THE COLLEGIATE CHURCH OF DUNGLASS,[87]Haddingtonshire.

Fig. 1090.—The Collegiate Church of Rosslyn. Corbels on Window Jambs and Buttresses.

at the west side of the south transept of Melrose is in spirit so very like the work at Rosslyn that, had it been included in the illustrations of the latter, only those who have local knowledge would have detected it. The same remark applies to the south doorway from Dalkeith Church, given further on. A striking resemblance also occurs between the mouldings of the sacristy doors at Lincluden and Bothwell and the details of the clerestory windows at Rosslyn. In all these examples the mouldings consist of an outer and inner shaft, separated by a large hollow, containing carved work; and the shafts have, in every case, caps and bases treated in a similar manner.

The soffit cusping so common in the arches at Rosslyn is a decoration of the most frequent occurrence throughout Scotland; at this period, indeed, there is hardly an arched tomb recess in the country which is not so decorated. Carved rosettes set in hollows, which abound everywhereat Rosslyn, are likewise the common decoration of the period, both in churches and castles. Similar decorative enrichments are also very common in Tudor buildings in England, as, for example, in Henry VII.’s Chapel at Westminster, where also the small figures so frequent at Rosslyn above the caps and on buttresses, &c., find their counterpart, thus showing an association of ideas with English rather than foreign work.

Fig. 1091.The Collegiate Church of Rosslyn. Base Mouldings and Lower String Course, with Peculiar Moulding above the latter.

The doorways at Rosslyn, with the porches formed in front of them by arches thrown between the buttresses, are paralleled by the doorways at Glasgow Cathedral; Trinity College, Edinburgh; and St. Salvator’s, St. Andrews. The engrailed cross which enters so largely into the decoration of Rosslyn, being employed all along the arched roof of the aisles and of the lower chapel, and forming the motive for the tracery of some of the windows at the east end, is peculiarly local, being the distinctive feature of the St. Clair arms, while the loop tracery in many of the windows is of common occurrence in Scotland. A number of details illustrated in Fig.1092, being chiefly the corbels of niches, have a very marked resemblance to the similar carvings at Trinity College, Edinburgh. Those containing the fox preaching to the geese and the dromedary are specially interesting. Other examples (such as Fig.1093) show that the character of the foliage is the same as that of many of our Scottish churches. Much of the carving at Rosslyn has considerable affinity with the late wood work in English churches (see Fig.1082).

These comparisons are probably enough to prove that Rosslyn Church was built after the manner and style of its age and country, and only differs from other Scottish churches of the same period in possessing a superabundance of rich detail and carving in excess of what is usually found.[86]

The transepts, which project two bays to the north and south, were obviously intended to be two stories high, and probably of the same height as the clerestory walls of the choir. Indeed, a part of the east wall of the north transept exists of this height. The walls of the transept are well buttressed, as if to maintain a vault, and there are no windows in the existing lower part of the transepts, the intention probably being to light them with large traceried windows at each end, as in Trinity College.

The portions of the transepts and crossing which have been completed are too small to enable it to be clearly determined how these parts of the structure were intended to be carried out and vaulted. The west gable

Fig. 1092.—The Collegiate Church of Rosslyn. Details of Corbels.

of the choir (see Fig.1084) is built with a curved outline on top, which seems to indicate the form of an intended barrel vault. The gable has been left unfinished, and the existing belfry is obviously a late addition. The above curve, if completed, would comprise the full width of thechapel, embracing both the centre aisle and the side aisles, and would rise considerably above the apex of the roof. The space included between the curves is about 36 feet wide, which is a wider span than would likely be undertaken at this period. The curved form of the top of the west wall of the choir may, therefore, be dismissed as an indication of a probable vault.

Attention has already been drawn to the usual mode of finishing the barrel vaults of churches at this period (seeante, page 3), viz., by the introduction of four solid walls (with small apertures) at the four sides of the crossing on which the barrel vaults of the various arms of the churches were stopped. This system has, so far as the structure is completed, been adopted at Rosslyn, the wall on the east side of the crossing

Fig. 1093.—The Collegiate Church of Rosslyn. Details.

being built so as to receive the barrel vault of the choir. There seems to be no reason why the same plan should not have been intended to be used for the completion of the other sides of the crossing. The edifice would then be in harmony with the other collegiate churches of the period, and may have been intended to be completed with a central tower.

