older parts of the nave. The three west bays of the nave and two bays of
the aisles remained without vaulting till they were covered with the
present wooden vaults, when the building was repaired by the Government
in 1848.
The aisle windows in these bays are narrow, and have trefoiled cusped
heads, being the only cusping in the cathedral (see Fig. 236), except
those in the large round windows.
The parapet of the north side of the nave is evidently a very late piece
of work. It is supported on large trefoil ornaments, or inverted
fleurs-de-lys, cut square into the wall, without chamfer or moulding.
(See Fig. 236.)
This ornament extends along the six eastmost bays of the nave, the two
westmost bays having a plain parapet on the same level. On the south
side of the nave the aisle wall has been raised with red ashlar (like
the choir south wall), and an ordinary parapet placed above it.
The buttresses in the west part of the north side of the nave are of a
late pattern, with two set-offs, and those on the south side of the nave
have been repaired and altered.
In the south side of the nave a new exterior doorway (see Fig. 238) has
been substituted for the old Norman doorway, the shafts and arch of the
latter remaining in the interior. The new doorway is said to have been
inserted by Bishop Reid in the sixteenth century. This is the same
Bishop whom we meet with as Prior of Beauly and Abbot of Kinloss
(_q.v._)
The doorway has the late form of a three-sided arch, and the mouldings
are those common at the period (sixteenth century). In the centre of the
lintel is the shield for a coat of arms, now obliterated, but a mitre is
still traceable. A benitier adjoins the doorway, and there seems to have
been a wooden porch or awning over it.
The tower over the crossing (see Fig. 230) has been considerably
operated upon in modern times. The old wooden spire was destroyed by
lightning in 1671, and the tower consequently required repairs. The
parapet and pinnacles are modern, as also the pointed and slated roof;
but the lower part seems to be of considerable age (see Section, Fig.
227). The part within the roof of the church is apparently of transition
date, and the upper part, with the large pointed windows, is probably of
fifteenth century work.
An unusually wide wheel stair leads from the north-west and south-west
angles of the transept to the upper parts of the edifice. These stairs
are connected with passages which circulate all round the clerestory and
triforium in the thickness of the walls (Fig. 247), and give access to
every part of the building. They also pass round the tower at each
story, and are connected with small wheel stairs in the angles, by one
of which access is obtained to the roof.
There would appear to have been, at one time, numerous fine monuments in
the cathedral, but they have all disappeared.
An arched recess, with a gablet over it, in the south nave aisle (see
Fig. 237) is now empty, but is supposed, by Sir H. Dryden, to have been
erected for some member of the family of the Strathernes, Earls of
Orkney.
The altar tomb of Bishop Tulloch, who died soon after 1455, stood
between the two eastmost pillars of the choir. It was a handsome
erection, and appears to have had a canopy, but not a fragment now
exists. A stone cist was discovered between the two east piers of the
choir (north side) during the repairs in 1848. It contained a skeleton
doubled up, and an ivory crozier and a plate of lead inscribed, “Hic
requiescit Wilialmus senex felicis memorie,” and on the back “primus
episcopus.” Bishop William the old died in 1168. The cist and bones were
carted away with the rubbish in 1856, but the ivory staff handle and the
lead plate are preserved in the Museum of the Society of Antiquaries at
Edinburgh.
Numerous slabs, with inscriptions of the seventeenth century, have been
erected against the nave walls.
At one time the cathedral possessed some fine specimens of woodwork. The
canopy over the Bishop’s throne (shown by Billings) has now disappeared.
The alms dishes, which are of brass, 2 feet 5 inches diameter, are of
Dutch workmanship of the seventeenth century. They are large and fine of
their kind.
The tower contains four bells. Three of these were given by Bishop
Maxwell. The great bell (3 feet 5½ inches diameter and 2 feet 9 inches
high) has, on a raised shield, the Bishop’s arms, a saltier, with
annulet in centre, and under it “NLTAS.” Also the following
inscription:--“Made by Master Robbert Maxvell, Bischop of Orkney the
yaer of God MDXXVIII the year of the reign of King James the V., Robert
Borthwik made mein the castel of Edinbrugh.” There is also in a
medallion, containing in seven lines, the following:--“Taken et brought
againe heir by Alexander Geddus marchant in Kirkwa and recasten at
Amsterdam Jully 1682 years by Claudius Fremy city bell caster. It weighs
1450 P.” On a medallion, a figure with a sword, and, under it SCT
MAGNVS. The latter inscription shows that this bell was sent to
Amsterdam
[Illustration: FIG. 247.--Kirkwall Cathedral. Plan at Level of
Clerestory.]
to be recast, which was required, in consequence of a crack or rift
having occurred in it.
