[Illustration: FIG. 549.--Elgin Cathedral. Western Doorway.]
chapels, if any such formerly existed on the east side of the transept
(which, however, does not seem to have been the case), have now entirely
disappeared. The south wall of the south transept (see Fig. 547) is
especially interesting from its containing the oldest architecture in
the cathedral. The various features all show that it belongs to the
period of transition from Norman to first pointed, which in Scotland
occurred about the beginning of the thirteenth century. The forms of the
buttresses and the introduction of the pointed lancet windows below the
circular arches on the upper floor show that the first pointed style was
making rapid progress, while the circular arches of the upper windows
and the Norman ornaments inserted in the pointed doorway of the south
transept show some lingering remains of the earlier style. Perhaps the
transition in this northern region may have taken place at a later
period than in the south; and, to judge from the transition style here
employed, which in a more southern situation would indicate a date about
1200, this part of the structure may have been erected immediately after
the foundation of the cathedral in 1224; or the transept may have formed
part of the original Church of the Holy Trinity, which was superseded by
the cathedral. The transept would be of great size for an ordinary
church, but would accord well with the dimensions of an edifice intended
for a cathedral.
The style of the western towers (see Fig. 544) indicates an early date,
being all of early first pointed work in every detail. The great western
portal (Fig. 549), with its surmounting gablets and side niches, is also
in the first pointed style. The nine circular shafts of the ingoing,
with their round moulded caps and bases and simple cavetto between, and
the mouldings of the deep bay of the principal arch, are of fine first
pointed character. The arch head comprises amongst the boldly cut
mouldings four rows of dog-tooth ornament, and one order formerly
enriched with a finely undercut and foliaged ornament, now almost
obliterated. This doorway is evidently in a later style than the towers,
although still belonging to the first pointed period.
An elegant first pointed gallery (Fig. 550) likewise runs round the
interior of the west wall over the doorway. The inner portions of the
western portal, _i.e._, the two smaller arches and tympanum within the
great arch, are of later date. This is quite apparent from the nature of
the enrichments, which indicate the fifteenth century. The ornaments are
numerous and consist of imitations of natural foliage, the jambs and
arches are continuous and without caps, and the arches are surmounted by
crockets, all signs of decorated work. The vesica over the central
mullion has, doubtless, contained an image of the blessed Virgin, and on
either side is an angel kneeling and throwing the censer.
The great west window over the portal (see Fig. 544), which was formerly
filled with tracery, is also of later date than the portal, every
feature being of a decorated character. The tracery has apparently
contained a large circle or rose form in its design, and has
corresponded in style with the tracery which latterly filled the eastern
circular light. This part of the building was probably erected in the
earlier part of
[Illustration: FIG. 550.--Elgin Cathedral. Interior of West End.]
the fifteenth century. The arms of Dunbar and the royal arms are
observable on shields above the arch, and the former may stand for
Bishop Columba Dunbar, under whom it may have been erected (1422-35).
During the fifteenth century great additions and alterations were,
doubtless, carried out in consequence of the restoration required after
the destruction caused by the “Wolf of Badenoch” in 1390. These extended
chiefly to the nave and chapter house, which were both to a large extent
rebuilt. A contribution towards this restoration appears to have been
made by Robert III. in 1390, in the form of an annuity during the king’s
pleasure; and in 1408 the revenues of the see, while vacant, were
granted to the work.[51]
The nave appears, from the plan of the main piers (see Fig. 543) and the
style of the responds against the west towers (see Fig. 550), to have
been originally of first pointed work, and to have corresponded with the
style of the choir, having no triforium, but a lofty clerestory with
passage in the wall similar to that of the choir. Slezer’s view, taken
before the destruction of the tower and nave in 1711, shows the
clerestory of the nave complete, as above described. The arches of the
windows are drawn as if circular, but this is evidently a mistake, those
of the choir, which still survive and are pointed, being also drawn as
if of circular form. The smaller piers of the outer aisles are evidently
much later in style. The outer aisles would appear to have been the
result of an alteration made apparently at an early date. Some fragments
of the south aisle wall and south porch are apparently of first pointed
style, but the outer aisles were undoubtedly restored in the fifteenth
century. This is apparent not only from the style of the piers, but also
from other indications. Thus, from the water table of the aisle roof
against the north-west tower, it is evident that the roof has originally
been of the simple shed form usually employed to cover a single aisle;
while a second water table or groove has been formed to receive the span
roof of the outer aisle. The small portion of the south wall of the nave
which survives also confirms this view, as the form and ornament of the
traceried windows (Fig. 551) assign them to the middle pointed period.