The building shown by dotted lines at the west end is a vestry and organ chamber erected a few years ago.

The sculpture with which the chapel is so profusely adorned generally represents Scriptural scenes, and has been very minutely described by the Rev. Mr. Thompson in hisGuide to Rosslyn Chapel.

One of the most unique examples amongst the remarkable decorations of the edifice is the ornamentation of the south pillar of the east aisle,

Fig. 1094.—The Collegiate Church of Rosslyn. Carved Slab over Entrance to Vault.

generally known as the “’Prentice Pillar” (see Fig.1081). It consists of a series of wreaths twisted round the shaft, each wreath curving from base to capital round one quarter of the pillar. The ornamentation of the wreaths corresponds in character with the other carving of the church; and the grotesque animals on the base find a counterpart in those of the chapter house pillar at Glasgow Cathedral.

Beneath the choir are the vaults in which many of the St. Clairs are buried. The entrance is under a slab on which the incised outline of a knight in armour is carved (Fig.1094), with a dog at his feet, and a small shield at his head, bearing a lion rampant contourné.

Fig. 1095.—The Collegiate Church of Rosslyn. Monument to George, Fourth Earl of Caithness.

The monument to George, fourth Earl of Caithness, who died in 1582, originally stood against the wall of the north aisle. It was removed in 1736, and placed against the wall at the west end of the north aisle (see Fig.1079). This monument (Fig.1095) contains the family motto, “Commit thy work to God,” and the arms of the St. Clairs.

This deserted but very complete edifice is situated within one mile of Cockburnspath Railway Station. It is in a good state of preservation, and its masonry may be described as almost entire, with the exception of the damages done to it during last century, when it was fitted up forstabling and other farm purposes; or, as stated in the Hutton Collection,[88]made in the eighteenth century, “It is at present employed in a great variety of domestic uses.” The structure now stands a neglected ruin, and is put to no purpose whatever, except that the south transept is used as the burial-place of the family of the Halls of Dunglass.

The building (Fig.1096) is cruciform, and consists of a nave 40 feet long by 20 feet wide internally, a choir 33 feet 3 inches long by 17 feet 9 inches wide, and north and south transepts, each 21 feet 7 inches long by 13 feet 9 inches wide. The total internal length of the church is 90 feet 8 inches, and the total length of the transept from north to south

Fig. 1096.—The Collegiate Church of Dunglass. Plan.

is 63 feet. There is a sacristy 19 feet 3 inches in length by 13 feet 7 inches in width internally on the north side of the choir, from which it enters by a low centred arch, pointed and splayed.

The edifice (Fig.1097) is roofed throughout, with the exception of the tower over the crossing, with a continuous pointed barrel vault over each arm of the cross, having a roof of heavy overlapping stone slabs resting on the outside of the arch. There is thus no timber used in the construction of the walls and roof.

The tower has been divided, internally, into three stages, and the

Fig. 1097.—The Collegiate Church of Dunglass. View from North-West.

Fig. 1098.—The Collegiate Church of Dunglass. Interior of Nave, looking Eastward.

Fig. 1099.—The Collegiate Church of Dunglass. Interior of Crossing from the Choir, looking West.

corbels for supporting the floor beams still remain. The lower set of corbels are set immediately above the apex of the tower arches, one of them being seen in the sketches of the interior of the crossing (Figs. 1098 and 1099). In the north side of the west wall of the tower (see Fig.1098) a door opens into the nave at a high level, which probably was reached by wooden steps, there being no stone stair of access to the tower chambers.

Fig. 1100.—The Collegiate Church of Dunglass. Plan of Piers of Tower.

It will be seen from the drawing (Fig.1100) that the plan of the tower piers is peculiar. The two western piers stand out from the angle of the walls of the nave and transept, to which they are attached by a strip of masonry, only some 9 or 10 inches thick. The tower is thus considerably off the centre of the transept, and is much less in breadththan the limbs of the cross. The two eastern piers project from the angle into the choir, but not so as to diminish the width of the transept. It is difficult to account for the extremely unusual and eccentric position of the tower supports. Possibly the choir and tower were first built, and when the nave and transepts were erected, it was thought desirable to make them wider than at first intended. The piers of the crossing are simply splayed and notched on the inner diagonal faces, and they are all alike; but the arch faces or mouldings vary, those of the nave and transepts corresponding with the piers, while the choir arch is moulded on both faces with shallow mouldings. The former arches spring from moulded caps (see section Fig.1100) and the latter from caps carved and moulded

Fig. 1101.The Collegiate Church of Dunglass.Cap of Tower Arch, Choir.

