In the previous volume those styles of architecture in Scotland were
dealt with which are directly derived from the earlier styles of Celtic
and Roman or Romanesque art, and it was shown, in the examples of the
Transition style, that the old forms were passing away and new forms
were being introduced.
We have now reached that point in the history of mediæval architecture
when it took an entirely new and original development. It has already
been pointed out[6] that this new departure sprung from the necessity
which arose for the invention of an elastic system of vaulting which
should admit of all the arches, forming vaults over spaces of any form
on plan, being carried to the same height at the ridge. This requirement
led to the introduction of the pointed arch in the vaulting, and from
that department it soon spread to all the other arched features of the
architecture.
This new development took place at a time when great changes were
occurring, especially in France, in social and intellectual life. Men’s
minds were then gradually awakening, science and instruction were
spreading under Abailard and other teachers, the towns were obtaining
their freedom, and a new system of things was gradually unfolding
itself.
Architecture, which had hitherto been confined to the monasteries, was
now undertaken by laymen, who, discarding the old traditional methods,
strove after a new and simpler mode of expressing their ideas in stone.
The elaborate and stereotyped features and ornaments of the Romanesque
style were rejected, and simpler forms, at first almost without
ornament, were adopted, which emphasised the constructional elements of
the architecture.
Of this simple, but vigorous, early pointed style numerous examples
still exist in France and Spain. When introduced amongst the Normans and
English towards the close of the twelfth century the pointed style had
acquired a certain amount of ornamentation of a new and appropriate
description.
The examples already illustrated show that during the Transition period
the new style was making itself felt in Scotland about the end of the
twelfth century. At Dundrennan and Jedburgh Abbeys the pointed arch
becomes prominent amongst the round arches of the earlier style, but
many of the old enrichments are still adhered to. This clinging to old
forms may still to a certain extent be noticed in some of the structures
whose leading features are in the first pointed style, but these relics
gradually, though slowly, disappear. The round arch, however, sometimes
maintains its position in Scottish doorways throughout the whole of the
Gothic period.[7]
The pointed arch is above referred to at Kelso[8] as having been
introduced, along with Norman elements, at the crossing under the tower,
where its strength was considered useful. The pointed arch, however,
cannot generally be said to have been adopted in Scotland in consequence
of any special requirement of construction; it rather followed the lead
of countries further south as a matter of fashion. Few of our early
churches were vaulted throughout at the beginning of the thirteenth
century, and the forms of such vaults as existed were, doubtless,
borrowed from England. The vaults of the choir of St. Andrews Cathedral
and the lower church of Glasgow Cathedral are probably the only
exceptions, most of our other large churches having been vaulted, if
vaulted at all, at a later period. The large churches were generally
designed to have the side aisles only vaulted, the central aisle being
covered with a wooden roof, as, for example, Arbroath Abbey and Dunblane
and Elgin Cathedrals. Holyrood Abbey is an exception; but there the
vaulting of the central aisle was sexpartite, and the pointed arch was
not much required.
The first pointed style, when introduced into this country, speedily
spread, and most of our large churches are built in that style. Many
monasteries, as we have seen, were founded in the time of the sons of
Queen Margaret; but most of these appear to have been at first on a
small scale, and were chiefly rebuilt on a larger plan, together with
new monasteries, in the thirteenth century. Such are the abbeys of
Holyrood, Inchcolm, Kilwinning, Pluscardine, Culross, and Beauly.
The thirteenth century was also distinguished as the great epoch for the
erection of cathedrals. The secular clergy had then risen to power, and,
under their guidance, the erection of magnificent cathedrals, both at
home and abroad, was the principal architectural phenomenon of the
period. In France and England the great majority of the cathedrals owe
their origin or completion to about this epoch; and in Scotland there
were erected, in whole or part, during the first pointed period, the
cathedrals of St. Andrews, Dunblane, Glasgow (the choir and crypt),
Elgin, Brechin, Dunkeld, Caithness, the choir of St. Magnus’ in Orkney,
and Galloway.
The first pointed style, in which all the above structures were carried
out, reached Scotland, as already mentioned,[9] through England. The
relation between the ecclesiastics of the two countries was then very
close, the monasteries being colonised from English houses, and the
cathedral rules being based on the uses of those of England.
Hence, as might be expected, the connection of the style of architecture
adopted in Scotland with that of England is at this period very
intimate, almost the only difference observable being that the first
pointed work in Scotland is rather later than that in England, and that
the Norman and transition features are more slowly rejected. We find the
same desire in both countries to render their principal ecclesiastical
structures complete and varied. We have no cathedrals in Scotland which
can vie with Salisbury, Lincoln, or York in size and magnificence, or in
the possession of double transepts. The Scottish cathedrals and abbeys,
however, were, for the most part, complete in all departments, having
choir and nave with side aisles (and, in the case of Elgin Cathedral,
with double aisles to the nave); a presbytery of one or two bays without
aisles, but with large windows on three sides; well-marked transepts
with eastern aisle; generally a large central tower over the crossing,
and frequently two western and other towers.
