent years, been levelled up, the outer portions of the monastic buildings serving as retaining walls. With the exception of these outer walls, the site of the monastery is thus buried."

The refectory stood on the south side of the cloister, and the whole length and height of its south and west walls still exist. The south wall was divided into seven bays, and in six of them there are lofty two-light windows. The eastern bay has a reading desk, from which one of the monks read aloud during meals. It is lighted from the outside by two windows. On the side next the hall there are two lofty openings.

Adjoining the refectory on the south-west is a large tower, beneath which runs St. Catherine’s Wynd, through a “pend” or archway, whence it is called the “Pend Tower.” “The outside of the refectory and ‘Pend Tower’ is very imposing, with a simple row of lofty buttresses and windows along the top. The west gable wall of the refectory is still entire, and has a large window of seven lights. The tracery of this window is in good preservation, and is one of the most favourable examples of a kind of tracery developed in Scotland during the fifteenth century. At the north-west corner of the refectory is the staircase tower, which leads down to the offices below, and upwards to the refectory roof, over which access was obtained to the upper story of the ‘Pend Tower.’ In the north wall of the refectory, near the west end, are the remains of a flue, which may have belonged to a fire-place. The ‘Pend Tower’ is still entire, wanting only the cape house and roof. It served as a connecting passage between the abbey buildings and the royal palace beyond. A door led from the refectory by a passage into a groined chamber, and from thence into a room in the palace situated over the kitchen. The kitchen is a lofty room, now roofless, having remains of large fire-places and some curious recesses. Below the kitchen, but entering from another part of the palace, there is a large vaulted apartment with central pillars. These pillars were continued up through the kitchen, and probably to the room, now gone, which stood over the kitchen. Another arched passage led from this apartment through below St. Catherine’s Wynd and up to the monastery. The building known as the palace was doubtless intimately connected with the monastery, and the kitchen may have been used in connection with both." Within the “Pend Tower” on the first floor is a five-sided room with a fire-place, and it appears to have been a sort of guard room. It is vaulted and has irregularly placed ribs. Over this, and entering from the circular stair adjoining, is another groin-vaulted room, which had a fire-place of good design.

The passage and staircase are additions made at the time when the tower was built, and the arches were thrown between the already existing buttresses of the refectory, and in the second bay the arch is at a low level to permit of the descending stair, while the builders have just managed to save a very beautiful doorway belonging to the earlier building, and now hardly seen in the shadow of the overhanging addition. To the east of the refectory is a narrow chamber with the remains of a two-light window in the south wall, and projecting southwards from this is the lower part of the wall of the fratery, reaching as high as the floor of the refectory. On the east side of the fratery extends the south wall of a building called the Baillery Prison. These fragmentary structures exhaust the remains of the monastic buildings. The chapter-house was on the east side of the cloister garth. The monastery was burned by Edward I. in 1303-4, but Tytler says the church escaped. Froissart states that in 1385 Richard II. burned the abbey and town, and it is doubted if any of the existing monastic buildings belong to an earlier date than that last mentioned. “William Schaw, Master of Works, besides the buildings already referred to, erected in 1594 certain of the immense buttresses which form such conspicuous features in all the views of the abbey. He likewise built, and doubtless designed, the Queen’s House and the Bailie and Constabulary House. In connection with the latter houses there are considerable remains of buildings still existing to the north-west of the abbey, and there seems every probability that they formed part of the structures of the abbey and of the Queen’s House. They are extremely picturesque as seen from the low ground to the west. The lofty house on the right hand dates probably from the end of the seventeenth century, and is a fine example of the period. The adjoining buildings are considerably earlier, and in the lower parts, where they are buttressed, they are probably of pre-Reformation times. The upper portions are somewhat later, and are very likely part of the work of Schaw. The porch to the latter buildings is on the other side, and is quaint and well known from being seen from the church. William Schaw died in 1602, and was buried in the nave, when the monument to his memory was erected by order of Queen Anne."

Paisley Abbey (Renfrewshire). In his history of this great abbey, the Very Rev. Dr. Cameron Lees thus describes its situation:

“In the heart of the busy town of Paisley stands the Abbey, its venerable appearance contrasting most strangely with its surroundings. Many chimneys so many that it seems impossible to count them pour forth their smoke on every side of it; crowds of operatives jostle past it; heavily laden carts cause its old walls to tremble; the whirr of machinery and the whistle of the railway engine break in upon its repose; while within a stone’s throw of it flows the River Cart, the manifold défilements of which have passed into a proverb. But it is not difficult, even without being imaginative, to see how beautiful for situation was once the spot where the Abbey rose in all its unimpaired and stately grace. It stood on a fertile and perfectly level piece of ground, close by the Cart, then a pure mountain stream, which, after falling over some bold and picturesque rocks in the middle of its channel, moved quietly by the Abbey walls on its course to the Clyde. Divided from the Abbey by this stream, rose wooded slopes, undulating like waves of the sea till they reached the lofty ridge called the Braes of Gleniffer, from the summit of which the lay brother, as he herded his cattle or swine, could get views of the Argyleshire hills, the sharp peaks of Arran, and the huge form of Ben Lomond. To the north, on the other side of the Clyde, were the fertile glades of Kilpatrick, and beyond, the Campsie range. Gardens and deer parks girdled the Abbey round; few houses were near except the little village of dependants on the other side of the stream; and no sound beyond the precincts broke the solitude, save the wind as it roared through the beech forest, the bell of a distant chapel, or, on a calm evening, the chimes of the Cathedral of Saint Mungo, seven miles away. It was a well-chosen spot, answering in every way the requirements of the Benedictines, who, we are told, “preferred to build in an open position at the back of a wooded chain of hills.""

Paisley illustrates what was said by Dr. Cosmo Innes regarding the country as a whole.

“Scotland of the twelfth century had no cause to regret the
endowment of a church.... Repose was the one thing most wanted, and
people found it under the protection of the crozier."

The Church became the great factor in the development of civilisation throughout the district. Had not the monastic system been good, it would not have lasted so long; had it not had within it the elements of weakness, it would not have come to such an untimely end. And even while we criticise it is well to recall the words of Newman: “Not a man in Europe who talks bravely against the Church, but owes it to the Church that he can talk at all."

The great abbey of Paisley was much to its neighbourhood, and its history is the history of its district. It is a memorial of the coming to Scotland of the great family of Stewart, which has left such a deep impress on Scottish history. Walter, son of Alan of Shropshire, joined David I. at the siege of Winchester, and the king showed to him great favour, taking him into his household, and conferring on him the title of Lord High Steward of Scotland. King Malcolm was even more generous, ratified the title to Walter and his heirs, and bestowed on him a wide territory, chiefly in Renfrewshire. The Steward soon colonised after the fashion of the time, built a castle for himself in the neighbourhood of Renfrew, and gave holdings to his followers throughout the wide territory of Strathgyff, as his Renfrewshire property was called. But in those days no colonisation was complete without a monastery, and this the Lord High Steward proceeded to found, entering into an agreement with Humbold, Prior of Wenlock Abbey in the native county of his family, to establish at “Passelay” a house of the Cluniac Order of Benedictines, being the same order as the house at Wenlock. Humbold in 1169 brought thirteen monks from the parent house, and, having settled them at Renfrewshire in an island of the Clyde called the King’s Inch, returned to Wenlock. There was at this time in Paisley an early church, dedicated to St. Mirinus, an Irish saint of the sixth century, and a disciple of the great school of St. Congal at Bangor. St. Mirin was a contemporary of St. Columba, and must have been a friend of the great apostle of Scotland. He was probably the founder of the early Celtic church at Paisley, and seems to have been an itinerant preacher round the district, regarding Paisley as his centre, where at last, “full of miracles and holiness, he slept in the Lord.” It matters little whether these legends regarding miracles are historically correct, for the value lies in the moral of them. “The falsehood would not have been invented unless it had started in a truth, and in all these legends there is set forth the victory of a good and beneficent man over evil, whether it be of matter or of spirit."

When the monks had founded their church at Paisley they dedicated it to the Virgin Mary, to St. James, St. Milburga, and St. Mirinus. St. James was the patron saint of the Stewarts, and to him the church on the Inch of Renfrew, where the monks first took up their abode, was dedicated. St. Milburga was the patron saint of Wenlock, and it was natural that the Shropshire monks should place their new home at Paisley under the patronage of a saint whom they held in reverence, and who was a link between Paisley and the scene of former days. St. Mirinus was the Celtic saint of the neighbourhood, and by calling the new monastery after his name they reconciled the sympathies of the people to themselves, and connected their church with the old historic church of Scotland. The monastery was at first in the second rank of religious houses, and was ruled by a prior. The abbey of Clugny was very jealous of raising any of its subordinate houses to the rank of an abbey, but it was very inconvenient for the monastery of Paisley to be in subjection to one so far away as the French abbot, and commissioners appointed by a papal bull in 1219 decreed that the monks of Paisley might proceed to the canonical election of an abbot, the patron of Paisley, the Lord High Stewart, also giving his permission. Twenty-six years later, the abbot of Clugny surrendered his rights, which had been reserved by the papal bull, the monks, through the Bishop of Glasgow, promising prompt payment of the two marks for the future, and undertaking that the abbot of Paisley should personally or by proxy visit Clugny every seven years to make obeisance and render an account to his superior.

William was probably the first abbot of Paisley, and he presided from 1225 to 1248. He established and consolidated the prosperity of the convent, and obtained from the Popes several bulls conferring privileges on the monastery.

