Examples of Scottish mediæval architecture are also to be found in the following churches, arranged alphabetically by counties.Aberdeenshire:—Kinkell, Kintore, Leask.Argyleshire:—Ardchattan and St. Mund's Collegiate Church, Kilmun.Ayrshire:—Alloway, Old Dailly, and Straiton.Banffshire:—Cullen Collegiate Church, Deskford, and Mortlach.Berwickshire:—Church of Abbey St. Bathans (Cistercian Nuns), Bassendean, Cockburnspath (an ancient structure), Preston.Buteshire:—Church of St. Mary's Abbey, Rothesay.Dumbartonshire:—Dumbarton Collegiate Church andChapel at Kirkton of Kilmahew.Dumfriesshire:—Canonby Priory (Augustinian), Kirkbryde, St. Cuthbert's, Moffat; Sanquhar.Fifeshire:—Carnock, Dysart, Kilconquhar, Kilrenny, Rosyth, Dominican Church, St. Leonard's (p.116), Holy Trinity (p.117), St. Andrews.Forfarshire:—Airlie, Invergowrie, Mains, Maryton, Pert, St. Vigean's.Haddingtonshire:—Church of Trinity Friars, Dunbar, and Keith.Kincardineshire:—St. Palladius' Church, Fordoun.Kirkcudbrightshire:—Old Girthon.Lanarkshire:—Blantyre Priory (Augustinian), and Covington.Linlithgowshire:—Auldcathie.Mid-Lothian:—St. Triduan's Collegiate Church, Restalrig.Peeblesshire:—Newlands, Churches of Holy Cross and St. Andrew, Peebles.Perthshire:—Aberuthven; St. Moloc, Alyth; St. Mechessoc, Auchterarder; Cambusmichael; Abbey of Coupar (Cistercian); Dron Church, Longforgan; Ecclesiamagirdle or Exmagirdle, Glenearn; Forgandenny; Abbey of Inchaffray (Augustinian); Innerpeffray (Collegiate); Kinfauns; Methven (Collegiate); Moncrieff Chapel; Wast-town (near Errol).Renfrewshire:—Houston, St. Fillan's, and Kilmalcolm.Selkirkshire:—Selkirk.Wigtownshire:—St. Machutus' Church, Wigtown.
Mediæval architecture terminated with the Reformation in 1560. In closing this necessarily brief record of our ancient Scottish churches, a word must be added on the Scottish Reformation. It was the aim of Knox to cleanse, not to destroy the temple, and the iconoclasm that followed was the work of the "rascal multitude," while many of the churches and abbeys were ruined by the attacks of the English before the Reformation, as the previous pages indicate. The old builders, too, did a great deal of what is now known as "scamped work," although it was partly counteracted by the excellence of their lime and the thickness of their walls. The real cause of the subsequent destruction wasneglect, not violence, while the secularising of the old endowments alienated into other channels the means that were necessary to undo the effects of wind and weather. As Carlyle said, "Knox wanted no pulling down of stone edifices; he wanted leprosy and darkness to be thrown out of the lives of men," and it is known that he exerted himself to save the Abbey of Scone from destruction. In the case of Dunkeld Cathedral, the order makes it quite clear that neither desks, windows, nor doors, glass work nor iron work, was to be destroyed (pp.36,37). The aim of the reformers was at heart an endeavour to make the old temples fit symbols of the reformed faith, and the iconoclasm of the multitude isnot to be attributed to them, but to the ignorance and savagery of the time, for which the Church of Rome was primarily to blame. It was this that lessened church feeling and separated the power of truth from the beauty of holiness. It is our privilege to-day to seek the unity of truth and goodness with beauty, to maintain the faith of the Reformation along with that beauty of church architecture which, in its brighter days, the old church witnessed to. It is a one-sided view which sees in Gothic nothing but the development of utility or the endeavour to attain greater height; it is the true view which beholds in it the ideality, piety, and faith that possessed the hearts of our forefathers. The architect's design could never have been realised apart from their offerings of devotion to the Christian religion. When Emerson visited Carlyle at Craigenputtock, the latter, pointing to the parish church, said to his American friend, "Christ's death built Dunscore Church yonder." It is a deep, true utterance, for Christ's death has built every church in Christendom, and these embodiments of beauty not least of all. In this light we see what is at the heart of these ancient Scottish churches, and what has created the affection that treasures them. The ruined walls of so many of them ought to have been the home of the reformed faith, life, and work, linking the present to the past by natural piety, and visibly reminding the worshippers of the church that endureth throughout all generations. The present revival of interest in them is like a new-discovered sense, and is undoing the spoliation and neglect of an age subsequent to the