left is a hunting scene, a knight with sword and spear, followed by
attendants holding dogs in leash. The next panel contains three stags,
well carved. To the right of this is a panel representing an angel
holding up a pair of scales to weigh the souls of the departed, in which
process he is interfered with by a demon. A similar scene is carved on
one of the pier caps in the choir of Iona Cathedral (see Fig. 985).
To the right is a long panel containing the following inscription in
Gothic letters:--
HIC · LOCULUS · CŌPOSUIT · · · · ALLEXĀDER · FILIUS · VILM̄I · MAC ·
CLOD · DN̄O · DE · DŪVEGAN · ANNO · DN̄I · Mº · CCCCCº · XXVIIIº
The meaning of this apparently is that Alexander, son of William MacLeod
of Dunvegan, made this tomb A.D. 1528.
On the pedestal under the arch lies the effigy of the said Alexander
M‘Leod of Dunvegan (Fig. 1304), clad in full armour, and holding a long
sword with cross hilt. The effigy is unfortunately much decayed. The
head rests on a pillow with an animal above, and the feet rest on a
lion. At the side of the monument a lion encloses the tomb.
The style of the carving and the subjects represented recall the
sculptures at Iona. The figures of the abbot and bishop are similar in
style to that of the abbess at the Iona Nunnery, and the scene of the
angel weighing souls with a demon interfering occurs on one of the caps
in the Iona
[Illustration: FIG. 1306.--Priory Church of St. Clement. East
Elevation.]
choir. The division of the flat surfaces into panels, each containing a
separate subject, is characteristic of Celtic decoration. The hunting
scene and the ship are also common in Celtic work. The peculiar Celtic
foliage of Iona is here wanting. Enough, however, exists to associate
the style of the work with that of the rest of the Western Isles, while
the Gothic influence is also very distinct.
The date is fixed by the inscription, and the introduction of the
nail-head ornament shows the revival here, as at Iona, of earlier forms,
as above pointed out by Mr. Muir.
The tomb in the recessed arch to the west of the south transept is of
much simpler design than the corresponding one to the east above
described. It consists (see Fig. 1300) of a semicircular moulded arch
with a hood moulding stopped on carved corbels at each end. Over the
upper part of the hood a triangular space is enclosed with a moulding,
finished at the apex with a fleur-de-lys. This triangular space contains
an oblong panel, much decayed, exhibiting the Crucifixion, with a figure
on each side. The effigy “represents a man in armour with high peaked
bassinet and camail over a habergeon reaching to the knee. The nature of
the defences of the feet and legs is not indicated. He holds a long,
straight, cross-hilted sword in front, the pommel reaching to the
breast, and the point placed between the feet. A dagger hangs at his
left side, but the military belt is wanting.”[141]
[Illustration: FIG. 1307.--Priory Church of St. Clement. North-East
Elevation.]
The third tomb is at the end of the south transept. The effigy (Fig.
1305) is somewhat similar to the last described, but is much wasted by
exposure.
A remarkable recessed tomb having some analogy with those at Rowdil is
described and figured in a paper by Professor Norman Macpherson in the
_Proceedings of the Society of Antiquaries of Scotland_, Vol. XII. p.
583. It consists of a plain round arch in the north wall of the ruined
Church of St. Donan in the island of Eigg. In the wall at the back of
the recess is a large square panel containing sculptures, which “afford
an interesting example of Celtic notions of heraldry.” These sculptures
appear to represent the Clanranald shield, having in the place of the
first quarter a hand grasping a cross, in the second what appears
[Illustration: FIG. 1308.--Priory Church of St. Clement.