The following picture, drawn by a master-hand, has been applied by Dr. Lees to the monastic life at Paisley during the prosperous reigns of Alexander II. and III.

“In black tunics, the mementoes of death, and in leathern girdles, the emblems of chastity, might then be seen carters silently yoking their bullocks to the team, and driving them in silence to the field, or shepherds interchanging some inevitable whispers while they watched their flocks; or wheelwrights, carpenters, and masons plying their trades like the inmates of some dumb asylum, and all pausing from their labours as the convent bell, sounding the hours of prime, nones, or vespers, summoned them to join in spirit where they could not repair in person, to those sacred offices. Around the monastic buildings might be seen the belt of cultivated land continually encroaching on the adjoining forest, and the passer-by might trace to the toil of these mute workmen the opening of roads, the draining of marshes, the herds grazing, and the harvests waving in security under the shelter of ecclesiastical privileges which even the Estergoth and Vandal regarded with respect. If we exchange for the ‘Estergoth and Vandal’ the marauding baron and Highland chief, the picture is a true one of the surroundings of Paisley Abbey in those peaceful years."

“During the prosperous reigns of Kings Alexander II. and III. the church was erected, but of the work of that period (the thirteenth century) there remain only a portion of the west front and part of the south wall of the nave, including the south-east doorway to the cloister and three windows. The structure appears to have suffered severely during the War of Independence. It stood in the vicinity of Elderslie, the land of Sir William Wallace, and doubtless met with a similar savage treatment to that allotted to the patriot leader. It is stated to have been burnt by the English in 1307, and the burning would appear to have led to a very complete destruction of the edifice, as the portions of the original work which survive are very small."

The abbey church was a parish church, within the territory of which the house of Elderslie was situated, and the connection of the family of Elderslie with the monks of Paisley would naturally be very close. Wallace himself was probably educated at the school of the Paisley Clunaics, and the influence of the abbey may have helped to mould within him the character which Fordun thus describes:

“He (Wallace) venerated the church and respected the clergy; his greatest abhorrence was for falsehood and lying; his uttermost loathing for treason, and therefore the Lord was with him, through whom he was a man whose every work prospered in his hand."

The monks of Paisley during the times of Wallace and Bruce were on the patriotic side. After Bruce had murdered the Red Comyn before the altar of the Franciscan friars at Dumfries, the deed lay heavy on his conscience, and the Steward used his influence with the Pope to procure absolution. A commission was issued to the abbot of Paisley by Berengarius, the penitentiary of the Pope, to absolve the Bruce and appoint him proper penance for his crime.

“How the duty committed to him was discharged by the Abbot or what penance he enjoined, we do not know. It may have been to fulfil the penance imposed at Paisley that Bruce desired so ardently to visit the Holy Sepulchre. He was excommunicated again soon afterwards, and years elapsed before he was finally restored to the favour of the Church; but his absolution at Paisley was a gleam of sunshine in the midst of his stormy life, and one of the most interesting pictures in the history of our abbey is that of the monarch kneeling before its altar and amidst its fire-stained walls."

James, the Steward, died on 16th July 1309, and, like the earlier Stewarts, was probably buried in the ruined abbey. He was succeeded by his son Walter, who married Marjory, the daughter of Robert the Bruce. Their married life was short, and the untimely death of Marjory took place within a year. Walter died at Bathgate in 1326, and, like his wife, was buried in the abbey.

“When long time their dule had made
The corps to Paslay have they had,
And there with great solemnity
And with great dule eirded was he.”

Robert, the son of Walter and Marjory, was but a boy of ten or eleven years of age at his father’s death, but he was a boy with great expectations. Failing the death of the king’s son without heirs, the Scottish Parliament had solemnly ratified his succession to the Scottish throne. King Robert the Bruce died in 1329, and his only son, David II., succeeded him. By neither of his marriages had he any issue, and he was succeeded by his sister’s son, Robert II., who became the founder of the Stewart dynasty.

“The abbey was now under royal patronage, and Walter, the son of
Alan, its founder the Shropshire colonist the progenitor of a race
of kings."

Under royal favour and patronage the abbey entered on a course of prosperity, unbroken till the time of the Reformation. Robert II. died in 1390, and was buried at Scone.

“If this be true, he was the first of the Stewarts who were laid elsewhere than in the precincts of the abbey, and the circumstance is all the more strange because Elizabeth More, the much-loved wife of his youth, and Euphan Ross, his queen, are buried there."

Robert III. had two sons, the elder of whom was David, Duke of Rothesay (1378-1402). He was under the guardianship of Albany, who after a short time starved him to death at Falkland. Robert, anxious for the safety of his younger son, James, resolved to send him to France, but on his way thither he was captured by an English vessel, and thereafter imprisoned in the Tower of London. There is good reason for believing that Albany and the Douglases had to do with the imprisonment of the Prince, and they did everything to prevent his release. When the news was brought to the king in the castle of Rothesay, he succumbed to paroxysms of grief, and died 4th April 1406.

“Touched by grief,” says Fordun, “his bodily strength vanished, his
countenance paled, and, borne down by sorrow, he refused all food,
until at last he breathed forth his spirit to his Creator.”

He was buried in the abbey of Paisley before the high altar, and was the last of the Stewarts who was laid there.

After the destruction of the abbey, caused by the wars with England, the edifice seems to have remained for long in a dismantled condition, but gifts having been received from the Bishops of Argyle and Glasgow to aid the restoration of the building, the work was begun. Besides, the abbey was from 1388 to 1408 under the ban of excommunication, and this must have powerfully added to the delay in the building operations. Part of this work was carried out under Abbot Lithgow (1384-1433), who was buried by his own desire in the north porch, where his memory is still preserved. The chief part of the rebuilding of the abbey church was carried out under Abbot Thomas de Tervas (1445-1459). The Chronicle of Auchinleck says of this abbot:

“The quhilk wes ane richt gud man, and helplyk to the place of ony that ever wes, for he did mony notabil thingis, and held ane nobil hous, and wes ay wele purvait. He fand the place al out of gud reule, and destitute of leving, and al the kirkis in lordis handis, and the kirk unbiggit. The bodie of the kirk fra the bucht stair up he biggit, and put on the ruf, and theekit it with sclats and riggit it with stane, and biggit ane great porcioun of the steple, and ane staitlie yet-hous: and brocht hame mony gude jowellis, and clathis of gold, silver, and silk, and mony gud bukis, and made statelie stallis, and glassynnit mekle of al the kirk, and brocht hame the staitliest tabernakle that wes in al Skotland, and the maist costlie: and schortlie he brocht al the place to fredome and fra nocht till ane michty place, and left it out of al kind of det, and al fredome, till dispone as them lykit, and left ane of the best myteris that wes in Skotland, and chandillaris of silver, and ane lettren of brass, with mony uther gud jowellis."

Abbot Thomas is said to have obtained the privilege of having a tavern and selling wine within the gates of the monastery, and is believed to have raised money thereby for the reconstruction of his church. The quaint language of the ancient Chronicle of Auchinleck, translated into ordinary English, means that besides journeying to Rome and procuring the articles mentioned, he carried up the triforium and clerestory, finished the roof, erected a great part of the steeple, and built a stately gate-house.

At the death of Abbot Tervas, Pope Pius II. decreed that the disposition of the office and of the whole revenues of the monastery should fall to the Pope, and he appointed Henry Crichton, a monk of Dunfermline, to be commendator of the abbey, and assigned a pension of 300 florins out of the revenues to Pietro Barlo, Cardinal of St. Mark’s in Venice, to be paid to him by Henry and his successors at the Feast of St. John the Baptist, under pain of excommunication, in case of his failing to make payment within thirty days after the appointed term, and total deprivation if he persisted in his opposition six months after his excommunication. When he got himself fairly installed as abbot he declined to pay the stipulated pension to the Cardinal of St. Mark’s, and made some legal quibble the ground of his neglect. Trouble followed, and since this, the appointment of its first commendator, the rights of the abbey began to be invaded. Abbot George Shaw (1472-1498) endeavoured to guard the monastery against encroachments; he built a refectory and other structures, reared a lofty tower over the principal gate, enclosed the church, the precincts of the convent, the gardens, and a little park for deer within a wall about a mile in circuit. Of this once magnificent wall, with its four-sided beautiful stones and lofty statues, very few fragments now remain, but there are still two tablets that belonged to it. The central shield bears the royal arms, the shields to the right and left of it the Stewart arms and the abbots own; and there is an inscription by the pious builder himself, which is as follows:

Ye call it ye Abbot Georg of Schawe About yis Abbey gart make yis waw A thousande four hundereth zheyr Auchty ande fywe the date but veir [Pray for his saulis salvacioun] That made thys nobil fundacioun.

It has been thought that this inscription was designed by John Morow, whose name appears on a tablet in Melrose Abbey.

“The character of the lettering in design and workmanship is the same as at Melrose. The references to the building operations, the poetical form of the composition, the manner in which the names are introduced, ‘Callit was I,’ and ‘Ye callit,’ and the devout expressions with which they close, make it clear that the inscriptions are the work of the same author.”

The fifth line is chiselled away, and was possibly deleted because it did not harmonise with the theology of the Reformed Church.