Fig. 1101.

The Collegiate Church of Dunglass.

Cap of Tower Arch, Choir.

(Fig.1101). The splayed base of the piers is omitted on the chancel side.

The windows in the end walls of the nave, choir, and transepts are all pointed, and were filled with tracery; but the tracery in every case is gone, and the west wall under the window sill has been cut out to allow of the passage of carts and horses. Below the end windows of the transept and sacristy are sepulchral recesses, which were probably enriched with cusping, which is now cut away. The ornamental brackets for supporting these enrichments have label terminations of angels. One of these, playing on a stringed instrument, is shown in Fig.1102. The side windows of the church have segmental sconsion arches and double lights, with massive tracery (see Figs.1099and1103)). The north and south doorways of the nave are round arched, with moulded jambs (see Fig.1097). The other doorways are plain, with lintels.

Fig. 1102.The Collegiate Church of Dunglass.Corbel in Sacristy.

Fig. 1102.

The Collegiate Church of Dunglass.

Corbel in Sacristy.

The sedilia in the south wall near the east end (Figs.1103and1104) is a very beautiful one, and is fairly well preserved. It contains the usual three seats indicated by three ogee crocketed arch-heads. These arches rest on carved capitals at each end (Fig.1105), and the intermediate ones on corbels supported by angels, one holding a shield, and the other playing on a voil. The sedilia is recessed about 13 inches, and is 6 feet 6¾ inches long (see Fig.1103) by about 5 feet 3 inches high from the seat to the springing of the arches. Between the sedilia and the east wall and below the sill of the window there has been a piscina, which has been cut away, and its position is merely indicated against the wall, as shown in Fig.1103. It appears to have been supported by a shaft from the floor. Adjoining this, in the east wall, is seen (see Fig.1104) a projecting corbel with a shield on theface. This was probably meant either to support a light or a figure in connection with the altar.

Fig. 1103.—The Collegiate Church of Dunglass. Sedilia and South Window in Choir.

In the sacristy there are on the side walls four consecration crosses at the points marked on the Plan.

There is a diversity of opinion as to the name of the founder and thedate of the founding of the Church of Dunglass. According to Nisbet[89]it was founded by “Sir Thomas Home, in the reign of RobertIII.” (1390-1406). He married Nicola or Nicolas Pepdie, who brought him the

Fig. 1104.—The Collegiate Church of Dunglass. Sedilia and South Window of Choir.

lordship of Dunglass, and their arms (Fig.1106), which adjoin the north transept window, Nisbet says are impaled, viz., the lion for Home, andthe “three birds called papingoes, relative to the name of Pepdie.” In Keith’sCatalogueand by Spottiswoode we are told that the Collegiate Church of Dunglass was founded in the year 1450 by Sir Alexander Home of that Ilk. Chalmers, in theCaledonia, Vol.II.p. 512, says it was founded by Sir Alexander Home of Home in 1403. He was the son of Sir Thomas and Nicolas Pepdie. Sir James Hall, in a letter written in 1789 (see Hutton Collection), finds from examination, evidently of original documents in his possession, that it was founded by Sir Alexander in 1403. Dr. Laing also adopts this date as correct.[90]Perhaps, as above suggested, the choir and tower may have been built in 1403, while the nave was not erected till after 1450.

Fig. 1105.The Collegiate Church of Dunglass.Details of Sedilia.Fig. 1106.The Collegiate Church of Dunglass.Arms of Sir Thomas Home and his Wife in North Transept.

Fig. 1105.

The Collegiate Church of Dunglass.

Details of Sedilia.

Fig. 1106.

The Collegiate Church of Dunglass.

Arms of Sir Thomas Home and his Wife in North Transept.

