This chapel stands a little to the east of Grandtully Castle at a place
called Pitcairn (anciently Petquharne), about three miles from
Aberfeldy. It is situated at a considerable height above the valley of
Strathtay, and commands an extensive view of mountain scenery. Any one
seeing the chapel for the first time, and unacquainted with its
existence, might easily mistake it for part of the adjoining farm
buildings, it is so plain and humble in appearance. Only the presence of
the churchyard surrounding it, and a very small cross on the east gable,
serve to call attention to the fact that it is a sacred edifice, which
on inspection is found to possess features of considerable interest.
The building (Fig. 1549) may be said to be entire in walls and roof. It
measures on the outside about 79 feet long by about 23 feet 3 inches
wide, and is at present divided into two parts by a stone partition.
There are two doors and several small windows on the south side. These
openings are all straight lintelled and quite unadorned. A door on the
north side is probably modern. There is a small locker, 14 or 15 inches
square, in the usual position in the north wall near the east end. This
ambry, which is about four feet from the floor, is of great interest, as
it is quite entire, having a wooden door and hinges, an almost unknown
condition in Scotland. There is another small recess about 17 inches
square and about 3 feet from the ground in the east wall. But the
principal feature of the chapel, and what renders it almost unique, is
the
[Illustration: FIG. 1549.--Grandtully Chapel. Plan.]
painted ceiling at the east end. This ceiling is constructed, as shown
on the sketch (Fig. 1550), at the west end of the eastern division. The
roof consists of rafters and ties, on which, at the east end, boards are
fixed so as to present a circular form, in the same way as in several of
the other painted ceilings of Scottish castles and mansions, such as
Pinkie, Culross, and Earl’s Hall. It is not known whether this painted
roof extended the whole length of the chapel or was confined, as it now
is, to the east end. The painting presents four rows of circular discs,
each containing six circles, which are variously ornamented. Four of
them are occupied with the four Evangelists, and others with coats of
arms, including the royal arms--1st and 4th, Scotland; 2nd, England;
3rd, Ireland, with an inner-escutcheon. The arms of England and Scotland
also occur on separate shields, as well as those of the Earls of Athole
and of the Laird of Grandtully and his wife, Dame Agnes Moncrieff. The
paintings were rather exposed for some years to damp, and in many places
the subjects and inscriptions, which are numerous, are considerably
effaced; but further decay is arrested by the roof having recently been
put in good order. Amongst the paintings there are complicated
monograms, and a large panel in the centre contains an elaborate
composition showing buildings with quaint figures.
This chapel is first noticed in a “Notarial instrument, recording sasine
given by Alexander Steuart of Garntulye, from devotion and with the view
of promoting divine worship” of certain lands, “in terms of a charter to
be made, to Alexander Young, sub-prior of St. Andrews, as representing
the curate who is to officiate at the chapel built near the manor-place
of Petquharne, and to be consecrated to God, the Virgin Mary, St. Andrew
the Apostle, St. Adamnanus and St. Beanus. Dated 9th May 1533.”
Following this, in the 3rd June of the same year, is the charter
referred to conveying the land and privileges to the church and to a
chaplain, “who was to be a suitable curate, personally residing and
celebrating divine worship and the sacraments irreproachably in the
Church of St. Mary of Grantulye.” The church was “to be held for prayers
to be made by the
[Illustration: FIG. 1550.--Grandtully Chapel. Interior.]
said chaplain for the universal church, the prosperity of King James V.
and his kingdom, the granter’s own soul, and the souls of certain of his
relatives,” &c.
This gives us the period of the erection of the church, but the painting
is later, being shown by the style and by the arms to have been done by
Sir William Steuart about the year 1636. Sir William was an intimate
friend from childhood of King James VI., and was by him greatly beloved.
He married Agnes Moncrieff, daughter of Sir John of that Ilk, and, as
already mentioned, their arms are on the ceiling, and their initials are
also carved over a small window in the east gable.