Abbot George Shaw was succeeded by his nephew, Robert Shaw, vicar of Munkton, and a son of the Governor of Stirling. He was canonically elected, and his election was approved by the Crown, the Pope also gave his consent on condition that Robert Shaw should take the monastic habit within six months, and decreed that the old abbot should enjoy as his pension a third part of the fruits of the monastery, and might return to his former position when he thought proper. Robert Shaw took office in 1498, and his uncle lived for some years after, the pensioner of the abbey as he is called in charters. George Shaw died probably in 1505, and Dr. Lees says of him:

“He filled his place well, and the visitor to Paisley who sees his shield of three covered cups with the pastoral crook behind them upon the wall of one of the outhouses, which has been ruthlessly transformed by modern iconoclasts, or reads the defaced inscription which tells of the ‘nobil fundacioun’ he reared, will do well to remember that they are the memorials of a good man, one of the best of his time, to whose wisdom and benevolence the town of Paisley owes its existence."

This refers to the creation of Paisley as a burgh by Abbot Shaw, who obtained in 1488 a charter creating the village of Paisley into a free burgh of barony, and thereby raising the status of the people both socially and politically. The burgher was no longer in the condition of a serf or slave, who could be transferred from one master to another, and he escaped from all the severities and exactions of the feudal system. The burghs had power of self-government, and were able to develop commercial and industrial operations. The burgh of Paisley was endowed with the usual privileges, and a right to hold a market every Monday, and two yearly fairs one on the day of St. Mirren, and the other on the day of St. Marnock. In 1490 the abbot and chapter granted to the magistrates of the burgh in feu-farm the ground on which the old town stands and certain other privileges.

After an examination of the Rental Book, Dr. Lees regards it as “corroborating all that historians tell us regarding the lands of those ecclesiastics being the best cultivated and the best managed in Scotland.... The neighbourhood of a convent was always recognisable by the well-cultivated land and the happy tenantry which surrounded it, and those of the Abbey of Paisley were no exception to the general rule prevailing throughout the rest of Scotland.

“The monks were kind masters. No cases of eviction or deprivation are recorded. The same lands descended without rise of rent from father to son. Children are held bound to maintain their parents in their old age, and widows are specially cared for, and are occasionally provided with another husband!"

During the fifteenth century many altars were erected and endowed by the burgesses, and the Chapel of St. Mirin, which occupies part of the site of the south transept, was erected in 1499, and endowed by James Crawford of Kylwynet, a burgess of Paisley, and his wife.

Abbot Robert (1498-1525) was received on 19th October 1525 as Bishop of Moray in the cathedral of his northern diocese, and the next abbot was John Hamilton, a natural son of the Earl of Arran, who had entered the church as a monk of Kilwinning, and whom Magnus speaks of with contempt as a “yonge thing.” The earl was high in favour with the queen, who had at the time the disposal of the church bénéfices, and he wished the bishopric for his son. The queen, however, appointed Abbot Robert to the see of Moray, and Hamilton to the abbey of Paisley. It was one of the deeds of shame enacted in the Scottish Church which ultimately brought its severe judgment.

Abbot John Hamilton (1525-1547) rebuilt at immense cost the first tower that appears to have had insecure foundation, and fell. It seems to have had an untimely end, falling, according to one account, with its own weight, and with it the choir of the church, or, according to an another account, being struck with lightning. In 1559, with Kilwinning and Dunfermline, the abbey of Paisley was suppressed, and what that meant can best be expressed in the words of Sir Walter Scott:

“They fumigated the church with burnt wool and feathers instead of incense, put foul water into the holy-water basins; they sung ludicrous and indecent parodies to the tunes of church hymns; they violated whatever vestments belonging to the abbey they could lay their hands upon; and playing every freak which the whim of the moment could suggest to their wild caprice. At length they fell to more lasting deeds of demolition, pulled down and destroyed carved woodwork, dashed out the painted windows, and in their vigorous search after sculpture dedicated to idolatry, began to destroy what ornaments yet remained entire upon the tombs and around the cornices of the pillars.”

Although the monks were expelled, the people of Paisley still continued firm in adhering to the old faith, and the doors of the abbey were “steyked” against the reformed preachers. The abbot and his friends were accused as

“in the toun of Paslay, Kirkyard and Abbey place thereof, openlie, publicklie, and plainlie taking auricular confession in the said kirk, toun, kirkyaird, chalmeris, barns, middens, and killogies thereof, and thus makand an alteration and innovation in the state of religion, which our Soverane Lady found publicklie standing and professit within this realm, ministrand, and alswa irreverently and indecentlie the Sacramentis of Holy Kirk, namely, the Sacramentis of the Body and Blood of our Lord Jesus Christ.”

It was a serious charge, and if proven was punishable by death. Hamilton had a powerful friend in Queen Mary, who interfered in his behalf, and he and his companions were committed to ward.

Besides retaining the office of abbot at Paisley, Hamilton was appointed Bishop of Dunkeld in 1543-44 by his brother, acting for the Queen, and after the murder of Cardinal Beaton, on 29th May 1546, was raised to the position of Archbishop of St. Andrews and Primate of Scotland. Probably he never returned to Paisley until, in the adversities of his later years, and the monastery being sacked and burnt by the Reformers, he was forced to take refuge at Dumbarton Castle, where he was made prisoner, and afterwards executed at Stirling. The Master of Sempill had been appointed bailie of the monastery, and, at the dissolution, the whole of the church property was handed over to Lord Sempill. The property finally came into the possession of Lord Claud Hamilton, nephew of the archbishop, and the monastic buildings were converted into the “Place of Paisley,” the residence of the Abercorn family.

After the archbishops execution his body was quartered, and afterwards buried, probably in Paisley. Dr. Lees says:

“There is in the church a tablet, which looks as if it had marked his grave. It has upon it the archbishop’s coat of arms, the letters J. H., the initials of his name, and the motto he assumed, and which contrasts strangely with his troubled life and tragic end Misericordia et Pax.’"

Amid all that is said against the last archbishop of the old Church of Scotland, and the last abbot of Paisley, it is well to recall that the “Catéchisme,” which usually passes under his name, from having been printed at his expense at St. Andrews in 1552, exhibits a solitary instance of an attempt on the part of the old Roman Catholic clergy to convey spiritual instruction to the people, and is creditable to Archbishop Hamilton’s memory.

Referring to the disposal of the abbey property, Dr. Lees says:

“The manner in which the Church property was gifted away forms a scandalous episode in the history of Scotland. Men like Claud Hamilton, who never had done anything for their country, became enriched and ennobled through the spoliation. It is vain to picture regretfully what might have been; but any one can see how much better it would have been for Scotland if the whole community, instead of a few unworthy individuals, had got the benefit of the Church’s wealth. Those who did get it have in too many instances made a very miserable use of their ill-gotten gain."

Prior to the Reformation the monastery consisted of a church, the cloister and conventual buildings. The church comprised a long aisleless choir, a nave with aisles, a north transept, a south transept, with St. Mirin’s Chapel attached to the south of it, and a tower and spire over the crossing.

The choir walls, containing an elegant sedilia and piscina, remain standing to the height of 9 feet, and it is questioned whether the choir was ever finished during the restoration. There is a string-course all round; the building is of fifteenth century work, and occupies the place of an earlier choir, which has been demolished. The wall at the east end of the nave, which separates it from the transept, may have been erected during the restoration of the fifteenth century, with the intention of rendering the nave a complete church until the transept and choir were restored. This seems to have been in progress when the Reformation interrupted the work. The design of the sedilia resembles that at St. Monans, Fife, and adjoining the sedilia is the piscina, the aperture of which is still visible.

The north transept is in ruins, but the north wall, with the remains of a fine traceried window, still exists, as well as a traceried window in the west wall. The south transept is also in ruins, while the tower and spire have disappeared. St. Mirin’s Chapel is well preserved, but the openings connecting it with the south transept are built up.

The nave survives as a whole, and contains six bays, divided by massive piers, and surmounted by a triforium and clerestory. There is a north porch, and two doorways from the cloister on the south side.

The oldest portion of the building is pronounced to be the eastern part of the south wall of the south aisle of the nave, where it adjoins the transept. This portion of the wall consists of three bays, containing the S.E. doorway from the cloister to the nave, and three pointed windows in the upper part. The doorway is of the transition style, and the windows above are simple in style, and are early pointed work this part of the building probably dating from the first half of the thirteenth century. The western portion of the south aisle of the nave and the whole of the south clerestory are evidently portions of the restored church of the fifteenth century. The south aisle wall contains the S.W. and S.E. doors from the nave to the cloister.

The west end of the nave is in part amongst the ancient portions of the structure, and the western entrance doorway is thirteenth century work. The aisle windows of the west front belong to the first pointed period. The upper portion of the west front above the two large windows is of considerably later date. “The design of the west front, which contains above the door-piece two large windows, with pointed niches and small circles inserted between the arch-heads, is probably original, but the upper portion and gable, including the large traceried window, are doubtless part of the restoration of the fifteenth century. The tracery of the two central windows is peculiar, and may possibly be of the fourteenth century, but that of the large upper window is later, probably of the same period as the restoration of the interior of the nave. The tracery of the large upper window is a specimen of the late kind of design employed in Scotland in the fifteenth century."

The interior of the west end of the nave exhibits the change of style caused by the restoration of the fifteenth century. The first or western bay of the main arcade is original, including the first arches (one on each side), the first pillars, and the arches between them, and the aisle responds. “These pillars and arches are of large dimensions and first pointed section, and appear to have been designed to carry western towers, but a part of their thickness has been cut off next the choir. A portion of the triforium wall, a piece of the string-course over the main arcade, and the corbelled vaulting shaft in the angle as high as the top of the triforium, are also parts of the original structure. The later work has been joined to the above old parts in a very awkward manner." The cap of the west pier on the north side belongs to the first pointed work, while the corresponding cap on the south side and all the other caps belong to the fifteenth century restoration. Except the west piers, the piers of the nave are of the clustered form, common in late Scottish work, and might be about the same date as the restoration of St. Giles, Edinburgh (which they resemble), in the early part of the fifteenth century.