Great central towers over the crossing of the first pointed period
formerly existed at St. Andrews and Elgin Cathedrals, and at Dundrennan,
Arbroath, Holyrood, Kilwinning, and Dunfermline Abbeys, but of these not
a vestige now remains. The only central towers which now survive are
those of Glasgow Cathedral and Pluscardine Abbey, which are carried on
the arches of the crossing. There is also a central tower at Culross
Abbey which rises with solid walls from the foundation. The central
towers of Kirkwall and Dornoch Cathedrals have been rebuilt.
Of the other towers which once adorned our churches there still remain
the two noble western towers of Elgin Cathedral, and one of the western
towers of Holyrood Abbey. At both of these edifices the towers were
carried up with solid walls from the foundation. In other examples, of
which, however, only fragments survive, such as Arbroath and Kilwinning
Abbeys, the towers opened with arches into the central and side aisles,
so that the space occupied by the towers was included in the church. At
Kilwinning the arch in the towers next the nave appears to have been
carried to a great height, so as to form a kind of western transept. At
Inchmahome Priory there are remains of one western tower, which was
included in the nave. At Cambuskenneth Abbey a large detached tower
exists close to the west end, and at Lindores Abbey there are remains of
one western tower.
The dependent buildings were also usually numerous and complete, the
cathedrals and abbeys being almost all provided with large cloister
garths, surrounded by handsome chapter houses, refectories, guest
houses, &c. The chapter houses are generally square, and vaulted from
one central pillar; but that of Elgin Cathedral is detached and
octagonal, with vaulting springing from a lofty central column. The
western portals are generally important, those of Elgin Cathedral and
Holyrood Abbey being specially fine. That of Kirkwall Cathedral, already
described,[10] is the finest of this period.
The Norman round apse gives place at this time, as in England, to the
square east end, and there is in the first pointed period no indication
of a round or multangular chevet like those in France.
The similarity of all the details of the architecture of Scotland to
that of England has already been fully explained.[11]
The Scottish churches are comparatively low in the vaulting; they do not
exhibit the soaring ambition of those of France, but are, like the
churches of the sister country, comparatively moderate in height. The
buttresses are simple and plain, and flying buttresses and pinnacles are
occasionally used. The caps are round on plan, and have foliage founded
on that of the early first pointed style in England.
The windows are almost always of the lancet form, several being often
grouped together, and some incipient forms of tracery are attempted, as
at Dunblane and Glasgow Cathedrals.
In the piers the massive round columns of the Norman style are
abandoned, and clustered shafts are used, which give a lighter character
to the interior. The sections of these piers are exceedingly simple and
effective. They are usually illustrated in connection with each edifice,
and they have all a general resemblance to each other. The section
consists of one larger attached shaft (usually brought to an acute edge
in the centre) on each of the four cardinal faces, and one or two
intermediate smaller shafts between the four principal shafts, either
separated by square fillets or without such fillets. In the later
examples the sharp keel edge on the face of the shafts becomes a fillet.
The bays sometimes follow the ordinary arrangement in England, having a
triforium arcade over the main arcade, surmounted by the clerestory. In
some of our largest churches, viz., St. Andrews and Glasgow Cathedrals,
and Kilwinning, Holyrood, Arbroath, and Pluscardine Abbeys, this
arrangement is followed; but it is notable that in several churches, as
at Elgin and Dunblane Cathedrals, the triforium is dispensed with, and
the clerestory is placed immediately over the main arcade. In other
examples, as at Dryburgh Abbey, the triforium is reduced to a minimum,
and the gallery represented only by a round cusped opening. The absence
of the triforium is an arrangement which was much adhered to in the
later epochs of our Gothic architecture.
The relative lengths of the nave and choir have already been referred
to;[12] but attention may be drawn to the remarkable fact that in the
monastic churches, which were constructed chiefly for the use of the
monks, the choir, or portion set apart for the ecclesiastics, is small,
and the nave is large; while in the cathedrals, which were intended for
the use of the community, the choir is large as compared with the nave.
During the first pointed period attention seems to have been chiefly
directed to the erection of large cathedrals and monastic churches--the
number of parish churches constructed at this period being comparatively
small.
This, no doubt, partly arose from the large number of parish churches
built during the Norman period. Several examples of small churches of
the first pointed period, however, are illustrated, which show that the
style extended to all departments of ecclesiastical structures.