Reformation, and for which the Scottish Reformers are not to blame. Theirs was no easy work, and history has vindicated its results in the progressive genius of the Scottish people. The Reformation saved religion, but the alienation of the religious endowments to secular purposes, often by unworthy hands, is the chief cause of the ruins which tell of a beauty that has left the earth, and it has deprived the Church of so many of its venerable heirlooms. Otherwise there might have been said of the Scottish as was said of the English Reformation that but for it there would have been little Norman or Early English left in the cathedrals, for it just came at a time when the early styles were being pulled fast down to make room for the later.[479]It was the Scottish Reformers' aim to make all the churches parish churches, and each church the centre of thelife and work of each parish. Their grievance against monasticism arose from the corrupt lives of the monks and from its intrusion on the parochial system with the alienation of the parish teinds to the use of the monastery. But the idea ofa church in the centre of a residence, is one not without suggestiveness to the life of to-day, with its many activities, as a training home for workers; as a temporary retreat for rest, meditation, and prayer to the hard-wrought ministers in the city parishes; as a place for conference on the religious problems; as a theological hall and settlement for divinity students, like that at Loccum near Hanover, where a reformed mediæval monastery, free from vows, and in the full vigour of its life, is used as a college and residence for the students of the Reformed Church, and where the old monastic church is used as the parish church for the people around. To visit Loccum and see it presided over by the venerable Protestant theologian, Dr. Ullhorn, with its garden, grounds, and farm, its church and cloisters, its great library and residence for professors and students, is to be persuaded of the rich possibilities that lie within the reach of the Scottish Church in the restoration of some of its ruined abbeys. The saintly Leighton felt the need of this, and thought "the great and fatal error of the Reformation was, that more of these houses and of that course of life,free from the entanglements of vows and other mixtures, was not preserved; so that the Protestant churches had neither places of education nor retreat for men of mortified tempers."[480]The Reformed Church would thereby purify a great idea, and if it be true, as the late Master of Balliol asserted, that it is the great misfortune of Protestantism never to have had an art or architecture,[481]it can restore and adopt the old architecture that was the creation of the Christian spirit, amid the leisure of the cloister and in times more restful than our own.
Abacus—the flat member at the top of a capital.Apse—the semicircular space at the end of a building.Arcade—a series of arches; is usually applied to the small ornamental arches only.Barrel vault—resembling the inside of a barrel.Bead—a small round moulding.Boss—a projecting ornament in a vault at the intersection of the ribs.Canopy—the head of a niche over an image; also the ornamental moulding over a door or window or tomb.Capital,cap—the head of a column, pilaster, etc.Chamfer—a sloping surface forming the bevelled edge of a square pier, moulding, or buttress, when the angle is said to be chamfered off.Chevron—an inflected moulding, also called zigzag, characteristic of Norman architecture.Clere-storyorclear-story—the upper story of a church, as distinguished from the triforium or blind story below it, in which the openings, though resembling windows, are usually blank or blind, not glazed.Corbel—a projecting stone to carry a weight, usually carved.Crocket—an ornament usually resembling a leaf half opened, and projecting from the upper edge of a canopy or pyramidal covering. The term is supposed to be derived from the resemblance to a shepherd's crook.Crypt—a vault beneath a church, generally beneath the chancel only, and sometimes used for the exhibition of relics.Cusp—an ornament used in the tracery of windows, screens, etc., to form foliation.Dormer—an upright window placed on a sloping roof, giving light to the chambers next the roof.Fillet—a small square band used on the face of mouldings.Finial—the ornament which finishes the topof a pinnacle, a canopy, or a spire, usually carved into a bunch of foliage.Flying buttress—an arch carried over the roof of an aisle from the external buttress to the wall of the clerestory, to support the vault.Gargoyle—a projected water-spout, often ornamented with grotesque figures.Jambs—the sides of a window opening