The triforium design consists of large segmental arches, the same width as the main arches, springing from short clustered piers introduced between them. It somewhat resembles the triforium of the nave at Dunkeld Cathedral. The clerestory is probably designed in imitation of that of Glasgow Cathedral, and is divided into two pointed arches in each bay. They spring from a series of clustered shafts with round moulded caps that are late imitations of early work. The earlier part of the nave restoration, including the main piers and arches, and perhaps the tracery of the two lower windows of the west front, were possibly executed by Bishop Lithgow, who built the north porch, and the completion of the nave (the upper portions) was carried out in the time of Abbot Tervas the middle of the fifteenth century. A peculiarity of the nave interior is a series of large corbels, which project from the spandrils of the triforium arcade, and the object of which was to enable a passage to be carried round the solid piers introduced between the windows. Each of the large corbels springs at its lowest point from the sculptured grotesque figure of a man or animal. They were mostly the work of Thomas Hector, a sculptor, who lived at Crossflat, and whom the abbot retained for his skill in the art. The employment of such grotesque figures was very much affected by the monks of Clugny, and was the occasion of a rebuke from St. Bernard. “What business had these devils and monstrosities in Christian churches, taking off the attention of the monks from their prayers.” One of these figures near the west gable represents a man in a kilt, and Dr. Lees thinks that many worshippers in the Abbey in more modern times have in the midst of long sermons found relief in the contemplation of those curious carvings which the saint thus vigorously denounced.

St. Mirin’s Aisle was erected in 1499, and there is a large pointed window in the east end, having jambs with single shafts. It is divided into four lights, and the arch-head is filled with good simple tracery. Beneath the eastern window is a frieze of one foot eight inches deep between two cornices of eight inches deep, which were intended for sculpture. Three compartments, measuring four feet, at the north or right side, and seven compartments, measuring ten feet, at the south or left side, are carved and filled with sculpture. Dr. Lees says the reference of them to Mirin is clear beyond all doubt: “In the one on the extreme left we see Mirin’s mother bringing him to St. Congal. In the next St. Congal putting the religious habit on Mirin. In the next Mirin taking oversight of the monastery of Banchor. There is after this a blank, and then we have certain sculptures relating to Mirin’s encounter with the Irish king, who wears a crown on his head. In the first we have the servant of the King driving Mirin away from the door of the palace. In the next the King roaring with pain and held by his servants. In the next the Queen lying in bed with a picture of the Virgin on the wall, it being the custom to hang such before women during confinement. Then we have the King on his knees before Mirin, and afterwards Mirin received by him with joy. The next two sculptures represent the last two acts of the Saint the brother looking through the keyhole and seeing Mirin illuminated by a celestial light, and the Saint restoring to life the dead man in the Valley of Colpdasch.... As they are evidently earlier than the date of the erection of the chapel, they have probably been transferred with the relics of the Saint from an older shrine. They look like twelfth-century work, but it is possible they may be even earlier." The ceiling of the chapel is beautifully groined, and the east end, 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 traceried window above it. A large ambry adjoins the door in the outer wall. The chapel was connected with the south transept by two wide archways, now built up, and near the east end is a piscina, with three-sided head, like that in the choir.

There is a dormitory above the chapel, arched by stone, and the entrance is by a doorway in the middle of the south side of the arch. The apartment is lighted by two windows one in the east gable, and the other in the west. In the west gable there is a private stair leading from the dormitory to the chapel, and the priest, who was bound by the charter to live at the chapel, doubtless occupied the sleeping-place above it. The chapel at the Reformation was converted into a family burying-place by Claud Hamilton, the commendator, and various members of the Abercorn family lie buried in the vault below, the chapel belonging to the present Duke, and being under his control.

On the floor of this chapel there now stands an ornamental altar tomb, which was found lying in fragments near the Abbey by the Rev. Dr. Boog, one of the Abbey ministers, and who in 1817 had it brought within the chapel and erected again. It supports a recumbent figure, believed to be the effigy of Marjory Bruce, the daughter of Robert I. and the mother of Robert II. “The head of the figure is surmounted by a large cusped canopy, placed in a horizontal position, on the end of which is carved a crucifixion. The pedestal is carved 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 contain the first the fess cheque of the Stewarts between three roses; the third the fess cheque, surmounted of a lion rampant, and the central one, two keys saltierwise, between two crosiers in pale." The chapel is famed for an echo, described by Pennant in his Tour Through Scotland, but Dr. Lees regards the description of the far-famed traveller as either much exaggerated, or the strength of the echo has become diminished since his time. “When any number of persons are within the building, an echo is scarcely audible at all. It is amusing sometimes to see a group of people expending the strength of their lungs in vain by attempting to evoke it."

Crosses seem to have been placed at intervals on the roads leading to the church. One of the south piers of the nave is called the Cathcart pillar, and has carved upon it a shield bearing the Cathcart arms. This is believed to be a memorial of Sir Allan Cathcart, who has thus been described by Barbour:

A knycht, that their wis in hys rout,
Worthy and wycht, stalwart and stout,
Curtaiss and fayr, and off gud fame,
Schyr Allane of Catkert by name.

King Robert the Bruce died in 1329, and Sir Allan of Cathcart and Sir James of Douglass sailed in 1330 for the Holy Land with the King’s heart. Sir James was killed in Spain in conflict with the Moors, and Sir Allan came back with the heart of the King, which was buried in Melrose Abbey. The pillar commemorates his safe return.

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.”

The first central tower erected over the crossing seems to have been of inferior workmanship and to have given way. Another is believed to have been erected by Abbot Tervas, which probably fell during the siege by Lennox and Glencairn, and may have destroyed much of the choir and transept in its fall. Western towers appear to have been contemplated.

“We are only able,” says Dr. Cameron Lees, “to conjecture what was the position of the conventual buildings. But after comparing the plan of Wenlock, from which the monks originally came, with that of Crosraguel, which they afterwards erected, we think it is probable that the chapter-house, with Saint Mirin’s Chapel, occupied the east side of the cloister court, the refectory the south side, and the dormitory the west. The Abbot’s house probably stood at the south end of what is called Cotton Street. There were buildings also between the Abbey and the river Cart attached to the monastery, portions of the foundations of which are occasionally uncovered." “The shape of the cloister court has been partially retained. The conventual buildings were almost all converted after the Reformation into dwelling-houses, and though fragments of the old houses, such as an occasional pillar or arch, are to be found, there is little to remind one of dormitory, parlour, or refectory."

The nave is still used as the parish church. About 1782 it was in a dreadful condition. The roof was full of holes, through which the birds obtained free access, “distracting the attention of the worshippers in time of sermon.” They built their nests and reared their young under the arches of the clerestory. A few of the gentry had “lofts” or galleries, but the bulk of the worshippers brought their seats to church with them, while the poorest sat upon stones on the earthen floor. Things had become so bad that the heritors thought of pulling down the abbey, and building a “commodious kirk” with the stones. This insane proposal was averted from execution by the energy and wisdom of the Rev. Dr. Boog, minister of the First Charge in 1782, and to him the country owes the credit of preserving all that now remains. “He received much assistance from the Dowager Countess of Glasgow, who resided at Hawkhead, and through their joint exertions the Abbey was not only saved from destruction, but was repaired in a way which, considering the ignorance of that time on the subject of restoration, was highly creditable." Dr. Lees describes the condition of the building at his induction in 1859 as dreadful: “The interior was like a vault in a churchyard." But thanks to the exertions of the Rev. Mr. Wilson and Dr. Lees himself, several thousand pounds were collected and spent in remedying this state of affairs. The church was made seemly as a venerable temple for prayer ought to be. “The unsightly galleries were taken down, the floor cleared of the accumulated rubbish of centuries, the body of the church re-seated, the clerestory windows opened up, the transept walls and windows restored, and the turrets rebuilt. Men of all creeds contributed to the work, and when the Abbey, on the 27th April 1862, was re-opened for public worship, it could scarcely be recognised, so changed was it from its former condition." In closing his splendid volume Dr. Lees adds, “We trust the time is not far distant when the Abbey of the first Stewart will stand forth again in all its pristine beauty with transept, and choir, and tower, as in the days of the founder.” That hope will soon pass into a reality, and Scotland will have a completely restored abbey church used as a parish church.

