that the transepts have been originally erected in an earlier style, and
that the first pointed work is the result of alteration. This is
especially apparent in the north transept, the external walls of which,
on the west and north, are distinctly Norman, in character (Fig. 354).
The round arched windows (with square recesses or nooks for shafts on
the outside), the broad buttresses with small projections, and the form
of the caps are quite characteristic of that style. The same remarks
apply to the south transept so far as the outer walls survive. In the
choir also the Norman character of the early work is distinctly seen.
Only portions of the side walls of the choir remain, the east end having
been entirely demolished. In the upper or clerestory windows of the side
walls are found very characteristic examples of late Norman work. The
large plain round openings of the clerestory and the triple shafts with
Norman caps and corbels (Fig. 355) are unmistakable features. The choir
and transept were apparently at first completed in this style late in
the twelfth century, and sometime in the thirteenth century it has been
desired to build the nave on a larger scale. It has then been also
resolved to rebuild the interior of the transept, including the piers at
the crossing, in the same style as
[Illustration: FIG. 356.--Arch of Doorway in Choir, and of Arcades in
Cloisters.]
the nave, so as to bring the transept as far as possible into harmony
with the new design. The pointed work is evidently of an early character
(see Fig. 354). The squat round-headed windows of the clerestory, with
their broad internal splay occurring above the pointed windows of the
triforium, indicate a period of Transition. The use of the square abacus
is also general throughout the work. The very acute form of the main
arches of the transepts has probably arisen from the three bays having
to be fitted into the space between the old north and south end walls,
and at the same time requiring to be carried up as high as the main
arches of the new nave. The piers of the transept are 13 feet from
column to column, while those of the nave were about 16 feet from column
to column. The outer walls of the east aisles of the transepts, which
were part of the original Norman structure, were not renewed at the time
of the above alteration, but they have now been demolished, only
fragments being left, from which, however, the form of the vaults can be
inferred.
[Illustration: FIG. 357.--Dundrennan Abbey. Monument in North Transept.]
The smaller details of the eastern part of the building are greatly
destroyed. The sedilia and what seems to have been a fine monument in
the choir are broken in pieces. A door has been formed in the north and
south side walls of the choir leading into the east aisle of the
transepts. There are evident additions made, probably during this
century, when the
[Illustration: FIG. 358.--Dundrennan Abbey. Plan and Details of West
Wall of Chapter House.]
piers of the tower were rebuilt. The doorway into the south transept
aisle (Fig. 356) is distinguished by a large trefoiled head, enriched
with small nail head ornaments similar to those in the west doorway, but
there
[Illustration: FIG. 359.--Dundrennan Abbey. Exterior of West Wall of
Chapter House.]
is some doubt whether this is not a restoration. It will be observed
that the section of the piers of the nave and transept, and also the
piers of the crossing (see Fig. 351), bear a close resemblance to those
of Sweetheart Abbey. But the forms here are earlier, the fillet on the
outer angle being absent at Dundrennan, though present at Sweetheart.
In the north wall of the aisle of the north transept, and in a round
arched recess (Fig. 357), lies the sculptured effigy of a knight wearing
a suit of chain armour, and with legs crossed. This is said to be the
[Illustration: FIG. 360.--Dundrennan Abbey. Ornaments over Windows of
Chapter House.]
statue of Alan, Lord of Galloway, who was interred in the abbey in 1234.
There seems also to have been a fine monument in the choir, and numerous
portions of cusped and carved work are to be seen piled up in the nave,
which may be fragments of this or some other ruined structure of the
same nature.
The cloister garth is on the south side of the nave, and measures about
105 feet by 102 feet. The walls surrounding the cloisters are for the
most part old. In the north-east angle is the ancient doorway to the
nave, and in the north-west angle a more modern doorway. On the east
[Illustration: FIG. 361.--Dundrennan Abbey. Interior of West Wall of
Chapter House.]
side, adjoining the south transept, is the slype from which a wide door
(doubtless modernised) leads into the transept. To the south of the
slype stood the chapter house, which must have been a very beautiful
building, measuring 51 feet from east to west by 34 feet from north to
south internally. From some fragments of shafts which remain, and from
the responds against the west wall, it appears to have been vaulted in
three spans from north to south, with four bays from east to west, but
the vaults have now entirely disappeared. The front wall next the
cloisters, however, fortunately survives (Fig. 358).