or doorway.Mullion—the vertical bar dividing the lights of a window.Ogee—a moulding formed by the combination of a round and hollow.Pier arches—the main arches of the nave or choir resting on piers.Pinnacle—a sort of small spire usually terminating a buttress.Piscina—a water-drain in a church placed on the right-hand side of an altar for the use of the priest.Plinth—the projecting member forming the lower part of a base or of a wall.Shaft—a small, slender pillar usually attached to a larger one, or in the sides of a doorway or window.Slype—a passage leading from the transept to the chapter-house.String-course—a horizontal moulding or course of masonry, usually applied to the one carried under the windows of the chancel, both externally and internally.Tooth ornament—an ornament resembling a row of teeth, sometimes called dog's tooth and shark's tooth.Transept—the portion of a building crossing the nave and producing a cruciform plan.Transition—the period of a change of style, during which there is frequently an overlapping of the styles.Transom—the transverse horizontal piece across the mullions of a window.Triforiumor blind story—the middle story of a large church, over the pier arches and under the clerestory windows; it is usually ornamented by an arcade, and fills the space formed by the necessary slope of the aisle roofs.Tympanum—the space between the flat lintel of a doorway and the arch over it, usually filled with sculpture.
THE END.
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THE SCOTT COUNTRY
By W. S. CROCKETT
In One Volume. Large Crown 8vo, Cloth.Containing about 200 Illustrations.Probable price 3s. 6d. net.
Mr. W. S. Crockett's book on "The Scott Country" will tell the story of the famous Borderland and its undying associations with Sir Walter, its greatest son. His early years at Sandyknowe and Kelso will be sketched by one who is himself a native of that very district. Scott's first Border home at Ashestiel, and the making of Abbotsford, the Ettrick and Yarrow of Scott, the memories that cluster round Melrose, the district of Hawick, and the country of "Marmion," will all have a place in the work. Not a spot of historic and romantic interest but will be referred to all along the line of Tweedside and its tributaries from Berwick to the Beild. The Border country of Scotland has already been the subject of a very extensive literature, but the "Scott Country" being presented upon a more compact and comprehensive plan than has yet been attempted, will, we feel sure, be a source of satisfaction to every reader, whether Border-born or not. To the Scott abroad the volume will recall many a familiar memory, and at home it should take its place as a standard work of its kind, the author being, according to Dr. Robertson Nicoll and others, perhaps the most capable living student of the Border and its literature. The "Scott Country" will have close on 200 illustrations, many of them quite new; and the price is such as to bring it within the reach of all.
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Some Appreciations of Dr. John Brown and his Books.
WILLIAM ARCHER.—"How came it that no one ever told me it was a thing unique in literature, the autobiography—yes, that is the word—of one of the most wonderful children, and quite the most adorable, that ever lived?... Never has so brief a piece of printed matter affected me so profoundly." (This refers to the story of "Pet Marjorie.")
W. E. GLADSTONE.—"My estimate of Dr. John Brown was particularly high. It is easy and obvious to say he was a clever man and a good man, but this is only part of the truth, and he stood, I think, both in the intellectual and the moral order, much higher than these words of themselves convey."
ANDREW LANG.—"Three volumes of essays are all that Dr. Brown has left us in the way of compositions; a light but imperishable literature.... No man of letters could be more widely regretted, for he was the friend of all who read his books, as even to people who only met him once or twice in life he seemed to become dear and familiar."
Professor DAVID MASSON.—"Yes, many long years hence, when all of us are gone, I can imagine that a little volume will be in circulation, containing 'Rab and his Friends,' etc.; and that then readers now unborn, thrilled by that peculiar touch which only things of heart and genius can give, will confess to the same charm that now fascinates us, and will think with interest of Dr. John Brown of Edinburgh."
ROBERT LOUIS STEVENSON.—"Marjorie Fleming I have known, as you surmise, for long. She was possibly—no, I take back possibly—she was one of the greatest works of God."
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