Dunglass Church is generally regarded as having been Collegiate. In the appendix to theScotichronicon, it is stated that in the reign of James II. the buildings of Douglas (probably a mistake for Dunglass) were in progress,[91]and in theOriginales Parochiales, Vol.I.p. 153, the following note occurs:—“About the middle of the fifteenth century a petition regarding the erection of the Parish Church of Douglas (evidently mistaken for Dunglass) into a Collegiate Church was presented to the Apostolic See, but though the Pope’s consent seems to have been obtained, the purpose never was fulfilled.”

This edifice, which is one of the best preserved and most interesting of the minor churches of its date in Scotland, is situated about six miles north-west from Dundee.

The lands of Fowlis came into the possession of the family of Gray by marriage about the year 1397, when the only daughter of the last Mortimer of Fowlis and Aberdour married Sir Andrew Gray of Broxmouth. He was the first Lord Gray, and was succeeded by his son Andrew, the second Lord Gray, and it was doubtless by this Andrew Gray that the church was built. He died in 1469, and, judging from the style and various features of the architecture, the building seems to have been erected in his lifetime. Spottiswoode states that it was built by Sir Andrew Gray of Fowlis during the reign of James II. (1437-1460), and there is still

Fig. 1107.—Fowlis Easter Church. Plan.

more conclusive evidence that the church was built by Sir Andrew. He married Elizabeth, eldest daughter of Sir John Wemyss of Rires and Kincaldrum, and the arms of Gray and Wemyss are carved on the skew stones of the church. Further, in theOld Statistical Accountit is stated that the “beam which supported the organ loft” bore the inscription:—“Hoc Templum Structum fuit Anno Millesimo Centesimo Quadragesimo Secundo ab A. Gray.”

The church (Fig.1107) is a simple oblong structure without buttresses or projections of any kind. It measures about 88 feet long by 28 feet wide outside the walls. It is built of fine ashlar in large courses of stone, obtained from the den of Fowlis in the immediate neighbourhood. The stone is of a bluish-grey colour, and has well stood the test of time. There are north and south doors (Fig.1108) nearly opposite each other near

Fig. 1108.—Fowlis Easter Church. View from South-East.

the west end, and a priest’s door near the east end, all round arched. The edifice was divided into a nave and chancel by a rood screen and loft.

Fig. 1109.—Fowlis Easter Church.Corbels, &c., at Rood Screen.

Fig. 1109.—Fowlis Easter Church.

Corbels, &c., at Rood Screen.

The corbels for supporting the loft still exist, as shown on the Plan and in Fig.1109. The nave is lighted by a large four light window in the west gable (see Fig.1110), and one narrow lofty pointed window in the south wall (see Fig.1108). There are one upper and one lower window in the south wall at the rood loft, the lower window pointed and the other square headed, and immediately to the east, in the south wall, another narrow and tall pointed window. Between the priest’s door and the east gable the chancel is emphasised by a large three light traceried window in the south wall (see Fig.1110), and also by a slight rise in the base, which runs all round the church. There is a small round window in the east wall fitted with a piece of cast iron tracery, put in about the beginning of this century. Only one window occurs in the north wall, viz., at the rood loft, which corresponds to the lower window on the south side, and is furnished with similar corbelsat each side, for the support of the rood loft. There is in addition a lower corbel a few feet west from the window, which was probably the wall rest of the upper step of the stair leading to the loft. The south-west doorway (Fig.1111) has a very impressive appearance. The jambs and arch are moulded with two deep and wide hollows, having a filleted round between, which terminates, like many late Gothic mouldings, on a splayed base. The round arch is surmounted by a richly carved ogee shaped label, resting at each side on figures bearing shields, and terminating with a heraldic display at the top, where on a shield couché are carved the arms of Lord Gray, namely, a lion rampant, within a bordure

Window in South Wall of chancel.Window in West End Wall.Fig. 1110.—Fowlis Easter Church.

Window in South Wall of chancel.

Window in West End Wall.

Fig. 1110.—Fowlis Easter Church.

engrailed, above which is a helmet supported by two lions, and bearing a swan’s head and neck, with wings elevated for crest. The carving is, unfortunately, a good deal decayed.

Adjoining the interior of each of the west doorways is a stoup; that on the north side is shown in Fig.1112.