Kelso Abbey (Roxburghshire). In 1113 David, Earl of Huntingdon, and heir-presumptive to the Scottish throne, introduced a colony of thirteen Reformed Benedictine monks from the newly founded abbey of Tirón in Picardy, and planted it near his forest castle of Selkirk. He endowed it with large possessions in Scotland, and a valuable territory in his southern earldom of Huntingdon, but the French monks were dissatisfied with their position on the banks of the Ettrick, and on David’s accession to the throne of his brother he removed them from Selkirk “a place unsuitable for an abbey” and established the monastery “at the Church of the Blessed Virgin on the bank of the Tweed, beside Roxburgh, in the place called Calkow." The abbey was dedicated to the Virgin and St. John the Baptist. Its first abbot was Ralph, one of the French monks, and the Scotch chronicles state that he succeeded St. Bernard, the reformer of the order, in his abbacy at Tirón, on his death in 1116, but Dr. Cosmo Innes thinks this can scarcely be reconciled with the succession of abbots as given by the French writers. The monastery soon became the richest and most powerful in Scotland, and in 1165 the Pope granted permission to the abbot to wear the mitre, and the abbot claimed precedence of all the superiors of monasteries in Scotland. In 1420 this precedence was decided by James I. in favour of the prior of St. Andrews. Many of the abbots were distinguished men, who were employed in the affairs of the kingdom, and several were promoted to bishoprics. Foremost in rank and power, the monks of Kelso also vindicated their place by the practice of the monastic virtues, and a copy of Wyntoun’s Chronicle is supposed to have been written at Kelso. They seem to have recalled the saying, claustrum sine literatura vivi hominis est sepultura ("the cloister without literature is the grave of a living man"), and Dr. Cosmo Innes remarks

“That the arts were cultivated within the Abbey walls we may conclude without much extrinsic evidence. The beautiful and somewhat singular architecture of the ruined church itself still gives proof of taste and skill and some science in the builders, at a period which the confidence of modern times has proclaimed dark and degraded; and if we could call up to the fancy the magnificent Abbey and its interior decorations, to correspond with what remains of that ruined pile, we should find works of art that might well exercise the talents of high masters. The erection of such a structure often extended over several hundred years. Kelso bears mark of having been a full century in building; and during all that time at least, perhaps for long afterwards, the carver of wood, the sculptor in stone and marble, the tile-maker and the lead and iron-worker, the painter, whether of scripture stories or of heraldic blazonings, the designer and the worker in stained glass for those gorgeous windows which we now vainly try to imitate must each have been in requisition, and each, in the exercise of his art, contributed to raise the taste and cultivate the minds of the inmates of the cloister. Of many of these works the monks themselves were the artists and artisans, and it would be a grievous mistake to suppose that the effect was merely that of living and working in an artist’s shop. The interest and honour of the convent, the honest rivalry with neighbouring houses and other orders; above all, the zeal for religion which was honoured by their efforts, the strong desire to render its rites magnificent, and to set forth in a worthy manner the worship of the Deity all these gave to the works of the old monks a principle and a feeling above what modern art must ever hope to reach."

Situated as it was near the Border, the abbey suffered severely during the War of Independence. The monastery was laid waste and the monks were supported by contributions from the other houses of their own order. In 1344 the abbey buildings were destroyed by fire, and David II. granted permission to the monks to cut wood in Selkirk and Jedwart Forest to enable them to carry out the necessary repairs.

In 1511 the Bishop of Caithness was appointed commendator, and decline of the abbey soon followed. After the battle of Flodden in 1513, David Ker of Cessford took possession of the abbey, and his brother was appointed abbot. In 1522 and 1523 invasion and havoc spread over Teviotdale; Lords Ross and Dacre pillaged the town, sparing the abbey; but in 1523 Lord Dacre sacked and burned it. The abbot’s house and buildings surrounding it, the chapel of the Virgin, and the cells of the dormitory were all reduced to ashes; the lead was stripped from the roof, and the abbey rendered uninhabitable. All religious services were stopped, and the monks had to retire in want and poverty to a village near. From 1536 to 1538 James Stewart, natural son of James V., was abbot, and drew the revenues. In 1542 the Duke of Norfolk, and in 1545 the Earl of Hertford, again attacked and further destroyed the abbey. On the latter occasion the garrison of the abbey numbering 100, of whom 12 were monks refused the summons of the Herald to surrender, and succeeded in repulsing the Spanish mercenaries, who were the first to attack the building. It was then bombarded and the monastery captured; but the garrison still held out in the strong square tower of the church, whence some of them, though strictly watched, escaped by means of ropes during the night. The next day the assault was resumed, the tower carried, and the defenders were put to the sword. The buildings were then sacked and destroyed, the order being given to “breik them” and “thake of the leied, and outer myen the towres and strong places, and to owaier trowe all.” By the following Sunday this had been strictly carried out; the abbey was razed, and “all put to royen, howsses, and towres, and stypeles.” The removal of the lead to Wark alone occupied the carts of the army for several days. After this the abbeys of Melrose, Dryburgh, and Jedburgh shared in the fate of Kelso, but, unlike it, they did not resist. Kelso Abbey was still further reduced by Lord Eure in 1546; and finally in 1560, when a few monks still remained, the buildings were attacked by the mob, and all the remaining fittings and furnishings destroyed. In 1559 the revenues and property of the abbey were taken possession of by the Lords of the Congregation in the name of the Crown. The temporalities were afterwards distributed amongst the favourites of James VI., and were finally conferred on Sir Robert Ker of Cessford, who was created Lord Roxburgh in 1599. The abbey still belongs to his successor, the Duke of Roxburgh, and the remains of the late duke are buried in the south transept. In 1649 a vault was thrown over the transept so as to convert it into a parish church, and above this another vault served as a prison! This is seen in Grose’s view, made about a century ago.

“During service on a Sunday in 1771 a panic was caused by the fall of a fragment of cement, and the church was thereafter abandoned. The ruins were partly disencumbered by the Duke of Roxburgh, 1805-16, and in 1823 the buildings were repaired by the noblemen and gentlemen of the county."

Referring to the modern town, Dr. Cosmo Innes says:

“Reposing on the sunny bank of its own beautiful river, the modern town of Kelso looks a fitting rural capital for ’pleasant Teviotdale.’ It has little of the air of an old monastic burgh, and still less calls up any recollection of the heaps of ruins that impeded the plans of the English engineers. There is not much knowledge or tradition of its former state, and but few memorials of its old inhabitants. Last year (1845) a worthy burgher, who had dug up in his garden under the abbey walls what seemed to him a rare coin of a Scotch king, was scarcely well pleased to learn that it was a leaden bulla of Pope Alexander III., bronzed with the oxidising of seven centuries.

In the midst of the modern town the abbey church stands alone, like
some antique Titan predominating over the dwarfs of a later
world."

Considering all the dangers and neglect of the centuries, it is astonishing that so many of the ruins still exist.

The building has consisted of choir or chancel of considerable length, with north and south aisles, and of a transept and nave without aisles. The north and south divisions of the transept and nave form three arms of equal length round the three sides of the crossing, above which rises the massive square tower. The church was originally constructed in the late Norman style of about the end of the twelfth century, passing into the transition style the upper part of the tower having been rebuilt at a later period. Of the chancel only a fragment remains two of the south main piers with arches and two stories of arcades above, which represent the triforium and clerestory. The chancel only had aisles.

The main piers consist of a circular column, five feet in diameter, with smaller attached half-columns on three sides to carry the moulded arches between the main piers and the arches between the latter and the aisles. “The piers have caps of the usual Norman modified cushion pattern, and the arches were moulded and arranged in several orders. The arcade immediately over the main arches has a row of single round shafts, with spreading Norman caps, which carry a series of moulded arches, occupying the position of the triforium. The upper arcade, which takes the place of the clerestory, has shafts of triple form, with wide spreading bases and caps of Norman and transition design. On the latter rest the round boldly-moulded arches. The arches opposite the windows in the outer wall are slightly larger than the others. It will be observed that there is no main vaulting shaft carried up over the main piers, as is almost invariably the case, for the purpose of strengthening the wall. On the contrary, the triforium arcade is continuous, and no provision is made to support the side wall, except the single shafts of the running arcade, which have a very weak effect. In the usual arrangement, the triforium arches are separated by a substantial piece of wall, including a vaulting shaft, and the triforium arch, which is generally subdivided into several subordinate arches, is introduced between the vaulting shafts. That is a much more substantial form of construction, and also more satisfactory to the eye, than the plan adopted here of a simple continuous arcade.” In the exterior of this portion of the choir the outside of the clerestory windows is visible, being simple round-headed openings, with flat buttresses between them. The remainder of the wall is plain, but, judging from the level of the triforium window, the vaulting of the aisle, which was very high and partly covered the windows, seems to have been added at a later date. The crossing is square; the piers are about nine feet square that at the south-east angle standing detached in consequence of the opening into the south aisle, while those at the north-west and south-west angles are incorporated with the walls. The piers are designed as a series of shafts, set in square nooks (four on each of the complete sides), with a large semicircular shaft at each angle. The shafts are all built in courses with the piers, and have transition bases and caps. From the latter spring large pointed arches, with plain chamfered orders. The pointed arch indicates the transitional character of this part of the building, and was probably introduced in this position to give strength to sustain the tower. The three arms of the cross branching to the north, south, and west from the crossing are of equal size an unusual arrangement, as the nave is generally the longest division of the church. This was part of the original design, as the western doorway is one of the most prominently Norman portions of the edifice, and no satisfactory explanation has yet been given of the shortness of the Kelso nave. The upper portion of the west front has been in the transitional style, and the Norman arcading, which runs round the interior of the nave, was continued across the west end.

The nave, north and south transepts, contain each four stories in height, consisting of an interlacing arcade of Norman work in the interior of the ground level, and three stories of windows above. The upper arcades of the choir do not extend round the nave and transepts, except in a portion of the south transept. The windows in the different stories have all round arches, both inside and outside, and the exterior is marked at each angle by broad and shallow Norman buttresses, with nook shafts in the angles, and an interlacing arcade round the lower story, both internally and externally. In the façades of the west end and north transept the windows of the different stories have been grouped so as to form distinct designs. “In the west end, over the great west doorway, there has been an arrangement of tall windows of apparently lancet form, having on either side an interlacing arcade of round arches, supported on tall, bended shafts. This is now, unfortunately, greatly destroyed. Above the arcade there runs a horizontal flat cornice, enriched with several rows of carved ornaments, and this was surmounted by a large opening of quatrefoil shape, surrounded with numerous mouldings and enrichments. The angle buttresses have been crowned with octagonal turrets."