The second bell (3 feet 1 inch diameter and 2 feet 5 inches high) bears
the following inscription in black letters:--“Maid be maister robert
maxvell bischop of Orknay in ye secund yier of his consecration in the
zier of god Im Vc XXVIII zeiris ye XV zier of ye reign of King James V.”
On a medallion is a figure with a sword, and, under it, “Sanctus
Magnus.” Below, “robert borthvik.” Also, on a medallion, the arms of
Scotland, and on another, the arms of Maxwell, and on another part,
“Ihs.”
The first bell is 2 feet 9 inches diameter and 2 feet 5 inches high. The
inscription, in black letters, raised in three lines, is, “Maid be
maister robert maxvel byschop of Orknay, ye secund zeir of his
consecration ye zeir of gode Im Vc XXVIII zeirs ye XV zeir of Kyng James
y V. be robert borthvik maid al thre in ye castel of Edynbrugh.” There
are also, on a medallion, a figure of St. Magnus, on a shield the arms
of Maxwell, as before, and on another part, “Ihs.” Robert Borthwick,
above mentioned, was master gunner to King James IV.
The fourth bell is small (1 foot 8 inches diameter and 1 foot 4 inches
high), and is not hung. (See description of St. Magnus by Sir Henry E.
L. Dryden, Bart.)
The fabric of the cathedral does not appear to have suffered at the time
of the Reformation, but in 1606 an attempt was made by the Earl of
Caithness to destroy it. This happened during the rebellion of E.
Patrick Stewart, who had taken possession of the Tower, and used it as a
place of strength. The demolition was, however, prevented by the
intervention of Bishop Law.
The building would appear, in 1701, to have received very improper usage
at the hands of the Town Guard, who occupied it as a public place,
shooting guns and “drinking, fiddling, piping, swearing and cursing
night and day” within the church, and so rendering it unfit for public
worship. Great repairs were required in the early part of this century,
and the Government, under the belief that the cathedral was Crown
property, expended a good deal of money in putting it in good condition
in 1848. It was afterwards discovered that the building belonged to the
town, when the local authorities took possession of it and replaced in
the choir the galleries which had been removed. The choir still
continues to be used as the parish church.
ST. BLANE’S CHURCH, BUTE.
This interesting ruin stands in a remote valley near the south end of
the island of Bute, being about three miles south from the parish church
of Kingarth. The site is at a considerable elevation, and commands a
fine view of the hills of Arran to the south. A lofty and precipitous
wooded hill shelters the valley from the northwards. The building stands
on a slightly elevated platform, enclosed with a retaining wall. This
enclosure forms an upper churchyard, while another enclosure below it
forms a lower churchyard. In former times the upper burial-ground was
reserved for men, and the lower one for women.
At first sight the structure at once impresses one as being a Norman
building (Fig. 248), from the style of the masonry of the lofty central
wall and the east end, which stand out prominently from amongst the
ruins. On closer inspection, the church is found to consist (Fig. 249)
of an oblong nave, 50 feet 6 inches in length internally by 16 feet 8
inches in width, and a chancel, 26 feet 3 inches long by 13 feet 11
inches wide, separated by the lofty wall above referred to. The latter
contains a chancel arch, 5 feet 3 inches in width.
The masonry of the nave is undoubtedly Norman, being in courses of
carefully-dressed freestone, with upright joints all breaking band. The
west wall has, on account of the slope of the ground, been brought up
from a depth of several feet below the level of the floor, and the lower
portion is thickened, and has exterior set-offs about the floor level. A
base of peculiar form is carried round the building. (See Figs. 248 and
249.) The side and west walls are now reduced to a few feet in height,
and there thus remains no trace of any windows. There have been two
entrance doorways, opposite one another, in the north and south walls
near the west end, of which only some fragments remain.
