The lower church (see Fig. 571), supporting as it does the choir with
its aisles and the east aisle with its chapels above, conforms in its
structural arrangements to the plan of the upper church. Thus all the
pillars in the simpler plan above are supported by pillars in the more
complicated plan below. In the latter, between each of the main piers of
the arcade, lesser piers are introduced; so that while there are four
pillars and five bays on each side of the choir above, there are nine
pillars and ten bays in the church beneath. The central area of the
lower church is further subdivided by a simple and beautiful scheme of
pillars and vaulting, which is arranged in the following manner (Fig.
578). A central shrine of four slender pillars (Fig. 579) is placed
opposite the sixth bay, counting from the eastern aisle, and is situated
under the high altar of the choir. This shrine is made the centre of the
scheme for the vaulting of three bays on each side; the remaining bays
on the east and west being treated so as to form a variety both in the
piers and vaults. From the shrine as a centre a single central pillar is
introduced in the spaces to the east and west, and in the bays beyond
them two pillars are introduced in the breadth, and the vaulting is
varied so as to suit this arrangement of the pillars (Figs. 580 and
581). The vaulting of the lower church is a masterpiece of design, and
produces by very simple means a wonderful variety of effect. It is
analysed by Sir G. Gilbert Scott in his lectures, and greatly commended.
This vault has been the subject of very careful examination by Mr. T. L.
Watson, architect, Glasgow, who points out that it must have been
erected at a later period than the rest of the choir. This he proves
from the mouldings, which are of a later character than those of the
choir. His view is that the original intention was to vault the central
aisle with a series of cross vaults similar to those in the side aisles,
and he points out that the springers for these vaults were built along
with the piers. The central vault, however, was delayed for convenience
of building operations till after the upper portions of the choir were
finished, and, when this vault came to be executed, the architect had
devised the more beautiful scheme which is actually carried out. This
required some alteration of the springers, and Mr. Watson draws
attention to the points where the alterations are visible. He also
points out that the two central east windows of the lower church are
different from the others (see Fig. 568). The latter are all double
lancets, whereas the former have each one large arch enclosing two
smaller ones. The larger arches would be left open during the progress
of the work for the introduction of building materials, and the filling
in of the smaller arches would be done after the building was completed.
[Illustration: FIG. 578.--St. Mungo’s Cathedral. Plan of Lower Church,
showing the Vaulting.]
The new scheme of vaulting was, doubtless, so arranged as to leave the
original grave of St. Mungo undisturbed, and allow the new shrine to be
erected over the sacred spot.
[Illustration: FIG. 579.--St. Mungo’s Cathedral. Shrine in Lower Church,
from South-West.]
The eastern part of the lower church is treated in a manner similar to
the east aisle and chapels over it, except that in the former the
chapels are divided by solid walls (containing arched openings) running
between the piers and the east wall. The object of these cross walls has
been to
[Illustration: FIG. 580.--St. Mungo’s Cathedral. Lower Church: Bay near
East End.]
give solidity to the lower part of the structure. In the upper church
the pillars between the aisle and the eastern chapels stand free, but to
have
[Illustration: FIG. 581.--St. Mungo’s Cathedral. Lower Church, near East
End.]
continued these free standing piers down through the lower church would
have made the construction weak. Even with the walls between the
[Illustration: FIG. 583.--St. Mungo’s Cathedral. Doorway to Chapter
House.]
chapels in the lower church the construction has proved insufficient,
and at this part of the edifice considerable signs of disturbance are
observable. The cross walls contain open arches, each with a piscina and
credence table; and the central one contains a monument. This is
believed to be the effigy of Bishop Wishart (Fig. 582), but as the space
is too short to contain it, the lion at the feet has had to be cut away
in order to enable the effigy to be placed where it is. It, therefore,
seems to have been brought from another site.
[Illustration: FIG. 582.--St. Mungo’s Cathedral. Effigy in Lower
Church.]
In the northmost chapel is the entrance to the chapter house, which
corresponds in style with the lower church (Fig. 583), and has
apparently been built about the same period. The main wall shafts of the
chapter house (Fig. 584), with their rounded and moulded caps and bases,
correspond with those of the lower church, and the windows are also of
corresponding design (see Fig. 597), except that the external bases of
the window shafts are of a later date. The chapter house would appear to
have been left incomplete for a long period, and to have been heightened
and finished in the fifteenth century, as will be pointed out. The
doorway (see Fig. 583), which is in the first pointed style and very
ornamental, was evidently designed to give access to it.
[Illustration: FIG. 584.--St. Mungo’s Cathedral.