The mode of junction of the outer aisles with the western towers also
shows that the former were afterthoughts, as they project beyond the
outer face of the tower wall in an awkward manner (see Plan). The
junction of the south wall with the transept further indicates that the
position of the former has been altered, as the lower part of a buttress
has had to be cut away to make room for it, and the upper part of the
buttress is left unsupported in mid-air (see Fig. 551).
The rebuilding of the nave was, doubtless, carried out during the
restoration subsequent to the ruin caused by the “Wolf of Badenoch,” in
1390. This restoration is in the style of the Scottish decorated work
[Illustration: FIG. 551.--Elgin Cathedral. South Side of Nave.]
which flourished during the fifteenth century. It should, however, be
kept in view, as above pointed out, that some of the details of the west
window of the south aisle wall and the south porch seem to indicate that
the south wall had been extended to its present position in first
pointed times. The restoration in the decorated period (after the great
destruction of 1390) may, therefore, have proceeded on the earlier lines
of the thirteenth century. The traceried windows of the south aisle are
clearly of the decorated period. The corbels which carry the arches in
the towers, in the bay of the interior next the west doorway, are also
of fifteenth century work.
There have been cross walls dividing some bays of the outer aisle into
chapels. Of these some fragments can be traced in the south aisle, and a
few of the piscinas and ambries still remain.
The chapter house (Fig. 552) appears to have been originally built about
the same time as the east part of the choir, the buttresses being
similar in design, but it was afterwards considerably altered.
As it now stands, the chapter house is practically a structure of the
late pointed period. It is the only example remaining in Scotland of a
similar detached octagonal edifice, with central pillar and vaulted roof
(Fig. 553). It is 37 feet in internal diameter on the ground floor; but
the walls have the peculiarity that, about 8 feet above the floor, they
are corbelled out, and overhang towards the interior. On the side
opposite the entrance where the bishop’s seat stood the corbelling is
carried on an arcade of five arches, enriched with third pointed
ornaments. On the other sides the corbelling is horizontal, with
foliaged caps and corbels at intervals, and detached leaf ornaments in
the mouldings.
It is apparent from the alteration of the masonry of the exterior that
the windows have been inserted in an older structure. Probably the
chapter house suffered so severely at the hands of the “Wolf of
Badenoch” that it had to be almost rebuilt. The interior of the walls
appears to have been relined with ashlar work when the restoration took
place, new vaulting being erected and enlarged windows introduced at the
same time. The new facing of the interior of the wall is carried round
all the sides, except that in which the entrance doorway is situated.
There it stops short, and the old wall is visible. This lining accounts
for the unusual projection of the upper part of the wall above mentioned
(see Fig. 553).
The designer of the restoration of the chapter house has apparently
thought that the original floor space might thus be retained without
diminishing the stability of the structure, which is well buttressed on
the exterior, and he has ingeniously calculated that the additional
weight thrown by the corbelled out thickness on the interior of the
walls would serve as a counterpoise to the outward thrust of the
vaulting. The latter springs from a single vaulting shaft in each angle
of the building, resting
[Illustration: FIG. 552.--Elgin Cathedral. Chapter House from South-West
and South Aisle of Choir.]
[Illustration: FIG. 553.--Elgin Cathedral. Chapter House: Interior.]
on a carved head, and having a foliaged cap. The vaulting has ridge ribs
and liernes, and is evidently founded on English examples. The
intersections of the ribs are provided with ornamental bosses. The
windows are large, and were divided with mullions and tracery of the
middle pointed style, most of which is now demolished.
The central pillar is octagonal, and consists of alternate rounds and
hollows, the former having distinct bases and foliaged caps, and each of
the hollows having a shield with armorial bearings inserted in the
cavetto between the caps of the shafts.
The shields on the capital of the central pillar of the chapter house
are as follow:--
1. On the south side facing the entrance doorway, a shield with the
royal arms.
2. On the north side, immediately opposite the 1st, a sculptured
figure of St. Andrew (see Fig. 553).
3 and 4. On each of the east and west sides, a shield having arms
quartered thereon, viz.:--1st and 4th, a lymphad; and 2nd and 3rd,
a fesse chequé, being the arms of Stewart of Lorn or Innermeth[52]
reversed--_i.e._, the 1st and 4th quarters should occupy the
position of the 2nd and 3rd, and _vice versa_ (a mistake not
unusual in Scottish heraldry).