The chancel arch (Fig. 250) is of good Norman design. On the side next
the nave it is in two orders, the inner order having a simple linear or,
perhaps, bird’s-beak enrichment, and the outer order is enriched with
two series of chevrons, one on the face and the other on the soffit,
which leave on the angle a raised lozenge form between them. The arch is
enclosed with a label of three-sided section, enriched with a lozenge
pattern, and having a small Greek cross in the centre of the arch. Each
order rests on the cap of a shaft, the inner shafts being half-rounds,
and the outer shafts complete cylinders set in nooks; but these shafts
have now disappeared. The caps vary in design, but are of good Norman
character.
The bases are much decayed. The abacus of the shafts forms a string
course, which was continued round the interior of the nave. It is carved
with a saltier-like ornament. A similar string course probably ran round
the exterior of the nave. The side of the arch next the chancel is
plain, the outer order only having a simple roll on the edge. (See Fig.
248.) The central wall between the nave and chancel is in good
preservation, and is carried up with freestone courses resembling the
ashlar work of the nave; but the work is coarse, and has probably been
rebuilt. Three buttresses, built with whinstone, have been erected at a
late period against the south wall of the nave, which seems to have
shown signs of weakness.
[Illustration: FIG. 248. St. Blane’s Church. From North-East.]
The Norman masonry of the nave extends both on the north and south sides
for about 13 feet into the chancel, when it stops suddenly against a
whinstone wall. A fragment of the Norman string course is traceable on
the exterior of the north wall at the west end, and the same base as
that of the nave runs along this Norman part of the chancel. There are
the remains of a doorway in the south wall.
The remainder or eastern portions of the side walls of the choir are
composed in their lower part of whinstone rubble work (both on the
exterior and interior), while the upper portions of the side walls are
built with freestone, similar to that used in the nave, but executed
with very inferior workmanship, especially as regards the jointing and
coursing of
[Illustration: FIG. 249.--St. Blane’s Church. Plan.]
the stones. The lower rubble portions of the side walls contain no
openings, but the upper freestone portions contain windows. The window
in the north wall (see Fig. 248) is a single-pointed light, with
freestone ingoings and sconsion arch. There has at one time been a
similar one-light window in the south wall, but at a later date a
two-light window has been introduced instead of it. The latter being
placed at a higher level than the former, part of the older window still
remains below the sill of the later one. The older windows in the side
walls are moulded on the jambs; the later one is splayed. A piscina has
also been inserted in the south wall close to the window.
The eastern wall of the chancel, like the east portions of the side
walls, has the lower part built with whinstone rubble, and the upper
portion with freestone. As the ground slopes to the east, the east end
wall is carried deeper than the side walls. The lower portion (which
extends also for a short way along the north and south sides) is brought
up with whinstone rubble for about two feet (see Fig. 248), when a
[Illustration: FIG. 250.--St. Blane’s Church. Chancel Arch.]
freestone splayed base (quite different from, and at a lower level than,
that of the nave) is laid above it. The wall over the base is carried up
in the interior with whinstone rubble for nearly four feet (see Fig.
250), and on the exterior with rubble mixed with freestone for two
courses. Above this the wall is built in the interior for two courses,
and in the exterior for four courses, with carefully-constructed and
jointed freestone blocks, similar to those of the nave walls. A set-off
occurs on the exterior above these courses. The upper part of the wall
and the exterior of the gable are composed of freestone, built
irregularly, like the upper portions of the side walls. The upper
portion of the interior is of similar work up to the top of the windows,
above which it is of rubble work.
In the east wall there are two single-light pointed windows, similar to
the window in the north wall. They have the same mouldings, and similar
sconsion arches. The inner sills are stepped in three courses. An ambry
is inserted in the east wall.
There is some difficulty in explaining the sequence of the construction,
and the comparative dates of all the different portions of the chancel.
In a paper by Mr. William Galloway, in the _Archæologia Scotica_, Vol.
V. p. 217, a very interesting and ingenious theory is propounded
thereanent. It is there supposed that the whinstone rubble work is
actually a portion of an ancient chapel erected at a very early date,
and that the Norman work was built around it, in order, so far as
possible, to preserve the venerable remains of the primitive structure.
