The ecclesiastical architecture of Scotland from the earliest Christian times to the seventeenth century; Vol. 3/3

In Vol. I. p. 297 we express disagreement with Mr. W. Galloway’s opinion regarding the age of the chancel walls of St. Blane’s, Bute. Mr. Galloway having asked for an opportunity of defending his views, we have pleasure in publishing his observations in the Appendix to this Volume.

Reference is made in Vol. II. p. 172 to Mr. T. L. Watson’s theory regarding the vaulting of the lower church in St. Mungo’s Cathedral, Glasgow. Having recently had the privilege, on the invitation of Mr. P. Macgregor Chalmers, of attending a meeting on the spot, when the usually obscure edifice was well lit up, and when it was shown by Mr. Chalmers that the points on which Mr. Watson based his opinion were untenable, we see no reason to believe that the beautiful design of the vaulting and the plan of the shrine were ever intended to be carried out in a mode different from that in which they are executed.

When treating of Melrose Abbey (Vol. II. p. 378) we ventured to criticise the views expressed by Mr. Chalmers in his work, A Scots Mediæval Architect. As Mr. Chalmers has been kind enough to approach us directly, taking exception to our remarks, we are glad to afford him, in an Appendix to this Volume, the opportunity he desires of stating his defence of his views.

Mr. Chalmers has done good service in drawing attention to some examples of Scottish mediæval architecture of a late date, which show a remarkable revival in point of design when compared with the general architecture of the country at the time.

From the series of examples given in this Volume there can scarcely be any question as to the gradual deterioration of ecclesiastical architecture which occurred generally throughout Scotland during the latter half of the fifteenth and the first half of the sixteenth centuries, and it is certainly surprising to find some exceptionally good work in a few structures of that period. Amongst these is the aisle of Car Fergus, in Glasgow Cathedral, the vaulting of which building is of about the date of 1500, as is evident from its containing several specimens of Archbishop Blacader’s arms. The work is not all equal, but the vaulting has the groining (a rare kind of construction in Scotland at the period) well executed, and the bosses show a wonderful amount and variety of design. Some of the latter (such as that in the illustration kindly supplied by Mr. Chalmers in the Appendix) are admirable.

Mr. Chalmers has brought forward a considerable amount of evidence regarding the rood screen in St. Mungo’s, which point to its being an exceptionally fine specimen of late pointed work. The vaulting and some other portions of the presbytery of Melrose Abbey are also classed by Mr. Chalmers in the same category.

The subject is an interesting one, and all students of Scottish architecture must feel indebted to Mr. Chalmers for drawing special attention to it. We trust the point will be further investigated.

There is one consideration connected with this revival to which we would draw attention, viz., that mentioned in the text (Vol. III. pp. 6 and 7) that a certain excellence in the carving and the design of the smaller features of the architecture observable in the later work may have been due to the foreign artists introduced at the time. We might, in view of the above circumstances, have given this remark a wider scope, so as to apply to such works as those above referred to and similar examples.

There is abundant evidence in the Exchequer Rolls that French master-masons were employed by James IV. and V. Thus the Merliouns,[1] a distinguished family of French master-masons, were in the royal service at Stirling in 1496, and members of the family are found at Linlithgow, Dunbar, Ravenscraig, Perth Church, &c. Latterly the king’s French master-mason became a regular court appointment, and the office was held by several Frenchmen.[2]

This importation of foreign artists may perhaps account for some of the exceptionally good examples, especially in connection with places favoured by royalty; but a good deal of time would necessarily elapse before such work could become general. Hence the revival was limited, while the architecture generally gradually deteriorated or changed to Renaissance.

The monument of Bishop Kennedy, in St. Salvator’s, St. Andrews (a design undoubtedly superior to the general Scottish work of the period), is probably a French example, both in design and execution.[3]

Mr. Chalmers lays stress on the influence of Queen Margaret’s marriage to James IV. as probably having produced some of the imitations of English perpendicular work found at Melrose and Linlithgow, and this may possibly have been the case.

In a review of Vol. II. in the Glasgow Herald attention was drawn to an error in the description of St. Andrews Cathedral (p. 31), where the restored illustration (Fig. 453) shows a single central shaft in the windows of the chapter house, instead of two coupled shafts. The shafts are gone, but the two bases are still traceable.