The ambry or sacrament house stands in the east wall on the north side of the altar. It is one of the most elaborately carved and sculptured examples now remaining in Scotland. The sacrament house is well shown in the drawing by Mr. Robertson (Fig.1113). It is 5 feet 6 inches high by 3 feet wide across the cope and base. The opening, which is checked

Fig. 1111.—Fowlis Easter Church. South-West Doorway.

for a door, has an ogee arch with richly carved buttresses on each side. Above the recess is sculptured a remarkable group (Fig.1114). In the centre is the bust of the Saviour, on a larger scale than the other figures, holding in His left hand the globe, surmounted by a small cross—the attribute of sovereignty. On each side is an angel—that on the right holding the cross, and that on the left the pillar of the scourging. Both

Fig. 1112.Fowlis Easter Church.Stoup in North Wall.

Fig. 1112.

Fowlis Easter Church.

Stoup in North Wall.

have a nimbus, but are without wings. Above the cornice which runs along the top of the ambry and in the hollow of the roof or cope the Annunciation is sculptured. The Blessed Virgin stands on one side and the angel on the other, holding the scroll with the salutation. Between them is the pot of lilies, and behind the Virgin an open book, symbolising the prophecies regarding her.

Above the ambry are seen indications of broken work, as if there had been something more sculptured above, and in the village, built into one of the cottages, there is a series of figures (Fig.1115), which have clearly been taken from the church, and which possibly stood over this ambry. These carvings are just the length required to fit the space, the panel containing them being 3 feet 1½ inch wide. Mr. Robertson, however, thinks that these figures formed part of a tomb, and that the broken remains on the top of the ambry indicate the former existence of some kind of parapet; but in any view, to bring these figures back to the church would be a fitting conclusion to the admirable work which has lately been carried out by the minister, the Rev. Dr. Burr, with the assistance of Mr. T. S. Robertson, architect.

The alterations lately effected consisted in removing a partition wall, which, along with the rood screen, separated the east end of the building from the part used as the Parish Church, and in removing the plaster ceiling, which cut across the tracery of the west window, preparatory to putting on a new open timber roof. The belfry replaces a nondescript erection of last century. The bell (Fig.1116), which is old, is 14 inches high by 17¼ inches in diameter at the lip, and is attached to the stock by three canons. The stock is of oak, and, although bound with iron, is much rent. The bell is very heavy and of simple but beautiful form. The letters of the inscription seem to have been formed separately, and fitted round the mould in which the bell was cast.

The font (Fig.1117) is richly sculptured, but is much mutilated. It is octagonal in shape, and measures 3 feet high, with a round basin, 20½ inches wide. In the panels round the basin are sculptured scenes from

Fig. 1113.—Fowlis Easter Church. Sacrament House.

the life of Christ, which are much broken and defaced. The Baptism occupies one space, and Christ bound with a figure on each side (Fig.1118)

Fig. 1114.—Fowlis Easter Church. Sculpture on Ambry.

is carved on another. The panels also contain the arms of Gray and Wemyss, with others now obliterated.

Fig. 1115.—Fowlis Easter Church. Sculpture in Village.

The door of the rood screen is still preserved. It is of dark oak, and is one of the few examples of pieces of furniture of this descriptionremaining in Scotland (Fig.1119). It has open work in the upper part, occupying nearly half the height (see details in Fig.1120) and four

Fig. 1116.—Fowlis Easter Church. Bell.

panels below, the lower two having the linen pattern, and the two above (forming the centre of the door) being decorated with tracery work.

One of the most remarkable features of this church consists of four large pre-Reformation paintings on oak panels, two being at present hung on the east wall and two on the north

Fig. 1117.—Fowlis Easter Church.Font.Fig. 1118.—Fowlis Easter Church.Carvings on Font.

Fig. 1117.—Fowlis Easter Church.

Font.

Fig. 1118.—Fowlis Easter Church.

Carvings on Font.

Fig. 1119.—Fowlis Easter Church. Half of Door of Rood Screen.

wall.[93]The two on the east wall are in much the better state of preservation. The upper picture represents our Saviour on the Cross, the soldier on horseback on his right thrusting the spear into his side, and numerous

Fig. 1120.—Fowlis Easter Church.Details of Upper Part of Rood Screen.