This, it is pointed out, would explain the finely coursed work which
occurs above the rubble work on the exterior and interior of the east
end wall and adjoining portions of the north and south walls. As regards
the inferior freestone work of the upper part of the walls, it is
assumed that these are the result of an alteration which took place in
the thirteenth century.
If this theory were correct, it would enhance very greatly the interest
of the structure, not only by the extreme antiquity it would assign to
it, but also by proving the great veneration with which it was regarded,
and the unusual tenderness with which it was treated by the twelfth
century builders.
It must, however, be confessed that an inspection of the building does
not tend to confirm the theory. Several points arise which do not appear
to be met by it, such as--(1) How does the splayed freestone base of the
east end happen to be laid in the middle of the rubble work? Such a base
is practically unknown in ancient Celtic structures. (2) On the north
wall of the choir a string course and moulded base exist in the Norman
portion, and have apparently run along the outside. Would these simply
be butted against the supposed ancient rubble work, or how would they be
terminated? (3) Is it at all consistent with the usual action of Norman
builders to leave small fragments of ancient rubble work and incorporate
them in their structures? Or was it not, on the contrary, their
invariable practice to remove such early work? Is it not more reasonable
to suppose that the different styles of work which are seen here are
the result of alterations and repairs? A study of the building itself
certainly tends to strengthen that impression. After a careful
inspection of the structure, one feels it impossible to believe that the
different portions of the work were other than the result of alteration
and patching. It is admitted that the matter is rather puzzling; but we
venture to make the following suggestions as to the history of the
building.
The chancel was probably all built originally in the Norman style of its
existing west half. Some accident overtook it, and the east half was
demolished. In rebuilding it whinstone rubble work was chiefly used, but
a splayed freestone base course was inserted, where it still remains.
The Norman-like courses above the rubble work were derived from the old
materials of the demolished Norman portion, and were reused without
alteration, as nearly as possible, in the same manner as originally.
It is generally supposed that the imperfect work of the upper portions
of the walls is of thirteenth century date, but it is more probably much
later. The irregular and inferior workmanship alone seems to prove that,
and the windows are of a form which might belong to any date. The
sconsion arches are not unlike those of the church at Rothesay, which is
not earlier than the end of the fifteenth century.
DALMENY CHURCH, LINLITHGOWSHIRE.
This edifice is the completest of our Norman parish churches, consisting
(Fig. 251) of a chancel with eastern apse and a nave or main building,
separated from the chancel by an elaborate chancel arch. As usual in
parish churches of this period, there are no aisles. Although the above
divisions are complete, the church has not entirely escaped alterations
and additions. On the north side projecting wings have been added, which
contain a gallery and a north porch, and staircase leading to the
gallery. The south front and east end are, however, almost untouched,
and show the work of the twelfth century, uninjured save by natural
decay.
The church stands beside the quiet and pleasant rural village of
Dalmeny, about one mile inland from South Queensferry, and about eight
miles west from Edinburgh. Little is known of its history. A charter is
signed by Robert Avenel, “parson of Dumanie,” about 1166-82, and in the
thirteenth century, during the reign of William or Alexander II., the
church was granted to the monks of Jedworth. It is believed to have been
dedicated to St. Adamnan,[170] and the fact of the neighbouring church
of Cramond being dedicated to St. Columba tends to confirm this belief,
as it has been pointed out by Dr. Skene that these two saints’ names
are generally found together in the dedication of churches.
The edifice consists of a nave 42 feet long by 18 feet wide, with a
projection in the south wall, which contains the doorway. It has three
small windows in the south wall. In the interior of the south wall there
is a recess, now linteled over, which may have contained a monument.
[Illustration: FIG. 251.--Dalmeny Church. Plan.]
From the rough nature of the masonry at the west end of the nave, a
tower would appear to have been intended to be built there. Part of the
commencement of its side walls exists, and into these the two buttresses
shown on Plan have been toothed or joined at a later period.
The nave (Fig. 252) opens to the chancel with a splendid chancel arch,
having three orders decorated with elaborate chevron ornaments, enclosed
with a hood moulding carved with an enrichment somewhat resembling the
dog-tooth (Fig. 253). The soffit of the arch contains a similar faceted
enrichment. The arch is carried on three attached shafts on each side,
built in ashlar, and provided with subdivided cushion caps and plain
bases.