It is a splendid specimen of first pointed architecture (Fig. 359). In
the centre is the doorway, and on each side a window, divided into two
openings by a central shaft. The doorway and windows were, as usual,
designed to remain open, so that the brethren in the cloisters might
hear all that passed in the chapter house.
The features are all beautifully designed, and the details are of the
purest and most elegant forms (see Fig. 358), the whole being enriched
with finely carved dog-tooth and other ornaments.
[Illustration: FIG. 362.--Dundrennan Abbey. Caps in Cloisters.]
In the arch mouldings a very profuse employment of the fillet is
noticeable. The panels in the tympanum over the double arch of the
windows, both in the exterior and interior, are filled in with plain,
but finely designed, geometric figures (Fig. 360), and the simple bold
cusps of the doorway have been carved with foliaceous scroll work, now
almost obliterated by decay.
Internally the design of this front wall (Fig. 361) corresponds almost
exactly with that of the outside, but is, perhaps, even more effective
from containing the vaulting shafts and the springing of the broken
groins.
The west wall of the chapter house is altogether a very exquisite piece
of pointed work, and was probably executed just before the disturbances
of the end of the thirteenth century, which interrupted, and for a time
stopped, all architecture in Scotland. The style is clearly later than
the early pointed work of the transept, the round abaci and the filleted
mouldings contrasting with the square abaci and the pointed or round
mouldings of the transept.
On the west side of the cloisters is a row of ruinous cellars, still
partly vaulted, but not very accessible. On the south side are the door
to what may have been a large chamber, probably the refectory, and some
remains of domestic buildings. (See Fig. 361.)
The north and east walls of the cloister still retain the remains of
some sharply cut caps, of what has been an arcade, with arches about 3
feet 6 inches apart. The designs have evidently been very varied and
full of spirit (Fig. 362), but it is scarcely possible to find one
sufficiently well preserved to enable a complete sketch to be made.
The monuments of this abbey are not numerous, but they are interesting.
In the recess of the north side doorway of the west end (now built up)
is a large figure of an abbot, with his crozier, standing on the
prostrate body of a man. This is known as the Abbot’s Stone. Another
monument is called the Cellarer’s Stone, and shows a figure standing on
serpents. It is dated 1480. There is also a monument containing a female
figure, with an inscription partly defaced, but bearing the date of
1440. A plain monument to Frater Blackmore is probably of the fourteenth
century.
JEDBURGH ABBEY, ROXBURGHSHIRE.
The town of Jedburgh occupies a site about ten miles south from Kelso,
in the narrow valley of the river Jed, a tributary of the Teviot. The
main street rises gradually on the west side of the valley till a wider
point is reached, on which stood the monastery, above a bend of the
river. On a still higher point, at a short distance south of the abbey,
stood the Castle of Jedburgh, the subject of constant contention in
Border warfare.
The position of the abbey on the height above the river as seen from the
level “haugh” on the opposite side, with a broad expanse of water in the
foreground, is commanding, and forms a very attractive landscape.
A Priory of Canons Regular from Beauvais was established here by David
I. while Prince of Cumbria, in 1118. In 1147 the priory was raised to
the dignity of an abbey, and it was probably after this distinction that
the oldest portions of the existing structure were erected.
The abbey was dedicated to the Virgin, and was amply endowed by David I.
and the nobles of the district. Little is recorded of its history, but
the abbots were occasionally men of distinction.
In 1285, when John Morel was abbot, King Alexander III. was married in
the abbey with much ceremony to Iolanda, daughter of the Count de Dreux.
Jedburgh formed a strong Border outpost, and was often attacked and
damaged in the wars with England. Under Edward I. the roof of the abbey
was stripped of its lead, and the conventual buildings were so damaged
that, in the year 1300, the monks had to seek refuge in other houses of
their order. During the fifteenth century the abbey frequently
[Illustration: FIG. 363.--Jedburgh Abbey. Plan.]
suffered from hostile invasion, and in consequence had to undergo
considerable repairs, as will be pointed out in connection with the
crossing and tower.