The north wall of the north transept has a fine transitional door-piece, occupying the two lower stories. The next two stories have each two windows, separated by a small buttress, and the upper story has three arches in the interior. “Above these stories is a small circular window with a curious saving arch over it, and the whole is crowned with a top story, containing three round-headed openings, and a gable with a small circular aperture. The buttresses at the angles are crowned with circular turrets, which have been finished with a projecting parapet, the corbels for carrying which still survive. The upper part of the gable shows signs of having been altered."

The west doorway and the north door-piece are interesting; the former, the south half of which has perished, and which was finished with a sloping gable and stone roof, is regarded as a rich specimen of the elaborate carved work that characterised the late Norman period. “The jambs contained five detached shafts set in nooks, and having Norman bases and carved caps. Over each of these shafts there springs a circular order, carved with rich Norman ornament, now, however, very much decayed. The jambs of the doorway also formed moulded shafts, supporting their order in the arch." The door-piece of the north transept wall is a prominent feature, projects 4 feet 6 inches from the main wall, has two stories, and is roofed with a sloping stone roof. The shafts have the usual Norman caps and bases, and the mouldings of the arch are pronounced to be peculiar in their profile. The outer one is enriched with small medallions, the central with the billet, and the inner one with rosettes. Above the archway there is an arcade of interlacing round shafts the shafts, which were destroyed, having Norman caps. “The tympanum of the gable is covered with a reticulation of round beads or rolls." The south and west sides and a small portion of the north and east sides of the tower remain. It is 35 feet square over the walls, and “is carried up with plain masonry externally, but the interior has immediately over the great arches of the crossing an arcade of round moulded arches, supported on triple shafts similar to those of the choir. Above this arcade is another story containing simple round arched openings, which are lighted on the exterior by circular windows containing quatrefoils. Over this tier is the upper story, which contains three pointed and deeply-recessed windows on each side of the tower. Broad, flat buttresses are placed at each angle of the tower, similar to those of the main building, and these were, no doubt, originally finished with turrets like those of the transepts.... The upper part of the tower is later than the lower part. This is apparent from the pointed windows of the top story and the quatrefoiled circular windows of the story beneath. The lower story immediately over the great arches is, without doubt, of about the same date as the choir." There were probably similar staircases in other parts of the structure now removed, but the approach to the upper floors is now by one staircase in the N.W. angle of the transept. Passages between the arcades and the outer walls went round the building on every floor, and in the angles of the tower there are small wheel stairs leading to every floor, and passages running round the tower on every story. These arcades and passages have tended to weaken the structure, and it has been found necessary to strengthen it with numerous iron tie-rods, iron beams, etc.

There was an outer door in the S.W. angle of the transept, and another in the north wall of the nave adjoining the crossing. A tomb recess is in the south transept wall, and in the recess beneath are two ambries or lockers and a piscina, the only one remaining in the building. To the south of the transept there is a vaulted chamber that may have been the sacristy.

Arbroath Abbey (Forfarshire). This abbey was founded in 1178 by William the Lion, and dedicated to S.S. Mary and Thomas a Becket. Becket had been martyred at the high altar of Canterbury Cathedral only seven years before, and William the Lion had recently suffered defeat and capture by the English at Alnwick. William had been personally acquainted with Becket, and is supposed to have regarded him as a private friend.

“Was this the cause,” asks Dr. Cosmo Innes, “or was it the natural propensity to extol him who, living and dead, had humbled the crown of England, that led William to take St. Thomas as his patron saint, and to entreat his intercession when he was in greatest trouble? Or may we consider the dedication of his new abbey, and his invocation of the martyr of Canterbury, as nothing more than the signs of the rapid spreading of the veneration for the new saint of the high church party, from which his old opponent himself, Henry of England, was not exempt?”

As showing the eagerness with which King William pushed on the buildings, Hollinshed mentions that

“The King came by the Abbey of Aberbrothoc to view the work of that house, how it went forward, commanding them that were overseers and masters of the works to spare for no cost, but to bring it up to perfection, and that with magnificence."

The abbey received great endowments from King William and from many subsequent princes and barons; acquired in 1204 a charter of privileges from King John of England and was one of the foremost and richest in Scotland. Its monks were Tyronenses, and the first were brought from Kelso Abbey.

“By the year 1178 part of the church was ready for dedication. William the Lion died in 1214, and was buried in the east end of the edifice, which was then finished. Shortly afterwards the south transept was sufficiently well advanced to admit of the burial within it, before the altar of St. Catherine, of Gilchrist, Earl of Angus. On the 18th of March 1233, during the time of Abbot Ralph de Lamley, the church was dedicated. The time occupied in the erection and completion of the structure was thus a little over fifty-five years, and when its dimensions are considered, it will be found in comparison with other churches to have been carried on with great rapidity."

The abbots had several special privileges; they were exempted from assisting at the yearly synods; they had the custody of the Brecbennach, or consecrated banner of St. Columba; they acquired from Pope Benedict, by Bull, dated at Avignon, the right to wear a mitre, and were in some instances the foremost churchmen of the Kingdom. The abbey was toll-free, i.e. protected against the local impositions which of old beset all merchandise.

“But,” says Dr. Cosmo Innes, “the privilege the abbot most valued (and intrinsically the most valuable) was the tenure of all his lands, ‘in free regality,’ i.e. with sovereign power over his people, and the unlimited emoluments of criminal jurisdiction.... Even after the Reformation had passed over abbot and monk, the lord of regality had still the same power, and the Commendator of Arbroath was able to rescue from the King’s Justiciar and to ‘repledge’ into his own court four men accused of the slaughter of William Sibbald of Cair as dwelling within his bounds (quasi infra bondas ejusdem commorantes). The officer who administered this formidable jurisdiction was the Bailie of the Regality, or ’Justiciar Chamberlain and Bailie’ the Bailiary had become virtually hereditary in the family of Airlie. ... The mair and the coroner of the abbey were the executors of the law within the bounds of the regality, and the best thought it no degradation to hold their lands as vassals of the great abbey."

The monks made a harbour and fixed a bell on the Inchcape Rock as a warning to sailors; the abbey was burnt in 1272 and 1380.

Referring to its chartulary as a record of the names of the old Scottish families Dr. Cosmo Innes says:

“Many of our ancient families went down in the War of Independence, and few of our present aristocracy trace back beyond the revolution of families and property which took place under Bruce. The Earls of Angus, Fife, and Strathearn are little more than mythological personages to the modern genealogist.... It is the common case all over Scotland."

In connection with the monks he has the following interesting note:

“It is to be remarked that in Scotland, as in other countries, while the secular or parochial clergy were often the younger sons of good families, the convents of monk and friars were recruited wholly from the lower classes; and yet not to speak of the daily bread, the freedom from daily care, all the vulgar temptations of such a life in hard times the career of a monk opened no mean path to the ambitious spirit. The offices of the monastery alone might well seem prizes to be contended for by the son of the peasant or burgess, and the highest of these placed its holder on a level with the greatest of the nobility."

The last abbot was Cardinal Beaton, at the same time Archbishop of St. Andrews. The abbey suffered after the Reformation from the revenues having become the property of the Hamiltons, and as they were appropriated to the private use of that family, there were no funds to keep up the buildings, which fell gradually into decay, and were freely used by the magistrates and townspeople as a quarry. The property was converted into a temporal lordship in favour of Lord Claude Hamilton, third son of the Duke of Chatelherault.

In sketching the history of this famous abbey, the “Aberbrothock Manifesto” of 1320 must be recalled, in which it becomes manifest that the Scottish Church was never a complaisant vassal of Rome. There breathes in it a spirit of freedom and natural independence, and a refusal to accept the interference of Rome in the affairs of the State. The Scottish nobles protest against the papal countenance given to the English aggressions, and distinctly tell Pope John XXII. that “not for glory, riches, or honour we fight, but for liberty alone, which no good man loses but with his life."

The abbey church consisted of a choir of three bays, with side aisles and an aisleless presbytery; a nave of nine bays, with aisles and north and south transepts with eastern aisles; two western towers and one large central tower. Considerable portions of these divisions still remain, but the greater part of the north side of the choir, the north transept and nave, and almost all the piers and pillars have been swept away. Beginning at the east end, the eastern wall is entire for nearly half its height, having an arcade below and three lancet windows above, with the lower portions of an upper row of similar windows. Somewhat less of the return wall of the south side of the presbytery, comprising two bays, remains, and adjoining it is the sacristy, a late building fairly well preserved. The end wall of the south transept is almost complete, along with a considerable portion of the west wall of the transept, which gives a good idea of the grandeur of the church. The whole of the nave south wall remains, showing a row of windows and indications of the groining of the aisle. The central aisle was not vaulted, but covered with a wooden roof. Most of the bases of the nave pillars are in position, as are also the foundations of the north transept. The west end fragment and the two towers left standing, are striking and impressive in their vigorous work. Bold, vigorous work, with refinement of detail, is seen in the western doorway. It is round arched, and its outer order, if it may be so called, extends inwards for about five feet, unadorned as a bold and plain tunnel arch, having a pointed arch in each ingoing. It then becomes shafted and richly moulded, after the transition manner. This arrangement, while it gives a fine shadow under the arch, has a feeling of rudeness, which, to a considerable extent, characterises the whole west front. “There is a remarkable resemblance in the decoration of this doorway to that of the doorway in the porch of Lerida Cathedral, Spain, supposing the tunnel arch of Arbroath away, and the moulded part brought forward to the face of the wall, as is the case at Lerida.... A similar ring ornament, on a large scale, is also to be seen in a doorway at Lamington, Lanarkshire, where it is likewise used along with the zig-zag, but there the ringed order is the outer enrichment."