[Illustration: FIG. 253.]
The chancel (Fig. 254) is 16 feet long by 15 feet wide, and is vaulted
with bold diagonal groin-ribs, enriched with chevron ornaments and
springing from grotesque corbels (Fig. 255). It has one small window on
the south side, with plain splay in the ingoing and plain sconsions and
arch.
The apse is semi-circular, and is entered from the chancel by an
[Illustration: FIG. 252.--Dalmeny Church. Nave, looking East.]
enriched arch (see Fig. 254). The arch has two orders carved with
chevron ornaments and a hood mould with faceted enrichment. The shafts
and caps are similar to those of the chancel arch. The apse is vaulted
like a single square bay, with boldly moulded groin-ribs springing from
large corbels carved with grotesque heads (Figs. 256 and 257). The wall
is of
[Illustration: FIG. 254.--Dalmeny Church. View of Apse from Chancel.]
plain ashlar, and the apse is lighted by three plain window openings
(Fig. 258), the central one of which has been enlarged.
The exterior of the church (Fig. 259) is built with the usual cubic
ashlar of the period. All the windows in the building (Fig. 260) have a
single pair of shafts with cushion or carved caps, and an arch, of one
order, carved with chevron ornament, and a hood mould enriched with
faceted patterns. The choir and apse have a boldly projected cornice
supported on corbels carved with grotesque heads. The choir has the side
walls carried up in the form of a parapet above the cornice, having
evidently been raised at some period to the same height externally as
the nave. A string course runs round the building immediately below the
windows, of which it forms the sills. It is enriched with a carved
floral pattern.
The doorway (Fig. 261) is placed in a projecting part of the south wall,
and is surmounted by an arcade of interlacing arches, with corbel course
above, carved with grotesque heads.
The doorway has two nook shafts on each side, the outer one round
[Illustration: FIG. 255.--Dalmeny Church. Corbels.]
and the inner one octagonal. These are detached and in single stones.
They carry enriched caps, three of them having foliage and volutes
imitated from the Roman, and one with traces of an animal. A string
course, enriched with scrolls, forms an abacus above the caps, and from
the abacus spring the arch mouldings in two orders, with carved hood
mould beyond.
The inner order of arches contains thirteen voussoirs, each of which is
sculptured with a figure. These figures (Fig. 262) are very similar to
those often found on the ancient sculptured monuments of Scotland, and
have also considerable analogy with the figures carved on the Norman
churches of England and on the Continent, thus indicating (as pointed
out in the Introduction) the connection between the former and the
latter. Commencing at the right-hand voussoir of the inner order, we
have (No. 1) a clear representation of the Agnus Dei, bearing the cross
in sign of victory; No. 2 seems to represent a serpent, possibly with a
human head; No. 3 represents a winged quadruped with a bird’s head; No.
4, a lion (a favourite emblem both in Norman work and Scottish
monuments); Nos. 5 and 6 are too much decayed to be intelligible; No. 7
seems
[Illustration: FIG. 256.--Dalmeny Church. View from the Apse, looking
West.]
to be a hare running and an animal with scrolled tail at rest; No. 8, a
winged bird and serpent; No. 9, a winged dragon with tail passing into a
divided scroll, part of which it is biting with its bill; No. 10, a
winged griffin; No. 11, a bird with a fish’s tail pecking at a serpent;
No. 12, two
[Illustration: FIG. 257.--Dalmeny Church.]
seated human figures clasping hands; No. 13, a nondescript bird and
serpent.
[Illustration: FIG. 258.--Window in Apse.]
The outer order of the arch contains eight projecting heads of grotesque
form, but some of them much decayed. Alternating with these heads are
voussoirs carved with figures somewhat similar to those of the inner
order. These, so far as can be made out, are--No. 1, a man with a pair
of horses; No. 2, a lion, perhaps crowned; No. 3 seems to represent a
number of darts radiating from a centre; No. 4, a centaur or Sagittarius
shooting an arrow at an undefined object; No. 5, two seated
[Illustration: FIG. 259.--Dalmeny Church. From South-East.]