[Illustration: FIG. 364.--Jedburgh Abbey. South Side of Choir.]
Notwithstanding the frequent harrying and damage it sustained, the
fabric of the Abbey Church is still in a wonderful state of
completeness, but the monastic buildings which stood on the south side
of the church have been entirely swept away.
The church (Fig. 363, Plan) consists of a choir, with side aisles
extending eastwards 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 (now greatly destroyed); a central
crossing, with a square tower above; a north transept, well preserved;
and a south transept, of which the south end is destroyed.
The choir and presbytery, as already mentioned, have been greatly
damaged, and the east 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 (Fig. 364) consists of the two bays next the
crossing, the lower portions of which are in the Norman style. The main
piers have the peculiarity of being carried up as massive cylindrical
columns to the height of the arch over the triforium. This arrangement
is unique in Scotland, but is not unknown in England. A somewhat similar
design is carried out at Gloucester Cathedral, where the massive
cylindrical piers are of great height, but they are not divided into two
stories. At Romsey Church, Hampshire, however, the same arrangement
occurs as at Jedburgh (Fig. 365), the tall round piers being divided by
an intermediate arch, which supports the upper gallery or triforium.
[Illustration: FIG. 365.--From Romsey Church, Hampshire.]
At Jedburgh the lower story has the round arch and vaulting ribs
supported on corbels (Fig. 366), projected from the round face of the
piers.
[Illustration: FIG. 366.--Jedburgh Abbey. South Aisle of Choir, looking
West.]
A similar plan is adopted at Romsey and also at Oxford Cathedral. The
upper or triforium arch at Jedburgh is round and moulded, and contains 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. These spring
from clustered shafts, consisting of four smaller shafts grouped into
one. They have plain bell caps and foliaged caps alternately, all with
square abaci. The arches have bold mouldings and a label.
At the time when the transitional clerestory was erected, the eastern
part of the choir appears to have been built, as the remains of two
lofty pointed windows are preserved to the east of the cylindrical piers
(Fig. 367). These lofty arches have sprung from shafts with Transition
caps at the level of the triforium floor, and a pointed arcade beneath
seems to have been continued round the east end of the choir and
presbytery.
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.
Whether the Norman nave had only been projected, but never
completed--only the west wall with its doorway and windows and the south
doorway being erected--or whether the nave had been finished and
afterwards destroyed, it is impossible to say. It is, however, evident
that the Norman work in the choir and in the western and south doorways
must have preceded the Transition work in the choir and nave by a
considerable amount of time. The styles in both cases are quite
distinct, and there is evidently a considerable hiatus between them.
They do not follow one another by gradual development.
The nave is 129 feet in length and 27½ feet in breadth in the central
aisle, and measures about 57 feet in width internally over the aisles.
It is divided into nine bays, each of which (Fig. 368) 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 (Fig. 369) 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
[Illustration: FIG. 367.--Jedburgh Abbey. South Side of Choir and
Crossing.]
[Illustration: FIG. 368.--Jedburgh Abbey. The Nave, looking West.]
form (Fig. 370), 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. (See Fig. 369.)
[Illustration: FIG. 369.--Jedburgh Abbey. Details.]
In the triforium (Fig. 370) the principal arches are round, being an
example of the round arch placed above the pointed arch. Each round arch
is divided into two openings by smaller pointed arches, which contain
first pointed mouldings (Fig. 371). The larger arches spring from
clustered
[Illustration: FIG. 370.--Jedburgh Abbey. Details.]
shafts with bell caps and square abaci. The central pillars of the
smaller arches vary in section. Those in the east part of the nave
consist of four shafts united into one (being the same section as those
of the clerestory of the choir), while those in the portion of the nave
to the west of the centre are composed of two shafts. The shield between
the smaller arches is perforated with a small circle. The simple
constructional main arches of the triforium are seen on the exterior
(Fig. 372), where also the corbels to carry the timbers of the roof of
the triforium gallery are visible.
[Illustration: FIG. 371.--Jedburgh Abbey. Plan of one half Bay of
Clerestory.]