The removal of the outer part of a gallery, which existed over this doorway, has increased the rude appearance of the west front, but the inner part of this gallery still remains. Within the great thickness of the wall a chamber of considerable size was obtained, and it opens into the nave by six pointed arches, and to the outside over the doorway by three arches. It is regarded as obvious that three gablets projected outwards from the wall for a distance of about four feet, supported on two intermediate shafts, and that the gallery was closed in at each end with walls or haffits, both of which still remain in part. We now see the west front robbed of its most unique features; the gallery was reached by a long passage at each end from stairs in the angle-buttresses. It probably was a gallery for an orchestra, and may have also been used as a pulpit to address an open-air audience.

Above this gallery was an immense circular window, a portion of which still survives. “It is probable that this part of the building was erected at two different times, the west doorway and some of the pillars of the gallery being in the early transition style, while the triple windows to the front and the six-light arcade towards the interior are in the first pointed style. When the gallery was completed in the first pointed period, the floor space was enlarged by extending it to the front, hence the necessity for the deep tunnel arch over the west doorway. The pointed arches in the ingoing also indicate this first pointed period."

The western towers opened with arches into the north, south, and central aisles, but only the north tower retains its massive pier and arches, while of the south tower nothing but the foundation of the pier exists. The south wall of the transept is externally plain, the upper part being visible above the dormitory roof. The façade has two plain lancet windows, one shorter than the other, and above them is a large wheel window. The interior of the transept is a very grand design in the early pointed style. Beneath the splayed lancets there is a round arched open arcade, with a passage behind it, and beneath this, two tiers of wall arcades with pointed arches, the central arcade being very acutely pointed, the lower one not so decidedly, and with trefoil cusps in the arches. A staircase in the S.E. angle of the transept gave access to the dormitory by the door, seen built up on the outside. This staircase also leads to the various passages in the thickness of the walls, and the church doorway leading to this stair is round arched and ranges with the lower pointed arcade. The lower arcade of the south end is continued along the west wall, and above this rise two widely-splayed windows. All the lofty south transept windows have passages on two floors, and the transepts had chapels on the east side. “The respond of the great arcade against the south wall is beautiful in detail. Above this there exist fragments of the responds of the triforium story and the clerestory. All the above features of this part of the abbey point plainly to its having some lingering remains of transition style, retaining, as it does, some round arches along with the general features of the design."

The vestry or sacristy was built by Abbot Walter Painter between 1411 and 1433, and is a two-storied building, the ground floor having a groined ceiling, still entire, and the upper room being roofless. Its features are of fifteenth-century work, and the building is in good preservation.

Only fragments of the conventual buildings remain. “An octagonal turret marks the south-east corner of the chapter-house with the south and east return walls, and adjoining the south transept is the slype, the walls of which determine the other walls of the chapter-house. On the wall of the south transept is clearly seen the mark of the dormitory roof, with the door between the church and dormitory now built up." The north wall and a portion of the west wall proceeding southward from it are all that remain of the extensive enclosure of the abbey. The enclosure was said to have been of great height and to have extended 1150 feet on the east and west, 760 feet on the north, and 480 feet on the south. There were great towers at the angles and entrance gateways on the north and at the south-east angle. In the centre of the north wall is the portcullis entrance gatehouse. The front wall is almost entire, and the upper floor window is crossed by the corbels which carried the movable wooden hoarding that was erected over the gateway when required for its defence. At the western extremity of the north enclosing wall there is a large square tower, three stories in height in the inside, and four stories on the outside, owing to the fall of the ground. The two lower floors are round-vaulted, and the cape-house on top is said to have been removed during this century. The building adjoining the tower to the east was called the Regality Court-house, and had a groined ceiling. The abbot’s house is on the south side of the cloister, and is the best preserved abbot’s house in Scotland. It is three stories high, and the two upper floors have been converted into a modern private dwelling-house. It has been altered externally and spoiled of its ancient internal fittings, with the exception of two fine carved panels, one representing the Virgin, and the other a large Scotch thistle. The kitchen has central pillars supporting a groined roof, and the other offices connected with the kitchen are all vaulted. The abbey suffered from fire in 1272 and in 1380, while in 1350 it was injured “from the frequent assaults of the English ships." Service was up to 1590 conducted in the lady chapel “stripped of its altars and images.”

Melrose Abbey (Roxburghshire). The editor of the Liber de Melros has said in reference to this abbey:

“The incidental mention of the condition of the abbey itself at different times strongly illustrates the history of the district and the age. At one time powerful and prosperous, accumulating property, procuring privileges, commanding the support of the most powerful, and proudly contending against the slightest encroachment; at another, impoverished and ruined by continual wars, obliged to seek protection from the foreign invader: in either situation it reflects back faithfully the political condition of the country.

But the political events of a country of so narrow bounds and small resources as Scotland are insignificant unless they are associated with the development of principles and feelings that know no limits of place or power. How rich Scotland has been in such associations is testified by the general sympathy which attends her history and her literature, and gives a pride to her children that forms not the weakest safeguard of their virtue. It is in recalling freshly the memory of times in which the proud and virtuous character of her people was formed, and which it is their delight and their duty to look back upon, that such studies as the present are most useful. Every local association, every faint illustration of antiquity, each indication of the bygone manners of a simple age, are in this view to be treasured, not only as filling a page of a meagre history, but as so many moral ties to bind us closer in affection to the country of our fathers."

This abbey has a charming site in the hill-girt hollow known as the vale of Melrose, occupying one of those peaceful situations near a river which the Cistercians delighted to choose and colonise. An ancient monastery of Melrose had existed since the seventh century, on a broad meadow nearly surrounded by a “loop” of the Tweed, about 2-1/2 miles lower down the river. It was established about 650 by St. Aidan, the missionary from Iona, who preached in Northumbria, and founded the abbey of Lindisfarne. Eata was the first abbot we hear of, and he was a disciple of St. Aidan. St. Cuthbert spent much of his early life at this monastery of old Melrose, and afterwards chose as the scene of his labours Hexham and Lindisfarne. The monks of Lindisfarne, when expelled by the Danes, took refuge at Melrose, and brought with them St. Cuthbert’s body, which afterwards found its resting-place at Durham. In the eleventh century this old monastery of Melrose had become a ruined and desolate place. It afterwards became the retreat of a few monks, amongst whom was the celebrated Turgot, the confessor of Queen Margaret. A chapel was erected and dedicated to St. Cuthbert, which at first belonged to Coldingham, but was gifted finally by David I. to the new abbey of Melrose.

This abbey was founded in 1136 at a place then called Fordell, and was endowed by David I. and his nobles with extensive lands. The monks were of the Cistercian order, and were brought from Rievalle in Yorkshire. The original buildings were not finished till 1146, and on the 28th of July in that year the church was solemnly consecrated and dedicated to the Virgin Mary. It is thought that such buildings with an oratory were probably the residence of the monks, and their period would suggest the Norman style, like that of the abbeys of Kelso, Jedburgh, and Dryburgh. Every trace of these early buildings has disappeared, and, situated as it was on the border-country, Melrose Abbey was exposed to danger, and frequently suffered in the wars between the two countries. It was in the chapter-house at Melrose that the Yorkshire barons united against King John and swore fealty to Alexander II. in 1215. In 1295 Edward I. gave formal protection to its monks, and in 1296 he issued a writ ordering a restitution to them of all the property they had lost in the preceding struggle. In 1321 or 1322 the original structure was destroyed by the English under Edward II., and the abbot, with a number of the monks, was killed. In 1326 Robert I. gave a grant of L2000 to be applied to the rebuilding of the church, and in 1329, a few months before his death, he wrote a letter to his son David, requesting that his heart should be buried at Melrose and commending the monastery and the church to his successor’s favour. His wish was granted, and so late as 1369 we hear of King David II. renewing his father’s gift, and it is to this grant we owe a considerable part of the present building. In 1328 Edward III. ordered the restoration to the abbey of pensions and lands which it had held in England, and which had been seized by Edward II. In 1334 the same king granted a protection to Melrose in common with the other Border abbeys, and in 1341 he came to Melrose to spend Christmas. In 1385 Richard II., exasperated by his fruitless expedition into Scotland, spent a night in the abbey and caused it to be burned. Notwithstanding these disasters, the abbey increased in wealth and architectural splendour, and it was not till more severe damage and dilapidations befell it during the reigns of Henry VIII., Edward VI. and Elizabeth, that ruin began finally to impend. The approach of the Reformation influenced its downfall, and though donations for rebuilding were given by various individuals, the abbey never recovered the damage then suffered. In 1541 James V. obtained from the Pope the abbeys of Melrose and Kelso, to be held in commendam by his illegitimate son James, who died in 1558. In 1560 all the “abbacie” was annexed to the Crown, and in 1566 Mary granted the lands to James, Earl of Bothwell, with the title of Commendator. After passing through the hands of Douglas of Lochleven and Sir John Ramsay, the estates were ultimately acquired by the Scotts of Buccleuch. The abbey gradually fell into decay through neglect. The materials were used for the erection of other structures, and Douglas built from the ruins a house which still stands to the north of the cloisters and bears the date 1590. The masonry also formed a quarry for the neighbourhood, and in 1618 the remaining portion of the structure was fitted up as the parish church, and in order to render it secure, a plain pointed barrel vault was thrown across the nave, and was supported by plain square piers built against the old piers on the north side. The original vaulting seems to have been previously demolished." A great number of the stone images of saints which filled the numerous wall niches were left untouched till 1649, when they were almost all cast down and destroyed, but by whose order is unknown. Of the abbey there now only remain the ruins of the church, and of it the most competent authorities say:

“No building in Scotland affords such an extensive and almost inexhaustible field for minute investigation and enjoyment of detail such as this. Whether we consider the great variety of the beautifully sculptured figures of monks and angels playing on musical instruments, or displaying ’the scrolls which teach us to live and die,’ or turn to the elaborate canopies and beautiful pinnacles of the buttresses, or examine the rich variety of foliage and other sculptures on the capitals of the nave and the doorway and arches of the cloisters; or if, again, we take a more general view of the different parts of the edifice from the numerous fine standpoints from which it can be so advantageously contemplated, we know of no Scottish building which surpasses Melrose either in the picturesqueness of its general aspect or in the profusion or value of its details. It occupies an important position also historically, and it in part supplies an admirable example of that decorated architecture, the existence of which in this country has been so often denied, but of which, we trust, a sufficient number of examples are now provided to render that reproach to Scottish architecture no longer justifiable. We have to thank the fine red sandstone of the district, of which the church is built, for the perfect preservation of all the details of the structure. These remain, even in the minutest carving, as perfect and complete as the day they were executed."