5, 6, 7, and 8 occupy the diagonal faces of the octagon, and have
shields bearing the cross, crown of thorns, hands and feet, spear,
and other emblems of the Passion.
The above heraldic blazons are of some importance, as they enable us to
fix approximately the name and date of the bishop under whom the
restoration of the chapter house was carried out. The royal arms occupy,
as is natural, the most prominent position. The east and west sides both
bear the same arms, and are, doubtless, those of the bishop who presided
at the time of the restoration.
There were several bishops of the name of Stewart during the fifteenth
century, when the author of the restoration would naturally be looked
for. These were James Stewart (1459), David Stewart (1462), and Andrew
Stewart, who was elect of Moray in 1482. These bishops all belonged to
branches of the family of Lorn. Bishop James Stewart lived for only two
years. Bishop David Stewart was brother of the last bishop, and was
parson of Spynie. “He built the great tower of Spynie Castle[53] (the
Bishop’s Seat), a mighty strong house; it is called to this day David’s
Tower.”[54] “This good prelate made several wise regulations; and after
he had governed the see of Moray fourteen years, he died, and was
buried in the same aisle with his brother,”[55] viz., that of St. Peter
and St. Paul on the north side of the cathedral.
In 1482, Andrew Stewart, third son of Sir James Stewart, surnamed the
Black Knight of Lorn, by Joan, Queen Dowager of Scotland, the widow of
King James I., was promoted to the bishopric. He had previously been
Lord Privy Seal, sub-Dean of Glasgow, and Rector of Monkland. In 1477 he
was Provost of Lincluden. He died in 1501, and was buried in the choir
of the cathedral. Bishop Andrew Stewart thus held the see for nineteen
years. It is quite possible that the restoration of the chapter house
was begun by Bishop David Stewart, but it seems more likely that the
arms on the pillar are those of Bishop Andrew Stewart. The figure of St.
Andrew, carved on the capital on the north side, being that opposite the
royal arms, seems to favour that view; and the style of a good deal of
the ornament connected with the restored stone lining of the interior,
such as the enrichments of the corbels, &c., agrees rather with the end
than the earlier parts of the fifteenth century. The windows, with their
tracery, may, however, be of a somewhat earlier date.
A stone reading desk forms part of the central pillar, being attached to
the north-west side at a suitable level. A stone bench runs, as usual,
round the chapter house, and the bases of the shafts in the angle rest
upon it.
The entrance to the chapter house is by a vestibule opening from the
north aisle of the choir. The interior of the wall over the doorway has
not been thickened like the other sides, and near the top of this blank
wall are four niches (see Fig. 553), now empty, and these are surmounted
by a smaller niche, also empty.
On the east side of the vestibule is a small vaulted apartment,
containing a stone trough, which was, doubtless, formerly used as a
lavatory. In more recent times it was occupied as a living-room by the
mother of General Anderson (a benefactor of the town), and the trough is
said to have formed the future General’s cradle.
A wheel-stair, in the south-east angle of the chapter house, leads to
the roof.
The north and south aisles of the choir have been vaulted and provided
with ridge ribs and liernes. In the north aisle one bay and in the south
aisle three bays of the vaulting still remain (see Figs. 552 and 548).
The latter, called the Lady Chapel, has been restored in the fifteenth
century, when traceried windows were inserted and the vaulting built.
In this aisle several monuments have been erected. That of Bishop
Winchester (1437-58), in the wall next the choir (see Fig. 548), is a
good example of the work of the period. The recumbent effigy of the
Bishop is in fair preservation, and some traces of paintings of angels
are still visible in the interior of the vaulted canopy of this tomb.
The monument to another Bishop, in the same wall, is of a simpler
design.
This aisle has long been the burial-place of the ancient family of the
Gordons. The central tomb at the east end is that of the first Earl of
Huntly, who died in 1470.
In the north wall of the choir is an early example of a tomb of peculiar
design (see Fig. 545).
[Illustration: FIG. 554.--Elgin Cathedral. Caps in Chapter House.]
The remains of another monument exist at the passage from the choir to
the north aisle, but so mutilated that its design cannot be made out.
The details of the sedilia and piscina in the choir are also much
destroyed.
A few specimens of the fine carved work collected amongst the ruins are
exhibited in the chapter house. Two of these are illustrated (Fig. 554),
from which some idea of the richness and beauty of the details which
have perished may be gathered. These probably formed caps of the outer
piers of the nave aisles.