The clerestory shafts are of trefoil section both on the exterior and
interior (Fig. 373), and have foliaged caps of first pointed design. In
the interior the caps have the angles of the abaci cut off so as to make
them octagonal. The arches are all pointed, and contain first pointed
mouldings. A corbel table supports the cornice on the exterior, and
there are two small ornamental arches between every two corbels (Fig.
374). Over each main pier a small buttress is introduced in the exterior
of the clerestory,
[Illustration: FIG. 372.--Jedburgh Abbey. View from North-West.]
and a plain standard in the interior. These buttresses are projected on
small corbels, and do not rise above the arches. It is thus evident that
it was never intended that the central aisle of the nave should be
vaulted, there being no suitable buttresses provided to resist the
thrust of a vault. The side aisles, however, were vaulted, but the
vaults are now demolished, only some fragments of the ribs being left,
as shown in Fig. 372.
As already mentioned, the west end of the nave (see Fig. 374), and
especially the western doorway, are quite Norman in character. The west
doorway (Fig. 375) is a noble specimen of its period. The ingoing
[Illustration: FIG. 373.--Jedburgh Abbey. Clerestory Details.]
is deeply recessed, and has contained five free nook shafts on each
side, besides the door jamb, with intermediate shafts and elaborate
enrichments. The caps are foliaged, and of late Norman character. In the
arch there is an order over each shaft, and intermediate enrichments and
mouldings. The ornaments consist of the chevron, both solid and under
cut, and other greatly relieved enrichments and rosettes.
The jambs of the doorway and the arch over it contain heads and other
ornaments in panels, now much decayed. The doorpiece projects some feet,
and on the north side of the projection a small round arch (see Fig.
374) can be traced.
The doorpiece is surmounted by three little gablets. The central one
[Illustration: FIG. 374.--Jedburgh Abbey. West End and part of North
Side.]
contains a trefoiled arch, and those at the sides seem to have contained
a similar arch, but they are now much decayed.
The west wall has flat buttresses of Norman character (see Fig. 374) at
each side of the central aisle, 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 enrichment. The
west front has been finished with an octagonal turret at 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 south doorway (Fig. 376), leading from the cloister into the nave
above referred to, is of late Norman design. It is extremely rich in its
decoration, though somewhat decayed. It contains the remains of several
shafts and enrichments in the jambs, and the caps have been very
elaborate in their carving. The round arch head contains four orders of
mouldings. The inner order and the door jambs are both carved with the
same chevron ornament; the next order consists of plain mouldings; the
third order is enriched with figures comprised in small semicircles; and
the outer order contains a deep series of zig-zags. The whole is
enclosed with a small label. The doorpiece projects, the outer angle
having a bold bead, and a small cornice runs along the top.
The above description of the nave and its Norman west end and doorways
will make clearer what has already been indicated with regard to the
completion or restoration of the edifice in the Transition period. The
suggestion is that 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, as already mentioned, 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 (see Fig. 364) 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 (Fig. 367), 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
[Illustration: FIG. 375.--Jedburgh Abbey. West Doorway.]
shafts (see Fig. 366), 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 (see Fig. 367) 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 (see Fig. 364) may be seen projecting to the west.
Abbot Hall has 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
(see Fig. 372), 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 (see
Fig. 364).
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 (see Fig. 372) 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.
Soon after the abbey had been restored as above described it was again
attacked, pillaged, and burnt by Surrey in 1523. The damage then caused
was once more repaired in 1544. The abbey is 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.”
These generals of Henry VIII. had evidently cast their eyes on it as
[Illustration: FIG. 376.--Jedburgh Abbey. South Doorway of Nave.]
an obstacle in their path, and resolved to get rid of it. The abbey was
pillaged and burnt by both (by the first in 1544 and the last in 1545),
and never recovered from the devastation it then suffered.
In 1559 the monastery was suppressed, and the revenues went to the
Crown. In 1574-5 the roof of the refectory was removed, and the timber
used for repairing the tower. The Abbey Church stood in a ruinous state
till the nave was partly roofed in at the triforium level to form a
presbyterian place of worship. It remained in this condition till 1875,
when a new church was erected, and the old abbey was cleared out.
The crown arch of the tower fell in 1743. The groined arches of the
aisles continued in existence till the end of last century. In 1793 the
south aisle was removed, and a wall built between the pillars to make
the church more comfortable.