The cloister and domestic buildings, including the hall of Abbot Matthew, were situated on the north side of the church. They have now entirely disappeared, leaving only a portion of the cloister which indicates their position. The church is cruciform, and the choir is unusually short and the nave unusually long. The aisled choir extends only two bays eastwards from the crossing, beyond which point the presbytery is carried one bay farther, without aisles, and is lighted by large north and south windows as well as by the great eastern window.

The shortness of the choir rendered it necessary that part of the nave should be appropriated for the monks, and the enclosing screen wall of this portion of the “choir” extended to the fourth pier west from the crossing, where it was carried across the nave and formed the rood screen. The screen was wide and contained a gallery, on the top of which stood the rood. The nave extends to eight bays, but it has been intended to be longer the west end being incomplete. Extending southwards, beyond the south aisle, is a series of eight chapels, which produced externally, along with the south aisle, the appearance of a double aisle. The north aisle is narrower than the south aisle, and the position of the cloister may have hampered the design.

This difference may have arisen from the plan of the original abbey of the twelfth century being adhered to in the later construction.

The transepts contain the usual eastern aisle only, in which are situated four chapels.

The superstructure of the church has severely suffered and the western part is greatly demolished. The portion eastwards from the rood screen is in better preservation. The vaulting of the aisles is well-preserved, but that of the centre aisle is demolished a pointed tunnel vault having been constructed in 1618. The eight chapels are well preserved, but some parts of the three furthest west ones are damaged and have lost their vaulting. The tracery in the chapel windows is lovely; the vaulting of the nave, south aisle and chapels, is supported by a series of flying buttresses, “which form one of the most prominent and beautiful elements of the building. No church in Scotland retains such a striking example of that important feature of Gothic architecture."

The eastern piers of the crossing were demolished probably in Henry VIII.’s time, and their destruction entailed that of the central tower, of which the western wall only remains. The transepts have suffered by the fall of the tower, but fortunately the south wall of the transept with its finely decorated window is still preserved. From the south transept access is obtained to the roof of the nave aisle and to the uppermost parts of the structure by a turnpike stair, which also forms the only mode of approach to the tower. “The choir, so far as the east is concerned, is well preserved, the buttresses and gable, the celebrated eastern window, and the remarkable vaulting of the presbytery being all in good order. The remainder of the choir, however, has been greatly wrecked by the fall of the central tower; but many of the windows of the choir and transept with their perpendicular tracery have escaped destruction, and afford the best example in Scotland of that form of design."

The building, as it now stands, is, generally speaking, of a date subsequent to Bruce’s time, and much of it is later than the destruction which occurred under Richard II. in 1385. “The nave, from the crossing to the rood loft, and part of the transepts are, undoubtedly, the oldest portions of the existing edifice. The work in these is, for the most part, of the Scottish decorated period. The nave piers, with their beautifully carved caps, and the mouldings of the arches are distinctly decorated work; and the flying buttresses and pinnacles on the south side of the nave are, without doubt, of the same period. So also is the south wall of the transept, with its magnificent window and tracery and its buttresses, enriched with fine canopies and quaint figures carved as corbels.

“All these features bear a close affinity to the decorated work of the nave of York Minster, erected about 1400. The flying buttresses, with pinnacles enriched with crockets and foliaged finials; the niches, with their elaborate canopies and corbels composed of figures of monks and angels; the statues which formerly filled the niches, of which very few now remain; the decorated tracery of the south transept window, and the whole character of the work, both in its general scope and in its details, is of fine decorated design, and vividly recalls that of York, Beverley, and other English examples. It is not improbable that some parts of the nave and transept were erected during the period between the death of King Robert Bruce and the invasion of Richard II. It should be mentioned that Bruce’s bequest was not all received till 1399, and the operations also probably proceeded slowly. The doorway in the south wall of the south transept is apparently an insertion in older work." The south chapels of the nave have apparently been added during the repairs in the earlier part of the fifteenth century; the buttresses were probably executed towards the middle of that century, and the east one contains the arms of Abbot Hunter. There is a distinct change in the transept’s design from that of the nave, as if the former had been added to the latter at a later period. The east wall and the other eastern parts of the choir are more recent than the nave, and probably this portion of the church had been more damaged by Richard II. than the nave, and required to be almost wholly rebuilt. The style here corresponds closely with the “perpendicular” of England which prevailed in the fifteenth century. The great eastern window is exceptional and unique, and has more of the character of perpendicular than any other style. Scott, referring to it, has described the moon as shining

Through slender shafts of shapely stone,
By foliaged tracery combined;
Thou would’st have thought some fairy’s hand,
Twixt poplars straight, the osier wand,
In many a freakish knot, had twined;
Then framed a spell, when the work was done,
And changed the willow-wreaths to stone.

The design of the west wall of the north transept is different from that of the other parts of the building, but the clerestory windows are of the same design as the rest of the older church. “The wall ribs of the vaulting include two windows in each; and the space between the windows is occupied by two niches, each carried up from a shaft with late canopies, containing statues of St. Peter and St. Paul, the former having the keys and the latter holding his sword. These are the best preserved statues in the church, but they are not of very remarkable workmanship." The building or restoration of the eastern part of the edifice is regarded as indicating, from its style, work of the middle of the fifteenth century, and the vaulting of the south transept appears to have been erected by Abbot Hunter about the same time, probably from 1450 to 1460. More of the vaulting in the eastern part of the nave may have been carried out at that epoch. The vaults all contain, besides the main and ridge ribs, subsidiary ribs, or tiercerons, indicating a similarity to English examples.

The vaulting of the presbytery is peculiar, and points to a somewhat later time; examples of vaulting similar to that of the presbytery of Melrose may be seen at Winchester Cathedral, and other English examples of the fifteenth century.

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

“Work in the nave and in the south chapels was apparently in progress during the reign of James IV., as the royal arms, with the letters I. Q. (Jacobus Quartus) and the date 1505 on the westmost buttress testify." On the south side of the cloister is a very lovely doorway that leads into the church. To the right of this and along the east wall of the cloister, are arched recesses of a late style, and in the south wall is an arcade of trefoil form, with nail-head enrichments. The latter is an example of the late revival of early forms which prevailed towards the close of the Gothic epoch.

It has been stated that the arcade of the cloister formerly extended 150 feet each way. The cloister wall is now reduced to the portions which abut against the nave and transept 50 feet on the east side and 80 feet on the south side. The former side contains a wall arcade of seven arches. These are of the form called drop arches, with crocketed ogee hood moulding, and have plain spandrils above, over which there runs a straight cornice, enriched with flowers and shells of all descriptions very beautifully carved." Of these Sir Walter Scott said:

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

The tower was doubtless erected about the same time as the transept. In the south transept are two inscriptions that have given rise to much speculation and continue to exercise Border antiquaries. One of these is carved over the doorway in the west wall which gives access to the wheel stair, and part of the inscription is carried down one side for want of room. It is the following:

Sa gays the cumpas evyn about,
Sa trouth and laute. do but duite.
Behald to ye hende q. Johne Morvo.

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

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

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

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

An interesting view regarding John Morow will be found in A Mediaeval Architect, by Mr. P. MacGregor Chalmers. He believes that the south chapel of the transept was that of St. John, and as John Morrow’s tablet is opposite this chapel, his prayer to “sweet St. John” is most appropriate. Mr. Chalmers also points out that the chapels at the east end of Glasgow Cathedral are dedicated to the same saints and in the same order as those in the east aisle of the transept at Melrose.

Immediately beneath the site of the high altar at Melrose is the resting-place of the heart of Robert Bruce, and to the south of it is a dark-coloured polished slab of encrinital limestone said to mark the grave of Alexander II., who was buried near the high altar in 1249. Others maintain, however, that it marks the burial-place of St. Waltheof or Waldeve, who was the second abbot of the monastery founded by King David, and that it is the slab placed here by Ingram, Bishop of Glasgow (1164-1174).

The chancel was also the burial-place of the Douglases. The Douglas tombs were all defaced by Sir Ralph Evers in 1544. At the northern end of the north transept a small doorway leads into the sacristy, in which is the tombstone of Johanna, Queen of Alexander II., with the inscription “Hic jacet Johanna d. Ross.” Melrose is the Kennaquhair of the Abbot and the Monastery.