Fig. 1120.—Fowlis Easter Church.

Details of Upper Part of Rood Screen.

other figures on both right and left. The lower consists of eleven panels, each representing a saint, some male and some female. The tenth panel has near the foot the Gray shield in colours. On the north wall the upper painting has the middle part entirely rubbed off, and also, to a considerable extent, the central part of the upper division; but what remains shows a large head and shoulders, surrounded with a glory. Probably this part of the picture was a representation of the Trinity. To the right of this is a female saint with a sword piercing a king’s head; at her feet and behind her there probably was another figure, now wanting, to balance the two figures on the left, namely, John the Baptist, holding the lamb in his arms, and behind him the Virgin and Child. The lower division has in the centre a representation of the entombment, with three figures on either side. The panels of the other picture are not in their correct places, but they represent some figures on horseback, and others on foot—subject uncertain.

As already mentioned, the skew putts contain arms. These are as follow, viz.:—

S.W. Wemyss of Reres 1st and 4th lion rampant, 2nd and 3rd a bend.S.E. A lion rampant within a bordure engrailed for Gray, impaling the dexter half of the foregoing arms, namely, 1st a lion rampant, 3rd a bend.N.E. Scotland, lion rampant within a double tressure flory counter flory.N.W. Lion rampant; for what family is uncertain.

S.W. Wemyss of Reres 1st and 4th lion rampant, 2nd and 3rd a bend.

S.E. A lion rampant within a bordure engrailed for Gray, impaling the dexter half of the foregoing arms, namely, 1st a lion rampant, 3rd a bend.

N.E. Scotland, lion rampant within a double tressure flory counter flory.

N.W. Lion rampant; for what family is uncertain.

The College of St. Salvator was founded and endowed by Bishop Kennedy, in 1456, for a provost and prebendaries. This bishop was distinguished for his liberality to the Church. He also founded and endowed a Franciscan Monastery in St. Andrews, which has now entirely disappeared.

The Church of St. Salvator is the only portion of the college buildings which still survives. It is now attached to the united colleges of St. Leonard’s and St. Salvator, which form the existing University of

Fig. 1121.—Collegiate Church of St. Salvator. Plan.

St. Andrews, and the other buildings of which are modern. The church bears the marks of the period when it was erected, the latter half of the fifteenth century. It consists (Fig.1121) of a single oblong chamber about 107 feet long and 28 feet wide internally, with a three-sided apse at the east end. There are now no windows in the north and west walls, but the south wall is divided by buttresses into seven bays, with a large pointed window in each, which, together with the three windows of the eastern apse, sufficiently light the church. The central window of the apse is larger than the others. The tracery in the windows is modern. Thebuttresses between the bays are bold and effective (Fig.1122), having a broad moulded base and being enriched with canopied niches for statues on their face. The canopies on the buttresses next the apse are placed

Fig. 1122.—Collegiate Church of St. Salvator. View from South-East.

facing one another on the angle of the buttress instead of on the face, an arrangement not easily explained. The buttresses are now finished on top with gabled pinnacles, but these are a modern restoration. Theoriginal pinnacles were, doubtless, of the late and rather stunted character usual at the period, of which one specimen survives, at the north-east

Fig. 1123.—Collegiate Church of St. Salvator. South-West Porch.

angle of St. Salvator’s, where, however, it is little seen. Between two of the buttresses, near the south-west corner, a porch is introduced under the

Fig. 1124.—Collegiate Church of St. Salvator. View from South-West.

window (Fig.1123), the buttresses being slightly extended beyond the others to receive it. The porch is roofed with groined vaulting, and has a stone bench on each side, and a canopied niche on each side of thewide entrance arch. A shield at the apex bore the arms and mitre of Bishop Kennedy. The doorway within the porch has a three-sided head or arch, and the north door opposite it has a similar top.

The tower at the south-west angle of the church is of the usual plain unbuttressed form (Fig.1124) common at the period in Scotland. On the ground floor it contains the gateway to the college. Over the outer archway are the arms of Bishop Kennedy in a cusped panel (Fig.1125), having a canopied niche on each side. Over this the tower rises to the string course under the belfry story, with no features but small loops in the wall. The belfry story has a lofty double window on each of its four sides.

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